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In the past, we have suggested some patterns for Halloween costumes, and we thought we would do this again this year. Especially since we are having a HUGE sale on some of our children's patterns which could be used to make some fun (and beautiful) costumes for little ones in your life. The sale will go for the rest of the month! Below you will find some patterns and ideas for making memorable costumes - ranging from simple to involved.
Cynthia and Victoria also made some great kids costumes that we will feature on the blog - along with some free instructions for making accessories. Check out our past suggestions here and here. As always, we expect you will use our patterns with respect. Quite a few of our patterns are from specific cultures, and it would be disrespectful to wear them as a Halloween costume.
Children's Costume Ideas:
110 Little Kittel. Make an adorable Gretel from Hansel and Gretel - add some embroidery and/or a hat/bonnet and a basket with bread crumbs to accessorize. Or use black fabric to make an easy and comfortable witch's dress.
138 Child's Drovers Coat. Make this coat in a tan canvas or heavy twill and it can be used for an outlaw costume, Western sheriff, or a cowboy costume - with cowboy hat, bandana, and boots. Add the 218 Child's Frontier Shirt for a great Western look.
208 Kinsale Cloak for Young Folks. Could be made into a Witch or Wizards cloak, Little Red Riding Hood, or Count Dracula without the hood. Also great for Harry Potter character costumes. It would also be great as a Elvish Cloak given to the Hobbits in Lord of the Rings.
213 Child's Prairie Dress and Pinafore. This one makes an adorable Little House on the Prairie look, of course - complete with the bonnet (in the pattern). But you could also make a great witch's outfit with some black fabric (and creative fabric) - check out what Victoria made in the next couple of days on the blog. You could also make a very cute Heidi or Alice in Wonderland outfit as well (blue fabric, white pinafore). Even Mary Had a Little Lamb would be great, include a wooden walking stick and a stuffed toy lamb as a prop.
218 Child's Frontier Shirt. Perfect for a Sheriff Woody costume from Toy Story or a cowboy complete with chaps, bandana, boots, and a hat. Also a great shirt for a pirate with an eye patch, felt tricorn hat, and don't forget the faux parrot attached to one shoulder. With a the right shade of green fabric, this shirt would be a great jumping off point for a Peter Pan costume. Add a green felt pointed apron-like waist wrap and some green tights and your ready to take flight. Great for a Three Musketeers costume too.
225 Childhood Dreams. Make a dress inspired by Wendy from Peter Pan. The 223 A Lady's Chemise could be inspired by Wendy as well for adults. With the right fabric, the Childhood Dreams dress could also be used to make a princess dress - think shimmery fabric, tulle, etc. Or use it to make a Clara from the Nutcracker.
256 At the Hop. For a very cute sock hop costume.
For Adults:
207 Kinsale Cloak. Again, perfect for characters from Harry Potter, Lord of the Rings, or even Little Red Riding Hood.
215 Empire's Dress. Shows like the new House of the Dragon, Bridgerton, and the new Persuasion include costumes like the Empire Dress. Dress up as your favorite character or best Jane Austin. Add an English accent to your gab and you'll fit the part.
256 At The Hop. Make a quick and easy felt circle skirt for a Grease or Happy Days themed costume complete with poodle applique, saddle shoes and bobby socks, and a cardigan sweater for a little Jitter Bug. This one could be for children too.
We've been enjoying shows like Hotel Portofino, Downton Abbey, and the Durrells in Corfu (as well as the new Downton Abbey movie). The 249 1930s Day Dress, 1920s flapper dress, 220 Garden Party Dress, 237 Tango Dress, or 233 Glamour Girl Dress would all make fun garments to wear to dress up as a character from these shows. The flapper dress and 233 Glamour Girl Dress are particularly easy and quick to sew. Grab some fun, sparkly fabric from Joanns for the flapper dress - it doesn't take a lot.
by Esi Hutchinson
You can never have enough pillows can you? I showed you how I made a Makura pillow from 305 A Japanese Interior, and this blog post will focus on the Zabuton. Victoria made a beautiful Zabuton, or floor cushion, and shows her process in this blog post. I am making basically the same pillow (there are 3 options for the cover in this pattern), but using fabric scraps for stuffing the pillow. This is probably the most simple pillow in this pattern. The cover can be made to be removable so it can be easily washed when dirtied. And if you are going to use a poly-fil or fabric scraps to stuff your pillow (which I will be doing), you would have to make a separate cover that is non-removable to hold the loose stuffing of any kind. The filling that the pattern calls for (layers of batting), make it easier to remove and wash the cover.
