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by Molly Hamilton

I have had a vision of making the 117 Croatian Shirt pattern into a dress for several years.  I even bought the fabric I wanted to make it in and cut out the pattern.  I just didn't get around to it until this summer.  Sometimes I have to stop what I feel like is important work, like making new patterns, and work on what I want to work on, which might be doing something creative for myself.  I also think it is important to focus on the amazing and wonderful old patterns that Folkwear has in its collection.  These are truly unique and interesting patterns and I love working with them to make something new.  

This summer I was cleaning out fabric and found this beautiful European linen I had bought from Merchant and Mills.  It is a linen similar to this one, but mine was an autumn orange-brown.  And I remembered I had bought it for making the Croatian Shirt which I wanted to be long enough to wear in the fall as a dress.  I stopped what I was doing and started on the dress.  The shirt pattern actually has two lengths marked on the pattern - one to make a shirt and one to make a mid-calf length dress.  I shortened the dress-length to hit a little above my knee after it was hemmed, and cut out the pattern.

I was a little intimidated by the pintucks in this pattern, but slow and steady, as they say, and they came out fine (but not perfect).  There are also a lot of pleats in this pattern - at the shoulders, neck, and cuffs - but giving each a little clip, as the pattern indicates, makes them very easy to manage.  I also noticed that the number of pleats at the shoulder was incorrect in my paper pattern and I adjusted them to seven and centered them (this correction has been made in the PDF pattern).   

I would not suggest using a linen of the type I used if you are wanting crisp pintucks and pleats.  The linen relaxes and does not stay crisp.  It also doesn't love to stay perfectly straight for making pintucks.  But it was exactly the look I wanted.

You can see the back and shoulder pleats here (dress is on a hanger for this photo!).

I had finished making the pintucks on the front of my shirt piece when I headed off to drive to Canada with my children.  So I decided to use some of my travel time riding in the car (my oldest drove some of the way), making the honeycomb on the pintucks.  This technique was easy and interesting and went fairly quickly.  I got one side done in an hour or so riding in the car on the way to Canada, and the other side done on the way riding home.  I used a slightly contrasting dark brown buttonhole thread to make the stitches.  I liked using a thread that could be seen but was not as thick as perle cotton, and liked the contrasting color rather than using a matching color.  

I found some buttons in our stash at the office that worked quite well to finish the project.  I also like the curved cuff (and collar) on this dress.  These little details make it a special piece.

I love how this 117 Croatian Shirt dress turned out!  It is exactly what I was hoping for - a perfect fall-colored, cool-weather dress that I can wear with boots for now and add leggings or tights as the weather cools further.  It is comfortable and pretty, and I love wearing something that has some history behind it.

By Esi Hutchinson

In the 1920's coat fashion shifted towards loose, straight, and undefined waistlines. Coat details, such as cuffs, collars, and pockets, were enlarged with  options for contrasting fabrics and decorative embellishments. View A of our 262 Spectator Coat, based on a coat from 1925, is very typical of this 20's style, featuring a sweeping cape collar, big sleeve cuffs, and large rectangular pockets. 

In this post I will show you how I made a version of View A of the Spectator Coat.  I made some modifications, mainly to the construction of the pattern, that is slightly different from the original construction.  I made a more informal, less tailored, coat without shoulder pads, sleeve heads and interfacing. However I do think referring to the "Professional Tips for Sewing Success"  that is included in the pattern is very helpful. These Tips teach how to make your own interfacing and shoulder pads from Hair Canvas is really interesting. Hair Canvas gives the garment a more structured shape but without the stiffness of interfacing we have now. Cotton batting, fleece, and flannel can also be used to make your own shoulder pads and sleeve heads. But I did not do any of this for the coat here.

I picked View A of this pattern because I love the dramatic collar -- it's like a cape and it feels empowering. 266 Greek Island Dress, 270 Metro Middy Blouse (which was the first Folkwear pattern I used), 211 Two Middies, and 150 Hungarian Szur all have large collars and I really like them all.

For me, making this coat was actually a very simple assembly process, not tricky at all. This pattern may look intimidating but it comes together quite easily. I hope this post helps you also find that this coat is not nearly as intimidating as it looks at first.

Lets talk about fabric options!

Medium to heavy weight fabrics are suggested for this coat. Silk and cotton velvet would look very luxurious, twill or wool for a more casual look. Boucle (fabric made from looped yarn) and corduroy (make sure you choose a layout with nap) would be great as well. And check out our fabric suggestion post for this coat.

I used a medium-weight, blue and cream French toile cotton canvas as the main fabric for my coat.  It's not fabric designed to be very warm, but this jacket is meant to have layers worn underneath and I thought this fabric would be a lot of fun to use to make a coat from. It is perfect for the informal-looking coat that I had in mind.  We actually have this fabric in our shop now! 

For the lining, we suggest a medium to light weight fabric like silk, cotton, or rayon. If your main fabric is quite thick or heavy-weight, use something lighter such as a cotton voile, silk, or Bemberg.  I used an off-white cotton linen blend for my lining.  It complemented the cream in the toile of my main fabric, and it was a little lighter weight than the canvas of the main fabric. You can also find the fabric here in our shop. 

For the cuffs, collar, and pockets, you can choose anything from contrasting fabrics to complimentary, or use your main fabric.  Faux fur would be really fun and fitting for the 20's era for the collar and cuffs.  Boiled wool, jacquard, satin brocade, suede, leather and medium weight silk are also great options for contrasting fabrics. Usually you want a fabric of similar weight as your main fabric for these details.  However, we had a cotton voile in our fabric collection that matched perfectly the blue in the toile of my main fabric, so I went with that.  It is lighter weight that you would normally want to use in these details, but it worked very well.  I used this marine blue cotton voile.  

Another thing to consider when planning this coat and choosing fabric is how you might want to embellish it. The collar, cuffs, and pockets of this view are particularly good canvases for embroidery, applique, and fabric painting.  Here are previous blog posts that show how to do some embellishment techniques. Maybe checking these out will help you come up with your own to embellishments for this coat:  Chinese Jacket Embellishment, Flapper Dress Embroidery,  How To Transfer Embroidery Designs to Fabric, Sewing Designs onto Fabric. 

Sizing

Pick your size using the yardage chart, and keep in mind that the coat is not fitted, but very loose.  So if your want it to be a closer fit, think about making a smaller size. I made a size Small.  View A measures 51"/129.5cm from center back neckline to hemline on all sizes.  This is meant to hit about mid-calf, but was low-calf length on me.  If you need to lengthen or shorten, do so before cutting your fabric.  If you do want to lengthen or shorten, you may need to increase or decrease your yardage of fabric before purchasing and cutting your fabric.

Seam Finishes

Since this pattern has a lining, the only seam finishing you really need to do is press!  However, if your fabric ravels, I would suggest that you finish the seams with some type of overcast stitch (serge, zigzag, etc.).

Make sure you press really well (there are tips for pressing in the pattern!).  I used to never press while I sewed and now I can't stand it if my seams aren't pressed well at each step. It really makes a difference and the assembly process goes more smoothly.

This was my process!

First I traced by pattern and cut out my fabric.  View A has softer lines and a less formal structure than View B.  Since I used a canvas fabric, I didn't feel the need to have more structure in this garment.  So I did not use interfacing that the pattern calls for. 

To start, I marked darts on the wrong side of the front and back pattern pieces, I like to press my darts in place before I stitch.  And I tie the darts at the tip rather than back stitching to secure in place.

Easy seam finishing, just press seams open. 

It's getting to be that time of the year again . . . Coat Season!  Our featured pattern this month, 262 Spectator Coat, provides and encourages many customizable possibilities for both views - including embroidered applique, hand painting, and contrasting fabrics.  When it comes to long coats, the right fabric can make all the difference.  Fabric can make a statement, can provide varying degrees of warmth, can make a coat feel formal or informal, and on and on. 

Below are some of our current fabric suggestions for the 262 Spectator Coat.  These fabrics are also great for the hats.  And we just released the hats as their own separate PDF patterns - the cloche and the turban.  You should also think about trims and embellishments or contrasting fabrics to use for the collars, cuffs, and hats when looking for fabric for these coats and hats.   

