March 22, 2019
The 128 Russian Settlers' Dress is an older Folkwear pattern, and like many of our older patterns, it is only available in a fairly small size range (6 to 16, or Small to Large). The largest size is graded for a 38" bust, 30" waist, and 40" hips - which is quite small for most American women!
However, there is LOTS of ease in this pattern, and the bust measurement is the most important, since it is the only place where the sundress and shirt are the closest to the body.
The finished measurement for the shirt, or blouse, is 57.5" at the chest and hips (which does not include the 4 inch underarm gussets on each side at chest height which add a bit more room) for all sizes. So, you can see that there is a lot of ease!
Here, I am going to show you how to grade the sundress, or sarafan, up to larger sizes. It is quite easy!
The sundress consists of only 4 pieces - the front and back skirts (A and B), the strap (D), and the top band (C). The front and back skirts are cut one-size-fits-all, and they are 78" wide when sewn together (so 78" wide at bust, waist, and hips). But, the band, which the skirt is gathered into, sits above the bust, and is the most important point of adjustment for sizing.
The band should measure the size of your upper bust measurement (the measurement around your chest above your breasts (where you want the band to sit). Our pattern piece is sized for 30" to 38" measurements. The band has a slight negative ease because you want the band to be snug (not tight) and allow for slight stretching.
So, if you want to make this dress for an upper bust measurement that is larger than 38", you just need to increase the width of the band by 1/2" for each 1" you need to go up. For instance, if you want to increase the band measurement to fit a 41" upper bust, you would increase the band width by 1.5". Cut out the pattern piece 2 inches longer than the largest printed size, and proceed with the pattern. Since this piece is a rectangle, and cut on the fold, you add the extra width to the side with the measurements.
The shoulder straps are fairly large for this pattern, and should fit tall and broad shouldered women, but if you want to add a few inches to the notched side to make sure they will be long enough, you can always adjust when you are attaching the straps to the dress.
For most people, these should be your only adjustments to grade this dress up to larger sizes. Easy peasy!
Enjoy!
You can also see a video of how to grade this pattern up for larger sizes on our YouTube Channel.
March 04, 2019
This classic 1950s sport jacket was coveted by all fashion-conscious Americans. Styled after the bomber jackets from WWII, this coat became popular after the war and is still seen on runways and on the streets today.
The traditional model featured a wool body with leather sleeves, but it also looks amazing in sandwashed silk, corduroy, or print cotton. Our pattern includes instructions for optional hand-knitted ribbing for cuffs, collar, and waistband. This is such a great jacket that is still right on trend!
Suggested fabrics: Medium to heavyweight fabrics such as wool, corduroy, gabardine; heavyweight cotton; suede or leather. Also, summer weight fabrics such as rayon or washed silk.
PLEASE NOTE: Fabrics used as examples in blog may go out of stock from store. If link is invalid for specific product, there may be another fabric from the supplier that you can substitute. These suggestions are based on fabrics that are in stock at the time the blog post is written!
This 100% cotton whale corduroy from Hart's Fabric would be a nice mid-weight option.
This wool coating from Stonemountain and Daughter Fabrics reflects the "classic" look of a Varsity Jacket. They have a variety of colors available to choose from.
I love this metallic floral jacquard from Stonemountain and Daughter Fabrics. It would create a modern and fresh look for this jacket.
Another option is to make the varsity jacket in a medium weight silk charmeuse. Here is a link for floral pattern from Mood Fabrics, and another floral silk form Michael Levine's. This would be so luxurious and lightweight!
While the Folkwear Varsity Jacket pattern includes instructions for knitting ribbing, we also want to show you that there are great options on Esty. Here is an example from Stellar Textiles. They have a wide variety of colorways. These are perfect for the more sporty Varsity Jackets!
Here are some iron on chenille letters from M&J Trimmings. They also have a large selection of patches in stock.
Vogue Fabrics has a large selection of polyester lining fabrics. They carry a nice flannel backed poly satin lining for winter warmth.
Michael Levine's has a good selection of habotai silk for lining. Of course, the lining you choose will need to be determined by the weight and type of outer fabric.
You will also need 7 heavy snaps for the jacket closure. We found a link that helps guide through choosing the right snaps from KAM snaps. They have quite a selection as well as tools and tutorials. Your fabric choice will determine the necessary snap, so pay attention to that! You could, of course, substitute buttons for the snaps - or even put in a outerwear separating zipper when putting in the front facings. Let us know what you do!!
