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The Folkwear 210 Armistice Blouse is typically associated with the romantic aesthetic of the Edwardian period. However, there is more to it's story. This blouse became synonymous with the fight for women's liberty in the early 20th century. The "War to end all wars" would unexpectedly create new found opportunities for women both state side and in Europe.
With WWI raging in Europe, women were asked to take on the roles previously held by men, who were called to fight on the battlefields. Filling the roles once held by men gave women a sense of purpose and the resulting independence was liberating. These new challenges empowered the minds and spirits of women to new possibilities.
The war would allow for a new day to dawn that would not be turned back and women took their opportunity to demand change. Women fought to claim the freedoms they had been previously denied. The Suffragette movement was established, uniting women like never before and transforming a generation of women, setting a lasting precedence. After a long and determined fight by both Black and white women, women's right to vote was partially won in 1920. This right was only granted to white women over the age of thirty, however. Black women were pushed aside by many white Suffragettes both within the voting rights movement and in the larger movement for civil rights for all. The fight would continue.
Nannie Burroughs holding banner reading, "Banner State Woman's National Baptist Convention" posed with eight unnamed women
Library of Congress, Lot 12572
The popularity of the Armistice blouse coincided with this time of great social change and unrest. This shift in society caused women's fashion to change as well, creating an irreversible fashion trend towards less cumbersome and restrictive clothes. Both white and Black women were called to work outside the home and their clothes required the practicality of movement. This resulted in clothing that liberated the body (a bit) while remaining feminine.
While the Armistice blouse, with its shirt-waist style is generally thought of as romantically Edwardian, it was a transitional garment that physically removed the bindings of previously restrictive clothing, leading the way to our modern fashion aesthetics.
The easy straight forward construction of the Armistice blouse made it popular with women of all social and economic classes. While the blouse design itself was basically the same, each wearer could make a version uniquely their own. The front center "Vestee" was the focal point of the blouse design, with or without it's framing collar. The Armistice blouse was a perfect canvas for encouraging varying creative uses of scraps of laces, trims, tucks, and embroidery. The Armistice blouse became a proud rallying call of women's solidarity, while creating an opportunity for feminine individuality to shine.
Credit: Decor to Adore Blog: The Armistice Blouse
The Folkwear 210 Armistice Blouse exemplifies a cut that was popular throughout the decade, with long rectangular lapels over a center panel called a "Vestee.” Until about 1915, this vestee was collared demurely like Gibson Girl blouses of the Victorian era (see the Folkwear 205 Gibson Girl Blouse Pattern or PDF Version), but by 1917 it had become a simple squared inset. Because of a steadily dwindling supply of fabric, waistlines were less defined and casual deep necklines, lapels, and cuffed sleeves were much in favor.
Our blouse can be made in a simple untrimmed version or trimmed with lace on the collar, cuffs, and Vestee (as seen illustrated on the pattern cover). Tucks and/or drawn-thread work can be added on either version. Other variations you may wish to try include making the collar and cuffs out of contrasting fabric or novelty laces, or adding tucks to the front and the shoulder. You can learn more about all the beautiful techniques for embellishing the Armistice blouse in the bonus material included in the pattern.
Traditionally the Armistice Blouse was made of sheer gauzy white fabric. This was in part because dying technology had yet to be perfected, making white the main fabric choice. White also shows off fine hand sewn details that are synonymous with the Edwardian period.
In the spirit of liberty and celebrating the women who have set the path for our own freedoms, I hope you will join in making the Folkwear 210 Armistice Blouse. The blouse is on sale throughout the month and it is also available in a PDF version.
Economist, attorney and civil rights activist, Dr. Sadie Tanner Mossell Alexander in a vestee-fronted blouse paired with a matching skirt. Note the very sheer fabric on the pleated vestee front and the sleeve ruffles. source BlackThen.com
In the next blog, learn to use the 210 Armistice Blouse Pattern to make a simplified-easy-breezy-everyday version to liberate you from the summer heat!
This is DAY THREE of the Chupa Sew Along. To start at the beginning, click here to see Day One.
Now that the 131 Tibetan Chupa is constructed, all that is left is finishing the neckline and armholes with facings, hemming the skirt, and making a simple loop closures that is paired with a button, and adding hook & eyes for closure security.
Finishing the Neckline
If you have not already cut the facings and interfacing for the Chupa now is the time. Note: If you are working with a bulky fabric, you may wish to substitute a lighter-weight lining fabric for the facings.
To ensure that the neckband facings are made more stable and strengthened, baste or fuse the interfacing to the wrong sides of Left Neckband E and Right Neckband F. Be sure to handle (when stitching or pressing) the facing pieces with care, especially if your fabric is a lose weave. Any time a fabric is cut off grain and especially on a curve the fabric is not stable and may stretch.
Be sure to apply the interfacing to the Neckband pieces, not the facing. It is easy to confuse which is the neckband and which is the facing. When cutting two, the neckband will be pattern piece on top, with the right side facing up.
Simply pick the top pattern piece up and place it on the interfacing to ensure you have the correct pieces paired.
If using a non-fusible interfacing, stitch the interfacing to the Neckband pieces within the seam allowance. Make a stay-stitch 1/4-inch (6mm) from the outer edge this will work nicely, helping to stabilize the curved edges.
With right sides together, stitch the Left and the Right Neckband at the center back, matching the notches. Press the seam open.
Repeat doing the same with the Neck Facings pieces. Don't forget to stabilize the edges with a stay stitch 1/4-inch (6mm) from the edge.
Press under 1/2-inch (13mm) along the curved notched edges of the neckband facings. Trim away half of the seam allowance, leaving to 1/4-inch (6mm). Remember the 1/4-inch (6mm) stay-stitch I made to help stabilize the facing curves? It now conveniently serves as a cutting guide.
Hint: Any time you need to fold and press an edge neatly and cleanly, simply sew a basting stitch to use as a guide. This simple guide technique helps to create a smooth and even edge quickly and easily. Then the basting stitch can easily be removed.
With right sides together, pin and stitch the neckband to the neckband facings along the long curved unnotched edge and both ends, being sure to match the center backs. Trim the seam allowances and the corners, clip the curves to help release the fabric, turn, and press.
Prepare the Neckline for the Neckband and Facing
Clip to the stay-stitching along all the curved neckline edges to release the fabric so that the neckband and facing will lay nicely together along the curves.
With right sides together, baste and then final stitch the neckband to the chip neckline. Match the center backs, notches, and small dots on neckband to shoulder seams. The idea behind basting the neckband on first is to allow you to easily fix any puckers or adjust any easing that might need to occur. Once the neckband and the neckline align and fit together properly, then make the final stitching on the 1/2-inch (13mm) seam allowance. Trim the seam allowances and press the seam towards the neckband.
In the photo below the neckband is sewn to the neckline and I have left pins that correspond to the center back, shoulders, and notches.
Slip-stitch the pressed edge of the neckband facing over the neckline seam. Note: Finish the shoulder seams before sewing the facing down.
If you like topstitch the neckband 1/4-inch (6mm) from the edge, meeting the stitching at the side opening. I decided not to topstitch the neckband this time. I hand stitched the neckband facing in place and decided it looked nice without any extra stitch work.
Finishing the Armholes
The armholes are finished with a simple facing that folds to the inside of the garment and is not visible on the right side.
With right sides together, stitch Front Armhole G to Back Armhole H at the shoulder and the underarm seams, matching the notches. Stitch and press the seams open.
Turn under 1/4-inch (6mm) along the outer unnotched edges of the armhole facings and press or baste to hold the edge down securely. If basting, you will eventually remove the basting stitching. I found pressing was enough to keep the fabric laying nicely after pressing. But this will depend to the fabric you use.
To attach the facing to the armhole; with right sides together stitch the armhole facing to the armholes, matching the notches, shoulder seams, and underarm seams. Trim the seam allowances, clip the curves, turn facings to the inside of the armhole, and press.