If you want to make a separate removable cover repeat instructions for Cover #1, adding an extra 1 in. (2.5cm) seam allowance at one edge of both top and bottom pieces. Turn this inch under as a facing, then topstitch. Add several snaps so that this final edge overlaps by ½ in. (13mm). A cheap muslin would be fine to make the inside cover and hold the fill.
However, I am just going to make this pillow with one cover. It will be just a display pillow so I am not worried that I will need to wash the cover.
Since you know, as a sewist, fabric scraps build up. Often they are small pieces that you might save thinking, "this is too large to throw away" or "this fabric is so nice, I can't throw it away" or "maybe I can make a pocket from this scrap in some other project". Or maybe you have scraps you test stitches or buttonholes or muslins on. Either way, we always end up with loads of scraps of fabric. We at Folkwear, don't like to throw them out, but sometimes it is hard to find uses for them. Filling pillows is a perfect option, especially if the pillow needs to be quite firm. I wanted to show you how I made this pillow and filled it with fabric scraps (and reduced our scrap pile), so you might be inspired to do the same!
I found these scraps to work with in our fabric scrap pile.
To make an even surface for my pillow, I cut about 5 layers of fabric the size of the pillow batting. I used some of Folkwear's larger pieces of muslin that could not be used for other prototypes - even cutting up some of the old garment muslins we had made. Having these smooth layers of fabric to sandwich the rest of the scraps helps to keep the pillow without bunched fabric which can easily make the pillow feel uneven. Cut as many layers as you like for this "sandwich".
Then, I took the smaller fabric scraps and laid them in between the larger layers of fabric. Trying to make it feel plush and even and and not flat.
I sewed one edge of the two of the two layers to sandwich the scraps together in order to hold everything together more easily when inserting the stuffing in the cover.
Layers of scrap fabric (the size of Zabuton batting) sewn together at one end.
The scrap fabric batting is finished and ready to but inserted in the cover (it almost looks more like a taco than sandwich). Now you can make the cover!
Cover
This is the simplest cover. Just follow directions in the pattern. I used a gorgeous cotton ikat that we have in stock here at Folkwear.
Like Victoria, I found it difficult to insert the batting I'd made with the technique used in the pattern. So I just left open one side of the pillow and inserted the "batting" gently, adjusting as needed to fill the pillow with the scraps. I added more scraps to the pillow after getting the "batting" inside the cover, again adjusting to make everything even. Then I just slip stitched the opening closed with a 1/2" (13mm) seam allowance turned to the inside.
Note that if the pillow is not fully stuffed with fabric scraps, the scraps will tend to shift around with use. You can try to fill the pillow very full, or you could be sure it is not in heavy use. Or, you could add the center stitching to be more authentic and would help prevent fabric shifting.
This is a very simple pillow, and a good way to use your fabric waste rather than throwing it away. Here at Folkwear we try our best to not be wasteful. We hope you are inspired to make something to use up your fabric scraps! The pattern 305 A Japanese Interior will be on sale all month. Use it to make your own beautiful pillows (and use up fabric scraps)!
by Esi Hutchinson
Even though most of our patterns are for clothing, I love that Folkwear, also has some patterns for traditional interior accessories. The 305 A Japanese Interior pattern covers twelve different items for a traditional Japanese room but can be used in a distinctive living space anywhere. There are pillows as well as well as covers for pillows, mats, a sleeping kimono, and a set of curtains (noren). I think it is really neat Folkwear has a pattern such as this one, to a handmake a comfortable space for you, family, or friends.
The 305 A Japanese Interior pattern has two patterns and instructions for two head pillows, or makura. Pillow #1 is quite simple, so I wanted to make pillow #2. This blog post will focus on the Makura pillow #2 and cover - a sew along with some sewing tips. It is an oblong pillow with a cover that can easily be removed so it can be washed or changed out. Just to get a sense of the size of this pillow, it is a small pillow, nice for the back of the neck or for your lower back. It is about 11"/28cm long and 15"/38cm in diameter. if you want it larger use your best judgement for adjustments for the pillow and cover.
I used the same fabric for the pillow and cover, but you could choose separate, coordinating fabrics. I chose a mid-weight cotton with a plaid-like pattern.
Pillow
You only need a few pattern pieces for this pillow.
I gathered the long edges of the main pattern piece.
Then, fold the pillow piece in half lengthwise, right sides together and stitch along short sides, locking off at notches and leaving open between notches for turning. Press seam open.
Pull up gathering stitches of both ends very tightly and tie off. Then using the excess thread from gathering, stitch through the gathered section for added security.
Now just turn the pillow right side out through opening in seam. Insert batting to desired firmness. You can also use your leftover scraps of fabric (really great for upcycling all those small bits of fabric) which will make it feel a lot firmer. A firmer pillow is more traditional. Then after you've filled your pillow, blind stitch opening closed.