Also, check out our Varsity Jacket inspiration board on Pinterest. There are so many options when it comes to this staple jacket!
February 01, 2019 3 Comments on History of the Navajo Blouse
The traditional clothing often associated with Navajo women and girls evolved from the post-Civil War days of the late 19th century, and was influenced by white American dress of the time: a high-necked, tight-fitting velveteen blouse with a long and very full gathered skirt, often in a contrasting calico print or solid color.
The Navajo people lived a nomadic life in the deserts of the Southwestern U.S. until the early Spanish settlers came with the horse, and later sheep. Tending flocks, the Navajo settled, and developed their weaving of rugs and blankets, which today are important icons of their culture. They also became master silversmiths, and their jewelry and buttons embellish much of their clothing.
In the 1800s, the Navajo came into conflict with the western expansion of the white man, and continual incidents of violence culminated in 1864, when Kit Carson was sent to “teach the Indians a lesson.” Carson’s tactics included destroying crops, killing sheep, taking horses, and finally driving the starving survivors into canyons.
After some months, most of the survivors either surrendered or were captured, and forced to march (in The Long Walk) 400 miles to a reservation near Fort Sumner in eastern New Mexico. The purpose of this reservation, called Bosque Redondo, was to convert the Navajo to the white man’s ways of peace and Christianity, to “live in the manner of white men.” However, the project was doomed by food shortages, and disease, as well as the fact that the Navajo were being held against their will, far from their homeland. In 1867, the project’s failure was recognized, and the people were allowed to return to their native lands in northwestern New Mexico and northeastern Arizona.
This Navajo Blouse and Skirt pattern may be traced back to Bosque Redondo. Before Spanish influence, Navajo women wore animal hides and skirts and shoes woven from yucca fibers. After the Spanish introduced churro sheep and the vertical loom, typical dress evolved to a large handwoven blanket with a hole in the center to slip over the head and two holes for arms, much like a poncho. A wide strap around the waist, covered with silver and turquoise jewelry, secured the blanket over rough skin leggings and moccasins. These blankets were often brightly colored and beautifully decorated. This style dress was called a biil.
While held captive at Bosque Redondo, their sheep taken from them, the Navajo could no longer weave, and their old clothing began to fall apart. At the same time, the women and girls went to work as servants for the military families in their homes surrounding the reservation. There, they saw, and were influenced by, the current fashions of the wives and daughters of the soldiers. Hand-me-downs and cast-offs were given to them to replace their tattered wool clothing.
The skilled Navajo seamstresses began to use the new machine-woven fabrics of calico and velvet. They used the sewing patterns of the white women: the full skirts and tight bodices of that period, typically of bright colors, with leg-of-mutton sleeves (the sleeve tucks on our Blouse remind us of this style), and pleated ruffled skirts. The women took an American clothing style and made it uniquely Navajo. Traditionally, Navajo skirts are 3-tiered, representing the different times of a woman's lifespan: infancy, adult, and elder years.
Folkwear customer in a Navajo Blouse and Skirt she made.
When the Navajo left the Bosque Redondo reservation, they were able to reproduce these styles with the velvets and calicos available in the newly-established trading posts of the 1870s and 1880s. Women continued to adorn themselves with silver jewelry of all kinds, including coins from Mexico and America, which could be pulled off and used as money, if necessary.
Today, the Navajo recognize that their habits and customs are being broken down by tourism, mining, military service, and the assimilation. Against great odds, they struggle to preserve what is left to them of their culture.
January 23, 2019 11 Comments on Folkwear Patterns For All
January 01, 2019 2 Comments on Downsizing and Making the Siberian Parka with a Front Opening
Elizabeth, who has worked with Folkwear patterns for many years, has to down-size or otherwise adjust every pattern of any brand name to fit her petite figure. While she is at it, she usually applies her creative talents to make the "new" garment extra special. One of our favorite versions of our 153 Siberian Parka is a winter white wool melton blend that she made, downsized and added a front opening to.
One look at it and you'd know you would never be cold if you were wearing this!
To downsize this over-sized parka, she first removed the outer shoulder yoke piece and moved the front and back side seams in to eliminate a few inches of girth. Removing that shoulder yoke piece simultaneously shortened the sleeves, which was perfect, because she wanted to add cuffs.
Elizabeth also wanted to add a front opening rather than have a pull-over parka. So, she sliced down the center front and added a full-length separating zipper for easy on-off. To embellish this new front, she added some half buttons that look like they have been sliced down the middle, and embellished the entire coat with some decorative machine stitching in metallic thread, by itself and to attach various cordings and faux suede strips.
