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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

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 (13mm) wider by grading the sleeve. To do this, I added 1/4 inch (6mm) just to the outer edge of each sleeve side seam, for a total of 1/2 inch (13mm). 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 (13mm) 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!

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!

Reintroducing a classic! While this original blog post is now 6 years old, it still holds up! Please enjoy this deep dive into this classic pattern, and all of the history that goes along with it! 

We re-introduced the 211 Two Middies sewing pattern nearly 6 years ago!  First published by Folkwear in 1980, 40 years later, we brought it back in a slightly different form - in a larger size range with with two handsome blouses for women and men based on traditional naval shirts of the past.

The sailor's Middy has been worn for countless generations by seamen, petty officers, and midshipmen (for whom it was named) on all the oceans of the world in navies from the U.S. and Great Britain to the Soviet Union and Japan. It has also been a constantly recurring feature of children's and women's dress since at least 1850 (in 1846 Queen Victoria and Prince Albert dressed their young son in a sailor outfit for a royal portrait that sparked this fashion trend). And, in April 1980, women in the U.S. Navy were issued white middies and bell-bottom trousers as official garb, replacing a less distinctive skirt and blouse.

View A is the uniform of seamen in the British Navy during World War II and for many decades earlier. The original was made of heavy white twill cotton with blue binding of dungaree cloth around the square neck opening. It was worn with white shorts and various head coverings depending on the sailor's origin. The odd-shaped self-patch across the back shoulders and down the center back exemplifies the persistence of naval tradition. It is a reinforcement to strengthen that section which was soiled by the sailor's pigtail worn in the 19th Century (and before).  Heavy scrubbing with a brush and saltwater was needed to remove the natural oils, until the back wore out and had to be patched. However, read another reason for the patch below in the comments!  You can make this shirt with or without the patch, but it also gives a chance to make an interesting color-block look to the shirt. It makes a good undershirt (and is great for wearing under our 270 Metro Middy Blouse).

View B is a collared Middy originating from 1927, and our original was khaki colored twill with no trim. The hip-banded style was adapted from navy-wear to sports clothes in the twenties, and was shown also in "sports silk, foulard, crepe de chine, linen and gingham”. Women and girls wore middies especially as sport clothes and for school until the 1920s when, at their height of popularity, the familiar square collars (as on this version) were added to garments for all occasions. This Middy collar, often trimmed with braid and/or stars, has been added to all styles of dress, from the modest bathing costumes and voluminously skirted gowns of Victorian times to the scanty flapper dresses of the Roaring Twenties. Small children, especially boys, have been outfitted in sailor suits since before uniforms in the British Navy were officially regulated in 1857. Royal princes from various European dynasties are frequently pictured arrayed with full insignia, ties, and often a whistle strung around the neck and tucked in the breast pocket. Neck ties are still part of navy dress. We teach a simple method of cutting and sewing a tie to add to this shirt version in the pattern. This shirt has a breast pocket and a tab to hold the tie.

The pattern also includes several pages of traditional decorative embellishment for View B - including how to use soutache and braid and how to embroidery the traditional stars.

Both of our shirts are sized for men and women; men for sizes Small to 2X-Large and women from X-Small to 2X-Large.

For inspiration for this pattern, we put a Pinterest board together with ideas for modern wear as well as images that show the historic context of this garment. Some of my favorites are below.

I've seen lots of middy tops in white and blue/navy, but red is also an excellent choice - the trim here is traditional, but perfect for a vintage-modern look too.  The large collar is lots of fun!  (Pinterest link)

From the runway - a middy top inspired look.  Again, the trim is fun, and I like the different colored cuffs and collar - a great way to use fabric! (Pinterest link)

I would not have thought to use an eyelet fabric for this shirt until I saw this.  And I love it!  So pretty and feminine.  (Pinterest link)

Love the older images of women wearing Middy Tops. These two women from University of Utah in their Middies with neck ties and skirts are very sporty.  (Pinterest link)

I love this image too because it shows how the Middy was used as an "outdoor" outfit for women - for camping and sports.  I like the short sleeves and knickers with the shirt.  (Pinterest image)

Find our 5 day sew along that starts here, and tackles different aspects of sewing both views of this pattern. 

Get your 211 Two Middies pattern now!

by Molly Hamilton

We finally were able to get our 239 Blonde Bombshell back into print this year.  And, graded into larger sizes.  And when we did, I realized what a simple dress this really is.  It is a striking dress -- fitted at the top, but baring shoulders and back, with a large circle skirt. The dress can be made in a cotton for a summer sundress or in silk dupioni for a winter formal dress.  And so much in between.  

