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I have been wanting to make the 128 Russian Settlers' Dress, particularly the sarafan, or overdress, into a sundress for myself, for a while.  I am planning to make two this month, and today I want to show you the first one I made!

For this dress, I used a hand woven (and spun and dyed and embroidered) indigo cotton that I purchased in Guatemala.  This gorgeous cloth was really a corte, or traditional Mayan skirt.  It is made into a large loop of fabric that is then worn gathered and cinched with a belt in Guatemala.  I loved this fabric when I saw it at a market and I bought it thinking I would use it for something like this dresss.  Since the sarafan from this pattern is mostly large rectangles, the corte was perfect for this pattern -- barely leaving any left over fabric to make an almost no waste garment.  The corte was wide enough to cut the full front and back of the pattern, but it was not as long as the pattern indicates.  Which actulally worked out well because I wanted this dress to be shorter anyway.  The fabric is a little heavier than a typical sundress would be made from, so having a shorter dress is one way to keep it a little cooler for the warm months.  

I cut the band at 33", which is my high bust measurement, or the measurement of where I wanted the band to rest when the dress is worn (which was actually slightly above my high bust).  

I also wanted to pleat the back as the instructions in the detailing section of the pattern show how to do.  The detailing gives instructions for box pleats and knife pleats.  I did box pleats because I also want to try the honeycomb embroidery option (which I will show another time).  I used tracing paper and a tracing wheel to mark the pleat lines. My measurements indicated that the last box pleat was pleated almost to the seam allowance.  It is easy to adjust pleats slightly to fit the band, and I did not have any problems with it. 

This pleating is pretty simple and I pinned and pressed the pleats, then basted them in place.  I pressed well from the front and back of the fabric.  I did not use the fabric stay the pattern suggests as I found it was difficult to keep straight when I was basting, but it maybe helpful for lighter-weight fabrics.

I looked at the stash of ribbons I had and decided to use a wider ribbon (1"/2.5cm) and heavier ribbon than suggested.  The heavier fabric and thick embroidery lines on the fabric made this design choice of an embroidered ribbon make sense to me.  Having a wider ribbon also meant that it would make sense to elimiate a row of ribbon and just have two ribbon lines with longer pleats between them.  So that is what I did -- I adjusted the placement lines for the ribbons and sewed them in place.

The Folkwear pattern #128 Russian Settlers’ Dress carries a rich history rooted in Russia but also connected to the Pacific Northwest of the United States—and beyond. Folkwear released this pattern in 1980, during the company’s first five years. It was inspired by the women of the Old Believer communities living near Folkwear’s original home in Northern California.

128 Russian Settlers' Dress sewing pattern includes instructions for a peasant blouse, sarafan (jumper), and a full apron. It also features embroidery patterns, pleating techniques, and traditional needlepunch methods. Additionally, it contains a history of the clothing tradition, originally written in 1979–1980. While some aspects of the costume have since evolved—such as a reduction in ornamentation and the use of machine embroidery—many Old Believers in Oregon still wear modified versions of this traditional dress today. The garments recall a time when peasant culture expressed beauty through everyday clothing.  The following is adopted from the history and information included in the sewing pattern.

History of the Russian Peasant Costume: Old Believer Tradition

The Old Believers (starovery in Russian) are a religious group that emerged in the late 17th century after Patriarch Nikon of Moscow introduced reforms to the rituals, texts, and icons of the Russian Orthodox Church. Those who resisted the changes were excommunicated and subjected to centuries of persecution. Many fled to Siberia and abroad.

Following the Russian Revolution (1917), large numbers of Old Believers settled in Manchuria, China. In the 1940s (during and just after WWII), many were forced to relocate again—this time to Brazil and Argentina, where living conditions were harsh. By the 1960s, some members of the group had resettled in Oregon, where a community that may now number as many as 10,000 continues to maintain their traditions. Other Old Believer communities can also be found in South America, Australia, Alaska, Canada, and several parts of eastern Europe. As of 2017, it is estimated that nearly two million Old Believers remain worldwide, with around one million still in Russia.

What is most remarkable about the Old Believers is their steadfast commitment to preserving their religious practices and way of life, often through isolation. Their customs and dress remain so close to those of historic Russian peasantry that many—including Russians themselves—consider them more "authentic" than modern traditions in Russia.

The Old Believers’ faith strictly regulated both behavior and appearance. Men did not shave, and women never cut their hair. An unmarried woman wore her hair in a single braid; once married, she concealed it under a headscarf.

The Costumes

Old Believers continue to wear traditional Russian peasant attire. At baptism, every infant receives a cross, a shirt, and a woven belt—items that remain essential throughout life.

Men and boys wear a rubashka, a brightly colored shirt with a high neckband and an off-center opening. These shirts often appear in vivid shades—shocking pink, chartreuse, citron yellow—and are embroidered with colorful floral borders. A handwoven belt ties the shirt at the waist, often finished with large, decorative tassels.

Women’s traditional attire consists of three main garments: the sarafan (jumper), the rukava (blouse), and the zapon (pinafore apron).

The sarafan is a jumper made from a simple tube of fabric, pleated with knife or box pleats, or gathered into a band. The back is generally fuller than the front and is smoothed with rows of narrow satin ribbons sewn over the pleats. Sometimes, the pleats are drawn into a honeycomb or smocked pattern. Sarafans are typically made from brightly colored rayon challis and are often trimmed at the hem with wide lace or additional ribbon. The shoulder straps and bodice may be edged with plain fabric matching the print and further decorated with ribbons. A deep slit, concealed in the front gathers, may be included to allow for nursing.

The rukava (literally “sleeves”) is the blouse worn underneath the sarafan. Traditionally, it is little more than sleeves with just enough fabric to tuck beneath the jumper, though longer versions are worn in colder weather. The blouse is usually made of a lightweight plain fabric in pastel or vivid tones. Embroidered shoulder pieces often echo the floral motifs found in the sarafan fabric. When not embroidered, the shoulder areas may be decorated with ribbons or machine embroidery. Sleeve treatments vary: formal versions are gently tapered, while practical ones have gathered wrists held with narrow ribbon or cuffs.

The zapon, or pinafore apron, is an essential component of the ensemble. It protects the sarafan from wear and dirt. Its fabric may match or complement the jumper or blouse, using a different rayon challis print. Lace and ribbon trims similar to those on the sarafan are often added to the bib, skirt, and ruffle. If embroidered, the zapon is typically made from a solid-colored fabric. The extent of the decoration—on the bib, skirt, or ruffle—depends on the occasion and the maker’s enthusiasm for embroidery.

A few weeks ago, we were thinking of ways to get inspired for summer sewing and were reflecting on how many great garments our customers make with our patterns.  And we thought it would be fun to have a Folkwear summer contest to show off customer makes and help everyone be inspired for summer sewing.  

So, we want to hear from you!  What great summer outfit or garment have you made with a Folkwear pattern?  Have you made a cute sundress?  An amazing vest?  A historic outfit for a summer ball or reenactment?  Let us know!

You can tag us on social media with your make:  @folkwearpatterns on Facebook and @folkwearsewing.patterns on Instagram.  You can also add the hashtag #FolkwearSummer to make sure we see it (and to get all the entries into one hashtag).  

OR, send us an email with a great photo of your garment/outfit (mail@folkwear.com). And we will post it or add it to a blog post with all the inspiration!

Your entry can be a garment or outfit you made in the last week (or sometime this month), or it can be something you made years ago!  Folkwear has been around a long time and we know there are lots of incredible summer outfits out there.  So, whether it is a brand new make, or something you were proud of making 10 years ago, it can be entered in this contest!

And everyone is a winner!  If you enter the contest by tagging your photo on social media or sending us an email with a photo, you will win a coupon code to use in our shop.  Everyone who enters will win the coupon code!

