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Did You know that Folkwear has a home goods pattern line?  Each of these patterns have multiple pieces and can be used to add to your current décor or be a complete design project.  We love the gems that are in each of these patterns, and they have many practical and artistic possibilities.  

   302 Victoria's Boudoir 

This pattern presents a sampling of varied designs and techniques that can be used interchangeably to create a romantic and authentic Victorian bedroom.  This pattern has 7 parts to choose from: quilt cover, pillow shams, cutwork doilies, dress scarves, throw pillows, sachets, nightcap, and dust ruffle.  This pattern also teaches several handwork techniques and patterns for the techniques such as embroidery, cutwork, and handmade applique.

The poupourri sachet is a sweet and simple project.  It would be a fun thing to make and have for quick gifts for friends and family - and you can use up your awesome fabric scraps.  There is also a recipe for the potpourri blend or you can get creative with your own blend.

  304 Nursery Days

This pattern is made up of five projects to choose from: quilt, pillow and sham, a bed jacket and bonnet, and a teddy bear.  The teddy bear would be so sweet with many fabric choices.  The pillow sham has great potential for customization with fabric choice, added embroidery, or applique - and the pattern teaches the handwork techniques!  Kids love gifts with their name or favorite things featured on them.  And the quilt would make a nice throw for anywhere in the home (not limited to cribs)!

305 A Japanese Interior

This popular pattern has 8 pieces to make, and includes instructions for handwork and dyeing techniques - floor cushions (zabuton), sleeping pillows (makura), futon, futon cover, top quilt (kakebuton), decorative curtains (noren), and tips for adapting any kimono pattern (such as Folkwear #113) for a quilted sleeping kimono (yogi). The decorative curtains (noren) would be a great way to show off some of your handwork skills!  There are 3 different shapes of pillows(makura) to choose from as well.  An adaptation for these could be to make them heat friendly (filling with buckwheat or rice and dried herbs), and use them to warm up on a chilly day!  Or, do your own indigo dying and make the pillow covers or quilt.  

It is always lovely to make handmade gifts for loved ones for the holidays, and we have several suggestions here, as well as free (and quick) ideas here, here, and here.  But, sometimes, it is easier (and much faster) to just buy a gift to give.  And, we have you covered!

First, for any of your crafty friends, family, or older children, these bag kits are great!  They teach about a handwork technique from another place in the world, provide all the materials to make the bag with or without the handwork, as well as the instructions and pattern for making a practical and beautiful bag.  The Japanese Carpenter's Bag is perfect for storing long rulers, rolls of tracing paper, or rolled up PDF patterns.  The Thai Shoulder Sling is a great carry-all bag.  The Turkish Drawstring Pouch and the French Reticule are wonderful, small bags and quick projects.

Japanese Carpenter's Bag

Turkish Drawstring Pouches

 We also have some wonderful (and very popular) kits back in stock - the 271 Sunset Wrap Kits. This time our fabric for these kits is a lovely, soft, hand spun and handwoven cotton in two beautiful colors.  The kits have fabric, pattern, and matching thread - a bundle for a GREAT deal!  Theses kits usually go quickly, so get one soon!

Sunset Wrap

 Folkwear Clothing (our clothing line based on a few of our patterns) has great options for giving!  The Hapi jacket makes a lovely gift and the pouches are perfect for nearly everyone!  

Hapi Jacket

Travel Pouches

Finally, our sewing notions and supplies make fabulous stocking stuffers.  The transfer paper is so useful when sewing garments, and the bias tape makers are wonderful for creating beautiful bias binding.  I also really love the organic silk embroidery thread - it is luxurious and gorgeous!  

If you have just started knitting, or want a super easy knitting project, this pattern is for you!  We are giving away our very simple knitting pattern that comes from our out-of-print #241 Fifties' Fit and Flare pattern!  This stole is long and cushy, made with just a Knit 1/Purl 1 rib pattern.  It is perfect to add a layer of warmth to any outfit.  It also makes a great gift!  And, we have some yarn suggestions, listed after the pattern, to make a truly luxurious stole.  Pattern is below, but you can download and print it from here.

SIZE:  One size – 20”/51cm x 72”/183cm

YARN:  Approximately 630 yds/576m

NEEDLES:  One pair size 10 straight needles, or size to give correct gauge.