Making the Closures
Since the Chupa bodice is a wrap design, it needs a little help from a few pairs of Hooks & Eyes in strategic places to help ensure a secure closure. I also decided to use a couple of snaps just to see how they would work?
The wrap closure to the Chupa is on the right side of the garment as you would wear it. Align all the edges to be sure your hook & eye (snaps in this case) placement will nicely match-up. Sew a hook & eye on the right side opening where the side extension meets the bodice side seam. Typically the eye goes on the top of the underneath edge and the hook goes on the underneath side of the top edge. In the case of using snaps, the part with the whole goes on the top of the underneath edge and the part with the point goes on the underneath side of the top edge.
I decided to add another snap to keep the sides neatly closed. Whether using hook & eyes or snaps be sure to place them inside the edges far enough from the outer edge that they are not visible on the right side of the garment.
With the right side of the garment facing up, sew a couple of hooks on the hemmed edge of Front Underflap, one at the bottom and the other just below the neckband. Be sure to place the hooks in a bit from the hemmed edge. I lined the curved tip of the hook with the stitch line of the hemmed edge (see below). Set the eyes aside for now.
In the photo below the Front Underflap has been pulled to the outside of the garment so you can better see the hook placement.
Making Loop Closure
Now, for the decorative wrap closure. This simple closure is make using two strips of fabric cut using pattern piece I (i). One of the strips is made shorter by cutting 2 1/2 -inches off one end.
On both closure pieces, press under 1/4-inch (6mm) along both long edges. Use a Bias Tape Maker to make this task easier. Then fold again along the center foldline and topstitch close to both long edges. It is difficult to back stitch on such a small strip of fabric, so do not feel it is necessary.
Front Loop Closure
Slip the shorter closure into the shank of the button. If the shank is too small to accommodate the closure strip, fold the strip in half and hand stitch the button to the fold. I am using a 3/8-inch vintage shoe button.
Press under the raw ends of the closure strip 1/4-inch (6mm) and position on the neckband so the button just extends beyond the corner edge. Topstitch the pressed-under ends securely in place.
Hooks & Eyes on Front Underflap
Try on the Chupa to help you make any wrap adjustments. The extensions wrap around to the back and tie in the back or wrapped around and tied in the front. Place a pin vertically where the button meets the right side (this may fall forward or backward of the side seam). Also place pins along the left dart on the front, making sure the pins are even with the two hooks already sewn on the edge of the Front Underflap.
Be sure the hooks are securely attached to the dart at the stitching line.
Sew two eyes at the pin markings on the left dart on the inside of the front. The pins will should help determine the spot in which to sew the eyes. The idea is to align the hooks & eyes.
Back Loop Closure
Fold the remaining (longer) Closure strip in half. Press the raw edges under 1/4-inch (6mm), and position on the back. Stitch to the right side of the back using a topstitch close to the folded under edges to secure in place. Be sure to position so the loop end overlaps the pin. Since the front loop with the button is already in place you can also use the button to help in postioning the back loop. I found it easier to topstitch the looped end to accommodate the button first, before attaching the loop closure to the back (as seen below). Either way is fine.
Top stitch close to the edge of the closure being sure to allow for enough space at the looped end to accommodate the button easily.
The Hem
Try the Chupa on and have a look at the hem to see if you need to make any adjustments. When wrapped, the edges of the extension may not be even with the rest of the hemline. Due to the wrapping of this design, there is some forgiveness in the hemming. Personally I am perfectly ok with this as long as there is not an obvious unevenness.
If using a lighter-weight fabric, press under 1/2-inch (13mm) along the raw edge, then turn up along the hemline and slipstitch or machine stitch close to the folded under edge.
If using a heavier-weight fabric, stitch hem tape (or a preferred trim) along the raw edge and turn up once along the hemline and slipstittch or machine stitch into place.
I hope you have enjoyed this Sew Along, and will enjoy wearing your new Folkwear 131 Tibetan Chupa all summer long. If you have not yet made a Chupa, I hope this Sew Along will answer any questions you might have had about its construction. It is such an easy piece to make and so flattering to wear.
Be sure to check out @WeepingMyrtle on Folkwear's Instagram page for a truly beautifully made Chupa! The hand stitching details are so lovely! Not only do we love seeing what you have been inspired to make... we can not help but beam with pride.
by Cynthia Anderson
This is Day 1 of the sew along.
Click here for Day 2.
Click here for Day 3.
The Folkwear 131 Tibetan Chupa is a wrapped jumper that has a centuries-long history in Tibet. Along with its deep traditional roots, the Tibetan Chupa makes a beautiful contemporary garment that is perfect for any season. The Folkwear team thought we would introduce you to the Folkwear 131 Tibetan Chupa & Skirt pattern in a Sew Along to inspire your summer sewing.
In this Sew Along, you will learn to make pattern that is not only simple to make, but flattering to wear. The pattern makes the dress shown, but also includes a versatile Chupa-Inspired Wrap Skirt that will make an exciting and fun addition to any skirt collection.
The Chupa was traditionally worn with added layers of aprons, woolen sashes, and a panel coat (like our 118 Tibetan Panel Coat). It can be worn alone or with a blouse (like our 111 Nepali Blouse). The Chupa design features an asymmetrical bodice wrap front, front and back shaping darts, wide neckband, simple faced armholes, and unique side extensions that wrap around the back to tie in front. The resulting silhouette is slim, yet the wrapped extensions provide enough leg room to make walking easy. Both the Chupa and Chupa-Inspired Wrap Skirt can be made in the traditional ankle length or below-knee length. Of course, you can alter the length any way that best suits you.
Front & Back Views of the Chupa and Skirt
To get started consult the Sizing and Yardage Requirement chart (on the back of the pattern sleeve) to choose your size and fabric yardage needed for your project.
Also, have a close look at the Finished Length Measurements provided (bottom left hand column on back of pattern) for the Chupa & Skirt to help in determining the best size for you.
Be sure to read the bonus material included in the Folkwear 131 Tibetan Chupa & Wrap Skirt Pattern for more history and information to inspire your sewing.
Here's the Sew Along Schedule:
Materials Needed:
Choosing Summer Fabrics
Any natural fiber fabric would be ideal for making the Chupa or skirt for everyday summer wearing. Look for light to medium weight cottons and linens. Fabrics that breathe and whisk away moisture are a joy when the temperatures rise. When picking a fabric remember to consider the drape. This pattern is made even more lovely when made with a fabric that has flowy-ness. For this reason rayon and tencel would be nice. Pick a solid, patterned, striped, or eyelet fabric and rest assured this pattern makes up beautifully in just about any fabric you choose. Do keep in mind that the fabric you choose will be doubled with the wrap extensions and the ties should withstand being tied a multitude of times. Woven fabrics tend work better than knit fabrics for this pattern.
Use more than one fabric design and have some fun. The ties, neck facing, and armhole facings could be made in a different fabric from the main body fabric of the Chupa. I do suggest making a muslin before using a combination of different fabrics so you will understand the construction and how you might creatively use different fabric combinations. Once you understand the construction of this design, your creativity can take off!
Even though this Sew Along focuses on summer Chupa sewing, I must say after having just made this dress for the demonstration purpose of this blog, I am already planning a version for Fall... just so you know. If you are already experiencing winter somewhere in the world or like to plan ahead, I have you in mind too.
Choosing Fall/Winter Fabrics
When you consider the cold winter climate of Tibet, it is not hard to understand how the Chupa was developed to be both versatile and practical. Of course, what was good enough ages ago can still be relevant in modern wardrobes too.
The wrapping of the design at the waist helps lend a warm comfort like a cozy blanket. In the winter the Chupa was traditionally worn fur-lined or padded for extra protection from the cold. Maybe a faux fur-lined version would be prudent just in case the power goes out?