I knew I wanted to make one for myself when we finished the pattern update, and I decided to use a cotton satin batiste from our collection.  The batiste has a bit of body, a floral print, and I knew it would work well.  I decided to make the view with that is tied behind the neck, and I am going to list some tips and tricks to making this dress below, from my experience.

Tips and Tricks

• Fitting: The dress is fit closest at the waist.  So make sure your waist measurement corresponds to the correct size you cut.  I measure a size Small at the waist, so I cut a size small for all pieces.  I am usually a size Medium at my hips, but since this is a large circle skirt, it is not at all fitted at the hips.  I was a little concerned that the bust would be a bit big for me, but the tie-behind-the-neck style gives a little more room for adjustment in the bust, and it fit fine.  If you have a larger bust, you can cut larger front bodice pieces and gather the underbust in more to fit the waistbands.  
• Seam finishing:  The bodice is fully lined, so that helps with seam finishing on the bodice.  I did not finish any bodice seams.  You can just press the bodice side seams open, or you can finish them if you want (French seams, serged, or pinked).  The skirt side seams can be finished made as a French seam, or you can finish by serging (or zigzagging) or pinking.  This will depend on your fabric.  I serged my skirt side seams, and those were the only seams I finished.  
• The front bodice overlap at the center waist works out quite well.  Just trust the process.  You will stitch all layers together in the center, catching the previous stitching.  Some patterns might say to stitch between the dots on either side of notch 1, but it really means to stitch to the previous stitching.  
• Trimming seams:  On the bodice, trim the seams by about 1/4" (6mm) after stitching and before you turn the fabric right side out.  For the upper part of the bodice, you will also clip into the seam allowance to allow the curves to turn more easily.  At the underarms, clip into the seam allowance (don't clip the seam), and at the top of the strap, you can clip V's into the seam allowance to take out some of the excess fabric in the seam allowance.  
  

• Zipper: I set in a center zipper, but you could also put in an invisible zipper very easily (and it might look better).  Just follow the directions for putting in an invisible zipper, and don't sew below the zipper until the zipper is installed.  I used a zipper that was about 6" shorter than what the pattern calls for (because that was all I had on hand - and it matched my fabric), but it was fine.  It still gave me plenty of room to get in and out of the dress (again, the wide circle skirt below the waist helps).  So, you can use a zipper that is a few inches shorter that what is recommended.  I turned down the Midriff Lining over the zipper, folded under 1/2" on each side of the lining and slipstitched everything in place to finish the zipper.

• Hemming:  I did as the instructions say and turned under 1/4" and another 1/4" to finish the hem, but you could also do a rolled hem for lightweight fabrics.  Or, a blind hem for just about any fabric.  

I love this dress and how it turned out, and I've had lots of compliments on it.  And I was pleasantly surprised how easy and quick it was to make.  Now I want to make a few more in different fabrics.  Have you made this dress?  Any other tips you want to offer?  Leave them in the comments.  

Huge thanks to this article by Karen Skoglund, a long-time Folkwear fan and customer.  She sent us this amazing article she wrote, with photos, when we had our Oldest Folkwear Contest last month.  If you want to read the PDF, which is formatted and illustrated, you can go here (PDF, also printable).  We are so grateful to Karen for this beautiful article.

I discovered Folkwear through a Fiberarts magazine advertisement, not long after the company began in 1975. Three women, handwritten instructions, patterns created on a school bus, it immediately spoke to me. It felt thoughtful, deeply intentional, and a little magical. I remember thinking, oh… these are my people!

My First Pattern: 201 Pairie Dress

It was the late 1970s, and my best friend Peggy and I were deep into our love of Little House on the Prairie. I actually made two dresses, one for me and one for her. Mine was purple, a coordinating cotton print calico. I remember carefully sewing French seams, already sensing that these patterns asked for a different level of attention and hand care. I embellished mine with vintage hand-crocheted lace, adding another layer of history to the garment.

   

We hosted a contest in February for the oldest Folkwear make that our customers could share.  We had many amazing entries -- some with photos (older and newer) and some with just stories (garments passed on or disappearing in ensuing years).  It was fun to see what our incredible customers made over the years.  We absolutely loved seeing and hearing about each garment, each project, and each story that went with the garments. Folkwear clothes hold special memories for people. They create connections between generations, between people, and across cultures.  

