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As I’ve been working at Folkwear, my sense of style — what I want to sew and the fabrics I choose — has evolved. A couple of years ago, I probably wouldn’t have worn overalls, especially purple ones. But now I wear them at least once a week, and I love them. I was so excited to make myself the 240 Rosie the Riveter overalls this month — such a unique pair, with front pleats that drape beautifully and adjustable back darts that let you tailor the fit to your body.  In this post, I am going to share some changes I made to these overalls to make them suit me.

First, was picking the fabric.  There are so many fun fabric choices you could use to make these overalls.  Folkwear suggests making these overalls from medium-weight cottons, wool, blends, corduroy, and denim, and even velvet and velveteen. I chose a cotton twill to make my overalls.  Cotton twills are one of my favorite fabrics, and we carry them in our fabric collection along with heavyweight linens and woven cottons. I purchased this purple twill fabric from a new fabric store in our town, called Sewing Studio Fabrics. This store has been online for several years, but in the last 12 months was bought and moved to Asheville where they also opened a physical location.  Asheville hasn't had a good garment fabric shop in almost 10 years.  Sewing Studio Fabrics has a lot of denim, twill, and corduroy options. I was definitely inspired by the sample that Folkwear has and wanted to make it in a color I never wear to try something new!  I basically ended up making overalls that are nearly the same as our sample.

I needed to do the same with my bodice facing piece as well. 

I dread zippers, and I still have not mastered a zipper.  But, the method for installing zippers that works thebest for me is to mark the seam allowance from the top of the zipper pull.  For this pattern, it is 1/2" (13mm). So, I marked 1/2" up from the top of the zipper pull. 

I chose to do a centered zipper. Where the zipper is centered and lapped on both sides -- in otherwords, the seam meets in the center of the zipper.  A lapped zipper is lapped on one side. I pressed under 3/4" (2cm) of my seam allowance and pinned it to the corresponding side of the zipper, centering the pressed edge over the center of the zipper teeth.

When it came time to sew the side seams, I basted them instead to see how I liked the fit before the final sewing. If you do this, try the garment on with a shirt underneath to see how it fits, because that's how you will usually wear it. 

I suggest trying on the overalls again to see if you need adjusting. If you find that it is still gaping in the back you can add darts like I marked out below. I didn't need the darts, but I wanted to show you that this is a possibility for making the bodice more snug when everything else fits just right in your size.

As we enter our 50th year of business, we are reflecting on the beginnings of Folkwear and the visionary women who started this small company. Many of you have been following Folkwear since it started! And have seen the changes in it over time, but we hope that the mission and values of these three founding women have continued to carry on in this business through the years. 

In the mid-1970s, three women in Forestville, California - Barbara Garvey, Alexandra Jacopetti Hart, and Ann Wainwright - founded Folkwear to share their passion for finely crafted folk clothing with others who loved handcraft, fabric, culture, history, and style.

It all began when Barbara and her husband were on a trip to Israel, where Barbara spotted long flowing, beautifully embroidered dresses worn by Palestinian women (and sold in tourist markets).  Fascinated, she bought several and brought them home and showed them to her friends, Alexandra and Ann.  All three collected textiles and clothing during travels to other countries, and felt that other women would like to learn about these clothes and how to make their own.  These garments served as models for the earliest Folkwear patterns.  

They started producing the early patterns, such as 101 Gaza Dress, 103 Romanian Blouse, 105 Syrian Dress, 106 Turkish Coat, and 107 Afghan Nomad Dress, in 1975 and 1976.  These early patterns had hand-lettered instructions on heavy paper and included many needlework techniques, such as embroidery, applique, cross-stitch, trapunto, quilting, smocking, and crochet. 

The three founders were a perfect team to create a line of innovative patterns that was revolutionary for its time.  This was the mid-1970s, when women's wear in America was often bland and conservative.  Alexandra, Barbara, and Ann each had specific and complementary skills to bring to Folkwear. Alexandra was a skilled embroiderer who researched, diagramed, and explained needlework and handcraft techniques so important to the patterns.  Annehad a background in fashion design, and spent years designing for mass market and factory sewing.  She created the patterns for the garment construction.  And Barbara had technical writing and organizing skills, as well as lengthy experience as a home sewist.  And, their husbands helped -- with mail order, photography, and graphic design.  Finally, book illustrator, Gretchen Schields, drew the cover illustrations for each pattern.

