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The Haori is a lightweight coat that was traditionally worn several ways by different groups of people. Even today is an essential feature of the ceremonial kimono attire for men, along with the Hakama. The Haori was not worn by women until the Edo period (1615-1868) when geisha started to wear the garment in imitation of men's kimono attire. Women later wore the Haori mainly to prevent their kimono from becoming dirty or wet when out - it was worn as outerwear. Originally, the Haori was worn exclusively by the upper classes, gradually becoming allowable for lower class wear.
The Hapi (or happi) appears to result specifically from the relaxation of social restrictions regarding marks of rank. Considered a workers or artisan's jacket, the hapi holds a place similar to the hippari (112 Japanese Field Clothing). However, it is worn open, while the hippari is a folding type of kimono, closing with four ties.
The Hapi is often decorated with emblems which have their origins in the the system of monsho - symbolized by the hereditary crests of Japanese families. Historically, these crests were used to mark the formal kimono, household, utensils, lanterns, and gravestones of important families, as early as the Heian period (794-1185), and gradually became recognized as the household's special symbol. As such, the crests indicated the position, honor, and taste of the family and could be quite intricate.
For military families of rank (daimyo), the use was very different. On the battlefield, warriors needed to tell enemy from compatriot, and foot-soldiers needed a symbol with which to identify. The earliest crests, worn on armor and banners, were of necessity simple, legible, and easily distinguishable.
During the Edo period, the Hapi first appeared. Servants customarily wore their master's crests. The style of this work jacket (the Hapi) would have a large and bold decorative version of the crest dyed on the center of the back and on the front neckband.
More history and lots of information on how to screen print a crest onto your handmade Hapi is in the 129 Hapi and Haori pattern.
References: The Book of Kimono: Complete Guide to Style and Wear by Norio Yamanaka. Kodansha International. 1982.
A narrow, high-waisted silhouette has recurrently expressed the epitome of grace and femininity in ancient Greece, medieval Europe, Napoleonic France, and into modern day. The Empire Dress of the period 1795-1815 is the simplest and loveliest example; its lack of ornamentation accents a pure integrity of line.
Fashion has always been influenced by political and economic factors, both directly and subconsciously. This was strongly evident during and immediately after the French Revolution, when cataclysmic social upheaval was accompanied by radical changes in dress. As in the decade following World War I, a wave of female emancipation brought short hair, rejection of constricting stays and corsets, and body-revealing clothes with the natural waist-line displaced or ignored.
The ascendancy of French influence on fashion had reached its peak a few years earlier with Rose Bertin, Marie Antoinette's couturiere, whose extravagant whims swayed Europe to an unprecedented degree. Even before the Revolution, however, simpler styles were beginning to appear from England, where newly-invented machines wove fine cottons from colonial India. The robe a la Creole, and unstructured sashed sack-dress, was followed in 1790 by the English chemise. During the Republic this gown, shaped only by drawstrings at the neck and below the breast, became more and more "Grecian". Necklines dipped lower, waistlines rose, and sleeves shortened. A more refined fit was adopted during the Directoire period when the bodice was cut separately, with the skirt sewn on.
The fall of the Bastille in July, 1789 had brought a definitive end to the glaring opulence of the upper classes. Men did not dare to appear in public wearing lavish clothes; from this time on, in fact, men have continued to dress less flamboyantly than women. In France it was not longer safe for anyone to wear silks and velvets. The silk weavers of Lyon were ruined, and the industry remained idle for twenty years. The guild system, rigid but effective, was abolished as undemocratic, resulting in inferior workmanship in fabric-making and other crafts. Fashionable modistes, tailors, and hairdressers fled to foreign capitals such as London and St. Petersburg.
In fashion, architecture, and even government structure, the forms of classical Greece and Rome were emulated, especially during the Directoire and Consulate periods. Women's dresses resembled slender columns, with the skirt's fullness carried to the back and lengthened into a train. White was the universal color in sheer fabrics worn over very simple, often flesh-colored undergarments. A few trend-setting socialites even sprinkled themselves with water to enhance the clinging effect of the garments. Dresses fine enough to be drawn through a woman's ring were worn summer and winter, contributing to epidemics of influenza, which was called "muslin disease". A contemporary rhyme lamented:
"Plump and rose was my face
And graceful was my form,
Till fashion deemed it a disgrace
To keep my body warm."
At first the only concession made to the weather was the shawl, which came into vogue after Napoleon's Egyptian campaign. These were similar to the Greek chlamys, about 5 by 8 metes, made in taffeta, muslin, or crepe in white or pale colors. Smaller cashmere shawls and Scottish Paisleys were worn for warmth, although only Josephine (emperor Napolean's wife) was allowed to wear real India shawls - she owned three or four hundred of them.
After 1800, the Spencer became popular, a long sleeved, high-necked jacket which reached to just below the armpit. Spencers were usually made of velvet in colors such as Egyptian earth, pea green, or tobacco brown. Only late in the decade did the more practical long redingote find favor.
