When I picked up the Lomography La Sardina back in 2012, my intention was pretty clear: film photography was going to be no pressure, no strings attached. After nearly 15 years with my little toy camera, I still feel the same. But now, I’m playing with a Canon EOS 850 from 1988.
I think the lack of “striving” and low expectations has actually been pretty cathartic; I can play and experiment without the pressure of an immediate, perfect outcome. The tension of limited exposures is actually very helpful, too. There’s a purposeful slowing, allowing me to spend time relishing in the composition, rather than the immediate disposable nature of a digital image.
The Womack, Phoenix, Arizona
Do I consider myself a photographer? Absolutely not. But I’m enjoying the experience of film and the patience and care it requires.
What I’m learning about myself through film photography
The fact that it takes so long to see the final image is one of my favorite parts. It’s been allowing me to think on what I want to shoot, knowing that I won’t know what’s going to happen for potentially a month or more from the moment I snap the image. Right now I’m sending images out to Gelatin Labs, and by the time I send out a few rolls and receive my scans, I’ve forgotten what it was that I had originally shot. It’s a pleasant surprise to see what happened.
Kiholo Trail, Hawai’i
“Graphic Design Eye” is a thing and it’s been something I’ve been cultivating over many years. It’s years as an artist in high school and college. It’s YouTube, it’s having taken photos for this blog. All of those lessons in composition compound and make it easier for me to see fun things in the viewfinder. Am I any good? Doesn’t matter, but it gives me an active opportunity to train my eye, even if it’s just for my own enjoyment and desire to find cool perspectives in the world.
Manini’owali Beach, Hawai’i
It doesn’t matter if film photography is expensive, I’m still really excited to play with it. Between purchasing a roll and developing it, it’s not cheap- not by a long shot. I would save way more money by picking up an old point and shoot and memory card. But there’s something to be said for the natural grain of this old 1980s camera, that the camera is incredibly loud, that it only has a few simple settings I can control, and the patience it forces on me. For as much money as I pay for these photos, it should be easier… but, I’m ok with “hard.” Still might pick up a fancy point and shoot at some point, but the rewards of analog experience are way higher.
So what’s next in this adventure?
Tempe City Hall Plaza, Arizona
To be honest… not quite sure yet. I’ve debated back-and-forth whether I’d like to have fun doing small experiments and small challenges for myself, to make the experience fun and give me an excuse to continue training my eye.
A few things I’ve considered include:
Doing a one-a-day photo for a month or two, leaning into exploring summertime in Arizona
Deep diving on a theme for a roll, like taking nothing but portraits of the cats, or slice of life moments
Spending rolls exploring what it looks like to be a new person in Arizona along with first time experiences as I attempt to learn about my new environment
Am I ready to add film photography into the hobby pile, along with all the other things I do? Not quite sure yet, and that’s ok.
As I noted at the head of this post, this is all purposefullyno pressure, no strings attached. If I put down this 1988 Canon later this year, it has served its purpose until I pick it up again.
Shout out to Jose, for taking this photo of me in Hawai’i. I’m probably at my most relaxed in a very long time.
While working on new videos for the YouTube Channel, I decided earlier this year to start exploring and engaging with 40s-60s TV shows and movies. Explicitly, learning more about media portrayals during this period of time.
Jumping in with both feet, I tackled the Feud: Capote vs The Swans , which is a snapshot of Truman Capote and his beloved “Swans,” the upper crust of mid-century cafe society. It was a study of (what I’ll be affectionally naming) “Champagne Problems” mixed with “Real People Problems,” which make for an odd marriage of relatability and horrendous classism.
Finishing the show, I ran off to pick up two books which would help me understand the narrative better, because unfortunately, the show left me unsatisfied.
Books I picked up to read more about Capote and the Swans
If you were avoiding this because of his too much of a muchness, I would say, for me, there was not enough of an enoughness here. I wanted something dishy and filled with quips and banter and waspishness. But this show turns out to be very mournful and melancholic, and it’s about regret and self-loathing. … It was thrilling to get to watch these great actors portraying these icons of the New York social scene, who I had heard about but never entirely understood. But the television making was confounding. Essentially, all plot points happen in the first episode and a half.
It’s been forty years since Truman Capote has passed on and he’s comfortably recognized amongst legendary American writers like Ernest Hemingway, John Steinbeck, and Mark Twain. His prose was beautiful, iconic, and tragic, influenced by his upbringing and unique lived experience as a gay man in the 1930s.
Reading the inciting piece inspiring this season of The Feud, there seemed to be quite a bit of navel gazing expressed in his work, almost as if Truman was holding a mirror up to himself.
The point is, the theme moving through your work, as nearly as I can locate it, is of people achieving a desperate aim only to have it rebound upon them – accentuating, accelerating, their desperation.”
“Unspoiled Monsters,” Truman Capote, 1975
While writing Answered Prayers, in the desperate striving for completing the piece, his work ultimately rebounded and lead him down the path towards self medicating with drugs and alcohol, committing social suicide.
Truman was a complex individual, whose relationship to his writing, beauty and spectacle, and the women who he surrounded himself with was something I’m not sure (from reading these books) he ever was able to find peace with.
On one hand, in prioritizing the creation of his art, he threw his muses under the bus. On the other hand, he vastly underestimated how much these women meant to him and their practical role in his sense of self.
Internalized misogyny was rampant, with them submitting to a prescribed life of external abundance while simultaneously suffering alone, unwilling to change their circumstance to maintain their lifestyles.
Her whole life was about marrying a proper rich man and then having her daughters do the same. Education was not to be squandered on her. Best to ‘finish’ her lightly with a proper veneer of charm and no dangerous knowledge that might offend her husband.
“Capote’s Women”, Laurence Leamer
She spent her life creating this image that she had everything, but it was simply not true. Here was this woman envied beyond measure for her perfect life, when Truman was the only one who saw that her existence was a tragedy.
“Capote’s Women”, Laurence Leamer
Time and time again in these women’s stories was the reality that they’d been groomed to embody a certain life, maintain a certain role in their marriage, and do everything in their power to stay within their prescribed level in society. Even while aggressively seen as less-than and ultimately incapable of any other life.
Even women of his class were in some measure inferior beings and largely interchangeable.
“Capote’s Women”, Laurence Leamer
As may be imagined, while WW2 and the Great Depression raged, the struggles of the world at large didn’t seem to touch them, insulated and gliding above the rest of society.
There were many women from upper-class backgrounds out there marching with their sisters, exploring a far broader world than they ever could have as children of privilege. But Babe had been brought up to believe there was only one place for her, and it was not among such plebeian efforts.
“Capote’s Women”, Laurence Leamer
Additionally, the ease of moving through the horrors of the day seemed water off a duck’s back and it’s difficult to tell from either The Feud or “Capote’s Women” what their individual moral stance was on the painful tragedies occurring elsewhere.
Gloria Guinness, as a Mexican woman, married a German count in 1935 and moved amongst Nazi high society. Pamela Harriman married the son of Winston Churchill, having parties and affairs amongst the air raids. By the time the mid-50s rolled around, they’d gone back to mingling in the same rich circles, seemingly (from the reading,) putting the past behind them as if it were a blip of an inconvenience.
There’s an anecdote shared between the show and books which also illustrates the relationship to the larger family unit, specifically children as an accessory to marriage (but not much else.) When C.Z. Guest is asked about how her children were raised by a governess in 1977, she said to the Washington Post:
…That doesn’t mean I never saw them. Of course I saw them. I went fox hunting with them.
By extension, the ease of which these women moved through the courting process, marriage, affairs, and divorces is reduced down to it’s practical implications: how does this or that action contribute to long term security?
It reminded me of the status of women through history, wildly dependent on male’s financial support to live in return for producing male heirs for the family. Cue Jane Austen’s infamous line from “Pride and Prejudice,” Chapter One…
It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.
Truth be told, the amount of unhinged stories in this book was shocking and a solid reminder that no matter the decade, era, or stratus in society, we’re not immune from finding a way to be sloppy and obnoxious just trying to get through life.
Relating these women into the context of vintage fashion, it’s interesting how much they groomed themselves obsessively, exerting the little control they actually had over their food, clothing, and homes.
A lot of them cultivated an image of themselves which could be admired and aspired to through multiple venues such as best dressed lists in magazines like Harper’s Bazaar or Vogue or in entertaining in their own homes:
Truman knew this sort of beauty and perfection did not just happen. He saw Babe [Paley] as an artist who had created herself as an inspired work of living sculpture. In an era when soup cans and scribbles on a canvas were high art, why couldn’t Babe be seen as the ultimate piece of performance art?
… [Babe] was akin to a splendid piece of art that [her husband] laboriously acquired and set out on his drawing room, a vivid symbol of his good taste, to be admired but rarely discussed.
“Capote’s Women”, Laurence Leamer
The hyper focus on how they would be perceived was astounding, in some cases leading to eating disorders purely for perceived social gain and control of their image.
Anorexia was the swan’s occupational disease, and Lee [Radziwill] was obsessed with her weight all her life. … She had lost enough weight to present her new stylish, svelte image to the world.
…In doing so, she upstaged Jackie [Kennedy, her sister] on her night of nights, which was clearly the point.
“Capote’s Women”, Laurence Leamer
Ultimately, though, they were all compensating for their internal isolation and sadness. Some of these women suffered nervous breakdowns, the humiliation of their husband’s infidelity and sex addictions, attempts at suicide, alcoholism, and financial dependence so crippling that there was no way for them to escape… even if they wanted to.
Internal struggles aside, holding control of appearances was paramount to their lives.
If by malnutrition, ensuring social currency, and doing everything in their power to maintain their class status was a top priority, it’s no surprise Truman Capote’s “La Cote Basque”, published November 1975, was rightfully a bombshell.
The 1987 Editor’s Note in “Answered Prayers” is absolutely heartbreaking. In it, Joseph M. Fox (formerly the Senior Editor at Random House) reflects on the emotional and substance abuse spiral of Capote’s life after publishing “La Cote Basque.”
What’s made abundantly clear is how publishing the work would fundamentally rock his world for the worse.
When his biographer, Gerald Clarke, read the pages, he was aghast. … ‘You can’t publish this,’ Clarke told Truman flatly. ‘The characters are barely cloaked. Everyone you’re writing about will recognize themselves.’ … But Truman dismissed his concerns: ‘They won’t know who they are,’ he said with a wave of his hand. ‘They’re too dumb.‘
– “Capote’s Women”, Laurence Leamer
As it turned out, he didn’t know what he was doing. … ”La Cote Basque” produced an explosion which rocked that small society which Truman had set out to describe. Virtually every friend he had in this world ostracized him for telling thinly disguised tales out of school, and many of them never spoke to him again.
Editor’s Note, “Answered Prayers”, 1987
Reading it today, the 33 page chapter is crude, disdainful, and absolutely cutting. In the marginalia of the book, I actually wrote “SPITE” in large letters as my initial impression.
While it ties in elements of magical realism present in the surviving two chapters of Answered Prayers, it reduces the subjects it draws inspiration from to pure gossip and tabloid fodder.
Marella Agnelli, who was not referenced in the chapter, sensed the disconnect in the years leading up to publication. She’d started to observe how Capote’s perspective was impacting their relationship, eventually cutting ties with him shortly after reading an early draft:
Marella began to sense that something was wrong. Where was the writer she admired so much? This was shallow, trivial, and just plain nasty. Some of these people she knew, some she didn’t, but it was all the same. Everyone had seen Truman’s dark, petty side, but now it had taken over and consumed his writing.
“Capote’s Women”, Laurence Leamer
The story reduced the Swans to the gossip column in ways they couldn’t control. While they may have been featured as Best Dressed, or leading cultural icons for the world, the ease of which he trashed their personal lives was direct and revealing.
He prioritized highlighting Women Attacking Women with information they had shared to him in confidence, weaponizing their inner worlds against one another. He also laid bare the painful stories these women attempted to conceal about their unfaithful husbands and shaky social standings to an audience who could point and laugh.
Truman took a deliciously bitchy dig at a weak spot in each woman’s armor: their serial divorces. He referred directly to each woman’s multiple marriages, calling Gloria ‘Gloria Vanderbilt di Cicco Stokwski Lumet Cooper.‘
“Capote’s Women”, Laurence Leamer
For women who had lived in the lap of luxury, working hard to hold up a mask of composed elegance, exposing their failures to the public was voyeuristic and cruel (and not far from the arguments which could easily be made in today’s culture.)