Join the contest through the month of June 2025.  We will close entries on June 30.  And, we will pick two winners on July 1 who will get their choice of 2 free Folkwear patterns!  U.S. winners can get paper or PDF versions, and international winners can get any 2 PDF patterns.  We might have some fabric to throw in also!

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

We have a number of fabrics in stock right now that would be perfect for making our 160 Hawaiian Mu'umu'u!  This pattern calls for fabric that has a bit of drape or flow to it.  And, traditionally, it would be made with bright colors and large floral or tropical prints.  A lightweight (not too crisp) cotton is a great choice, but a rayon or viscose would give even more flow.  Or a cotton/rayon blend would be great.  A lightweight linen can also be nice, even in a solid color, for a more conservative look.  There are a lot of options and we are going to list some great choices below.  What fabric would you make this dress in?

I really love this parrot print viscose challis from Italy.  The print is a little small for a typical mu'umu'u but has a tropical theme (the parrots are cute).  And the fabric has a gorgeous drape and is really fun! 

We had a question recently about the 107 Afghan Dress sleeve gusset.  Along with many of our other folk patterns, the 107 Afghan Dress employs the use of an underarm gusset to provide the room under the arm for movement and shape.  The underarm gusset shows up a lot in traditional clothing and patterns because the sleeve was cut as a rectangle (or close to rectangle shape) and would be attached to the body of the shirt/dress which was also a rectangle.  The gusset provides room for the arm to move and shape the armhole.  Modern shirts (and dresses) use a curved armhole to do the same thing.  But traditional clothes were made from handwoven fabrics and to make the most use of the fabric without cutting curves into them, the gusset was much more practical.  

The Afghan Dress can make use of many different fabrics for all the parts of the dress -- mix and match a variety of coordinating fabrics to get a really fun look.  In this tutorial, I used a linen scrap for the upper and middle sleeve and the bodice, and a polk dot block print cotton for the cuff and the gusset.  I made this just as a tutorial, not to make a dress, so you will only see a small portion of the construction in this post.  If you want to learn more about the 107 Afghan Dress, check out the LEARN MORE section at the bottom of the pattern description:  sizing up the Afghan Dress, and a customized dress.

Start with the Sleeve

Sew the sleeve pieces together, starting with the upper sleeve (C) to the middle sleeve (D).  And then sew the cuff (E) to the middle sleeve (D).  Make sure to match the numbered notches -- this will ensure that you are getting the pieces in the right direction and right order.

Top Photo: All sleeve pieces.  Middle: Sleeve piece C to piece D.  Bottom: Cuff E sewn to D.  

Sleeve and gusset piece.

Sleeve with right sides together and underarm edges together at bottom.

Underarm seam sewn from gusset star to cuff end.

This is the sleeve next to the bodice -- showing how it will start matching to the bodice at the notches.

Matching dots and numbered notches (below you can see that the gusset goes past the front because the front waistband was not attached).

Sleeve is pinned to the bodice and ready to be sewn from dot to dot.

View of the sleeve and gusset attached to the bodice.  This is looking at the front.  You can see the gusset hangs over a little because the front waistband is not attached to the bodice.  You can see the half circle at the top of the bodice where the hole for the head should be cut.  

By Esi Hutchinson

Welcome to our last sew-along for the 147 Norwegian Bunad. Here I will demonstrate how to make the Bunad Apron!  Read through our other sew-alongs for this pattern here: Bunad Blouse Sew-Along, Bunad Vest Sew-Along, Bunad Skirt Sew-Along.

This sew-along is similar to making the Bunad Skirt. I’ll walk you through the steps of creating this pleated apron. You also have the option of gathering the waist, and you can customize the apron with embroidery and/or lace. I have chosen a white cotton fabric with floral silver thread embroidery already embellished on the fabric. Traditional bunad aprons are often made with white fabric, and many have embroidery or whitework (or lace) added to them.  Some have overlays on the bottom edge or bottom edge and up the sides.  Here I am making a festival dress (or festdrakt) and not a particular bunad.  If you want to make a bunad that is particular to a region or area, research that tradition and use this pattern as a base to create the bunad.  

This apron is simple to sew, so have fun and add your own embroidery and other embellishments. For more details and embroidery designs, check out the History and Detailing section inside the pattern!

Fabric

For the bunad apron, light to mediumweight fabrics like cotton, linen, or silk are recommended. As stated above, white fabric is commonly used for aprons. Always wash and press your fabric according to its type before cutting out the pattern.

Sizing

Choose the size that best fits you from the sizing and yardage charts (as well as the "finished measurements"). The apron is meant to be fitted at the waist over the thickness of the blouse and skirt. The apron can be closed at the waist with a clasp, button, or snap, or you can also make the waistband into ties by adding 22" (56cm) on either side of the waistband piece. I am a Medium in Folkwear's grade rule for bottomwear, so I made a size medium for this apron.

Seam Finishes

The apron does not require and seam finishes, all the seam are enclosed!  One less thing to think about.

Cutting Out Your Pattern

There are two pattern pieces for the apron (R-S). Piece R is a template for the pleats and how wide you need to cut your apron skirt in your size.

To use Piece R, place the template on the fold of your fabric and use it to guide how wide to cut the fabric and where to place the pleats.  All sizes can be cut on the fold for 52” (132cm) or wider fabric.  Sizes XS-MD can be cut on the fold of 45” (115cm) wide (or wider) fabric.  If the fabric is not wide enough for the apron template, add 1/2” (13mm) seam allowance to the center front for your size and cut two. Cut the apron 36” (91.4cm) long.  If you want an apron that is shorter or longer, add 1¾” to the length you desire for the seam and hem allowances.

Illustration above is for how the template is used to cut the fabric.  This would be for size XL.  The length of the apron is decided by how long you want it to be, but 36" would be typical.  You would cut the apron 36" from the top of the template to the bottom edge.

If you want ties rather than a buttoned waistband, add 22" (56cm) on either side of the piece.  If you decide to make the apron with ties, make sure you have enough fabric.  The yardage chart only gives yardage for the shorter waistband.  If you are making  waistband with ties, follow the same instructions for the waistband.

Look at the cutting layouts in the pattern to find the one that is best for your size and fabric width.  The waistband can be cut on the lengthwise or crosswise grain.  The layouts are for fabric with or without nap, pile, or one-way designs. 

Be sure to transfer pleat marks.

Let's get started.

Cutting my apron piece.

Sewing the Apron

First, if you cut two apron pieces (because your fabric was too narrow), sew the apron pieces together at the center front with right sides together.  Press the seam open and proceed.  This is the one place you will have a seam (if you need it).  You can make a French seam here or just finish the seam as you wish.

With the right side of the apron skirt facing up, match, fold, and pin the pleats towards the sides. Pleats should fall away from the center front of the apron skirt.

Baste the top of the waist within the seam allowance to hold pleats in place.

On the side edges of the apron skirt, press under 1/4” (6mm) then 1/2” (13mm) and stitch close to the pressed edge.

by Esi Hutchinson

Welcome to our second-to-last sew-along for the 147 Norwegian Bunad, our newest Folkwear pattern! Today, I will show you how to make the Bunad Skirt! 

We have already gone through the blouse and vest sew-along, which you can find here: Blouse Sew-Along and Vest Sew-Along.  

Each region in Norway has its own unique Bunad design, with specific colors and patterns that have been passed down. Read more about the history of the bunad and our pattern in our blog post. Whether it's the bold reds and blues of the Hardanger region or the soft pastels of Telemark, each color palette represents a sense of pride and belonging to a specific community. It's a way for Norwegians, and those of Norwegian descent, to express their heritage and connection to their roots.

While tradition is a key aspect of Bunad skirts, there is also room for creativity and personal expression. Some modern interpretations of Bunad skirts feature unique color combinations that add a contemporary twist to the traditional garment. This blend of old and new allows for a fresh take on this design, and can make beautiful festdrakt, or festival dresses.

