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    News

    My Grey Ultrasuede Version of the Cowgirl Skirt

    January 24, 2024 6 Comments on My Grey Ultrasuede Version of the Cowgirl Skirt

    by Molly Hamilton

    When we picked the 243 Rodeo Cowgirl Skirt sewing pattern to feature this month, we got excited about the possibilities.  All the different yokes, hem treatments, fabrics, embellishments to choose from!  It was almost overwhelming.  We had a great time making a Pinterest board of inspiration, and narrowed down some possibilities in this blog post.  Esi made a beautiful skirt with some lovely floral silk and Western flair hem applique.  

    I went a slightly different direction with my skirt.  There was a version I saw where the almost one-toned leather skirt laced on the side and had a slightly darker very small yoke.  I remembered I had a nice length of grey Ultrasuede that I thought would make a great Western-style skirt.  I loved the way the fabric moved and the texture it had.  I decided to make View B of the pattern.  View B has a skirt that is cut a little bit shorter and has a flounce sewn to the bottom of the skirt.  The flounce was a good fit for this fabric because of how well it moves.  And I wanted it to lace with long laces on the side.

    My Modifications

    The Ultrasuede had a little bit of stretch to it, so I decided to cut a size smaller than I normally would.  I fall between the Small and Medium in Folkwear's grade rule, so I decided to cut a Small for this pattern. I really didn't want a skirt that ended up being too big because of the stretch. The front and back skirt facings help stabilize any stretch also.

    I also moved the back plackets to the left side of the skirt.  These plackets are for the laced closing, but I wanted mine to be on the side.  This meant that I treated the left side of the skirt as if it were the back in the instructions for the placket and laces.  I sewed the back up with one seam instead of putting in any closures.  I was a little worried that having the placket and lace on the left side of the skirt would interfere with the pockets, but it really did not. I just had to be careful of not catching the pocket/front yoke in the stitching when I stitched down the plackets.  Of course, you can make this skirt with a zip closure (as Esi did and shows you how in her post).  

    Grey Ultrasuede fabric with placket on the left side of the skirt.
    Here you can see the placket I sewed onto the skirt on the left side of the front (it will be on the wearer's left, but here it is on the right side of the skirt piece).  

    close up of the lacing on the side of the grey skirt.

    For the front yoke pockets, I wanted my yoke to be one smooth arch, instead of scalloped as the pattern shows.  I traced the pattern, used a curved ruler to make a new cutting line, and then had a new pattern piece to use.

    Original front pocket yoke with scalloped edges traced on paper held down with weights.
    Original front pocket yoke with scalloped edges traced on paper.

     Using a hip curve on traced yoke to change the lines of a curve on a pattern piece.
    Here you can see where I connect the two peaks of the scallop with the curved ruler.

    Pattern piece traced on paper with new line drawn for yoke edge.
    You can see the new line drawn with the hip curve ruler. This will be my new pattern piece.

    I topstitched all the seams.  On the side seams, I pressed the seams to one side and stitched (like a faux flat felled seam), and for the center seams at front and back, I pressed the seams open and topstitched on each side of the seam.  I pressed the seams toward the skirt at the flounces and topstitched there.  I trimmed the seam allowances for all seams.  Since this fabric is a little thicker than a similar cotton or silk, I wanted to reduce bulk where I could.  I also used a longer stitch length than normal when topstitching.

    Close up of top stitched seams on grey skirt
    Close up of the topstitching at center front and at the flounces.

    For the ties, or laces, I used long strips of fabric left over from cutting out my pattern.  I used the lengthwise stretch (or "grainline) since it felt the most stable when pulled. If you are making this skirt with laces, I think a soft leather would be amazing, but you can also use twill tape (which comes in many colors) or make your own bias tape.  I think bias would work better than a straight grain woven fabric to give some flow to the ties and string.  

    I did not hem this skirt! The Ultrasuede does not ravel at all, not does it roll.  So I just trimmed it up to be completely even, using a curved ruler where I needed to.  

    Sewing Tips for this Pattern

    First, a very important tip for View B that I would use next time for sure, would be to label your flounce pieces clearly. Label front and right and wrong side of fabric as well as center fronts and backs.  I had to rip out nearly all of my flounces because I put them in backwards on each piece!  That was a huge pain.  The flounces have notches that indicate front and back and side.  There is one notch for center front, two notches for sides, and 3 notches for center back.  But if your fabric is the same on each side (as mine was), it is easy to switch them around.  I would even caution that you should label your skirt front and back fabric pieces also.  They look very similar and it is easy to confuse them.

    The yokes call for a lining in this pattern.  You can make and attach them, as Esi did, by folding in a hem and stitching down, but for the front pocket yoke, a fabric lining is best. You can use the same fabric you are using for the skirt or yoke, but if it is a thick fabric, it is not ideal and will add quite a bit more bulk at the seams.  I used a Bemberg silk to line my pocket yoke and it worked really well and hardly added any bulk at all.

    Also, when placing the yokes on this pattern (or even the hem applique), I would baste them by hand (or maybe by machine) to get them to lay even and flat when you are working.  For this yoke, you can stitch from the center to the edge for each side.  This technique is the best way to do the yoke.  You could also use the sticky seam tape at the seams of the yoke and appliques so they don't shift while you are stitching.

    Finally, I hand sewed my eyelet holes for the laces.  At first I thought I would put in grommets, but I decided to try hand stitching the eyelets.  I cut the holes in the fabric with a grommet punch tool which was by far easier than trying to cut with scissors or even making a hole with an awl.  I needed the holes to be big enough to easily sew a blanket stitch around the edge.  I also needed to get through several layers of fabric.  The punch in the grommet tool was perfect.  I punched where I'd marked the lace holes (from the pattern) and I used a tiny pair of scissors to trim any bit of the hole that did not get cut completely.

     blue handled grommet insert tool
    The tool I used to cut the holes for the laces.

    Close up of the hand sewn lace holes on a grey skirt.
    Close up of the hand finished lace holes.  This fabric is forgiving and my stitching is not nearly perfect, but you can't really see it!

    I really like this skirt! It came out very much as I imagined.  I loved finding a great pattern for this fabric.  And I am glad to have another winter skirt!  Here I am wearing it with my version of the 212 Five Frontier Shirts - and you can see the details of how I made this shirt here.

     Woman standing outside wearing a grey skirt and white button down shirt with black boots.  Her hands are in her pockets.

    Woman standing outside wearing a grey skirt and white button down shirt with black boots - side view.  Her hands are in her pockets.

    243 Rodeo Cowgirl Skirt

     

     

     

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    My floral version of the 243 Rodeo Cowgirl Skirt

    January 14, 2024 4 Comments on My floral version of the 243 Rodeo Cowgirl Skirt

    by Esi Hutchinson

    I've been wanting to make this 243 Rodeo Cowgirl Skirt for some time now, so when Molly and I decided to get this pattern ready for re-print I was personally thrilled, however it  took me a while to pick out fabric for this project. Molly and I joyfully looked through Pinterest to find some inspiration and there were some amazing options one could do with the shape of the yokes, contrasting fabrics, embroidery, bead and sequins applique, so much to choose from. Check out the inspiration post for 243 Rodeo Cowgirl Skirt here.

    I decided to go with this floral silk cotton blend fabric we still have in stock. It is a deadstock Dolce & Gabbana fabric and it is lightweight and stunning!  It is not super slick like a charmeuse - it is a bit more like a crepe.  If working with silk or silk-like fabrics I recommend looking at this blog post Cynthia Anderson wrote on tips for sewing tricky fabrics.

    I always think it is a good idea to use French seams when applicable with delicate fabrics. I used French seams for all the seams in this skirt, except when attaching the top yoke and bottom hem flounce.  Here is another blog post you can refer to for how to make French seams. 

    Another small change I made to the pattern (though it is suggested in the pattern) was to sew in a zipper instead of lacing the back closed.  I will show you how I did that below.

    This pattern is very straightforward and not difficult at all.  The hardest part for me was picking my fabric and deciding how I was going to change the yoke and hem appliques, or if I was going to use contrasting fabric.  I'm still wondering if I should change it! 

    I decided to make up my own yoke by using the shaped yoke piece H and simplifying the yoke with a large scallop. I eliminated the pockets because I felt like the fabric was too delicate for something to be tugging at it from the inside.

