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The Prairie Dress has been enjoying a boom in popularity in recent years.  And the style is staying around with the growing trend of large ruffles, floral fabric, and "romantic prairie" looks. I have been intrigued by the modern styling, but didn't really think it was my general style, but when we decided to feature the 201 Prairie Dress in March, I thought, "here's my chance to see if I can take this dress and make it more modern and into something I might wear daily."  

So, when I came across this beautiful, drape-y rayon when I was in Madrid, I knew exactly what to use it for!  The fabric is feels glorious - soft, smooth, light.  All of which make it difficult to sew with!  So, it took me quite a bit longer to get this dress finished than I expected (getting the flu at the end of Feb. and school shutting down in March also didn't help).  So, I am posting this after the dress was featured last month, but still really wanted to share it with you.

I made a few modifications to the pattern.  First, I used the "street-length" version which was exactly the length I wanted.  I made the size medium even though I should fit in the small sizing with my measurements, but I know that the armscye of this dress (like many traditional dresses of the time) runs small.  I measured the pattern and felt I would be more comfortable in the size medium, and I think I was exactly right.  There is no tightness at all in the shoulder or arm.  

I also used the smaller front opening (not the traditional opening which is much longer), and I did not add any buttons, yet, to the front. I think it works fine for now.  I also did not add in the collar ruffle.  The pattern is really not too difficult to make, though I would suggest an easy-to-sew cotton if you are a beginner sewist, and not a silky, slinky fabric.  There is quite a bit of fabric in this dress, but I managed to make the whole thing with just 3 meters.  

While at first I was not sure about the dress without a belt (it kinda felt like a nightgown), it grew on me.  The lightness, the flowy-ness, was a lot of fun to wear.  I really love the sleeves.  They are beautiful in this fabric and easy to wear.  Even my teenage daughters liked this dress (especially when belted), and may be borrowing it from my closet!  If I made it again, I might shorten the skirt and add a flounce to the bottom.  There are lots of ideas!

I hope this gives you a bit of inspiration for your spring sewing!  And, to think a little differently about this pattern - to see it in a different light.  Try it for yourself: 201 Prairie Dress.

Happy Sewing!

If you've been around here for a while, you know that I took a trip to Ghana in February 2018.  I traveled to Accra and Cape Coast to work with Global Mamas, a non-profit business that works with women in Ghana to create a fair-trade, sustainable clothing and accessories line, based on the locals crafts of batik dying and glass bead making.  I volunteered with them to help with product development and education, but also so that I could learn more about production in another country.  I learned soooo much (some of which you can read about here and here)!

When in Cape Coast, I stayed with a family and the host mother was a seamstress - quite skilled.  We became friends, and while I was out on a walk with her, I saw a man wearing what I she told me was a Ghanaian Smock.  It was handsome, somewhat traditional-looking, but also casual.  I thought, "here is a folkwear pattern".  I learned more about the smock while I was there, and more from research when I came home.  

Another inspiration for this pattern was the West African patterns that Folkwear produced in the 1990s - the Yoruba Tunic and Trousers and the West African Tunic and Trousers.  These patterns have a very similar construction, with strips and godets, but these older patterns were for formal clothes (like a chief would wear) and were extremely voluminous.  I love these garments, but they are not really for "common folk" (and they take a huge amount of fabric to make).  And, I've wanted to increase the number of patterns from Africa in the Folkwear collection. 

The origination of all of these patterns, including the Ghanaian Smock, is from northern Ghana, Burkina Faso and into northwestern Nigeria.  In Ghana, the smock (like our pattern) is for informal occasions and is often called a fugu or batakari.  The longer or more full the garment, the more formal it is.  

I loved the Ghanaian Smock also because it became a symbol of African liberation after Kwame Nkruma and his colleagues wore them when setting up Ghana's independence in 1957.  The popularity of this garment soared and spread around the world.  

Though originally was only worn by men, the smock is also worn by women today (usually women's smocks have an elastic band in the waist or can be belted).  These smocks looks great with trousers, jeans, over t-shirts, and as a dress on their own (you might want to make ours a little longer).  

Our smock is fairly easy to make, easy to size, and fun and comfortable to wear.  It is made of strips of cloth which can be cut or torn from regular yardage.  Or, you can use aso-oke fabric which comes in strips (usually 4" or 5" to 7" wide).  With these strips, you might want to size down (our pattern has strips finished at 4".  You can also use your own handwoven fabric!  We provide instructions using handwoven for that in the pattern.  Often, the strips of fabric are made with lengthwise strips, so the garment has a striped look.  Also in the pattern are designs and instructions for embroidery which are iconic of the garment (as well as history of the garment and West African weaving).  However, you don't have to embroider - or you can just add you own, very simple, stitching to the neckline or pockets.

Either way, I hope you thoroughly enjoy this pattern!  We have a Pinterest board with lots of inspiration, but I will include a few of my favorites below.

Wear to the office or on the weekend - as a tunic or as a dress!

Pinterest link                                Pinterest link

 
Pinterest link                                                 Pinterest link

Men's wear - you can see that these have very little embroidery - just some stitching around the neckline made as running stitches.

Pinterest link                                    Pinterest link

The Smock can be cut short or made much longer, like these images.  Lots of possibility!

