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Huge thanks to this article by Karen Skoglund, a long-time Folkwear fan and customer. She sent us this amazing article she wrote, with photos, when we had our Oldest Folkwear Contest last month. If you want to read the PDF, which is formatted and illustrated, you can go here (PDF, also printable). We are so grateful to Karen for this beautiful article.
I discovered Folkwear through a Fiberarts magazine advertisement, not long after the company began in 1975. Three women, handwritten instructions, patterns created on a school bus, it immediately spoke to me. It felt thoughtful, deeply intentional, and a little magical. I remember thinking, oh… these are my people!
My First Pattern: 201 Pairie Dress
It was the late 1970s, and my best friend Peggy and I were deep into our love of Little House on the Prairie. I actually made two dresses, one for me and one for her. Mine was purple, a coordinating cotton print calico. I remember carefully sewing French seams, already sensing that these patterns asked for a different level of attention and hand care. I embellished mine with vintage hand-crocheted lace, adding another layer of history to the garment.
We wore them when visiting historical villages to demonstrate bobbin lace making. Being there together in our Folkwear dresses made the experience feel deeply memorable. Peggy has since passed away, but when I think of that Prairie Dress, I know her memory is stitched into every seam. Yes, I still have it, and since it is wonderfully loose-fitting, it still fits me after all these years.
The original dress.
Early Love for Folkwear
Some of my earliest pieces included the #113 Japanese Kimono, the #111 Nepali Blouse, and the #148 Black Forest Smock, which I hand embroidered myself. I also made the #121 Guatemalan Gabacha. And for my twin brother, Kevin, I even sewed the #202 Victorian Shirt.
Patterns in order, above: 113 Japanese Kimono, 111 Nepali Blouse, 121 Guatemalan Gabacha, 202 Victorian Shirt.
148 Black Forest Smock, embroidered by me (originally this was 108 Black Forest Smock).
One of my favorite early pieces was #126, the Vests from Greece and Poland. I made and fully hand-embroidered two for myself, proudly wearing them to the New York Renaissance Festival.
126 Polish Vest, Hand embellished by me.
Wedding Dress: 227 Edwardian Gown
When Folkwear released the wedding dress pattern #227 Edwardian Gown in 1984, it felt like pure kismet. I was getting married, and I made my own wedding dress from that pattern. I sewed the #226 Princess Slip and even handcrafted the bobbin lace that trimmed the dress. I also made #222 Vintage Vests for the men to wear. Folkwear has been woven into so many moments of my life.
Made bobbin lace and sewed this dress for my wedding.
Walking down the aisle with dad.
Devoted Folkwear Archivist
When I discovered Folkwear, I wanted to make every single one. To date, I have sewn 46 Folkwear patterns, and I own every pattern Folkwear has ever released. I still have all my collections of catalogs starting from 1979 to current, a New York Times Style article from 1983, and a California feature on how to achieve the “Folkwear Look.”
Some of my collection of Folkwear pattern catalogs.
Family Circle Magazine article.
This New York Times article especially spoke to me. It deepened my love for Folkwear. I still share these articles and patterns with my students in my sewing classes, as proof that inspiration once sparked, lasts a lifetime.
Folkwear Fashion Shows
One of the moments that truly deepened my love for Folkwear was March 25, 1983, when I attended the Annual Fashion Show of the Woman’s Club of Waldwick, sponsored by Run of the Mill fabric store in Wyckoff, NJ. The theme was “Fashions by Folkwear Patterns,” and seeing those garments come alive on stage completely sparked inspiration.
On June 20, 1987, Run of the Mill hosted another Folkwear fashion show, and this time, I was in it. I had 20 garments I had sewn included in the show! Folkwear Patterns even loaned garments for the event. The finale was my wedding dress, #227. It was thrilling!
224 Beautiful Dreamer, 109 Little Folks, and 110 Little Kittel
227 Edwardian Gown and 226 Princess Slip for the finale.
A Living Legacy
What makes Folkwear special to me isn’t just the clothing, but the philosophy behind it. These are thoughtful, timeless collections inspired by decades past. The patterns teach history through your hands. They encourage embroidery, handwork, experimentation, and patience. They remind you that craft matters.
Folkwear has been a constant companion in my life, supporting my curiosity, building my confidence, and bringing me joy again and again. I keep coming back to these patterns because they never rush you, and they never lose their soul.
What’s kept me returning for nearly five decades is how adaptable and enduring they are. I’ve worn them simply and I’ve embellished them deeply. I’ve watched them change alongside my own life, always relevant, always grounded.
Folkwear taught me how to honor tradition without freezing it in time. That philosophy hasn’t just shaped my wardrobe, it has shaped my teaching.
Throughout the years, I have continually threaded Folkwear patterns into my sewing classes, introducing my students to garments that carry a story. I am proud to be teaching at The Quilt Tree in Nyack, NY, where I taught Folkwear’s new Basics Overcoat pattern, guiding students stitch by stitch. I teach students to see these garments not as costumes of the past, but as timeless pieces they can truly live in.
Folkwear has grown alongside me, and I feel deeply aligned with its continued stewardship. To carry these patterns forward through teaching, sharing, and helping them find their way into modern lives through new hands and new stories, feels like meaningful legacy work. I am honored to remain part of Folkwear’s living story.
Patterns above, in order: Basics Overcoat, Basics Pinafore Dress, 107 Afghan Dress.