What made this revelation even more appalling was the gusto of which it was done, specifically with Truman Capote’s relationship to the Swans as his “source material.” Similar to the energy in which he ingratiated himself to Perry Edward Smith and Richard Hickock in writing In Cold Blood, he used what he’d learned in his relationship as a tool for his work. But as a result, had diluted himself into thinking this would have no consequence with these women:
Despite the initial fall out, Truman was convinced that once the Swans realized how much they needed him, they would all come fluttering back. It did not happen.
… As painful as it was for the Swans, they had husbands, lovers, other friends, and extensive social lives. They could move on. Truman could not. He needed these women more than he had ever imagined.
“Capote’s Women”, Laurence Leamer
After publication, Truman Capote spiraled into depression, alcoholism, and rampant drug use, being cut off from nearly all Swans. Between drunk appearances on talk shows (trigger warning: alcohol abuse) and going in and out of rehab clinics, he became isolated from remaining friends and never completed “Answered Prayers.”
He died in 1984, nine years after publishing “La Cote Basque.”
Takeaways and Ruminations
Truman Capote and The Swan’s lives in general are extremely fascinating. The combination of “Champagne” and “Real People Problems” noted at the beginning of this essay felt consistent through out both the Feud and the books on which the show was based.
While it’s difficult to identify with these larger-than-life people, the arch of their lives and relationships is actually remarkably tragic. Their wealth and standing in society didn’t negate their hopes, fears, insecurities, and betrayals. This definitely puts current society into perspective, nearly 100 years out from these people’s lives, especially within the context of social media putting people on pedestals.
It’d be cheesy to start with, “long time, no post” but here we are. My last post on this blog was 2022, which feels like a world away. A lot has changed, a lot has stayed the same… but my love for blogging never really went away; I’m happy to have my little carved out platform that’s not algo-driven. So let’s talk about a new North Star.
I’ve moved from San Francisco
After nearly 15 years in the Bay Area, I’ve moved out to Arizona to start an adventure that has had tons of twists and turns after only a few short months.
Jose and I moved out here at the tail end of 2023 and it’s been fascinating to experience the world outside of the bubble that is San Francisco. I’d be lying if I said I didn’t miss home but I’ve gotten a lot better about accepting my Desert Era. It’s taken a lot from me, but after four months, I’m starting to find my sea sand legs.
I’m pivoting the direction of the Youtube Channelto a new North Star.
Sounds dramatic, but the pivot is in a way that makes me happy and more fulfilled. It had gotten to the point where I was known as someone who would only make tutorials, only talk about fitting adjustments and to be honest… it was boring and formulaic. It felt like more of a drag than a joy, so I want to bring the channel back to its roots: vintage fashion and the 40s and 50slifestyle.
For years, people had followed me strictly because I’ve taught them how to press a corner seam, or how to use a french curve, talking about fabrics and swatch books. I’ve appreciated the support over so many years! But I’m ready for a change, so the channel is starting to trend more towards the fashion and culture of the 40s and 50s, which unlocks so many more opportunities for being creative again.
I’m going to start blogging more regularly again.
Because the channel is changing, it made sense for this blog to change, too. I’ll be moving towards a more casual, relaxed tone to share inspiration, projects worked on, and some of the behind the scenes of being a content creator.
I’m under no illusion that readership will be small and this is more of an artistic exercise… but I’m excited to talk about what I’m working on without the expectation to perform. Things I’m already considering writing about include:
Wins and challenges of working on any particular video and growing the channel
Research I’m doing for upcoming pieces of content, including thoughts on books I’m reading, media I’m consuming, or anything that’s informing what it is I’m creating
Round ups from what is happening on YouTube and Instagram, but with more context
Some of my older posts will remain, though most will be removed, only because they’re so old and dusty that maintaining that old content doesn’t make sense anymore (heck, there are an insane amount of broken images and links on those old posts!)
Regardless, I’m happy to have brought blogging back into my life, since it’s always been one of the things I’ve missed most in the hustle of the social media landscape.
This post breaks down the critical sewing first steps you don’t want to miss when you’re starting a new project.
I break down my learnings from 20 years sewing experience, trial and error, and tips I’ve picked up in fashion school and along the way.
It is very important to have a strong start to your project from the moment you pick out your sewing pattern.
Taking time from the very beginning to set up for success goes a long way at making your projects easy to approach.
Sewing First Steps: Pattern Foundations [Timestamp 00:36]
Ask yourself: is this the right pattern for you?
While there are so many beautiful sewing patterns in the world, taking the time to determine if you’re using the right pattern for your sewing skill level is critical. Some patterns may be too complicated, too intricate, or use techniques you’ve never tried before. This may extend out to using fabric and materials you’ve never worked with before, too.
Use two tools to deep dive into it: a sewing notebook and the internet, which support your sewing detective work, to learn your project.
Google the pattern you’re about to make. When doing so, don’t just admire the pretty photos or videos (though those help!) Instead, look for and critically observe other people’s projects, noting other sewist’s comments on complicated aspects of the design, instructions, or even corrections and work arounds. Take copious notes you can refer to over the course of the project.
It’s critical to parse through what was difficult or easy for the person who made it, learning from their experience before you even start.
For example, when I made a bomber jacket, reviews kept stating that the sleeves were cropped, time and time again. I ignored that advice and… their notes proved 100% correct: the sleeves were too short! Had I actually taken my own advice, I could have lengthened them by the recommended couple inches and had a better jacket.
Once you feel confident that you know where the pitfalls are, you can move onto your sewing mise en place.
Sewing First Steps: Your Sewing mise en place [Timestamp 02:34]
Mise en place is French for Everything in Place, taken from the cooking world.
Most people generally understand the importance of getting the sewing space in order, but problems pop up when you’re on a time crunch. Specifically, finding out at the last minute that you’re out of thread and the fabric store closed an hour ago.
Yes, it has happened to me. Plenty of times.
Mise en place is more than just all the materials being ready to go- though that’s part of it. It also includes taking inventory of how many items the pattern calls for, what specifically you need (not guessing), and evaluating how long it might take to restock a missing item so you’re not scrambling.
For example, this includes making sure your fabric and your pattern pieces are all accounted for.
Don’t skip this step.
It’s easy to skip this step and a lot of people do. This is the difference between your first project and your five thousandth. People who do this professionally do not skip this critical first step: it’s where a lot of unnecessary annoyances and time wasters come, in trying to locate or source a material, or because it’s gone missing in the sewing space, or was accidentally thrown out.
Sewing First Steps: Setting up your equipment [Timestamp 04:36]
Most sewing tutorials jump straight into the sewing machine, but it’s important to pause and check out our iron.
Using a scrap of fashion fabric, adjust your iron’s settings for steam and temperature, validating that they’re correct and won’t damage your raw materials.
This is actually something I do before setting up the sewing machine: scorched fabric is easy to spot a mile away, no matter the stitch length or thread tension the garment was sewn with. Take your time here.
This is also a good time to clean the iron plate for cleanliness.
Now when it comes to the sewing machine, every machine is different. If you’re brand new to your machine, download the sewing machine manual PDF to your phone for reference during this process.
Common settings to check:
Needle size for your fabric
Stitch length
Thread tension
Presser foot
Spend time thinking of all the pattern-specific details you’ll be sewing, like a buttonhole or sewing over interfacing- and test those details out as well. Write this information down to reference over time.
If you haven’t made a muslin yet, this is the time to make that as well. Check out my tutorials for more details on how to approach your muslins!
Once your muslin fit is right and you’ve done the recommended steps, you’re ready to put the pedal to the metal and start sewing!
Hope these details help you on your sewing journey! Let me know down below if you follow these steps or others before you start your project.
Petite adjustments aren’t difficult! To achieve the right fit, it’s all about knowing where to look on a sewing pattern to make them possible.
Knowing which areas are important for Petite adjustments is half the battle.
Let’s break down the biggest differences between regular Misses’ sewing patterns and Petite sewing patterns:
The average Petite person is usually around 5’2”, with most Misses’ sewing patterns drafted for 5’5”. Imagine those differences split across the form proportionally.
These Petite adjustments usually need to drafted across *multiple* areas on a sewing pattern.
Watch for these areas where petite adjustments should be taken into account:
The distance between shoulder points (to account for a narrower frame)
The distance between shoulder and bust point, down the body (to account for bodice height)
The distance between bust point and waist (to account for bodice height)
The distance between waist and knees (to account for overall height)
The distance between knees and ankles (to account for overall height)
To illustrate this, let’s see how this manifests in a real bodice.
NOTE: I’m 5’2”, DD-cup, and wear a size L/XL.
In the above sample piece, you can see a few areas which stand out:
The shoulder points are too wide (by over an inch!) so the sleeveless shoulders stick out past my body
The entire area above the bust point is exposed at the arm scythe (note how much fabric billows out, exposing foundation garments)
The bottom of the arm scythe is also too low
The waist has been hacked to be higher (see my previous video with this sample dress), but was originally over 2.5” too low. Even with the previous hacky adjustment, it’s still too baggy.
The recommended Petite adjustments below will help tackle those issues.
This adjustment brings the shoulder points closer to the center point of the body, more in line with a Petite person. There are a couple different ways to do this adjustment, one which involves taking out width from the shoulder corner itself (demonstrated in the video) and another which notches and pivots the corner. Both options are worth exploring, so definitely experiment with which way works for you!
Shorten the distance from bottom of the arm scythe to shoulder [Timestamp 06:43]
The distance from the top of the shoulder to the arm scythe tends to be longer in Misses sizes. For Petite adjustments, identify that distance with your muslin, pinching out an equal amount from arm scythe to center front. Once you have that number, you can slash and overlap your pattern pieces for a better fit above the bust to the shoulder.
Raise the arm scythe, if needed.
Depending on the depth of the arm scythe (or if it was as drastically low as in the example images,) redraw a higher arm scythe, making sure it matches the back of the pattern by walking the pattern.
Redraw the waist/shorten the bodice under the bust [Timestamp 07:58]
Check your personal measurements from bust point to waist and adjust the waist height accordingly. In the example pattern, because it was a simple trapeze style, I could redraw the waistline. For more fitted bodices, slash and overlap the needed distance.
After completing the above changes, my updated pattern with Petite adjustments looked substantially better.
Knowing where your body’s measurements sit in relationship to the pattern block will save you *so much* stress, especially if you have to do Petite adjustments.
Taking time to understand where a sewing pattern should be shortened or taken in, you can more confidently identify where Petite issues will occur.
This is particularly useful if shopping ready to wear: you know ahead of time when a garment isn’t fitting right off the hanger.
And remember, just because you have a large bust or waist doesn’t mean you’re not Petite. Make sure to make a muslin to double check!
If you’re a C-cup or above, doing a full bust adjustment goes hand-in-hand with sewing. This even applies to sewing t-shirts.
I’m sure we’ve all been there: weird drag lines from the arms and above the chest, fabric pulled to its limit, and uncomfortable compression across the front of our bodies which feels and looks terrible, because the fabric and pattern doesn’t have enough give.
Just because it’s sewn with stretchy fabric, doesn’t mean that t-shirt is going to fit correctly.
In enters the No-Dart Full Bust Adjustment, perfect for those shirts and knit dresses that just need a little bit of extra space across the bust, creating comfort, removing the “wings” from the garment and adding ease to your piece.
Key components to creating a knit garment for larger chested people are straight forward, but should be done step-by-step.
Testing Your Fabric
Not all knits are the same! Planning on sewing a t-shirt? Test the fabric’s stretch, calculating if it matches the required stretch percentage of the pattern you’re making.
Use the simple formula below to calculate your fabric’s stretch:
Also watch for:
What does the fabric’s bounce-back look like after it’s been stretched?
If it bounces back to it’s original size and shape, fantastic!
If it doesn’t, maybe reconsider the fabric choice, as over time, it’ll warp over the body and wear out poorly.
Does it look transparent, shiny, or “off” when stretched?
The fiber content may not be able to support a high stretch or not look as intended when worn.
Does the fabric warp when stretched?
Again, will probably not look as intended when worn.
In all cases above, they might work for you and your fabric- but take note regardless. You may find that the look of the stretched version is not what you want to wear across your chest.
Choosing the Right Size for You + Your Fabric
After confirming your fabric is great for your sewing project, it’s time to pick the right size to work from.
A few high level things to take into account when selecting a pattern size:
Choosing your Bust size should be based on your High Bust measurement, with anticipation that a no-dart full bust adjustment will increase both the waist and bust measurements in width.
Sizing up will also mean sizing up the width of the shoulders and arm scythes– try and match those measurements more closely than the Waist and Bust size. The Waist and Bust measurements can be changed- the others will be substantially more challenging.