Line drawings of 153 Siberian Parka without alterations. You can see the design is large and pull-over, making it very warm!
We'd love to see and hear about the special touches that you may apply to this pattern. It is quite cozy and indeed very roomy as well. I really enjoyed wearing the version that Elizabeth created. However, I am not categorically "petite" and there was still a good bit of room even with the alteration.
December 29, 2018 2 Comments on 2018 in Review
The end of this year marks the 2nd year I've owned and run Folkwear. It has been a privilege, lots of fun, and quite a bit of work (which I have enjoyed) to steward this company forward. I thought it might be fun to reflect a bit here on what Folkwear (and I) have done over the last year - to be able to see what has been accomplished, and hint what might be in store for 2019. I'm including some of my favorite personal and non-Folkwear 2018 things here as well (and with a few photos thrown in - you can see more about all in the links).
Folkwear accomplishments in 2018:
Patterns -
Miscellaneous -
Personally, I made quite a few Folkwear garments this year. Some for myself, some for samples, and some as gifts:
I also sewed a few non-Folkwear things for myself, and wanted to share these great patterns, too:
Plans for 2019
We are working on several things for 2019, many of which are coming in the next couple months. We have several out-of-print patterns that we are re-releasing. Some will be special printings, some will be regular releases, and some will be released as PDFs only. Speaking of PDFs, we will be adding a few of our regular (and popular) patterns as PDFs in addition to the paper patterns.
We also have the clothing line coming out within the next week or so! And, our NYC fabric and textile tour will be a blast!
I am looking forward to 2019 - and all the things to learn, work on, and experience.
Let me know what you would like to see Folkwear do this coming year!
November 20, 2018 3 Comments on Free Pattern - Kimono Ornament
This pretty little ornament is a great way to use up those beautiful fabric scraps you have left over from your sewing projects! The ornament uses origami techniques to make a tiny kimono that you can hang on a tree, in a window, or tie to a gift wrapping. Make a batch of them with your fabric scraps - it is fun and quick! It is also a great project to do with kids (you can just provide them the sewn together rectangle)!
Instructions are below, and you can download the instructions here for free!
You can make these ornaments out of fabric, or paper following similar instructions. If making from paper, only use one piece in the dimensions given.
Materials needed:
Instructions
Step 1
Begin with two rectangles that measure 4 ¼” (11cm) wide by 15 ½” (39.5cm) long. Fold under ¼” (6mm) along one short end of each rectangle and press. With right sides together and pressed-under edges aligned, stitch a ¼” (6mm) seam on three sides, leaving the pressed end open. Turn to right side, press lightly, and slipstitch opening closed.
Step 2
Select a favorite side, depending on the design of your fabric, and orient rectangle with favorite side facing up and one short end closest to you. Mark the center of the top short end. Fold under top edge 3/8" (1cm) to the back and press.
Step 3
Fold top corners down (toward you) to meet at the center and pin in place. Press. Measure 5 ¾” (14.5cm) down from pointed end at top. Mark and fold along this line, bringing lower end up to the back. Press.
Check measurements: from tip of point to lower edge should be 5 ¾” (14.5cm) and from tip of point to upper edge should be 3" (7.5cm).
Step 4
Mark a line level with the point and fold top edge down behind entire piece. Press.
Whole piece now measures 5 ¾” (14.5cm) from top to bottom.
Step 5
Fold ½” (13mm) along each side edge toward center.
Then fold back the back layer so that it is flat and makes a “hood” at the upper corners, creating small triangles. Press.
Step 6
To form casing for skewer, fold top edge and flattened triangles to back 1/2" (13mm) (the center point protrudes above this fold). Press.
Step 7
Turn over and slipstitch folded edge to back of kimono. Insert skewer through casing; trim ends to desired length. To create hanger, tie a 6" (15cm) length of thread or cording to each end of skewer.
November 01, 2018 1 Comment on Lindy Shirtdress Available Now
Our newest pattern, the 247 Lindy Shirtdress is now available! This dress is based on an original 1940s day dress - with flattering pleats, darts, and gathers. It also features a shawl collar, buttoned front, and side zip. Three quarter length sleeves make this nearly a year-round dress. This pattern is as fun as the Lindy Hop for which is it named!