French Toile Cotton Canvas

This cream French toile print is a cotton canvas in our own shop. It has a plain-weave with a soft hand, durable and sturdy with a midweight feel. Perfect for a light weight coat for fall and spring - a bit of a statement print (and right on trend) for an informal coat.  Love those chickens!

I like this Nara Homespun collection from Harts Fabric features thick cotton fibers woven together in an old-fashioned style to create a sturdy fabric with a stiff drape, which will add to the structure encouraged for the coat. This fabric has a beautiful chrysanthemum design and has a similar color scheme as the French toile above. I think this fabric is pretty and is definitely a statement.  Again, great for a lighter weight, informal coat.

Italian Wool - Vicun

This light to medium-weight woven wool woven in a pretty vicuna (light brown with orange undertone) would be a great for the main fabric for one of the coats.  The plaid Italian wool below would go really beautifully as a contrasting fabric giving it a casual and vintage look in my opinion.  Both of these fabrics come from the Folkwear fabric collection.

Italian Wool - Black Plaid

 
Pink Wool Coating

Oak Fabrics has some beautiful wools, and this pink wool blend coating is similar to the fabric of our sample above.  Add applique and embroidery like the sample or use a contrasting (or complimentary) fabric for the cuffs and collar.  We love pink, so this one stood out, but Oak Fabrics has some great wools.

Italian Wool Blend, Navy

This navy wool blend (mostly wool) is heavy weight and perfect for a classic warm wool coat.  This would also be a great canvas for applique or other embellishments, and would work well with contrasting fabrics.  This wool comes from Folkwear's collection. 

 Check out all of Folkwear's wool options here.

 Lime Green Felted Wool

Bolt Fabric Boutique has a great little selection of some fabulous felted wools.  These fabrics are hard to find and I trust Bolt Fabric to provide high quality fabrics.  This lime green felted wool would make a statement coat and would be a great canvas for any embellishments.  They also have black for a classic coat, as well as several other colors (and one plaid).

Forest Green Velveteen

Cotton velveteen makes a great trim for these coats and hats, but it is also priced well enough that the whole coat could be make with it for a luxurious feel and beautiful finished coat.  This velveteen comes in several colors at Bolt Fabric.

   Rayon Silk Velvet

For something truly decadent, this rayon/silk velvet from Mood Fabrics would be fabulous to make the cuffs and collar and hats of this pattern.  You can use these very expensive fabrics for the pieces that don't use a lot of yardage to give your coat (or hat) a luxurious look and feel without breaking the bank.  This fabric also gives a period feel to the coat. Of course, if your budget allows, you could make the coat body from this fabric instead. This fabric comes in several colors.

Brown Bronzed Foiled Faux Fur Fabric

For another decadent, and period look, a faux fur would be amazing for the trims on this coat and to make the hats.  I liked this brown bronze foiled fur, also from Mood Fabric.  There are a lot of faux furs on Mood's site, and I would choose one with a shorter pile for ease of sewing.  

So, what fabric(s) would you want to make your Spectator Coat from?  Stay tuned for a sew along for View A of this coat where we used one of the fabrics above for the coat!

Originally written in October 2020 by Cari.

There is no denying that this Halloween will be atypical since we are still needing to maintain social distance due to COVID-19.  I've been contemplating how to celebrate the season myself. I have always loved costuming and celebrating Halloween. So, I don't just want to give up on it entirely this year since there is not a social aspect to look forward to. 

And, for the past year or two I've been in a between-phase with a young teen who is almost "too big" for trick or treating, but too young for missing out.  We have gone back and forth with going out or staying in.  Luckily, we live in an area where whole families participate and adults and kids alike fill the streets on All Hallows Eve. We have alternated between hosting friends (to watch scary movies, play games, and eat treats) and hitting the streets ourselves. 

Reflecting on this I have been thinking about how to celebrate this year since gathering indoors doesn't seem like a great option and trick-or-treating is not a given either.  It may just be a themed movie night at home this year! I can always enjoy the costumes I see on the screen.

Since we haven't been able to go out to see movies, plays, music, etc in a while; I have enjoyed quite a few movies and TV series at home. I though it would be fun to look at some popular shows and movies that I have enjoyed this year for some inspiration.  I often find myself watching and noticing costumes that are "just like" some of the Folkwear Patterns.  

I recently got really caught up in Masterpiece Theater's Poldark.  The first garment that immediately screamed Folkwear was a cloak much like our 207 Kinsale Cloak!  Later in the series the 215 Empire Dress continued to grace the screen.

Cloak image from Pinterest from Poldark

Empire Dress from Poldark on Pinterest

The Peaky Blinders 1920's style is an eyeful.  Here is a coat that is so very similar to our 262 Spectator Coat.  Gorgeous!

And don't forget the 202 Victorian Shirt, 222 Vintage Vest and 263 Countryside Frock Coat!

Self Made: Inspired by the Life of Madam C.J. Walker features similar menswear mentioned above.  There were multiple suits worn by Octavia Spencer as Madame CJ Walker that remind me of our 508 Traveling Suit. There were quite a few references to the 205 Gibson Girl in this film as well.  

Also, the costuming of the movie Colette was gorgeous! The split skirt worn by Kiera Knightly when riding a bike and walking in the part is "just like" our 231 Big Sky Riding Skirt. 

Split skirt (or riding skirt) which can be worn as pants or a skirt (buttons down the side) is such a clever design!

What are your Halloween plans?  Are you dressing up?  Do you love to make costumes?  What films and shows inspire you? 

Let us know!

With fall weather upon us and the promise of much cooler temperatures, change is in the air. Part of this feeling of change comes with the excitement of a change in wardrobe! There is a simple comfort in being reacquainted with one’s old favorite clothes and being inspired to make new favorites as well.

One of the best things about Folkwear patterns is the excellent foundation they provide for making a garment all your own. In this blog post, I am going to show you how I made our #211 Two Middies pattern into a long-sleeved dress!

I turned View B from #211 Two Middies blouse pattern, into a dress perfect for fall! This blouse, with the nautical collar and all its great details, is one of those pieces that is welcome in any wardrobe no matter the season. It is the perfect warm weather blouse with it’s flattering short sleeves and nautical flare. Even if you do not want to make a dress, you can lengthen the sleeves and continue to enjoy wearing the Middy Blouse as the temperature drops. Lengthening the sleeves is easy… just decide on the length you would like and use the “lengthen or shorten here” line marked on the pattern for a warm and cozy version of the Middy Blouse to be enjoyed all winter long.  You can also follow along in this blog to learn how.

The 211 Middy Blouse pattern, fabric, and thread for making my dress.

The roomy fit of the Middy blouse makes it a perfect candidate for an easy transformation into a comfy dress. The bottom edge of the blouse is made even fuller or wider when the bottom band and little pleats are eliminated. The width of the bottom edge easily accommodates additional fabric for creating a dress.

There are any number of ways of adding a skirt portion to create a dress. The length of the blouse can be shortened or lengthened to change the position of the waistline. It just depends on the look you want and how you want your dress to hang. For a few examples, the blouse could be transformed into a dress by raising or lowering the bottom hem, to create an empire waist or a drop waist or somewhere in between. The blouse and skirt portion could be combined and cut as one piece, or the skirt portion could be added separately with gathers or pleats. For this project, I used the Middy Blouse pattern as it is and simply attached a slightly A-line skirt to the bottom edge of the blouse (minus the bottom blouse band).

I made my dress using View B of the Middy Blouse as my foundation with only a few simple changes to alter the fit that allow for a bit of winter layering and a vintage aesthetic. For example, to create a roomier fit, I simply graded the side seams of the blouse to be wider at the bottom edge.  To learn how to grade the side seams of the blouse check out the 211 Two Middies Blouse Sew Along: Day Three. The main consideration is being sure the bottom edge of the blouse is wide enough to easily clear your hip measurement to provide a nice hang and give you enough ease of movement.

The other adjustment I incorporated is to make the sleeves longer. I also decided to make the sleeves just a little bit fuller without having to disturb the armhole construction. To do this, I widened the sleeves slightly from the armhole to the bottom sleeve edge.

The blouse becomes a dress when a simple A-line skirt is added. To give the bottom of the dress a bit of interest I incorporated two horizontal pleats. I also added pockets to the side seams, because nearly all side seams are made better with pockets!