Once you select your size, confirm your fabric’s full stretch against the size. Use the formula below to confirm your fabric will indeed stretch to capture your body’s measurements:
Once you’re able to confirm that the fabric will stretch to your measurements based on the selected size, you’re ready to move on to doing sewing pattern adjustments.
Doing the No-Dart Full Bust Adjustment
No Dart Adjustment =/= there are no darts involved! Instead, it means we have to use dart methodologies to get the adjustment done.
First, decide how much of an FBA you have to do, using the general guidelines below:
If your fabric is low stretch, you may need to make a half muslin and measure out the distance between the center front of your muslin and the center front of your body, as demonstrated in the image below:
Once this number is found, you’re able to move onto the sewing adjustment.
Step One: Complete a “regular” Full Bust Adjustment [Timestamp: 09:36]
If the pattern has a bust point indicated, follow the normal steps to completing a full bust adjustment. If the pattern does not have a bust point indicated, watch my video for how to identify this location on your pattern, based on your measurements.
Step Two: Rotate the Dart to the Bottom of the Pattern [Timestamp: 18:43]
Cut out the side dart, and rotate the side dart closed, pivoting the dart to the bottom of the pattern. Tape the side dart closed and fill in paper at the bottom of the pattern piece.
Step Three: Rotate the Dart… OUT! [Timestamp: 21:23]
To complete the no-dart full bust adjustment, rotate the dart out from the side of the pattern. Measure the size of the dart from Step Two, and take the distance out from the side seam. From there, true out the side seam, to make a smooth curve matching the original pattern shape as closely as is reasonable. Then, walk your pattern seam.
After walking your side seam, make sure the pattern hasn’t been lengthened too long in the front. Measure the center front and compare that to you– if it’s too long, bring it up. But make sure to keep a touch of extra length, to allow the fabric to comfortably go over your chest.
Step Five: Sew your Final Muslin
Especially if this is your first time doing a no-dart full bust adjustment, I highly recommend doing this step. If you’re a seasoned seamstress, this may not be needed.
It’s easy to have a paper pattern buying addiction. I’m *far* from immune to the 2$ Joann’s pattern sale which has left me with a collection of over 1000 printed sewing patterns.
But having so many paper patterns… from the same big companies is kind of a problem.
These printed patterns take up a lot of space. They also tend to all be designed from the same pattern block. Sometimes, they tend to not be so fresh (design-wise.) And, potentially worse, the designers may be hit or miss as to whether or not they align with your personal values.
Enter PDF pattern companies.
This post features three PDF pattern designers I’m excited about right now and encourage you check out!
PLEASE NOTE! This is nota sponsored post. I’ve actually not worked with their designs in the past. But I think they’re doing some interesting work and wanted to highlight them in this post.
Friday Pattern Company
Their PDF pattern designs are modern but with minimalist sensibilities and some cute details!
What I particularly love about Friday Pattern Company is that their pdf sewing patterns go up to 7X! The increase in size range makes these designs extremely inclusive, opening the door for more people to dip their toe in and make something that makes them feel like a million bucks.
The two patterns below, the Davenport Dress and Sagebrush Top are gorgeous.
Besides being absolutely in love with the company name, the commitment to eco-consciousness is real with Untitled Thoughts! Brittani, who owns the small design studio, goes in depth in the About Me page about how she’s staying committed to caring for the planet.
This even includes information about the light bulbs which are used in the studio to ensure energy efficiency!
The two patterns below, the Amelie and Mathilde dresses are both beautiful, and are really in the spirit of a summer picnic.
In addition to what I’ve mentioned above, Untitled Thoughts also donates 5-10% to charity. There’s even a yearly transparency report breaking down where the funds were sent! The amount of integrity with Untitled Thoughts is extremely refreshing, and for a PDF pattern company which is a one-person operation, it’s extremely impressive.
Bambini del Mare
The PDF pattern company I’m most excited about right now is Bambini del Mare. Serah, who owns and designs this small brand, is a Bay Area local who attended CCA (California College of the Arts) — just a stone’s throw away from the VoT studio!
The two patterns below are my favorite from what has been designed so far:
A couple more reasons I’m excited about Bambini del Mare:
The looks are all extremely romantic– they’re all gorgeous and vintage inspired without being frumpy
Serah is focused on sustainability and philanthropy and donates 5% of her earnings per quarter to a rotating list of charities.
PDF pattern companies are doing interesting things.
From donating to causes they care about, to going above and beyond with size inclusivity, to even sourcing their sample fabrics to ensure they’re sustainable, it’s extremely impressive. These are examples of what us, as sewing consumers, have an opportunity to support and vote with our dollar on.
While working with PDFs can come with their own set of challenges, there’s opportunities to explore new (pattern) points of view and new pattern blocks, all while supporting a small company.
The virtues of slow sewing can definitely be a challenge if you’re used to whipping up projects FAST.
This is especially true if you’ve been sewing for a while. It’s very easy to get into a rhythm, working on projects back to back. After a while projects bleed together. Is there an opportunity for slow sewing that you’re not considering?
But it made me think: if we’re churning out projects too quickly, are we enjoying the benefits of slow sewing?
These are the tips I recommend to slow things down a little bit if you’re finding that the churn isn’t for you.
Ask yourself, why do you feel the need to rush the project?
Seems straight forward, but it can be super easy for us to burn ourselves out without realizing it.
Burning ourselves out from sewing is not what we want.
A few years ago when I started my YouTube channel, I was sewing up a storm every.single.day. It was to the point where I would finish work, and then get to the sewing machine right away.
What I found was that my projects were not bringing me any joy. I was working on them so quickly. They all started to blur together.
None of them were special anymore. And then I would donate them to the thrift store without batting an eye.
Once you have your Why to the question, you can start to put comfortable Slow Sewing parameters to the project.
Maybe you don’t give the project a deadline. Maybe you take some time to do a more complicated finish on it, just to experiment.
This way you can actually take your time and enjoy the whole process and enjoy what you make… even the parts that are kind of annoying because you had more time to actually work them.
Ask yourself, are you cutting corners just to get the project out the door?
This one is a tricky one, because in an effort to go fast, it’s easy to look for shortcuts. And by skipping steps, mistakes can easily be made.
Don’t get me wrong,not all shortcuts are bad. But it’s a slippery slope to defaulting to shortcuts always. Especially with no return to proper technique just for the sake of going fast.
This one is near and dear to me because I tend to go the slow route always… sometimes to my detriment.
But, I have a super simple example to highlight: Stay stitching.
Super simple, straight forward, not that big of a deal. But people skip it. Because they want to cut corners. And the neckline gets stretched out, the seams don’t line up, and in every single picture, the weird puckering is obvious. It was a simple mistake. A simple corner that got cut.
This tip is a reminder to ask ourselves why we’re sewing.
For so many of us, it’s NOT just to make something that’s “good enough”, but something that makes us feel like a million bucks.
Obviously, there’s a middle ground between shortcuts and doing everything by the book. Taking some time to consider WHY is extremely important.
If we’re cutting corners to go fast, why? What impact does it have on our actual enjoyment of what we’re making? Aren’t we all here to sew?
Ask yourself, is this a project you really want to stress about?
Stress itself can play some mind tricks and if we’re going too fast, it can compound exponentially.
There’s a bunch of different reasons why we might stress over a project. The time component can make that problem even worse.
A good example for me was a dress I made a few years ago for the channel, where I was cutting corners, stressing over a video deadline, and starting to actually resent the dress.
In rushing and stressing and I accidentally cut into the bodice of the chiffon redingote of the dress. In a very obvious place.
I was furious with myself, the dress, and the whole situation. And it sucked.
Even though the dress turned out ok, it wasn’t until that happened that I took a step back, took a deep breath, and realized that I was supposed to be enjoying the process.
And I wasn’t enjoying the process. I wasn’t focused on slow sewing for enjoyment, only presentation for video.
How often are we stressing over something we’re making and make a careless mistake?
If you’re finding yourself doing this, it’s a good opportunity to take a break, get a glass of water, maybe walk around the block, get a snack, and reassess the project.
At the end of the day, none of us wants to resent our sewing by rushing it. Slow down, slow sew and savor the process.
Is it possible to make an amazing garment with no sewing adjustments?
A garment that fits straight out of the envelope, with no sewing adjustments, with no problems, and fits you like a glove is a dream come true, even for me!
So I wanted to give it a shot.
I wanted to find out if I could make a dress straight from the envelope and have it fit decently well.
I chose the Charm Patterns Cinch It dress for this experiment, released in Spring 2021.
What drew me to this pattern was:
The dress was described as a simple pop-over dress, meaning it should fit decently ok*, as long as I followed the instructions.
If it worked out, it had many options for customization, with additional collars, sleeves, and pockets to make several versions.
The completed pieces I saw online looked like vintage-inspired dream dresses!
*: I know pop over dresses are super simple, super generalized, and made to fit at a very basic level. My expectations were medium-to-low. I wanted to get in the general ball park and feel decent in the dress.
The moral of the story?
No sewing adjustments is a rarity if you already face regular sewing challenges, or experience the same fit issues over and over.
While the concept of the dress is brilliant, I face challenges very common for my body type, which were not easily addressed with most patterns straight from the envelope. This is extremely common for most people.
For the Charm Patterns Cinch-It, these included:
My incredibly petite frame, which impacts my shoulder width. The shoulders of the Cinch-it dress were roughly 1.5” too wide for me, which would make it a challenge for well fitting sleeves, had I made those options.
My petite frame’s torso length, which impacts bodice length and waist placement. The shirring line on the dress started over 2 inches too low for me, and extended down over 4 inches– which for a combined 6” of Torso + Waist, put the bottom edge of shirring past the midpoint of my hips.
Overall dress length, which is easily remedied, but worth a mention.
Is there a pattern out there you can make with no sewing adjustments?
Yes and no!
Depending on the adjustments you may tend to do, there are pattern companies which may fit your body shape more closely due to the nature of their pattern drafting block.
For example, Seamwork Patterns tend to fit me decently well, due to a larger block cup size and shorter torso length. While alterations are still common, their drafting is naturally closer to my body shape. You can see this well in my Penny Dress, which fit like a glove.
For the most part, though, it’s rare to make a pattern straight from the envelope with no sewing adjustments.
This is perfectly normal!
Remember that pattern companies draft to their audience’s average. Even the patterns marketed as “easy to sew” may need some slight adjustments for a better fit.
Looking to dip your toe into pattern adjustments, or do you also have a petite frame like me and a larger bust? My fitting videos might provide some insights on how to approach fitting challenges!
If you’re a beginner sewist, a sewing pattern envelope is NOT easy to read! Learning the mechanics of how to sew while also struggling to understand the pattern envelope you’re working with is exhausting.
If you’re starting your sewing journey, let’s save you time. This post walks you through what an experienced seamstress looks at, so you can ramp up your sewing faster.
A sewing pattern envelope can look like gibberish if you don’t understand the nuances of sewing language.
For me, the first pattern I ever worked with was something I picked out for Halloween and… I legitimately didn’t understand anything I was looking at. From the size chart to the recommended fabrics, my eyes glazed over. I genuinely had no comprehension of what it was I was even trying to read.
I don’t want you to go through that experience. This post will walk you through, step-by-step, what to look at and how to interpret it.
Once you learn the basics of what you’re reading, it’s substantially easier to use thousands of other sewing patterns.
Choosing a Size from the Sewing Pattern Envelope
For the Big 4 pattern companies, there’s usually a distinction between the smaller and larger patterns. These sizes are normally grouped together for printing purposes and feature size ranges. There are also groupings for plus-size, children’s sizing, petites and “standard” sizes.
To determine if you fit into one size range versus another, take a look at the size chart. You can usually find this on the back of a printed envelope.
BIG NOTE: Your size in ready-to-wear (what you buy at Target, or Nordstrom, etc) is NOT the same on a sewing pattern. You want to know your physical measurements FIRST before deciding on what size range is most appropriate to you!
The Size Chart
The chart organized in a simple grid, outlining Bust, Waist, and Hip sizes. Additional measurements may be listed, like length or distance from neck to waist. When approaching a pattern, most fit decisions can be made with the Bust-Waist-Hips measurements.
NOTE: You might fit into multiple sizes and that’s ok.
To read the chart, find the size (or range of sizes) closest to yours.
Before you walk away with that pattern, double check the Finished Garment Measurements chart, if available. This similar chart will break down what the completed Bust-Waist-Hips measurements will be.
If a Completed Garment Measurement differs widely from your actual measurements, that’s usually “ease” or the amount of extra moving fabric you’ll have to sit/stand/do a backflip in. This topic is outside the scope of this post.