I particularly love this dress because it is based on one of my favorite dresses - one that I found in the attic of my husband's grandmother. I was told the dress belonged to my husband's great grandmother's chaperone when she was in Europe in the early 1900s. This "Aunt Wiggy" lived out some of her last years with her friend and left behind some of her clothing. This dress was hand-sewn and made to fit her. And my luck is that it also fits me perfectly. I love the flattering details of the dress. It is slightly intricate, but comes together beautifully!
We suggest using fabrics with good drape to get the most movement from the dress, but it is also great in voile or chambray.
A few of our pattern testers made some gorgeous dresses. This first with a Rifle Paper and Co rayon. It is just gorgeous!
This next tester used a lightweight Indian block print woven cotton. It is also just beautiful!
Our Pinterest board for this dress shows some of the inspiration - hair styles, story, and styling.
And, here is Cari in her Lindy dress sample at Biltmore Estate.
We love this dress so much, and hope you do too!!
The 247 Lindy Shirtdress is on sale until November 22nd (midnight PDT). And, use the code LINDY at checkout for 15% off your entire order through the 4th.
September 30, 2018 12 Comments on Folkwear Creations at the Asheville Quilt Show
Yesterday, nearly 20 skilled women showed off Folkwear creations at the Asheville Quilt Show. The women are part of a local sewing group called Designer Divas, and they had challenged themselves to make at least one Folkwear garment and show it a the local quilt show. These women made beautiful, creative garments, which I will show below with descriptions of what they did. I hope they inspire you!
118 Tibetan Panel Coat created by Susan Yaskin - Susan created the panels of this vest with assorted black and white batiks. Lime handwoven, hand-dyed Siam Thai Silk is used for the neckband and shoulder facings and the vertical piping on the center back panel. Lining and vent facings are made with a purple, pink, and black batik print. Susan also did raw edge appliqué of black and white sunflowers on armhole facings and embellished flower centers with sequins and seed beads in purple, gold & bright pink. Side slits and hem bound in purple/pink batik.
131 Tibetan Chupa made by Susan Norris - Susan created her Chupa dress out of an eggplant purple Tencel twill. She left off the ties and cut off the top skirt extensions at an angle so the dress drapes instead of ties in the back. Then, s was able to add inseam pockets. Susan increased the back width a total on one inch and added back shoulder darts. She also decreased the front and back double pointed darts slightly, and lowered the front darts by about an inch. I love her ingenious hacks for this dress!
129 Japanese Hapi Coat by Carol Clanton – This Hapi, or traditional Japanese shop jacket, was created from a collection of 100% cotton fabrics that Carol collected when she traveled. The fabrics come from DC, Colorado, Alaska and as far away as Australia. The lining of the garment represents the Northern Lights of Alaska! A variety of threads was used to show off the crazy quilting. A truly beautiful creation!
129 Japanese Hapi Coats made by Loretta Phipps - Loretta made two elegant Hapi jackets. The first from Japanese cotton in black, gold, and orange. This one is unlined (which is traditional) and finished with French Seams. The second is completely reversible. One side is made of turquoise and rust colored linen and the other is a green poly linen. She used vintage Japanese Kimono silk for the front band and collar.
143 Japanese Michiyuki made by Karen Wilson. Karen made this traditional coat from Japan with cotton damask with Shibori designs from West Africa that were fussy cut. This Michiyuki is unlined and finished with French Seams. Karen used pre-WWII vintage crystal buttons from Czechoslovakia. Quite stunning!
126 Greek Vest by Judy Kandle. Judy created this long, and contemporary, version of the Greek vest in this pattern. She used cherrywood hand dyed fabrics and color blocked the garment. Judy incorporated many fabric manipulations in this vest such as directional stitched pintucks and smocking. She also used Ramie Kim techniques in this vest, including Korean Chopkey folding. Really creative!
104 Egyptian Shirt by Phyllis Yandle. Phyllis created two versions of this very adaptable pattern. One is made of handkerchief linen with the neck facing sewn on to the outside. The attached trim models the traditional applique pattern included in the pattern. The second shirt is not pictured below, but was made of a heavier linen, with the neck facing to the inside. It is simply and elegantly embellished with one special button in the center front just below the neck opening. We don't have a great photo of these shirts because they were not worn on a model, but I'll try to get some soon!
142 Old Mexico Dress by Loretta Phipps. This is a simple dress or top based on the Huipil worn in Mexico and Guatemala. Loretta used Australian cotton for the dress.
142 Old Mexico Dress, the Blouse Version, by Judy Harkey. Judy made this beautiful blouse version of the Old Mexico Dress in blue linen shot with green. She did Boro and hand embroidery on the yoke and hem, and a selvage detail on the back. This pattern is simple enough that it lends itself very well to lots of embellishment options, and this simple example works perfectly!