Of note, in 1974, just before starting Folkwear, Alexandra Jacopetti wrote the book, “Native Funk and Flash: An Emerging Folk Art,” about the street fashion of the 60's, focusing on California weavers and folk artists (and jeans art) -- a classic of the time.

As the three began collecting vintage garments in addition to traditional folk garments, the pattern line expanded to include all types of historic styles from all around the world. By 1977, they had 14 designs in print and were selling patterns (retailing at $4.50 each) to hundreds of stores and museums across the U.S., as well as by mail order. 

Eventually, Ann Wainwright took over the company and served as President for several years.  During the recession of the mid-1980s, Folkwear's business health suffered along with so many other small businesses. The company was sold to The Taunton Press, publisher of Threads magazine, and by the early 1990s, most of the original patterns were back in print, and new patterns were under development.
 
Gretchen Schields continued to illustrate nearly all of the patterns from the inception of the company until 2017, contributing to the iconic images associated with Folkwear patterns (see below, 113 Japanese Kimono).

Folkwear is a beloved company, and we are honored to keep it thriving. We will write more about Folkwear's history over the next several months, but if you want to know more right away, you can read an article on the Craft Industry Alliance website about Folkwear's history, and listen to a podcast on this history (complete with interviews from founders) on the Seamwork podcast.

From a magazine article about Folkwear, 1978.  I don't love the "housewives" moniker because it is not an apt description -- but maybe a reflection of the times, not the women.

As we celebrate Folkwear's 50 years of creating unique and amazing sewing patterns for historic and folk clothing from around the world, we wanted to make sure our customers were at the center of this celebration.  Folkwear has been around for 50 years, and so have our customers!  We hear from you all every week -- many who were sewing with Folkwear patterns from the beginning.  Maybe you discovered them in a shop or a museum in the late 1970s or early 1980s.  Maybe your mother made you a Prairie Dress when you were a child.  Maybe you saw Folkwear advertised in a magazine or newspaper almost 50 years ago (and you sent off for a mail-order pattern).  We hear these stories all the time, and it is so wonderful!  Folkwear sewing patterns were different even then.  They spoke to people about their lives, their stories, and the stories they wanted to know.  They gave people an opportunity to learn more, dive deeper, and express creativity -- through cloth and culture.  

So, to kick off our fun series of 50th anniversary contests, we want to see the first Folkwear item you ever made (or wore)!  Was it from the 1970s? or 1980s?  or 1990s?  Or more recently? Do you have a photo?  We want to hear from you!  In this contest, everyone is a winner!  We will have a coupon code for everyone who participates (20% off your next order in our store), and we will choose 2 winners with the oldest garments for a $50 gift card to Folkwear.

To enter the contest: 

1. Send us a photo (a photo of a photo is fine) of your oldest Folkwear garment. Email it to us at mail@folkwear.com
2. Tell us about the garment! When was it made? Did you make it? Did someone else? What fabric was used? Was it for an occasion? What did you love about it?  Do you still have it?

And if you don't have a photo, but you have a good memory and can tell us all about the garment, we will accept that too (sometimes the garments don't last as long as we wish).  What pattern was it? What fabric was used? Was there handwork on it? When did you wear it? Tell us the story!

You can also tag us on social media with your make:  @folkwearpatterns on Facebook and @folkwearsewing.patterns on Instagram.  Add the hashtag #50YearsofFolkwear to join in celebrating Folkwear's 50th Anniversary.  

The contest will end on February 28, 2026.  We will pick winners by March 4th.  

More questions?  Send us an email at mail@folkwear.com

First photo at the top is #101 Gaza Dress - from one of Folkwear's first photo shoots.

Threads, the premier magazine for all things related to garment sewing, has teamed up with Folkwear to present a sewing challenge to celebrate Folkwear's 50th year.

Sewists of every skill level are encouraged to construct a look that updates traditional American garment design, then enter their work into the competition. One winner of the challenge will be chosen by a panel of judges and receive a prize package. 

Here are the challenge details from Threads: 

You must begin with a pattern(s) from the Folkwear vintage line and interpret it to reflect contemporary American fashion. For a limited time, Folkwear is offering a 20% discount on these patterns; enter the code THREADSVINTAGE for 20% off at checkout now through April 1, 2026.