Pattern Description
The Pattern Description is relatively straightforward on the sewing pattern envelope, breaking down the specific description of the garment. It’ll talk about the length, intended fit, and details like what type of zipper it’s using or cut of sleeve. If there are multiple designs in a pattern envelope, it’ll also detail what the difference is between them.
This reference supports the line drawing on the envelope, specifically describing one design over another. Another bonus is that if you’re practicing additional sewing techniques, you can see what you’ll learn in that design.
NOTE: A/B/C denote specific design elements. Pay attention to the letter, as its be used as a reference point for the entire design.
Notions
Straight forward, but very simple. This section breaks down what specific notions you need for the design you want to make. If you’re making A or B, it’ll break down what size zippers, buttons, or other sundries you’ll need.
Recommended Fabrics
This section lists out all recommended fabrics for your sewing pattern. Using this information (as well as fabric swatch book,) you can narrow down the best material for your use case. If there are a lot of options, the list also shows you the possibilities with the design. Read the list carefully! You can dramatically change the sewing pattern by changing the fabric chosen for it.
NOTE: Be careful if you’re selecting an unlisted fabric! Using a fabric not recommended may change the drape and silhouette of the garment in unexpected ways. I highly recommend sticking the list if you’re a beginner.
If you’re taking the plunge on using a fabric not listed, make sure to consult your Fabric Swatch Book for something similar. This way you can ensure that you’re still getting the feel of the recommended fabrics.
Additionally, there are quite a few warnings in the fabric description!
Diagonals: Some sewing patterns call out that obvious diagonals should be avoided. The way the pattern is designed means that the fabric may clash with the shape of the pattern pieces. This is an explicit call out to avoid diagonals as much as possible.
Extra fabric for matching: If you want to use a plaid or striped fabric, you must buy extra fabric. It doesn’t specify how much, but the rule of thumb I always use is about half an extra yard. If it’s expensive fabric, I go with an additional yard, in case of major issues.
Use Nap yardages for…: For fabrics which are printed with an obvious top and bottom, use the yardage amounts and layouts indicated more carefully. This ensures your pattern pieces are cut correctly (because there’s more opportunity for error)
Note the * // ** — which indicate how much yardage you need (in Big 4 patterns)
For a Napped fabric (obvious top/bottom) — one asterisk
For non-Napped (no obvious top/bottom) — two asterisk
The Yardage Chart
Before approaching the yardage chart, have your size on hand (as picked out on the size chart.)
Example: based on the size chart, I range between 16 and 20, so I’m focusing on those three sizes.
Isolate out what specific design you’re focusing on to start breaking down how much yardage you’d need. For B designs, look at areas defined by the B, etc.
Dress Fabric
Continuing the example above, if the fabric I’ve found on Mood or at Joann’s is 45 inches wide… I’ll buy anywhere between 6.5 and 6.75 yards of fabric (!) If the fabric I’ve found is 60 inches wide… I’ll want to buy 4.5 to 4.60 yards, based on the size ranges 16 through 20 on the example pattern.
NOTE: If you’re a beginner, I would air on the larger amount. This helps make sure you have enough fabric to work with. If you’ve been sewing for a while, you might want to do less based on what you normally use. In my case, I’m short and have to shorten *all* my pieces, so I stick to the lower number.
Additional Materials by Size
Same considerations as above. Find your size range on the chart to determine how much material to purchase.
Once you know how to read a sewing pattern envelope, SO MANY doors are unlocked.
At this point you can work with all printed sewing patterns and reading PDF pattern information as well. Knowing what you’re looking at, deciphering what the envelope is saying ramps up your sewing experience.
Many beginner sewing questions are answered on the envelope. Taking the time to read and analyze the information there goes a long way.
I highly recommend a related video regarding Beginner Sewing Challenges, linked below:
Sewing is a Journey all its Own, Learning the “Sewing Language” will Help!
I hope these tips and video have helped demystify some of the Sewing Language, so you can get stitching right away, making beautiful garments!
There is so much to spend your money on when starting out sewing that it’s easy to fall down the rabbit hole of buying everything. Or… buying a lot of cheap stuff. Do you know what sewing tools to invest in?
Do you know what sewing tools you bought on a budget… but deserve an UPGRADE?
This post is written for people interested in upgrading their sewing tools, breaking down which ones should be upgraded first!
BIG DISCLAIMER! You can get very VERY far using budget tools. But if you have the opportunity to invest in sewing tools in this list, they make a difference.
You don’t have to spend money on All The Things when it comes to sewing supplies.
Investing in the right tools can support you in creating a garment that’s sturdy and well constructed. Time and time again.
Invest in this Sewing Tool: Your Sewing Machine
When I asked Vintagettes what was the sewing tool they invested in, over 95% of them said their Sewing Machine! It goes to show that this one is a biggie- you can’t get around it.
Prices range from extremely cheap ($25 machine) to extremely expensive ($3,000+!) It’s easy to get lost on this tool alone.
Keep in mind that for budget sewing machines:
They tend to be mostly plastic, which weigh too little. This means they tend to bounce around more often, which affects their timing and internal alignments
Cheap machines also tend to have limited settings (or worse) too many novelty settings. These tend to be rarely used for garment sewing, taking away from having more SOLID basic stitches
Cheap machines also tend to lack attachments or tools which you might need. Or they’re made of cheap materials which will fall apart easily.
What makes a sewing machine more valuable?
Pricier machines tend to be heavier, which don’t bounce on your table (think of them like a tank)
They have more robust basic stitches. The straight stitch, zig zag, etc tend to have less issues over time, maintaining proper length, etc., and not skipping
Attachments are almost always included and don’t generally have to be replaced since they’re a lot more built for time
If you’re looking to upgrade from an entry level or cheaper machine and don’t want to break the bank…
Consider the budget (obviously)
Think about what you actually use, day to day. For example, I tend to ONLY use a straight stitch, zig zag, and back stitch.
Think of what’s a nice to have versus a MUST
Must have a buttonhole foot
The machine must have all the attachments so I don’t have to buy them one at a time
Be easy to fix with a local repair person (or not)
Invest in this Sewing Tool: Steam Iron
If you watched my Top Beginner Sewing Mistakes video, you’ve heard me say, “you should spend as much time worrying about your iron as you do with your sewing machine.“
While it seems like a basic tool, an iron has a lot of power in how you manipulate the fabric and fibers themselves. These details are ones that get skipped over by beginners. But in reality, they play one of the bigger factors in making something look professional and neat.
They tend to weigh more and require less downward pressure to fuse interfacing
If you’re using an entry level iron and don’t want to break the bank, I would recommend considering…
The size of the water tank needed on the iron?
What granularity do you want in temperature control?
How much steam control is needed?
Retractable cable or wireless?
Is it just for sewing or for regular clothing as well?
Invest in this Sewing Tool: Cutting Implements
This one is a tricky one, because everyone’s tolerance for a “nice version” of this can vary widely.
Some people like tools with better handles, some people like having decorative ones. Some like heavy scissors and cutting tools, some like lighter ones due for ease of use, especially for joint pain.
I have a wide range of cutting implements and each has a different purpose, collected over the years. None of these serve double purpose– they’re all very specific about what I need them to do.
At the end of the day, I’m looking for quality, sharp tools. Tools which hold their edge the longest and which can be sharpened.
Why? The main reason is around SAFETY. Also, cheap tools can damage fabric.
If you’re looking for new cutting tools, think about these things:
Is this going to be comfortable to hold for potentially HOURS of time?
What do I need this to actually cut through?
What are my sharpening options?
Learning How to Invest in Sewing Tools takes time, but this list should get you up and running!
Every tool is not only an investment, but it’s something you should be able to rely on again and again over the years.
You don’t have to break the bank. A lot of the items on this list can be bought at a discount, with coupons, or on heavy markdown. Keep an eye out on your local stores and be sure to save up for the equipment you would really want use.
The last of the winter frost is starting to melt away. And you realize you’ve been living in a flannel, oversize sweater for months on end. Like a groundhog, you rub your eyes, peer outside, and wonder what day it is. And will it stop being cold… please.
Before you know it suddenly tulips are popping up everywhere, the sunshine feels warm on your face, and Spring is fully upon you: ITS EXCITING.
As someone who sews, the next question is… what’s your wardrobe looking like for the changing weather?
What dresses and blouses are you going to make with pretty spring fabrics, now that you can wear something more free and fluttery?
If you’re browsing online right now, there are so many options to choose from for your spring fabrics, that it can be a bottomless rabbit hole.
This post focuses on breaking down a few of the most commonly used spring fabrics. You’ll know what to work with in your sewing, whether it’s vintage or more modern pieces you want for your wardrobe.
As I wrote this post, I looked for spring fabrics which had the following qualities:
These fabrics are frequently recommended in spring sewing patterns.
With layering, these spring fabrics can be used as transitional pieces.
They have a consistent quality, from fabric store to fabric store (which is super important if you’re shopping online during lockdown!)
Spring Fabrics You Should Sew With
Fabric #1: Batiste
It’s light… it’s airy… it screams spring!
The quality of the fabric is instantly perfect for warm days and a cardigan on top. It’s lightweight, transparent, and with it being a plain weave, is easy to sew with!
You’ll usually find this fabric used in garments such as blouses, camisoles, and simple cover ups. To ensure the garment is opaque, double it up!
Fabric #2: Chambray
Chambray fabric is a lovely spring version of a heartier shirting fabric, being tightly woven and soft.
This cotton fabric is fantastic because it can be dressed up or down, depending on the application!
Chambray tends to be more in the blue/indigo color range, with its warp and weft yarns being dyed in different colors (one yarn blue, one white) Sometimes it’s seen in reds or (more rarely) other specialty colors.
You’ll usually find this fabric used with shirt dresses, button up tops for all genders, and sometimes as shorts and lounge pants. With interlining or backing material, I’ve also spotted it in cool, cozy jackets!
Fabric #3: Cotton Poplin
Cotton Poplin is one of my absolute favorite fabrics! It has a crisp hand that is perfectly perky as a spring fabric.
Poplin is fantastic as a spring fabric because of its medium weight and structured hand. Also due to its tight plain weave and finish, it tends to have a little bit of a sheen on it, which feels super soft.
You find this fabric used over a bunch of different applications, including dresses with structure, tops which tend to be more fitted, and shorts and slacks which are more snappy, but still casual.
Using Spring Fabrics is a LOT of fun!
The three fabrics I outlined are barely the tip of the iceberg in terms of what’s available in online stores. Spring fabrics are plentiful, but using the woven fabrics I’ve listed will provide tons of options for potential garments.
If you’re looking to start gathering ideas from the fabrics I’ve listed, or are looking to try other spring-specific fabrics, I highly recommend creating a swatch book with them!
What’s your favorite spring fabric? Is there one you keep going back to again and again?
You’re a sewing beginner, excited to make your first dress (or top, or skirt!) You have the most gorgeous fabric painstakingly picked out.You have a brand new sewing machine. A vision of what you want it to look like… and you’re ready to go.
But after that first snip into the fabric… it’s a disaster.
The garment fits like a giant sack, the stitch lines are wobbly and crooked. As you try and take it apart to start again, an accidental cut into the fabric! The whole thing ends up in the trash.
Sound familiar?
As sewing beginners, we have ALL been there.
For me, it was a 1930s-style dress I was making for Halloween when I was a young teenager. Dark green, black fringe, and when I took the scissors to it, it went downhill.
The dress was atrocious and a waste of money. I’d cut into the center front seam, the fabric was bedsheet quality, and the seams puckered and didn’t lay flat. Not knowing what I was doing, my Beginner energy was crushed.
I knew I wasn’t the only one who had gone through these learning woes as a sewing beginner. So I posed the question to my fellow Vintagettes on Instagram, to learn more about their early sewing days.
I wanted to know…
What were the range of problems people experienced?
What was their approach to sewing?
Where did their Beginner Enthusiasm run into problems?
From those conversations, I distilled the following list, to support your sewing journey.
THE TOP 5 PROBLEMS YOU’LL FACE AS A SEWING BEGINNER
Problem #5: Expecting perfection… from the jump!
Sewing is a practice in which skills build on each other. It’s difficult to make successful garments which don’t acknowledge that learning one or two things just isn’t enough.
Sewing skills compound.
Expect and account for your first several pieces to be straight garbage as you learn. And that’s ok.
Each piece is a learning experience, and even after 20+ years sewing, no garment is perfect. Even with hundreds of skills under my belt.
The stress and heartache from early-stage learning can be enough to turn a lot of people off from sewing. I recommend not planning for the first few garments being worn to a party or to a special event.