GAUGE:  4 sts = 1”/2.5 cm in K1, P1 rib st.

PATTERN USED:  K1, P1 Ribbing

INSTRUCTIONS:  Cast on 80 sts and work in rib for 72”/183cm.  Bind off in rib st.

Abbreviations:
sts = stitches
st = stitch
K1 = Knit 1
P1 = Purl 1

YARN SUGGESTIONS

Echoview Mill (a local-to-us, and wonderful fiber mill) has a couple of yarns that would make beautiful stoles.  Their Ranger Merino and their Haley Yarn. Both take 4 to 5 skeins to complete the stole.

Ranger Merino

Haley Yarn

The Manos de Uruguay Serpentina yarn would be gorgeous in this stole.  There are lots of colorways to choose from at Purl Soho.  You will need 4-5 skeins of this yarn to complete the stole.

Cascade Yarn Superwash 128 would also make a pretty, affordable, and easy-care stole.  You can find many colors at Purl Soho, or your local yarn shop.  It will take 5 skeins of this yarn to complete the stole.

The Big Good Wool from Purl Soho would also work well for this stole.  Use their natural (and neutral) colors, or dye the lighter wool to make your own special yarn.  You will need 2-3 skeins of this yarn to complete the stole.

The Highlands of Scotland, where our kilt originated, include the northwestern mainland counties of Sutherland, Ross and Cromarty, Inverness, and Argyll.  Originally of Gaelic descent, the early Highland clans were tribes who lived and farmed their own lands and occasionally fought and invaded one another.

Scottish Highlanders have been wearing garments of tartan-patterned fabric (commonly known as plaid) for over 400 years.  In the soggy bogs of the Highlands, trousers were impractical - for health reasons as well as comfort.  Wet clothing wouldn't have dried in the damp conditions of most homes.  Even early shoes were designed with the perforations in the uppers to allow water to escape.  Though tartans don't appear to have been used as clan identification prior the the early 19th century, the forerunner to the kilt is an ancient garment.

Nicknamed "redshanks" for their bare legs, Highlanders have worn "skirts" since pre-medieval times.  The precursor to the kilt was called a breacon feile, or belted plaid.  It consisted of a large rectangle of tartan wool that was worn pleated around the waist and held in place with a belt.  The bottom half of the garment formed a skirt with overlapping, unpleated aprons in the front.  The top half was either tucked into the belt, worn as a cape over the shoulders and fastened in front with a brooch, or draped over one shoulder and secured there with a brooch.  

The plaid was especially handy clothing to wear for herding; not only was the close weave of early tartans somewhat waterproof, it also provided excellent shelter for outdoor sleeping.

Around 1730 the breacon feile evolved into the feileadh beah (philabeg) or "little Kilt".  The draped top was separated from the skirt, and the modern kilt results when the pleats were permanently sewn in place.

Following the infamous Battle of Culloden in 1746, in which the beloved Bonnie Prince Charlie, challenger to the British throne (and for whom our eponymous jacket is named), was defeated, the wearing of tartan garments was outlawed.  In an effort to deter further rebellion that might be fueled by Scottish national pride the Act for the Abolition and Proscription of Highland Dress was passed in 1747, banning the wearing of any form of tartan dress.  Exempt from this rule were the Scots in Highland regiments of the British military, who were permitted to wear kilts, carry their traditional weapons, and play the bagpipes.

After some work to repeal the Act, it was finally done in 1782, but by then some of the ancient tartan patterns had been lost.  New tartans were quickly designed and assigned, sometimes completely at random, to the ancient Highland clans. 

In 1822, King George IV made the first official royal visit to Scotland in over 150 years.  Advising him on the strip was noted Scottish historian, Sir Walter Scott, whose Waverly Novels greatly romanticized the Highlands and ignited much interest in the area.  Scott commissioned the design of the Royal Steward tartan for the King, and also advised him on wearing of the traditional Highland dress. 

Credit for the widespread popularity of all things Scottish, especially tartans, must go to Queen Victoria and Prince Albert, who built Balmoral Castle near Aberdeen in the mid-1840s.  Prince Albert designed Balmoral tartan for use in the castle, and it appeared in  a variety of forms:  from rugs to linoleum to upholstery and drapes - even the uniforms of the household staff.     