All details on how I made these adjustments are below!

Fabrics

For suitable fabrics, have a look at the blog post Fabric Suggestions for 211 Two Middies. I am using a mid-weight linen with a lovely drape and a scrap of leftover linen cross weave fabric for the collar and cuffs. Check out the fabrics for purchase on our website, where you will find some options for this project. 

You will need additional fabric yardage for making the skirt portion and for adding length to the sleeves. I added an additional 1 yard (91cm) for the skirt portion and an extra 1/2 yard (46cm) for the sleeves. The fabric I used was 59 inches (150cm) wide.  

Note: If you make length or width adjustments to the pattern pieces, be sure to re-check your yardage requirements before purchasing fabric.

Get Started

You will need to make adjustments to your pattern before cutting your fabric or starting to sew the dress.  

Adding Length and Width to the Sleeves

The sleeve can easily be made longer or shorter, depending on your requirements. I decided to add width and length to the sleeves.

If you want to add width to the sleeve, do this adjustment first. I made the sleeve 1/2 inch (13cm) wider by grading the sleeve. To do this, I added 1/4 inch (6.35mm) just to the outer edge of each sleeve side seam, for a total of 1/2 inch (13cm). Remember this sleeve is comprised of a front and a back sleeve piece. Therefore, you do not add any extra width at the connecting center seam. Starting 1/2 inch (13cm) down from the under-armpit seam edge, draw a line connecting to the bottom edge of the sleeve at the added width (in my case at 1/4" wider than the sleeve bottom edge). Use a hip curve to create a smooth connecting line.  This is your new outer cutting line for the sleeve. The idea is to widen the sleeve, without disturbing or altering the armhole opening.

After widening the sleeve, I was ready to lengthen it. I decided to lengthen my sleeve pattern to measure 19 inches (48cm) long, keeping in mind the 3/4-inch (1.9cm) cuff to also be added.

I simply cut on the "lengthen or shorten here" line to separate the sleeve into two pieces. Then I inserted another piece of tracing paper behind the two original sleeve pattern pieces, to allow for the increase and connect the top and bottom of the sleeve. 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 line connecting the two separated pieces of the sleeve. Trim any access tracing paper away. Now the sleeve pattern has been lengthened and ready to use.

Using Swedish Tracing paper makes this task easy and it can be pinned and reused over and over.

Preparing the sleeve pattern pieces to make a longer sleeve pattern. Notice the graded outer edge.

The front and back sleeve pattern pieces graded and cut apart.

The sleeve pattern pieces separated with more tracing paper underneath to create a new longer sleeve pattern.

The two new longer sleeve pattern pieces.

The new longer sleeves sewn together.

Sidenote:  I edgestitched the seams of this dress to add stability to the linen fabric I used. The seams benefit from the stabilization edgestitching provides and this is another way to finish the seam. This is especially relevant if a fabric is not tightly woven (and linen does tend to fray).  This edgestitch technique is similar to a faux flat-felled seam, but the seam does not need to be finished together (serged or zig-zagged) so there is a little less bulk in the seam.  To edgestitch the seam, press the seams towards the back of the garment and edgestitch on the back side of the seam. I edgestitched the shoulder seams, the sleeve seams, and the waist seam as I constructed the dress. Edge stitching adds a nice finishing detail and strengthens the seams, all at the same time.

The wrong side of the sleeve edge stitched with the seam pressed to the back.

Right side of the sleeve edge stitched on the seam.

The two sleeves sewn together and edge stitched.

Becoming a Dress

I constructed the blouse portion of the dress according the pattern instructions, but left the underarm and side seams un-sewn.  It is easier to sew the side seams all at once, after the skirt and pockets are attached. 

The blouse portion is nearly complete, except for sewing up the under-arm seams and side seams.

Now to construct the front and back skirt portions of the dress. The skirt I designed is a simple A-line with two horizontal pleats near the bottom to add a vintage touch.

The bottom edge of the blouse determines the width of the top of the skirt portion. The bottom edge of the front and back of my blouse measured 23.5 inches (60cm) wide, therefore the top of the front and back skirt must be the same. I cut the front and back of the skirt with my fabric folded in half, so the bottom edge of the front and back skirt was as wide as my fabric would allow (29.5"/75cm wide or half of the 59"/150cm wide fabric) and the top was 11.75 in.(30cm) at the fold (and 23.5"/60cm when opened). 

You can cut your skirt as long (or short) as you want.  I wanted my skirt to be a bit longer than mid-calf length, and I wanted to add pleats to the skirt for interest.  The pleats meant that I cut the skirt about 4 inches longer than needed, to make two, 1-inch pleats.  If you add pleats to your skirt, make sure you make the pleats at the exact same place on the front and back so they match when sewn together.

First, sew the front skirt to the front of the blouse at the bottom hem of the blouse.  Then, sew the back skirt to the back of the blouse at the bottom hem of the blouse.  

One of the two skirt pieces with its two pleats ready to be added to the bottom blouse edge.

Making sure the horizontal pleats of the skirt align.

The blouse and skirt portions are ready to be assembled.

The skirt and blouse pieces sewn together.

Adding Pockets and Sewing the Side Seams

Add the pockets to the side seams of the skirt before sewing up the side seams of the dress. The pockets are optional, but this is a perfect opportunity to try your hand at putting pockets in a side seam. To learn how easy side seam pockets are to make check out the Pocket Series: Side Seam Pocket blog.

Pinning the pocket pieces into the side seams to the skirt side seams. 

Stitch the pockets in place first with one pocket piece on the right side of each side of the front and back of the dress.  Make sure the pockets are at the same place on each side so they match when put together.  Then press the pockets to the outside of the dress and press the seam allowance toward the pockets.  Pin the dress side seams and stitch the seam allowance starting the the bottom edge of the dress and sew to the bottom edge of the pocket, being sure to back stitch. Then start the stitching again on the top edge of the pocket and continue up the blouse side seam, pivot at the arm pit and finish stitching at the edge of the sleeve.  Then sew the pocket bags together.  Repeat for the other side.

The side seam and pocket bag pined and sewn using the seam allowance.

Add the cuffs and little pleats to the sleeves according to the pattern instructions or simply hem to produce the length you require. Binding the sleeve edges would be a nice touch too.

Hem the bottom skirt edge and enjoy your new dress just in time for cool weather!

Back view of the Middy collar

Cuff and side seam pocket.

View of the pleat detail.

By using the 211 Two Middies pattern and making some simple changes you can turn this lovely blouse into a whole new wardrobe stable. Learning to look at a pattern with fresh new possibilities is a great way to create new versions of old favorites and enjoy your patterns even more.

We, at Folkwear, look forward to seeing what you are inspired to make!

By Esi Hutchinson

Hello and welcome back to our new pattern, 511 Juliette's Dream, a lingerie baby doll dress that comes with two views and in sizes XS-4XL. Today I am going to show you how I made our View B - which has an open front, an unlined bodice with crisscross straps, and a full circle skirt accented with bows on the side seams.  Both views of Juliette's Dream can also be made into a casual day wear if wanted, perfect for a spring or summery days - and of course, great for the privacy of home.  Find my previous post for a sew along for View A here. In this post, I will go through how I made View B and I will show you how I added a lining for the bodice even though this view has an unlined bodice.  This option is good if you don't want to finish the edges with bias tape or edging or if you want more body in the bodice (or if your fabric is sheer and you want another layer).  

Fabric and Preparation

This sew along is for View B,  has the same fabric options for the previous sew along for View A.  This pattern needs fabric that is light and drapey.  Use soft and flowy fabrics such as silks like charmeuse, habotai, crepe de chine, or silk synthetics.  Cotton voile, lightweight linen, rayon, or rayon/Tencel blends are also great options. Check out our fabric collection we just got a ton of new fabrics added to our beautiful collection. If your fabric is quite sheer you can add lining of the same fabric for this view, but of course a sheer fabric is a great design choice for this pattern. 

Always pre-wash your fabric before cutting, unless it is laundered fabric.

