Love to Sew

Treasure Mallory from Nikki&Mallory  joins us to talk about leatherwork! Treasure shares what you need to get started, how to overcome beginner challenges, and the differences between garment sewing and sewing with leather. She also shares her inspiring entrepreneurial journey and her best advice for small business owners.

The transcript for this episode is on this page at the end of the show notes.

Transcript:

Helen: We are recording today on the traditional, ancestral, and unceded territories of the Coast Salish and Kwakwaka’wakw peoples, including Tsleil-Waututh, Squamish, Musqueam, and K’ómoks first nations.

Hello and welcome to Love to Sew. I’m Helen, the designer behind Helen’s Closet Patterns.

Caroline: And I’m Caroline, the owner of Blackbird Fabrics.

Helen; We’re two sewing buds who love to sew our own clothes and want to encourage you on your sewing journey, too.

Caroline: Join us for today’s interview with Treasure Mallory from Nikki&Mallory.

Helen: Hello, Treasure. Thank you so much for coming on the show today.

Treasure: Hi, ladies. Thank you for having me.

Helen: We’re so excited to talk to you all about sewing leather and your amazing business today. Can you please introduce yourself to our listeners?

Treasure: Definitely. I am Treasure, also known as Nikki. A lot of people call me Nikki or Treasure. They really don’t know what to call me. I am the owner and designer of Nikki&Mallory. I specialize in custom leather goods, mainly handbags and accessories and newly, home decor. I’m also a leathercraft and handbag design instructor.

Caroline: Amazing. And where are you from?

Treasure: I’m from Pasadena, California.

Caroline: Awesome. And one of the things we love asking our guests on the show is to tell us about their sewing journey. So we know you started sewing a while back. We want to hear more about it. Tell us how and when you learned to sew.

Treasure: Yeah, actually, you know what? I didn’t learn to sew until I got to fashion design school. My grandmother sewed while I was younger, but it was never anything that was interesting to me. And I think she was actually doing it as, like, a little side hobby. So I knew of, you know, sewing. I just didn’t understand how to do it.

And so I worked in the entertainment industry for years, a really long time. And then when I got burned out with that, I said, you know, what, what is the last thing that I would want to do? And I’ve always been really intrigued with fashion and design. I really wanted to style for a long time. So when I had hit a really rocky place in my life, creativity was the only thing that came to mind. So I enrolled in fashion design school, and that’s actually where I learned how to sew. And then the aesthetics that I learned in sewing classes, I use those same aesthetics for making bags which is a whole nother journey in itself.

Helen: So it’s funny that you went to fashion design school but ended up specializing in bags.

Treasure: I know!

Helen: Was there aspects of sewing and making clothes that you were interested in or wh-, were you just translating all of that into your bag making process?

Treasure: I really, kind of, put all of it into my bag making process. I thought I wanted to learn how to make clothes until I made my first garment. And I was like, oh no, this is not me. I don’t think I want to do this. This is a little tedious for me. So while I was learning how to make, you know, certain pieces, sewing to me was just the whole premise of building something or, you know, creating a project.

And I was like, well, let me see how this ties into making bags, you know? It’s not as difficult or different as people may imagine because instead of me having to resize a t-shirt or a skirt or anything of that matter, a bag is one size. So I said, this is easier. And I think I’m going to go this route instead.

And I’ve always really loved handbags and shoes. I was always known as the girl with the really stylish bags and shoes. So when I discovered, you know, clothing may not be my thing, I would still love to style, but what else can I do with this level of construction? And it, kind of, just translated into bags.

Helen: Yeah, and I wonder with fashion design school, the goal is, like, to work in the industry. Did you see a clear path for you going from school to working in the bag making industry, or was the only option to, kind of, start your own company?

Treasure: You know what? I had always since I was six-, or not 16, I think I was younger, like 12, I’ve always wanted my own business, but it was never anything that people talked about, you know? My family is big on education, so it was always: go to school, get a degree, you know, graduate and get a good job. And that was, like, what I knew in the back of my mind.