    I followed the instructions when applying the yoke and used the same fabric for the yoke lining.  The yoke is not part of the construction of the skirt, but an overlay on top of it.  For my skirt, since I didn't use a contrasting fabric, so gives a slight texture to the skirt as well as a little more body at the top of the skirt.

    Traced out yoke in a large half scallop on a green cutting mat.

    I made a yoke for the front and back of the skirt. For the yoke going on the back skirt pieces I left the back yoke open for the zipper and just basted the yoke's raw edges to each of their back pieces.

    beige and brown floral silk fabric in a shape of a mermaid fin on a white background.

    You can barely see the yoke, but since I wanted a little more weight and structure to the skirt on top especially if I used a heavier fabric of the bottom for the hem applique.

    beige and brown floral fabric yoke topstitched on the top front skirt, on a green cutting mat.
    back of yoke topstitched on a green cutting mat.

     

    For the zipper you will need about an 8" (20.3cm) zipper, you can purchase a longer one if you'd like. If your zipper is longer then you need make a couple large zig-zag stitches over the zipper where your would like it to end. After you've sewn in the zipper your can cut off the excess. 

    close up of large brown zig-zag stitches on a brown zipper to make a zipper stop.

    I used a French seam when sewing the backs together to the large dot where the Back Placket would have gone if I was using the lacings.

    left above 8 inches not sewn for the back of the beige and brown floral silk skirt.

    I used a serger to finish the raw edges of the rest of the seam. Then  basted the seam together using a 1/2"/13mm seam allowance.

    serged leftover raw edges using white thread.

    I placed the center of the zipper teeth on the seam line, I think its helpful to baste the zipper in place before sewing it on. Then I turned to the right side of the skirt and stitched about 1/4 (6mm) away from the seam line on each side and squared off at the bottom right before the zipper stop. 

    hand basted brown zipper on the center back of beige and brown floral silk fabric.

    To finish I folded under on the back waist facings 1/2" (13mm) and slipstitched the facing to the zipper like so. 

    folded under half a inch on back waist facing and slipstitched to brown zipper, on a green cutting mat.

     

    I wanted to give my skirt a western look by using the bottom hem applique that is provided in the pattern. I found a large scrap of light weight brown twill, heavier then the silk of course, but it worked fine. 

    I didn't use lining for this applique; I just folded under 1/2" (13mm) on all the top edges of the hem applique, clipping at the curves to allow them to turn easily.  Then I topstitched it to the skirt hem as instructed in the pattern. 

    brown twill arrow head hem flounce with half a inch folded on all raw edges on a grey background.

    Here is how it turned out. I really do love the look, it fits the western style I was going for.  I just don't know if it is an everyday skirt for me, which I would like it to be. Maybe over time I will decide it suits my style.  I could also take off the hem applique if I wanted to, or shorten the skirt.  Lots of ideas and options!

    I am wearing the skirt here with our 210 Armistice Blouse, and it really does make a pretty outfit!

    African American Woman wearing a silk floral beige and brown rodeo cowgirl skirt with brown arrowhead hem flounce, wearing brown cowgirl boots and 210 armistice blouse, looking down. She is standing in front of a light grey blue wall outside.
    Woman walking in a brown floral skirt with a cream blouse and cowboy boots.

    Woman twirling in a brown western skirt and cream blouse with cowboy boots on

     Woman standing outside by a grey wall wearing a brown western skirt and cream long sleeve blouse.

     

     

     

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    Cowgirl Skirt Inspiration

    January 09, 2024 3 Comments on Cowgirl Skirt Inspiration

    When we were thinking about bringing 243 Rodeo Cowgirl Skirt back into print, we looked at western and vintage western skirts on Pinterest to get some inspiration.  We quickly had several styles we loved and ideas for what we wanted to make for ourselves.  Esi will show you the silk floral skirt she made (and its variations), and I was inspired to make a simple grey Ultrasuede with a flounce for my version.  

    But, there are so many great ideas for western skirts, and this pattern really does provide a fantastic foundation for all of these.  The yoke appliques are amazing and so versatile.  Add fringe or lace, make with the ties or with a zipper, use various fabrics - there are so many options!

    FRINGE

    Make your own with leather or suede, or add some your purchase.  Fringe is quintessential western wear and looks amazing on this skirt. Our pattern even teaches you how to make your own fringe.  Or see how to make and apply it here. 

    brown suede cowgirl skirt with fringeThis suede leather skirt has fringe just coming from the bottom hem, and has a small embroidery design above it.  Pinterest link.

    purple cowgirl outfit with white applique and fringe.
    This cute outfit features the fringe hanging from the hem applique (similar to our pattern).  There is also piping used in the waist yoke applique (also similar to our pattern).  If you want a shirt or jacket to complete your outfit like this one, check out 212 Five Frontier Shirts and 242 Rodeo Cowgirl Jacket. Pinterest link.

    cowgirl outfit with fringed skirt and appliqued shirt
    Another similar skirt with fringe hanging from the hem applique. Piping is used on the applique also.  Here paired with a western shirt.  Pinterest link.


    This leather skirt also has the fringe hanging from the hem applique. This skirt also has topstitching at the seams (and belt loops were added). Pinterest link.

     

    FRINGE and APPLIQUE

    Fringe and applique go so well together.  We found lots of examples of extra fun appliqué on the yoke or hems of skirts, paired with great fringe.  You can use the many appliqués in the pattern, or add more of your own to the sides of the skirts.  Or, adjust the ones provided in the pattern to fit the look you want.

    red and white cowgirl outfit with fringed skirt and vest.
    This one has two layers of fringe and some amazing reverse appliqué on a cotton skirt.  Pinterest link.

    Patsy Cline in western fringe and appliqued skirt and jacket.
    This skirt has a simple straight hem appliqué with fringe, but also has a great appliqued rodeo scene on the skirt.  Pinterest link.

    brown leather skirt with beaded applique
    This skirt has fringe on a shaped yoke and appliqué of beads.  Pinterest link.

     

    APPLIQUE and EMBROIDERY

    The skirt (and shirt) below is stunning with the western themed applique and embroidery. 

    woman wearing a western style skirt with applique and embroidery
    Pinterest link.

     

    LAYERS OF FABRIC

    Another option for this skirt is to use different fabrics for the appliqued yokes or even as part of the skirt.  You could use lace for the yokes or hem appliques.  You could use different colored leather or suede on a leather skirt.  You could layer several lightweight skirts.

    brown leather skirt with side lace.
    This skirt has a layer of darker leather with scroll work on top of this suede skirt.  I also like the lace moved to the side of the skirt. Pinterest link.

    blue and white western skirt with fringe
    This lightweight skirt has a top yoke with fringe and studs and layered with a lace up ribbon.  A lace-up yoke is included in our pattern too!  You could also use an eyelet fabric for a similar look.  I like the fringe at the top of the yoke. Pinterest link.

    white skirt with lace.
    This skirt shows how you could place lace as the yoke applique for a really interesting and romantic look for the cowgirl skirt.  Add lace at the hem instead of fringe. Pinterest link.

    white lace skirt with two layers
    Pair the 243 Rodeo Cowgirl Skirt with the Petticoat from 203 Edwardian Underthings for a romantically layered skirt.  Add lace or eyelet to the side seams and lace or eyelet to the bottom hem.  I love the layered look! Pinterest link.

    woman wearing a shear blue skirt with cowboy boys and a hat.
    Make the skirt from a tulle or shear fabric and layer it on top of a pair of shorts.  Or make a two layered skirt!  Perfect for showing off some pretty farbric! Pinterest link.

    We hope this post provides some great inspiration for making your own western skirt.  The possibilities are endless (and so fun!).  And western wear is very much in right now.  My family is always wanting to pair clothes with cowboy boots and Stetson hats, so we enjoy these western looks!

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    Reflecting on 2023 and Planning for 2024

    December 31, 2023

    Good-bye 2023!

    While we plan for 2024, we always reflect on the past year and honor our accomplishments. We did a lot this past year, but mostly we enjoyed connecting with you over sewing and our patterns! We absolutely love seeing what you make with our patterns and hearing about your projects. Thank you for being loyal Folkwear customers!  Check out the Customer Gallery here.