Balmoral tartan

Kilts today are worn in hundreds of different tartans, by men, women, and children all over the world - often at celebrations or events.  There are actually thousands of different tartans - for different clans and families, in "dress", in "hunting", etc.  If you wish to search tartans based on clan or color, there is an official tartan registry in the UK.  You can also create your own tartan at USA Kilts.  The options are vast!

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Images are from the Victorian era book, romanticizing Scottish Highland wear, Clans of the Scottish Highlands (1845).

On old fashioned shirts (such as the 202 Victorian Shirt), as well as many well-made modern ones, the tops of the side openings are often reinforced with small tabs to prevent the shirt-tails from ripping.  As in so many of our patterns, Folkwear teaches a technique used in the era and that is still relevant and interesting today in the 202 Victorian Shirt pattern.  There are three versions shown and taught for making these tabs in the pattern.  Each version is one that we found on antique shirts in the Folkwear collection.  Here is one on a sheer blouse. 

These tabs are great for reinforcing shirt-tails or side slits on shirts or dresses.  I will show you how to make one of the versions below.  

This simplest reinforcement consists of a triangle stitched on the inside of the shirt.  Cut a rectangle 1" (2.5cm) by 1 1/2" (4cm), tuck the edges under, and topstitch the folded edges to the top of the side slit.

First, cut the rectangle from the fabric you want to use - 1" (2.5cm) by 1 1/2" (4cm).  I am using the main fabric for the tab, but you could use something bold to add fun detail.  Most of these tabs are on the inside of the garment, so they generally won't be seen.

Then, using an iron, press the first fold:

Press the second fold, folding over the top point of the first fold:

Press third fold, folding the corner of the second fold into it:

Press the forth fold, folding the corner of the first fold into it:

Press the fifth fold, enclosing the lower edges of the first and second fold:

The tab is now finished.  Press it well and make sure all raw edges are neatly tucked to the wrong side.  I made this sample a little asymmetrical, but symmetry for the tab is probably better!

Place this tab, with the pointed side toward the top of the garment, and with the long flat side at the top of the slit - inside the shirt with wrong sides facing.  Then topstitch around the folded edges of the tab. I used a contrasting thread here so you could see it better, but, if you want it to blend in and not be noticeable, use a matching thread.  

The romance of the Scottish Highlands is alive and well in this authentic kilt, kilt skirt, and Prince Charlie jacket and vest. To complete the ensemble, knit the lacy vest for women and the argyle socks for men. Our pattern includes complete instructions for measuring, pleating, and constructing the Kilt and Kilt Skirt; pattern pieces for cutting out and instructions for sewing the Jacket and Vest; knitting instructions for the vest and socks; and historic and cultural information about the kilt.

USA Kilts offers a variety of tartans in various weights. Here is a variation of MacFarlane red modern.  There are many variations within each Clan's tartans and coloring.  

The Kilt Shop has a great selection of accessories,clan badges, and custom made kilts. This is a multi generational kilt making family.  Much of the research that Folkwear includes in the Scottish Kilt Pattern was contributed by world renown kilt maker Ann Stewart, mother of the current owner and kilt maker Hazel Stewart.  She also collaborated on the pattern.  The Kilt Shop can help you source great tartan fabric, too.

The Scottish Weaver has a large selection of tartan fabrics by the yard.  Pictured below is the ancient Hamilton tartan.

In addition to the traditional kilt, there is a trend that has been growing for sometime for the utility kilt. Utility kilts are a modern adaptation which are controversial among traditionalist and embraced by others.  This article from BBC Scotland gives some insight into the trend.  We personally know a farmer who lives near us who swears by his kilt for daily use!  These are often made with canvas, but can be made in various other fabrics as well such as corduroy or denim. Our pattern would have to be adapted a bit to create this look, but it could be an interesting starting point with the traditional design as a foundation.  Any thoughts on this?

Stonemountain and Daughter Fabrics carries a variety of colors of Big Sur Canvas.  This is a classic tightly woven duck canvas cotton and is a practical color.

Often, the Prince Charlie jacket is traditionally a neutral dark color such as dark blue, green, black or grey.  We found this wool/rayon suiting at Vogue Fabrics and think it would be a nice solid to pair with various tartans.