Pinterest link                                 Pinterest link

by: Cynthia Anderson 

First, let me take a deep breath and express how much I hope that you are all healthy and safe during what has become an unprecedented time for us all. Yes, I am acknowledging the coronavirus and how all our lives have become much altered since the last entry of this blog tutorial. I admit feeling unsettled to say the least and feeling the need to find a good place to focus. Going deep in the weeds with creative projects is always a place of solace for me. It feels good to be so engaged simply by making something with my hands. This level of engagement can be a helpful salve at disconcerting times.

Now that we are finding ourselves hunkered down at home with time on our hands, I encourage you to find a creative outlet. I keep reminding myself that my anxiety stems from feeling a lack of control. Understanding that a lack of control and sanity are highly correlated truly resonates for me. There is so little any of us can predict, let alone control under the current circumstances, but we can all find something creative to engage in. I encourage you to lose yourself in a project that provides you with pleasure and confidence, maybe save that more challenging project for later. Positive actions and feelings build on themselves and this is as good a time as any. When you feel like connecting find someone at a safe distance and go deep in the weeds together!  Zoom or Facetime is perfect for that.

A friend recently told me that she has resorted to cleaning to redirect her focus. Cleaning is her “creative.” She puts on her "french cooking music", as she calls it, turns her kitchen cabinets and pantry upside down, and then loses herself in cleaning and reorganizes until the destruction is transformed into a form of bliss. We can all find our own ways of “keeping calm and carrying on” as the Brits say. Creating this tutorial has been a welcome project for me for many reasons, besides being engaged; I get to connect with you through the Folkwear community. No matter what you decide to engage in I hope you will make it creative and know that the team at Folkwear is always here to help and inspire.

 Inspiring working materials. 

Welcome back! Part 1 of this tutorial left off ready for the embroidery to begin...

 A Bit About Embroidery 

Embroidery has a long and varied history and has literally existed since man has made fabric. The origins of embroidery come from China where it’s long development coincides with the raising of the silkworm. The Chinese were the first to spin silk thread and weave silk fabric. The advent of silk thread and fabrics lead to the art of embroidery. Embellishing fabric with needle and thread exists in all cultures around the world. As you might imagine there are more embroidery stitches and variations on techniques than one can conceive.

Folkwear's 114 Chinese Jacket Pattern offers instructions on how to make seven different embroidery stitches, some with variations, that allow you to create just enough varied looks to make your work fun and interesting. I hope you find this a perfect starting point that will hopefully launch you into many hours of embroidery learning.

Learning to embroider is relatively simple and pleasurable to execute, but like so many creative endeavors, it takes a bit of practice and then the sky is the limit!

As in all creative learning adventures you will devise your own way of doing things based on what you prefer and what feels right to you. The Folkwear 114 Chinese Jacket Pattern will provide you with all the information and instructions you need, to get you started in experimenting and testing your embroidery skills. Many of the stitches offered in this pattern are simple and easy to execute. I will provide video demonstrations for a few of my favorite stitches, which you will be able to find on our YouTube channel.

Embroidery Thread

Not all embroidery threads or embroidery floss as it is sometimes referred to, are created equal. Embroidery threads are made of silk, silk-like polyesters, and light to medium weight cotton. For this tutorial I am using DMC six-strand embroidery thread made in France (DMC six strand embroidery floss), which is widely available and comes in 500 beautiful colors! This thread has a lovely sheen and will smoothly pull through your fabric. DMC embroidery thread is an all around good choice and will work well on different fabrics such as linen, wool, silk, and cotton. If you are using silk fabric you might choose to go all out and use silk thread as well... just saying.

My embroidery colour palette.  Note that all DMC Embroidery thread colours have their own identifying number.

I am also using DMC Light Effects Metallic Embroidery thread E677,

and another DMC Metallic spool thread.

The DMC embroidery thread used in this tutorial comes in one very long continuous length, measuring 8m (8.7 yds.) gathered into a tidy signature 6" loop. This long continuous thread is made up of six equal individual threads. The long strand is designed in such away that allows for the threads can be divided or separated depending on how many threads are needed or desired.The anatomy of an embroidery thread.

Do not divide your thread until you have cut the thread length you need to work with, keeping your continuous thread intact for the next thread need. I typically feel comfortable with a thread cut at 18”-20” long, but you can work with what feel right to you.  Next, you must separate the threads in order to use the number you wish for your embroidery project.  Separating or dividing your cut main thread into one, two, three, four, or five threads is not difficult, just a little awkward until you get the technique mastered.

Technique for Dividing Your Embroidery Thread

Gently pull how ever many threads you want to  extract from the main thread and hold in your left hand, between your thumb and forefinger. Then insert your right hand forefinger between the separated threads, pull down and away from your left hand. Keep gently pulling and separating until you get to the end. Neatly coil up the remaining thread you do not intend to use at this time to keep for future use.  Running your fingers down the twisted length of the threads can help un-twist the threads and make this step a little easier.

Then with your right hand forefinger between the separated threads, pull down and away from your left hand. This technique can be a little fussy, but it works.

Know Your Needles

Needles differ too and I suggest using a Milliner's needle for this project. This style of needle is a type of embroidery needle. It is a pleasure to work with, for it will give you better results and ease of use. A Milliner's needle is different from an regular embroidery needle, in that the eye of the needle is the same width as the shaft off the needle. Which in turn, makes it easier to pass the needle and thread through your fabric. This needle design has the much added benefit of not piercing such a large hole in your work. Go have a look at your needle collection and I bet you already have a Milliner’s needle.