Cover for Makura Pillow #2
The cover for this pillow has a ruffle, but this is a Western-influenced style. If you would like a more simple, or traditional, cover, just omit the ruffle.
To make the ruffle, press under ¼"/6mm, then another ¼"/6mm on both short ends and unnotched long edge of Ruffle. Topstitch close to fold.
Then, put in two rows gathering stitches along Gathering Lines on notched edge of ruffle.
On both short edges of Cover, turn under ¼"/6mm, then another ¼"/6mm. Top stitch close to fold.
Right sides together, line up seam allowances of Ruffle to long edge of Cover, aligning hemmed edges and notch 2. Pull up gathers to evenly distribute fullness.
Stitch along ½"/13mm seam allowance. Trim the seam allowances and serge or bind them your choice. I serged the edge because it is easier and quicker, but choose the finish you prefer.
If you are not making the Ruffle: On all four edges of COVER L, turn under ¼ in.(6mm), then another ¼ in. (6mm). Topstitch close to fold.
Ties
To make the ties, fold the Tie in half lengthwise, right side in. Using ¼"/6mm seam allowance, stitch along long edge.
Using a safety pin or a loop turner, turn Tie right side out. Cut each tie into three equal lengths. Turn ¼"/6mm of cut ends of Tie to the inside. Topstitch ends closed.
Line up three Ties with stars, extending Ties about ½"/13mm under hemmed edge of Cover. Topstitch in place, following previous stitching line.
Place other three TIES on dotted squares, stitch in place following squares.
To use the cover, center it on the pillow and knot the ties around the pillow.
You are finished, enjoy!
Folkwear would love to see your example of any of the 305 interior items. I may make a couple of pillows as gifts. Also check out the the sashiko quilting and shibori dyeing techniques included in this pattern. They are quite interesting as embellishments in general.
By Victoria Watkins
In light of the PDF release of our 305 Japanese interior pattern this month, I have put together a mini sew-along to talk about the process of making one of the zabuton cushions. This pattern features a ton of different interior pieces, though most are bedding. I chose to make myself the second zabuton option in this pattern, as I do enjoy sitting on the floor from time to time. In addition to this I knew that my cats would love the wide pillow, so I decided to make this floor cushion and cat bed combo!
by Molly Hamilton
The 305 A Japanese Interior pattern is one of a set of home goods patterns that Folkwear released in the 1990s. It is also, by far, the most popular of our home goods patterns. You can make up to 12 items from this pattern, plus the pattern includes a large sashiko design, as well as instructions for sashiko embroidery or quilting and shibori dyeing. Both of these techniques are beautiful ways to traditionally embellish garments or fabrics.
To give you an overview of the 305 A Japanese Interior pattern, I will go over all the items you can make in the pattern.
First, there are the futon, which is a general word for many types of cushions and quilted bedding. Zabuton are fairly large (24”x24”) floor cushions that are used for sitting. Of course, they can also be used on sofas or beds. This pattern has three options for making Zabuton, particularly as to the covering of the Zabuton. There is a very simple cover, a more complex folded (and stitched) cover, and one in between. Pattern pieces are included for the Zabuton.
Next, the Shikibuton is the bottom quilt. This is a single person-sized thick quilt that is laid on the floor and slept upon. The Kakebuton is a top quilt – and is slept under. Both of these items do not have pattern pieces, but measurements of fabric and instructions are provided for how to construct them.
There are two patterns (and instructions) for Makura, or sleeping pillows. Pattern pieces are included. These are pillows that are for resting the head. Makura #1 is most similar to a regular bed pillow. Pillow #2 is round and was often firm (perfect for keeping hair from getting disturbed too badly at night). There is also a pattern for a cover for the #2 Makura (to make it more decorative and to give the option of washing the outside). These pillows are much smaller than the Zabuton and are only 9"-13" wide. These pillows are also nice throw pillows for sofas or beds.
There are also instructions for making a folding foam mat. This is ideal for a small bed that can be folded up and stored easily. This can be used under the Shikibuton for extra padding and comfort. These folding mats are quite comfortable futon beds and could even be great for car camping. I love how they fold up and are easy to store.
This pattern also has instructions for making Noren, decorative curtains that can be hung at windows or across doorways. They can be used to separate spaces in a room as well. These are a beautiful place to use the sashiko embroidery (and the pattern provided) or special fabric. Traditionally Noren were made in a dark blue or brown and might have decorative border. You can make these just about what ever size you desire; instructions are given for how to measure and construct the Noren
Finally, this pattern provides instructions for making a Yogi, or quilted sleeping kimono. This garment was another way to stay warm when sleeping in cold weather. You can use any kimono pattern (or our own 113 Japanese Kimono) to make the yogi. The instructions tell how much extra fabric is need, batting required, and construction alterations for transitioning a regular kimono pattern to a yogi pattern.