This week my youngest son announced that, "there are only twelve more Wednesdays until Christmas!"  I was a little shocked but, of course, remembered that Christmas does come quickly and "twelve Wednesdays" is about 3 months.  So, while there is time, I realized I need to get on the ball with some planing both personally and for Folkwear. While many ideas from last year's gift guide are  great gifts, and we'd love to inspire you with some updates and expand on this list!

As mentioned previously, the 269 Metropolitan Hat is a great gift and relatively quick sew.  We recently added the option for a PDF version of this pattern as well as our paper pattern.  So, If you are in a pinch you can print it at home the same day you purchase, and it only takes 7 sheets of paper to print at home!  With minimal pages this is a great PDF option and we have a tutorial for "how to" use a PDF pattern if this is new to you.  To select the paper or PDF version just use the drop down menu on the product page when ordering.

The 271 Sunset Wrap is another great pattern that is one-size-fits-all and a quick sew!  This beautiful wrap can be sewn in a wide variety of fabrics.  So, depending on location and climate of your gift recipient (or yourself) you can choose a good weight for the season. This pattern is also available in paper or as a PDF.  To make your project even easier and more fun, we have a "sew along" blog post for reference!

Recently, I saw this wrap made with a border print and self-fabric fringe on the long bottom edge - so great!!  Lots of Nani Iro fabric has a subtle border print and would drape nicely!  Stonemountain and Daughter currently has it in stock.

Folkwear also has a collection of amazing bag patterns available for a quick gift to sew.  The  #146 Bags From Around the World PDF includes 6 different bag patterns!  Or, you can choose to get just one bag pattern: French Reticule, Japanese Carpenter's Bag, Native American Bandolier Bag, Thai Shoulder Sling, Turkish Drawstring Bag, and Uzbek Coin Pouch. 

The Japanese Carpenter's Bag is a great one for storing rolled up PDF patterns or those long rulers and tools in shops and studios.  The Thai Sling is a great carry-all bag, and the smaller bags make wonderful re-usable "wrapping" for lots of gifts.

(Pictured left to right in the order of the list above)

AND we have a very limited number of Japanese Carpenter's Bag Kits and Turkish Drawstring Bag Kits which include fabric and supplies to go with the printed pattern. These kits can be a great gift for a sewing friend! 

Additionally, check out our FREE carry all bag pattern that we have available as a PDF!  This could be a great low stakes first attempt with a PDF pattern if you haven't used one before. 

For the knitters and crocheters, we have a variety of knitting and crocheting patterns available. You may chose individual patterns and purchase them as PDFs or we offer 2 different knitting bundles that are paper copies and sent via mail: Women's Sweaters and Women's Warm Weather Tops.  

For a couple of quick(er) projects, the Blonde Bombshell Bolero Sweater, or the  free PDF pattern for the 1950's Stole that is a one size and simple project!

We hope you are ready to tackle the fun (though sometimes time consuming) gift making and giving coming this holiday season.  I've got plenty of ideas now and will be starting a few projects this coming week.  

I am just back from 10 days in Romania!  It was an incredible and intense trip, taken with my husband (William) and younger daughter (Evva) to Bucharest and Brasov county.  Most of our days were spent riding horses through the Transilvania Hills, but we took in a lot of traditional clothing, fabrics, and scenes in Bucharest, Viscri, and other small villages.  Perfect for a Folkwear trip!

Below I have written sections about Romania and our experience there, focused mostly on textiles and traditional clothing.  Feel free to email me about this trip (molly@folkwear.com). 

Romania

When William mentioned his aunt was planning a horseback riding trip to Romania, I jumped at the chance to see this country, partly because Folkwear has several patterns from the region and partly because I've heard of the beauty, romance, and wildness of Romania.  And partly because I love to ride horses and love adventure travel. 

Evva and I overlooking the medieval village of Viscri.