Your entry must be a garment or ensemble you’ve sewn that covers the wearer’s body. Acceptable garments are a full-length coat, dress, jumpsuit; and/or separates, which must be paired to create a full ensemble. You may adapt your chosen pattern in length, embellishment, construction methods, and closures, but the original design concept should be discernible in the finished garment. 

Entry Requirements:

To enter, complete the entry form and submit photos to the challenge submission page between January 20, 2026 and midnight April 23, 2026 EDT.

The entry forms require an artist’s statement in which you must explain:

• the Folkwear pattern(s) you chose
• what modern activity or event your look is intended for
• fabrics, trims, and other materials you used (including sources)
• any special techniques you employed to create your final garment
• how you interpreted the design
• what you learned through this process, including any challenges you encountered and how you solved them.

You will also need to fill out the artist statement form and upload it along with at least two—but no more than six—clear photos of your garment to our challenge entry form submission page: a full-length front view, a full-length back view, and no more than four additional photos of your choosing. These may be close-up photos, process photos, or individual pictures of an ensemble’s components. 

Judges to Choose a Winner

The entries will be judged by a panel of experts, based on adherence to the challenge guidelines, as well as overall construction, fabric choice, and any embellishment. The judges will select and contact up to five finalists by May 5, 2026. Finalists’ garments must be sent to Threads magazine for photography, and from them, the judges will choose a winner. The winner will be announced in the Threads Fall 2026 print issue (on newsstands September 8, 2026) and online.  

The Threads-Folkwear Sewing Challenge winner receives a prize package:

• One-year membership to Threads Insider, valued at $59.95. It includes a one-year subscription to the print and digital magazine, Insider eletter, and access to 40 years of Threads content through the online archive;
• Three e-learning courses of your choice, minimum total value $149.97;
• Your challenge entry featured in an issue of Threads magazine and at ThreadsMagazine.com.
• Challenge finalists will also be noted in Threads.

For more information, submission forms, and links, go to Threads Magazine Folkwear Sewing Challenge.

As you may know, Folkwear first released the pattern, 501 Algerian Suit, in 1992 in collaboration with the Metropolitan Museum of Art in New York City.  The pattern was based on, and adapted from, a suit in the collection of the Costume Institute of the museum, and includes an open, lined jacket, a lined buttoned vest, and harem-style trousers.  We re-released this pattern in 2026 under Folkwear's sole name and brand.

The original suit that this pattern was based on was purchased in Bon-Loada, Algeria by Mr. Archibald D. Davis in 1930.  It was donated to the MET's Costume Institute in 1948 by his wife.  You can see the original suit in the MET's collection here (and a very similar one in the collection here).

The three-piece suit, also known as a Keswa del Mahsour, consists of a jacket, vest, and trousers. The original suit was made of blue-gray wool broadcloth.  Scroll-like designs of light blue and gold soutasche braid decorate the entire front, back, shoulder seams, and neck of the jacket.  The soutache also covers the collar and front opening of the vest, and trims the sides and pocket slits and leg openings on the trousers.  The vest front closes with small, round brass buttons, as does the faux sleeve placket on the jacket. The center fronts of the jacket, and the slits in the lower arms are lined in a bright pink figured silk.  Of note, the slits on the lower arms of the jacket are almost like a faux placket. The slit opens to an inside fabric that can give a little more room in the lower arm, but not at the wrist.  The slit closes with brass buttons similar to the front vest closure. The edges of the jacket and vest are faced with yellow, red, and black striped one-inch braid and edged with a black and white silk corded piping.  

We have a sample in our collection here at Folkwear that was obviously made as a copy of the original.  You can see some photos of it below. I am modeling this suit, which is a little large on me, but I loved the pants! So comfortable and warm! 

A long history of this style of suit in North Africa is included in the pattern, but I will give a brief overview here since it is very interesting.  The suit is not indigenous to North Africa -- a series of events led this style of dress to be in the region.

The region of North Africa was conquered by Arab Muslims between 670 and 700 AD. Before then, the region had been invaded for centuries by the Romans, Greeks, and Christians.  Islamic rule was eventually imposed between the 7th and 8th centuries. But the region remained culturally diverse due to the numerous occupants, including native Berber populations.