Eye of the Milliner's needle (right) versus the eye of a fairly large embroidery needle.  

The length of your needle also matters. There are times a shorter needle will be the better tool for executing a particular stitch requirement and there will be times when you will find a longer needle more suitable. The size or length of the eye of the needle typically corresponds to the length of the needle. The longer the needle the longer the eye of the needle. The shorter and finer the needle then the smaller the eye of then needle. But not always, a super long needle can have a tiny eye. Once again, inspect the needles you already have, knowing there are others out there that might make your project easier. The little things always matter too.

Because, of the size and level of detail in the Chinese Jacket Pattern roundels I have chosen to work with, I am threading my needle with two to three threads at a time. Know that the ability to actually thread your needle will also determine how many threads you use. Sometimes the size of the eye of the needle will only allow so many threads. You can still remove a thread or two, using the technique above, if you find you simply have too many threads to thread your needle.

Note: After some practical application you will learn which needles to use and how much thread to use when attempting to execute your embroidery stitches.

So lets’ thread those Milliner’s needles and get started!

I recommend using a scrap of fabric (the same fabric you intend to make your final project on) to experiment creating stitches with. This will allow you to know how your fabric, embroidery thread, and needles all feel and respond in relation to what stitches you want to create. Try different needles and load your needle eye with varying amounts of thread strands and see what happens. Practice using the stitch you desire in a sample area that closely resembles the area you plan to cover in your final piece. Simply draw out or trace out the shape you want to fill on your scrap fabric. You will quickly decide and come to terms with how much embroidery will be required. This is one reason I liked the idea of using the colored fabric pens . . . less embroidery work!  

I experimented with all the stitches in the 114 Chinese Jacket Pattern instructions. It seemed plausible that I would miss something if I did not completely understand or appreciate what the stitches would look like and do. I needed to try them out in order to decide what to use. I was actually rather pleased to discover that some of the stitches I initially assumed to be difficult, were actually a pleasure to make. I can take my own advice and admit that I still could use more practice, but I knew this project would be fun to explore!

Work in progress

The Satin Stitch is a Must!

Sometimes you need filler and the satin stitch is the stitch to use. It is simple - a straight over-and-over stitch, and is commonly used in Chinese embroidery.  For this project, knowing how to use filler is not difficult.  You simply need to look at the space you want to fill and decide if it would benefit from a more interesting approach than just making a solid block of color.  Notice how I let the coloring from the permanent fabric pens become part of the design.

Satin stitch details

Other Stitches Used

For this project, I also used the split stitch, Chinese knot, and couching.  These stitches are all explained in the pattern, but the split stitch is a simple backstitch where the needle splits the thread in two when going back into the fabric.  The Chinese knot is similar to a French knot and creates an interesting texture. I have seen it used with the knots tightly packed together to create a huge embroidery by very skilled artists.  And couching is securing a thread laid on top of the fabric by small stitches taken vertically over the thread.  It is fun and interesting to use metallic thread with couching, either as the thread laid on top of the fabric, or the thread taking small stitches over the top thread.  You can see the couching stitch and Chinese knot stitch in videos at the bottom of this post (and on our YouTube Channel).

Other stitches starting to appear.  
Can you find the split stitch and the Chinese knot?

Couching stitch for clouds. 

Up close of layering details.

Metallic couching stitch and glass beads add the final touch.

 A peek at the backside of my roundel.

Nobody ever wants the back of their work seen for obvious reasons, but keeping the backside of your work as tidy as possible will help make your project more enjoyable. Once you finish working with a thread, pull it to the backside of your work and tie it off, then weave about a half an inch of the tread through the some of the stitching, to neatly secure and then snip. The metallic thread does not work well for this technique, because it it has a rougher texture and does not pull smoothly through. Just tie-off and snip the metallic threads.

And, check out videos below showing couching stitch and Chinese knot stitch.

The gods are in the details and this pattern is loaded with a layering plethora of great instructions and interesting history to accompany and inspire. The 114 Chinese Jacket is a fabulous pattern in it self, with so many truly wearable options. But if you love Folkwear patterns for all the "bonus material" as much as I do, then you are in for a treat!  You are missing out if you do not take the time to enjoy reading all the beautifully researched history, techniques, and inspiration that accompany the Folkwear 114 Chinese Jacket Pattern.

I took my own advice and read all the "bonus material" provided in the pattern and considered all the possibilities, learning about techniques and their meanings in the Chinese culture along the way.  From embroidery to making your own cording, to knotted buttons . . . it was going to take a minute to let the swirl of ideas settle. 

Pattern and "bonus materials"

Thinking my project out

Not only can you make several jackets from this pattern, but the pattern and extra features inspire creativity to use the designs and embellishments in other projects.  Since there was so much inspiration to draw from, I set my sights on making a multi-layered project. I decided that I would make the two roundel designs in the pattern and decorate "something" with my results.  Of course, they can be used on a jacket, but I wanted to do a quicker project and show how these designs (and the pattern) can be used in even more creative ways.

The emblem designs provided as transfers and the roundels I would make.