Any cozy fabric that is not too stiff would be a great choice. Look for light to medium-weight wool, such as flannel, gaberdine, and tweeds. Medium-weight cottons such as denim, corduroy, velveteen, and poplin are good choices. For a dressy or casual look consider silk fabrics like haboti, charmeuse, and noil. Once again look for light to medium-weight silk fabrics, with a bit of drape.
Getting Started: Prepare Your Fabric
Once you have your fabric, it is a good idea to test for washability and shrinkage. Cut a small swatch 3"x4" (8cm x 10cm) of fabric from the corner of your yardage. Place the swatch on a piece of paper and trace around it. Keep the tracing for a reference. Wash and dry your swatch the way you intend on laundering your finished garment. Now, lay the swatch back down on the tracing and compare. Did the swatch shrink? Did the fabric change in an unacceptable way? If your yardage shrank in a substantial way, you may need more yardage or a different fabric. This little test helps to eliminate any unfortunate surprises resulting in disappointment.
If you are fine with your swatch test, go ahead and prepare to wash and dry your yardage according to how you intend to launder the final garment, or according to any care instructions that the fabric requires.
Before you wash, you can serge the raw edges, or sew a straight stitch or long basting stitch, to the raw edges of your fabric yardage. This will prevent your fabric from unraveling and getting tangled, when being put through the rigors of washing and drying.
After you launder your fabric, determine the right side of the fabric. If it is not apparent, you can choose which will be the right side. Thread a needle with a bit of contrasting thread and catch a few threads of the right side of the fabric, in the selvage. Tie the marking thread off with a few tiny knots to secure. This step can save a lot of time second guessing yourself on which is the right side.
Give your fabric a good pressing, not only to smooth it out so the pattern will lay down well, but to force yourself to give the fabric one last inspection before you lay out your pattern.
Trace off your pattern
In order to preserve your pattern and keep it intact, consider tracing off the pattern size you require and make any adjustments needed on the traced pattern and not on the original. News print or a roll of paper will work, however, Swedish tracing paper is really fabulous for this. Swedish tracing paper behaves like a cross between paper and fabric. It is durable (will take endless pinning and folding) and it is transparent enough to make tracing your pattern easy. It takes both pencil and ink well. It irons well too.
Trace and cut your pattern out accurately. Be sure to add all notches, dots, and instructional markings too.
For now gather your materials, trace and cut out your paper pattern in your size, and prepare your fabric. Join me next week for Day Two of the Sew Along and learn some tips when laying out your pattern on your fabric and the beginning construction of the Folkwear 131 Tibetan Chupa. The pattern is on sale though the month and a pdf version is available too.
Embroidering the edges of your garment is a great way to to add a simple embellishment as well as a great way to get started with embroidery. Edge stitches can be very simple and go very quickly. And at the same time, they add something special to your garment that makes it personalized and unique. Use a contrasting thread to make the stitching stand out or complimentary thread to blend colors. Use edge embroidery on neck lines, cuffs, hem edges, pocket edges, or along the front of a jacket or open shirt.
Lots of Folkwear patterns are perfect for adding edge stitching to (and are even traditional to the pattern). 142 Old Mexico Dress often has stitching along the neckline and sleeve and hem edges. You can see an example in the photos above of a white 142 Old Mexico Blouse with a complimentary light peach thread used to do a blanket stitch on the neckline, sleeve hems, and yoke edge; and our blue sample with colorful crewel embroidery along the neck edge. 109 Little Folks has a Mexican Blouse as well as Turkish Shirt that both look very cute with embroidered edges. The 157 Moroccan Djellaba is another great pattern for adding this type of embroidery to the edges. You can also use these stiches on ready-made garments that you want to add a little color or interest to.
There are several stitches used to embroider edges, and I will cover two common ones here: blanket stitch (also called buttonhole stitch because when done very close together, it can finish a handmade buttonhole) and herringbone stitch (or cross-stitch). These stitches can be purely decorative, or they can actually finish the edge of the fabric. When stitched close together, these stitches can finish hems, depending on the fabric and finishing techniques and vision (and how it will be handled - hand-finished edges may not stand up to heavy duty washing machines, etc.).
Materials needed
You will need an embroidery needle or crewel needle - one with an eye big enough for the thread you will use.
For thread, use Perle cotton, crewel yarn (used in blue sample above), or embroidery thread/floss (used in white sample). You will need to decide if you want a more delicate stitch or if you want it to stand out and even add some texture to the garment. For a more delicate stitch, use 3 strands of embroidery thread or #8 (or #12) Perle cotton. For a heavier look, use all 6 strands of embroidery floss or #5 perle cotton or crewel yarn.
You may want to use an embroidery hoop, but for edge stitching, I usually do not.
Starting and stopping
To begin, I often tie a knot at the end of my thread and just begin. But, experienced embroiderers take a few tiny criss-crossing stitches in the back of the fabric to secure the thread. If you are going to machine stitch over the ends of the edges (i.e. enclose them in a seam), you don't need to secure those edges.
To end, I usually tie off my thread with a knot in the back of the fabric. Again, you can take a few tiny criss-cross stitches to secure instead. I usually hide my thread tail inside the fabric hem as well, cutting it after I've run it to the inside of the hem a few inches.
Blanket stitch
This is probably the most common edge stitching and there are several variations.
To make this stitch, come up from the back of the fabric, bring the needle up and through the loop made by the thread before it is pulled tight. Then, pull thread tight enough to lay flat against the fabric.
Then, repeat this the entire length of the edge.
There are several variations of this stitch that add a little more decoration. You can do a pattern of long and short stitches, for example, long, short long (see illustration below). Add in a double space between the sets of stitches. Or double up two blanket stitches for a bit more texture and boldness.
Cross stitch, or Herringbone stitch
This is not true cross stitch and stitching aficionados might look askance at calling it Herringbone stitch also (since it's not quite perfect). But, it is close enough. This is another simple stitch that adds a bit of interest to edges. This one is also great to use along seams as well. It's perfect along the yoke/dress seam of the 142 Old Mexico Dress.
To make this stitch, stich from the lower left of the stitch to the upper right, then bring the needle up just below the upper part of the stitch to make another diagonal stitching line. Continue the diagonal stitches across the area where you want the cross stitching. Then, cross the stitches with a lower right-to-upper left stitch. You can make the stitches wide or more diagonal, cross the tops and bottoms of the Xs (this is what herringbone stitch is like), or keep the stitches (Xs) very separate from each other.
These two stitches are combined below in one of our 142 Old Mexico Dress samples using crewel yarn for a colorful and fun look. These stiches were taken right along the edge of the bottom of the yoke of the dress. You can see the small stitches at the end/beginning of the cross stitch where they anchored the thread. The yarn for blanket stitching here was variegated and changes colors in different areas of the garment.
Hints: if you have trouble with keeping any of these stitches even, you can use tiger tape that you can peel off your fabric after stitching. Or mark your fabric with water soluble marker at intervals that you want to stitch.
Whatever embroidery stitches you choose, use your creativity with color, texture, and style to make something unique to you and, most importantly, have fun with it!
Did you learn anything? Do you have questions? Do you have some tips to add? Leave a comment! And happy stitching!
by Whitney Remington
As a beginner sewist, I used to think of sewing patterns as a strict set of shapes and instructions to be followed to the letter, and that changing anything within would "ruin" it-- much as substituting the ingredients in a treasured family recipe might result in a very unfavorable reaction at the dinner table from guests who expect the original dish.
Following patterns right from the packet (other than the usual fit adjustments) certainly produces functional and beautiful garments to be sure! But with passing time and growing skill, I realized that patterns are merely guidelines to make garments that you can customize to your own shape, needs, and tastes. Don't like a design feature? Omit it. Too long? Cut it short. Too simple? Fancy it up! Body changes over time? Alter your clothes to fit your body! Not only is it totally ok to think outside the pattern envelope, whether in subtle or more extreme ways. It can be fun and produce awesome clothes that suit your individuality, and your own creativity is the limit. Here are a few examples of my own modified makes.