To set off the delicate gowns, flat slippers were worn, laced and tied at the ankle.
When Napoleon proclaimed himself Emperor, pomp and circumstance and court dress returned. He was eager to revive the French textile industry, and was said to have sealed off fireplaces in the Tuileries to encourage the wearing of velvet instead of muslin. After 1808, gowns shortened, with trains worn only at court, bodices became less skimpy, fabrics and color more substantial, and undergarments regained importance. Beginning in 1815 after Waterloo, fashion, like politics, underwent a long transitional period before returning at last to conservatism and formality.
Folkwear presents this classic Empire Dress sewing pattern in three lengths, with two sleeve options. There is a traditional version, with drawstrings to fit the bodice firmly to the bust and tie in the back. And, a more contemporary version, with a closed back and elastic at the "waist".
--from Notes on the Empire Dress, 1981, Folkwear
Looking back through the Folkwear photo files, I found a few Afghan Nomad Dresses that I wanted to share. We are not doing a "fabric suggestion" post for this pattern because it has so many colors and combinations that could be possible! So, I thought I would share what other people have made. There are a few comments on construction/fabric when available.
This dress is in the Folkwear collection. It is probably over 20 years old, made with cotton prints, and voile/lawn. Quilting cottons are probably here too.
Dress made by Folkwear co-founder, Alexandra Jacopetti Hart. Made from velvet and cottons, with embroidery, handwork, beading, and fringe. Second image was from when the dress exhibited at the Museum of Art and Design's Counter-Couture exhibit.
This dress was made by a customer - she did used one of the embroidery patterns included in the pattern on the bodice.
Another beautiful version with trim and embroidery!
A simple and lovely version from a Folkwear customer.
Another Folkwear customer with a great combination of fabrics.
This customer did a beautiful job with different fabrics, even in the skirt panels. And she gathered the sleeves into cuffs at the wrists.
Erin, of Tuesday Stitches, made this amazing dress, and blogged about it here. She used quite a bit of fabric from her stash and some up-cylced fabric.
My own version - made shorter and with embroidered ribbon and organic cotton crocheted lace (from Botanica Tinctoria) on the bodice.
This amazing customer made her wedding dress from this pattern, adding crocheted lace to sleeves and bodice (also see first photo). So special!
And, another from the Folkwear collection. This one is made with some silk scraps for trim, and cottons.
This is a pattern to use your imagination and creativity to create something that is beautiful and is YOU! Have fun!
The 107 Afghan Dress is constructed primarily of rectangles, which makes it easy to alter for size and fit. The skirt, even in its narrower Westernized version, should require no adjustment for up-sizing since it measures 105" (267cm) wide at its lower edge. You can simply gather the skirt's upper edge more or less, as needed to attach to the bodice.
Chart of pattern piece dimensions:
|
Size |
Bodice Length |
Bodice Width |
Waistband Length |
Upper sleeve at shoulder edge |
Middle sleeve at upper edge |
|
Small |
23” |
10-7/8” |
10-7/8” |
26-1/8” |
25-3/4” |
|
Medium |
25-7/8” |
11-7/8” |
11-7/8” |
28-3/4” |
27-3/4” |
|
Large |
28-2/8” |
13” |
13” |
30-5/8” |
29” |
|
XL |
32” |
16” |
16” |
34-5/8” |
Match width of sleeve’s lower edge |
|
2XL |
35” |
18” |
18” |
37-5/8” |
|
|
3XL |
38” |
20” |
20” |
40-5/8” |
The measurements on the chart above for Small, Medium, and Large are the actual measurements of the pattern pieces themselves. These are the sizes of the rectangular pattern pieces you will cut. The numbers shown for XL, 2XL, and 3XL are only estimates of what the sizes of the pattern pieces should be, and should be treated as starting points to try out in paper or muslin. A quick test run of the bodice and upper sleeve in muslin or light-weight non-woven interfacing is an easy and inexpensive way to evaluate the fit of the adjusted bodice, waistband, and upper sleeve. Remember that the underarm gusset becomes a part of the waistband, so you will have an additional 6" (15cm) on each side of the garment (each gusset is 6" [15cm] wide where it attaches to the waistband). Note the bodice has little to no ease, as is typical of this dress.
Adding bodice length
To increase the length of the bodice, simply add to the top and bottom edges of the pattern piece A. Since the bodice and waistband, when stitched together, will extend further down the front and back body, you will also need to add to the bottom edge of the gusset (the edge that is stitched to the skirt) so that the top of the dress fits the skirt evenly.
Adding bodice width
The bodice and waistband widths should be the same, so if you widen the bodice piece, be sure to add the same width at each end of pattern piece B. A widened bodice will attach to the skirt without problem, because you can simply gather the skirt less.
Adjusting sleeve to fit lengthened bodice
The upper sleeve is pleated along the top edge where it joins the bodice to form the shoulder. The pleats in the sleeve can be made deeper or shallower to adjust to small changes in bodice length, but if you add a lot to the bodice length, be sure to add to the top edge of the upper sleeve pattern piece so that it is at least 2 to 2-1/2" (5-6.5cm) greater than the length of the bodice to allow for the pleating. The top edge of the middle sleeve should be cut to match the bottom edge of the upper sleeve, since no gathering or pleating is done on this seam.