But the whole time, especially going to fashion design school, that’s when I was like, you know what? I’m a creative, like, I really don’t want to sit at anybody’s desk. I don’t want to work for people. I had already done that, you know, with the entertainment industry, I had worked for people prior to that for, like, the past, I would say six, seven years, and it burned me out.

So when I got to fashion design school, I literally was there, you guys, to kill time. Like, I had in the back of my mind, I want to be a stylist. I want to learn how to make clothes, but I was there to kill time because I had hit such a bad place in my life. I just needed to figure out what my next move was.

So yeah, in the back of my mind, I knew I wanted to be my own boss. I knew I wanted to start my own business. I didn’t know where to begin. And so it wasn’t until, I think my second year there, it was only a two year program, so towards the end of the second year was when I discovered I could actually start a business, you know, with these bags, but not knowing what the heck to do. I was just like, I’m gonna wing it. I’ll figure it out. But I think this might be it. And I just kept praying on that and, you know, trying to manifest that into fruition. And of course, the whole thing towards the end of the year is let’s sit these students down and try to get them a job.

And being that I had already worked in the entertainment industry, the counselor that I had, she didn’t realize I’ve already done this. Like, I really don’t need you to counsel me on how to get a job. I think the bigger picture is to teach people how to be their own boss and generate their own income. And so we had a conflict of interest and that was her whole thing, you need to get a job. And I was like, no, I really do. Like, I can, kind of, figure this out. I’m sorry that you don’t believe in me, but I believe in myself. And so it was, like, a battle up until graduation, but I knew in the back of my mind, like, I think I want to be my own boss, and I’m going to go with that. So yeah, here I am my own boss.

Caroline: Yeah. I mean, look at you, you came out on top, and now you have a handmade bag business which is so cool. I would love to learn a little bit more about your journey in terms of being in fashion school, they’re, you know, they’re telling you that you need to find a job, work for someone, they’re, sort of, pushing this, sort of, uh, making clothes thing on you. And I want to know, like, how did you gain those skills in leatherwork? Was it all self-taught or did you, kind of, incorporate that into your schooling somehow? Like, how did you get good at that?

Treasure: Actually, I am, I am all-around self-taught, even when it comes to fabric bag making, you know, they don’t teach you how to make accessories at all in fashion design school. So when I was learning how to make clothes, I started out making fabric bags. So I initially was making clutch purses, you know, little pouch bags, just anything that I could use fabric with because that’s all I knew at the time.

And it wasn’t until I launched the business, I think about, a year or two into the business, and, kind of, being bored with working with fabric, just because as a creative, in my mind, I’m like, it has to get better than this. Like, it has to be more intricate than this. So I just started to research. I’m a big researcher, big on studying, big on learning new skills. And so I was just watching all these YouTube channels at the time. And I came across a leathercraft video, and I was like, whoa. I think this might be it.

And so literally, that’s where it started for me, that one video turned into me just researching leather suppliers near me, going into a leather supplier, asking a crazy amount of questions, buying pieces I didn’t even know what I was doing with, like, I was just buying stuff and experimenting. And after, I would say, about a year or so of experimenting, I was like, that’s it, I’m done working with fabric. It’s, kind of, boring to me. Let’s, you know, step it up a notch. And I literally taught myself, day in and day out, how to work with leather, how to perfect my skills with that, and just learning leather and all of that.

And then, yeah, it, kind of, just took off from one bag to the next. Granted, the first bag that I made, I was like, this was a disaster, but nobody has to know it, you know? Like, let’s make it look like it’s a masterpiece. And so I kinda just went, yeah, from there. And I just grew in the leathercraft industry, and it’s been really amazing.

Caroline: That’s so cool. Can you take us through a little bit of that evolution of your business from the early stages to, kind of, what it looks like today for you?

Treasure: Ooh, ooh, we, it was rough. It was rough starting out. Like I said, I didn’t know what I was doing. Um, the only, I have entrepreneurs in my family, but nobody’s a creative entrepreneur. And I think it’s a little different when you have a product that you can wholesale and manufacturer and, you know, put it out there. Or if there’s a skill set that you’re teaching. So here I am creating the product and trying to run the business at the same time.