For notions, this View only needs bias binding (which I will cover below) and ribbon for the straps and bows.  If not lining the bodice, you will need 2-1/2 to 3-1/4 yards (2.3-3m) of 1/2” (13mm) bias binding.  If you do line the bodice, you will only need about 1-1/2 yards of bias binding.  You will also need 2-1/2 yards (2.3m) of 1/4” (6mm) ribbon or bias binding for straps and another 1-3/4 yards (1.1m) ribbon for bows and ties.  You can use slightly wider ribbon, up to 1/2" (13mm) if you prefer.  For the ribbon, I suggest something satin or soft.  You can also make your own "ribbon" with bias binding - just fold it in half and sew along the edge to close it.

Sizing

Choose the bodice cup size to fit your bust and cut the size that fits best according to measurements in the yardage chart. To find the best cup size, measure your full bust and high bust. If there is a 2” (5cm) difference, choose B cup; if a 3” (7.6cm) difference, choose C cup; and if a 4” (10.2cm) difference, choose D cup. To facilitate cutting out the pattern, mark your size along the appropriate cutting line(s) with a colored marker. The yardage chart also has approximate finished measurements, if that helps you decide which size to cut.  I used the size Small for this project.

You may need to adjust the pattern pieces because these are approximate measurements.  Making a muslin first is not a bad idea for a perfect fit for you. You can find the finished measurements on the back of the paper pattern or in the PDF pattern.

Seam Finishes

If you are not using a lining for View A , serging, overcasting or zigzag stitching can be used to finish seams if desired, especially for fabrics that fray. Picot the raw edges for the hem; and skirt seams could be finished with a French seam.  You could also pink the seams for less bulk and a vintage-style seam allowance.

Learn how to sew a French seam in this blog post. 

Cutting Out Your Pattern

Cut out your pattern pieces using the different cutting lines for View B. Remember to also cut lining pieces for Front A and Back B if you want or need it. The pattern indicates to only cut one set of Front A and Back B because this can be an unlined top, but I wanted to line the bodice, so I cut two sets.  For View B, you do not need the strap pieces because you are supposed to use ribbon to create the straps.  However, if you prefer to have wider fabric straps, you can use the Strap piece and cut two from your fabric.  You will use the instructions for straps in View A.

Sewing the Pattern

Bodice

With right sides together, sew center back seam on Back Bodice B, and press the seam open.

With right sides together, sew back to Front Bodice A at side seams, matching notches. Press seam open.

If using a lining, like I did, you should repeat these steps for the lining.

Skirt

With right sides together, sew center back seam on Back Skirt matching notches. Press seam open.  

Then, with right sides together, sew Front Skirt E to Back Skirt at side seams stopping at the single notches. Press seams open to notch. Clip the seam allowance to the stitching (but not through) at notches.

Pinned Front Skirt E to Back Skirt F at side seams stopping at single notches

To finish the hem of the skirt, you will create a picot hem.  This is a simple hem that can be used on fine and lightweight fabrics to create a tiny, slightly scalloped hem.  Use a wide zigzag stitch along hem edge catching the raw edge in the zig-zag to create picot hem. If fabric frays easily fold under 1/8"-1/4" (3-6mm) and zig-zag wrong side up.

You can also hem the skirt with another method if you want - using a rolled hem or turned under hem.   

 Close up of zig-zag stitch on Skirt hem

Bodice to Skirt

With right sides together, sew skirt to bodice. Finish the seams and press seams toward bodice.

If you are using a lining (like me), sew the lining to the bodice now. First, it will be helpful if you sandwich your straps between the bodice and lining on the front so they are inside the seam of the bodice.  You don't have to do this.  I did not, and I added the straps later.  With right sides together, sew the bodice to lining at the neckline. You will be leaving the front seam allowance open.  Trim seam allowance and corners. Turn the lining to the inside and press.

 Pinned bodice lining to Bodice outer layer at neckline

Fold under 1/2" (13mm) on bottom edge of Bodice Lining and slip stitching to previously stitched seam leaving front of bodice open, enclosing the bodice hem.

Now, place gathering stitches 1/8” (3mm) from left center front of bodice, catching both layers of fabric if you have lined the bodice.   

 Close up of gathering stitches at Bodice center front

Pull gathering thread until fabric measures about 2” (5cm) and stitch within the seam allowance to hold.  Repeat with right side.

Bias Binding Time!

The front of this View is finished with bias binding.  If you are not lining the bodice, as the pattern indicates, you will also finish the neckline with bias binding. Personally, using bias binding is challenging for me. My advice if you also struggle with it is to press really well, and if making your own bias binding try to cut as precisely as you can so you have enough when sewing the binding to the garment.  If you want to see an easy way of making bias binding, we have a blog post here and a video on making continuous bias binding here.  These tips really help also!

Cut two pieces of your bias to be as long at each side of the front, from neckline to hem plus 1" (2.5cm). 

Press open one side of the 1/2” (13mm) bias binding.  Sew pressed-open side of bias to wrong side of left garment front. Repeat with right side.

Trim seam allowances to 1/4” (6mm), and fold under 1/2" (13mm) at top and bottom edges of bias binding.

Turn bias binding to right side, folding it over the remaining seam allowance and press.

Press and edgestitch through all layers.

If you are not using a lining, you will sew bias binding to the neckline edge in the same way as the center fronts, trimming and turning under ends of bias so that they line up with the front edges of bodice and raw edges are enclosed.

Straps

My main advice here is  to get someone to help you!  I would also maybe use string as guides for your final fabric or ribbon so you know how long to cut your straps.  Either way, make sure to cut your ribbons several inches (or even 6-12 inches) longer than needed so you can adjust them easily.

Again, you can use ribbon or you can make your own spaghetti straps with fabric or bias tape or binding.  Just make sure you have enough length for the straps.  Pin two straps to each side of the front bodice where marked on pattern and sew securely to the bodice. The inside straps/ribbons will be about 5” longer than the outside straps/ribbons.  The inside straps will crisscross in the back and the outside straps will just go over the shoulder.  Adjust to fit the wearer, and pin and sew the straps in place on inside back of garment where indicated on the pattern piece.

 All Straps sewn on to Bodice Front and Back

If using straps from View A, follow instructions for View A, and sew in place on inside of the bodice as marked on pattern.

 Front Ties, Side Ties

Either make spaghettis from self-fabric or use ribbon and securely sew two 10” (25.4cm) ties to inside of bodice at the waistline and two at inside of the neckline edges on each side of center front, as marked on pattern.

Don't forget to remove gathering stitches if visible.

Using about 10” (25.4cm) of ribbon or spaghettis, tie a bow and hand or machine sew it to garment at the top of the side slit on each side.

     

We have written many posts on Halloween  and costumes over the years! So today I am going to just round up these posts so you can revisit them all, get ideas and inspiration, and get to work on your (or someone else's) fabulous costume.

First, we have a detailed tutorial on making a witches hat.  Which is perfect to pair with our 207 Kinsale Cloak (or 208 Child's Kinsale Cloak).  We show you how we made the cloak for a child's costume (and decorations) here.  And make the cloak even spookier with this tutorial on adding bats, a ruff, and a magic wand to the cloak!

Turn the 213 Child's Prairie Dress into a very cute witch's costume (also perfect for Harry Potter robes).

Dressing up as a character from Outlander?  We have you covered in this blog post!

Want to make a great costume from the 1950s?  The poodle skirt from our 256 At the Hop pattern is great for a blank canvas for design, as this blog post shows you.

Recently, we put together a list of Phryne Fisher costume ideas.  She has constantly been an inspiration to many Folkwear fans (and we love her too!).  You can see all the ideas for a costume with our patterns here.

Finally, some compiled costume inspiration from years past: 

Costume inspiration for adults and kids from 2022!

Halloween at home - costume inspiration from Hollywood during the 2020 pandemic.

Costume ideas from 2017!

The clothes of Phryne Fisher, or "Miss Fisher", the protagonist of the popular TV series Miss Fisher's Murder Mysteries, have been inspiration to countless people.  Phryne Fisher has the best vintage style!  The series is set in the 1920s and there are loads of amazing clothes to be inspired by.  And she wears them so well!  We love Miss Fisher's clothes here at Folkwear as well, and hear from many of you about how much you love them also, so thought we would do a little "Find That Pattern" from some of her on-screen outfits.  

First up, this this great bright red cheongsam.  Popular in the 1920s, this dress developed from a Westernized version of traditional Chinese dress.  You can make your own with our 122 Hong Kong Cheongsam.