In this sew-along, I’ll walk you through the steps of creating the basic pleated skirt from our pattern. It's important to note that for traditional bunads, as well as folkdrakts and festdrakts (folk or festival dresses), the skirts can be personalized and adorned with intricate embroidery or trim, signifying where in the region you're from and how it connects to your family, or just to add decoration to your outfit. If you’d like to add embroidery or trim, be sure to plan it out and incorporate it after the skirt has been sewn.

Like the bunad blouse and vest, this skirt is also easy to sew. Add your own personal touches through embroidery and other embellishments. For more details and embroidery designs, check out the History and Detailing section in the pattern!

Let's get started.

Fabric

For the bunad skirt, medium to heavyweight fabrics like wool, cotton, linen, or silk are recommended. Wool is the traditional choice. Be sure to research the fabric type and color that best suits the specific bunad or costume you're creating. While skirts are commonly made in red or black, colors like blue, green, and other dark tones can also be used. Sometimes brochades are used.  For this sample, I chose a royal blue medium-weight cotton muslin. Remember to wash and press your fabric according to its type before cutting out the pattern.

Sizing

Choose the size that best fits you from the sizing and yardage charts (as well as the "finished measurements"). The skirt is meant to be fitted at the waist, so using the waist measurement is the best way to find the right size for the skirt. I am a Medium in Folkwear's grade rule for skirts and pants at the waist, so I made a size medium for this skirt. 

Seam Finishes

To finish your seams while you're sewing, you can overcast, zig-zag or use pinking shears to finish the raw edges. French seams or turning the raw edges under and stitching work for this pattern also. I serged the raw edges of the seams for this skirt. 

Cutting Out Your Pattern

There are four pattern pieces for the skirt (N-Q).  Cut one Waistband O on the lengthwise or crosswise grain.  Cut one Placket Q.  

The same skirt Piece N is used for the front and back of the skirt. Cut two for the back and cut one on the fold for the front for all sizes if you're using fabric that is more than 52” (132cm) wide.

On fabric less than 52" (132cm) wide fabric for sizes XS-SM cut two for the back and cut one on the fold for the front. For sizes MD-2XL, you will need to cut two for the back and cut two for the front, making sure to add 1/2" (13mm) seam allowance to the center front on both front N pieces so that you can sew a center front seam.

Cut one waistband O, four pocket pieces P, and one placket Q.

Since I am using 45" (115cm) wide fabric, I cut two skirt front pieces, adding a 1/2" (13mm) seam allowance at the center front.

Check the finished measurements to see if you want to make lengthening/shortening changes.  If you want to lengthen or shorten the skirt, add length (or shorten) at the bottom hem edge. 

Look at the cutting layouts in the pattern to find the one that is best for your size and fabric width. The layouts are for fabric with or without nap, pile, or one-way designs. If the pattern pieces in the cutting layouts in our pattern are shaded, it needs to be placed with the printed side down.  All pattern pieces should be placed on the right side of your fabric.  Cut out the pattern carefully according to the instructions. 

Be sure you transfer all the markings, which are dots and squares, and pleat lines.  It may also help to label your pieces so you know right and left and right side and wrong side of fabric.  

Sewing the Skirt

Front and Back

First, if you have cut two Fronts, sew the Fronts together at the center front with right sides together.  

Now, you have the option to gather the waist instead of using pleats.  Pleating is more traditional, but a gathered skirt can be found in some festdrakt or folkdrakt, and can sometimes be quicker or easier than pleating.  If you want to gather the waist, place two rows of gathering stitches at the skirt front/back waistline, one at 1/4” (6mm) from the raw edge and another at 1/2” (13mm). Skip to  PLACKET to continue.

To make the pleats, transfer the pleat lines to the right side of the skirt Front and Back. With the right side of the fabric facing up, match the legs of the pleat, folding the center of the pleat to the inside of the skirt. The pleats should fall towards the center front or center back. 

 
Pleat markings on Skirt Back.

Folding the pleat leg to move it over to match the other pleat leg.

On the back skirt, with right sides together, stitch the skirt back pieces together at the center back, matching the squares and bottom edges. Stitch just from the square to the bottom edge. Press the seam open or to one side and finish.

Clip the seam allowance at the square. This will help lay the seam flat when attaching the placket to the back opening.

Placket

Press up 1/2” (13mm) to the wrong side on one long edge of the Placket Q. 

Fold the placket in half, with right sides together, with the short ends together and fingerpress (press the seam with your fingers to give a light crease).  This helps turn the placket later.  Open the placket back up.

Place the right side of the long, unfolded edge of the placket to the wrong side of the skirt back. Pin the placket to the back opening, matching the squares and the skirt waist edge to the short ends of the placket. Stitch from the waist to the square, and continue stitching to the opposite side of the waist. Trim the seams to reduce the bulk and press the seam towards the placket.  The best way to do this is to open the back opening so it is flat or nearly flat and proceed as if it is a straight line.

Fold the placket in half lengthwise at the foldline with wrong sides together. The folded edge of the placket should cover the previous stitching line. Topstitch close to the folded edge.

On the wearer's left side only, fold the placket to the inside of the skirt back. Press the placket in place and baste the placket at the waist edge of the left skirt back within the seam allowance.  This allows the placket to close and the skirt back seams to line up easily.

Pockets (optional)

Pockets are not really a traditional part of a bunad.  There is an outer waist pocket which can be a highly decorative part of the costume, but side seam pockets are not usually part of this outfit.  However, we know how popular (and useful) pockets are so we added a pattern piece and instructions for adding side seam pockets.  You may use them or choose to leave them off.  If you do not want to add pockets, skip ahead to sewing the front and back together (stitch the front to the back at the side seams with right sides together).  

If you are adding pockets, zig-zag, overcast, or serge the four pocket pieces on the outer edge.

With the right sides together, pin one pocket piece to both sides of the front skirt; match the dots on the pockets to the dots on the side of the skirt front.  Stitch just within the seam allowance and press the pocket seams towards the pockets. 

Understitch the seam allowance to the pocket pieces by pressing the seam allowance towards the pockets and stitching close to the previously stitched seam, but within the seam allowance.  This will help keep the pocket from rolling to the outside and will keep the seam neat.

Do all of those same steps with the skirt back and the other two pocket pieces.

Front and Back Together

With right sides together, stitch the front and back skirt pieces at the side seams, matching pockets and double notches. Start stitching at the waist edge of the skirt.  Stitch to the small dot at the top of the pocket, pivot and stitch around the outer edge of the pockets to the large dot at the bottom of the pocket.  Pivot and stitch down to the bottom edge of the skirt.  Be sure not to catch pleats in the stitching.

Clip the seam allowance on the back skirt seam to the dots on the pockets (don't clip through stitching) and press the seams open; press the pockets toward the front.

Waistband

You can interface the waistband if you like.  Interfacing is very helpful for lighter weight fabrics or fabric that might need some extra support.  Interfacing can help the waistband keep its shape.  Attach interfacing to one side of the waistband (from the foldline to one side), and trim the interfacing away from the seam allowances to reduce bulk in the seams.  I did not use interfacing in my sample. 

Press under 1/2” (13mm) on the long unnotched edge and on both short edges of the Waistband O.  Make sure to pay attention to the left and right sides of the waistband marked on the pattern piece O.  It is a good idea to mark which side is left and right and which is the right and wrong side of the fabric. 

With the right side of the waistband to the wrong side of the skirt, stitch the waistband to the skirt, matching the center front notches and side seams of the skirt to the side notches on the waistband. The waistband should end (with the folded-over ends) at the opening on each side of the back placket.

If using gathered stitches on the skirt waistline, pull gathers to fit the waistband, matching notches as stated above.

Stitch and press the seam allowance towards the waistband.