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While my #128 Russian Settlers Dress is loose and billowy in the main body, the top band-- which is one solid piece-- started to feel uncomfortably tight, likely due to quarantine weight gain. I wasn't content to let this dress languish unworn in the closet, but I didn't want to part with it either! So I cut open the top band at center front, neatly finished the edges, then hand-sewed eyelets at either end to insert a ribbon. As I had already included the nursing slit when I first made this dress, it was incredibly quick to make this adjustment. The nursing slit now serves as an adorable keyhole opening (with the excess length safety-pinned shut for modesty), and the top band can easily be adjusted to fit with the ribbon tie.
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The #261 Paris Promenade Dress is the first Folkwear Pattern that I've ever sewn, and I adore it for its effortless grace and comfort. When I first sewed it up, the only "change" I made was to go 2 sizes smaller than recommended for my measurements. This dress is still a favorite, three years later! But I decided it needed a bit of a refresh. So I lowered the top of the front apron piece by a few inches and shortened the sleeves a bit-- standing in front of a mirror, folding and pinning things into place to determine exactly how much I needed to adjust until it looked right. It's a subtle change, but doing so vastly improved the style lines for me!
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I put so, so much effort into making muslins and fine-tuning the fit of these #240 Rosie The Riveter Overalls! When the sewing was done, the fit was absolutely *chef's kiss* perfect! Then just a few months later, my body changed... and the overalls became uncomfortably tight at the waist. (I'm blaming quarantine yet again for this one.) But I wasn't about let that throw Rosie's wrench into my awesome 1940's overalls-wearing plans! So I opened up the side seams and inserted diamond-shaped patches to expand the fit at the waist. To determine how much I needed to adjust, I took a new measurement of my waist (adding in a couple more inches, just in case), subtracted the waist measurement of the original overalls, and made the total width of both diamond patches reflect the difference, plus seam allowance. Now my overalls are comfortable to wear again!
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The last few examples were of subtle changes... well now here's an example of deviously dramatic deviations from the pattern! I definitely used the #503 Poiret Cocoon Coat shape more as a base guideline, and proceeded to just toss fabric recommendations and instructions out the window! For both of my versions, I experimented by using poly chiffon and African wax print cotton, rather than the heavier fabrics suggested on the pattern envelope. I also omitted linings and collars, and shortened the sleeves by simply cutting them from the ends, resulting in wider, airier sleeve openings. To achieve a drapier look and tone down the floatiness of the lightweight fabrics, I used tassel trim to weigh down the hems of both, which also has the bonus of adding fun movement with the wiggling tassels! For the African wax print version, the characteristic stiffness of the fabric posed an interesting challenge, as it really wanted to puff outwards rather than slink down as would befit this garment. While the tassel trim alleviated some of that, adding tucks at the waist helped to tame the voluminosity even further, while also defining the waist in a way that I find very flattering.
Thanks so much for reading, and I hope learning about my creations will inspire you to try out some modifications of your own, whether they be tiny tweaks to full-blown pattern-hacks!
You can find Whitney, and see lots more of her Folkwear (and more) sewing makes as well as her adventures as a truck driver, on Instagram at @whitneygoose
I have been thinking of my summer wardrobe lately - thinking about what I want to add to my summer staples. And I knew I wanted a new button down short-sleeved shirt for everyday wear. One I could wear with jeans, shorts, and simple skirts. When we decided to feature 256 At the Hop, I remembered that I have admired the shirt in this pattern, and I saw a customer make one several years ago and rave about how great it was. While the skirt can be a canvas for lots of fun art and statement, the shirt can be a workhorse of daily fashion. I found 1.5 yards of a beautiful hand block printed cotton from Ghana in my stash. And decided to make it.
This is probably the simplest button down shirt I've ever made - or maybe the quickest one I've made. There is a fold-over front placket, rounded collar, bust darts, and front and back tucks. It came together very simply and easily. I loved the little darts and tucks that give it a bit of shape. You could add a front side pocket to it if you want to, but you'll need to draft it because there is not one is the pattern (probably also contributing to how quick this was to make).
I did make a few adjustments to the pattern I want to share. First, I added a little over an inch to the front and back. My torso is a bit longer than our typical Folkwear block. This was perfect for me. I also added interfacing to the front button plackets - just about an inch wide - to provide some stability to the buttonholes and button area. You could also add interfacing to the collar/facing if you feel your fabric warrants it. The pattern is not very clear in one step, but I folded the front button plackets to the inside by about 1/2" (13mm) to enclose the raw edge of fabric then I top stitched close to the edge - topstitching both at the edge of the shirt and at the edge of the turned-under edge - creating parallel lines one inch (2.5cm) apart on the placket. If you actually cut the front pieces on the selvage, you don't need to fold under that edge.
The one drawback of this pattern is that it is graded in a fairly small size range. When Taunton Press owned Folkwear (in the 1980s), they put out several patterns all in a narrow, and small, size range. Over the years since, Folkwear has adopted a slightly different grade rule, but we still have a patterns in the old Taunton grade rule. When we have the chance (i.e. a pattern is coming up for print) and the ability (i.e. pattern pieces are small enough, not super expensive, etc.), we try to grade it up. But, we have a LOT of this pattern in stock. While the pattern is on the smaller side of sizing, it makes a great shirt, cute skirt, and lovely sweater. And, we should have a tutorial on sizing the skirt up soon too. But, I would definitely encourage you to make this shirt if you can! It's a great one to add to your summer wardrobe!
by Cynthia Anderson
While the roots of the our 256 At The Hop pattern belong in the 1950’s, time moves forward with each new generation having a voice in need of expression. This circle skirt, also known as the Poodle Skirt, originally evolved as a fun garment, that allowed women a bit of glamor and a way to express a playfulness that had been suppressed due to a world war (read more on the history of this skirt here). It was an innocent garment for an era trying to regain it's optimism. However, this iconic skirt would embody and bond a generation of women. The poodle or circle skirt was not just a fun skirt to make and wear, but it became the voice of hope for a generation of women.
There is always more to clothing than we realize. Clothing reveals and reflects the cultural and social mores of a society at any given time. Clothing has always been and always will be, so much more than a way to protect and adorn the human body. There are times when clothing says more than we can speak ourselves. Typically, we go about our daily lives in clothing that subtly reveals something about us. But, sometimes clothing can be a platform for a bolder statement or idea.
In the desire to honor this iconic skirt's history and in the hope of keeping it's creative spirit alive, Folkwear hopes you will be inspired to treat this simple circle skirt as a canvas to express your own creativity and ideas.
In this blog, I will explain my thought process on how I decided to use the 256 At The Hop skirt pattern to commemorate one of the most iconic women in American History. My intent was to use this pattern as a wearable canvas to honor the courageous spirit and determined voice of Ruth Badder Ginsburg and celebrate her legacy.
Being a former graphic designer, I knew I should to keep this project simple. Being a sewist, I envisioned a multilayered and detailed quilted master piece. However, due to a deadline and other Folkwear projects on my plate, I went for simple with the hope of still honoring my subject. I decided a big-bold, black-and-white design with a splash of significant color would suit my vision. I made a muslin of the skirt, which allowed me to experiment with my ideas without the risk of messing up my final fabric.
Deciding how to execute any project is half the battle and what materials will most likely allow for "realistic" results was a good part of my planning process. Most importantly, I wanted to feature a portrait of Ruth that would actually look like her. Andy Warhol's silk-screen portraits came to mind. So did the campaign posters for former President Obama.
My next consideration was how to work with the shape and drape of the 256 At The Hop skirt, using it as my canvas. Having a large area to work with can be as daunting as having too little space can be limiting.