When I need ideas, I go to "THE BOX".  This is my box of used, to-be-repaired, or unfinished projects (you know you have "the box" at your house too).  Here I found a long forgotten, but much loved old purse in my collection of worn out treasures, just waiting for me to rediscover it. It was perfect... it even had a bit of an Asian aesthetic.  My old purse was going to enjoy a new life and how apropos that this spring season would be it’s debut. (I am not showing you the old purse because it's so old, it's embarrassing!)

Next I needed to decide what to make my roundels out of and how to begin?  If you want to do a similar project, here's where this blog post can help you out.

Supplies and materials

First, you need the pattern, of course.  The embellishment/embroidery designs are in the pattern and can be added And, this pattern is on sale all month (March 2020), so it's a great time to get it if you don't have it yet.

I am trying to being more mindful about how I approach new projects, and refraining from rushing to the craft store or online to purchase a load of new supplies.  Since I had already been given a collection of fabric pens, and the pattern had suggested using fabric pens, this became my starting point.

Embroidery was the next obvious choice, due to all the instructional stitches offered in the pattern. I had an idea what to expect from embroidery, but using fabric pens was new to me. I gave the pens a try and discovered I liked the water-color-effect, as well as the more precise lines I could achieve. After some experimentation, I decide a combination of fabric pens and embroidery would be the foundation for my project.

I let the permanent fabric pens determine my color palette.

There are a lot of fabric pens out there to try, just note they are not all permanent and the colors are many.  Most come with dual ends - one fine end to draw with and the other end more like a paint brush. The brands I used were Fabricolor and Fabrico.

As for embroidery thread, I chose DMC embroidery cotton floss in colors that coordinated with my fabric pens, as well as a DMC metallic thread for couching.  You could also use #8 perle cotton or silk floss.

Fabric:  Coarsely woven fabrics will not take fine detail well when using the iron-on transfers provided in the pattern. This holds true for using the tracing method too.  I suggest experimenting with different fabrics to determine the look you like when using the permanent fabric pens. I tried a piece of handkerchief linen, silk haboti, and cotton lawn all in varying shades of white. I chose white fabric because I wanted my ink colors to be true. Keep in mind that applying colored ink to colored fabric alters the colors of the ink.  I ended up using a pre-washed and pressed fine cotton lawn, because it takes the iron on transfers well and it is also easy to see through to trace the design.

Some fabric pen testing on the cotton lawn I would end up using

NOTE: If you decide to use your transfers it is important to not be tempted to iron your transfers to simply smooth out the paper creases like you would when preparing a pattern piece. You will ruin the transfer. Simply smooth out the transfer with your hands and do not iron until you are ready to actually make the transfer to your fabric.

Transferring the Design

If you decide to trace use a light box or window to backlight your work to help you see more precisely, just tape your design print to the light box or widow and tape your fabric on top of your design and trace. I recommend tracing with a light hand and use a fine mechanical pencil. This will help prevent lead smudges and lead dust you can get from regular sharpened pencils which can get your fabric dirty.

The mechanical pencil I used to trace the roundels with.

Coloring the Design

To assist me in deciding how to color my roundels and experiment with color placement, I decided to scan the roundel designs into photoshop on the computer and then printed off the designs to paper. This helped to avoid wasting my supply of fabric. You could size up or down using this approach.  Of course, you can always make copies of the design and use colored pencils, pastels, or markers.

Once you decide on your color scheme, you are ready to begin!

My experimentation with coloring

I decided to appliqué seemed like a good idea (in case I messed up or did not like my work). I traced the roundel design onto a piece of white cotton lawn and went to work colouring the fabric using the paper studies as my guide. 

One roundel colored

Then the second one. 

Add the Embroidery

I kept the size of my roundel the same size as the transfer. I felt comfortable with the size of what I was about to tackle. Going larger seemed daunting considering how much embroidery would be required and going smaller seemed like it might get to tedious with small details.

I cut my cotton lawn fabric larger than the design required, so I could use the embroidery hoop I had. Note that embroidery hoops come in varying size, so pick a size that works for you.

Now the layering fun begins and I am off to implement all the embroidery stitches I the instructions teach in this pattern. As you can imagine this part will take a bit more time, but check back next week to the outcome of this multilayer-skill-filled-learning project.  And, part two will include a free PDF pattern(!) of the purse design.

A truly talented customer (from northwest Washington state), Susan, sent me photos and a description of an impressive and gorgeously-made lined and quilted Hapi Jacket from our 129 Japanese Hapi and Haori pattern.  Susan has allowed me to share her project below and I think you will enjoy it very much!  This jacket's simplicity allows for lots of artistic interpretation - an amazing example of which is seen here.  And, Susan's sewing talent allowed her to change this unlined jacket pattern and change it into a lined and quilted coat that is perfect for the cool weather of the very northwestern US.  Her artistic vision is outlined below - in Susan's words and photos:

A stash of brilliantly-colored, reverse-applique Kuna Indian mola patches has been nagging at me for years. Created by young girls as sewing samplers, later sold for pennies to tourists, they feature relentlessly cheerful birds and monkeys in unambivalently tropical habitats. What could be more inspirational during dark, January days? When a friend donated a few yards of African polished cotton from Mali, boldly printed in ochre diamonds on black, I set about inventing a garment for her that would combine these equatorial textiles into something suitable for Lummi-wear.

Assembling the components

Struggling with the back - a needle-breaker.  Because of the varying thickness of the fabrics, this was difficult to sew on the machine and I ended up hand sewing  a lot.