Fold the waistband in half lengthwise with the wrong sides together, with the folded long edge placed just over the previously stitched seam line, matching the short pressed edges.

Topstitch close to pressed edges and ends.

Add a buttonhole on the wearer's left side of the waistband and a button on the right side. Sew on snaps to the placket to secure it closed. Or leave it open.  

I used a 3/4 (1.9cm) button and kept the buttonhole close to the back edge.  

Some traditional bunads actually have this placket in the front of the skirt and it is then hidden by the apron.  Then you can even sew the vest to the skirt at the waist and the skirt/vest then becomes a dress. You can do the same with this pattern.  The skirt can be made and worn with the back to the front as they are basically the same pattern piece. 

By Esi Hutchinson

Welcome to our second sew-along for the 147 Norwegian Bunad. Today, I will show you how to make the Bunad Vest! If you didn't see the Bunad Blouse sew-along, go here to read more.

In this sew-along, I’ll walk you through the steps of creating this basic vest and show you how I customized mine to spark ideas for your design. Throughout this sew-along, I’ll keep embellishments simple, but it’s important to note that for traditional bunads, and folkdrakts and festdrakts (folk or festival dresses), vests are often adorned with intricate embroidery or trim, making them a standout piece of the outfit. If you’d like to add embroidery or trim, be sure to plan it out and incorporate it after the vest has been sewn.

Like the bunad blouse, this vest is easy to sew and serves as a great foundation for adding your own personal touches through embroidery and other embellishments. For more details and embroidery designs, check out the History and Detailing section in the pattern!

Let's get started.

Fabric

The vest requires very little fabric (always a bonus!). For the bunad vest, medium to heavyweight fabrics like wool, cotton, linen, or silk are recommended. Wool is the traditional choice, but brocades are also sometimes used in bunads or festdrakts and can be a beautiful option. Be sure to research the fabric type and color that best suits the specific bunad or costume you're creating. While vests are commonly made in red or black, colors like blue, green, and other dark tones can also be used. For this sample, I chose a dark red heavy-weight cotton poplin. Remember to wash and press your fabric according to its type before cutting out the pattern.

Sizing

Choose the size that best fits you from the sizing and yardage charts (as well as the "finished measurements"). The vest is meant to be very fitted at the waist and open at the front.  The vest can be closed at the waist with a clasp or it can be laced up the front (but still worn a open). I am between a Small and Medium in Folkwear's grade rule, and knowing all these details, I made a size medium for this vest. 

Seam Finishes

To finish your seams while you're sewing, you can overcast, zig-zag or use pinking shears to finish the raw edges. French seams or turning the raw edges under and stitching work for this pattern also, especially for lighter weight fabrics. I serged the raw edges of the seams in this vest. 

Cutting Out Your Pattern

There are six pattern pieces for the vest (H-M). There are different cutting lines for View A and B on the Front H and Front Facing L. The Back I and Collar M are cut on the fold.  Look at the cutting layouts in the pattern to find the one that is best for your size and fabric width. The layouts are for fabric with or without nap, pile, or one-way designs. 

If you want to lengthen or shorten your vest, add to the bottom hem of the pattern pieces H-L before cutting out your fabric, but without narrowing your pattern pieces.  Again, check the finished measurements to see if you want to make lengthening or shortening changes. 

If the pattern piece in the cutting layouts in our pattern is shaded, it needs to be placed with the printed side down.  All pattern pieces should be placed on the right side of your fabric.  Cut out the pattern carefully according to the instructions.  Be sure you transfer all the markings, which are only dots and circles, depending on what view of the vest you are making. I will be making View A, which has a front similar to the Telemark style bunad.

Sewing the Vest

Front:  Starting with the darts on front H, fold the darts with right sides together and stitch on the stitching line. Don't backstitch, but leave the long tails at dart point (dot) and tie off. This keeps the dart tip from puckering. 

With right sides together, pin and stitch the Side Fronts J to the Front H pieces, matching the notches.  Press the seam towards the side front or press the seam open.

Back:  With right sides together, pin and stitch the vest Side Back K to Back I, matching the notches.  You will need to ease the fabric around the curves.  Clip the seam allowance at the curves to help the seam lay flat.  Press the seams towards the back or press open.

Shoulder and Sides: With right sides together, sew the front of the  vest to the back at the shoulders, matching the single notches. Press the seams open or press to the back.

by Esi Hutchinson

Welcome to our first sew-along for the 147 Norwegian Bunad, our newest Folkwear pattern!  This series of sew-alongs for the Bunad will be published throughout the month, and today we start with the Blouse.

Whether you’re a seasoned sewist or a beginner looking to try something new, this guide will walk you through the steps of creating a beautiful piece of a traditional Norwegian festdrakt.

The Bunad is a symbol of cultural heritage and a celebration of local traditions. Worn on special occasions such as weddings, national holidays, and family celebrations, the Bunad is linked to particular regions by its cut and details such as embroidery, colors, and trim.  

What I love about this pattern is that it's easy to sew and it gives you a great base for customization with embroidery and other embellishments to make a bunad you want to make.  Throughout our sew-alongs, we are going to keep our embellishments pretty simple, but if you are making a particular bunad, you will want to embellish and modify the pattern to suit the bunad style you are making.  Or you can make a festdrakt (or festival dress) and make this pattern however you want to finish it.

For the blouse, you can add embellishments on the cuffs, collar, optional decorative placket, the center front, or the hem. This Blouse is roomy and comfortable with underarm gussets. I love the gussets; they are a great invention in historical garment sewing, giving you space and flexibility. This blouse is also quite flattering.  

Let's get started!

Fabric

The fabric you choose for your Bunad blouse plays a significant role in both the look and feel of the garment.  The classic Bunad blouse is almost always white and therefore shows off contrasting embroidery well.  Some bunader include whitework on the blouse.  But there are also Bunad blouses that are dark or very pale colors.  We suggest using light to medium-weight fabrics such as linen, cotton (poplin, lawn, indian cotton), cotton/linen blend, or silk.  Cotton and linen are the most common fabrics, but silk can give a more formal feel to the blouse.  For this post I used a white cotton muslin.  Be sure to wash and press your fabric before cutting out the pattern.  Linen and cotton can both shrink after washing and you don't want your blouse to come out smaller than you wanted.  Plus if you add embroidery or other trim, you can end up with distortions if the fabric shrinks.

Sizing

Choose the size that best fits you from the sizing and yardage charts (as well as the "finished measurements").  The blouse is meant to be "blousy", or slightly oversized, and not fitted.  I am between a Small and Medium in Folkwear's grade rule, but I made a size Small for this blouse.  

Seam Finishes

To finish your seams while you're sewing, you can overcast, zig-zag or use pinking shears to finish the raw edges. French seams or turning the raw edges under and stitching work for this pattern also.  I serged all the seams on this blouse as my finishing technique.

Cutting Out Your Pattern

There are seven pattern pieces for the blouse (A-G).  The Decorative Panel E is optional, and it can be used to add embroidery or white work to the front of the blouse.  The Back B and Collar C are cut on the fold.  Look at the cutting layouts in the pattern to find the one that is best for your size and fabric width.  Note that in the paper pattern, Collar C should be cut twice (and is only shown once).  The layouts are for fabric without nap, pile, or one-way designs, so if you have napped or directional fabric, you may need more yardage. 

If you want to lengthen or shorten your blouse, add to or subtract from the bottom hem of the pattern pieces A and B before cutting out your fabric.  Again, check the finished measurements to see if you want to make lengthening/shortening changes.  The sleeve is gathered at the shoulder and at the cuff, and the shoulder is a bit dropped.  If you want to lengthen or shorten the sleeve, do so in the middle of the sleeve, and make changes to the pattern piece before cutting out the fabric.  