To procrastinate making an immediate decision on how to proceed and to allow myself to think through my project, I cut my canvas out first, according to the pattern instructions.
I knew this skirt would be really easy to construct, but the construction would come last. Working flat makes creating the art part much easier. I cut the front and back of the skirt using the pattern. Instead of using the "Lengthen/Shorten Here" line to shorten the skirt, I measured and cut 4 1/2-inches off the bottom of the skirt, which I reserved for the hem to be added later.
Due to the manipulations the fabric inevitably goes through, I stabilized the waist with a stay-stitch just inside the seam allowance, and finished the side edges and bottom edges with the serger, being careful not to move too much fabric, keeping the intended skirt length in mind.
I found a graphic portrait and using the computer program Photoshop, (you can also use Illustrator), I enlarged the portrait and printed it off on my desktop printer. Because of the size of the image, I tiled and taped the pages in place like you would a pdf pattern.
Plan A was to cut the portrait out of black fabric and applique it to the skirt fabric. Even though I was pleased the cut fabric portrait still looked like Ruth, I decided hand applique would take too long and machine stitching the intricate edges would not work well for me. Plan "B"... paint.
Because of the shape and drape of the circle skirt, positioning a vertically orientated image straight up and down needs be done with the skirt hanging as if on the body. This is where having a skirt muslin really came in handy. Notice the position of the portrait when hanging on the dress form compared to the position of the skirt laying out flat.
Once I was satisfied with the positioning, I consulted the Folkwear blog How to Transfer Embroidery Designs to Fabric. Even though I was not using embroidery, a simple tracing technique from the blog still applies.
After tracing the portrait, I placed a scrap piece of cardboard under my work and used black acrylic paint to paint the portrait. This was a slow process, being careful not to create a paint mishap. During the process of painting I avoided moving the fabric around on the cardboard. The paint seeps through the fabric to the cardboard and moving either would create an undesirable effect. When using acrylic paint on fabric, be careful to not use paint that is too thin. Strive for a paint consistency that will flow without bleeding. After the portrait was painted, I let it dry completely.
The RBG initials were created using Photoshop and tile printed due to the large size. I taped the pages together and this time I cut the letters out with scissors to create a pattern to trace around. Because I was working with black fabric I used a white lead pencil to trace with. Once the letters were cut out of the fabric, I positioned the letters according to my planned idea. I used white sewing thread to baste the letters in place... with the idea that I would keep the basting stitches as part of the design. Once the basting was complete I machine zig-zagged around the edges of the letters with the same white sewing thread. To my surprise, I liked that the zig-zag stitching related well to the painted collar design in the portrait!
Next I turned to the back of the skirt. This blank canvas was so empty, but the perfect place for a famous RBG quote. The "Notorious" quote seemed to epitomize Ruth's spirit. Because of the wide sweep of the skirt, I opted to place the quote on the bottom curved edge. Using Photoshop I drew the bottom edge of the skirt curve using a scaled snapshot of the skirt pattern as a guide. I decided on a font and positioned it on the curve, playing around with the positioning until I liked it.
Once again I printed out the type and tiled the pages together. Just like the portrait... I traced the quote using a pencil.
Now the fun part . . . seeing it all come together! I constructed the skirt according to the pattern instructions: adding a side zipper with fusible interfacing for reinforcing the zip area, stitching-up the side seams and hemming the bottom edge. Because I wanted the hem to have a bit of weight I used the extra fabric previously cut off the bottom of the skirt, sewing the hem on separately.
The waistband was cut and made wider than the pattern required, in order to accommodate the ribbon used to cover the waistband.
A rainbow ribbon to represent Ruth's support for Gay Rights (and a nod to Pride Month) was edge-stitched to the waistband and finished off with a couple of snaps to secure.
There is so much wrapped up in being inspired to make something that did not exist before. The creative process is unique to everyone and during this project I could not help but wonder if Ruth ever wore a poodle skirt? I hope she would like this skirt.
I hope that you will look at this skirt pattern for new and unique possibilities. Use the 256 At the Hop skirt pattern as a canvas to express something that inspires you and celebrate your own voice! We can hardly wait to see what you have been inspired to make!
Special Thanks to Folkwear's latest team member and model... VICTORIA!
There are few garments that conjure up American nostalgia quite like a poodle skirt. This skirt became synonymous with the 1950’s carefree lifestyle of the post war years and a dance floor icon that exemplified the energy of new cultural phenomenon called Rock n’ Roll.
Our 256 At the Hop pattern is a time-capsule of 1950’s women’s fashion that embodied the spirit of a new generation. This nicely curated collection of classic garments comes with all the extra details needed to add as much 1950's nostalgia as you like. The pattern includes not only the iconic Poodle Skirt, but a classic short sleeve blouse pattern, and knitting instructions for a cropped cardigan. To complete the look, coordinating winter holiday and poodle dog appliqués and knitting designs are provided to embellish the skirt and sweater. The seasonal holiday and poodle motifs are in keeping with the original history of the first poodle skirts designs as you will learn.
Women’s Fashion was put on the back burner due to the war years starting in 1939 and lasting thru 1945. Once the WWII was over and the country began to prosper, a new cultural energy and ethos began to stir. The whole country was ready for better times, as well as something exciting and new. In 1947 such an exciting change came to women's fashion. The New Look by Christian Dior was unveiled, introducing a skirt with a full and flowing shape and a nipped waist. This new look was in sharp contrast to the practical clothing of the war years and women embraced this new symbol of high-style with enthusiasm. The fact that it was easy to make only added to the craze among women across all spectrum of society.
Christian Dior's iconic New Look.
During the winter holiday season of the same year, a young budding actress named Julie Lynn Charlot had an invitation to a Christmas party and nothing to wear. Julie was newly married and broke, but her mother owned a factory that used felt. Needing a holiday outfit Julie decided to draft her own skirt pattern (like Mr. Dior’s) and used the easy-to-work-with felt she had on hand. Sewing was not a skill Julie was good at, so she cut a big circle with a hole in the middle for her waist, which eliminated the need for seams. On this first party skirt, Julie included seasonal holiday appliqués just for the fun of it. The new couple not only enjoyed the Christmas party on a budget that year, but Julie’s skirt drew quite a lot of attention.
A Christmas Holiday Skirt designed by Julie Lynn Charlot.
Before long, Julie was selling her felt holiday skirts in Beverly Hills boutiques, where they flew off the racks. It did not take long before non-holiday themed embellishments were requested and the trend took off like skirts on fire! You never know when making something for yourself could turn you into a fashion designer?
Julie also established the skirts iconic fabric of choice. Felt may have been what Julie had on hand, but it was a perfect choice, once again making the skirt easy for anyone to sew. To add to this charming story, Julie was not stingy with her designs and worked with a pattern company to make her designs accessible to women world wide. She helped to create a whole generation of women who delighted in creating skirts with fun scenes and stories using easy to apply appliqué techniques.
As it so happened, the first Westminster Dog Show that year, had created a rage for all things dogs. As a result, Julie was commissioned to make a skirt depicting a story of three appliquéd dachshunds.
Julie in her own Dachshund Dog design skirt.
Due to the high profile dog show and their fancy haircuts, poodles became a symbol of refinement and high class. As fate would have it, the appliquéing of poodles on skirts was beyond huge. Before long, just about anything became a possible embellishments for these wide circle skirts. Grown women adorned their skirts with the Eiffel Tower, Martini glasses, flower pots, and seasonal themes. Teenage girls embellished their skirts with trendy images like records, catchy phrases, hot rod cars and anything that inspired.
Ladies of the 1950's modeling different themed circle skirts.
Horse Race skirt design by Julie Lynn Charlot.
Dance Floor skirt design by Julie Lynn Charlot.
Designer Bettie Morrie even appliquéd a backgammon board on her skirt, which she used for an impromptu game when it arose.