Sussing the neckband

Solving the neckband

Tricking out the mola

Front

Inside

Back

Bonus minaudiere

Our 212 Five Frontier Shirts pattern does not have the popularity I think it deserves.  This pattern is one that I get glowing praise about, from the few people who make it.  It is well drafted, with great instructions, and it comes together easily because of this.  And, with five options for shirts, and all the fabric combinations (not to mention embroidery possibilities), there are endless shirts that can be made from this pattern.  The plackets get the most compliments, with one customer telling me that she uses the placket from this shirt for all the shirts she makes now.

You can read quite a bit about this shirt from Wanderstitch who made it for her partner, three times!  Her blog post about the first version is here (View D), second version, and modified for short sleeves here. 

Also, Joanne Banko has used this pattern to create an embroidered version which she featured on her TV show It's Sew Easy (itsseweasy.com).

With this pattern, you don't have to have the front yoke parts, on any of the views. Views B and C have a buttoned yoke over the slit front neck, but they can be left off, and Views D and E have curved yokes added on top of the shirt front and back.  They can be left off for a traditional-looking button down shirt.

I have been wanting another button down shirt as I don't really have many and I like to wear them.  At first, I thought I would make a flannel shirt, View E, without the curved yokes, and I even ordered the flannel and was about to cut it out when I passed by our collection of organic linen and I new I had to make the shirt in linen - and in two colors so that it would be a bit more "western" and a little different than my normal button-downs.  I decided to just do the curved yoke without piping, and to make the cuffs, cuff plackets, and collar with the second color. 

I added snaps (but did not add the collar stand snap because I'll never use it) and it adds a bit more western feel, but not over the top.  This will be in regular rotation in my everyday wardrobe.  It looks cute tucked in or out! 

It was a fun pattern to use and I have lots more ideas about what to make with it!  You can see some on our Pinterest board. Maybe the flannel, maybe an embroidered yoke, or plaid with a solid yoke, or View A without the laces/eyelets in a linen or silk . . . .

What would you make?

Happy Valentine's Day!  I thought this skirt fit really well with some themes of today, and so I would post about it on this Valentine's Day.  Also, I just finished it two days ago!

I made this skirt with our 140 Flamenco Dress & Skirt pattern, and with a length of African wax print that I brought back from Ghana two years ago.  This pattern is perfect for the slight stiffness (and color) of African wax prints!  I loved this print and when I was thinking about making a skirt from the pattern, this one jumped out to me from my stash.  Not only are the drape and color of African wax prints great for this pattern, but since they are usually sold in 6 yard increments, they are great for making a whole dress (or two skirts).  

I wanted a skirt I could wear to work or out to dinner - nothing too dramatic or long.  So, I decided to make the skirt and just add one ruffle, or flounce (also it would  not take as long to sew).  And, it really did not take very long and I thoroughly enjoyed the process!  

The skirt is fairly simple, with just two back darts, a back zip, and a faced waist (no waistband). Adding the ruffles was fascinating.  Since I was only going to add one layer of ruffle, I cut out fabric to make the first tier of the dress/skirt.  The first tier is made of three different pattern pieces, cut into 6 fabric pieces, each of which is cut as a circle with a small center opening and a slit on one side.  The pieces fit perfect to themselves and create a large ruffle of varying widths that needs no gathering!  The ruffle fits onto the skirt bottom perfectly.

Look at that great pattern matching on the back seam.  I'm usually not that good!

I finished the ruffle hem with a narrow rolled hem on my serger - so quick and easy and simple - it was perfect.  It all came together much quicker than I expected.  But, with no gathering to do, it makes sense.  Now, don't get me wrong, if you are adding more tiers, the time of managing the ruffles (putting them together, pinning, slashing, dealing with all the fabric) can take quite a bit of time and energy.  But, I loved how well-drafted the pattern is, making this time-sink of a task so much easier and fun. 

So, I ended up with a skirt I love.  A bit of a statement piece, but one I feel totally comfortable wearing out and about.  And, it is perfect for V-Day.  My kids loved it, too!

Make the skirt (and add more layers of flounces) or the dress with this very fun and very well-drafted pattern!

I love how swishy it is!

A sensational fashion for dancing or dress-up, with lavish flounces that move with flash. The dress has princess seams, flounced cap sleeves, V-neck front, and up to four tiers of flounces. The skirt features back waist darts and raised waistline; make it with all four flounces or just one flounce for a salsa-hot mini.  Make simple-sew fabric Rose accessory to attach to dress or pin in hair (included in pattern).  Read Cynthia's blog post about the Rosette for more details!

Suggested fabrics for the Flamenco Dress and Skirt: Silk or polyester dupioni, taffeta, faille; other fabrics with body and slight stiffness. For lightweight drapey fabrics, lightly interface flounces.

While many of the suggested fabrics are full bodied and stiff I also love the possibilities for other lighter yet full bodies options that would provide lots of movement.  I have enjoyed building  this Pinterest board featuring some traditional and some more modern variations of the Flamenco Dress and Skirt that I hope will inspire you to create something fun and beautiful!

Here are a few of my favorites looks and inspirational Pins from Pinterest (links to Pins are embedded).  And do check out our Pinterest board for more inspiration!

Traje de Flamenca from Pinterest

I love the mix of fabrics in this modern tango skirt! The polka dots and floral pattern really give a great nod to the traditional while adding an interesting break in the design.