Today, we are sharing a few more of the entries from this contest below.  And, if you have a story about a Folkwear garment, share it in the comments.  We all love to read them.

First, we have several items from our other contest winner (chosen at random), Sue.  She says: "I started collecting Folkware Patterns in the late 1970s.  Unfortunately, I only have a few of those patterns now.  I made the mistake of loaning them out & never got them back. . . . I didn't take pictures of the many things I made with them.  I sure wish I had!"  Here are some of the photos she has.

 

We hosted a contest last month for the oldest Folkwear make that our customers could share.  We had lots of amazing entries -- some with photos (older and newer) and some with just stories (garments passed on or disappearing in ensuing years).  And, it was so fun to see what our incredible customers made over the years.  We absolutely loved seeing and hearing about each garment, each project, and each story that went with the garments.  Folkwear clothes hold special memories for people. They create connections between generations, between people, and across cultures.  

We are sharing some of the entries from this contest below.  And, if you have a story about a Folkwear garment, share it in the comments.  We all love to read them.

First, from the winner of the oldest make (in 1976, 50 years ago), Chandra sent in some photos of garments.  This is what Chandra had to say:

" . . . Mom, who learned how to sew from her grandmother and kept it up through most of her life.  Her sewing accomplishments included winning a “Make it with Wool” contest as a High School student and helping me sew my own wedding dress.  As the owner of The Bookcase, a used book store in Albuquerque, from 1975-1980, she was one of the first Folkwear pattern sellers in the country, as shown by an ad from the Summer 1978 edition of Mothering magazine.  My Mom died of breast cancer in 2013, but her love of Folkwear lives on in me.  My own first Folkwear garment was a Romanian blouse that I made while I was in High School in the early ‘90s to wear to a Renaissance fair.  Among my numerous Folkwear projects, my favorites are the Navajo blouses and skirts I made for my nieces (who are Diné) to wear during their Kinaalta ceremonies."

The first garment is a Gaza Dress made from cotton broadcloth with the original embroidery design.  Made in 1976.

The second is a Black Forest smock made from cotton flannel that was also made in 1976,  Her mother wore it while she was pregnant. This was the original 108 Black Forest Smock (currently 148 Black Forest Smock).

Finally, there is a lightweight cotton Romanian blouse that was made sometime in the late ‘70s or early ‘80s, again including the embroidery design from the pattern -- from 1981 or 1982.

As I’ve been working at Folkwear, my sense of style — what I want to sew and the fabrics I choose — has evolved. A couple of years ago, I probably wouldn’t have worn overalls, especially purple ones. But now I wear them at least once a week, and I love them. I was so excited to make myself the 240 Rosie the Riveter overalls this month — such a unique pair, with front pleats that drape beautifully and adjustable back darts that let you tailor the fit to your body.  In this post, I am going to share some changes I made to these overalls to make them suit me.

First, was picking the fabric.  There are so many fun fabric choices you could use to make these overalls.  Folkwear suggests making these overalls from medium-weight cottons, wool, blends, corduroy, and denim, and even velvet and velveteen. I chose a cotton twill to make my overalls.  Cotton twills are one of my favorite fabrics, and we carry them in our fabric collection along with heavyweight linens and woven cottons. I purchased this purple twill fabric from a new fabric store in our town, called Sewing Studio Fabrics. This store has been online for several years, but in the last 12 months was bought and moved to Asheville where they also opened a physical location.  Asheville hasn't had a good garment fabric shop in almost 10 years.  Sewing Studio Fabrics has a lot of denim, twill, and corduroy options. I was definitely inspired by the sample that Folkwear has and wanted to make it in a color I never wear to try something new!  I basically ended up making overalls that are nearly the same as our sample.

I needed to do the same with my bodice facing piece as well. 

I dread zippers, and I still have not mastered a zipper.  But, the method for installing zippers that works thebest for me is to mark the seam allowance from the top of the zipper pull.  For this pattern, it is 1/2" (13mm). So, I marked 1/2" up from the top of the zipper pull. 

I chose to do a centered zipper. Where the zipper is centered and lapped on both sides -- in otherwords, the seam meets in the center of the zipper.  A lapped zipper is lapped on one side. I pressed under 3/4" (2cm) of my seam allowance and pinned it to the corresponding side of the zipper, centering the pressed edge over the center of the zipper teeth.