Romania was under Communist rule until 30 years ago, and before Communism, the country was a region that was constantly conquered and settled by many different groups - Dacians, Romans, Hungarians (Magyar), Saxons, Turks, and Tartars, to name a few.  Through all this migration and political change, and somewhat because of it, Romania has maintained its deep forests (some of the largest in Europe), wildlife (they still have a strong population of wolves and bear), shepherding tradition, and village life.  In the Transilvania Hills, I felt like we had stepped back in time - villages with few cars, but with horse and carts (and Gypsy population), small gravel roads, chickens and pigs in each household compound, herding cows (and water buffalo) back to the village at night (and back out the next morning).  Shepherds lived in the hills all summer, moving sheep around to graze and get water.  There were almost no fences or gates, which made riding horses perfect.  

Evva getting her trick horse to do a trick!

Clothing and Textiles

Romania is known for their iconic and beautiful, eponymous blouses.  They are typically made from linen, but sometimes hemp or cotton, and are heavily embroidered on the sleeves, with some embroidery usually on the front.  The embroidery patterns are made with a cross stitch or a needlepoint stitch, and the blouses are often pieced by hand with decorative stitching or faggoting.  The neckline is sometimes smocked and is closed with a drawstring.  The cuffs are also sometimes smocked, and sometimes closed with a drawstring (with and without cuffs), but also often left open and wide.  

We saw many beautiful Romanian blouses in stores, but the best ones I saw were at a folk market in Bucharest on one of our first days.  There were hundreds, some new, some old.  Some were being made as we watched.  The selection of Romanian blouses was a bit overwhelming.  I loved seeing the different embroidery designs, fabric types (from handkerchief linen to heavier hemp), and finishes (smocking, drawstrings, open cuffs).  

She was seaming a gusset to the front with a quick decorative whip stitch.  Many of the seams were finished with hem stitch or turned-under stitch before they were seamed.

Close up of the work.

Traditional Romanian clothing has also been influenced by those who have conquered/settled in different regions or are neighbors.  You can see the influence of the Magyar herdsmen (Hungarians), who invaded in the 9th and 10th centuries, in the decorated jackets and coats - similar to our 150 Hungarian Szur.  Ukrainian embroidery may be seen on vests.  I saw versions of what Folkwear calls the Croatian Shirt (though our original was found in Romania), in the foothills of the Carpathians (where I was while on this trip).  This shirt is typical of the region, though I found a similar style without the tucks that came from a northern region of Romania.  The traditional clothing was beautiful.  

Sheep skin coat - wool on the inside - decorated with embroidery and appliqued ribbons and felt.

"Croatian Shirt", Romanian shirt!  The details are so similar to our pattern. This one includes embroidery around the placket and a "quilted" front bottom tab.

Blouse from northern Romania (Maramures) - with embroidery, fine smocking/tucks at the cuffs, shoulders, and front, and heavy thread work on the edges and seams.

In the folk market, I also found rolls of hand woven linen and hemp (for $4 a meter!).  These would be used to make clothing, table clothes, and other items. 

But, one of the most interesting fabrics I saw was one called borangic.  It is a raw silk made in Romania from silk grown in Romania.  There is only one person who makes silk now left in Romania, but the borangic I saw was maybe 60 years old.  The borangic is used to make 4 meter long head shawls (marame) that would be worn by women in southern and eastern Romania.  These head shawls were worn so that they barely brushed the ground when worn.  I thought the fabric was beautiful, the woven designs unique, and women who was selling them was precious!

The borangic (silk) is very fine and soft, but with body to it.

More borangic - this design was woven into the fabric by wrapping and twisting the weft threads around the warp threads. 

In another small Saxon village, Viscri (home to a UNESCO World Heritage 12th century fortified church) in Brasov county, we saw many traditional textile crafts - felted wool slippers, knitted and crocheted sweaters, curtains, doilies, etc. (every woman I saw sitting down in the whole village was knitting), and woven table mats.

I could see the historical importance of handmade textiles in Romania.  They held an important place in the household, decorating windows, walls, tables, and beds.  They were used for everyday dress and for important occasions, for keeping warm and for keeping beautiful.  

Room in a house at the National Village Museum with a loom set up.

Other Crafts

We saw several other traditional crafts that are a part of Romanian culture and history.  I found the painted eggs very striking!  Normally, these eggs were painted with designs, not unlike those on the blouses, around Easter.  But, now they are available for the tourist market, and home market, year round and are often made of wood so they will not easily break. 