If the pattern piece in the cutting layouts in our pattern is shaded, it needs to be placed with the printed side down.  All pattern pieces should be placed on the right side of your fabric.  Cut out the pattern carefully according to the instructions.  Be sure you transfer all the markings, including dots, circles, stars, and squares, to the fabric after cutting. 

With right sides together and matching shoulder notches, stitch blouse Front A to blouse Back B at shoulders. Press the seam open and finish. 

COLLAR:  Interface one Collar piece C; this interfaced collar will be called the Collar Facing. Interfacing helps the collar hold its shape, especially if the collar is made with a lightweight material.  Trim the interfacing from the seam allowance to reduce the bulk.  

Make a basting stitch line along the bottom (notched edge) seamline of the Collar Facing to use as a guide for turning the edge. Now turn ½” (13mm) seam allowance on Collar Facing at the basting line to the wrong side and press.

With the right sides of Collar and Collar Facing together, stitch the unnotched edges, leaving the bottom notched edges open. Make sure to catch the ½” (13mm) turned-up edge in the stitching.

Clip and trim the seam allowances and corners, and turn the collar right side out and press.  

With the right sides of the Collar and blouse together, stitch the unfolded edge (only) of the uninterfaced collar to the neck edge. Match the center back notch of the collar to the center back notch on the blouse and match shoulder notches on the collar to shoulder seams of the blouse.  Leave the interfaced collar free from the stitching.  Trim the seams to reduce bulk.

Make a few clips in the curves of the seam allowance and trim.  This will reduce bulk in the collar and allow the seam to curve more smoothly.

Press the seam towards the collar and whipstitch the turned-under edge of the collar facing to the inside of the neck covering the stitch line.  

DECORATIVE PANEL:  If you're making the decorative panel and adding any embroidery, do it now. I sewed lace on mine to show you something simple you can do!  I sewed lace to the right side of one side of the panel and trimmed the extra from the edges.  You can also add interfacing to this panel piece to give it structure or to support the embroidery or trim.

With right sides together, stitch the panel pieces together on three sides, leaving the notched bottom edges open.  Trim, clip corners, and turn the panel right side out.

Fold the bottom edges under by 1/2" (13mm) to the inside and whipstitch or topstitch closed.

 

SLEEVES:  On both of the sleeves, place two rows of gathering stitches between the notches at the shoulder edge (end with the three notches).  And sew two rows of gathering stitches between the side seam allowances on the cuff edge (end with the single notch).

Now, you add the Gusset piece F to each side of the sleeve. When pinning the gusset to the sleeve, make sure to match the stars and large circles. Stitch from the star to the large circle. Press the seam toward the gusset.

The main part of the sleeve is made and can now be sewn to the blouse.

With right sides together, pin the sleeves and gussets to the blouse front and back. The dots on the gussets match the dots on the blouse front and back. The center notch on the sleeve matches the shoulder seam on the blouse. The outer notches on the sleeve match up to the notches on the front and back. Pull the gathers on the sleeve evenly to fit to these notch points.  Sew the sleeve to the blouse by stitching between the dots (from one gusset, through sleeve, and through the other gusset). Backstitch at each dot.

Do this for both sleeves.

Fold the blouse at the shoulder seams while folding the sleeve in half as well. Pin together, matching the squares near the hem of the sleeves, the gusset dots and circles, and the underarm of the sleeves.  Match the squares at the bottom of the blouse also.

Starting from the square on the blouse, stitch through the dot on gusset, across the gusset, to the large circle, then to the square on the sleeve. Backstich at each square. 

CUFFS:  Below the square on the sleeve, press under 1/4" (6mm) and turn under again 1/4" (6mm) making sure to keep the gathering threads out of the way. Topstitch close to the pressed edge, up one side, across the square and down the other side.  Backstitch a couple of times at the square to reinforce the stitching.

If you want to interface the cuffs, do so now.  You only need to interface one half of each cuff (from the foldline to one long side). Fold the cuff in half lengthwise with right sides together. Press under, to the wrong side, 1/2" (13mm) on the interfaced cuff edge (if you interfaced the cuff), and stitch the short ends of the cuff together to the dots.

Sew the un-interfaced edge of the cuffs to each sleeve with right sides together and  matching single notches and dots.  Pull the gathers on the sleeve evenly to fit the cuff. Trim the seam and press the seam towards the cuff.

Fold the interfaced pressed-under edge of the cuff over the previously stitched seam lines and whipstitch the cuff to the sleeve.

Do this for both cuffs.  

FINISHING:  Hem the blouse by pressing under 1/4" (6mm), then 1/2" (13mm) on the bottom raw edge and topstitch or blind stitch.

I like to have my buttonholes placed on the side of the cuff that will fold over towards the back.  Sew one buttonhole on each cuff and sew on a button to match it on the other side of the cuff.  

This is the Bunad Blouse! Pretty easy right? It's super comfortable and airy. And while it is perfect for using as part of your bunad or festdrakt, it is also a great everyday blouse!

There are many wonderful craft businesses from which to choose your next sewing or stitching project. Two of these with a beloved following and similar values are our company, Folkwear Sewing Patterns, which creates sewing patterns inspired by historical and folk costume garments from around the world, and Avlea Folk Embroidery, which creates cross stitch and embroidery kits inspired by traditional folk embroidery around the world. In this post, we’ll hear from Folkwear's own Molly Hamilton and Krista West of Avlea Folk Embroidery about how they began their businesses and what challenges and successes they have experienced. Read on for a unique behind-the-scenes view of what it’s like to run a small craft business!

How did we start our businesses?

Molly:  Folkwear was started in 1976 by three women in California – Alexandra (Jacopetti) Hart, Barbara Garvey, and Ann Wainwright.  They started Folkwear because they did not see patterns for folk clothing that they saw on their travels and that they loved and wanted to wear.  They developed sewing patterns, along with the detailing such as embroidery or handwork that were used traditionally with the garments. And they expanded into historic clothing as well.  

Folkwear went through several ownerships over the years.  In 2014 I went to a local lecture on textiles and the woman presenting was Kate Mathews, the owner of Folkwear at the time.  She talked about Folkwear, the history, the designs, the customers, and had a rack of gorgeous clothing samples to show off.  At the end of the lecture she said “I really want to retire and I am looking for a younger woman who has the energy to keep this company going.”  And I thought, “That’s me.”  I had young children still at home at the time and I was working 2 jobs (one was running a small business), but after 2 years, I called Kate and she was excited to work with me, and I took over Folkwear at the end of 2016.  

Molly wearing a blouse from Folkwear's 246 Calico Day Dress pattern.

Krista: For many years, I owned a bespoke tailoring business for which I imported fabrics from Greece. I was on a buying trip to Greece when one of my mill agents introduced me to traditional Greek folk embroidery. I was utterly smitten by the geometric designs and bold color palettes, and I bought some basic supplies that day and started stitching that night in my hotel room. When I got home, I continued to stitch old designs and which led me to start collecting vintage embroideries and vintage patterns so I could learn more. It was only when people started commenting on the unique embroideries I had around my house that I thought that other stitchers might be interested in these old designs. 

Krista West of Avlea Folk Embroidery

What has been the evolution of our businesses?

Molly:  Folkwear has been around for almost 50 years, so there has been lots of change, but consistency of producing high quality sewing patterns for meaningful and authentic folk and historic clothing from around the world has continued.  The iconic Folkwear illustrations were done by Gretchen Schields, who is an incredible artist and was friends with the original founders of Folkwear.  She has retired, and we now use local artists for illustrations and photographs.  In the last 8 years, I have worked to digitize most of the Folkwear pattern collection.  There were two reasons for this: 1. To preserve the patterns (the films they were printed on were dissolving from age); and 2. To provide customers with digital patterns (PDF patterns).  PDF sewing patterns are very popular, and customers appreciate the instant downloads (no shipping, which is especially helpful for international customers).  