When it came time to sew the side seams, I basted them instead to see how I liked the fit before the final sewing. If you do this, try the garment on with a shirt underneath to see how it fits, because that's how you will usually wear it. 

I suggest trying on the overalls again to see if you need adjusting. If you find that it is still gaping in the back you can add darts like I marked out below. I didn't need the darts, but I wanted to show you that this is a possibility for making the bodice more snug when everything else fits just right in your size.

As we enter our 50th year of business, we are reflecting on the beginnings of Folkwear and the visionary women who started this small company. Many of you have been following Folkwear since it started! And have seen the changes in it over time, but we hope that the mission and values of these three founding women have continued to carry on in this business through the years. 

In the mid-1970s, three women in Forestville, California - Barbara Garvey, Alexandra Jacopetti Hart, and Ann Wainwright - founded Folkwear to share their passion for finely crafted folk clothing with others who loved handcraft, fabric, culture, history, and style.

It all began when Barbara and her husband were on a trip to Israel, where Barbara spotted long flowing, beautifully embroidered dresses worn by Palestinian women (and sold in tourist markets).  Fascinated, she bought several and brought them home and showed them to her friends, Alexandra and Ann.  All three collected textiles and clothing during travels to other countries, and felt that other women would like to learn about these clothes and how to make their own.  These garments served as models for the earliest Folkwear patterns.  

They started producing the early patterns, such as 101 Gaza Dress, 103 Romanian Blouse, 105 Syrian Dress, 106 Turkish Coat, and 107 Afghan Nomad Dress, in 1975 and 1976.  These early patterns had hand-lettered instructions on heavy paper and included many needlework techniques, such as embroidery, applique, cross-stitch, trapunto, quilting, smocking, and crochet. 

The three founders were a perfect team to create a line of innovative patterns that was revolutionary for its time.  This was the mid-1970s, when women's wear in America was often bland and conservative.  Alexandra, Barbara, and Ann each had specific and complementary skills to bring to Folkwear. Alexandra was a skilled embroiderer who researched, diagramed, and explained needlework and handcraft techniques so important to the patterns.  Annehad a background in fashion design, and spent years designing for mass market and factory sewing.  She created the patterns for the garment construction.  And Barbara had technical writing and organizing skills, as well as lengthy experience as a home sewist.  And, their husbands helped -- with mail order, photography, and graphic design.  Finally, book illustrator, Gretchen Schields, drew the cover illustrations for each pattern.

Of note, in 1974, just before starting Folkwear, Alexandra Jacopetti wrote the book, “Native Funk and Flash: An Emerging Folk Art,” about the street fashion of the 60's, focusing on California weavers and folk artists (and jeans art) -- a classic of the time.

As the three began collecting vintage garments in addition to traditional folk garments, the pattern line expanded to include all types of historic styles from all around the world. By 1977, they had 14 designs in print and were selling patterns (retailing at $4.50 each) to hundreds of stores and museums across the U.S., as well as by mail order. 

Eventually, Ann Wainwright took over the company and served as President for several years.  During the recession of the mid-1980s, Folkwear's business health suffered along with so many other small businesses. The company was sold to The Taunton Press, publisher of Threads magazine, and by the early 1990s, most of the original patterns were back in print, and new patterns were under development.
 
Gretchen Schields continued to illustrate nearly all of the patterns from the inception of the company until 2017, contributing to the iconic images associated with Folkwear patterns (see below, 113 Japanese Kimono).

Folkwear is a beloved company, and we are honored to keep it thriving. We will write more about Folkwear's history over the next several months, but if you want to know more right away, you can read an article on the Craft Industry Alliance website about Folkwear's history, and listen to a podcast on this history (complete with interviews from founders) on the Seamwork podcast.

From a magazine article about Folkwear, 1978.  I don't love the "housewives" moniker because it is not an apt description -- but maybe a reflection of the times, not the women.

As we celebrate Folkwear's 50 years of creating unique and amazing sewing patterns for historic and folk clothing from around the world, we wanted to make sure our customers were at the center of this celebration.  Folkwear has been around for 50 years, and so have our customers!  We hear from you all every week -- many who were sewing with Folkwear patterns from the beginning.  Maybe you discovered them in a shop or a museum in the late 1970s or early 1980s.  Maybe your mother made you a Prairie Dress when you were a child.  Maybe you saw Folkwear advertised in a magazine or newspaper almost 50 years ago (and you sent off for a mail-order pattern).  We hear these stories all the time, and it is so wonderful!  Folkwear sewing patterns were different even then.  They spoke to people about their lives, their stories, and the stories they wanted to know.  They gave people an opportunity to learn more, dive deeper, and express creativity -- through cloth and culture.  