It’s important to get your feet wet in a way that makes the learning experience fun. Putting undue pressure on yourself to make a PERFECT _(insert garment)_ here is not going to do that for you.
Expect imperfection and lean into it!
Problem #4: Not combing through and analyzing the pattern directions or learning your sewing machine.
Sounds straightforward… but something easily overlooked and dismissed!
Take time to look through every diagram in the sewing pattern . Do Google searches for phrases you don’t know.
Similarly, spend time learning your sewing machine. Each machine has its own quirks. This includes how its threaded, how the bobbin is loaded, and where buttons live (or don’t live!) on the machine.
Doing this simple review will save you a lot of frustration as a beginner.
Spending time up front is important. Do Google searches for specific techniques mentioned in the instructions. Read the sewing machine manual. All this decreases the amount of simple errors you can run into as a sewing beginner.
Problem #3: Underestimating the Power of the Iron
Shouting this one from the rooftops:
An iron in the sewing world is NOT OPTIONAL.
Most of us live comfortably in knitwear or wrinkle-proof clothes, the Power of the Iron is REAL.
With heat, pressure, and steam, irons are an invaluable tool to manipulate individual fibers in fabric. They coax fabric to mold around a curve, lay flat, and encourage thread to meld into fabric.
It’s easy to be distracted by the sewing machine, with all its stitches, bells and whistles… and completely ignore the iron.
Prioritize your iron!
Pressing seams open and using steam and a tailor’s ham go a long way towards elevating your sewing. Lining things up as you sew them, encouraging seams to lay flat against the form makes your garment look professional.
Problem #2: Not Understanding Fabrics and Choosing the Wrong Fabric for the Job
Knowing and understanding fabrics is absolutely critical, but also one of the more challenging skills to learn with sewing. For a lot of people, this skill comes with time and experience.
It’s one of the biggest reasons I’m such a proponent of starting your own fabric swatch book as a beginner. Understanding the different fabrics on the market and how they compare to application, especially in relation to ready-to-wear is vital.
Looking at as much fabric as possible, feeling it and observing how its used out in the real world. It makes it easier and easier to see what fabrics are more appropriate for what purpose.
A pretty floral print might look gorgeous, but is it printed on fabric good enough for what you want to make?
I’ve created a free swatch book template to start building your fabric swatch collection. A swatch book is an important part of the learning process.
Print out a few pages with simple information, noting fabric information. This practice develops a solid understanding of how to pick out material.
By doing this, your skills as a sewing beginner will be more fine tuned towards making more beautiful garments!
Problem #1: Ready to Wear Sizing =/= Sewing Sizing
The sad fact is, Ready to Wear clothing sizes are completely different than Sewing Pattern Sizes! A Size 8 from your favorite dress brand will be completely different from Size 8 in a sewing pattern.
Why is that? Each brand uses their own “block” or average measurements for their audience, which influences the fit for their brand. This also extends into sewing pattern companies, who also develop their own sizing matrix.
Also, sewing patterns tend to have more ease (or extra “space”) in their measurements, usually based on the design itself.
The main lesson is that your real-life measurements (when you wrap a measuring tape around your waist, etc.) should be the basis of what size you pick from the sewing pattern envelope. Not what you buy off the rack in a store.
Using your own measurements as the source of truth– not the number on your clothing label– will lead you to picking sizes whichwork better for you.
You *will* run into problems as a sewing beginner and that’s totally normal and ok!
“[Babies] ability to be bad [at walking] and have everyone be ok with it is how they get good.”
After two years away (and a rough 2020) I knew it was time to return to the blogosphere with the garment which started it all: Simplicity 1460. In this post, we’ll be chatting about how to sew a 1950s peplum in all it’s gorgeousness, from the new and improved VoT HQ!
It wasn’t just me looking at photos of this blouse. It was being reminded of why I love blogging and sewing on camera. Of why I kicked off this project in the first place.
The vintage blouse which started my YouTube channel, throwback to 2016.
It reminded me of why I like to talk about vintage sewing and advocate for it so much.
Click the video above to watch the full breakdown of how to sew a 1950s Peplum!
Here are my tips on how to sew this vintage blouse:
Fitting can be a challenge with this piece.
All in all, I spent nearly 15 hours attempting multiple fitting techniques around a full bust adjustment, leading me to settle with the fit seen in this piece.
The final fit was a compromise, which is disappointing with 20+ years sewing experience! Challenges with fit for my size included:
Doing an FBA on a French double dart (I recommend splitting the FBA across both darts!)
Finding the right positioning for my bust point (I recommend measuring from the shoulder point down to get the best fit)
Allowing enough ease for the button placket at the center front (it’s better to have extra overlap at the placket than not enough)
The neckline on this vintage peplum blouse is extremely beautiful!
To achieve the desired scallop effect, sew carefully around the facing:
Slowly sew around each facing piece, picking up the presser foot to adjust the fabric as needed to maintain a smooth curve
If part of the stitch line is too straight, unpick and do that curve again! Because the curves are prominent around the neck, they’re highly visible. A stitch line which isn’t smooth will be obvious
Trim and clip all seam allowances to ensure that turning the facing inside-out will display a smooth curve
When learning how to sew a 1950s peplum – or any peplum for that matter! – take care to stay stitch the top curve to make sure it doesn’t warp!
By sewing a simple stitch line across the top (at around ¼”) you can prevent the delicate peplum curve from being pulled and stretched. The pulling can (and will!) distort its grain, making it difficult to match up to the bodice.
The last tip is around the buttons in this piece! The pattern calls for three buttons, but I added four for extra protection and insure a comfortable fit for me.
Feel free to modify any pattern with additional buttons as needed. Remember that in most cases, button count is a suggestion, not a hard fast rule.
Sewing a vintage 1950s peplum is not complicated- it’s actually a lot of fun to make such a flattering piece!
In the comments below, please let me know if you’ve made this pattern before or if you’ve ever revisited an old sewing pattern with fresh eyes!
I would love to know how that went for you and if there was anything that stood out as you tackled it again!
The full bust adjustment (FBA) is not for the faint of heart. If you’re brand new to sewing, it can seem like a confusing mess.
The lines, slash and spread, and blending of curves can seem weird and nonsensical, and heaven forbid the adjustments need to be done on a non-conventional bodice! I remember that fear very well!
As a sewing blogger, I receive countless questions regarding FBAs on all sorts of patterns, but when it comes down to it, the adjustment is standard. If you know the principles of how to do this pattern adjustment, and how to approach it, you’ll be able to tackle some of the trickier garments!
Before discussing the Anatomy of an FBA…
Evaluate if you indeed need to perform one!
Not every pattern needs a full bust adjustment, even if you’re full busted.
I’m a big proponent of sewing the pattern straight from the envelope, before making a decision on the sorts of adjustments that change the foundation pattern.
Why?
Sewing the standard size will give you an idea of how the pieces come together in general (not related to the FBA, but to understanding the garment)
It’ll allow you to confirm whether the ease of the garment is right for you (the ease could potentially affect the size of the FBA)
You’ll also be able to see if the FBA really will be needed for a better fit at the bust and arm scythe
Another resource I recommend checking out is the Sewing Out Loud Podcast (STOP! Before you FBA), which dives deep into some of the current rhetoric around how Full Bust Adjustments are being used as sewing cure-alls. (HINT: they are NOT a fitting cure-all!)
Tools to Complete a Full Bust Adjustment
Before getting started doing an FBA, make sure you have your tools handy!
Paper Scissors – Sharp, simple, nothing fancy. I prefer one with a comfortable handle, which is easy to skimp on, but makes a difference long term.
Transparent Gridded Ruler– Look for one which is thin and flexible, which can bend around curves for pattern drafting. A regular ruler works fine, but transparent rulers will make your life easier with seam allowances, etc.
Tape – I recommend 3M Magic tape, which allows you to draw over and erase graphite.
Breaking down How a Full Bust Adjustment Works
The standard FBA features three lines, as outlined in the tutorial video.
Line One: Through the center of the primary dart, straight to the bust point.
This line dissects the dart in two, and allows for a bigger “tent” to be made in your fabric. Adjusting the overlap of the dart will adjust how much the fabric will fit over the cup.
Line Two: Parallel to the center front, straight down to the bottom of the bodice, starting at the bust point.
This line will allow the front bodice to be widened, creating for a wider space for the bust fit comfortably. NOTE: Most patterns are drafted to a B-Cup, and cup sizes above C-cup will need a little bit more space to be comfortable. The widening of the bodice adjusts the waist size as well, as widening at this line changes all measurements below the bust point.
Line Three: Bust point to last third of arm scythe.
The final line creates space for the “side boob”, spreading open space under the armpit. The exactly placement of this line is a general “final third” of the arm scythe, which is vague, as its specific placement isn’t specifically important. This line used as more of a pivot point. NOTE: The upper 2/3 of the arm scythe should be avoided as much as possible. Drafting this line out in the 2/3 or above area will start to distort the area above the bust, including the neckline, shoulders, sleeves, and fabric that sits above the bust.
What’s happening on the pattern?
As you spread the pattern pieces apart, a few different things are occurring:
The Center Front of the pattern piece stays exactly the same.
The Center Front of the bodice front is staying stationary, as all pieces are pivoting around it.
The Center Front piece will need to be lengthened, depending on the amount of the FBA, to match the Side Front (see below.)
Line One, which bisects the primary dart, opens to create a larger “tent” for the bust.
A larger dart means there’s more space for the breast to sit forward comfortably.
The Side Front of the bodice lowers due to the main dart getting larger (at Line One.)
With the Side Front lowering, it creates an offset with the Center Front, as noted above.
The Center Front should match the Side Front, which is accurately accommodating the bust lengthwise (up and over the bust.)
Line Two, which splits the Center Front and Side Front, spreads apart the distance of the full bust adjustment.
The spreading of Line Two creates width in the pattern below the bust point.
The pattern is widening to accommodate the width of the breast.
The waist measurement is expanded an equal amount.
Ideally, the addition of space created by Line Two should reduce pulling at the sleeve and armpit, directly perpendicular to the bust point.
Note: The pulling is generally created by the fabric straining to accommodate the bust, pulling at the seams of the sleeve/armpit area and smooshing the bust down.
Look for Pattern Distortions when Completing an FBA
Pattern Distortion #1: Center Front to Side Front
As discussed above, the Center Front should be lengthened to match the Side Front.
Warning!Simply drawing the Center Front line to square off with the Side Front and “lengthen it” doesn’t always work! If your pattern is not a simple bodice, on the fold, with a square edge, follow my pattern adjustment tutorial video by cutting a few inches from the Center Front piece and MOVING IT DOWN. The hem of the bodice may not always be straight, and this avoids accidental distortions.
Pattern Distortion #2: Mismatch on pattern true-ing
Areas that will need a look over include:
The hem (see above)
The dart itself
How the front pattern piece fits against the back pattern piece
Line Three will create a pivot point at the armhole, and by completing the FBA, the pivot point pinches into the armhole. Use your French curve to correct the armhole by drawing a simple and gentle curve. (See: How to Use a French Curve)
Full Bust Adjustments can be intimidating, but they don’t have to be.
As you practice doing FBAs, the more complicated bodices operate in the same way. They add width for the bust line, they add length (up and over the bust), and they add a little extra for the side-boob.
Need a little bit more Full Bust Adjustment help? Check out the videos below!
Last year I was’t in a good place. The blog was growing. YouTube videos were coming out (relatively) frequently. Things were moving and shaking— and in the blogging world, momentum is everything.
But in the middle of June, after creating some of my most popular content and working on amazing collaborations, it all fell apart.
Anxiety over job security, home/life balance, and life in general came over my head like a wave. Over the course of six months I gained nearly twenty pounds, retreated into a depressed state, and there would be weeks at a time when I wouldn’t leave my house in agoraphobia.
I dissolved from a vibrant excited person, to a girl who would cry during her lunch breaks. I’d binge eat at lunch, then proceed to starve myself the rest of the day.
Typing my sewing website url was painful. Launching the Instagram app to see the compounding effects of my absence made it worse. YouTube? Forget about it. Everything I had built as a sewing blogger was coming apart.
The comments from followers were upbeat and encouraging, but I couldn’t emotionally link the positive energy being sent, to the creativity and love that had sparked the blog in the first place. Everything was hard. Sewing became difficult. And I stopped.
By the time December came about, I made a conscious decision to figure out how to pull the veil from over my head.
It wasn’t (ISN’T) easy, and every ounce of my being was fighting the decision. But slowly, day by day, I arrived at this post.