But we also like to keep patterns in print.  It has been a business and economic challenge to figure out how to keep patterns in print and manage inventory.  We lost our main pattern printer a few years ago and our new printer has very large minimums.  So, after navigating small print runs for some patterns, we finally bought our own printer and now we can print our own patterns.  We could have let patterns go out of print and only offer the digital version, but the digital option is only helpful to customers who have access to computers, printers, and good wifi.  So, we try to keep patterns in print, especially patterns that are important to a particular culture.  

Folkwear's 101 Gaza Dress -- in plain fabric on right, and illustrated by Gretchen Schields with detailed Palestinian embroidery on right.

Krista: Avlea started with just eight designs. Originally, I thought I would only offer patterns, but then I realized you couldn’t find the traditional folk fabrics in the US, which are an integral part of creating authentic folk embroidery. I asked one of my Greek suppliers to ship me a bolt of Traditional Groundcloth so I could start making a few kits. I was really surprised when kits became much more popular than patterns. The interest in kits ended up being a really great creative challenge—I started thinking, “How can I create the highest-quality embroidery kit, one that I would want to buy?” At this point, as a bespoke tailor, I regularly worked on pieces of brocade that cost over $1000 and I used very expensive finishings, so I was accustomed to using the best quality supplies. I wanted to use this experience to create a top-notch embroidery kit that would be designed in such a way that a stitcher could have an authentic and confident stitching experience, no matter their skill level. A big part of this was doing the math and creating patterns that would allow a stitcher to simply open the kit and start stitching without having to calculate how many repeats to work or figure out what size your piece of fabric needed to be. I’ve been refining that process ever since and I’m always thinking about the stitcher’s experience of the kit—is the pattern clear? Are the repeats easy to follow? Will this give a stitcher a really great experience?

Avlea Folk Embroidery Efimia folk embroidery kit made into a table runner.

Where do we find inspiration for new designs?

Molly: We find inspiration for new patterns from several sources.  Our customers are a big one!  They often send us ideas of garments they want us to make patterns for.  We had so many requests for a bunad pattern over the years, that we finally produced one.  This took several years to make, and I am excited that we got to collaborate with Krista and Avlea Folk Embroidery on the embroidery designs for this pattern.  We also get inspiration from the garments we have in our collection.  For instance, the 280 Resort Kaftan pattern (released in 2024), came from a fun kaftan we had in our collection of vintage garments.  It was so lovely, with simple details, and a flattering shape, that I knew we should make it into a pattern.  I also find inspiration from the half-finished patterns in our files from the years before I took over Folkwear.  There are so many great ideas in there from years past that just need a refining, changing, or more development. We got our Basics Collection from a set of those half-finished patterns.  

Molly wearing Folkwear's 147 Norwegian Bunad outfit with embroidery designed by Krista!

Krista: My inspiration for the designs comes from my collection of vintage embroideries and embroidery patterns, my trips to Greece where I study folk costume and folk embroidery, and just like Molly, Avlea customers who send me the most fantastic photos of their family heirlooms! Many historic textiles are really big and complex, so I try to “translate” the overall feel of the embroidery, but in a size a modern stitcher will feel confident to stitch. For color palette inspiration, I use the Mediterranean world as my foundation, and then I stay open to what I see around me in the natural world. When I go out walking, I’m looking at how colors interplay in nature—for example, there’s a creek near my house with the most beautifully colored rocks in shades of gray, black, taupe, and clay red, and I’m using these colors for a design on taupe-colored linen right now. 

Avlea Folk Embroidery's Ionian embroidery kit.

What patterns would we recommend to a beginning sewist/stitcher?

Molly:  The Basics Collection is great for a beginner, but if you are wanting to make folk clothing, I think the 142 Old Mexico Dress is a great one.  It is so simple, with no fasteners, and you can play with fabric combinations or add embroidery to the dress or shirt (it is also a great base for embroidery!).  For our historic pattern line, I think the 254 Swing Coat is a good start (again, no closures), but 269 Metropolitan Hat would also be a fun and small project.

142 Old Mexico Dress, blouse form.

Krista: This is a great question! I think first and foremost, you want to choose something that you just love because it’s going to keep you motivated as you learn. If the design and colors just call to you, go for it! If you really want to get the hang of cross stitching, then I recommend one of the allover BitKit designs, like Asteria or Mykonos Meadow, because the designs are smaller and it allows you to get your stitching technique down before you take on more complex projects. 

What patterns would we recommend to an experienced sewist/stitcher?

Molly:  We have lots of patterns that seem fairly simple, but layers of complexity can be added to them to make the pattern good for beginners as well as for experienced sewists.  For instance, the 113 Japanese Kimono is a fairly simple garment with straight seams and no closures.  But, our pattern for the kimono, or yukata, has a typical Japanese construction which means the seam allowance changes for each size.  If you were using narrow handwoven fabric (as a traditional kimono would), you would not want to cut the valuable fabric to size so you would construct the garment to fit the person, not the fabric to fit the size.  This is not a typical Western sewing process, but allows for the garment to change for a body’s changing size or so that it can be altered for someone else over time.  And the pattern also provides instructions for sashiko embroidery as well as traditional shibori dyeing.  So, there is a lot for an experienced sewist to enjoy.  Many of our patterns are like this.  The popular 205 Gibson Girl Blouse can be made with lace insertion and edging, French seams, and a traditional cut, or it can be made without lace, regular seams, and in a more modern cut.  There is a lot for every level of sewist in our patterns.

Krista: One of the things that is so wonderful about folk embroidery is the wide range of really complex, mind-blowingly gorgeous designs! It’s what first drew me to folk embroidery—I had no idea cross stitch could be so intricate and so stunning. For experienced stitchers, I would definitely recommend designs that combines cross stitches and backstitches, like Taline’s Tulips or Iris’ Paintbox, because those designs really embody traditional folk embroidery. The larger border squares like Clara’s Garden or Myriam’s Garden are also great for experienced stitchers.

Avlea's Iris's Paintbox table scarf (embroidery kit).

What is it like to be both a creative and a small business owner?

Krista: Busy! Sometimes it can feel like a game of Whack-a-Mole—you just get things settled at the website and then you have an issue with your photos; you just get the photos sorted and then one of your core DMC colors is backordered; you get the DMC cones in and then you realize you’re behind on making kits! So it’s definitely wearing a lot of hats, but you just have to embrace that—I’m a person who likes a lot of variety in my work and I get bored easily, so it suits me very well. And because I didn’t start Avlea until I was in my late 40s, it’s definitely pushed me to embrace learning new skills and accepting that I’m not going to get things right on the first try. But that has been really valuable in my life to have this work that keeps me challenged and cognitively engaged—I joke to my family that Avlea is the ultimate anti-dementia medicine! 

Molly:  I agree with Krista, it is wearing a lot of hats and putting out a lot of “fires” (like Whack-a-Mole).  Some days I get to be creative and make samples or work on designs.  But most days I am doing planning, marketing, and maintenance (and putting out “fires”).  I really enjoy this part of the business also because it is problem-solving, and it often involves communicating with customers (through customer service or marketing).  I am also a widowed mom of 4 children, so I am often creatively fitting in driving kids to sports or music practices, pick-ups from school, and all the other things that come with school-aged children.  

How long is the process to bring a new pattern from concept to a physical product?

Molly: It typically takes us about a year to get a new pattern from concept to physical product.  It can be longer – the Bunad pattern took us several years because we kept changing the design to fit our ideas better and updating the construction to be easier to sew, and then we would set it aside for several months to work on other projects.  This pattern was a balance between deeply authentic and approachable.  But the 280 Resort Kaftan was a simpler pattern and we were able to get that to production within a few months.  There is a great deal of work that goes into producing a sewing pattern.  You start with an idea or design.  Then you must create a pattern for it, test the pattern to see if it will work and design how it will be put together in a way that is easiest for our customers.  Once we have a good design, we have to grade the pattern into the different sizes.  Then we have to write and illustrate instructions, which can be a lot of work.  Then we have to test the instructions and illustrations to make sure they are correct, and edit them.  Once we have a graded pattern and instructions, we have to test the different sizes (and make adjustments as needed), make samples, photograph samples, and create the package (pattern, instructions, illustrations, cover design, etc.).  Then, we have to proof everything again and go to print, which can also take several weeks to several months.  It is a LOT of work!