Following more invasions by Europeans, the Ottoman Empire was invited to North Africa to help dislodge the Spanish, who had conquered areas along the coast.  Pirates (Barbary Coast privateers and pirates) and Ottoman military (Turkish Janissary, a highly trained group of Ottoman military) came together to drive out the Spanish from the region and set up government.  By 1587, Algiers, Tunis, and Tripoli were incorporated into the Ottoman Empire.

By 1830, France started a conquest of Algiers and occupied Algeria.  In 1881, they also occupied Tunisia, and in 1911 Italy had unseated the Turkish government from Libya.  And by 1912, Franco-Spanish occupation of Morocco completed the oust of the Ottomans.

The original costume that became the Keswar del Mahsour was introduced to North Africa by the privateers (or pirates) of the Barbary Coast (i.e. North African coast).  It was commonly worn by North African seafarers.  Later, it became part of the typical costume of North African merchants who wore it with a variety of draped outergarments (like the Moroccan Burnoose).  This suit was also adopted and worn by the Turkish Janissary.  And later, by the Zouave, a body of light infantry in the French army, originally recruited from Algeria.  So, the suit had many iterations throughout the years and throughout the groups that adopted it, but with deep roots in North African culture.

The Keswa del Mahsour usually consisted of four elements.  Seroual (note the similarity to Sarouelles, folk pants from North Africa/Turkey) were very full trousers with generous pleats that gather into a wide waistband.  Mentan or mental was an eleborately decorated hip-length jacket.  And the outfit was completed with two bdaiyat, or vests, worn on top of each other with the inside vest buttoned and the outer one closed with only the bottom two buttons.

The trousers, vest, and jacket were generally made of medium to lightweight wool in pastel shades with bright calico or silk lining.  Islamic law dictates that no human or animal forms be represented in decorations, nor symbolism be applied.  So, the embellishments on this suit were usually soutache braid (thin or narrow flat cording) trim applied in elaborate scrolling or linear patterns.  And these patterns show the influence of Byzantine or classic Greek and Roman motifs.  This type of trim is also called passementerie trim, which is continuous soutache braid applied in intricate designs.

We are excited to bring this 501 Algerian Suit sewing pattern, with so much history and culture, back to print.  And hope that you enjoy the depth of the information that is provided in the pattern, as well as the great design and embellishment options.

We are celebrating Folkwear's 50th anniversary in 2026.  Our oldest copyrights are from 1976, and we wanted to celebrate this milestone for Folkwear. Folkwear has 50 years of creating sewing patterns for historic and folk clothing from around the world. Fifty years of researching, designing, creating instructions and illustrations, publishing, and packaging.  Fifty years of testing and sewing samples, of embroidering, of lace insertion, pintucks, quilting, and more.

We are so excited to celebrate this important anniversary with you!  We have many fun things planned for the entire year. 

Pattern Releases

We will be releasing one pattern almost every other month for the year, starting in January.  Most of these will be patterns that have been out of print, but we have at least one new pattern planned.  Bringing patterns back into print is a lot of fun, and a lot of work.  We digitize the pattern, often grade up (if possible) to expand the size range, re-publish instructions, and create a PDF pattern.  We love working with old Folkwear patterns, and think our 50th anniversary is a great opportunity to bring some treasures back into print. 

Pattern Contests

We will have several fun contests throughout the year! Starting in February, we will run month-long contests every other month.  Winners in each contest will receive a Folkwear gift card, and all participants will get a coupon code to use anytime during the year. You can submit garments from past contests in most of these, garments you made many years ago, or made just last week.    