This Agime dress has a fantastic line!

A similar look could be achieves with the Flamenco Practice skirt that is part of the 140 Flamenco Dress pattern.  Such fun polka dots -  a nod to tradition, but a fun modern outfit to wear out.

Acento Artesano Flamenco Collection

This dress form the 2015 collection incorporates a Cheongsam influenced bodice and neckline.  And, I love the floral print fabric, especially paired with a solid for some of the flounces.

El Pais Article on African Fabric used in Flamenco Dresses

An interesting article in El Pais about a collection of Flamenco dresses made with traditional Senegalese fabric.  African wax fabrics have a nice body and stiffness for this dress as well - and the colors are fabulous!!  And, if you get a 6 yard section (as they are normally sold), you can make any view of the dress or skirt as it uses a lot of fabric.  African Wax Prints can be very affordable.  One of my favorite shops for them is AKN Fabrics, but you can find them in lots of shops.

This Monica Mendez design adds the fringe and tulle ruffle!

I love the drama and flare of this dress!  Her designs are breathtaking.  You can view her work on her We Love Flamenco website.  there is a great photo gallery of Flamenco dresses on the runway!  The design inspiration from this dress is that you can add tulle, lace, ruffles, or additional colors to the flounces - either underlining the flounce or sewing the two fabrics together as one flounce.

I got back from a fairly quick, but jam packed, trip to Madrid earlier this week.  I traveled with my oldest daughter (14) for four days to learn a bit about flamenco dancing/clothes/culture, as well as to check out the great fabric and clothes shops in Madrid, and to experience a bit of Spanish culture and food.  We packed in a lot and had a wonderful time!

First, I want to shout out Liesl from Oliver+S who has a great blog post about the best fabric stores in Madrid.  She is a pattern designer who lives in Madrid. This was very helpful, and I definitely checked out most of the stores she mentions. 

Also, I want to note a few things that I noticed that might be of interest, or be helpful, to anyone who is headed to Madrid.  First, most people did not speak a lot of English.  I found this surprising since I think of this as a fairly large tourist destination.  But, that idea is very Anglo-centric and not accurate.  So, it really helps to have some knowledge of Spanish, though you'll be fine without it.  I actually loved being able to try out my Spanish and was pleased that people actually understood me!  And, I could understand much of what was said to me (if it was fairly simple transactions:-)).  Second, the vegan movement does not seem to have had much influence here yet.  Food is based mostly on meat and cheese (and potatoes), and it was delicious.  Amazing cured ham, salty and nutty cheeses, egg and potato tortillas (so good!), paella, fried potatoes with cheese, tender and flavorful stewed meat on bread, sausages, etc.  It was all very good, especially washed down with a beer or glass of wine (which was about as cheap as water and all very good).  But, I often eat a large salad daily and love vegetables, so this was a bit of an adjustment.  Even the Caesar salad I ordered was mostly chicken and bacon with a little lettuce mixed in :-).  It was delicious!  And, third and textile-related, nearly everyone dresses very well, especially on weekends and evenings.  Going out on Saturday night, we ran into women in high heels and sequined dresses who were just going out to dinner and drinks.  On Sunday walking through Retiro Park (above), we saw teenage girls in tweed capelets, oxford shoes and tights; little girls in pleated wool coats and cute dresses.  Dressing well, and fairly conservatively, is standard here, and I (and my daughter, who loves torn jeans and t-shirts) loved it.

Fabric and Trim Shops

Ribes Y Casal is a great place to shop, and probably my favorite.  The staff was very friendly and the selection was very large.  Prices were also terrific for most things, though there were some high priced items mixed in (Liberty lawns and silks and some amazing wools). I bought a rayon challis, "Made in Spain", and I think I will use it to make a Folkwear pattern you will see featured next month!

Liberty silks

The other fabric store that stood out was Julian Lopez.  This was a bit higher end and a little more organized, and the selection was even greater.  Though I did not find it as fun to visit, I enjoyed browsing all the fabrics and was impressed with the selection.  Definitely give it a visit!

I also enjoyed visiting Almacen de Pontejos, an old-fashioned trim shop where you ask for things over the counter and they are picked out and wrapped up for you to purchase when you leave.  It was a lot of fun to look through the buttons (I bought a few buttons and kind of wish I'd gotten more). 

All of these stores are located quite near the Plaza Mayor and city center and were easy to walk to.  There were several other fabric stores nearby as well and I stopped in a few, but these three shops really stood out.

Plaza Mayor

Sunday Morning Flea Market

The flea market, El Rastro, a bit south of Plaza Mayor, was HUGE (to me).  It took up several streets and side streets in the area and seemed to keep going on and on.  The market takes place every Sunday from 9 am to 3 pm.  We got there fairly early and I'm glad we did because it was very crowded by noon and we headed out.  There was a bit of everything there - lots of clothes (second hand, new and cheap, handmade clothes, clothes from India/Nepal, etc.), antiques, toys (again, second hand and new and cheap), souvenirs, and art.  It was fun to stroll around and look at things, especially the clothes and antiques.  We were impressed the with number of fur coats for sale (mostly second hand), and the antiques were fascinating!