Didn’t know what the heck I was doing, but like I said, I just researched, figured out I need a website. I need to generate a following. I need to get people hip to what I’m doing. I need to figure out marketing. I need to figure everything out. And so I, kind of, did that daily. Just, it was an everyday thing, even though I was working full-time, I would, you know, on my lunch break, just teach myself different things. Okay. How do I edit? How do I create these marketing materials?

Just everything, because there’s so much that goes into a business that I think people fail to realize, like it literally is a day in, day out assignment. And so I was just teaching myself stuff little by little. And so after the first website, I had a web designer, and I was like, eh, this is not really me. And I don’t like, I like to switch things up and, you know, being that I’m, uh, uh, I’m new to this business, next month or in the next couple months, I might want it to look like something different. And do I really want to rely on a designer? So here I am figuring out the design world and how to do my own website.

Like, I literally figured it out every entity of my business which is great because now I’m able to pass those responsibilities on to somebody else. But starting out, it was really, really rough. Towards the middle, I would say, maybe year three, I was like, okay, I’m getting the hang of this. People are starting to figure out who I am and what I do. And then it just kept growing and growing from there. So now I feel like I have really mastered how to run my business, how to market my business, what people like, what people don’t like, but it’s homework. It’s, like, a every day assignment.

Helen: Yeah. It’s so true. And you’re talking to two business owners, as well, so we totally get you. But it’s so inspiring to hear you talk about those early stages. We have a lot of listeners out there that, maybe want to start a business or are in the process of that, so it’s really inspiring.

And we want to chat more about that later in this interview. But first we want to talk more about sewing leather, and I’d love for you to start us off by telling our listeners a bit about your bags and what you make them out of and the style that you use, the aesthetic that you have because they’re so, so beautiful.

Treasure: Thank you so much. I really, I actually transitioned into a Bohemian aesthetic. I think my style and design has evolved over time. When I first started out, it was very, not colorful, but it was eclectic, you know? I, kind of, wanted it to appeal to everyone, and that was, that was my first trial and error because in order for me to progress and really do what I love, I have to continue digging within myself.

So I transitioned from, you know, kind of, being all over the place with my designs to working with, um, more minimalist styles. I work with a lot of veg tan leather, a lot of cowhide leather. I still am highly obsessed with prints, so I try to incorporate a little bit of that into my bags, but to, also just keep it very clean. I really love clean lines.

To me, I don’t know, I know people who are obsessed with color would beg to differ, but color is like a distraction for my eye, so I try to keep things really clean, really just full of earth tones. So when I am choosing leather, I stick with the same style lines, essentially. So I usually start with, like, a very earth tone base. And then I, kind of, build from there. If I need to add hair on leather or darker leathers, it really just depends on my mood, but yeah. Does that answer your question?

Helen: It does, and of course, our listeners need to see them for themselves. So we’re going to put lots of your stuff on our social this week, but also go follow Treasure, you guys, cause I mean, it’s jaw dropping.

Treasure: Aw, thank you.

Helen: Can you walk us through some of the differences between sewing leather versus sewing fabric? Cause I think that’s something that our listeners are wondering right now, like can I sew leather, too?

Treasure: I think, you know what, anybody can sew leather. Um, granted you do need to switch up your machines because there is a difference in the weight of fabric versus leather. Leather is pretty, you know, heavy weight, um, of a thicker ounce. And fabric is just, it’s easy, you know? So when I sew my fabric pieces, like, there’s sometimes I need to add a lining to a bag. When I sew fabric, I stick with the domestic machine. When I am working with leather and I’m choosing to sew it versus hand stitch it, I use a industrial machine.

So I think that’s really, the only difference is the weight of the fabric, but it is the same stitch line, essentially, like, you know, seams, I still, a lot of the aesthetics from making clothes are really the same way that you would make a bag. So I stick with the same, you know, I make sure I have seam lines. I make sure I have my turn, my edges, like, some of the same things are included, it’s just working with leather instead.

Helen: I think one of the things that feels intimidating is how unforgiving leather can be because you’re punching holes into it.

Treasure: Yeah, that’s true.

Helen: Yeah. How often do you sew on your machine versus hand sewing? How do you go about constructing your bags?