127 Seminole Jacket and Skirt by Judy Lane. Judy created this pattern from cotton batiks which she pieced for the bands in the pattern. The Jacket is lined with cream-colored satin. The jacket is blouson-style, with a dropped waist and with turned back collar set into the collarband. The skirt is a simple dirndl-style. This pattern is unfortunately out of print, but Judy’s version makes me want to get it back soon. It is impressive!
Back of jacket
Sleeve detail
124 Bolivian Milkmaid’s Jacket also by Judy Lane - You can see the early European colonial influence in this traditional jacket from Bolivia. Judy made hers in a grey herringbone wool with extensive couching and embroidery on the shoulders, cuffs, front and back of the jacket. The sleeve couching pattern in included in the sewing pattern.
264 Monte Carlo Dress by Rose Szabo. Rose created this gorgeous dress from black satin, machine embroidering the front with art deco designs. She arranged the embroidery in her softwear, edited them, and stitched them out accordingly on the fabric. She also added some small beads to the embroidery to add to the Art Deco look.
She also made the beautiful tunic, included in the pattern, from black chiffon and wool that she nuno felted and embroidered. Rose also added a great tassel to the bottom tips of this tunic. This outfit was a show stopper!
264 Monte Carlo Tunic by Loretta Phipps. This tunic comes from the Monte Carlo Dress pattern and is the cross-over version of the tunic. Loretta made this version from a purple and apple green boucle. She created closures of loops and 2 large buttons (one green, one purple), and adorned the three points of this tunic with beads.
249 1930s Day Dress by Christina Strickland. Christina made this flattering dress from a lightweight polyester. The flirty peplum was cut as a circular flounce to echo the movement of the sleeves. An A-line skirt was cut on the bias to break up the linear arrangements of the dot pattern in the fabric (this excluded the dropped waist as shown in the pattern).
133 Belgian Military Chef’s Coat created by Mary Ray. For this semi-fitted, double-breasted jacket, Mary chose a cotton ikat fabric from Thailand. She used a piece of Japanese yukata cloth for the back panel. She highlighted this fabric with free-motion machine embroidery and added faced tucks to create a yoke effect above the Japanese piece. The solid red details are cut from silk dupioni. And, the entire jacket is machine quilted. I didn't get a good photo in the show of this one, but I had some from backstage.
268 Metropolitan Suit Jacket made by Denise Acuri. Denise is wonderful at modernizing patterns to fit her lifestyle and fashion sense. She took this early 20th century jacket pattern and created it with a zipper front closure for ease of wearing and an asymmetrical hem for a modern and interesting look.
240 Rosie the Riveter made by Betty Brotzman. Betty has created one of the many garments in this pattern that comes right from the early 1940s. She used a delicately patterned brushed denim to create the bib overalls (perfect choice for the sweet-heart neckline on the bib). White shirt and bandana complete the Rosie look. She lined the overalls with the red polka dot fabric with which she also made the bandanna.
222 Vintage Vests and 209 Walking Skirt by Elaine Zinn. Elaine created View A of the vintage vests and for the front, denim in a row edge floral design was commercially appliqued onto black lace. The vest back and lining are of black polyester. She used a vintage metal buckle for the back belt. Elaine also made the walking skirt from medium weight denim, matching the blue of the vest. Faux flat felled seams were used for the gored skirt. Floral designs cut from the denim appliqued fabric were machine appliqued around the hem of the skirt. A slightly lighter color of thread was used for the machine applique as well as all top -stitching. And, Elaine sewed buttons to the center of the flowers to create visual interest at the hem line.
Close up of vest
Close up of skirt hem detail.
150 Hungarian Szur make by Julie Simpson. Julie removed the collar with long lapels on this traditional coat, creating instead, a detached collar to wear as a separate garment on top of the coat. She also knit a grey wool hooded collar to wear with the coat.
September 21, 2018 1 Comment on Adding Trim to Side Slits on Djellaba
After making the side slits on the 157 Moroccan Djellaba, I thought why leave a good thing alone? I'll add ribbon trim to this! The ribbon trim I had is fairly typical of trim in North Africa, metallic with paisley and geometric shapes. And, I liked the way it looked with the yellow fabric.
It is very easy to add trim to the side slits - and to the bottom hem or sleeve hem for that matter. I'll outline how I did it below!