Making the effort to be mindful of my thoughts, my actions, and feelings ended up being my salvation. If you follow me on Instagram, you’ve been able to follow that journey. And now, I wake up grateful and thankful for what I have, for what Jose and I have built together, and for the creativity that’s flourishing back into this blog and into my sewing.
Through a lot of trial and error, I decided to spend time developing a meditation practice (shoutout to Andy Puddicombe and the Headspace App!), a morning routine, and a journaling and gratitude practice.
It felt “extra”- as if I was trying too hard, but I stuck with it, even if everything else was falling apart.
I meditated for 15 minutes a day, consistently for months
I read books focused on building self compassion, being patient with the creative process, and decluttering
I woke up at 5am (even on weekends) to give my mind time to breathe and establish a morning routine
I made it a point to journal, even if it was just one paragraph to describe what I was feeling
I made a list of 5 things every day that I was grateful for
I pulled a tarot card daily to have a positive perspective to look forward to
Of course, the above actions might not resonate with everyone, and everyone’s experience will vary. But for me, it helped. And still does. Please reach out to friends, family, and medical professionals if you are experiencing anything similar to what I went through. To be honest, I wish I would have reached out earlier in the middle of it.
Months and months later, I still start my journal entries with, “I’m grateful for…”
…And write at least two lines that range from, “The warm cup of coffee in my hands,” to “The nice comment someone sent me through email.” My meditation is now focused on Motivation, Self Esteem, and Mental Focus. Rather than continuing to isolate myself, I make an active attempt to share more of what I’m experiencing with friends, families, and followers. I make it a point to see a friend at least once a week to catch up. I’ve stopped beating myself up if a sewing blog post doesn’t go live.
I relied heavily on routine to help quiet my mind from chaos and a year latter I can confidently say that it’s what I needed to rediscover the path back to joy and happiness. Especially when it comes to Vintage on Tap and my sewing.
Without giving my mind time to breathe, this blog and the YouTube channel would have crashed and burned.
With a strong morning routine, quieting my anxiety through meditation, and finding a healthy work/life balance, I’ve been able to claw back towards a better mental state. And I feel strong enough to continue creating fun videos and projects to share, and have genuine conversations and connections with people who watch the channel.
Heck, without putting in the work, I wouldn’t be able to sit down to watch a classic movie with anticipation and excitement, to admire all the beautiful clothes and to be inspired to create.
I’m immensely grateful and thankful for those of you who continue to watch my sewing YouTube videos, who stuck around with me during my absence and through my mere TWELVE videos that have been released in 2018.
I’m grateful to be a sewing blogger who has so much support behind her and the love of so many people around the world. It blows my mind that people take time out of their day to watch and sew with me. I’m thankful.
I’m excited for the new people who’ve discovered me in the past year. I’m ever indebted to the Patreon supporters who still continue to cheer for me.
An entire year of mental health battles has absolutely been a journey. But I’m thankful and grateful to how mindfulness has taught me to appreciate the building blocks that make my life. It’s also made me more aware to the support from friends, family, and followers who has been unshakable through the year.
Here’s to a great November, full of happiness, meditation, and sewing love!
Writing a list of five things I was grateful for daily
Pulling a tarot card every day to write about for perspective. My favorite deck for this was the Marshmallow Marseille.
If you or someone you know is going through depression, please seek help from family, friends, and medical or spiritual professionals. What worked for me may not work for everyone!
If sewing pants were easy, everyone would be doing it.
At least, that’s what I tell myself:
“One day I’ll get to it.”
“I just need to lose a little bit of weight first.”
“Once I watch that Craftsy class, I’ll jump right in.”
I wish I could say that those excuses were not my own. But they are- and they’re ones that have compelled me to inaction for a while. They’ve caused me to continue kicking the sewing-pants-thing down the road another week, another month, another year.
And even though I know it would be one of the proudest garments I’ve ever made as a seamstress, sewing pants terrifies me more than sewing my own wedding dress.
The thing is, I know I’m not alone in my feeling about sewing pants.
There are hundreds, if not thousands of other seamstresses out there who want so much to be able to have ONE GOOD pair of pants that fit them perfectly. Especially if they, like me, have spent countless hours wandering department stores, hoping that maybe that next pair of bottoms will be the one.
I’m short: 5’2″.
I have a short torso, and longer legs. I have a low belly. I like a high rise and a skinny leg. I prefer stretch denim and I’ve never owned a pair of trousers where I liked the fit, so I can’t even say I have a favorite pants material to work with.
As someone who strives very much to wear clothing I’m proud of, it’s a rare thing to wear a pair of pants that I can say, “I love those!”
The jeans I’m wearing in these photos is a pair of Levi’s Mile High Super Skinny jeans, which I’ve bought at least ten pairs of, because they’re the only jeans I’ve bought in years that fit decently and I sort of like.
It is absolutely demoralizing to think of all the reasons I’ve used to talk myself out of sewing my own pants. And again, I know I’m not alone in this.
What stops me- or rather- US– from sewing pants?
I’ve come to terms with my excuses:
I don’t know how to measure my lower body for more than a skirt.
I don’t know the slightest thing about fitting my low belly.
I don’t know how to accommodate my bigger bootie.
I don’t know how to taper the thigh-to-knee area for my chicken legs.
What if my pants split because I didn’t work out the ease right?
What if I get a camel-toe? How do I fix that?
This is one of those moments when the solution is sometimes right on the tip of the nose: just do the research. And I know how to do that. I know how to pour over books, articles, read reviews, watch tutorials. It’s how I built my entire sewing technique library. I did the research, I learned, I practiced, and I became an expert at what I love to do.
But for some reason, it seems like an insurmountable uphill battle when it comes to pants.
My lack of PANTS sewing and fitting experience took me time to come to grips with.
So I continue to share with you my experience:I’m terrified of fitting myself for pants. And I know I can learn, but that doesn’t make the fear any less real.
Do you have a particular garment that you haven’t made– because of fear?
Is it a specific pattern? Garment type? Is it a specific type of fabric you have been avoiding like the plague?
Being honest about what we’re shrinking away from, I think, is the first step towards actually taking those steps towards overcoming hesitations.
There’s vulnerability in that. But also an opportunity to connect with the sewing community and with the resources, help, and support to make those garments happen.
I’m challenging myself to make my first pair of pants in 2018.
The year is nearly done, but there’s still time to make myself a pair of corduroy or wool high waisted, 40s pants. On to the adventure!
I joke with Jose about how working on the Vintage on Tap sewing blog feels like screaming out into the void, without anyone on the other side.
Dramatic!(I know!)
I speak about it occasionally on my Instagram— that when I write a post, or film a video, it’s like taking a piece of myself, putting it in a little paper boat, and setting it off into the ocean. If it sinks or sails, who knows. But I cared a lot about that little piece of myself, and hope it does well, and hope there’s someone on the other side of the world who gets to see it come to shore safely.
Honestly, I’m sure there are segments of my audience who might feel that way from time to time. The screaming into the void part, especially with the ways of the Internet.
When I get the occasional email from a YouTube or Instagram follower who says, “Starstruck!” or “OMG I watch all your videos!” it takes me aback, to be honest. I’m humbled by it, but at the same time in awe of the person on the other side.
That they picked up my little paper boat, they liked the little piece of myself that they found, they took it into their heart, and saw value in it. I’m consistently shocked and humbled by my audience. I’m thankful.
After being a sewing blogger on and off for years, I originally stumbled on Colette Patterns when I fell in love with the different versions of their Violet blouse.
I bought the pattern, bought what I assumed was the appropriate fabric (voice over: it wasn’t), and made myself a blouse. I loved it, even with all its sewing imperfections.
But since then, I’ve been a fan of Colette Patterns, their mission, and the community that they’ve embraced and grown through their work and expansion into Seamwork Magazine.
When I was contacted a few months back about becoming a Seamwork Ambassador, I had that same feeling of awe. “Who? Me?”
If I could have turned and pointed at myself from my laptop, I would have. This company- which I had loved for years, who I had admired for being female run, and which operated like a startup (as an SF woman in tech, I say YEY!)– was contacting me to advocate for their business? It was a no brainer to sign up.
Heck, the moment that Seamwork Magazine was announced, I signed up. Immediately.
My audience values my honesty and I’m 100% willing to say Seamwork has a way to go for their business model and products. There are plenty of articles out there (even from sewing friends of mine!) who have legit criticisms about Colette Patterns and (by extension) Seamwork Magazine. I see all their points and I take all their points.
As an ambassador, I hear you! And heck, even as an ambassador, I’m extremely particular about their patterns and whether or not they fit into my lifestyle! Still, I’m still proud to say that I love what the founder, Sarai, and her team have built. I admire it.
As part of the Vintage on Tap behind the scenes, Jose and I discuss where the sewing world, as a whole, is moving.
How is the industry moving into the future, how is it going to survive as Millennials hand the reigns over to Gen-Z creatively, how does sewing modernize?
When we conceptualized our videos, we wanted to make it a point to be prepared and be flexible to go that way, too. Colette Patterns and Seamwork Magazine, to us, feel like they’re leading the way in that direction. Even with stumbles along the way, they’re doing that. And Jose and I love that as industrious tech people.
Being featured in the October 2018 issue of Seamwork Magazine is kind of a big deal for me. It’s one of those moments I genuinely know that I’m not screaming out into the void; that there is someone I admire on the other side who picked up my little paper boat and saw it for what it was.
To read the Vintage on Tap sewing feature in Seamwork Magazine, click the link!
Bringing fresh perspective on sewing, pattern drafting, sewing self esteem, and caring for the things we produce with our hands is somewhere Vintage on Tap overlaps with Seamwork Magazine.
Especially as society continues to move towards decreasing consumerism, caring for the environment, caring more for the effects of globalism in the clothing industry– making sewing approachable and modern becomes painfully important.
Sewing today does not fit the stereotypes of it being an “old lady activity.”
Sewing today is fun, it’s engaging, and it breeds a global community where someone like me, can reach someone like you, through a series of internet pipes. That’s ultimately the engine that powers all the work that happens behind the scenes.
Neither of us has to scream into the void. The sewing videos and tutorials that appear on Vintage on Tap make don’t have to sink into the ocean: you get to watch them at home.
If you’re not already subscribed to Seamwork Magazine, please click here.
If you’re a fan of projects that appear on the Vintage on Tap sewing blog, you’ll find Seamwork Magazine patterns and tutorials below:
The Seamwork Kristin wrap top, featured in the Behind the Scenes video of this post. Perfect for a weekend getaway and one of those rewarding projects you want to make over and over again.
The Seamwork Camden cape, voted on by my Patreon supporters. This cape is super easy to make and there are so many options to upgrade its different aspects, including making bound buttonholes or even adding a facing/lining combo!
The Seamwork Almada Robe, easily my most worn Me Made to this day. Perfect for those early mornings or just out of a long luxurious bath. I made mine in a polyester satin, but it would also be amazing in a warm and yummy flannel for the cooler months.
The blouse photographed in this blog post is the Colette Jasmine, which is also available for download with your Seamwork subscription.
There are many memes on the internet regarding sewing and fabric buying.
To be honest, if you’re brand new to sewing, they can be really misleading. The fabric world can be your oyster– or it can be overwhelming and cause anxiety trying to figure out the perfect apparel fabric for that blouse you want to make.
Let’s be real: walking into a fabric store can be a mind blowing experience.
What fabric do you chose? How do you know what fabric works for what garment? And if you’re buying fabric online… where do you even start?
The topic, unfortunately, is usually glossed over on most sewing blogs and websites, and while it may seem super 101 and basic, it doesn’t get discussed enough. Your entire sewing project is impacted by the fabric you choose.
Before I dive into this topic…
Picking fabric for clothes is a personal choice. Please, 100% feel free to use whatever fabric you want to use. Netting and tulle for dresses? Sparkly jacquard for a pair of trousers? Jersey for a bathing suit? Part of the sewing experience is experimenting, playing with materials, and having the freedom to do whatever you envision.
With the above disclaimer, my fabric point of view is highly informed by university study. Mainly:
I don’t want my home sewn garments to look homemade. I strive to make sure that my garments look professional, “unclockable”, and as RTW as possible (even if I sew vintage fashion!) When I walk down the street, I don’t want a single person to realize that the garment I’m wearing was made on a home sewing machine.
While in university, my teachers without hesitation would point out what was obviously homemade… “Oh. That looks very home sewing.”
As someone who started university with previous sewing experience, that’s not such a positive thing to hear, especially when using pricier fabrics is sometimes out of reach. However:
The top way to make your home sewing look and behave professionally is to chose the best fabric for dressmaking at your price point.