    NEW PATTERNS

    510 Passionflower Lingerie Top

    511 Juliette's Dream

    262 Spectator Hats - Turban and Cloche

     

    PATTERNS BROUGHT BACK INTO PRINT

    206 Quilted Prairie Skirt

    130 Australian Bush Outfit

    224 Beautiful Dreamer (size up from original)

    241 Fifties Fit and Flair (sized up from original)

    226 Princess Slip

     

    PATTERNS RELEASED AS PDFS

    204 Missouri River Boatman’s Shirt

    237 Tango Dress (sized up)

    141 Korean Han-bok

    253 Vintage Bathing Costume (sized up - also sized up the paper pattern)

    241 Fifties Fit and Flair (sized up)

    224 Beautiful Dreamer (sized up)

    145 Chinese Pajamas

    137 Australian Drover’s Coat

    230 Model T Duster (sized up)

     

    We have had a great year at Folkwear. While the sewing market seems to slow down a little bit each year (since Covid), we are grateful that we have a wonderful customer base and fabulous stockists. This year, we also picked up Joann’s as an online retailer of our patterns. And we loved collaborating with Sarah Pedlow of ThreadWritten for embroidery workshops with our patterns! Next workshop is January 20 on Romanian Blouse embroidery. We are looking forward to 2024! We plan to release a few patterns over the year, but our bigger goal for the past few years has been to continue to digitize all Folkwear patterns. We want to have all our patterns available as PDF patterns, and keep in print as many as we can (bringing back out-of-print patterns whenever we can). We plan to continue to work on these goals throughout 2024. We are also planning to release more tutorials for sewing tricky patterns and to cover techniques used in Folkwear patterns. If you have pattern suggestions or tutorial suggestions, leave them in the comments below!

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    Cynthia’s Best Cookie Recipe: Shortbread Cookies with Orange & Dried Cherries

    December 21, 2023 2 Comments on Cynthia’s Best Cookie Recipe: Shortbread Cookies with Orange & Dried Cherries

    This recipe comes from our 310 Cynthia's Cookie Apron pattern.  Cynthia worked at Folkwear for many years and has been a life-long Folkwear fan.  She developed the pattern for the apron from a garment that was a staple of her grandmother's who made and wore it all her life - for cooking and doing house and garden chores.  An apron to make cookies in should have a delicious cookie to go with it!

    This cookie recipe is a variation on Cynthia’s family recipe.  Her grandmother loved cordials and liqueurs, so the Grand Marnier was her secret.  This cookie is sturdy enough to withstand icing, as well as additional ingredients such as nuts and dried fruit.  It is not overly sweet, and so makes a great foundation recipe for changing up the flavors or being made plain. 

    2 cups all-purpose flour
    1/4 teaspoon salt
    zest of two oranges
    1 cup (2 sticks) unsalted butter (room temperature)
    3/4 cup powdered sugar
    1/2 cup or more of dried cherries or substitute cranberries
    1 teaspoon vanilla extract
    1 teaspoon fresh orange juice or 1/2 teaspoon Grand Marnier
    For a variation, add 1/2 cup of pecans

    Preheat oven to 325 degrees.

    In a medium bowl, whisk flour, salt, and orange zest together. In a separate bowl, cream butter, and sugar until smooth. Add vanilla extract, orange juice, and dried cherries, (and pecans if using) combine.

    Slowly add the flour mixture to the creamed butter mixture until fully incorporated. Form dough into ball, wrap in wax paper and refrigerate overnight or at least few hours.

    On a floured surface roll dough out to 1/4-inch thickness. Cut using cookie cutter and place on lined cookie sheet. Bake 12-15 minutes or until barely golden on the bottom. Transfer cookies to cooling rack to cool completely.

    NOTE:  You can also shape the dough into rolled logs about 1.5" to 2" (3.75-5cm) thick, chill, and slice into rounds to bake the same way.  I used dried cranberries here, rather than dried cherries.  I also find that I had to bake the cookies for 16-18 minutes to get them done with golden brown edges.

    Happy Holidays from Folkwear!

    Roll of cookie dough on a wooden counter with a knife and two oranges

    Orange cranberry shortbread raw dough on a cookie sheet ready to cook.

    Orange Cranberry Cookies on cookie sheet after being baked

    Cookies in a clear cellophane bag on a wooden table, tied with a red ribbon.
    These cookies make for great holiday gifting!

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    Folkwear Holiday Gift Guide

    December 14, 2023

    I won't create a fresh gift guide this year (are you tired, too? I've got a lot of sewing to do!).  I'll just direct you to some amazing things we've made from years past, with awesome links to inspire your last-minute sewing gift ideas!

    Last year's gift guide can be found here!

    Plus here are some great links for extras of the things we recommend in the guide:

    • You can download the free patterns for the tea cozy here and the oven mitts here.
    • See some of the things we have made from the 305 A Japanese Interior and get inspired to do the same:
      • How to sew the Makura pillow
      • Zabuton cushion sew along
      • Use your fabric scraps to stuff and Zabuton cushion (we still have this cushion in the office and I love it's heft). 
    • The full-coverage, cross-backed, vintage apron is very popular.  Cynthia's Cookie Apron also has lots of tutorials to make this project quick and easy!
      • Sew along Day 1 and Day 2 will cover all you need to know to make this apron.
      • Pattern hack for sewing the apron with narrower fabrics and using bias to bind the edges.
    • Add a quick and cute holiday embroidery design to any of your holiday gifts, from napkins to aprons. 
    • Give the gift of an experience - register a friend (or yourself) for this fantastic embroidery workshop focusing on the embroidery of our 103 Romanian Blouse.
    • And of course, sewing supplies are great gifts!

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    Free Pattern - Holiday Napkins

    December 06, 2023 2 Comments on Free Pattern - Holiday Napkins

    Cloth napkins are a classy and elegant (not to mention, environmentally friendly) way to set a holiday table. These napkins are easy and quick to sew and we have several motifs to add a handmade touch to your napkins - embroider a poinsettia or paint a holly leaf motif. This project will show you how. 

    Materials Needed:

    • Fabric (see suggestions and yardage information below)
    • Thread
    • Pattern, instructions are below, but the file can be "purchased" for free and downloaded here.  This will include the embroidery and paint motifs., as well as more detailed instructions.
    • For embroidery: embroidery thread, needle, small patch of waste canvas
    • For fabric painting: fabric paint, small brush

    Suggested fabrics: Medium to lightweight cotton or linen is best; poplin, voile, percale. A solid color is good if you are planning to embroidery or paint, but patterns can be fun also. A holiday-themed fabric would also be fun; quilting cottons come in many holiday patterns.

    Notions: Thread. If embroidering, you will need embroidery needles, embroidery floss (DMC or perle cotton #5 or #8) and waste canvas (if doing the cross-stitching). If using fabric paint, fabric paint in your color choice and small paint brushes.

    Yardage Requirements

    For four luncheon napkins (finish at 15”/38cm wide), you will need 7/8 yard (.8m) of 45” to 60” wide fabric (115-150cm).
    For four tea napkins (finish at 10”/25.4cm wide), you will need 3/8 yard (.34m) of 45” to 60” wide fabric (115-150cm).

    Cutting

    Be sure to wash your fabric before cutting. This will insure that the fabric does not shrink, and you end up with smaller napkins than you expected. Also, if you are embroidering the fabric, you can end up with distorted embroidery if it is not washed first. Press fabric well before cutting.

    Cut your napkins with your fabric spread flat. This way you will be most likely to cut on the grain and connect straight edges. Note: to find the true grain and to be sure you are cutting on the grain, pull a few threads from the fabric to show the grain and cut along pulled thread lines. Cut four napkins in the sizes below:
    For luncheon napkins - Cut 16”x 16“ (40.6 x 40.6cm) square
    For tea napkins - Cut 11”x 11“ (28 x 28cm) square

    You can choose to make different napkin sizes. For a cocktail napkin, cut 7” (17.8cm) square, for a dinner napkin, cut 19” (48.3cm) square, for a formal dinner napkin, cut 25” (63.5cm) square. Or cut square napkins at the size you desire, adding 1” to the length and width to account for hem allowance. You will need to adjust your yardage required if you change the napkin size. You could also increase the hem allowance by up to 1/2” (13mm) if you want, for a 1” (2.5cm) hem. Be sure adjust yardage if you are making fewer or more napkins, or making them larger or smaller.