• February:  Oldest Folkwear Make.  Who has the oldest Folkwear garment? Or oldest Folkwear pattern? When was the first time you used a Folkwear pattern? Do you have a photo?  Tell us about the oldest Folkwear garment you have made, or pattern you have.  Send us a photo with the story behind the garment or pattern and when it was made or when you got it.
• April:  Embroidery/Handwork on a Folkwear pattern. So many of our patterns include traditional embroidery or handwork instructions.  Have you added any to a Folkwear garment?  Send us a photo and let us know what you did.
• June:  Largest Folkwear Pattern Collection Contest.  Do you have a huge Folkwear pattern collection?  Let us know how many patterns you have, send us a photo of them, and let us know which is your favorite!
• August: Folkwear Menswear Contest.  Folkwear has a fairly large number of patterns for men, and sometimes they get overlooked. But we have some incredible men who sew with our patterns, and others who sew for men in their lives. So we wanted to feature these incredible makes.  Send us a photo of men (or men-identifying) in a Folkwear garment!
• October: Coat and Jacket Contest. We have our annual Coat and Jacket Pattern Sale this month, so wanted to see all the amazing coats and jackets you have made with Folkwear patterns.  Send us a photo of one to enter this contest.
• December: Folkwear from 2026. This is the only contest where we want to see what you made from a Folkwear pattern this year.  You have all year to decide what to make, and make it.  We can't wait to see what you do!

Details:  Contest will open on the first of each month and close on the last day of the month, with details each month on our blog. Please send the best, clearest, least cluttered image you have, in as high a resolution as possible (300dpi, if possible).  But, we aren't too picky! We just love to see what you make.  

Anniversary Gala

We are starting to plan an anniversary party here in Asheville for sometime in September.  A party to wear your favorite Folkwear outfit, or make a new one to show off.  This would be a great time to visit the area if you live out of town.  Ticket proceeds will go to support the area's continued recovery from Hurricane Helene.  More details to come on this!

Open Studios

We will continue to have our studio open to the public with small displays from our sample collection.  Open Studios will be on every first Friday and third Saturday (as long as these are not holidays).

More fun things throughout the year

If you order from us, you know that we send small postcards in each order with information about Folkwear.  We are going to have special cards throughout this coming year for each illustration of patterns we have in print.  Our iconic illustrations were done by Gretchen Schields -- right from the beginning of Folkwear.  So these postcards can be collectible items.  Store them with your patterns, use them for pattern notes, put them in small frames, or in your own special sewing journal.  You can color them, write on them, mail them, and more.  We will send at least one postcard in every order, and we will be changing the illustrations each month. 

Lookbooks.  We have created small commemorative Folkwear lookbooks that are booklets of our gorgeous pattern illustrations.  These small lookbooks will be included in every order over $50.  And, will be available to pick up in our studio.  These booklets are a fun way to remember Folkwear patterns.  Thumb through these beautiful illustrations, color them, remember the romance of Folkwear.  Every three months, we will be changing the lookbook to have new illustrations.  You can collect all four!

Be sure to sign up for our newsletters to know all that is happening all year!  Sign up here.

We are really re-introducing this Folkwear pattern, which has been out of print for many years.  136 Children's Kimono & Vests pattern was first published in 1986, and we have brought back the original, along with some small improvements to the pattern (notches adjusted to fit better, etc.).  So you can again make an heirloom-quality kimono with vests for the young people in your life.  These are garments to make that can be passed down for generations.

The 136 Children's Kimono has patterns and instructions for sewing a kimono with two sleeve views.  There is a simple, smaller sleeve, and there is a longer, more formal sleeve option.  The kimono is made much the same way as our 113 Japanese Kimono pattern.  It is made with the traditional technique of using seam allowances for the size made.  So the fabric is cut on the same lines for all sizes, but the fitting comes from where you make the seam lines.  Smaller sizes have wide seam allowances, and larger sizes have smaller seam allowances.  This also means that you can easily make the kimono larger as your child grows. 

The 136 Children's Kimono & Vests also includes a pattern and instructions for a quilted vest.  The quilted vest is traditionally worn under the kimono for warmth and to provide shaping for the kimono.  But we love how it looks over the kimono.  And it makes a great vest to wear with any outfit!  Comfortable, warm, and easy to play in.  You can make the vest with pre-quilted fabric or by quilting your own fabric.  The instructions tell you how to do either.  The Vest is finished with bias binding, so you can add accents with different fabrics with the binding.

Finally, the pattern also includes instructions for a knitted vest for children.  The knitted vest echoes the silhouette of the quilted vest, and uses an easy diamond stitch to give a three-dimensional look to the vest.  And, the pattern includes information on tying an obi, as well as a short history of the kimono for children and a few embroidery designs.