Western fashion was strongly influenced by Asian fashion and art in the 1920s, and a kimonos (and haori) show up in several Miss Fisher episodes.  This particular one has stunning embroidery on black silk.  You can make something similar with our 129 Japanese Hapi and Haori or 113 Japanese Kimono patterns.

To get the look of this safari jacket and suit, you could use our 130 Australian Bush Outfit.  The series (and books and movie) take place mostly in Australia, so this pattern is perfect!  Our pattern has jacket, trousers, and shorts for men and women.

Next is this wonderful sailor outfit for a jaunty stroll down the boardwalk (or jetty) - a middie shirt with a classic pleated skirt.  Use our 211 Two Middies to make a shirt like this!  Extend the length to get the same look - lengthen/shorten lines are provided for the body and sleeves of this shirt.

 

And of course, if you are interested in making something like this tango dress, we have a great pattern for it, the 237 Tango Dress with two views.

Finally, this stunning coat can be made with our 503 Poriet Cocoon Coat - a design from the early 1920s.  So elegant!

We do have a few other patterns that would also work for a Miss Fisher inspired outfit, such as our 269 Metropolitan Hat, our 1920s Flapper Dress (PDF), and our 270 Metro Middy Blouse.  

Which patterns do you like the best?  What Miss Fisher outfits would you like to recreate?

The lingerie sewing patterns that Folkwear debuted this year (510 Passionflower and 511 Juliette's Dream) are heavily influenced by the baby doll lingerie that developed and was popular in the late 1940s and the 1950s.  Baby doll lingerie brings to mind sweet and sexy garments - lacy and loose and very short.  Baby dolls are loosely defined as a garments with an empire waist and a skirt ending above the knee.  This type of lingerie often has lace, frills, or bows on the hems, seams, or straps, giving it a typical lingerie look.  

Baby doll lingerie is credited to clothing designer Sylvia Pedlar who created super-short nighties in the early 1940s as a response to war-time fabric shortages. Before this time, women's nightwear was generally long and voluminous, similar to our 224 Beautiful Dreamer. These newer short gowns were quickly called baby doll lingerie, though Ms. Pedlar reportedly did not like the term and would not use it.  

Sylvia Pedlar was a successful designer who studied fashion in New York and quickly started her own fashion brand, Iris Lingerie, in 1929.  She ran the company successfully until it closed in 1970, winning several fashion awards for her designs along the way.  Ms. Pedlar focused on high quality lingerie and designs that drew on past romance as well as the seduction and sexual freedom of the 1960s.  Not only did she bring the baby doll to popularity, she also developed a toga-like negligée designed for women who slept in the nude.  In addition, she re-worked Victorian-style nightwear and added exquisite machine-made white work to many of her designs.  But, for Folkwear, the baby doll gown she developed and popularized is what inspired our 510 Passionflower Lingerie Top and 511 Juliette's Dream (and several other designs we have in various stages of development).  

Sylvia Pedlar design from 1962.  Metropolitan Museum of Art, pinterest link.

Sylvia Pedlar design from 1958.  Metropolitan Museum of Art, pinterest link.

Inside label of an Iris Lingerie nightgown designed by Sylvia Pedlar.

The sleeping toga designed by Sylvia Pedlar, on the cover of Life Magazine, 1962. Pinterest link.

Baby doll lingerie balances cute and sexy and has a definite sassiness. The flowing skirts float out from under the bust to a very short, seductive length.  And the lace and bows on hems and seams connote innocence of little girls outfits.  However, sheer fabrics and often very low necklines are not at all childlike.  Baby doll lingerie of the 1950s and 1960s could be made of several layers of sheer fabric in white or pastel colors.  And as the lingerie style developed, jewel colors, black, and lace added to the interest of baby doll lingerie.  Usually baby dolls were made with nylon, chiffon, or silk, and were embellished with ribbons, bows, and lace, making them flirty and feminine garments to wear.  

Early babydoll lingerie designs - advertisement.  

Vintage baby doll lingerie styles. Pinterest link.

Vintage baby doll lingerie dress with layers of fabric and short sleeves.

1960s Baby doll lingerie. Pinterest link.

While the baby doll lingerie style has waxed and waned in popularity, it has stayed a staple of lingerie design.  Over the years, many changes have been made.  The skirts have been made slightly longer, or even shockingly shorter.  Necklines have been high and low, square, rounded, or made into deep V's.  Some baby dolls have sleeves, some just small straps.  Brighter colors have been used and skirts have been made less full.  Some styles are open in front, and black has become a popular color.  Not only all these changes, but baby doll lingerie turned into dresses - the baby doll dress became popular in the 1960s and 1970s thanks to Mary Quant's designs - and stayed a classic dress design.  And now, for instance, now one may see a baby doll lingerie is not just worn as nightwear but worn over jeans and high heels.  The nightwear-to-daywear trend includes this cute frock.  

Pinterest link.

The juxtaposition of baby doll lingerie - sweet and innocent and sexy and seductive - has been what is intriguing and interesting of this style.  And the style is surprisingly flexible, going from nightwear to daywear, from modest to quite the opposite.  We hope you enjoy the options and possibilities with our patterns 510 Passionflower Lingerie Top and 511 Juliette's Dream.

By Esi Hutchinson

We have been excited about our new pattern #511 Juliette's Dream.  It is one of a couple of patterns that have been sitting in Folkwear's development stage for many years - for several sets of vintage-inspired lingerie in larger sizes.  We released the #510 Passionflower Lingerie Top earlier this year, and now #511 Juliette's Dream.

This lingerie baby doll dress comes in two views and sizes XS-4XL.  View A has a lined bodice cinched at center front, and a two-tiered full layered skirt that dips lower in the front and back. View B includes an unlined bodice with an open front, as well an open-front full circle skirt with crisscross straps in the back. Both views have an empire waist with three cup sizes for each view. Juliette's Dream can be made into sassy lingerie in silks or sheer fabric, can be casual day wear with pants or leggings, perfect for a spring or summery day!

I am going to show you how I made View A of Juliette's Dream in this blog post, along with some tips and tricks for successfully sewing this cute top.

Fabric and Preparation

This pattern needs fabric that is light and drapey.  Soft and flowy fabrics such as silks (charmeuse, habotai, crepe de chine, silk synthetics) or lightweight cotton voile, or lightweight linen, tencel/linen, tencel/twill, lyocell. For lining, use the same weight (or lighter weight) than your main fabric. For simplicity, I would use the same fabric as your main fabric.

Always pre-wash your fabric before cutting, unless it is laundered fabric.

For fun options, you can use contrasting fabrics for the upper and lower layers of the Skirt or even the Front Band D. Or, make the upper skirt in a sheet fabric or sheer lace. You could also make the outer bodice with sheer lace to match, using a solid lining layer.

I made this sample of View A with a tencel twill, and used the same fabric for all layers (and lining).  It is very drapey, but has enough structure (and is not transparent) to make this garment work well as a top to wear out.  

Sizing

Choose bodice cup size to fit your bust and cut the size that fits best according to measurements in the yardage chart. To find the best cup size, measure your full bust and high bust. If there is a 2” (5cm) difference, choose B cup; if a 3” (7.6cm) difference, choose C cup; and if a 4” (10.2cm) difference, choose D cup. To facilitate cutting out the pattern, mark your size along the appropriate cutting line(s) with a colored marker. The yadage chart also has approximate finished measurements, if that helps you decide which size to cut.  I used the size Small for this project.

Seam Finishes

The bodice of View A is fully lined, but you may still want to finish seams if you have fabric that easily frays.  Skirt seams can be finished with a French seam, or you could finish by serging or zigzag stitch.  If you are using very lightweight, fine fabrics, you may want to hand finish seams or using pinking shears for a lightweight finish.  The skirt hems are finished with a picot stitching, but I'll cover that later.

Cutting Out Your Pattern

Make sure you are using the different cutting lines for the specified view and for the two skirt layers needed for View A. Remember to also cut lining pieces for Bodice Front A and Back B.  If you are using slippery fabric like silk, sheers, or lace, we have some great tips on cutting out the pattern here: sewing with sheers and lace, sewing with sheer fabrics, and sewing with bias or slippery fabrics.  It really is best to cut everything in one layer of fabric for this pattern, especially for the skirts.  And our layouts show how best to do that.