    Sewing Instructions

    These napkins have 1/2” (13mm) hem allowance on every side.

    Press under 1/4” (6mm) along all raw edges of napkin. Turn again on 1/2” hem line and stitch along pressed edge by hand or machine. You can do square corners or mitered corners. For square corners, just press up each edge overlap corners with a square edge.

    square corner sewn with red thread on white fabric.
    Square corner. Hem is sewn with contrasting red thread.

    For mitered corners, only press under 1/4” hem to start, and place right sides of napkin together at the corners, forming a diagonal, matching folded edges. Stitch a line that is perpendicular to the folded edge of inside of the napkin and goes to the hem edge. Back stitch at beginning and end.

    grey square cloth with two sides folded down 1/4" for a hem.
    Fold down 1/4" (6mm) on all sides.

    folded grey linen napkin at corners with a red line drawn at corner.
    Fold napkin at corner so hemmed edges are together and stitch at 90 degrees to the folded edge (as shown here in red).

    Grey linen napkin sewn together at corner.
    Stitching is shown here (90 degrees to folded edge), backstitched at each end.

    Cut off the extra fabric, cutting at a 90 angle to the hemmed edge.

    folded grey linen napkin with corner sewed together and extra fabric clipped off.
    Clipped corner of napkin.

    Open the napkin up, adjusting the corner fabric and press the mitered corner.  Then press on all sides 1/4" more.

    Grey linen napkin folded at corner to make a mitered corner.

    Grey linen napkin folded at corner to make a mitered corner.

    Do this to all corners and stitch close to the folded inner edge to secure the hem.

    You can stitch around the hem with a contrasting colored thread for a festive look.  Or, stick with a thread that matches the fabric.  For sewing the mitered corners, I do recommend using matching thread.  

    Now you can embroider, paint, or stencil a design on napkin. And/or add lace, tatting, or other edging to napkin edges for a more Victorian vintage look. See our instructions below for cross stitch embroidery, embroidery, and fabric painting.

    For Embroidery

    Materials:

    • #10 Penelope scrim, blue line, or waste canvas. Do not use mono canvas.
    • #5 or #8 Perle cotton or 2 or 3 strands of 6-strand floss in your preferred colors.

    Pattern (from our Christmas embroidery pattern): 

    cross stitch pattern for a poinsetta
    Prepare Scrim

    Cut scrim larger on all sides than design area.  Pin scrim in place, matching the angle you want to stitch your design. It can be on grain or on the bias. Baste to the napkin.

    Begin stitching
    Start at the top, center of the design and work down and outward. Holes in scrim correspond to + on graph, as needle passes through the hole only, and must not catch threads of the scrim. Each graph square represents one Cross Stitch, 10 sts per inch = 10 holes per inch. Use a #10 crewel embroidery needle, and take great care not to catch threads of the canvas, but to pass through the fabric below. Pull stitches up snugly to compensate for removal of scrim. Begin and end threads by running 1”/2.5cm tails under completed stitches on wrong side of fabric.

    poinsetta embroidery beginning with cross stitch on a napkin with waste canvas.


    Stitching
    Cross Stitch as indicated on graphs on the design, starting at the center top of the design. It is important to cross the stitches in the same direction, however, you can see in mine that I don't always do that.  So it's ok if you miss a direction.  Unless someone is going to carefully study your napkin and understand that some stitches are crossed a different way (which they won't do), noone will notice!  It is helpful to take each stitch so that on the back of the work so there are only vertical stitch lines (so just go up or down with stitches in the back of the work).  This will keep the work neater on the wrong side, which is great for a napkin where the wrong side might be seen. But, again, not a huge deal.

    You may work the first half of the stitch in vertical or horizontal rows, crossing on the return course. In small areas it is generally easier to cross each stitch individually (figures on left below).


    Remove scrim
    When the design is completed, remove basting and fray edges of the scrim so you can grasp the ends one at a time and carefully pull the threads straight out. Pull shorter edges first, holding embroidery near pulling place to avoid distortion. Any scrim threads which have been caught by embroidery must be delicately cut out. 

    poinsetta embroidery beginning with cross stitch on a napkin with waste canvas.

    Poinsettia embroidery on grey linen with waste canvas being pulled out.
    Poinsettia embroidery on grey linen with waste canvas being pulled out.
    Poinsettia embroidery on grey linen napkin.
    Finished design with waste canvas removed!
    Back of work of poinsettia embroidery on grey linen.
    Back of the work.  You can see the stitches were vertical on the back side.  I wove the thread ends into the work to hold them.


    Fabric Painting Instructions

    Hand painted motifs are a great alternative to embroidery. You can also add embroidery to the hand painted motifs with couching stitches or backstitch. A very beautiful effect can be achieved with painting in a motifs and couching with metallic threads around the outlines. Use the holly design below or create your own designs! Painting will cut the handwork time to a fraction of the embroidery time.

    There are many fabric painting substances currently available, mostly from handcraft supply stores. If you are painting a small design like this, the paints that make the fabric hand a bit stiffer are fine since this design is so small. They are what you will most easily find at craft stores. Finely spun, tightly woven, smooth surfaced fabrics are generally easier to paint on. They should be able to take 250° heat set.

    Materials. This is a very small design, so you will only need the minimum amount sold of each color used in red and green. If you want to make a different design, don’t forget that primary colors may be mixed to get more colors. You also need a small fine brush.  Also a piece of cardboard placed under your fabric while painting will protect your surfaces.

    Permanent Fabric Paint. Brands such as Deka, DecoArt, and Jacquard. These are ready to use straight from the bottle on all natural and most synthetic materials. Heat-set as below.

    Heatsetting. For most painted pieces you will want to place the work face down on a clean paper or cloth and press with an iron as hot as the fabric can take, but at 250° minimum (12 o'clock straight up position on most irons). Pressing time on silk, 1 to 2 minutes. Pressing time for cotton (350°) 30 to 60 seconds.

    NOTE: Be sure to test all your paints and settings on scrap fabric before you start!

    To transfer the design, trace with a fabric marker onto your fabric. Be sure the markings will not show once painted (i.e. they should not be too dark). Paint the motif within the lines of the design. Let dry for 24 hours and press with heatsetting as above.

    Add embroidery to the design if you desire; French knots to the holly berries or couching or line stitches on the outside of the leaves.  
    Holly Motif.  Use this motif to paint the design in the napkin corners.  You can scale the design up or down.  Print from the download.


    green holly leaves and red berries - motif

    When I painted these napkins I used a simple fabric paint from Joann's, and a couple of small paint brushes.  I sampled the design on a lightweight muslin, which painted well but bled through to the back which I did not like.  For my main napkin, I used a medium weight muslin that had a bit of twill weave.  This was great for not bleeding through the fabric, but made painting the design slightly more difficult.  
    I traced the design on to the napkins and started painting.  This is not take long.  Once painted, I let them dry for 24 hours and pressed them.  I think I might add some embroidery at the edges (back stitch around the leaves with a green thread).  
    Tracing the design on the napkin.
    I traced the design with a pencil onto the napkin.
    Napkin, brushes, and paint ready to start.
    This is the napkin, brushes that I used, and paint on top of the cardboard, ready to paint.  Cardboard will protect your surfaces from the paint and catch any that bleeds through.
    Painting the holly leaf green with paint brush in photo.
    Painting the holly berries red with the paint brush in the photo.

    This is a fun and simple project, with lots of room for your own creativity.  I made a couple of napkins to use at our table this holiday season and they are very sweet.  

    Three napkins, two painted with holly leaves and one embroidered with a poinsettia on cream and grey fabrics.

    two cream colored napkins with embroidery and fabric paint in holiday motifs.
    Napkin with poinsettia cross stitch set on wooden table with silverware and a table runner.
    We, at Folkwear, are wishing you a very happy holiday season!

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    Monograming Your Special Garments

    November 29, 2023

    by Molly Hamilton

    Adding monograms to garments is quite an old tradition.  It seems to have originally started as a way to identify things belonging to high ranking people and therefore was also a status symbol.  However, eventually monograms also became more practical (though still often for the privileged).  By the 16th century, when people sent their laundry off to be washed, having their initials monogramed on the garment allowed it to be easily identified and returned to the correct person.  This was especially helpful for undergarments, like the chemise. 