We are so excited to keep bringing back out-of-print Folkwear patterns.  They are treasures.  We hope you enjoy this pattern!

by Molly Hamilton

Every few years, I sew a new coat for myself.  Usually, it is because I have an awesome fabric that I love and want to make a coat from.  Not because I need a new coat.  I made the 137 Australian Drover's Coat with a cotton jacquard.  And I made a Basics Overcoat from a gorgeous UK-grown/dyed/woven wool plaid. When I made both of these coats, I had to make quite a few adjustments to be able to make them with the fabric I had (which was not enough for the full coat).  

A few months ago, I decided to make a coat from this incredible double-sided wool that we had in stock at Folkwear. I thought I would make a sample that would show off this amazing fabric and help the fabric to sell (it hadn't moved in over a year).  And, as soon as I cut the amount I needed for our 263 Countryside Fock Coat and started cutting out my fabric pieces, it all sold out.  Isn't that the way of the world!?

I still wanted to make the coat, but there was less urgency, and I finally finished the coat last week.  I thought the tailored look of the 263 Countryside Frock Coat would be great for this thick wool fabric and give me options for showing off both the grey and pink sides. I made the main body of the coat from the pink side of the fabric and used the grey side for the trim pieces.  I made the pockets from a small section of a Liberty of London lawn.  And, I finished most of the seams with bound seams, cutting the bias binding from the same section of lawn.  

This coat came together much faster than I expected. The thick wool was a little challenging to press, and I used interfacing to give even more body to the collar, cuffs, and front plackets. I ended up using a clapper (really just the wooden base to my sleeve pressing stand) to help press seams. 

This was my first time doing bound seams, and I just went with what made the most sense to me, but if anyone has tips for sewing bound seams, please leave them in the comments.  You can see I am not showing my seams. They look ok from a distance, but aren't really pretty up close.

I had a hard time picking buttons for this coat (see photos below), and finally decided on the shell buttons because of the hints of pink in the shell.  Since they were so flat, I made fairly large thread shanks for them.  For lots of info about buttonholes, shanks, and more, read our detailed buttonhole post.  I also went with fewer buttonholes than the pattern calls for.  

I had a great chance to wear this beautiful coat just a few days after it was finished when a cold front came in, and the weather called for a warm wool coat to wear.  

I really love this coat.  The color, the design, the buttons.  It is warm, pretty, and feels a bit luxurious (to me).  Now I don't need to make a coat for a few more years!

Let us know in the comments if you have bound seam tips, want to let us know which buttons you would have chose, or have general coat-making advice!

by Esi Hutcheson

Back in the day — roughly between 1795 and 1815 — the Empire Dress reigned supreme among fashionable women. Characterized by its high waistline (just under the bust), the style marked a dramatic departure from the tightly corseted and structured silhouettes of earlier decades. Inspired by the classical ideals of ancient Greece and Rome, the Empire dress emphasized light, flowing fabrics like muslin, allowing women greater comfort and freedom of movement. 

Fast forward to modern fashion, and the Empire dress made a chic comeback — often reimagined in modern babydoll dresses with gathered sleeves and soft, flowing fabrics. This contemporary revival blends the comfort and elegance of the original design with a fresh twist. It’s fashion history meeting modern style — a timeless silhouette reinterpreted for the present day.  Folkwear's 215 Empire Dress pattern reflects this -- providing an authentic dress with typical period finishing as well as a modern (simple) take (shorter length, elastic armbands and waist, etc). 

In this post, I will go through how I made the 215 Empire Dress for myself for a Halloween costume, and hope that this tutorial will help you understand how to use our pattern to make this classic dress -- whether for a period look or a modern dress!  I will also show you how I lowered the waist slightly to fit myself.

Fabric Choice and Notions

When it comes to the 215 Empire Dress, I always think of the Bridgerton TV series. Their fabric prints may not have been accurate to the times, but I love The Featherington's dresses and prints.  They stand out the most in character and fashion, and I love them. I was inspired by them when deciding what fabric to use for a 215 Empire Dress of my own from Folkwear's fabric collection. I chose the Cotton Satin Batiste - Burgundy Floral bold,  rich in color, and floral, similar to a printed fabric the Featheringtons may wear, except not in pastel. If you are interested, check out this article about Historical accuracy – Regency. This article discusses fabrics used in empire dress styles, such as satin, fine cottons, silks, wool, and fine woven linen.