After the difficult years of the war, women were in need of not only glamour but the country was overdue for some much needed fun. Mr. Dior's flowing skirt design was not only fun to move and dance in, but it was the perfect canvas for displaying one's individual expression. It would be Julie's idea of adding appliquéd embellishments that would transform the skirt into a popular conversation piece. Even walking down the street became more interesting and fun for everyone!
Of course, each garment in the pattern in the Folkwear's 256 At The Hop pattern is a classic, easily made for everyday wearing no matter the season. Use this pattern to make a costume, historical reenactment, a theater production, a sports or hobby themed skirt, or as a canvas when inspiration strikes.
Halloween made more fun!
This is truly an American story of how a fashion icon was created out of one mans awareness of how to fulfill a desire for glamour and the necessity of one young woman to dress herself for a party. So, it just goes to show how once a momentum gets started, anything can happen! It is amazing how a simple skirt bound a generation of women and created wonderful memories in the process.
Find your own inspiration using the this pattern and please share what you make, whether a masterpiece or a lovely everyday look.
Be sure to stay tuned to what we were inspired to make using the 256 At the Hop skirt pattern in the next blog (coming this week!).
Well hey there, howdy, hi. I’m Sarahbeth. A (mostly) retired, previously-award-winning indie apparel designer coming to you from Mars Hill, NC with a hopefully inspired, and also tragically comedic, adaptation of the 267 M’Lady’s Corset.
A bit about my history in apparel design: Many many moons ago I had an indie apparel line called Unabashed Apparel. I did it all: designed, drafted, sewed, produced product line, photo shoots, etc. Now I create for myself and my loved ones and take a few commissions when the mood strikes me. I’m most interested in how we inspire and encourage one another as creatives. I drafted patterns for every piece I made for my apparel line. I drafted a prototype, then several sizes for each piece in a collection. I personally handmade each piece. In custom bridal, I created a custom body block for each client and then a pattern for the gown from there. I sewed muslins before cutting into silk, but my original patterns were spot on and so after a few years I scratched the muslin part of the process. It was nerve wracking at first. For the last decade I’ve mostly draped any piece that I want to create. There have been times I’ve been frustrated that I didn’t create a pattern to return to, but it’s rare. For personal use, Folkwear has been the only pattern company whose patterns (other than my own) I have reused time and again. I’m a big fan not just of the quality but of the fantastic women who have been stewards of this pattern company.
The tale of this jacket is one of beautiful woe.
Mostly it goes like this: pride cometh before the 2 dozen things you have to do to make a grand idea live-able. You know the old phrase, when someone tells you they like something you made, say thank you and then clamp your mouth shut? This is not that. I want you to be inspired, I want you to grab the bull by the horns, (I want you to use a different lining for your project…)
In short: A while back I designed a jacket for a particularly beautiful Merchant & Mills wool. Then inspiration struck! It was similar enough to the 267 M’Lady’s Corset my buddy Cynthia asked me to model for her recent Folkwear blog post. Why reinvent the wheel? I fetched the pattern and planned to adapt it to my design.
Now, I feel I should tell you I’m more a Jack Pollock than a Jo Vermeer type. Of course, I wish I was refined and dedicated to the exact right brush stroke, but in truth, I really don’t have patience and just throw spaghetti on the wall. I’d rather yelp and fix than wait and plan it perfectly. It’s good to know thyself, because it turns out I was a bit rusty and a bit over-confident with my adaptation and ideas. I had a lot I had to fix with this project. I learned/remembered a lot too and that’s always a great boon to an old grizzled pro.
The idea: Seamed peplum wool jacket, lined with soft jersey for comfort and a casual effect.
Add to the pattern: Sleeves, High neck, Pockets, an Elizabethan flare, be comfy & warm.
Reality: Lined with soft, lightweight jersey? Please. Send help.
1. Prewash. I pre-wash almost everything, including wool. I hand wash my woolens, and to be able to do this, I throw my fabric in the washing machine before I cut out a pattern. It might change the look (and it did change this wool) but I find I want to be able to personally wash things 99% of the time. I buy 1/3 more of my wool than a pattern calls for for this fact. You can see here that the fabric was looser before washing. I prefer the tighter and fluffier outcome post washing and drying. I can’t tell you the number of times a bride I’ve designed for will call me about stains/dirt, and when I say, throw your gown in the bathtub, wash it with some gentle soap – wring it out, hang it to dry – they cry. I prewash errythang.
2. Lay it out, think it through. Add about an inch to the pattern body to turn a fitting corset into a jacket. Cut.
Consider the neck. Of course the original pattern had a scoop neck, and I wanted a warm jacket. I like things to cover the base of my neck and ride a bit high in the back. I used my French curve ruler to sort it out. Always allow for more fabric (shallower curve), you can trim away for the correct shape.
3. I love a selvedge. I use them all the time for the center front of jackets. The stability is priceless.
4. Peplum Front: I straightened the pattern piece to match a jacket front, knowing I would want to continue my closure.
7. Sleeves. Ok here’s the catch and how I (successfully) planned for it:
A) The M’Lady’s corset pattern has a rather squared off underarm. I rounded it and added a bit of fabric to my cut with a “that looks right” eye on the pattern pieces, there are 2 pieces here to consider. Always cut it higher, again, you can trim away, you can’t add back. The multiple seams at the side also give you plenty of room to adjust your fit. You’ll learn the true non-symmetrical reality of your body in this add-edit-and-cut process. Lack of the body’s symmetry is one of the secrets to understanding personal fit success.
B) What sleeve pattern piece to choose: You can see this is one of my old drafted pattern pieces. How to pick a sleeve: Pick a sleeve from a pattern you already have that is loose enough to be a jacket sleeve. I chose a single piece rather than a double piece because it was for a loose rather than rigid jacket idea. This is most important: You can always make an ample sleeve fit a jacket by pinning it and editing it to what you’re creating. It follows more fabric = more editing options principle. The only thing to be aware of is not to cut too deep a curve away from the top of the sleeve to the underarm edge, while this allows for more underarm room in principle, it only does so if you have matching and loose shirt/jacket designs and pattern pieces. Again, cutting away is easy, adding back is not impossible, but more gnashing of teeth than it’s worth. Make sure you pick a woven sleeve pattern. Creating a good sleeve hang is easily achieved through pinning it to the armseye and adjusting the ease from there.
8. Pockets. Now the pocket part was brilliant, forgetting to recut them in a matching fabric was my 2nd whoopsie of this project. I wanted you to see that little French-seamed, wonky silk habotai pockets are easy and awesome to add, particularly where you have a natural waist seam, so I cut a couple out of this pale beige silk and then forgot to remake them in the correct and matching green color for the jacket. That’s right. I added them in, after I remembered to rip out the seam where they needed to be inserted. See next photo.
13. Finishing: Mmmhmm. Well, I’d planned to attach the jersey lining to the hem. Ridiculous in reality due to the pulling of the jersey to wool situation but I hadn’t cut the jacket long enough for a double hem. Solution: I tea-stain dyed some cotton lace and used it to hand finish the wool hem. I hand stitched the jersey to the wool at the front placket and neck. I wanted a subtle edge to both.
I’d do it all again with a silk stretch charmeuse lining. I’d cut the lining the same size as the rest of my pieces and I’d be happy as a peach.
I hoped you enjoyed reading about my adventures of my extreme pattern hack of this fab pattern, 267 M'Lady's Corset (and maybe you learned something too). And are inspired to tackle your own pattern hacking. Folkwear patterns are a great place to start.
by Cynthia Anderson
Creating our own trim is something we generally do not consider taking the time to do as modern sewists. With all the lovely ribbon, laces, and trims available on the market, it hardly seems necessary. There are times however, when finding the right embellishing trim may not be feasible or the perfect trim simply does not exist. Plus learning to make your own trim embellishments is a tradition that is fun and connects us to generations of past makers whose creativity and techniques are good to learn from.