    Our 223 A Lady's Chemise pattern includes an alphabet in Victorian script that you can use for adding a monogram to the chemise.  Of course, you can add a monogram to nearly any fabric - tablecloths, napkins, handkerchiefs, shirts, quilts etc.  Monograms can add a bit of elegance to these things.  It also adds some personalization to your garments or items.  And monograms can make a sweet addition to gifts (especially baby gifts).  We have a free pattern and tutorial for a Victorian potpourri sachet, and it is perfect for adding a monogram to. Small and simple, and you can try out different lettering if you make a few of them.  Monograms can also be used to sign a special garment or quilt, using simple stem stitch, to identify the maker of the work (of art!).  

    There are many options for how you make a monogram.  You can make your own design (as monarchs of old did) with your initials, combining them or overlaying them with your own special flourish.  You can make very plain, simple letters in a straight stitch or embellish them in fancy fonts.  Fonts can be romantic and Victorian with lots of scrolling or it can be block script or Art Deco style fonts.  You can cross stitch your letters - using waste canvas or free-handing the letters.  You could couch stitches so that the thread looks like handwriting.  I learned shadow work at a ThreadWritten monogram workshop which was very interesting and simple.  On a side note, I highly recommend Sarah's workshops at ThreadWritten, and her monogram workshop is fun and informative.

    Stone monograms from Byzantine empire
    Medieval monograms from Byzantine empire - these were made of stone and used to press lead.

    Monogram on metal from 1700s.  C with a 7 in the middle and CR with a crown above it.
    Royal monogram on metal from the 1700s in Europe.  These combined letters (and a number) into a monogram to identify the royal.

    close up of a monogram white on white, letter K
    White on white embroidered monogram in block letters with chainstitch and knotted embroidery around it.  Pinterest link.

    Block letter monogram - M H in grey on white fabric.
    A simple block letter monogram made with satin stitch. Pinterest link.

     Art deco lettering - entire alphabet.
    At deco style lettering that can be used for embroidered monograms. Pinterest link.

    Cross stitched monogram, blue on white fabric, fancy script M.
    A fancy script, cross stitched monogram.  Cross stitch can also be used to make very simple letters.  Pinterest link.

     White hankerchief with H embroidered on it in white.
    This is a handkerchief that I have that has been in the family a long time.  The H is embroidered in scroll and with a nice satin stitch.

    embroidery on a white handkerchief - white letters and date 1830.
    This is on the other side of the same handkerchief.  Most likely commemorating a marriage with the year of the marriage.  The letters are a bit fancier and much smaller and also done in satin stitch.  Note the threadwork hem also.  I think the letters are MAS and OGH.

    Monogramming Your Garment 

    Monograms don't have to be perfect.  They can be playful; and the imperfections are beautiful also.  

    Most traditional monograms are made with satin stitch over an outline of backstitch or split stitch, as you can see in many above.  You can also do lines of stitching in chain stitch or stem stitch. 

    If you don't know these stitches, we have several of them shown on our blogs or YouTube channel.  Many of these stitches are also taught in our Mexican embroidery pattern. 

    • Couching - YouTube video
    • Cross stitch (from the 102 Romanian Blouse pattern): blog post

    Starting the Monogram

    First, you usually add a monogram to a garment after it is made.  You can draw the monogram design freehand on your garment or you can trace it.  For more information on transferring embroidery designs, find our blog post about it here.  I often use a fine, water soluble marker to draw my designs for monograming.  Sometimes I'll even use a sharp pencil on a light-colored fabric (as I did below), knowing I will stitch over the markings.

    Thread for monograms is usually perle cotton or 2-4 strands of DMC floss.  I often use DMC floss, but perle cotton gives a little bit of a different feel and look.  Often undergarments (and handkerchiefs, etc.) were monogramed in the same color as the fabric - usually white.  But, you can use any color you want.  Variegated floss is very pretty and contrasting thread will stand out more.  Multicolored monograms are fun.  It is up to you to decide the look you want.

    I also like to use a hoop for monogramming.  I don't always use one when embroidering, but the hoop keeps the fabric taut and makes it easier to see the outline of the letter.  It also helps me with tension when I am doing satin stitching (it is not my strongest skill). 

    The Stitches

    I am going to show you how I did monogram similar in design to the ones in our 223 A Lady's Chemise pattern, using a Victorian script and satin stitch over a straight stitch (back stitch) with stem stitch when the design gets narrow and curved.  I am using a contrasting thread so you can see the design and stitches easily.  

    I started by drawing a letter in pencil that shows where the wider part of the letter would be.  I could have made this whole letter with stem or back stitch and kept the letter the same width all through, but I wanted to experiment with the satin stitch also. 

    Letter M in pencil on white fabric in an embroidery hoop.

    I started my monogram with a knot at the end of my thread, but there are other ways to secure your thread, including making a few small stitches inside where the satin stitches will go. 

    Below are the stitches I used for this monogram.

    Stem Stitch.  I started with a stem stitch.  This stitch gives a little more depth to the lines and helps make a pretty curve, in my opinion. Work stem stitch with a simple forwards and backwards motion, always keeping the working thread to the same side of the needle with each stitch (usually below the line, or to the outside of the curve). 

    Bring thread up through fabric and take one stitch about 1/4 inch (6mm) up. 

    Letter M on white fabric, beginning embroidery with blue thread.
    Bring thread back up for the next stitch about 1/4" (6mm), and go down about half-way back on the first stitch, staying to one side of the thread.

    Letter M on white fabric, beginning embroidery with blue thread.

    Letter M on white fabric, first stitches of stem stitch embroidery with blue thread.

    Continue this way, staying on the same side of the thread each time and keeping working thread to the same side).

    Backstitch.  This simple stitch produces a straight uninterrupted line. I transitioned to the backstitch in the areas that would be covered with stem stitch.  This is a good stitch to outline the area to be covered with satin stitch.  It also provides a bit more relief to the design when covered in satin stitch.

    Bring needle up slightly ahead of starting point (1/4" (6mm) or less) and take it back down into the fabric at the starting point. Bring the thread back up again one stitch length (1/4" (6mm) or less) ahead of the first stich and take it back down, meeting the first stitch, as you can see below. 

    Letter M outlined in blue thread on white fabric - embroidery for monogram.
    I continued the backstitch on each side of the wider parts of my monogram.

    Monogram outline in blue thread on white fabric - letter M.

    Satin Stitch.  These are simple straight stitches worked closely side by side to cover an area.  Bring the needle up on one line, then down on the other one.  Bring thread up again next to the first stitch and work second stitch beside the first, and repeat, filling the area and adjusting stitch length as needed.

    To End the Monogram (or your strand of floss)

    You can thread the last bit of your thread through the stitches that you've already made in the back of the monogram.  This is an easy way to secure your thread.  Then clip any remainder floss.  

    And that is about all there is to hand embroidering a monogram.  These are handmade touches to your garments or linens that are special and commemorative.  And they can be fun, fancy, plain and simple, and sometimes wonky - and that is part of their beauty.  Have you hand sewn monograms? What have you added monograms to?  We love to know!

     

     

     

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    New Fabric!

    November 24, 2023

    Folkwear's annual Black Friday Sale goes until Sunday the 26th (midnight EDT)!  Use code THANKS2023 to save 25% on all sewing patterns, fabric, and sewing supplies. And, just in time for the sale, we got some exciting new fabrics in recently.  I will show you the some of these new fabrics and will give suggestions for what Folkwear patterns they will be great for. These fabrics are beautiful and very fitting for winter, and some are well suited for the coming spring season. If you want to get some fabric for sale, today through Sunday would be a great time, especially while we still have these gorgeous fabrics in stock.  Don't forget that we sell our fabric by the 1/2 yard, so each unit is 1/2 yard (2 units is 1 yard, etc.).