My stepfather flew airplanes in the Coast Guard and spent some time in Japan in the 1960s and 1970s. He had a Kakebuton and folding foam futon mat which he had brought back from Japan, and which I absolutely loved to sleep on growing up. I enjoyed sleeping and lounging on the thick and soft brocade silk of the folding mat, and the Kakebuton was beautiful and warm and fluffy (also made of silk, but I'm not certain what it was stuffed with). Perfect for making a special bed on the floor for one person. Wonderful for when I wanted to sleep in the living room, or had a friend to spend the night. It is a memory I still cherish.
I hope the description of this 305 A Japanese Interior pattern might inspire you to try to make one or several of the items in this special pattern. They can be wonderful gifts for loved ones in your life (holidays or weddings especially). And they can create beautiful memories for you and your own family.
by Cynthia Anderson
Like French seams, flat felled seams encase the raw edge of the seam allowance creating a strong and clean finish that prevents fraying. Flat-felled seams are a typically found on clothing for men, children, and sportswear because of the strength and durability of the seam construction. If you own a pair of jeans, they are most likely have flat felled seams.
Depending on the look you want, flat felled seams can be made to appear on the right or wrong side of a garment. This seam treatment is a bit easier to do with more structured fabrics that are medium or heavy weight, though some lightweight fabrics are good too. Regular polyester thread works well, but consider using a heavier weight thread such as Button Twist (or doubling the tread feed) for a distinctive top stitch. The texture created by a heavier thread will stand out. You could even pick a contrasting color for an even bolder look. For a stitch that blends in to the fabric, match the regular-weight thread to the fabric. .
For this demonstration I am using a blue cotton shirting without a visibly right and wrong side. I am also using a standard straight stitch presser foot. You can purchase a special "Felling or Lap Seam" foot, but a standard foot works just fine. You could also use an edge stitch foot or zipper foot which can keep your stitching very straight when top stitching. I am using a regular weight polyester thread in white for each stitching line.
Note: Keep in mind that in this demonstration the right side has one line of visible stitching and the wrong side has two lines of stitching
To create flat-felled seams.
Pin and stitch on the seamline, right sides together, like you normally would. I am using Folkwear's standard 1/2" (13mm) seam allowance. Use the seam allowance specified for the pattern you are using.
Trim one edge of the seam allowance to ¼”(6mm) or by at least half of the width of the seam allowance. I have trimmed to approximately 3/8" (10mm) due to the weight of the fabric.
Turn the wider raw edge of the seam allowance under and press it over the trimmed edge, matching the raw edge to the first stitch line.
With the wrong side facing up, stitch close to the turned edge, keeping the stitching straight and even.
The regular straight stitching seen on the wrong side of the garment.
by Cynthia Anderson
There are several different ways to finish seams, depending on the sewing project. Finishing the raw edges of a seam keeps the fabric from unraveling and creates a stable and clean finish to the inside of a garment. Raw edges can quickly be finished on modern sewing machines using zig-zag, overcasting, or overlocked/serge stitches. Pinking shears are also an easy way to finish raw edges. While all these techniques are perfectly acceptable, there is something special, practical, and gratifying in making French seams.
Garments made with fine, sheer, and lightweight fabrics are ideal for French seams. This neat seam is sewn twice, encasing all the seam allowances in the seam itself. This creates a small, yet strong seam that keeps the raw edges from fraying. French Seams are especially nice in unlined garments, but work nicely in lighter-weight lined garments too.
The use of French seaming was popular in Edwardian garment making which is synonymous with fine handkerchief linen, cotton voile, and lawn. Before sewing machines were available, fine French Seams were sewn by hand. Luckily, French Seams can easily be made today using a sewing machine. This technique is not hard, creating a strong encased seam, with a lovely finish. French seams are ideal for finishing seams with fine fabrics, and perfect for lots of Folkwear patterns.
French seams are not ideal for all sewing construction needs. Heavy fabrics are not recommended as the folded over seam creates bulk.
Typically, only the shoulder seams, side seams, and the underarm sleeves seams are made with French seams. Sleeves that have a tight curve can be tricky, resulting in a finished seam that will not lay as nicely and may pucker-up. It is perfectly ok to pick and choose where French seams work best.
French Seam Using 1/2-Inch (13mm) Seam Allowance
Because Folkwear patterns use 1/2" (13mm) seam allowances this demonstration will as well. I am also using a fabric with two distinctly different sides to make working on the right and wrong side easier to follow.
French seams are made by starting with the WRONG sides of the fabric together (not right sides together, as you normally would).
On the raw edge of your work, align and match any notches, stitch a scant 3/16-inch (4mm) seam.