Until recent history, making your own trim was done by hand. The techniques found in the our 123 Austrian Dirndl Pattern have long been a part of European trim, or ruching, making traditions and culture that continue today. These trim techniques are synonymous but not limited to the dirndl. The dirndl may be the traditional dress of Austria and Southern Germany, but this popular silhouette makes a beautiful everyday summer dress as well. Whether you embellish it or not, is up to you. Though resisting these trims may prove difficult.
The 123 Austrian Dirndl comes with a plethora of extra information and history to help inspire anyone interested in not only making the dirndl, but the authentic trims. You will find seven different ruching trimmings to try. All the trims are stunning on their own and can be combined in numerous ways, or masterfully paired to make one fabulous trim (as in the photo above). Upon closer inspection, it is not hard to imagine all the different types of projects that these ruching trims could be used for. These techniques are fun and easy to master and so beautiful! You can also find all the information you need in the PDF version of the 123 Austrian Dirndl.
Materials
All the ruching techniques offered in this pattern start with a tube of cloth or ribbon, that is then hand-stitched in various ways and pulled up to form a repeated motif. Tubes cut on the bias are generally preferred, because fabric cut on the bias naturally allows for bending into curves that lay smoothly. This is especially true when applying trim to necklines, armholes, or any curved shape or edge. Detailed instructions on how to make a continuous bias strip or tape are included in the pattern. You can also view this extremely helpful video we made on how to make lots of continuous bias tape.
In this blog I will be demonstrating the Holflaten, also called a Whole Folds or Box Pleat Ruching, and the Rosenrushe or Rose Ruching. These rushing techniques start with making a tube cut on the bias or straight grain. The fabric I am using here is cut on the straight grain to economize fabric and for the ease of time.
Ribbon can be used for making many straight grain techniques as well. Silk ribbon cut on the bias is especially nice when bias is required. You can find beautiful bias hand dyed silk ribbon by Hannah Silks on Etsy.
That's not all, the Herzrusche or Heart Ruching will be demonstrated using a sateen finished ribbon, because everyone should be inspired to make this beauty!
Getting Started
First you need to determine the width and length of your tube, or ribbon, if you have a specific purpose in mind. When deciding on the width, simply experiment to see what proportions you like depending on application. Your final widths for the tube, or ribbon width, can be between 1/2" to 1-3/4", depending on the look you want and the weight of fabric, or ribbon, you are using.
To make a fabric tube for the trim, cut your fabric two times as wide as the final tube plus 1/4 inch (6mm) for seam allowances. For example, for a 1-inch (2.5cm) tube, cut bias strips 2 inches (5cm) wide plus 1/4 inch (6mm), or 2-1/2 inches (6.3cm) in total width.
Keep in mind that the fabric weight. Heavier weight fabrics generally work best for wider trims that do not require fitting along tight curves or shapes. Lighter and finer weight fabrics work best for more narrow trim widths and will allow for fitting along tighter curves or shapes.
The length of bias you will need to make your ruching also depends on how heavy your fabric. It is best to experiment with scraps before cutting your bias strips to help determine width and length. Below are the approximate length calculations for the ruching designs used in this blog.
For demonstrating these rushing techniques, I have cut a strip of laundered silk dupioni on the straight grain approximately one yard (.9m) long. Laundering silk dupioni reduces the shine and softens the fabric. This length is plenty for experimenting. Since we are merely experimenting, a one-yard length can be used for more that one technique and then cut apart if desired. Cotton muslin is perfect for experimenting in making ruching either on the straight grain and/or bias as well.
Make a Ruching Tube
Fold the strip of fabric in half with right sides together, matching and pin the edges every two to three inches (5.75cm), then sew a 1/4 inch (6mm) seam allowance. If working with a bias cut tube, try not to pull or stretch while pinning and sewing or the tube will not lay flat when turned, which will cause pleating difficulties.
Press the seam open. If experimenting go ahead and press the edges creating a crease. However, on some ruching, you may not want a crease in your fabric and want rounded edges. You can finger press in those instances.
Next turn the tube. To help turn the tube right side out, thread a cord or yarn through the tube with a safety pin. Pin the cord/yarn to the end of the tube and use the cord pull back through.
Or stitch across the cord/yarn to hold it securely in place and use the cord/yarn to pull back through.
Try to keep the seam allowances open inside the tube. As you pull the tube right side out, it will help to pin the seam allowances in place as you go.
Clip off the end with the cord/yarn or remove the stitches to release the cord/ yarn.
To make experimenting easier, you can press the tube creating creased edges. Be sure the seam is in the center back (underneath side) of the tube and not at an edge. Placing the seam at an edge hampers folding.
Note, that when making a final strip of ruching you may prefer the look of gently rounder edges instead of pressed edges. Once you get the hang of making ruching using a tube, try avoiding pressing the edges, so you can compare the effects.
Now that the tube is complete, lets make some ruching.
Holfalten, or Box Pleat, Ruching
To make the Holfalten (Whole Folds) Ruching the tube is pinned into box pleats, then stitched down the middle of the tube to secure the pleats in place. Box pleating ruching is lovely on its own. However, we will use this technique for the foundation in making the Rosenrusche Ruching below.
Begin by working on the underneath side, or the side with the center seam. Notice the center seam in the photo below.
To make using a 1-inch (2.5cm) wide tube, place spacing pins 2 inches (5cm) apart with 1 inch (2.5cm) between the spaces.
The red tip pin indicates the center point between the two white tip pins spaced 2 inches (5cm) apart. The far left pin indicates the 1 inch (2.5cm) space. Don't worry about the 1 inch (2.5cm) pin for now.
Starting at the right hand edge, fold so that the 2 inch (5cm) spacing (white tip) pins meet in the center (indicated by red tip pin) of the 2 inch (5cm) space. This automatically creates two 1-inch (2.5cm) underfolds which will extend under the 1-inch (2.5cm) spaces, which will become the top folds or box-pleats.
Notice the underneath side fold and seam below.
View of top fold below (notice there is no center back seam, and the box pleat is seen on the front side).
Repeat making as many box pleats as you want. The idea is to make the box pleats the same width consistently. If you find folding and measuring with the fabric fiddly at first, practice using a strip of paper instead.
Below is a view of the box-pleats seen from the back or underneath side. Notice the seam.
Below is a view of the box-pleats flipped over to the front side.
Stitch by machine, using a long stitch length through the center of the tube to hold the folds in place. Now, the box pleating is finished to be used alone or transformed into the Rosenrusche or Rose Rushing as instructed below.
Rosenrusche, or Rose Ruching
This trim may look more like bows than roses, but is simple to make and quite decorative. To make the Rose Ruching you will need to start with the box-pleat ruching as the foundation. The roses are created by matching the center edge of each box-pleat and stitching them into place.
Start with a knotted double threaded hand-sewing needle, long enough to use continuously as you work.
On the underneath side, bring double threaded needle up through the center of the square at the center stitching on the front side of the box-pleat.
Then make two small stitches, one on each side of the center point.
Draw these points together and stitch down through center to the underneath side, to anchor these stitches.
Come up again from the underneath side, to the front side through center of stitching.
This time, catch both edges at the center of the box-pleat with the needle and thread, pulling them together. Secure the edges with a couple of small stitches, knotting at the second stitch to secure. Follow the sequence of photos below.
To continue using one continuous thread, part the gathered section at the base of the rose and send the needle back through the center front to the back or underneath side.
While still on the underneath side, start the next rose by drawing the thread over the box-pleat as seen below. Then pass the needle and thread through the center fold on the underneath side, coming up through the center of the box-pleat on the front side. Below is a view of the continuous thread stretched across the underneath side and inserted into the center of next box pleat.
Repeat until you have finished turning the box-pleats into rose ruching.