    We ordered several colors of these stunning wool/linen woolsey fabrics from Merchant & Mills.  I've been eyeing them for years and now that they will soon be discontinued, we decided to wait no longer to get them in stock. These fabrics would look amazing for long skirts, light weight jackets, shirts, pants, or simple dresses.  They are soft with a nice drape, and have different colors on each side of the fabric.  I can imagine this used for 216 Schoolmistress Skirt, 148 Black Forest Smock, Basics Overcoat, or a pair of pants or overalls from 240 Rosie the Riveter.  Both sides having pretty color would also make it a wonderful fabric for the 271 Sunset Wrap (which also makes a great gift).  These woolseys would also be beautiful in 270 Metro Middy Blouse, 209 Walking Skirt, or 233 Glamour Girl Dress.  And for pants, these patterns would be great: 119 Sarouelles, Basics Pants, 250 Hollywood Pants, 112 Japanese Field Clothing.

    This fabric also comes in a dark burgundy, teal and a dark brown color.


    Woolsey Wool Linen blend - Black Coffee

    wool linen blend fabric in a oxblood color
    Wool Linen blend Woolsey - Oxblood

     


    Wool Linen blend - Alta Mare

     

    We still have some beautiful Italian Wool in stock. This Italian Yarn Dyed Wool is very soft and lightweight (like a suiting weight) with a beautiful glow of muted warm colors. Use it for 256 At The Hop, 209 Walking Skirt, 233 Glamour Girl Dress, 222 Vintage Vests, 132 Moroccan Burnoose. I think it would be really cute for 251 Varsity Jacket and for 123 Austrian Dirndl as a warmer dress.


    I really missed having lots of sanded twill options in our collection, so we ordered more!  Our new stock is bright, fun, and rich in color.  Get ready for this bright orangey-red color called Chore Red! 

    I think these colors are fantastic, and I think sanded twill is the best!  I really want someone to make 231 Big Sky Riding Skirt out of these twills or even something from 240 Rosie the Riveter, 229 Sailor Pants, 126 Vests from Greece and Poland, 270 Metro Middy Blouse, or the Basics Pinafore Dress.

    I am definitely buying some of this green sanded twill fabric during our sale. It would be classic for 130 Australian Bush Outfit. I would love it for 230 Model T Duster and 231 Big Sky Riding Skirt. This slightly heavier twill would work nicely for 133 Belgian Military Chef's Jacket, 242 Rodeo Cowgirl Jacket or 243 Rodeo Cowgirl Skirt - PDF.

    Also, any of the twills would be great as cushion covers, durable and easy to clean, try it with 305 A Japanese Interior.

     
    Cotton Sanded Twill - Chore Red


    Sanded Twill - Otto Green (12oz)

    prussian blue sanded twill fabric on a light grey background.
    Cotton Sanded Twill - Prussian Blue

     

    We also got in quite a few Jacquard Cottons from Merchant & Mills, including some new ones. These jacquard fabrics are made up of layers of cotton, with a jacquard weave that gives it a quilted look and feel. They are actually quite warm.  I've made a pair of sweatpants from a grey Jacquard we have and wear them on really cold days.  These fabrics below would fit well with 305 A Japanese Interior, 206 Quilted Prairie Skirt - PDF, 106 Turkish Coat, 138 Child's Australian Drover's Coat. Molly made the 137 Australian Drover's Coat for herself out of our quilt-like Jacquard, check the blog post here. You can also see the 206 Quilted Prairie Skirt she made from one of the jacquards in this post as well.  These fabrics are great for bedding as well - Molly has a beautiful blanket she made with a length of this fabric - bound on each end with a pretty binding she made with scraps of Liberty of London lawn.

    close up of deep rust jacquard fabric

    Jacquard Cotton - Deep Rust

    ecru jacquard fabric on a dark grey background

    Jacquard Cotton - Ecru

    pale pink jacquard fabric with a dark grey background

    Jacquard Cotton - Peony

    This layered cotton has a jacquard weave, with fine cotton on top, no batting in the middle of this cloth, the inside is made up of a series of thicker yarns and the reverse is a gauzy cotton.

    marine blue jacquard fabric in a light grey background

    Marine Blue Jacquard Cotton - Merchant & Mills

    We also have these two Viscose Challis vintage floral print fabric. They are very soft and lightweight.  They would be perfect for vintage inspired garments like the 252 Beach Pyjamas, 510 Passionflower Lingerie, 241 Fifties' Fit and Flair, 247 Lindy Shirtdress, or 205 Gibson Girl Blouse.

    Viscose Challis Fabric is a Teal/Taupe floral print.
    Viscose Challis - Vintage Teal Floral Print

    Viscose challis fabric in a Vintage Olive/Taupe floral print.
    Viscose Challis - Olive Vintage Floral Print

     

    These are only a few of our new fabrics, so go ahead and get shop our fabric while it is on sale! Christmas is coming up so it would be a good time to get some handmade gifts ready!  Check out our gift guides from years past: last year's gift guide, gifts to be sewn, and 2021 gift guide. 

    Enjoy shopping and have a wonderful time with your loved ones!

     

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    How to finish the 223 A Lady's Chemise neckline with lace eyelet

    November 21, 2023 2 Comments on How to finish the 223 A Lady's Chemise neckline with lace eyelet

    by Esi Hutchinson

    Hello! I hope you saw Folkwear's blog post I wrote about making the 223 A Lady's Chemise into a blouse. If you have not read it you can check it out here. Recently, I made another chemise to add to the Folkwear sample collection.  We wanted a sample that was made of an organic white cotton voile -- a more authentic, or traditional/historic, version.  We used View A, which is a bit off the shoulders (though can also be worn wide on the shoulders).  Traditionally, the chemise was an undergarment made of light to medium weight cotton or linen and was often white.  The lace and eyelet/beading was used to finish the neckline and sleeves openings and add a bit of a romantic touch.  For this chemise, I used an eyelet lace that we already had in our stash, and the voile from our fabric collection. 

    Our eyelet lace already had the ruffle attached (it was eyelet/beading and lace in one!), so I had to modify the instructions to finish this chemise.  The instructions have the neckline and sleeves finished with a bias binding, eyelet or beading, and a lace edging - all of which come together to provide a clean and romantic finish.  We imagine that often times, you use the notions, like lace or eyelet, that you have in your stash (or have inherited).  So when you go to make a garment like this one, you look at what you already have, especially if it is inherited or heirloom pieces.  And this means that what you have on hand might not be exactly what the pattern is calling for.  As in this case.  So, you have to modify how the neckline and sleeves are finished so that you get the look you want with the pieces you have.  I will show you how I assembled this eyelet lace to the neckline, and maybe that can help you in a similar situation. 

    close up of the eyelet lace used on this chemise
    Close up of the eyelet (beading) lace used.

    The cotton voile I used is very lightweight so I finished all the seams with French seams.  This seam finish is authentic, and it also looks more professional in my opinion.  It also really gives the garment an heirloom-quality feel. French seams are also good to use with delicate fabrics like this voile. Here is a blog post on our site you can refer to if you don't know what and how to use a French seam: How to Sew a French Seam.

    White cotton voile fabric french seam for the side seam of the garment, on a pale yellow background.French seam on the inside side of this chemise.

    Adding the Lace

    Instead of first sewing on the eyelet lace (which is also called beading in the instructions), I first sewed on the bias binding like the instructions say.  The eyelet I use is finished on each side with lace, so I did not need to "sandwich" it with the binding and lace edging.

    I trimmed the seam allowance and pressed the binding away from the bodice, and turned it to the inside.  Then I topstitched the pressed edge of the binding through all layers.  This finishes the raw edge of the bodice.  I did the same to the sleeves.

    1"/2.5 cm bias binding sewed onto bodice neckline of 223 lady's chemise using a 1/4"/6mm seam allowance. Fabric used in a cotton voile in white.

    Bias binding topstiched down to the inside of the bodice neckline out of a cotton voile in white.

     

    I pinned the eyelet lace so that the inside edge of the lace (where the eyelet changes to lace edging) was about 1/8" (3mm) from the top edge of the bias binding.  I stitched the lace down on that line. And I did the same for the sleeves. 

    close up of a white eyelet ruffle with a white ribbon thorough the eyelet
    Outside of the chemise with the eyelet lace (and ribbon woven through).

     

    close up of the wrong side of white eyelet ruffle with a white ribbon through the eyelet stitched on the neckline of the garment.
    Inside the chemise.  You can see the stitching line about 1/8" from the top of the bias binding where the eyelet lace is stitched down.

    white eyelet lace with ruffles sewn on the the top of the Bodice neckline.VOILA! Finished!