Press the seam to one side (either will do).
Turn right sides together, encasing the tiny seam, and press the edge neatly or pinch the fabric with your fingers to create a clean edge. The tiny seam should be sandwiched between (right side) the two layers of fabric. If your edges are a bit frayed or uneven, it is best to trim them before moving on.
The scant seam allowance should be neatly encased in the final seam. The photo below shows the encased seam with the right sides together.
Now stitch on the seam line (which will be about 5/16-inch (8mm) from the edge) with the right sides together. You should avoid catching the tiny raw edge encased in the fold in the stitching since it is about 1/16" (1.5mm) shorter than the seam. But this is why it is important that the small first seam is trimmed and even. Back stitch at the beginning and ends of the stitchline.
Notice the seam allowance encased in the final seam in the right bottom corner of the photo below.
Press the seam towards the back if the seam is the shoulder, underarm sleeve, or side seam. If a sleeve seam, then press towards the sleeve.
French seam seen from wrong side:
If scant trimmed edge gets caught in the final stitching of the French seam, then the seam edge needs to be trimmed back more. You can un-pick the seam and trim the raw edges.
Only use up the amount allotted for the seam allowance. In this case the seam allowance is 1/2-inch (13mm). You will need to adjust your French seam calculations depending on the width of your seam allowance and how small you want the finished French seam. Experiment with different weight fabrics and varying seam allowances widths to see what the limitations are.
French seams have a long history for very good reasons. Extremely small French seams were a badge of pride and quality work for Edwardian and modern sewists alike. The beauty of this technique is just as viable today as it has ever been. Take advantage of machine sewn French seams in your sewing and enjoy a beautiful and gratifying seam making technique!
by Esi Hutchinson
Our new pattern, 161 Fisherman's Pants, is great for working in the garden, cleaning, doing yoga, lounging around at home, or just to put something comfortable on. We have made these pants in a variety of fabrics from raw silk to linen and they are great in everything.
When I thought about doing a sew along for these pants, I knew it would be quite simple as the instructions are not difficult. The seam finishes are the most important thing and might not be how you typically finish your seams. This pattern uses French seams and flat-felled seams to achieve a finished look for the pants, since you can actually see the "inside" of the garment when it is worn (waistband is folded down).
For this sew along, I thought it would be nice to give these pants a luxurious look by using a silky material. In my case, I am using a shiny polyester blend fabric that gives the look of silk. I thought that if I really like how the pants turn out I may just make them out of real silk. You can make these pants from lots of different kinds of fabric. Medium to medium weight cottons such as broadcloth, ikats, lightweight twills; linen, lightweight wool, or rayon would all be great. Or try Thai silk, silk shantung, or dupioni silk for special occasions. You can mix and match fabrics, making the waistband or ties (or pocket) from a separate fabric than the pants. Also note that the inside of the waistband fabric will be seen, so you might want to make sure you like the back of the fabric also. I've even seen these made with each leg from a separate fabric. if you do that, each leg takes about 1 yard of fabric, and the waistband 3/4 of a yard.
Take a look at the pattern and choose your size and cut out (or trace) the pattern. The sizing of these pants is very flexible. Many different sizes will fit many different bodies since there is so much ease, and the pants are wrapped to fit. I suggest choosing the size closest to your body measurements, or even a size smaller. If you would like to shorten or lengthen the pants legs do so now. The pants are designed to be ankle length. But, you could make them shorter, which is a very popular style too. If you want to changed the length, shorten or lengthen from the bottom cuff on the pattern piece. I shortened these pants by about 5 inches as I wanted a very cropped pants.
Starting Out
Cut out all your pattern pieces from your fabric. There are only four pattern pieces, and the pocket is optional. We designed these to have one pocket that is in front when you wrap the pants to wear them, but you could cut two pockets (one for each pants leg) if you like.
With right sides together, sew the Waistband Panels together at the side seams. Use French seams or flat felled seams and press to one side. I used French seams here. By the way, we will have an in-depth tutorial up in a few days on making French seams and flat felled seams.
Now, turn under one long edge of the waistband by ¼” (6mm) to the wrong side and then turn under again by ¼” (6mm) to form a hem. Stitch hem close to turned edge.
Optional Pocket
For the pocket, press under ¼” (6mm) seam allowance along top Pocket edge, and press under again by ¾” (2cm) and topstitch along folded edge.
Then press under ½" (13mm) seam allowance along remaining Pocket edges.
I am using two layers of fabric because my fabric is delicate and I don't want the stitching to pull when something like my phone is in the pocket. If you do this, sew the pocket pieces together with right sides together on only three sides. Leave the top open to turn to right side.