Krista: Typically about 6-10 months after I’ve found my initial inspiration from a textile or photo. It takes me about 2-3 months to adapt and chart a design and get the colors and layout just right, then another couple of months to stitch the sample, then a month or two to finish the sample, photograph it and do any needed video or reels with it, and then have my graphic designer create the pattern. I try to have the pattern ready to go about three weeks before the release so I’ve got time to make up all the kits before I add them to the website. One of the things I really like about folk embroidery is that it is “season-less”, so I’m not usually working under deadlines related to a specific season like summer or the holidays. If a design just seems to be taking longer, then I have the flexibility to set it aside for awhile and circle back around to it later. Often, that’s when I do what I think is my best work because I have a lot of time to just sort of see and rotate the design in my mind while I’m serging or packing orders or doing other things like that around the workshop. It’s not uncommon for me to have an “aha!” design moment in the middle of doing something like serging or winding floss. 

Avlea's Katapola Fig embroidery kit made into a table runner.

We have been in the craft/garment/textile industry a long time—what changes have happened that have positively impacted our business? (I’m thinking social media, YouTube, PDF patterns, etc.) 

Molly: You know, I have been sewing all my life, but have only been in the business for the last 10 years.  My first career was in agriculture!  I think the growth of PDF sewing patterns has been a big and positive change.  Customers can get patterns right away and they don’t have to pay for shipping.  If there is a change to be made to the pattern, they can get the updates for free.  And using projectors is a change I also see that customers are really enjoying – and files for projectors can be included in the PDF patterns.  It has also been fun to connect to customers via social media.  We love to see what people are making!

Krista: Well, considering I began my career in the garment industry in 1995 and people were still faxing in orders, there have been so many changes! The Internet, websites, e-commerce, YouTube, social media, basically everything is different than when I began my career. For the most part, I’ve found these technological advancements have been incredibly helpful to me as a small business owner—for example, I used to spend a lot of time preparing invoices and now people order with just the click of a button. Email communication has been the single greatest timesaver for me—I used to spend hours every week on the phone with clients which was all time I wasn’t creating stuff. The only downside I’ve experienced is that sometimes people can have unrealistic delivery expectations, but that’s gotten much better in the last few years as support for small businesses has grown and customers realize that we’re actual human beings making and packing and shipping your order. And, I agree with Molly that PDF patterns have been an incredible invention—I have many international clients who have access to designs without having to pay expensive shipping and customs.

What are two areas in which you’ve had to challenge yourself to learn something new or push yourself in a new direction?

Molly: Haha.  I feel like I am always learning something new and pushing myself in a new direction.  I have learned pattern drafting, I have learned bookkeeping, and I have learned to pass on some of these jobs to others.  I do enjoy pattern drafting, though.  I like the math involved and the challenge of taking something 3-dimensional (a garment or garment concept), making a 2-dimensional pattern, and then creating another 3-dimensional object from that.  

Krista: Social media and photography, for sure. When I began Avlea in 2018, I had never had a social media account of any kind and I was totally overwhelmed. But my daughters, who were 18 and 20 at the time, gave me the best advice—they rolled their eyes and said, “Mom, it’s not like everything has to be perfect, people just want to see what you do.” That gave me the confidence to show up as a 48-year-old woman who didn’t know what a hashtag was or how to find portrait mode on my phone and I just embraced the fact that I was older and didn’t know how all this worked but at least I was trying—sort of an “A for effort” approach. And, it has shown me so much of the good side of humanity—people are so kind and encouraging, even of my most hapless efforts! Photography was much the same: I had always been afraid of photography as this rarified skill but it ended up being something I really needed to do learn so I could communicate what I was imagining creatively with these beautiful folk embroideries, and now I really enjoy working on my photography skills and seeing my progress from design to design.

What are some of your successes? 

Molly: I am very proud of getting so much of the Folkwear catalog digitized.  This was an enormous challenge as most of our patterns had no digital record at all – they were on film that was decomposing or lost.  We now have a digital record for most Folkwear patterns that will hopefully last for a very long time.  We still have some patterns to digitize, so that will be the work of the next few years.  I am also glad that we have graded up many of our patterns from the late 1980s and 1990s that were only available in a very small size range.  I also started quite a bit of pattern printing in-house.  Our challenge for printed patterns is that the only printer in the US that can print sewing patterns on tissue has large minimums.  To manage inventory, it made sense for us to print many of our own patterns.  This allows us to keep patterns in print and bring patterns back from out-of-print, as well as manage how and when we print.   We started printing our own patterns on a wide format printer, and we have a folding machine so we have control of our printing process.  All of these things have made our patterns more accessible.

Krista: I agree with Molly that printing in-house has been a definite success. Early on, another designer suggested I get a commercial-type printer and I am SO glad I did—it allows me to make quick edits and be able to reprint all in a single day so my patterns can be as accurate as possible. And, it helps keep prices down which is important to me. I also think my photos are getting better and I’m really proud of that because it definitely does not come to me as easily and effortlessly as designing and stitching do. Publishing my first book on folk embroidery last year was an achievement, and that has been so wonderful to see it go out into the world and spark other people’s creativity. This year, I’ve been starting to do more collaborations (like the one I just did with Folkwear on their Norwegian Bunad folk costume pattern!) and I’m really excited about those because I like being inspired by other people’s creative work. But, overall, just getting to be in my studio every day, designing and making kits and doing what I love, is the greatest success for me. 

What are you most proud of about your business?

Molly: I am proud that Folkwear is still going strong after nearly 50 years in business, and I am proud to make our patterns more accessible.  I love that Folkwear provides such great sewing patterns for people to connect to their heritage, history, or to other cultures and times.  It is a privilege to steward this company forward.

Krista: I am proud that, together, my customers and I are keeping folk embroidery alive and creating a welcoming stitching community for those who want to explore folk embroidery. These designs are so ancient and have been with us as humans for millennia, and I feel honored that I get to be part of a community that passes them on to the next generation. It’s absolutely what gets me out of bed in the morning!

Molly and Krista love how their creative businesses complement each other, and they are excited to be collaborating on Folkwear's newest pattern, 147 Norwegian Bunad.  

We are excited to finally release our newest sewing pattern, the 147 Norwegian Bunad!  This pattern has been in the works at Folkwear for several years.  So many customers have continued to ask for a bunad pattern over the years that we started working on one, but the details and the many garment pieces meant that we would work on this pattern for a little while, then set it aside to work on other pressing patterns and issues (PDFs, other new patterns, moving, storms, etc).  But, we kept coming back to this pattern and finally felt like we got the details, including embroidery, to a point that this pattern could be used to create an authentic Norwegian folk costume or a bunad.  

The bunad is an intricate and beautiful folk costume that has been standardized and formalized for many regions of Norway (and beyond).  It is a symbol of pride and heritage in Norway and among those of Norwegian ancestry.  And now you can create your own stunning version with our new sewing pattern!

What is the Norwegian Bunad?

The bunad is the traditional folk costume worn in Norway. Rooted in Norwegian historic, traditional folk dress, the bunad has evolved over the years, and is now a nationally recognized and standardized costume, with a multitude of variations. Today, bunader (the plural form of bunad) are worn on special occasions and celebrations, such as weddings and national holidays (specifically, Norway’s National Day, or Syttende mai on May 17).  Regions—and even specific villages or cities—have their own distinct bunad styles, defined by unique colors, embroidery, and the cut of the garments which reflect the local customs and history.  