So, to kick off our fun series of 50th anniversary contests, we want to see the first Folkwear item you ever made (or wore)!  Was it from the 1970s? or 1980s?  or 1990s?  Or more recently? Do you have a photo?  We want to hear from you!  In this contest, everyone is a winner!  We will have a coupon code for everyone who participates (20% off your next order in our store), and we will choose 2 winners with the oldest garments for a $50 gift card to Folkwear.

To enter the contest: 

1. Send us a photo (a photo of a photo is fine) of your oldest Folkwear garment. Email it to us at mail@folkwear.com
2. Tell us about the garment! When was it made? Did you make it? Did someone else? What fabric was used? Was it for an occasion? What did you love about it?  Do you still have it?

And if you don't have a photo, but you have a good memory and can tell us all about the garment, we will accept that too (sometimes the garments don't last as long as we wish).  What pattern was it? What fabric was used? Was there handwork on it? When did you wear it? Tell us the story!

You can also tag us on social media with your make:  @folkwearpatterns on Facebook and @folkwearsewing.patterns on Instagram.  Add the hashtag #50YearsofFolkwear to join in celebrating Folkwear's 50th Anniversary.  

The contest will end on February 28, 2026.  We will pick winners by March 4th.  

More questions?  Send us an email at mail@folkwear.com

First photo at the top is #101 Gaza Dress - from one of Folkwear's first photo shoots.

Threads, the premier magazine for all things related to garment sewing, has teamed up with Folkwear to present a sewing challenge to celebrate Folkwear's 50th year.

Sewists of every skill level are encouraged to construct a look that updates traditional American garment design, then enter their work into the competition. One winner of the challenge will be chosen by a panel of judges and receive a prize package. 

Here are the challenge details from Threads: 

You must begin with a pattern(s) from the Folkwear vintage line and interpret it to reflect contemporary American fashion. For a limited time, Folkwear is offering a 20% discount on these patterns; enter the code THREADSVINTAGE for 20% off at checkout now through April 1, 2026.

Your entry must be a garment or ensemble you’ve sewn that covers the wearer’s body. Acceptable garments are a full-length coat, dress, jumpsuit; and/or separates, which must be paired to create a full ensemble. You may adapt your chosen pattern in length, embellishment, construction methods, and closures, but the original design concept should be discernible in the finished garment. 

Entry Requirements:

To enter, complete the entry form and submit photos to the challenge submission page between January 20, 2026 and midnight April 23, 2026 EDT.

The entry forms require an artist’s statement in which you must explain:

• the Folkwear pattern(s) you chose
• what modern activity or event your look is intended for
• fabrics, trims, and other materials you used (including sources)
• any special techniques you employed to create your final garment
• how you interpreted the design
• what you learned through this process, including any challenges you encountered and how you solved them.

You will also need to fill out the artist statement form and upload it along with at least two—but no more than six—clear photos of your garment to our challenge entry form submission page: a full-length front view, a full-length back view, and no more than four additional photos of your choosing. These may be close-up photos, process photos, or individual pictures of an ensemble’s components. 

Judges to Choose a Winner

The entries will be judged by a panel of experts, based on adherence to the challenge guidelines, as well as overall construction, fabric choice, and any embellishment. The judges will select and contact up to five finalists by May 5, 2026. Finalists’ garments must be sent to Threads magazine for photography, and from them, the judges will choose a winner. The winner will be announced in the Threads Fall 2026 print issue (on newsstands September 8, 2026) and online.  

The Threads-Folkwear Sewing Challenge winner receives a prize package:

• One-year membership to Threads Insider, valued at $59.95. It includes a one-year subscription to the print and digital magazine, Insider eletter, and access to 40 years of Threads content through the online archive;
• Three e-learning courses of your choice, minimum total value $149.97;
• Your challenge entry featured in an issue of Threads magazine and at ThreadsMagazine.com.
• Challenge finalists will also be noted in Threads.

For more information, submission forms, and links, go to Threads Magazine Folkwear Sewing Challenge.