Turn right side out and press under ¼” (6mm) seam allowance along top Pocket edge, press under again ¾” (2cm) and topstitch along folded edge.
Pin Pocket to right side of one leg at position marked on pattern. Topstitch in place close to pressed edges, backstitching start and finish of pocket opening.
If you would like a pocket on the other pant leg do so now.
Sewing Legs Together
With right sides together, sew the center front and back seams together on the pants legs. Finish seams and press open or to one side, or use French seams when sewing together.
With right sides together, put front and back pants seams facing each other, and sew the crotch seam. It's best to start sewing at the inner curve (seamline) of the crotch and sew to one ankle hem, then sew the other side of the crotch seam the same way. Finish seams and press open or finish with a flat-felled seam. Clip seams at curves as needed.
I serged the crotch seams because I don't want the structure that flat-felled seams gives, and wanted that that area to have less structure to be more loose-fitting.
Waistband
With right side of waistband to wrong side of pant legs, align the unhemmed edge of the waist panel to the top of the pants. Match waistband seams to pants notches and waistband notches to front and back pants seams. Finish seam with a flat-felled seam and press toward waist panel. This seam will also be seen, so it is helpful to finish it completely (i.e. not just finish with a serge or zig zag stitch).
Tie
Press ½” (13mm) toward wrong side on each short end of the Tie. Press ½” (13mm) to wrong side on each long side. Fold Tie in half lengthwise with wrong sides together, and stitch along three sides, close to hem folds.
Sew center of Tie to back of waist panel where indicated on pattern pieces. Basically just below center of the back of the waistband. Secure the tie by sewing a rectangle and backstitching at beginning and end.
Finishing
Hem pants legs by turning up ¼” (6mm) and turn up again ¼” (6mm). Stitch close to fold.
Now the pants are finished, I will show you how to tie them to your waist.
First fold one side of the waist band to opposite side.
Wrap the tie around your waist and tie it in the front.
Lastly fold the waistband over the tie.
I love how comfortable and chic the pants look in this fabric! Get the pattern for these Thai Fisherman Pants here!
Shorten the legs to make a cropped pair of pants. It is easy to shorten these pants at the cuff. The leg is straight from about half-way down the pants, so you can easily shorten them to your desired length.
Last, this show-stopping Iridescent Purple Silk Shantung from Mood Fabrics would make for an unforgettable garment. Despite being a solid, the color and texture are decidedly head-turning.
by Cynthia Anderson
The Folkwear team is delighted with the response to the new 160 Hawaiian Mu'umu'u! We hope this versatile dress will become a welcome addition to your wardrobe, no matter the season.
The 160 Hawaiian Mu'umu'u Pattern (and pdf version) is offered with two different sleeve length versions (View B & C) and without sleeves (View A). The construction for the sleeveless version is very different from the versions with sleeves. We have a sew along for the sleeved version (specifically, View B). The construction of the dress for sleeved or sleeveless versions is the same up through Day Two (Day One is learning about the pattern and gathering materials). In Day Three, I teach how to add sleeves and construct the yoke, which is not relevant to the sleeveless version (View A). But, Day Four is the finishing steps which is the same as for the sleeveless dress (other than finishing the sleeves, which you don't need). The sleeveless version (View A) is covered here.
In this blog, I will be making a test muslin to show you how to make the sleeveless version (View A). I am not going to make the entire dress. Instead I am making the dress from the waist up just to demonstrate how the sleeveless version is constructed. In this version the Yoke/Yoke Facing and the Armhole/Armhole Facings come together to create the sleeveless armhole.
Note: Have a look at the 160 Hawaiian Mu'umu'u Sew-Along: Day One, Day Two, Day Three, and Day Four blog posts for more details and tips in making this mu'umu'u.
Pattern Pieces Needed
To make the sleeveless version you need to cut the following pattern pieces according to the pattern instructions: Side Front A, Back B, Center Front C, Front Yoke H, Back Yoke I, Front Armhole E, and Back Armhole F. Be sure to transfer all the needed markings before unpinning the pattern from your fabric.
Interfacing
Adding interfacing is optional. Even thought I am making a test muslin, I am adding fusible interfacing to the Yoke and Armhole Facing pieces.
The fusible interfacing is added to the wrong side of one Front Yoke H and the two Back Yokes I. These pieces will be the YOKES. The non-interfaced pieces will be the YOKE FACINGS.
Interfacing is also added to the wrong side of all the Front Armhole E and Back Armhole F pieces.
Constructing the Dress
Construct the dress as we do in Day One and Two of the sew along: make the darts (and pockets), sew Side Front and Front together, sew Back (with gathers) together, and Back to Side Front.
The difference in construction will be the yokes and armholes.