    You can purchase ribbon to weave through the eyelet or make your own using a binding tape maker and fine fabric. I used a satin store-bought ribbon for this sample.  I finished the ends of the ribbon by turning them under twice by 1/4" (6mm) and stitching.  

    I have a few more pictures of the finished 223 A Lady's Chemise (View A) below.  This was a fun project and I enjoyed looking through our lace collection to find something that worked for this chemise.  

    African american woman sitting on a bed with yellow sheets, wearing 223 A Lady's Chemise in white. Smiling down to her right.

     

    The back of a African American woman sitting on a bed with yellow sheets, wearing 223 A Lady's Chemise in white.

    Close up of the eyelet lace with ruffles on the neckline of the Bodice with a ribbon through the neckline with a bow tied in the center front. A African American woman is wearing the garment.

     

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    Pants from 240 Rosie the Riveter pattern

    November 17, 2023 2 Comments on Pants from 240 Rosie the Riveter pattern

    by Molly Hamilton

    I have been wanting to make a pair of wide leg pants for a year now, ever since I bought a pair I loved at a boutique in Asheville last winter.  They were so comfortable and easy and fun to wear, that I knew I needed to make another pair for myself.  I also knew that we had the perfect pattern in Folkwear's collection.  Our 240 Rosie the Riveter has a great pair of wide leg trousers that have plenty of room, nice pleats, and back darts. I really love this 240 Rosie the Riveter pattern.  The overalls are very cute, the shirt is wonderful (just make it a size or two smaller than you might think), and I also really love the dress that can be made from the overalls pattern, which is taught in the blog post and not actually part of the pattern.  But, I hadn't made the pants yet.  So two weeks ago, I made myself a pair of pants!

    For fabric, I was first interested in a Tencel twill in a dark color, but the only Tencel twill we had in stock was an aqua.  But, I also really like our sanded twills and we had quite a bit of a khaki green color, so I decided to use that.  We now have several more colors of sanded twills, and if you are interested you can see them here.

    For sizing, I am between the Folkwear sizes Small and Medium for waist and hips.  I measured the waistband and felt that the medium size would be most comfortable and fit just right at my waist.  There is little to no ease in the waist, but plenty of ease in the hips.  I made a muslin to decide if I wanted to make any other adjustments. 

    Woman wearing a muslin of a pair of trousers in front of a mirror.

    There is a lot of room in the crotch of these pants.  The crotch is very low and this allows plenty of room in the seat area for moving, squatting, and sitting (as you might be doing if you were working putting together tanks in a factory in the early 1940s).  But, I didn't feel I needed or wanted quite so much room.  So I raised the crotch in the front and back by 1/2" (13mm).  That isn't a lot and I could have done a little bit more, but it was perfectly fine for me and made the fit better.  I used our tracing fabric for tracing the pattern and making adjustments, as you an see below.

    Paper tissue with writing on it for a sewing pattern, laid on a green mat.

    I also shaved off a little (maybe 1/4"-1/2" (6-13mm)) at the side seams near the hip.  I also know that I usually need to increase the length of the legs of our patterns for myself, so I added 1" in length to the leg.  These pants have a very straight leg (pattern was folded below, so it looks a little wonky, but it truly is straight!), so lengthening and shortening can be done at the bottom of the leg. 

    Paper pattern tissue with writing on it on top of a green cutting mat.

    The only thing that was really different from the ready-to-wear pair I bought was that the Rosie pants have a back zip and button rather than a front fly.  Since I don't love making a front fly, especially if I have to draft it myself, I decided the back zip was perfectly fine for my own pants.  And honestly, I think I like it better!  The front is flat and comfortable. Instead of a button in the back as the pattern indicates, I used a hook-and-eye closure, which I also liked better and found it easier to use. 

    close up of a hook and eye on the back of a khaki green pair of pants.

     Back view of a woman wearing wide-legged olive colored trousers and a white linen shirt.

    I really like these pants! They will be a wardrobe staple this fall and winter.  Note, the shirt I am wearing here is made from our white handkerchief linen and is made with the 212 Five Frontier Shirts (classic view without the decorative yokes).  Now I want to make another pair, maybe in a fabric with a little more flow (like a Tencel twill). 

    Woman wearing olive colored wide legged trousers and a white linen button down shirt in front of a grey wall outside. Side view.

    Woman wearing olive colored wide legged trousers and a white linen button down shirt in front of a grey wall outside.

    Woman wearing olive colored wide legged trousers and a white linen button down shirt in front of a grey wall outside.

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    How I made 223 A Lady's Chemise into a Blouse!

    November 09, 2023 7 Comments on How I made 223 A Lady's Chemise into a Blouse!

    by Esi Hutchinson

    When it comes to lingerie, there are countless options to choose from.  And Folkwear has been exploring our own designs of lingerie this year in particular, with our new 1950s-inspired patterns 510 Passion Flower and 511 Juliette's Dream. We also have the Edwardian 226 Princess Slip which makes great nighttime wear but could also be made for a more formal outing in my opinion. I've been thinking about making it recently into an everyday dress, so maybe I'll tackle that project soon.  And lots of other vintage lingerie, undergarments, and nighwear patterns can also be great modern day daywear. However, this blog post will show you how I made another one of Folkwear's undergarment patterns into a blouse from the 223 A Lady's Chemise.

    Folkwear's 223 A Lady's Chemise pattern is based on chemises that were worn in the mid- to late-1800s. Chemises were originally worn right next to the skin as a simple, practical garment to protect outer clothing (including corsets and stays) from sweat and body oils. However, over time, they evolved into a fashionable and seductive lingerie item. This vintage dress still resonates in style today, with baby doll style dresses, tops and lingerie with beautiful lace and bows. 

    Our chemise is a loose-fitting undergarment that can be made into a blouse or a dress, falling to whatever length you desire. It makes a great nightdress or a dress for everyday wear.  I made a blouse and will show you the changes I made so that you can do it too!

    Typically, the chemise was made from lightweight and breathable fabrics such as cotton lawn, voile, silks, lightweight muslin, and linen. For our pattern, you also need eyelet beading, lace or eyelet ruffles to finish and embellish the neckline and sleeves.

    Folkwear suggests using silks, like crepe de chine and charmeuse, which would give it such a beautiful and luxurious look and feel (I don't know who doesn't love silk). Satin, cotton, or rayon challis and other lightweight fabrics such as batiste, lawn, voile, gauze, eyelet, and handkerchief linen would also work well. We recently have been loving our new cotton/linen blends from Merchant and Mills, its a great substitute for linen or cotton that would work really well. Our cotton voiles and Indian cotton are also light and breathable and would suit this garment as well.  For this shirt, I used our cotton/linen blend in Blackberry.  It is a bit hard to tell on the screen, but this fabric is woven like a chambray and looks different at different angles.  It is very pretty!  Check out or fabric collection, I am super proud of it right now, we have so many options and I just want to buy everything for myself.

    Now to show you how I made this pattern into a shirt for myself.  Not only did I shorten the pattern to make a blouse, I made some design changes as I went that were fun and gave me a look I was really pleased with.  I love using my creativity when sewing to take a fabulous pattern and make it perfect for me (and you should too!).  Lets begin!

    Cutting the Pattern and Tracing the Pleats

    First, I traced the pattern in a size small.  I wanted to make a shirt-length top, not a dress-length garment, so I shortened the front and back by cutting the pattern about 18.5" (47cm) from the top of the center front/back on the pattern piece (I did not use the lengthen/shorten lines, but you could!).  The other thing to know about this pattern when starting, is that the front and back are cut and pleated, and then they are cut again after pleating to make the neckline (after the pleats are basted).  This is to make the tiny pleats easier to manage.  But it also gives you some flexibility about where you want your neckline to fall.  

    Front/Back pattern piece traced with markings, african american hand pointing a correct cutting line for blouse.I traced my pattern on tracing fabric (and to get the most out of this fabulous sewing product, we often tape sections together of previously used pieces to get full pattern pieces).