Treasure: Honestly, I would say now I, it’s a, it’s a 50/50 thing. Um, it really depends on the style of the bag. So if I’m sewing thicker weight leather that requires a sewing machine, oftentimes I will hand stitch it because to me, the detailing of hand stitching is so how can I say it? It’s just, I don’t know, it stands on its own. Hand stitching versus machine stitching is completely different. It’s like night and day. And I prefer for my stitching on leather to be very, very detailed, unless it’s a softer weight leather that I’m turning inside out or, you know, you don’t really see the stitch lines, then I would use a sewing machine, but I would say now, or from my last collection, about 90% of my bags have been hand stitched which is why I was like, okay, I’m going to change things up because I’m killing myself, hand stitching all these orders, but I just, I love the way hand stitching looks versus sewing it on a machine.

Caroline: Yeah. I could see how hand stitching would really, kind of, elevate the look of a bag because you have so much more control, but what comes to mind for me is: are your fingers, like, totally torn up? Like, how, hand stitching leather must be so hard on your hands, so how do you deal with that?

Treasure: It really is hard on my hands and I didn’t realize that until the last collection. And I think it’s because I had sold out two collections in a row. So, I, personally, wasn’t used to making so many pieces at once, and that last collection really did take a toll on my hands to where I’m like, okay, now I have to get regular hand massages, and maybe I need to delegate some of this work to somebody else because I need my hands. And it also created a bit of a burnout for me which is what I do not want in my business. Being that, I’m seeking longevity, you know, so I’ve just learned to, kind of, dial back a little bit and not overdo myself.

But yeah, my poor little hands, they, they take a little beating, but for me, even when I’m teaching my classes, this, my students are always like, oh my gosh, how do you do this? But I don’t know, I, kind of, have manly hands, but they look very feminine. So…

Helen: You got strong fingers.

Treasure: …I get the job done.

Helen: Yeah.

Caroline: Yeah, and I’m sure it’s like anything that you do repetitively, you probably have intense calluses, and you’ve adjusted.

Treasure: And you know what, surprisingly enough, my hands are, like, crazy soft. They’re, like, soft as butt. So…

Caroline: It’s all those massages.

Treasure: …I don’t know what it is. They’re, like, really soft. So, thank God for that.

Helen: You mentioned, like, sewing all the samples yourself and, and, uh, getting a little bit burnt out or overwhelmed by that. And I wonder how do you stay motivated to actually sew all those samples and products, and do you still have time to sew things for yourself, personally, on top of all of that?

Treasure: I hadn’t, I hadn’t had it anytime to myself or to sew for myself for a very, very long time, but with the last collection I, kind of, ended handbag making. So most people, or most of my audience knows I’m not really making bags right now. I’m, kind of, pivoting my business to incorporate other things that I’m interested in, but no, it’s very, very time consuming. It’s a lot of work. It’s so much work, especially when you’re making bags on demand.

It’s so much work that I, literally, like, I wouldn’t eat, like, I’m such a creative and a workaholic at the same time that when I’m in my zone, I’m in my zone, and you cannot take me out of it. So a lot of the time my family is calling me, like, have you eaten for today? Have you gone outside? Have you had water? Because I’m so into what I’m doing. I don’t know how to stop which is, you know, a gift and a curse. Um, it’s allowed my business to elevate. It’s allowed me to learn a lot of new techniques, but I think the biggest way I stay motivated, honestly, you guys, I’m so hungry for this business. I’m so hungry to just inspire people to go for it and to push beyond their limits or push beyond what’s in front of them.

So waking up with that on my brain every single day is what keeps me going. I don’t care how tired I am. I don’t care what my to-do list looks like, I just pushed through, and I’ve been broke before. I’ve struggled before. I’ve slept on couches. I’ve been so down and out and in these dark holes that I’m like, it’s only up from here. I can’t stop. Like it’s, it’s only me riding on me, so I gotta keep going.

Helen: Yeah. We love that you incorporate so much encouragement into everything that you put out there on social, and you have some great blog articles that you’ve written about business as well. Um, you talk about having a positive impact in that being the most important thing. It’s more important than the sales. It’s more important than the followers.