Traditionally, the slit opening is worn in the back (denotes back of dress). However, I have found the opening to be very comfortable to wear in the front, so that may be another fit option to consider. Bodice pieces are the same size for front and back.
That should be about it for adjustments for fit for this dress! Again, traditional folk patterns are often very easy to adjust up or down. We hope you enjoy it and tap into your creativity with this beautiful dress!
Folkwear has been a beloved pattern company since it started over 40 years ago in California. The women who founded Folkwear did so because they were inspired by clothing from other countries, cultures, and time periods. They appreciated the design, textiles, and handwork of the clothing (comfort, practicality, and beauty all in one). This vision has underlined Folkwear's mission as it has released sewing patterns throughout these many years.
It had been in the back of Kate's (the last owner) mind for several years that a clothing line based on Folkwear patterns would be a natural next step when increasing the capacity of the business. I was interested in the idea since there are so many great designs and possibilities. And, it became a goal when I had people stop and ask me where I got my clothes every time I wore my Folkwear garments out (especially when they were in textiles sourced globally). Lots of people in real life and on-line ask about Folkwear's clothes and don't sew or want to sew their own.
I thought about what I wanted the vision for Folkwear Clothing to be. I wanted to start small (to figure it out and do it well). I wanted the line to be sustainable, to celebrate global textiles and artisans, to link different countries and cultures. I wanted the line to be of classic designs (like most of our patterns) that are easy to fit, cover at least 3-seasons, and are not too "trendy". I want these clothes to last, to be worn and loved. I wanted to start with simple designs and textiles that I love. I also wanted to provide jobs with this enterprise, to support artisans and companies doing great work, internationally and domestically.
So, I started with three patterns - the Tibetan Chupa skirt, the Sarouelles (African pants), and the Japanese Hapi. I chose fabrics that are iconic of places in the world - African Wax Prints, handwoven ikat, and hand block-printed cotton. The African Wax Prints are from Ghana and Nigeria. The ikat is from India, as well as the block-printed cottons. The block-printed cotton is actually organic cotton and is made in a fair-trade factory in Jaipur, India. The clothes are being made in a small factory in Hendersonville, NC (just about 45 minutes from Folkwear). This factory produces high-quality clothing, made by skilled textile workers (something our state is known for!).
These garments are beautiful, easy-to-wear, and fun. They are perfect for easy days - wearing out and about, lounging at home, vacations, hanging out with friends, etc.
Sustainability is important to me, and I want to source fabric, as much as possible, that is produced in a sustainable manner for the environment and communities - organic fibers, low-impact dyes, fair trade. "locally-made". We want to reduce or eliminate fabric scraps (another step in sustainability of the clothing line), and have made travel pouches from the African Wax Print scraps. Some fabric waste is used in packaging, and some will be re-used for Folkwear samples. We even have some extra fabric for sale in our shop.
So, this clothing line (and travel pouch group) is now on sale in our on-line shop!
Coming this summer, we will have the Sunset Wrap made with hand-spun and dyed organic cotton, grown, spun, and woven in Burkina Faso. And, the Sarafan from the Russian Settlers' Dress - made in a lovely yard-dyed organic linen.
So, please check out Folkwear Clothing!
Follow us on Facebook (folkwearclothing) and Instagram (@folkwearclothing).
Tell your friends! Tell your family! Share our story (and social media)!
I am excited about this venture of Folkwear! Thank you so much for being along for the journey!
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.
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!
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.
You have asked for them . . . and Folkwear has worked on getting more patterns graded to larger sizes into the mix. Many people are surprised by how many plus-sized patterns we have! We have graded some patterns up, produced patterns in larger sizes, and worked to make sure everyone who sews might be able to use some Folkwear patterns. Including patterns for women (and men) of all sizes is important to Folkwear.
We have grouped our patterns below into patterns made in just one size (one-size-fits-all), patterns that go up to Misses Extra Large (XL or size 22-24), 2XL (or size 26-28), and 3XL (size 30-32). Most of these are sized are according to our own grade rule, though some of the early patterns are sized according to height, or were labeled slightly differently.
Patterns with an (*) beside the name are also sized for men, which means they have been graded up a bit farther than the women's sizes, depending on the pattern.
To see our grade rule (sizing chart), click here.
One Size (check pattern for finished measurements):
151 Japanese Hakama & Kataginu*
Patterns that go up to XL (or size 22-24):
133 Belgian Military Chief's Jacket*
135 Jewels of India (PDF pattern)
140 Flamenco Dress & Practice Skirt
Patterns that go to 2XL:
116 Shirts of Ukraine and Russia*
126 Vests of Greece and Poland
135 Jewels of India (PDF pattern, Kurta Shirt)
204 Missouri River Boatman's Shirt*
Patterns up to 3XL (or size 30-32)
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.
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!
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.