Icons are also an important art form.  The Orthodox churches are full of them (typical of an Orthodox church, I learned), but they are also important in the home and I saw many beautiful icons in each village, often painted by someone in that village.  

In Viscri, we saw exquisite painted ceramic tiles, which was a local craft/art form, as well as old floral paintings on wood (typical Saxon art). 

Beadwork also seemed to be a minor craft with small belts and bracelets made mainly for the tourist market as far as I could tell, though the belts were wron with the traditional clothing/dress.  

Bucharest

The capital of Romania was a mix of beautiful 19th century buildings (interestingly, the banks were the prettiest and most detailed) and Communist bloc buildings with a small layer of griminess and graffiti covering them.  In this city, we found some really incredible restaurants and one of the best museums I've ever been to.  The National Village Museum was truly impressive!  It was made of village houses, buildings, and churches brought from around the country and set up in a large park in Bucharest.  Each building was painstakingly moved from an area where it would have been destroyed for new construction in the 1950s, and rebuilt or set up in this large park in Bucharest.  The buildings were traditionally furnished and decorated.  They were set up so that you learned how they were used, when they were used, and why they were used.  There were tiny Orthodox village churches, wool fullers, wine presses, a dance hall, houses from the 1600s to the early 1900s, and everything in between.  You could see the influence of the region and type of agriculture that was in practice in the way the buildings were constructed and used.  It was incredible and beautiful!

At the Village Museum.

Transilvania

We only saw a small part of Brasov County, Transilvania - the hills - the foothills of the Carpathians, with the beautiful mountains in the background.  It was a region with Saxon and Hungarian influences, which people remember (and celebrate and fight over) to this day.  We saw many sheep, goats, cattle, and water buffalo, with shepherding being a legitimate and respected career and lifestyle.  The hills were covered in fairy-tale-like forests of oak and hornbeam, as well as extensive open pastures and oak savannas.  The pony and cart are a typical mode of transportation, and there is a significant Gypsy population.  We learned some blacksmithing from a Gypsy blacksmith, and saw a beautiful and growing Gypsy village.  Villages were simple, very small, very agricultural, and occasionally with fortified churches or castles (gotta try to protect themselves from all the invaders).  Homes in these villages were small compounds with a gated courtyard, pig sty and barn behind the house/courtyard, and garden/pasture behind the barn.  Many had their own working hand crank well that was still in use!

The well in use at Cobor Farm, where it was mainly used to keep our beer and apple juice cold when we were there!

Fortified church in Viscri

Food and Drink

We were pleasantly surprised by the food in Romania, but our expectations had been brought very low by a 2019 travel guide I read that described food such as "fermented wheat bran soup with souring agent" which could be made with tripe, "organ meat sausages", and "lamb haggis".  So, the delicious fresh sheep's milk cheese, tasty grilled sausages and meats, flavorful tomatoes, crispy vegetables, creamy eggplant spreads, and diverse charcuterie was really wonderful.  And, the wine was spectacular!  Nearly all regions of Romania are great for wine grape growing, and they have a diverse and delicious number of wines.  Romania is also known for its palinka, or schnapps, made with fruit.  We had shots of it nearly every night - sour cherry, pear, plum.  It was all quite good, but can quickly get the best of you (as I learned one night ;-)). 

To Conclude:

This was a fantastic trip, and I am so grateful I was able to go and share it with my daughter and husband and wonderful family and friends.  To see the land by horseback was incredible!  And to get a small glimpse and slight personal understanding of the textile and clothing traditions that are still alive and well in this region was quite a treat.

We rode with Equus Silvania who has a wonderful retreat house.  The owners, Barbara and Christoph Promberger, are also Wildlife Biologists who, ten years ago founded Carpathia Foundation with the mission to create the largest protected contiguous forest and conservation landscape in Europe.  The Foundation also owns Cobor Farm, a large, lovely organic farm where we stayed for two nights.  Their vision and track record of success to create the largest national park in Europe is astounding. 

The 1914 Metropolitan Suit reflects the military styling of World War I uniforms, as well as the mid-1910s interest in comfortable and practical two-piece garments. The Jacket features a tall rollover collar with either a curved or pointed center back, gently pointed center back hem, softly flared silhouette, and turn-back cuffs. The front closes with ornamental frogs. Soutache or other ornamental braid in military design motifs create an accurate period look, but contemporary designs in ribbon or braid trim are attractive too.