Folkwear suggests using soft, light to medium-weight fabrics such as cotton gauze, batiste, dotted Swiss, rayon challis, silk, or very lightweight silk velvet with drape. Handkerchief linen, or satin, would be suitable as well. For both the Authentic and Simple Versions, the notions needed are 1 to 2 yds (.95 to 1.83m) of ½” (13mm) bias binding or other tape for drawstring or elastic casing.

For the Authentic Version, our pattern suggests 5 to 6 yds (4.58 to 5.50m) of ¼” (6mm) ribbon for drawstrings and one package of seam binding or hem tape. If you are making the dress with the longer sleeve button-and-cord detailing you will need six ⅜” (9mm) buttons and 2 yds (1.83m) of ⅛” (3mm) wide cord, tape, braid, or ribbon.

For the Simple Version, you will need 4 yds (3.75m), maximum, of elastic for the bodice and sleeves.

Sizing and adjusting the Bodice Length

My measurements fall into the Folkwear size Medium.  You use your bust measurement for the main part of the sizing for this pattern.  I had the idea that I might continue to wear this dress as a casual dress even after Halloween, so I decided to make it ankle-length, and change the waistline to fit me a bit better. I lowered the waistline for comfort and the look I wanted. If you also wish to lower the waistline of your dress, you should lengthen the lines of the bodice pieces to the length you desire for your fit.  I lengthened the side seam of the Bodice A piece by 3 inches and the center front by 1.5 inches.

Lengthened Bodice A pattern piece.

I lengthened the remaining Bodice pieces, Back B, Side Front C, and Side Back D, to correspond to the side seam of Bodice A.

Lengthened all Bodice pattern pieces.

Pieces C and A are cut from satin floral fabric.

Sewing the Bodice

With the right sides together, stitch Bodice Front A to Front Side Bodice C, matching notch 1 and dots. Stitch only to the dot and backstitch.

Clip diagonally the seam allowance of Front Side Bodice C only to the dot. Don't clip the seam allowance of Bodice A.

Pivot the Side Front C and pin to the top of Front A, and continue stitching from the dot.  Then, finish the seam as desired.

If you are making French Seams, stitch only to ½” (13mm) below the dot; make a French Seam.  Then, without making a French seam, stitch to the dot, clipping to the dot as stated above, and continue to stitch to the top of Front Bodice A.

Since I'm making the authentic version, I made the open back.  So, I pressed under ¼” (6mm) along the Center Back edges of Bodice Backs B and pressed under again ½” (13mm) and stitched close to the pressed edge.

If making the simple/contemporary version, stitch the Bodice Back B pieces with right sides together, using a ¾” (2.5cm) seam allowance, matching notch 2. Press seam open and finish the seam as desired.

For both versions, stitch the Bodice back to the Back Side Bodice D with right sides together and matching the small dots.  Ease around the curve to help the stitching. Then press the seam toward the Back Side Bodice D. 

Right side of stitched Bodice back B to Back Side Bodice D.

Back Shoulder E stitched to the Bodice Back B.

We are opening our studio up for visitors every first Friday of the month, starting this October 3rd!

Come visit our studio from 10 am to 3 pm every first Friday of the month.  We are also going to have a Saturday open studio from 11 to 3 on most third Saturdays of the month.  So this month, that will be October 18.

Location: 240 Clingman Ave Ext, Asheville, NC 28801

To get to us:  We are located directly behind Ultra Coffee Bar.  You can go around behind Ultra, and go up the wooden ramp. We are the first door you will come to on the wooden ramp.  Or, come behind Akira Satake/Rite of Passage -- we are located through/behind their shop and to the right.

We are excited to invite you into our working studio to shop for patterns or fabric.  We have a pretty easy checkout system and can help you with your projects, too.  

In addition, we have a great collection of Folkwear samples, original clothing from around the world, and vintage/historic clothing.  So you can see some amazing clothes and get inspired for your next project.

We are a working studio, so you will see some of our mess too!  We have lots of cardboard boxes, cutting tables with projects on them, thread everywhere, and moving pieces.  But we love for you to see (and appreciate) our work and what goes into running a sewing pattern company (or two).  

And bring by your sewing projects if you want!  We would love to see what you are working on! 

We are looking forward to seeing you!