Pattern pieces cut out of fabric

Lets begin assembling!

Constructing the Bodice

First we sew the bodice pieces together.  Right sides together, sew center front seam on Front Bodice A, and repeat with lining. Press seams open.

Pinning of Front Bodice Front A Outer Fabric and Lining

Pressing of curved seam for Bodice Front A

Then, right sides together, sew front bodice to Back Bodice B at side seams matching notches. Repeat with the lining. Press seams open.

Pinning of Front A to back B right sides together

Next we add the straps.  Fold Strap C in half lengthwise with right sides together and sew along the long edge. Trim the seam allowance, and turn and press. Do the same for both straps. I like to use a safety pin or bodkin here to easily and quickly turn a narrow strap like this right side out.  Pin/fasten one end of the strap and thread it through the tube of fabric to turn the whole thing right side out.

Close up of Strap C sewed right sides together

Sew straps to right side of front where marked on pattern, just inside the seam line.  I sewed several rows of stitching to secure the straps..

Strap C pinned and basted to Bodice Front A

Now, place a row of gathering stitches ⅛” (3mm) on each side of the center front seam on the front of the bodice. Keep the center front seam allowance in gathering stitches to keep the area neat.  

Gathering stitched placed on either side of center front of bodice.

Pull the gathering threads until the center front measures 2” (5mm) or as short as you can depending on the fabric you are using. Stitch gathered fabric close to center front seam to hold gathering in place. Repeat with the lining.

With right sides together, sew the outer bodice to the lining at the neckline and center backs, matching notches. Trim the seam allowance, clip corners, and clip to the center front stitching line. Turn right side out and press.

Pinned bodice lining to outer fabric at neckline and center back

Now, fold Band D right sides together lengthwise and sew using ⅛” (3mm) seam allowance. Turn to right side with a bodkin or saftey pin and press.  You can press it with the seam to one side, or with the seam in the middle.

Sewn Band D right sides together at ⅛”/3mm seam allowance

Wrap the band around the center front over the gathered fabric, sandwiching both outer fabric and lining. Sew the band to the bodice at the bottom of center front within the ½” (13mm) seam allowance.  I find that hand tacking the band to the bodice with a few stitches at the top and center of the gathers keeps the band in place better and looks good.

Band D wrapped around gathered Center Front.

Finally, baste lining to outer fabric on lower raw edge to keep everything in place for when you sew the bodice to the skirts.  

If you want to cover your bodice/skirt seam with the lining, do not baste them together here.  You will also want to keep the band on the inside (lining side) free of stitching so you can fold it all together over the seam allowance.

Skirt Construction

First, with right sides together, sew center front seams on Skirt Front E matching double notches.  Do this to both the upper and lower skirts.

Pinned Center Front of Skirt Front F

Next, with right sides together, sew the center back seam from the dot to lower hem on Skirt Back F (again for both upper and lower skirts) matching the triple notches.

I serged the seams here to finish the skirt seams.

Now with right sides together, sew the skirt front to the skirt back at both side seams matching notches.  Do this to both layers of skirt.  This is a great place to do French seams, but I also just finished my seams with a serger.

Press all skirt seam allowances open (if not using French seams).

 Pinned Skirt Front to Skirt Back at side seam.

We hem the skirts now to have less bulk to manage if trying to hem later.  To create a picot (or false picot, as some call it) skirt hem set your machine for a long, wide zigzag stitch and sew along the bottom edge of your skirt. Work with wrong side of fabric facing up and be sure that outer swing of machine needle falls just outside the raw edge and the inner swing goes in far enough to keep the stitching from pulling out.  If your fabric unravels easily, you may want to press under the raw edge 1/8-1/4" (3-6mm) before beginning so that the swing of the needle encloses the pressed edge. Also, you may want to tighten the upper thread tension to create more of a scallop effect.  I highly suggest you practice this on a strap of fabric to get the stitch length, width, and tension that gives you the results you want. 

For my skirts, I turned up 1/8" and used the folded edge as my edge for the picot hem.  The picot hem will also give you a slight wave to the hem since you are working on the bias of fabric so there is a little stretch that happens.

Other hem options include serging, hand or machine roll hems, pressing under raw edge and slipstitching, or topstitching lace edging to turned under hem edge.

Folded edge of hem 

 Wow look at that hem, I love it!

Finished hem.

To finish the skirts, clip to dot on both layers of the skirt back.

With right side of upper skirt to wrong side of lower skirt, sew the skirts together at the center back seam between the dot and the waistline. 

Turn upper skirt to right side over under skirt and press seam.  You will have finished the back opening with this seam, and both skirts should fall with their insides facing the inside of the skirt (upper skirt inside will face outside of lower skirt and lower skirt inside will face the wearer).  

Now, baste both skirts together at the waistline. I would also stay stitch the Skirt waistline since its a curve, and this will help it from shifting when pining and sewing to the Bodice.

Skirt and Bodice Finishing

With right sides together, sew skirts to bodice at waistline, matching notches. Press seams toward bodice. Turn under the edge of the seam allowance at the center back and hand stitch to bodice lining.

Pinned skirts to bodice at waistline

Serge or zig-zag (or finish how you wish) this seam allowance. 

Another option is to sew just the outer bodice to the skirts.  Then fold under the seam allowance on the bodice lining and slip stitch that over the skirt/bodice seam.  You will need to keep the front band in place and fold it into the seam allowance of the lining.  

For closures, you can attach a wide bra closure to the center back, or sew on hooks and eyes where marked on the pattern.  Or you can make your own button and loop closures.

Sew bias strip into spaghetti to form into 3 loops to match your button size, and handsew loops to the inside of the center back bodice as marked on pattern. I cut a bias strip about 10"(25.4cm) long. You don't need that much but it's better to have more than not enough. Your loops need to be at least a minimum 3/8"(9.5mm) longer than your buttonhole size to account for the 1/4" (6mm) to stitch them to the bodice and 1/8" (3mm) extra for the button hole.  I'll show how I did mine below, but for more tips and a great tutorial on making buttonhole loops, check out this blog post.

Ironing my hand made bias strips.

Fold bias stirps in half to measure 1/4" (6mm) and stitch the long edges together to make the spaghetti straps.

Folded bias binding in half, ready to sew to make spaghetti straps for the loops.

Cut your loops the size you need and sew in place on the left side of the center back.

Sew buttons to right side back bodice, matching up with the buttonhole loops.

Fit the straps by trying on the top, and sew them into place on the inside of the back bodice where marked on the pattern.  

You are now finished!

Super cute right? The layered skirt is a neat feature.  I love the picot hem and it drapes and moves so beautifully. 

Give Me Pockets, Give Me Liberty!… a Brief History on the Quest for Pocket Independence

Every now and again one gets to witness a societal shift up close. As they say, “times they are a changing” or at least coming into clearer focus for all to see. As my Grandmother would have said… the flap jack not only has been flipped, but has landed out of the pan with the revealing side up! The realization that things are not exactly as they may have been portrayed is where we are at. The question is what do we do with this peeling back of the veneer? History has many sides and the truthful telling of the collective experience is the only thing that leads to a truly shared history. We at Folkwear have always felt the need and responsibility to educate ourselves and others about the historical and ethnic patterns we represent and promote. The unassuming pocket could seem like a less controversial place to start. Once again perceptions have been flipped. Knowing is understanding.

The pocket seems like such a simple and humble feature. A hidden, yet secure place within one's clothing to conveniently hold and keep items with you as you go about your daily life. Pockets have been around a long time and as it turns out they have a history more interesting and sordid than you might have imagined.  How is it that something as practical and hidden as a pocket could be subtly manipulated and denied to half the population through out history?

When you consider a pocket as a perfect metaphor for something that can be taken for granted, then you can begin to see the privilege it embodies.

This focus of this blog follows the lineage of the European pocket history tree.

Think about it . . . compare the closets of men and women. No matter how formal or casual the garments in each respective closet, there is a huge disparity. That disparity is the sexist and political divide of the obscure pocket. Simply put, pockets allow freedom and choice for one sex and deny the same for the opposite sex. 

To get the full pocket evolutionary picture let's start at the beginning. The pouch was the progenitor to the pocket.