Below are my tips for how to approach picking fabric for sewing, based on my years of sewing experience.
Carefully review the suggested fabrics on the back of your sewing pattern.
The list can be long, confusing to look at, and if you’re new to sewing, be just too much. Especially when the section is usually titled, “Suggested and Recommended Fabrics.”
Before tying yourself in knots picking fabric, take the time to consider the following question:
What is the purpose of the garment you want to sew? Is it for work? For fun? Date night? Holiday party?
Breaking down the reason you want to sew something will help narrow down the long list of fabrics on the back of the pattern.
If you’re sewing something for a traditional work setting, you may want the fabric to look and feel crisp, to maintain a specific shape and feel that is work appropriate. Maybe you want the fabric to not attract cat hair that sticks to your clothing before heading into an important meeting.
If you’re sewing something for fun, what sort of fun are you thinking? Saturday-evening-board-game sort of fun? Playing-soccer-with-friends sort of fun? If you’re looking for lounge clothes for Saturday evening board games, you might want something you can be comfortably curled into on the couch playing Monopoly. If you’re planning on playing soccer in your me made clothing, you may want fabric that is sweat-wicking and won’t cling when it has grass stains.
The suggested fabrics may be extremely different, but it’s important to remember the list is what the pattern designer suggests, based off the way the pattern designer intended the garment to be worn. There are dozens of unlisted fabrics that may be used for nearly every single pattern.
When in doubt: what are the fabric properties you want you garment to have?
Check your swatch book before looking at what’s currently available in your local stores or online.
Having a robust and thorough swatch book is key at this stage, especially if the range of recommended fabrics or fabric qualities you’re interested in is pretty large. Pulling out your swatch book to compare is imperative!
Don’t have a swatch book? Now is the time to set yours up:
What is a swatch book?
A collection of swatches which are organized in a reference binder. The swatch pages list fabric names, fiber content, fabric qualities, and even where you sourced each swatch in your collection!
Taking five or ten minutes comparing the samples you have in a swatch book against a sewing pattern’s recommended fabrics will save you time, money, and headaches down the road by picking exactly the right apparel fabric.
To continue with the above examples:
If you’re looking at making something for the office, you may find that half of the recommended fabrics on your sewing pattern will be too thin, too flimsy, and may not fit into the qualities you’re looking for at your traditional workplace.
If you’re making a sweatshirt for lounging at home on game night, part of your sewing pattern fabrics may be too stiff and won’t lend themselves to being comfy on the couch.
And for your soccer gear, the recommended fabrics might be too athleisure and less performance and may not hold up during a rough game.
Likewise, after reviewing all the recommended fabrics, you might find that you have other fabric types in your book which are better suited for your handmade garment and possess enough similar qualities to the the fabrics listed on the back of the pattern and could work!
The key to having a robust swatch collection for this review, though, is to make sure to continue to build your swatch book over time.
Using services such as Mood Fabric’s recently started Mood Swatch Club will help build your book quickly, and immediately give you access to swatches to start picking fabric for your clothes.
I recently received a free sample box of the Mood Swatch Club, and was immediately impressed by twenty-five beautiful sample swatches that I immediately added to my swatch collection. It was also super handy that each fabric swatch came with sticker on the back with fabric details, including fabric number to view on Mood Fabric’s website for more information
When you expose yourself to as many different fabrics as possible, you’re able to identify and spend time picking fabric for your sewing with ease and confidence.
Go to fabric stores (online or in person) with a plan.
The best comparison for this point is think of grocery shopping. There’s three different camps of people:
Person Number One: The people who shop with a grocery list. They decided ahead of time what they needed, they have a list on their phone or on the back of an envelope, and they’re in and out. If they see a pint of ice cream or something they like last minute, it’s all good to throw it in the cart, because they didn’t miss the important stuff.
Person Number Two: The people who shop without a grocery list. They tend to shop last minute, have a vague idea of what they need, and because they didn’t preplan, tend to circle the store a lot more for what they need. Shopping easily takes two or three times as long as the person with a list and they may not remember things they needed since it wasn’t top of mind.
And bonus…
Person Number Three: The people who shop hungry. They tend to go in in a hurry, may be HANGRY and make purchasing decisions they tend to regret. They may also forget things they needed while they were rushing out to go make dinner or pick up take out.
My best sewing advice for fabric selection is… be Person Number One. Setting foot into a fabric store without a plan of action leads to the above sort of behaviors without looking out for the fabric you really need for your garment.
Before I dive into this point…
I’m all for browsing the fabric stores and enjoying the act of browsing. If anything, it’s a decompressing hour or two that I actually look forward to and savor. But if I’m on a sewing mission, I’m on a mission!
Person Number One does some (or all) of these things:
Brings a pattern envelope, photocopy, or photo on their phone of what they want to make, so they can envision the fabric they’re looking at in store (or online) on their intended garment.
Brings a swatch or two from their swatch book to compare to what’s available.
Knows ahead of time what notions (sewing needles, thread, etc.) they’re going to need for the fabric they’re looking for.
While in store, going in with a vision of what you want– look, feel, color, all of that– will help narrow down what you’re on the hunt for. This does NOT mean closing yourself off to inspiration (remember: Person Number One goes for the ice cream pint if they want it!) It does, however, mean that if you’re deviating from your intended fabric qualities, you’re making a conscious decision to do so and are better equipped to understand how that’ll affect your garment.
Other Fabric Picking Considerations
Pick the best fabric you can for your price point. Without diving into have-and-have not conversations, having honest self assessments as to what range of fabrics can be reasonably purchased is 100% important to success.
Don’t buy the $100 p/yard fabric just because. Also, don’t buy the $2 p/yard fabric just because, either.
Look for the qualities and feel you want and then decide from there what is best for your garment. A giant SALE sign does not automatically equate to the dress or blouse you want to sew. Likewise, taking a peek at the sales rack didn’t hurt anyone.
I’ve found some of my favorite fabrics on the sales racks, such as with this tana lawn fabric I used to make a tie top and matching skirt.
But I’m also not shy about spending that little bit extra if the fabric behaves exactly how I want.
Also, not all versions of a single fabric are the same. Depending on manufacturer, fabric store, or even country of origin, fabrics with the same name will vary. Also, fabrics may be mislabeled or be called different names depending on the store.
Having your ideal swatch type in hand when you go fabric shopping will help guide towards the right selection that’s right for you. If you’re buying online, order a swatch of what you believe is going to be the best fabric to use and make your decision after that point.
Have any other tips for selecting fabric for dressmaking? Leave your tips in the comments!
Thanks again to Mood Fabrics for the Mood Swatch Club sample! I loved receiving it and the fabric samples were fantastic. I highly recommend it, everyone! Mood Fabrics took a lot of care in how they put their box together and I really loved how the whole thing was packaged and shipped. It was legitimately (full personal opinion here!) one of those sewing treats to receive. I actually was super excited to open the box and pour over every fabric sample. Whomever is deciding on these swatch samples on the Mood Fabrics team… wow- you’re knocking it out of the park!
If you sign up for the Swatch Club, be sure to tag me on Instagram (@vintageontap) to see what you thought of your box! I hope you love it as much as I did!
Into 1960s casual fashion? Learn how to sew a wrap top with this tutorial!
Even though I’m a vintage sewing blogger, 1960s is not a decade I normally dip my toe into, but this Seamwork Magazine Kristin top was too cute to resist! Super simple, accessible, and straight forward was exactly what I was into when I decided to stitch this tank up.
I originally made this top for my trip to Italy back in June, and got to wear this top at Vatican City!
The most attractive thing about learning how to sew a wrap top is just how easy and flattering it is.
Especially if you’re making up a wardrobe for vacation or a quick weekend getaway. Having something that you know will look good, won’t take you longer than a couple hours from start to finish, and is something you can just throw on– it takes casual sewing to another level.
Step One: Be mindful of the fabric you want to use to sew a wrap top!
As with all sewing projects, being mindful the fabric you chose to work with will have a huge impact on the sort of results you’ll be getting from the Seamwork Kristin.
Check your swatch book for sample fabrics that fit the feel and hand you want to achieve.
In my case, I decided to use a linen fabric from MyFabricDesigns, which had a stiffer hand (discussed at minute 1:10 in the tutorial video.) I wanted to purposefully go with a stiffer fabric to give my wrap top more of a trapeze top feeling to it, and flare out at the hem.
Other possible fabrics for a trapeze-style wrap top include mid- to heavyweight wovens, including chambray, denim, and linen blends. Keep in mind that to get a look more closely resembling the original Seamwork Magazine Kristin design, you’ll want to use a light- to midweight woven.
Step Two: Incorporate sewing techniques you’re already comfortable with into the instructions
Sewing instructions are not the holy grail of an individual pattern! When attempting to sew a wrap top- or ANY pattern- take a moment to decide what parts of the instructions you want to play with or tweak to something you’re more comfortable with sewing.
In sewing this individual wrap top, I decided to opt for using a bias facing throughout the edges, rather than encasing everything in bias binding. I cover this in the tutorial video at 2:54.
Bias facings tend to look more professional and I prefer the clean crisp look from the exterior of the piece.
The only garment in recent memory that encased seams in bias bindings was my Simplicity 8085 1950s wrap dress.
In this dress, I purposefully wanted an encased seam look, which lended itself to being a super homemade look. Of course, I could have just as easily done bias facings on this 1950s dress, just as I did on the Seamwork Kristin.
Step Three: Keep track of the front and back of each piece.
With wrap tops- especially wrap tops like the Seamwork Kristin, it can be extremely confusing to keep track of each pattern piece. Notches absolutely help and are highly recommended to transfer over from your pattern pieces.
The above tip is extremely useful if you’re making a top in a solid color where it’s difficult to tell the front and back.
Want to sew this pattern?
The Seamwork Magazine Kristin is available via the Seamwork website!
I’m happy to announce that there’s an engagement at Vintage on Tap HQ ?
The blog and YouTube channel is Jose and my combined effort and it was only right to let you guys know the news!
Jose and I have been together for five years and he proposed to me when we were on vacation in Italy last month. I go into the proposal story in my vlog video, but just some highlights:
Venice at 1am is absolutely beautiful.
The canals are gorgeous, quiet, and private– perfect for intimate moments and happy tears.
Albondiga the Cat is involved!
Definitely watch the video if you want to know more about the moment he asked!
This photo was taken shortly after he asked, in front of St. Mark’s Basilica!
There was no hesitation in our decision to show you guys the wedding planning process.
Of course, this blog is focused solely on sewing, but showing you some of the behinds the scenes process might sneak into projects and videos here and there. No, we don’t see ourselves doing videos about how to decorate centerpieces for the reception (…probably!)– but some of the inspiration, color stories, and more formalized photos might make their way onto our Instagram and into behind the scenes videos.
However, one of the biggest components to the wedding is… the wedding dress.
And Yes: I’ll be sewing my own wedding dress!
After some back and forth, I decided that sewing my own dress would be the way to go. When I brought it up to Jose as a possibility, his reaction was 100% one of the MANY reasons I adore him:
“Of course you should make your dress! It’ll do really well on the channel.”
Jose’s answer was frank, without hesitation, and shows just how involved he is in Vintage on Tap’s success, that it wasn’t even a question!
Sewing fancy dresses is already something I do for this blog so I’m not scared of the process.
Check out a couple of the dresses I’ve made previously:
Being intimidated by sewing a wedding dress is not something I’m overtly concerned about.
However, my reservations are around:
Deciding on a pattern.
Sourcing the materials I want to use at a price I’m willing to pay.
The process of sewing WHILE there’s also a bunch of other things happening at the same time.
The wins for making my own wedding dress are epic, though.
Wins include:
Making a custom, one of a kind dress.
Controlling the quality, in and out.
Making it relatively “cheap” by couture-level wedding dress standards.
Splurging on aspects of the dress that I find important.
Stretching my sewing skills and really embracing making a Once in the Lifetime dresses.
Who knows- maybe it’ll lead to a full fledge Sewing a Wedding Dress series?
I would love to be able to share a beginning-to-end wedding dress sewing process: the fabric selection, the sewing pattern selection, the fitting, the initial muslins, and then the sewing details to take it over the top.
The wedding is still a ways away, so videos about sewing a wedding dress will be forthcoming. But I would love if you were a part of it.
Learning how to sew underwear is easier than you might think.
Between brightly colored elastic and happy jersey prints, learning how to sew underwear is meditative. Most websites will talk about how great these types of projects are at using up scraps, how they’re quick and easy to do, you know, practical stuff. Me, on the other hand, like to sew undies for one main reason:
Sewing my own underwear means that I can wear outrageously loud prints on my bootie every single day.