Upcoming Open Studio Days:

• Friday, October 3, 10am-3pm
• Saturday, October 18, 11am-3pm
• Friday, November 7, 10am-3pm
• Saturday, November 15, 11am-3pm
• Friday, December 5, 10am-3pm

The skirt of the 107 Afghan Dress is fairly simple to construct.  In this post I will go over how to do it, as well as some tips and tricks to make it easier.  I am going to focus on the modern version, not the traditional version, but much of what is here also applies to the traditional version.

To see how to make the bodice of the dress, go to our tutorial on Making the 107 Afghan Dress Bodice.

For the skirt, you will generally use one fabric, though the traditional version also has a panel for the upper back that can be a different type (coordinating print, etc).  I have also seen customers who have made the skirt with different panels of coordinating fabric, making stripes of colors throughout.  However, for this tutorial, we are using one fabric.

I covered a little about cutting out the skirt fabric in the tutorial for making the bodice.  But, you will cut the entire width of your fabric into the length you want your skirt to be.  So, for instance, if you have a 45" wide fabric, you will want at least 3 panels that are 45" wide and as long as you desire your skirt to be.  

To determine the length you want your skirt to be, measure from about 1" below your underbust (about where the bodice will end) to the length you want the skirt to end.  Then add 2.25" for the hem at the bottom (1.5") and for the seam allowance (.75") at the top.  For my skirt, I had 2.25 yards of 44" wide fabric.  I wanted 3 panels, so I divided 2.25 yards (81") by 3 to get 27".  I cut my fabric into 27" long sections. 

If you have 60" wide fabric, you could consider a narrower skirt and only use 2 panels. The width and length of the skirt can be left up to you.  Another thing to consider for this is the weight of your fabric.  A heavier-weight fabric for your skirt can make the entire dress very heavy if you make a very wide and long skirt.  Alternatively, if you use a very lightweight fabric, you might want to make the skirt more full (and be careful of making a very short skirt with lightweight fabric because it can blow up and around more easily). 

I sewed the sections together at the side seams, with right sides together, to create a large loop.  If you use the whole width of your fabric, you don't need to finish the seams here. The seam allowances will be your selvages. Press the seams open.

Gathering the Waist

You will sew gathering stitches at the waist of the skirt.  The seam allowance at the waist is .75", so you can sew gathering stitches at just over .75" (at a scant 1") and at 5/8".  You could even sew three rows of gathering stitches, adding another row at 1/2".

I think it helps to sew two sections of gathering stitches. One section on half the skirt, and another section on the other half.  This helps pull the gathers without breaking threads.  You could even divide the skirt into thirds and sew three sections of stitches.  This is also really helpful if your skirt is very wide or if you are using heavier fabric.  

If you are doing the traditional skirt, the pattern suggests putting in gathering stitches by hand with heavy duty thread.  You may be able to use a buttonweight thread and your machine.

Pull the gathering stitches so that they are even and are pulled as narrow as the bottom of the bodice opening (at the waist).  For my skirt, this was almost as tight as I could get the gathers.  Be patient and slow this gathering as you do not want to break threads and have to start over.

Attaching Skirt to Bodice

For the narrow version (or modern version), you will put the right side of the bodice to the right side of the skirt.  Adjust the gathers to be even and pin the bodice to the skirt.  I like to have one seam in the center back, but it is not really very important because the skirt is so full. 

For the traditional version, you will have finsihed the bottom edge of the bodice (basically making a narrow hem at the bottom of the bodice and you will put the wrong side of the bodice over the right side of the skirt (it will look as it will when being worn), and you will hand stitch (or machine stitch) the bodice to the skirt with a .75" overlap of the bodice over the skirt.

Once everything is pinned together, you can sew the skirt to the bodice, using a .75" seam allowance.  I like to sew this seam with the gathers facing up so that I can adjust them while I sew to keep them as straight as possible and eliminate any strange overlaps that can happen in the gathers.  

Once the bodice and skirt are sewn together, you can finish the edge by serging or zigzag stitching over the raw edges. You could even bind the seam allwoance, though that adds more bulk to the seam.  

Press the seam allowance toward the bodice and then topstitch over the bodice to add another line of stitching to support the skirt. 

Finishing

Hem the skirt with a narrow hem (as I did), or turn up 1/2" then another 1" to the inside a sew.  You could also use a blind hem stitch at the bottom.  Or do what i did and make a narrow hem and stitch.