The Skirt is slightly hobbled, with a raised waistline and a slit at center back for ease of walking. The Overskirt attaches to the skirt at the top edge and drapes attractively at the back hem. The front folds of the Overskirt can be decoratively topstitched to the Skirt from the waist edge down to the hip area, if desired. If worn without the Jacket, the Skirt can be further embellished with buttons down the front folds of the Overskirt, or with suspenders crossed in the back, or with belt loops and belt at the natural waistline. Wear the Skirt with #270 Metro Middy Blouse (tucked in or not) for a breezy casual look. Top off the Suit with #269 Metropolitan Hat for a complete and classy ensemble.

Suggested Fabrics: Tropical-weight and other lightweight wools and wool blends; wool crepe, basketweave, worsted, gabardine; suit-weight and other medium-weight silks; medium-to-heavyweight rayons. The design of this suit is meant to be somewhat soft and fluid, but cottons and linens can be used if desired, for a more structured result.

Below are some fabric suggestions from some of our favorite fabric stores.  However, PLEASE NOTE, these suggested fabrics are based on fabrics that are in stock at the time the blog post is written, and may go out of stock from store at some point.  If link is invalid for specific product, look for a similar fabric you can substitute.

This tropical weight wool silk blend from Vogue Fabrics caught my eye.  The heathered texture and drape of this fabric would be a great choice for the Metropolitan Suit.  I love this color!

Bolt Fabrics has a variety of colors of Merchant & Mills Tencel in stock that would make a soft and more flow-y suit.  

Stonemountain and Daughter has a lovely selection of Worsted Wool Crepe available.  This wine color is very luscious, but they also have neutral colors in stock.  

From Oak Fabrics has a sanded twill that would make a more utilitarian look to this striking pattern.  And, I like this grey!

Our 104 Egyptian Shirt pattern comes with detailed information on applying applique to the shirt front, back, and sleeves.  It also has instructions for applying soutache (narrow braid used for trim), creating your own cording to apply as trim, and how to make knotted buttons from soutache or your own cording.  Here, I am going to briefly cover how to make your own flat cording and then use it to make a knotted button.

To make self-cording, cut bias pieces at least 1" (2.5cm) wider than the cord you are using, and at least 12"-15" (30.5 to 38cm) long.  Cut cords about 5" (12.5cm) longer than your bias strips. 

Fold the bias strip in half lengthwise, rights sides together, over the cord.  Pin cord in place, butted up against fold, and using a zipper foot, stitch down the length of the strip, making a 1/4" (6mm) seam. 

Backstitch at beginning and end to secure.  Secure one end of the cord by stitching several times through cord and fabric about 1/2" (13mm) from end of fabric at one end.

Now grasp the fabric near the secured end with thumb and index finger while bulling the loose end of the cord with the other.  Ease the fabric over the secured end and continue pulling, turning the tubing so the raw edges are on the inside.  When it is all turned, you will have a piece of flat tubing.  Trim the cord off of the handmade cording.

The small knotted round button is a three-dimensional Josephine knot, tied with one piece of cord.  Soutache or a small flexible braid or fabric tubing are recommend.  In Middle Eastern clothes, soutache made of metallic thread is commonly used.

Make a loop with the cord.

Bring cord around and make another loop on top of the first.

Bring the same cord end around, underneath the first loop cord.

Bring that end over the first cord in the loops, under the second, 

over the third cord in the loops, and under the forth cord in the loops.  Creating the shape you see below.

Now pull the center loops slightly tighter, then pull gently on the cord ends to tighten.  Continue to do this until you have a fairly tight knot.

The finished button size will depend on the size of the cording and how tight you pull the knot.  You can use the "tails" of the knots to create the button hole loops.

You can print this by using this link. 

Here is a video of how to make flat cording and tie the knotted button.

Frocktails has come to Asheville! 

Frocktails is a social event for sewists to wear a handmade garment or accessory, get together, enjoy a cocktail, and meet other people in the community who sew.  We are excited to be part of the event that has made its way from Australia, to Europe, to Canada, and recently, to the United States! 