Royal Tapestry Factory

Visiting the Royal Tapestry Factory was one of our favorite things we did in Madrid.  It was so interesting and the English tour (only at 12:30 - and you need to email them and sign up beforehand) was really great.  No photos are allowed in the factory which has been around since 1720.  It was built because Spain had lost their Belgian territories and therefore their tapestry workshops.  The factory has been producing tapestries and rugs for palaces, museums, and wealthy people since then.  The factory now also repairs, cleans, and restores tapestries and rugs. 

Since no photos are allowed, I don't have much to show from the visit except that we got to go into the attic of the weaving rooms and see all the wool that they use for weaving rugs (and photos were allowed).  All the wool for rugs and tapestries comes from Toledo (area outside of Madrid) and they dye the wool in house, creating what seems like hundreds of colors.  This wool is used to make rugs as well as repair rugs, so they need lots of colors to create the designs, but also to match to colors on rugs that need repair. 

They use a finer wool, often blended with silk, for weaving the tapestries.  The tapestries take longer to weave and can be very intricate.  Again, they blend their own colors using the Toledo wool and French silk, filling bobbins to create the colors they need for the tapestries. 

I found it wonderful that the workers in the factory were a mix of older (50-60+ year olds) and younger (20 year olds) people.  Some of the older workers had been working there since they were 14 or 15 years old, and the younger workers had been trained in a school that was open for a short time a few years ago.  The work seems tedious, but fascinating at the same time.  While we were there, they were working on a set of tapestries for a palace in Dresden.  They were being re-created from photos of the originals which were destroyed in the war. 

Flamenco and Madrid

One of the main reasons I took this quick trip to Madrid was to get a little more insight into Flamenco dress.  I love our Flamenco Dress and Skirt pattern and since it is uncommon to find Flamenco dresses here, I was excited to learn more about the styles, fabric, and design of these dresses. 

There are several nice shops in Madrid for Flamenco dresses, skirts, shoes, fans, and accessories.  Maty has a large selection of dresses, and huge wall of flowers, shawls, fans, and hair combs, and is fun to visit.  They also have dance clothes and costumes.  El Flamenco Vive (Moratin, 6) has a great selection of music and guitars, and has a sister-store around the corner (Duque de Fernan Nunez, 5) that has flamenco dresses, skirts, shirts, shoes, and accessories.  Also, I really loved Senovilla (just beside El Flamenco Vive) which produces and sells gorgeous professional flamenco shoes.  I nearly bought a pair, even thought I am not a flamenco dancer because they are really beautiful shoes and are super cute!!  They do ship world-wide and you can get the style you want made in your size.  It was a really fun store to visit (and I want a pair of their shoes!).

Shoes in Senovilla

Flowers in Maty

Flamenco earrings in Maty

I liked seeing the different style dresses, or different dress features.  Dresses and skirts were made from stiffer cotton or poly fabrics, from drapey knits with body, and lighter-weight cottons that had flounces underlined or doubled up with laces or other fabric.  Edges were often finished with a rolled or very small serged hem, though sometimes it was turned under, and occasionally it had a hair or plastic wire serged or sewn into the hem to make it a bit stiffer and stand out from the dress/skirt.  I could tell these dresses and skirts would move beautifully and would be lots of fun to wear.

Flounce edges embellished/finished with trim

Rolled hems/serged hems with different fabrics for flounces

We also attended a flamenco show one night - at the Corral de la Moreria.  We both enjoyed the show - the music (guitar, drum, flute), singing (not typical "western" harmonies but hauntingly beautiful), and the dancing, which at times became trance-like, and was fascinating and beautiful to watch.

The culture of flamenco runs deep and long in Spain, with roots in the gypsy history of the country. 

Other things to do in Madrid

One of our favorite things that we did was to visit Toledo for the day.  It was a fairly quick bus ride (45 minutes) from Madrid and was a beautiful and fun old town to explore.  We enjoyed walking the winding streets, stopping into the cathedrals, synagogue, El Greco museum, shops, and other sites in the town.  It felt small and easy compared to Madrid, and we (who hail from small towns) enjoyed that brief respite. 

We visited the Reina Sofia to see Picasso's work - which was fascinating and disturbing, yet helped us understand the trauma and history of the Spanish Civil War. 

We visited a couple of roof top bars which was a fun way to spend the hour or so around sunset - relaxing, enjoying the view, having a drink and snack.  The Hat and Circulo de Bellas Artes were really great.  The Hat was small and simple with a nice view of tiled roofs and evening birds, and Circulo del Bellas Artes was a much fancier (and more expensive) venue with fabulous, nearly 360 degree views of the city. 

Sitting at cafes and people watching was also very enjoyable and we spent quite a few hours eating, drinking, and sitting and watching.

Another very favorite thing to do was stopping for churros and chocolate (both very different and much more delicious than anything in the USA).  My daughter loved them, and our favorite place as 1902 Chocolateria.  The staff was very sweet and the churros and chocolate were great.

I hope this little review of our trip will help you if you are traveling Madrid, but will also inspire you in your sewing, especially for the Flamenco Dress and Skirt. 

by Cynthia Anderson, Folkwear Creative Assistant

With Valentine’s Day literally just around the corner and the thought of spring inspiring me, my sewing aspirations have turned a bit romantic as I start to day dream of the clothes I want to make and wear.

What better project to satisfy romantic yearnings, as well as creating a nod to spring, than the Fabric Rose Accessory featured in the Folkwear Flamenco Pattern.