Armholes Facings
With right sides together, stitch one Front Armhole E to one Back Armhole F, matching the notches. These two pieces create the Armhole Facing. Repeat with other pieces.
Press the seam open.
Add Armhole Facing to Dress:
With right sides together, stitch the Armhole Facing to the dress armhole, matching the Armhole Facing seam to the dart stitch line on the dress. Make sure the Front Armhole Facing is going toward the front of the dress and the Back Armhole Facing is going to the back of the dress.
Repeat for the other armhole.
Clip and trim the seam allowances.
Press the trimmed seam allowance towards the facing and understitch, stitching the facing to the seam allowance. This will help to hold the facing to the inside of the armhole.
Turn the facing to the inside of the garment and press.
Baste the edges of the facing to the dress at the front and back within the seam allowances. This extra hold helps to keep the Armhole Facing in place as you continue working.
Make the Yoke
With right sides together, stitch the interfaced Yoke Fronts to Yoke Backs at the shoulder seams, matching the notches. Repeat with Yoke Front and Yoke Back Facings. In the photo below the Yoke (top) has the interfacing and the Yoke Facing (bottom) does not. (Due to the angle of the photo the pieces do not appear to be the same, but they are.) Don't forget to stay stitch the edges of the Yoke Facings, as this will keep them from pulling out of shape during construction. I did not staystitch them for this tutorial, and it worked out fine, but I do recommend you doing that to the un-interfaced Yoke pieces.
With right sides together and matching the shoulder seamlines and the center front notches, stitch the Yoke and Yoke Facing together along the inner curve of the neck edge.
Trim the seam and clip the curves.
Keeping the right sides together, pin and align stars, notches and shoulder seams (marked by red tip pins below) of Yoke and Yoke Facing at the outer edges. Stitch between the stars at notch 12 and 13 on each side of the shoulder seam. Backstitch at the beginning and end of the stitching.
Clip to the stars and trim 1/4" (6mm) away from the seam allowance between the notches.
Turn the yoke assembly right side out. Press, slightly rolling the seam towards the facing.
Open the Yoke and Yoke Facing at the center back, then with right sides together, match the notches and center back seam, sew the center back of the yoke assembly. Pivot the stitching at the point of the V.
Turn right side out and press seam to one side.
Turn the Yoke/Yoke Facing right side out and press the edges of the point, slightly rolling the seam towards the facing.
Add Yoke to the Dress
Note: To make the yoke/dress construction easier for you to see, I put the Mu'umu'u on a dress form with the wrong side facing out.
Note: The red pins mark the match points of the yoke and dress.
With right sides together, match and pin the center front notch 14 on the yoke to center front notch 14 on the dress.
Match and pin yoke notches 15 to the dress Center Front/Side Front seams.
Match and pin the star at notches 12 on the yoke to the stars on the Side Fronts of the dress.
Once the yoke is pinned stitch between starts at notches 12.
Press the seam allowance toward the yoke.
With right sides of the outer back yoke to the right side of the dress back, match the center back seams and notches 16. Match the stars on the back with stars at notch 13 on the yoke. Pull up the gathering threads evenly to gather the dress to fit the back yoke.
Stitch from the center back to one side, ending stitching at the star. Repeat on the other side of the back yoke, stitching from the center back to the other star. Keep yoke facing out of the stitching.
Press seam towards the facing.
Finish the Yoke Facing
Turn under 1/2" (13mm) on the seam line of the bottom yoke facing edge, on both the front and back (use the basting stitch you put in earlier, if you did that optional step).
With the wrong side of the dress facing up, pin the front Yoke Facing to the interior of the dress. Use the stitch line as a guide for matching the turned under edge, and stitch the facing to the dress with a whipstitch.
The armhole facing tucks neatly into the front and back Yoke/Yoke Facing.
Remove the basting and gathering stitches if needed.
Pin the back Yoke Facing using the stitch line as a guide for matching the turned under edge, and whipstitch facing to dress.
The Yoke/Yoke Facing and Armhole Facing create the sleeveless armhole of the mu'umu'u.
I hope you find this blog and the 160 Hawaiian Mu'umu'u Four Day Sew-Along all you need to ensure this pattern is a pleasure to make. The Folkwear 160 Hawaiian Mu'umu'u is on sale through the month of July, in either paper or pdf versions.
In a perfect world you could just click and purchase ANY Folkwear pattern anytime you want. Unfortunately, it doesn't always work that way. We get questions all the time about older Folkwear patterns that are not currently in print. We have about 20 to 25 patterns that we don't offer in our shop and are no longer in print.
We know many of our older patterns are hot items at estate sales and antique stores and eBay. If we could, we’d have every pattern available in every size and every version. We’d also have perfectly clean, well-stocked sewing studios where little elves brought us tea and cookies every afternoon, but that’s a whole different fantasy.