I’m actually a huge sucker for the Victoria’s Secret PINK line, with it’s bright and funky prints, so this is 100% on-brand for me. The PINK briefs usually go on sale on a regular basis: 5 pairs for $30 (£22 // €25), which in the grand scheme of things isn’t ridiculous, but since I try to be a Me Made girl, making them myself just made sense. Especially when a fun jersey print can be insanely inexpensive.
Enter the Seamwork Geneva undies.
For this particular video walkthrough, I decided to use a slightly more demure fabric print, picked up from a local San Francisco shop. It was also a great opportunity to pull out a little bit of stretch lace that I’ve had in my sewing stash for a while to make View B.
To be honest, I was extremely impressed by this pattern, mainly because of how straight forward it was. It’s simple enough that it could be stitched up in an afternoon, but also leaves enough room for variation and for you to play around with the design.
Examples of things you might want to switch up:
Fabric type, including sewing with lycra, nylon, cotton, or polyester blends
Using all over lace, or just lace appliqués
Elastic type (as I did) using fold over or decorative
Tip #1: Get comfortable with jersey and stretch needles and pins
While switching out your sewing machine needle to a more appropriate needle makes sense for knits, most people aren’t aware that they should also switch out the rest of their notions! These include both pins and hand sewing needles that might be used for basting. I discuss needles more in depth at 2:50 in the video.
Why?
Using universal (sharp) pins, sewing needles, and hand sewing needles will stab holes into your fabric, which over time will begin to run (similar to pantyhose.) Ball point needles and pins, however, are dull enough that they part the fibers, which helps the integrity of the fabric remain intact at the stitch line.
Taking how to sew underwear to the next level means LACE! Take a moment to decide on the repeat that you’d like to feature on your Seamwork Geneva undies, and what your desired motif looks like mirrored to the opposite side of the underwear.
In my View B of the Seamwork Geneva, I spent some time “mapping out” how I wanted my lace to look on either side of center panel. Things I looked out for:
Is there a full, equal amount of the repeat on both sides of the center panel?
How does the stretch lace look “reversed”?
Does the placement of the repeat make sense for my seam allowances?
Keep in mind that you can use a similar lace cut out technique anywhere on the panties that you might like! Since I made View B, my lace was strictly on the sides of the center panel. However, adding a giant circle lace piece on the bootie piece could have totally been possible! Pin the lace in place with your ball point pins, zig zag along the outside as shown at 0:58 in the video, and cut out the underlying fabric for that peak-a-boo reveal.
Tip #3: Chose your elastics wisely and sew slowly.
It’s extremely temping to start sewing up a storm as you’re nearing the finish line, but be careful! You’ll thank yourself later by slowing down and being cognizant of maintaining a straight and steady stitch line.
There are several types of elastic you can use for your garment, and I highly recommend the following article by Colette Patterns about sewing lingerie elastic for additional information:
When learning how to sew underwear, keep in mind that the elastic you chose should be comfortable to wear, so test it against your wrist before committing to it:
Does it have a comfortable amount of stretch?
Does it itch or potentially aggravate?
Does it have a good level of bounce back and recovery?
For the pair of Geneva panties I made for this post, I decided to use fold over elastic, which fits smoothly and comfortably against the skin, and also creates an encased seam. I cover this elastic insertion at 4:45 in my walkthrough video.
The Seamwork Geneva pattern is a great staple to make comfy undergarments at home.
The fit is great, though it does run a little bit on the large size, so please keep that in mind when starting out your project.
You can also have a lot of fun picking both classic and crazy knit fabrics to use, but be sure that the crotch lining is 100% cotton to protect your personal bits!
Also, making underwear matching other boudoir inspired fashion is a total must. For example, why not make a pair that matches a Seamwork Almada robe?
Have you ever learned how to sew underwear at home? How did you like them? Did you like them more than store-bought ones? Leave me a comment down below to let me know!
Whether it’d be meditation, taking care of your health, spending time with friends, or even simple pampering. Sewing, though, is on another level and I can’t recommend it enough for strengthening those self care muscles. To me, sewing increases self esteem.
In this post, I’ll be outlining how sewing has helped me when I’m feeling blue, and helped me through those tough times.
Of course, if needed please consult your medical professionals. This post discusses the small daily things that might have given me a positive boost and might be helpful for you!
It’s extremely easy to fall into a negative self esteem rut.
Whether it’s by feeling out of place in your own skin, life is just a pain in the butt, or even just the simple feeling of… blah. (Seriously, even just “blah.”)
In 2017 I went on a snowball journey of depression, and then the compounding effects of…
Negative self image when trying on clothes at the store (and feeling out of place in my own body)
Finding the same fitting problems over and over again (again, feeling like crap about myself at any opportunity)
Having the feeling that I couldn’t control my self image
Eventually I found my way back to sewing, reminding myself of what I loved about it- and what it brought into my life that filled my heart with joy. I knew that by going back to it and with time, sewing would increase my self esteem.
The first reason sewing increases self esteem is by allowing you to observe your measurements in an actionable way.
When you’re feeling down, observing your body and measurements is hard. But as I’ve spoken about in a previous vlog, your measurements are points of information- and information is power. (Click to Watch: Weight-loss and Sewing Self Esteem)
By knowing your measurements and writing them down, you’re able to positively focus your attention on the action of pattern drafting.
When you take physical action on them- whether its learning how to mold a piece of fabric or picking out the right amount of fabric to buy- you’re able to emotionally “remove” yourself from the closeness of The Numbers.
The numbers can be terrifying- and in 2017, they grew like crazy. But, learning new skills through sewing made those numbers a little less scary- a little less upsetting. I felt like I could harness them into something beautiful through sewing.
The second reason sewing increases self esteem is that it focuses your attention when the going gets tough.
Sewing gives you a goal to work towards as a distraction when life may be chaotic, focusing on bringing together both creativity and engineering. Cutting fabric, sculpting a dart, hand sewing a hem- all of those skills require intense focus and attention, and can sometimes be a welcome relief to life.
An example of this was when I made a linen version of a shirt dress, totally off season, but because I emotionally needed to.
The fabric for this dress sat on my sewing table for months. Literally- months. But when I knew I was feeling helpless, without focus, listless, BLAH– I picked up the fabric, and got to work. Five minutes, ten minutes, thirty minutes a day until it was done.
Sewing that dress gave me something to commit to daily, until I got back into a regular routine and back into the flow of living.
The third reason I believe sewing increases self esteem, is that when you complete a garment, it instills pride.
Whether or not the project turns out perfectly, investing time and energy into something you make yourself gives you a sense of pride… because You Made It.
Being able to go through the beginning, middle, and end of a project gives you the Very Real Feeling of… Look how far I’ve come.
It’s an extremely powerful experience to be able to see that you’re making progress, on something, ANYTHING, when you’re not feeling your best.
While we’re not all powerful, and can’t control our entire lives, creative projects we spend our time on is something we can hold close to our heart. Being able to run your hand over all the handmade garments in your closet, hung up in a row, gives the sense that there is progression and movement.
This applies even when a project doesn’t work out.
A perfect example of this was a cocktail dress I made years ago, which brought me nothing but blood, sweat, and tears! (Click to Watch: Cocktail Dress tutorial video) I worked on it for days, and sat behind my sewing machine crying more than once. In the end, even though it didn’t work out, I still felt pride that I had FINISHED.
That finish line was everything.
Sewing increased my self esteem through the journey- because the feeling of completion made me feel like my time, effort, and energy was worth it. And I learned so much- nothing was lost.
Finding little “hacks” to positively look at yourself, even if you’re initially faking it, goes a long way in improving your happiness.
Of course, if you’re in the need of help from friends, family, spiritual leaders, or from the medical establishment, definitely do that as well. But for those little Pick-Me-Ups, sewing has helped me immensely.
Please let me know in the comments how sewing has improved your self esteem.
You can also tag me on Instagram, @vintageontap with photos of the garments you’ve made that really boosted your self esteem and let me know what about them really helped. I’ll be sharing some of your responses on my Instagram Stories.
As a vintage lover, I’ve wanted to own a vintage cape for as long as I can remember.
Having a beautiful cape to twirl in, to feel luxurious and fabulous in… really, who wouldn’t want that?
Unfortunately, for years I convinced myself that buying a cape would be impractical. But then it hit me: why not just make one?
Sewing a cape, inspired by a vintage cape from the 40s or 50s is totally within reach!
Purchasing a vintage cape sewing pattern on Etsy or eBay can be an eye opener. Prices may range from a cheap 7USD (5£) to a surprisingly expensive 50USD (32£.) Of course, if I you have the option to sew your garment from a vintage cape pattern, I say GO FOR IT!
BUT– using a modern sewing pattern with vintage sewing techniques can sometimes be more reasonable if you want a retro sewing fix and may not have access to a vintage sewing pattern.
How do I intend to wear this cape? For casual use, or more as a workhorse, daily cape?
Depending on your answer, pick lighter or thicker fabrics. For example, if it’s a purely workhorse cape, perhaps a sturdy twill or trenchcoat-like fabric might be nice. If you’re wearing your piece more for the glitz and glam of it, perhaps a sequin fabric or a thinner, more fluttery fabric can be what you’re looking for.
This also extends to the lining!
What’s the weather more likely to be when you wear it?
In my case, San Francisco doesn’t get too terribly cold and I’ll be pairing this cape up with wool sweaters and long sleeve shirts. I did not underline this piece with a flannel or cotton for insulation and opted for a mid-to-light cotton brushed “wool.”
If temperatures in your area get extremely cold, definitely insulate your piece! If not, then you are probably ok to proceed as I did in the video tutorial, with no additional underlining.
Remember, notches indicate where pattern pieces fit in relationship to one another– AS WELL AS where two pattern pieces meet. In pieces such as this Camden cape, you’ll be sewing on a curve for most panels, and the notches allow you to see where the two pieces match up to one another.
If you’ve had to do any fitting adjustments…
Please be sure to rewalk your pattern pieces to make sure your pieces and notches match. On this vintage style cape, keep an eye out on the following areas:
If you’ve shortened or lengthened the piece… That the front shell and lining pattern pieces match the facing
If you’ve done a full bust adjustment… That the front shell and lining pattern pieces match the bottom rectangular panel
Step Three: Identify at what point to incorporate vintage techniques into the sewing process
The process of upgrading your sewing patterns can seem overwhelming if you haven’t given it a shot before.
Taking the time before beginning the sewing process, to identify where to incorporate your new vintage elements can save you a lot of heartache down the road.
For the above listed upgrades, I added them in at the following points:
At the pattern drafting stage…
Complete any fitting adjustments you might like to do. Then, draft your new facing pieces.
For my Camden cape, I drafted a 2inch wide facing piece that extended from the original facing that ended at the neck, then brought the facing into a gentle curve around the neckline.
Before attaching the front shell piece to anything else…
Sew your bound buttonholes. The pattern piece will be easier to handle if it’s not attached to the shell, and moving things around your sewing space will be a calmer experience.
For my Seamwork Camden cape, I opted for the following measurements based off the recommended 3/4″ button:
4 x 4″ squares for the “lips” of the buttonhole
1 1/8 x 3/8″ buttonhole opening
As noted in my buttonhole tutorial, sew the buttonholes onto the shell piece, and then complete the bound buttonholes later on when the facing has been sewn in place.
Stitch in your inner double welt pocket. I eyeballed where on my cape I wanted my pocket to be, and then went for it.
I used the following measurements for my cape, which were large enough to fit an iPhone 7 (not PLUS):
7 x 3″ welt, facing, and interfacing (cut 2 of interfacing)
7 x 12″ pocket lining
The best tutorial for double welt pockets I found online (that wasn’t mine!) ison the Craftsy website.
After sewing the facing onto the shell…
At that point you can attach your lining in by hand. Attaching the lining by hand is a really calm experience and the process of it is extremely forgiving due to the hand sewing of the technique.
Sewing a vintage cape from a modern pattern is easy to do if you upgrade the pattern and make it more authentic to the time period.
A lot of modern sewing patterns draw direct inspiration and design from their older counterparts, and simply by including more intentional construction details, you can help merge the two styles seamlessly.
By incorporating bound buttonholes, hand sewing, and more fully thought out interior designs, you can sew your own vintage cape.
![How To: No-Dart Full Bust Adjustment [2022 Update]](https://vintageontap.com/wp-content/uploads/2022/04/nodartfba_needsadjustment2.jpg)