     

    There are a LOT of pleat lines, but don't let that discourage you!  The easiest way to transfer these markings to your fabric is to use tracing paper and a tracing wheel.  If you don't have these tools, they are indispensable and last a very long time.  

    Tracing paper under the pattern piece with a tracing wheel on ton.

    I used a double tracing wheel here because I could set it to trace several lines at the same time.  

    Pleat lines marked on bodice front cut out of a dark plum color fabric with chalk

    With wrong sides together, I folded along all the pleat lines lines with dots; bringing folds to meet the second line, in the direction of the arrows. I pin-basted the pleats lengthwise from the top edge to bottom dots. This will helped keep everything together. The pleats fall away from Center Back and Center Front. 

    Pinned pleats on bodice front on a green cutting mat.
    I took a long break to decide what I wanted the blouse to look like. I love the way the pleats look pinned in the image above, however in the pattern, the pleats are released as the pattern is sewn.  I liked the pintucked look better than released tucks, but was concerned that when I cut the neckline with the pattern template, it would so reduce the length of these pintucks I liked that I would hardly see them after cutting the neckline according to the pattern template.  So I raised the neckline 1" (2.5cm) above the original neckline and cut a new neckline. 

    View B neckline placement on pleated bodice front , on a green cutting mat.Original pattern neckline template on my front.

    View B neckline placement on pleated bodice front , on a green cutting mat.Here I chalked a new cutting line, 1" above the template neckline. Note that by doing this I added to the shoulder of the pattern too. I could have made the chalk line go toward the original shoulder line, but I liked my pintucks too much, I guess.

    The extra 1" (2.5cm) on the neckline was still not enough for me.  I wanted more length on the pintucks.  So I did something crazy!  I unpicked all the pleats and redrew the pleat lines so they would extend down 6.5" (16.5cm) total from my new neckline.  Then, I restitched the pleat lines to create pin tucks.

    Pleat lines marked on bodice front cut out of a dark plum color fabric with chalk 
    Close up of stitched pin tucks on one side on a dark plum fabric.
    I liked the look of both the "right" and "wrong" sides of my front and back, but I had to pick one. I picked the side that looked like an accordion, the one on the right to be my "right" side of the front (and back).

    Finished stitched pin tucks on one side on a dark plum fabric on a green cutting mat.

    Sewing the Rest of the Top
    I continued making my blouse as the pattern instructs.

    Sleeve C attached to bodice front and back on a green cutting mat.

     

    This pattern has clever ways of covering the seams around the sleeves and neckline.

    Pinned facing J to the wrong side of sleeve C with a hand placed on the garment, on a green cutting mat.

    pinned  facing J faced down revealing previous stitching line.
    I machine stitched the pressed edge of the facing towards the bodice.

    Since I changed the neckline I forgot to change the sleeves and facing prior. However I think its best to assemble the sleeves and cut them after to fit the neckline if you made any changes.

    I just drew a gradual line from the center of the front and back to where the facing and sleeve connect.  You can see that if I had cut the neckline so that it gradually met the original seam line, this wouldn't have happened, but it worked out fine!

    Purple chalk line from the center of the bodice to the sleeve and facing seam line. on a green cutting mat.

    Finishing
    Once the front and back were together, all that was left was finishing the neckline.  I also used my creativity to make something that suited my vision of this top. 

    I was torn on whether to use lace, ruffles, both, or none at all.  This pattern has clever ways of finishing the neckline and armholes and they all use eyelet beading, lace, and/or ruffles.  You can finish with any of these, but to finish with none would be to face everything with bias binding (which is not in the instructions, but is quite easy).  I thought about making my own eyelet beading or using lace, so I placed some options on the top to see how things might look.

    Black Lace placed on the edge of the sleeve on a green cutting mat
    Black lace placed on neckline of pleated bodice front on a green cutting mat.
    With the lace.

    sample of hand made eyelet beading from dark plum cotton linen fabric with a black ribbon through it. place on the edge of the sleeve laying on a green cutting mat.
    sample of hand made eyelet beading from dark plum cotton linen fabric with a black ribbon through it. place on the edge on the neckline of the beaded bodice front, laying on a green cutting mat.
    With eyelet.  I made this scrap of handmade eyelet to test the look by snipping little holes in a long scrap of fabric and weaving in the black ribbon.

    I liked the eyelet beading look the best, so decided to to make my own eyelet beading using the same fabric.  I cut the fabric using the neckline casing, piece K. I marked 1/2" (13mm) buttonholes that were 1"(2.5cm) apart from one another. I made sure to have an even number of buttonholes so that the ribbon would go through the holes to come out the same side at the center front of the bodice.

    Button holes marked using purple chalk on a strip of dark plum cotton linen fabric.

    I made all my button holes (I was very patient!). And, also made sure to mark the dots on this piece that indicate where they meet on the sleeves. I cut the buttonholes open (note: you can use fray check on the buttonholes before you cut them open). And I stitched this neckline casing with right sides together at the short ends.

    buttonholes sewn on on casing K on a green cutting mat.

    Then I pinned the right side of my neckline casing to the wrong side of the bodice, and stitched it in place with a 1/4" (6mm) seam allowance. 

    pinned button hole beading casing K on bodice neckline
    I turned the casing all the way to the front of the bodice (wrong side of casing to right side of bodice) and pressed.  I then folded under 1/4" (6mm) on the un-stitched side of the casing and topstitched the casing close to the folded edge on the right side of the bodice. 

    Pinned casing to the right side of the bodice with a ribbon through the handmade eyelet. all made out of plum cotton/linen fabric.
     
    I did not want ruffles, so I left off the pieces needed for ruffles.  I also didn't need the other neckline casing.

    For the sleeves I wanted them left plain, without beading or lace, so I just needed the sleeve band, piece F, and followed the instructions.

    Sleeve band F stitched together right sides together on a grey background.
    Wrong sides together pinned sleeve band F to bottom edge of sleeve on a green cutting mat. 
    Pressed 3/8" under on sleeve band pinned to right side of sleeve on a green cutting mat.


    I even made my own ribbon from the same fabric. I cut two strips of fabric one yard long and 1" (2.5cm) wide and stitched them together. I then put the strip through a 1/2" (13mm) bias tape maker.

    a strip of 1"/2.5cm x 2 yards of dark plum cotton linen fabric through a 1/2"/13mm bias maker on a grey background.

    I folded and pressed in 1/4" (6mm) on either short end and folded and pressed the tape in half and stitched on the long edge.

    Hand made 1/4"/6mm ribbon rolled into a circle on a grey background.My finished fabric ribbon.

    The sleeves and neckline are bound so I wanted to do the same to the hem.  If you want to do that, measure your hem and add one inch to each strip of fabric you cut for the binding. I wanted my hem to be about the same width as my sleeves so made them 1" (2.5cm) wide. 
    I only cut two fabric strips and sewed them together on each end using 1/2" (13mm) seam allowance.

    two strips  of dark plum fabric sewn together on either side on a green cutting mat,

    I stitched binding to the bodice hem using 1/4" (6mm) seam allowance with wrong sides together.  I trimmed seam to be very even.  I then pressed under 1/4" (6mm) on the binding towards the right side of the bodice and stitched the binding to bodice close to the pressed edge.

    pressed under 1/4"/6mm on binding stitched to bodice hem.
    Finished!!! I worked really hard on this piece and I am very happy with how it turned out!  It is a very cute top that I will wear often in warm weather.
    I really enjoyed this pattern and love the options that open up to me when I think about what look I want, or what creative finishes I can do with it.  I encourage you to experiment with your sewing and use your creativity to come up with fun garments to make.  
    Close up of 223 chemise with pin tucks and a bow through the eyelet lace on the neckline. fabric used is cotton linen blend in plum. African american woman is wearing this top.

    African American woman wearing 223 Chemise Blouse looking  down at the garment and smiling. The top is made out of a cotton linen chambray in plum. she is outside with the orange, yellow and red leaves of fall on the ground.

    African American woman wearing 223 Chemise Blouse looking  down at the garment and head turned to her right. The top is made out of a cotton linen chambray in plum. she is outside with the orange, yellow and red leaves of fall on the ground.

    Back of African American woman wearing 223 Chemise Blouse head  looking  towards her right .The top is made out of a cotton linen chambray in plum. she is outside with the orange, yellow and red leaves of fall on the ground.

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