So, why don’t we make every pattern that Folkwear has ever published available right now? The reason for each pattern is different, and some patterns have multiple reasons we are not yet bringing them back. Here's a little bit about the current process and difficulties of printing because sometimes that is relevant also. Some reasons we don't have a pattern in print right now:
What should you do if there is an out-of-print Folkwear pattern that you would love for us to reissue? Well, the first thing is to let us know by adding the pattern number to our "Wish List". We are always looking for input and letting us know the patterns you are seeking can help us make decisions about which patterns to bring back!
Tell us which patterns you are looking for right here. We love hearing from you and learning what you want to sew (and how you sew).
by Cynthia Anderson
In this final day of the 160 Hawaiian Mu'umu'u sew along, we will complete the finishing details by adding an interior elastic tab for shaping, hem the three quarter sleeve (View B) with elastic, and hem the bottom edge of the dress. These finishing details for the interior shaping belt and hemming are the same for all views.
Check back to our other posts for Day 1, Day 2, and Day 3 of this sew along. The next blog post will show how the yoke is attached with the sleeveless version, as this sew along just focused on the dresses with sleeves (View B and View C).
Shaping Belt Tab (optional)
The interior belt tab can be hooked on the interior of the dress to provide shaping at the waist. The tab/hook helps to add shaping by holding the fullness of the back of the dress in place. Of course, this is an optional feature, but it is a great way to add some interest and formality to this dress.
If you have not already done so, cut out two pairs of the belt tab and two pieces of 3/4" (20mm) elastic the length indicated for your size according to the pattern instructions. You will also need the bow tie hook and bow tie eye pieces as seen below. You can find these bow tie hook and eye sets at fabric stores (Dritz is one brand) or you can order them online. They are easy to find. You will not need the slider in the set, just the hook and eye.
Thread the hook onto one length of elastic and an eye on the other length. Fold the elastic in half with the shorts ends together.
Sandwich one folded elastic strip between two piece of the belt tab holder with right sides together a seen below.
Stitch the short ends of the belt tab, being sure to securely catch the double layer of elastic in the seamline. Make another pass of stitching to secure the elastic.
Stitch each outer edge of the belt, leaving the wide end open. Trim the seam allowances and corners, then turn and press.
Trim the raw wide ends of the belt holder evenly and finish the open edge or turn the ends under 1/4" (6mm) and stitch to close to the fold. Repeat for the second belt tab.
Add the Belt Tab
The wide edge of the belt tab aligns to the seam allowance of the Side Front and Back seam, between the dots as marked on the pattern. Stitch the belt tabs to the seam allowance. If the seam is pressed open, stitch to the Back seam allowance, and the wide end is covered by the seam allowance.
Note: It does not matter which side the belt tabs are sewn to, but the hook should face towards the back of the dress as seen below.
The belt tabs hook together as seen on the interior, or with the wrong side of the dress facing up.
Finishing the Cuff, View B
To finish the three quarter length sleeve, turn under the raw edge of the sleeve by 1/4" (6mm) and press. Turn under again 1" (2.5cm) and press.
Leave 1/2" (13mm) to 1" (2.5cm) opening at the sleeve seam. Stitch close to the folded-under edge to create a channel.
Cut two pieces of 1/4" (6mm) wide elastic to be 1/2" (13mm) wider than your arm circumference at your lower forearm (or where the sleeve will fall on your arm.) It may be a good idea to measure the circumference of your arm where the sleeve will hit your arm when wearing the dress, and make the elastic fit where it will hit your arm.
Thread the elastic through the channel and pin the ends of elastic together. Adjust as needed and overlap ends of elastic 1/2"(13mm). Stitch the ends of the elastic together on the sewing machine. Make a few passes of stitching to securely hold the elastic.
Tip: Add a safety pin or bodkin to one end of the elastic to help feed the strip through the channel. Be sure to secure the elastic tail with a pin to keep it from pulling through.
Close the opening of the channel by hand or machine. Repeat for the other sleeve.
To finish View C, simply turn under the hem as indicated in the pattern, and stitch close to the folded edge.
Hem the Bottom Edge of the Dress
Hem the dress by turning up 1/2" (13mm) and then again 3/4" (2cm). Stitch, or blind hem stitch, close to the folded edge using a machine or hand stitch. You may need to ease the fabric a bit when hemming to keep the fabric from creating folds in the hem.
Hope you have enjoyed making this new Folkwear pattern: 160 Hawaiian Mu'umu'u! To celebrate the pattern's debut, it is on sale for the month of July. It is offered in a paper or pdf version, in sizes XS-3XL. Enjoy the versatility of this pattern by making it year around.