Introducing the Sewing Pattern

Our sewing pattern allows you to create a Norwegian folk costume or bunad and bring this piece of Norwegian heritage to life with your own hands!  The pattern includes pattern pieces and instructions for sewing all the garments, as well as a history and detailing. The Blouse has a front slit opening with an optional decorative panel,  a collar that can stand up or be folded down, underarm gussets, and sleeves gathered into dropped shoulders and buttoned cuffs.  The Vest has two views and is fitted and designed to be worn clasped at the waist or closed with lacings.  The pleated Skirt is ankle-length and the waistband buttons in the back at a placket.  The outfit finishes with an Apron that is also pleated into a buttoned waistband.  

The 147 Norwegian Bunad available in sizes XS-2XL, as a paper pattern or a PDF pattern.  The paper pattern will be mailed to you.  The PDF pattern is available as a download after checkout.  The PDF pattern has files layered by size for copy shops -- 36" wide and A0 (4 pages), for print at home (55 pages for A4 or 8.5x11" paper), and for projectors.  Both versions of the pattern include full instructions for creating all the garments, as well as eight pages of history, detailing, and embroidery designs.  

We collaborated with Krista West of Avlea Folk Embroidery on the embroidery designs included in the pattern (Krista is also of Norwegian ancestry!) -- providing five rosemaling-type satin stitched patterns and two large and detailed cross stitch designs with main and border motifs that can be used in many parts of the bunad.  

Along with the embroidery designs, we have basic stitching instructions, as well as a history of the bunad and resources for further information (also see below).  

My own embroidery design based partially on Avlean Folk Embroidery designs.

With this bunad pattern, we hope to provide a base to create a beautiful bunad or folk costume (folkdrakt).  We have provided two views or options for a bunad, similar to the Hardanger and Telemark bunader styles, but still quite generic.  Our pattern can be used as a base to personalize, modify, or style the bunad, folk costume, or festive costume to one’s preference. Choose traditional fabrics and embellishments, or go another route. This is a pattern for your creativity and personal taste, and to create what you want. This pattern can be used to make a very simple folk costume; or it can be used to create an elaborately embellished outfit. We hope that this pattern provides information and inspiration for the creation of your own folk costume. 

Some women’s bunader have the vest sewn to the skirt after construction, and the skirt opening is in the front. The apron then covers the opening made in the front of the skirt. You can adjust our pattern for this option by making the skirt front into the back and vise
versa.

If you are wanting to make a specific bunad, research that tradition and bunad look, and you can adjust our pattern and detailing to work for many bunader.  Our pattern allows for lots of customization you can add your authentic or personal touch to your bunad.

Detailing: Embroidery and More

One thing that makes the Norwegian bunader unique is the embroidery, trim, and other details of the costume.  Our pattern has eight pages of history and detailing information for the bunad.  We provide a number of embroidery patterns with instructions, as well as instructions for making a waist pocket.  

As mentioned, Krista West of Avlea Folk Embroidery helped us develop the embroidery patterns provided in 147 Norwegian Bunad, and these rosemaling designs can be used as main motifs on the vest, skirt, apron, and/or pocket bag.  The cross stitch patterns can be used (or modified by you and used) to add borders to cuffs, collars, shirt fronts, and skirt or apron edges (or to belts).  The cross stitch designs can also be used in part, or whole, for the intricately decorated front chest insert  (brystduk) found in some bunader that is pinned in place behind the vest.

A small part of one of the embroidery designs included in the pattern -- patterns include main motifs and border motifs.

Further Resources

We fully acknowledge that our pattern is just the basis for the Norwegian Bunad and is not for a fully detailed, regionally-specific bunad.  This is because there are so many and to pick one would be to miss the potential to help customers be able to access others.  So we have the basics for all you need for a bunad, as well as embroidery, and we hope you can use this pattern to be able to make a folk costume, or a fully detailed bunad from a particular region.  For more information, we recommend the following resources:

• Dressing with Purpose: Belonging and Resistance in Scandinavia. Edited by Carrie Hertz. Indiana University Press. 2021.  This is a text-heavy, but wonderful book about the meaning and history behind Scandinavian folk clothing.
• Vesterheim: National Norwegian-American Museum and Folk Art School. Decorah, Iowa. https://vesterheim.org/.  A really great resource for lots of Norwegian folk craft, especially textiles.
• Norsk Intitutt for Bunad og Folkedrakt (Norwegian Institute for Bunad and Folk Dress) https://bunadogfolkedrakt.no/

Get Started Today

Whether you are a seasoned seamstress or a beginner looking for a new challenge, our 147 Norwegian Bunad sewing pattern is the perfect project to expand your skills and create something truly special.  Embrace the beauty and tradition of Norwegian culture with this exquisite sewing pattern.  Get started on your Syttende mai outfit today!

We will have an interview with Krista West on the blog in a few days so you can get to know her and her business.  She will have some of the cross stitch designs from this pattern, as well as kits, available in her shop.  

And we will start a sew-along for this pattern by the end of next week!  We will have the Blouse sew-along available on April 11, the Vest sew-along on April 18, and the Skirt and Apron sew-along on April 25.  Join us to sew this gorgeous outfit!

The 147 Norwegian Bunad is on sale from now through April 10. 

In Part One, we talked about all the background for starting the 113 Japanese Kimono -- sizing, yardages, fabric, etc.  Now we can start sewing!  Find our 113 Japanese Kimono sewing pattern here and join along!

Cutting out the Pattern and Fabric

The first thing to do after deciding on your size and fabric is to cut out the pattern.  You will cut the whole pattern.  You will not cut your particular size (other than one end of the overlap where do you cut down to your size on the slanted end).  

The front and the back of the kimono are cut as one piece (with no shoulder seam).  To get this very long piece, you must tape the front and back pattern pieces together at the shoulder line.  This pattern piece could not be printed as one long piece (too long for any printer), so the pattern piece must be taped together at the shoulder to create the long front/back piece.  

You can see that I cut the largest size, even though I am making a size Medium Woman -- the seam line will be here and my seam allowance will be large. 

Overlap and Neckband cut out from the rest of the width of my fabric.

Cutting one sleeve on the fold.

My center back seam is sewn and I have some handmade bias tape to bind it with.

Close-up of Neckband seam allowance.

I am using the pattern piece here to show how the Overlap lines up with the front.  It helps to use one of these small rulers to be able to line up the seam lines.  I pinned the Overlap in place and sewed along the seamline.

Overlaps are pinned to the Fronts.

You can see here how the seam lines line up.  The Overlap has a 1/2" seam allowance and the Front has a 1.75" seam allowance (for my size).

Front Overlaps sewn onto Front. Seam allowances are pressed toward Overlap. You can see some overhang here which I trimmed off. 

Marking the center back seam line at 1".

The seam line is marked at the edge on the right side of the kimono.  I used chalk to mark the line so that it could be easily stitched.  I staystitched and then used this as a guide for the neckband as well. 

You can see how the Neckband will be pinned to the kimono -- matching the dots and along the seamline

Clip to the dots on the back only!  NOTE:  I sewed the Neckband to the back with the wrong sides together (here the wrong side of the Neckband is to the right side of the kimono) -- right sides should be facing!  I picked out my stitches and did it correctly (as you can see in the photo above).

I marked the neckband with chalk where the foldlines go.

I am making the women's sleeve, so will hem between the stars.

Here I am getting the sleeve lined up on the kimono body.

Here the sleeve is pinned for stitching.

Clipping the curve on the sleeve.

I found it helpful to mark the seamline with chalk, using a clear ruler so that when I stitched on my machine, it would be easy to see where my seamline was supposed to be.

I turned under a 1/4" hem on the sleeve opening and stitched it.  

Turning up a narrow hem on the bottom of the kimono.  I stitched this down and have a very small, simple mitered corner.