The oldest proof (so far) of a human sporting a pocket-like feature was a mummified fellow found frozen in the alps in 1991. Otzi or “Iceman”, as he is now known, is thought to have lived around 3,300 BCE. At 5,300 years old Otzi’s was found to be a perfectly preserved and clothed specimen of the ancient world. Otzi had held his plethora of secrets well, as enthusiastic researchers were to discover. One of the most interesting items Otzi was wearing was a pouch that was sewn to his belt. The contents of his pouch held a cache of useful items including a scraper, drill, flint flake, bone awl, and a bit of dried fungus. This link to the ancient world just goes to show how the need to carry about useful things has always been relevant.

The medieval period was a time when at least pouches were equal among the sexes. Men and women in the 13th century carried items in small pouches made of leather or cloth that were tied to their waists by rope. These pouches hung innocently on their outer clothing for the world to see. As societies grew and became more urban-like, crime swiftly followed. Hence, the pouch and its contents were hidden from view. Men wore their pouches tied to the body under their jackets and tunics. Women wore their pouches tied at their waists under their skirts. Slits were cut in clothing to make for easy access to the pouch. This prevented having to disrobe, which in a sense made men and women equal pouch wise. This method of wearing pouches continued for several more centuries.

It was not until the 17th century that the pouch made a significant leap that would have a profound impact on fashion and culture, thus securing a strict unequal divide between the sexes. The modern pocket was born for men, but excluded women. The pocket experience was quite different for men than women. The jackets, waistcoats, and breeches of men had pockets sewn directly into the seams and fabric lining of their clothing much as they still are today. This compact world allowed men to conveniently carry the accouterments that their privilege and status assumed. In turn the freedom of movement in public was allotted to men as well. Men carried money, keys, weapons, tobacco, writing pencils and little notebooks.

In comparison women were relegated to relying on pockets with slits or top openings, that were tied around the waist sandwiched between layers of undergarments. According to the Victoria & Albert Museum the average woman in 17th century wore a single layer of petticoats and two layers of undergarments. The pocket was hidden, but could be accessed, though not as easily, through slits or openings in the clothing. So, even though a woman could carry personal items around with her in public, she often could not access her possessions in public.

From this moment onward, the pocket became a direct correlation in the disparities, inequalities, and freedoms between men and women. Pocket inequality was born. In the 17th century women bore the brunt of insecurity and lack of status by having to secure their possession on their bodies. Women were not allowed freedom on any level. The need for women to have any sort of control over their lives is reflected in the use of their pockets. 

The Victoria & Albert Museum describes any number of indispensable items that were to be found in women’s pockets of the 17th thru 19th centuries. Because people often shared a bedroom and furniture, a pocket was the only private and safe place to store small personal possessions. These items might include, but not limited to, money, jewelry, keys, glasses, gloves, watches in cases, snuff boxes, little note books, bibles, or diaries. Pockets were also a handy place to keep everyday implements like a pin cushion, thimble, pencil case, knife, scissors, and even a nutmeg grater! If that were not enough to stuff in one's pockets, there were the “Objects of Vanity” essential to personal grooming, like a mirror, comb, tooth comb, perfume or scent bottle. Because convenience and privacy were often hard found, one would carry snacks and even bottles containing alcohol about in pockets, so when a moment presented itself, one could take advantage of it. The Industrial Revolution would result in even larger pockets hanging about women’s waists because there were more goods to put in them. This in turn would inspire the need for the modern handbag. Which of course was also the invention of a man. But that comes later.

The only leveling of the field was the threat of thieves. Even though the pocket was a handy feature for allowing men and women alike to carry items on their person, pockets also left both sexes vulnerable to theft. As a result of the “pocket thief” we get the term pickpocket. Men had their wallets lifted from their pockets or even more dastardly, the pocket was actually slashed and the contents fell out. Women being the "fairer sex" and practically loaded down with items, were particularly vulnerable to theft. The strings of women’s pockets were literally cut from their bodies and the dismantled pocket contents scattered to the ground, where thieving scavengers would scoop up the fallen wares. A person was lucky if they were not injured from the use of a swift sharp knife. Pickpockets often traveled in packs so victims would most likely have been accosted or restrained by more than one thief and rendered helpless.

Stolen items were expensive to replace, and a collection of items took time to afford and obtain. It was a rare occasion that the police were not called. Pawn shops and other establishments would have been places to launder stolen items, the burden of retrieval was on the victim. Damage to clothing was also a serious offense. All clothing, even women’s pockets, were expensive and the average person did not have spare items to replace their stolen or damaged articles of clothing.

As the 1790s approached and the French Revolution began to stir, women’s fashion made an abrupt turn. Of course, this change in what was determined acceptable dress may have flown under the radar of women, but this change in fashion was very much calculated. As in all aspects of society, men were in charge and that also included the steering of fashion trends and dictating the motives behind them. Women’s clothes went from layers upon layers of respectable yardage which kept a woman’s nether region obscured from the gaze of men, all the while the bust portion of the body was revealed to the advantage of any and all male viewers.

The high fashion silhouette that women would adopt next was that of a Grecian Goddess. Think Jane Austen. The figure hugging dresses with high under the bust waistlines created a long straight column. This type of dress obscures any sign of a natural waistline. These dresses were made of layers of sheer cotton and linen fabrics. Gone were the full skirts made of silk and heavy brocades that could conceal almost anything underneath (though the bust was still an exposed feature).

Meanwhile, back in England the Industrial Revolution was gaining momentum in technological innovations in the textile industry. Which corresponded with the simultaneous destruction of the centuries old cotton industry of India. England would literally destroy India’s cotton industry, so it could take the industry for its own, in order to provide the much sought after and lucrative cotton fabric. If that were not bad enough, the British would then turn around and sell the cotton back to India at a highly tariffed rate. This is another history lesson of its own.

During the period of the French Revolution, internal and external pockets were banned from women’s clothing. Women now wearing the straight column silhouette, had to reveal their pockets to the world in the form of tiny highly decorated purses called reticules (and we have a pattern for one here). These minuscule purses were considered ridiculous, because they were barely large enough to carry a handkerchief or a coin. The idea was to prevent women from concealing any sort of revolutionary materials. The radical new silhouette was sold to women on the notion that no one would want to look like someone who had met their unfortunate fate at the guillotine.

If that were not enough, the reticule was so tiny for another reason. Women had no need to carry anything of consequence that allowed any form of independence. Women were sold on the idea that a dainty reticule was a status symbol indicating a leisurely life, with a husband taking care of the finances. From this point on, the purse was cemented and here to stay. The pocket and women drifted apart, while pockets became the monopoly of men.

As early as the 1840s and through the end of the century, dresses were once again gaining in fullness and a single pocket might be sewn into the front side seam. These pockets were demur in size, accommodating maybe a handkerchief. Dressmakers and home sewists were slipping pockets in their dress discreetly. For the next while one can assume that the pocket issue lumbered along for women and men continued with notions of pocket exclusivity.

The turn of the 20th century brought on protests by women for independence. A direct symbol of that long denied independence was the pocket. Instruction manuals on how to sew pockets into clothes gained popularity with women. In the 1800s, the Rational Dress Society launched campaigns fighting for more practicality and freedom of movement in women’s clothing and to abolish the corset. The Society had ideas of the perfect dress for women, and modern-thinking women were enthusiastic converts. A 1910 “Suffragette suit” became the rage, which sported six to eight pockets which were easily accessible, and some were in plain sight!

With WWI gearing up, women clothes were becoming more practical and large pockets were becoming the norm. The pocket and women would finally unite and momentarily solidify. To say that the 1920s was a time of great change is an understatement… it was not called the “Roaring Twenties” for nothing. Fashion and life would change because women were taking the reins like never before. Women were fighting for the right to vote. Because of WWI women took the jobs held by men who went off to fight. The longer skirts of the Victorian and Edwardian era were being replaced with a slimmer and more practical silhouette. This new fashion was taking on the styles and details of men’s clothing and pockets were an essential element of this change. The pocket became a symbol of independence once only truly enjoyed by men. Women took on a rebellious attitude in nearly all aspects of life and ran with it. With the men away, women could have their day and their pockets.