A wonderful group of sewists in Asheville has organized this event, and Folkwear is proud to be one of the amazing sponsors of this event.  There will be door prizes, goodie bags, and lots of fun!  

Asheville Frocktails will take place on August 24, 2019 at the Capital Club of Asheville (82 Patton Avenue) from 6:30 to 9:30 pm.  

Tickets ($55) include h'ours devours, a drink ticket, a gift pack, a raffle ticket, and the opportunity to meet other members of our sewing community!  You can get them here:  https://ashevillefrocktails.com/tickets

More information about Asheville Frocktails is here:  https://ashevillefrocktails.com/

You can find Asheville Frocktails on social media at:
Instagram: @ashevillefrocktails
Facebook: @ashevillefrocktails
Email: ashevillefrocktails@gmail.com

Guest post by Kate Mathews, former weaver and former owner of Folkwear.

If you weave unique and beautiful fabrics, you will naturally want to showcase them in equally unique garments...and not just in scarves and shawls, but in wearable art.  After all that work of creating the fabric, you probably won’t want to cut into your precious yardage, so traditional ethnic garments are a perfect option for you because they typically are made up of components that retain their straight-edged loom widths. Weavers of the past didn’t waste material, so they used cloth just as it came off the loom. You can do the same.

150 Hungarian Szur has many rectangular pieces that are great for handwovens.

Many Folkwear patterns offer creative options for handwoven fabric. Look for the styles with straight-edged and rectangular pattern pieces like the center front panel of 105 Syrian Dress, the center back panel of 106 Turkish Coat, the front and back panels of the Kamiz in 135 Jewels of India, 150 Hungarian Szur, the various Japanese patterns, and many others that have pieces you won’t have to cut to shape.

118 Tibetan Panel Coat can be almost completely made of handwoven panels.

In fact, 118 Tibetan Panel Coat and 207 Kinsale Cloak include special “Notes for Handweavers” right inside the patterns. The notes in the Tibetan Panel Coat detail the loom set-ups and weaving of the different 2/2 twill panels, and the Kinsale Cloak notes specify the 3/1 twill draft, along with suggestions for shaping the hood from the finished cloth.

207 Kinsale Cloak is gorgeous made from handwoven cloth.

When you’re done with the weaving and ready to start sewing, you will need to take some preparatory steps to ready the fabric . . . just like you would with store-bought yardage. Pre-washing is a usual first step for treating the fabric, locking the weave in place, “fulling” or plumping up the fibers, and accomplishing needed shrinkage. Always experiment with a sample of your yardage to determine the best way to pre-wash: cold water on a gentle cycle in the machine, hand washed and rolled up in towels, or steam-pressed at the dry cleaners.

If you do need to cut into the yardage for any of a pattern’s pieces, take some preliminary steps to stabilize the fabric so it won’t stretch out of shape or unravel. Don’t let the fabric hang off the edges of the table while laying out, marking, and cutting pattern pieces, because the weight of the overhanging yardage is enough to pull it off grain and out of shape. You can reinforce the material along cutting lines with light-weight fusible stabilizer on the wrong side, being sure to use narrow strips only in the seam allowances. Before starting to sew, you can also zigzag stitch or serge along each cut edge to prevent unraveling, although be careful here because serging can stretch an edge out of shape or make it ripple.

This seam allowance was zig-zag stitched to keep the fabric from unraveling.

During garment construction and finishing, consider binding raw seam allowance edges with lightweight bias strips, to secure the edges and to achieve a clean look. This also minimizes bulkiness, because you avoid the double thickness of a turned-under seam allowance edge.

These seam edges were bound with bias binding (hand stitched), then the seam was hand stitched closed with a type of hem stitch (faggoting).  

This is the seam from the outside of the jacket.

Finally, think about finishing techniques as a way to add decorative elements to your already-special garment. For example, others may not see the silk-bound seam allowances inside your creation, but you’ll know they’re there. And instead of simply turning under a hem to the inside, create a contrasting facing band that turns out to the right side: a wide brocade or fancy-weave hem band at the cuffs and bottom of a coat can make it truly spectacular.

This 106 Turkish Coat hem is faced on the outside with velvet and was then quilted.

The outer edges on this Burmese Jacket (from 134 Tops of Southeast Asia) are edged with raveled fabric and piece of trim.