First, I lined up the ribbon with the side of the slits, turning one end of the ribbon about an inch under the hem, and pinned the ribbon down.
Then, at the top of the slit, I folded the ribbon so that the top would be square (fold on the diagonal, then fold across).
I pinned the ribbon in place and did the same on the other top corner of the slit and pinned the ribbon down on the other side of the slit.
Next, I sewed the ribbon in place - up the inside edge of the ribbon, across the lower part of the top, down the inside of the ribbon on the other side of the slit. Then, I sewed the outer edge of the ribbon in the same way.
That's all there is to it! I actually really like this trim. It makes it feel a little more elegant. I might even do more trim (to show you how, but also because this is really fun!).
How would you trim your Djellaba?
September 18, 2018
The 157 Moroccan Djellaba has 4 potential views to make - ankle length, upper calf length, and with or without a front zipper. Ankle length and no front zipper (i.e. pullover), View C is the most traditional view of the Djellaba. It is also my favorite version so far because I made it in a gorgeous bright yellow rayon that feels luxurious and relaxed at the same time. I feel like I should be swanning along at beach-side summer sunset cocktail party with a drink in my hand.
Anyway, I wanted to show you how to make this version with side slits because, while it is perfect for strolling along poolside or around the house, if you are wanting to do any long striding in it, you might want a little more space in the lower leg area. Or, if you just think side slits are sexy, here's a quick little tutorial.
First, decide how far up you want the slit to go. I marked it with a washable marker at 20 inches from the unfinished hem. Sew the side seam to that marker, leaving the seam below marker open. Make sure to back stitch to lock the stitches and to reinforce the stitching at the slit.
Then, you should finish you side seams how you like. Note: I did not finish my side seams here (don't judge :-) - I usually do!), but I should have serged them, or turned them under and stitched them since rayon does ravel. If you serge your seams, you can do the side slit as follows, just don't turn under your seam allowances. It is a little easier to serge and stitch rather than turn the edges under, but I like this look too.
I then turned under the seam allowance to the inside twice (1/4" turn each time) on each side of the slit and pressed. If you have serged or over locked your seam, you just need to turn the seam allowance (1/2" for this pattern) to the inside and press.
Then, start stitching up one side of the slit. When you reach the mark for the slit, stitch a couple of stitches above it, and pivot your garment with the needle down. Stitch across the top of the slit, then pivot the garment with the needle down to sew down the other side of the slit. Sew down the other side of the slit.
Then, turn up your hem allowance and stitch in to place.
And you are done! This is a quick and easy way to add side slits to your Djellaba!
September 08, 2018 3 Comments on 142 Old Mexico Shirt in a knit
Earlier this week, I wanted to make another quick summer sewing project before I tackled my fall sewing list. And, I bought a several inspiring fabrics from Stone Mountain and Daughter a few weeks ago. One of which I decided to use to make our 142 Old Mexico Shirt - a striped, lightweight, jersey knit.
All of our patterns are meant for woven fabrics since woven fabrics have been all that is available around the world for sewing until the last 60 years. So, while some of our patterns could be used with knit fabrics, it is not something we usually do (we have no samples in knit fabrics!).
The 142 Old Mexico Shirt is simple enough that it seems like a good candidate for a knit fabric - no darts, shirring, tucks, etc. I made the Small, which worked well, though I probably could have gone down another size. Since there is lots of ease in this pattern and knit fabrics have stretch, you might choose a size below your measurements (or if you are across measurements, choose the smaller size).
I followed the instructions fairly closely, but serged all of the seams, though they could be sewn with a zig-zag stitch (1.5 to 2 width and 1.5-2 length). On the sleeve, below, I serged at an angle toward the hem (rather that stay with the original 2 angles in the pattern piece).
Because I serged, I did not need to trim the neck seam for turning.
The shirt came together very quickly. I sewed all the stay stitching (for pleats and to hold the yoke pieces together at sides) with a regular sewing machine stitch.
I hemmed the sleeves and bottom edge with a double pointed needle in my sewing machine. All other seams were serged. I set in the sleeves and sewed from one side of the bottom of the armsyce to the other. It worked really well!
This was an easy and quick project, and I love my new shirt! It is so comfortable and light. Perfect for this hot late-summer weather we are having!
Do you use knit fabrics for garments meant for wovens? Any major successes or failures?
I will try to keep doing this occasionally with our patterns that lend themselves to knit fabrics (I'm thinking 157 Moroccan Djellaba, 254 Swing Coat, 119 Sarouelles, etc.).