During this time, Coco Chanel attempted to liberate women with her designs made of jersey and with her love of pockets. The Met Museum writes, "The fabric draped well and suited Chanel’s designs, which were simple, practical, and often inspired by menswear, especially the uniforms prevalent when World War I broke out in 1914." 

A very unexpected phenomenon appeared among women sporting pockets.  A new posture that Coco Chanel helped epitomized was described as a sort of slouch. This new posture became prevalent because women finally had somewhere to put their hands! The slouch was a reflection of the relaxed attitude and confidence that only a pocket could provide. The proper way to stand and pose one’s hands had lost its power over women to the pocket. Of course, men were well versed in the slouch.

Coco Chanel demonstrating the pocket slouch.

Pinterest image link 

The momentum made by women came to a halt due to a worldwide depression and the men who returned from war felt entitled to the resume the jobs and status they had left behind. Women were forced to readjust to the reestablished order, but their spirits had been ignited and that was enough to change their views of themselves in ways that had never struck women before.

With the patriarchy back to intervene once again, restraining women through a conceived imaged of themselves, the ideal persona for women and pocket saga would continue. Men coming home from the war did not want to see women in clothes that liberated them (i.e. men's clothes). Women were expected to exude femininity, which meant an extremely slim silhouette that would not accommodate pockets. Pockets were once again a man’s monopoly. The “New Look” introduced by Christian Dior was the new fashion. It is an iconic look… think June Cleaver. JOFA.org puts it best…"Christian Dior bon mot: "Men have pockets to keep things in, women for decoration." Tease apart that quote and you get a fairly essentialist view of gender roles as they play out in clothing. Men’s dress is designed for utility; women’s dress is designed for beauty. It’s not a giant leap to see how pockets, or the lack thereof, reinforce sexist ideas of gender. Men are busy doing things; women are busy being looked at. Who needs pockets?"

 Dior 1947 SS Collection Silhouette; Pinterest image link: Chrisitan Dior

The fashion industry took things a step further and decided that pockets were no longer necessary for women. The handbag industry barged in and seduced women convincing them that the handbag was the answer to all their portable needs. The attitude was that as long as women are denied pockets they would be forced to rely on supporting the lucrative industry of handbags. Hence, an entire industry was sustained by excluding pockets from women’s clothing. To support this theory women were told that pockets ruined the female silhouette… pockets made the hips wide, the behind too big, too lumpy, or some such nonsense. Once again, a man's idea of what a woman should look like for the sake and lucrative benefit of guess who. The handbag was also elevated as a status symbol, which played upon women's desire to be fashionable, leaving women with an even more expensive insecurity.

Women still long for pockets for good reasons. Pockets allow people to easily walk through life comfortably and securely. Which in turn allows a certain level of confident preparedness in public. The pocket is internal and secret which makes it very different from a bag or handbag. A handbag is externally carried and leaves one vulnerable. If a handbag is lost or stolen, then everything in it goes as well. No wonder most women have a love/hate relationship with their handbags. While pockets are not perfect, they do allow for a certain freedom in not having to think or worry about what you are carrying in them… you can forget about your keys, knowing they are secure in a territory all your own. There is freedom in not having to worry.

The ship is slowly turning course. Doors continue to open or in some cases are being kicked in by those who have previously been denied entry. Who participates in the once off-limits segments of society is shifting. The history of the pocket has not changed much since the end of WWII, with the same saga. Now, women contend with skinny jeans, shrinking pockets, fake pockets, and the ever-growing size of cell phones. Things are changing once again. The underbelly of fast fashion has been flipped and the industry is grappling with what to do. The pandemic has forced a hand in so many aspects of life that were already shifting.

Fortunately, there is a huge uptick of women-owned indie companies supporting  the making of women's clothes and a lot are offering pockets! Women are taking a deciding role in all aspects of their lives and that includes the making and wearing of clothes. The sewing community is thriving and installing pockets as if in a mad dash to the finish-line!  The dream of pockets and independence for women is there for the taking. One gets the sense that a quiet but steady pocket revolution continues.

Choice is the greatest liberator of all. Sometimes all you have to do is choose to empower yourself. Everything that has steered the disparity in the history of the pocket and in fashion, as a whole, has been a construct. It has all been made up and marketed for consumption. The story we are told or the one we tell ourselves can be rewritten to suit ourselves. Sewing is an act of liberation and freedom. Knowing how to simply sew a button on a shirt matters. Making your own clothes gives one agency. Those who sew would never dream of forfeiting the freedom to make what they want, how they want. My goal, and hope, is to inspire and encourage you to make something that will fold in on itself, many times over with pleasure and a sense of accomplishment.

With that thought, I hope to leave you with a better understanding of the part the pocket has played in molding our ideas of each other and ourselves. 

Knowing how to add a pocket to an existing garment or sewing pattern is important. There are so many different design options when it comes to pockets, so be watching Folkwear's blog for lots of pocket inspiration (and a couple of free pocket patterns) and information in the weeks to come!

As always, the team at Folkwear relishes seeing what you have been inspired to make. I hope you find freedom and joy in making your own pocket history!

by Molly Hamilton

When we were developing the Pinafore Dress Basics pattern, we considered making this expanded dress option part of the pattern. But, we ultimately decided not to offer it because it would have used too much paper for printing (and therefore be much more expensive).  We decided we would show how to make this expanded version in a blog post (here!).  This hack is a fun way to get a very flowy dress that is unique and interesting.  It is also a great way to wear an oversized dress and make it feel fun.  The back detail is interesting and you can use your fancy button you've been saving in your stash for the back.

First, you need to have the Basics Pinafore Dress pattern.  This dress hack adds about 12" of fabric to the dress on each side, and the extra fabric is wrapped to the back and buttoned for shaping.  You will need at least 1.5 yards (or 1.4m) extra fabric and a button to make this version.  I used a lightweight cotton/linen blend that had a great drape.  I suggest using a lighterweight fabric since this does add quite a bit of fabric to the dress. This hack is also best for a dress you plan to layer - perfect with a t-shirt or tank top for summer (or over a bathing suit) or long sleeves or sweater for cold weather.  

To make the Dress

First, add about 12" to the side of your Pinafore Dress pattern as shown in the drawing below.  Add the same amount to the side of the dress Facing.  You do this by just drawing a new side seam line about 12" from the original side seam, and connect the side seam to the underarm seam.  Just try to keep the same necklines for Dress Front/Back and the Facing so they will match when you sew them together.  

Dress: 

Facing:  

Your new pattern piece for the Dress will not fit on any fabric when it is placed on the fold - the new piece is too wide.  Unlike the original Pinafore Dress (which is placed on the fold), this dress needs to have a front and a back seam.  You need to cut 4 pieces of each Front/Back and add 1/2" (13mm) seam allowance to the center Front and center Back.  You will cut the four Front/Back pieces on fabric laid out flat. 

I recommend using a fabric without nap, pile, or one-way design because then you can cut the pattern pieces upside down to fit them as close as possible and be the most efficient with fabric.  This dress version increases the yardage needed by at least 1.5 yards if you cut the pieces without nap.  With nap or one-way design, you will need at least 2.5 more yards of fabric.

You will also need to cut the front facings in 4 separate pieces.  Be sure to add 1/2" (13mm) seam allowances to the center front/back of each facing piece.

Sew the dress up as the pattern instructs, but sew the dress front and back together at centers (and the facings, if you cut 4 pieces) before moving forward with construction.  Note: I cut my Front/Back pieces with the centers on the selvage so I did not need to finish those seams.

Finish the dress as instructed, and once the dress is complete, you just need to add a button and buttonhole to the sides of the dress so it can be wrapped to the back and secured with the button.  I marked where I wanted the buttonhole on the folded side of the dress, so that the buttonhole was made through all layers of fabric (front and back).  I did the same with the button placement and sewed a button near the side seam of the dress, through all layers of fabric (front and back).  Forgive my not-beautiful buttonhole (it was made in haste, but perfectly functional). 

This hack is so simple, but makes a really fun, very flowy dress that is perfect for summer days.  I love lounging in this dress!  And I am wearing it several times a week so far this summer - after work, going to the pool. 

It can also be a great warm weather dress - the extra fabric can add some warmth and this is a perfect dress for layering.  

To see a short video of how I button this dress, go here.