This project is easy to make and lends itself to so many possibilities. Of course, roses say Valentine’s Day, as well as notions of spring, gardens, weddings, parties . . . .  This project is simply the romantic touch only roses can conjure up.  Besides being easy to make with endless possibilities, you can practically make this project from scraps of fabric.

To get started you can use the pattern piece provided in the Flamenco Pattern, labeled Rose “Z”.  This pattern piece is quite large and would make a stunning statement piece be it for a dress, a purse, or even a pillow. You can make your rose any size you like. Use the “Z” pattern piece as a guide or make your own. Your rose size will vary depending on the width and length of the strips you cut. Cutting the piece longer will make a fuller flower, cut the piece wider for a larger flower.

Once you decide on the size of roses you want to make, you can cut out your fabric using a pattern as a guide or simply cut out your fabric freehand. This rose looks great cut on the fold as the pattern instructions suggests or it can be cut out as a single layer of fabric as well. Ribbon and seam binding work great too! When using mere scraps of fabric there is no excuse not to experiment. 

I chose scraps of silk dupioni left over from I dress I made for myself as a starting point for my Romantic Spring Rose Corsage. I wanted to work relatively small and vary the sizes of my roses to make my corsage. I ended up using scraps of silk haboti, linen, and silk organza to make additional roses. You can see the great effect of using different fabrics to make the different roses in the photo above and at the end of this tutorial.  

To get started, using the Rose “Z” pattern, fold fabric in half lengthwise, with wrong sides together. Do not press the fold… in order to make the edges of your rose softer. I am showing the "how-to" photos below with a blue fabric for the rose, set over a white fabric for contrast (sorry the fabric is wrinkled!).

Turn the lower corner of your fabric strip with the squared off edge (right angle) upward to create a 45 degree angle as shown.

Now sew a LONG gathering stitch (by hand or on a sewing machine) along the raw edge, about 1/4 “ from the edge. You might want to try making the gathering stitches in three of four sections, rather than trying to gather up the entire length with one thread. I did find this helpful because my thread would break when I attempted to do just one gathering thread. 

Next, start at the pointed end, draw up the gather stitches… roll the strip around itself. This is where you will want to do a bit of experimentation in shaping your rose to see what effect you like.

As you roll up the strip, hand sew the rose to itself, using the gathering stitches as a guide. Try different techniques with the look of your rose, pull the gathering stitches lightly for a more tightly closed flower, and pull tighter for a fuller rose. Do a little of both for a more varied look. I used a small hot glue gun to secure my rose on itself. This technique allowed me to shape my rose more quickly because I am not stopping to sew.  As with most things concerning sewing, you will find the techniques that works best for you.

Continue to gather, roll and stitch the entire strip of fabric. I manipulated the shape and edges with each small turn. Trim away any thread ends and frayed edges. 

To finish off the underside of your rose trim a bit of the fabric to make it easier to turn under. Secure the base with a round circle made of felt or fabric to create a backing. Iron a bit of fusible interfacing on the wrong side of your circle to help give it some stability. Then secure your finishing circle backing to the turned under edges of your rose with a slip stitch - or in my case I used hot glue. The idea in doing this is to cover up the rolled up raw edges and provide a nice finished surface.

You could to attach a pin, barrette, or ribbon, etc. and accessorize any number of things. I ended up attaching my roses to a piece of silk organza and adding a couple of strips of silk dupioni to create ribbons, then I pinned my corsage to a silk scarf to finish off the look of my dress.  On some of the rosettes in this corsage, I  left the outer edges raw (as opposed to folding the fabric in half so there are no raw edges exposed), and I really like the look of this as well - a bit rustically romantic.  

A year or so ago, a customer sent me a photo of her wearing the 202 Victorian Shirt that she had made into a dress.  It was made of a large red check or plaid pattern and it looked absolutely adorable on her as a winter dress with boots.  And, I have had that dress on my mind ever since.  And this winter I decided to make one for myself!  

I wanted the dress to be warm - warm enough that I could wear it cut above my knee without leggings and still be warm on a mild day.  I made it out of flannel because . . . it's warm, but also because there are so many really pretty flannels available (hello, Robert Kaufman).  I decided on one of the Robert Kaufman flannels from Hart's Fabrics. They have had a bunch of different ones that I have fallen for this winter, but I liked the blue/grey mix for wearing on myself. 

This Victorian Shirt was a delight to make.  I used the X-Small size (this shirt is roomy) and I didn't even extend the length.  The Victorian Shirt was traditional very long, tucked into trousers, but also providing lots of modesty when dressing.  The pattern can easily be shortened, or lengthened into a longer dress (or nightgown). 

I loved the simple little pleats in the back and at the wrists. I like the bit of interest the bib adds to the front, but it could be left off if desired.  I cut the bib on the bias to changed up the plaid a little (as well as the back yoke - though cutting it on the bias helped utilize all my fabric).  The front placket was quite easy as well (just pay close attention to which side is doing what as well as right sides vs. wrong sides facing).  I only put in one button on the front, as that was all it really seemed to need for me.  And, I added a button to the sleeve placket opening (to prevent cold air from entering!), and the sleeve placket is simply made from the underarm hem.  I also added (silk!) pockets to this dress - just drafting them into the side seams at a place that felt comfortable. 

This dress is really warm, very comfortable, and I love the way it looks!

You can make your own with the 202 Victorian Shirt pattern!