Herzrusche, or Heart Ruching
This trim looks a bit like the flower known as bleeding heart, but not so much like a traditional Valentine heart. It is amazing how by simply drawing fabric up on itself, such a lovely soft three-dimensional effect can be created. This technique is worked on the underneath side, so be sure turn your work over from time to time, and inspect the beauty happening on the front side!
The Heart Ruching can be made using a fabric tube or ribbon, on the straight grain or bias. A satin finish ribbon is being used for this demonstration. The sheen of the ribbon reflects the light, creating an enchanting effect.
Start by making the stitching guides. Lightly mark these guides with pencil on the underneath side of the ribbon. Measure the points one-inch apart along the top and bottom edge of the ribbon, keeping the points perpendicular. Then mark the center between the one-inch points with a lightly drawn "x" as seen below.
Use a long thread so the stitching can be as continuous as possible.
With the underneath side up, pinch the two edges of the ribbon together, matching the drawn points and tack the edges together with a couple of stitches. Knot the last stitch to ensure the edges stay securely together.
Pass the eye of the needle through or under the stitched edges from right to left. Passing the needle through backwards helps prevent nicking or catching the ribbon with the needle.
Turn the needle around and create a horizontal stitch at the center "x", inserting the needle from the right to the left as seen below.
Pull the needle and thread left all the way through the stitch.
Now, pull the thread in the opposite direction (to the right), drawing it up, until the center stitch meets the first stitch, forming a small pinched triangle on the front side. The idea is to pull, drawing the center stitch to the already stitched edges.
Hold the two combined stitches firmly, with the edges folded downward with your fingers, then make a couple of stitches to secure the edges together. Knot the final stitch to hold.
Remember, all of the work thus far has happened on the underneath side. In order to see the how the final ruching is looking, turn your work to inspect your progress. The photo below depicts how the small pinched triangle on the front side should look.
Note: Keeping the spacing equal and tension even on the overlaying thread is the key to mastering this technique.
Again, turn so the underneath side is facing up. Pinch, matching the next set of edge dots; notice when starting to make this second edge stitch, the thread is continuous and carried from the right to the left, with the thread stretched between the first set of combined stitches and the start of the second edge stitch. See second photo below.
Look closely at the free floating horizontal thread connecting one finished set of stitches with the beginning of the next set of edge stitches.
Be sure to gently pull the thread just enough to allow the trim to remain horizontal before stitching the edges together. If you pull the thread too much the ribbon will gather up on itself. The idea is to keep the ribbon ruching laying relatively flat.
Repeat tacking the two edges together as before, continue drawing up the center "x" stitch and drawing it to the edge stitch, and securing it in place. Continue, repeating the steps until you have as much ruching as your heart desires!
Many Folkwear patterns include embroidery designs - to add traditional embroidery to folk garments and to add period embellishments to historic garments. Some of our patterns have extensive embroidery designs (such as 101 Gaza Dress, 103 Romanian Blouse, 126 Vests of Greece and Poland, 114 Chinese Jacket). And some have smaller designs that can be added as desired (113 Japanese Kimono, 209 Walking Skirt, 264 Monte Carlo Dress). In our paper patterns, embroidery designs sometimes come on transfer paper so they can easily be moved to the garment to set up the embroidery. But some patterns, and all of our PDF patterns, have designs on paper that you need to transfer yourself to the garment you wish to add them to.
We are featuring our 264 Monte Carlo Dress pattern this month, and includes a number of Art Deco designs printed on transfer paper. These are gorgeous added to the front of the dress - or to the tunic. This blog post will show you how to transfer the designs (or any design) from paper to your fabric if you don't have designs printed on transfer paper. We will show several techniques below that can be used for any of our patterns.
Using Iron on Transfer Pencil
To use an iron-on transfer pencil (or transfer pens), print the embroidery pattern on regular paper, then trace the design with an iron-on transfer pencil.
Then place the design down on your fabric with the pencil markings facing the fabric and press with a hot iron.
A couple of tips:
1. These markings are permanent, so make sure you place your design right where you want it. It cannot be moved after pressing. Also make sure your pencil lines are not too wide that they will be seen after embroidery is complete. And, make sure the markings you make are where you want them on the paper. Mistakes will also transfer and cannot wash out. So, if you make a mistake, just print another design and start again.
2. You can use any color pencil, but make sure the markings will show up on your fabric. For dark fabrics, use a lighter colored pencil (light blue or even white if you can find it).
3. If you trace on top of the embroidery design, when you flip it over, you will be pressing the mirror image onto your fabric. This is not a problem if your image is symmetrical. But, if your image is asymmetrical and you want to transfer the exact image that is printed, you should trace the image from the back of the paper and press the back side to your fabric (again, side with pencil markings to fabric). You can see how to do this in the photos below.
Using Water Soluble Pens
Water-soluble pens create marks that wash off easily in water - also called water erasable pens. I often use washable Crayola markers when sewing, but usually the water soluble pens have a much more fine tip and are great for making more precise markings or fine lines so are perfect for embroidery transfer.
They are best used for lighter-colored fabrics. You can often set the printed design under the fabric and trace it right onto your fabric with the pen. If it is too hard to see through the fabric to trace on a table, you can use a light table or a window, or even an iPad (or device) if your embroidery pattern is digital. Tape your embroidery design on a light filled window and secure (tape) your fabric to the window over the design. Then trace the design on to the fabric. I show how to do this in the photos below. Make sure to secure your fabric well on the table or window so it does not shift easily when tracing - pattern weights or tape can work well. You could even tape the design to the back of the fabric to keep it secure.
Tracing the design through semi-sheer voile fabric, directly onto the fabric:
Using a window to trace the design onto fabric:
The nice thing about these pens is the markings wash away. So, if you make a mistake, you can wash it off, or if you decide to change your design, it is easy to do. And the lines wash away when you are done embroidering (in case you went "out of the lines" when sewing). However, the lines can be very light and can disappear over a few days. It's not a bad idea to re-trace them, and if your embroidery takes a few days to complete, re-trace the lines often.
Using Carbon Paper (helpful for dark fabrics)
Dressmakers carbon paper is a great way to transfer embroidery designs, especially on dark or heavy fabrics. It is easiest to use white or light colored carbon paper so you can see the embroidery design through it. Carbon paper is also great because it does not leave permanent marks.
First lightly trace the design onto the paper side (back side) of your carbon paper.
Then, place the carbon paper over your fabric and using a pen (the cheap, round tip pens work well) trace over the design you just traced with the pencil, pressing harder through the paper. You don't want to puncture the paper, just press into it. The design transfers to your fabric!
Depending on how well the design transfers (and your fabric), it might be a good idea to re-trace the design after removing the carbon paper to make the lines more distinct. If you use a non-washable pen (like a white gel pen) to re-trace lines, just be aware that those lines will will be permanent, but likely covered by embroidery. For a washable marking, you can use a quilters chalk pencil with a fine tip. The carbon paper lines can smudge if you are doing a lot of work or working on the project over several days, so re-tracing can be helpful.
Other Transfer Options
There are several other ways to transfer designs. If your design is digital, or can be printed, you can print it on a regular home printer on transfer paper that can the be ironed onto your fabric, transferring the design. Usually these transfers are permanent, but there are some options that claim to be wash-away. There are also papers you can print on then pin or baste over your fabric, stitching through paper and fabric, which then wash away (dissolve) in water when you are finished stitching.
Prick and Pounce. This technique involves pricking small holes along the paper in the shape of the embroidery design (i.e. over your printed design), dusting chalk powder over the holes so they come through on your fabric. This technique is easiest if the design is very simple with longer lines. A needle point tracer wheel is good to use for this technique. And, I usually trace the design with a water soluble pen or other tool afterward because the lines can rub away fairly easily.
I hope these give you some good ideas on how to easily transfer embroidery designs to fabric. Do you embroider? What are your favorite methods of transferring patterns to fabric?