As you may know, Folkwear first released the pattern, 501 Algerian Suit, in 1992 in collaboration with the Metropolitan Museum of Art in New York City.  The pattern was based on, and adapted from, a suit in the collection of the Costume Institute of the museum, and includes an open, lined jacket, a lined buttoned vest, and harem-style trousers.  We re-released this pattern in 2026 under Folkwear's sole name and brand.

The original suit that this pattern was based on was purchased in Bon-Loada, Algeria by Mr. Archibald D. Davis in 1930.  It was donated to the MET's Costume Institute in 1948 by his wife.  You can see the original suit in the MET's collection here (and a very similar one in the collection here).

The three-piece suit, also known as a Keswa del Mahsour, consists of a jacket, vest, and trousers. The original suit was made of blue-gray wool broadcloth.  Scroll-like designs of light blue and gold soutasche braid decorate the entire front, back, shoulder seams, and neck of the jacket.  The soutache also covers the collar and front opening of the vest, and trims the sides and pocket slits and leg openings on the trousers.  The vest front closes with small, round brass buttons, as does the faux sleeve placket on the jacket. The center fronts of the jacket, and the slits in the lower arms are lined in a bright pink figured silk.  Of note, the slits on the lower arms of the jacket are almost like a faux placket. The slit opens to an inside fabric that can give a little more room in the lower arm, but not at the wrist.  The slit closes with brass buttons similar to the front vest closure. The edges of the jacket and vest are faced with yellow, red, and black striped one-inch braid and edged with a black and white silk corded piping.  

We have a sample in our collection here at Folkwear that was obviously made as a copy of the original.  You can see some photos of it below. I am modeling this suit, which is a little large on me, but I loved the pants! So comfortable and warm! 

A long history of this style of suit in North Africa is included in the pattern, but I will give a brief overview here since it is very interesting.  The suit is not indigenous to North Africa -- a series of events led this style of dress to be in the region.

The region of North Africa was conquered by Arab Muslims between 670 and 700 AD. Before then, the region had been invaded for centuries by the Romans, Greeks, and Christians.  Islamic rule was eventually imposed between the 7th and 8th centuries. But the region remained culturally diverse due to the numerous occupants, including native Berber populations.

Following more invasions by Europeans, the Ottoman Empire was invited to North Africa to help dislodge the Spanish, who had conquered areas along the coast.  Pirates (Barbary Coast privateers and pirates) and Ottoman military (Turkish Janissary, a highly trained group of Ottoman military) came together to drive out the Spanish from the region and set up government.  By 1587, Algiers, Tunis, and Tripoli were incorporated into the Ottoman Empire.

By 1830, France started a conquest of Algiers and occupied Algeria.  In 1881, they also occupied Tunisia, and in 1911 Italy had unseated the Turkish government from Libya.  And by 1912, Franco-Spanish occupation of Morocco completed the oust of the Ottomans.

The original costume that became the Keswar del Mahsour was introduced to North Africa by the privateers (or pirates) of the Barbary Coast (i.e. North African coast).  It was commonly worn by North African seafarers.  Later, it became part of the typical costume of North African merchants who wore it with a variety of draped outergarments (like the Moroccan Burnoose).  This suit was also adopted and worn by the Turkish Janissary.  And later, by the Zouave, a body of light infantry in the French army, originally recruited from Algeria.  So, the suit had many iterations throughout the years and throughout the groups that adopted it, but with deep roots in North African culture.

The Keswa del Mahsour usually consisted of four elements.  Seroual (note the similarity to Sarouelles, folk pants from North Africa/Turkey) were very full trousers with generous pleats that gather into a wide waistband.  Mentan or mental was an eleborately decorated hip-length jacket.  And the outfit was completed with two bdaiyat, or vests, worn on top of each other with the inside vest buttoned and the outer one closed with only the bottom two buttons.

The trousers, vest, and jacket were generally made of medium to lightweight wool in pastel shades with bright calico or silk lining.  Islamic law dictates that no human or animal forms be represented in decorations, nor symbolism be applied.  So, the embellishments on this suit were usually soutache braid (thin or narrow flat cording) trim applied in elaborate scrolling or linear patterns.  And these patterns show the influence of Byzantine or classic Greek and Roman motifs.  This type of trim is also called passementerie trim, which is continuous soutache braid applied in intricate designs.

We are excited to bring this 501 Algerian Suit sewing pattern, with so much history and culture, back to print.  And hope that you enjoy the depth of the information that is provided in the pattern, as well as the great design and embellishment options.