Treasure: Oh, you saw that?

Helen: We saw that, and we love it because that really, kind of, builds that sustainable business. And we were wondering if you could talk a little bit more about, about that mindset, about how you hope to have a positive impact with your kids.

Treasure: Yeah. Um, I think it’s imperative, especially when you have a business, and it’s your baby, and you want it to grow and you want it to blossom to a level that is unimaginable. Um, I think for me growing up, having a really young mom who, kind of, struggled to raise me and, you know, put me out there to just be this free spirit person that I am, um, I just learned a lot, and it’s humbled me.

I think all of my experiences in life have humbled me, and I’ve ran across those people that say they want to help, but they don’t, or, you know, give you this advice, but they don’t have anything to back it with, so I’m big on that. Just showing people the transparency of my life and that no, nothing is perfect. None of this is easy, but I just want everybody to believe in themselves.

I’ve met so many people who doubt their abilities and their talents and their gifts, and they sleep on them, and they rely on these jobs to make a way for them. But it’s so much bigger than that. Like, there’s so much more to this world than just waking up and working for somebody every single day.

And so I just try to instill a lot of that into people, not just, you know, people that are following my business, but just everyday people that I meet.

Like, I literally meet strangers on the street. And for some odd reason, people always want to tell me their life story. And I always end up being the counselor, like, sitting at the bus stop. Like, I don’t really want to, like, counsel you through life, but I will, like, I guess I have that innate, you know, personality. So I don’t know, it just, it really feeds my soul just to inspire people because I like to be inspired as well. And so I know how it makes me feel, so I try to give off that same good vibes and great energy to the next person.

Helen: Aw, we love that.

Caroline: Wow. It really does come through on everything that you share. But I imagine you’re also such an inspiring teacher and we know that you teach some leatherwork classes. So I’d love to learn a little bit more about that if we could pivot back and talk about the kinds of classes that you offer. Is that something that you’re going to do more of in the future as you kind of pivot? What’s that all about?

Treasure: Yeah, definitely. I want to do so much more teaching. Like, I really want to take it on the road. I’ve had people in other states ask me, like, when are you coming to my state to teach? So that makes me feel good that people even want to learn from me. But yeah, I teach pretty basic, or general, um, leathercraft classes.

So I’ve done waist pack classes, clutch, crossbody classes, tote bag classes. I plan to incorporate a lot more classes, um, actually this year. And I have some things that I’m launching in a couple months, but yeah, they’re pretty general, the basics of leathercrafting, what tools, leathers, and all of that to buy, you know, supplies. I, kind of, walk you through the steps of how I create or how I started as a leathercrafter.

So in my classes, I am definitely as inspiring as I can be just to motivate people because it’s tough. Like, when you’re hand stitching a bag for the first time, some people are like, how in the heck do you do this? Like, I don’t even know if I can finish this class. I’m like, no push through, you know? So I am, like, the, the teacher and the coach and the inspirational leader at the same time, but yeah, they’re very basic leatherwork classes, and I would love to start teaching leatherwork on machines as well because right now, most of my classes, everything is hand stitched.

Um, and because I’ve had to transition into virtual classes, I essentially just send the kits out with everything that you need and we hand stitch the project virtually, but I would love to also do more sewing classes because a lot of people don’t have the knowledge of, you know, how to sew a leather bag so…

Helen: Yeah, exactly. I feel like our listeners would love to hear a bit more about what makes a good beginner project and where they can find patterns and designs to follow along with. Maybe they want to take one of your classes and then they want to go from there. What would you recommend they start with?

Treasure: I would recommend the smallest project because then you get a feel for what you’re doing. You discover if you even want to continue. So I would say, like, a wallet or something very small, a tiny little bag, um, something that doesn’t require too much leather. There are… because leather gets expensive, you know? It’s a little crazy.

There are a ton of patterns that can be purchased on Etsy. I would say mainly Etsy. I think a lot of people sleep on Etsy, but when it comes to leather-, leatherwork patterns, there’s a lot available on Etsy. I’m working on some things. So maybe they’ll be able to purchase some bag patterns from me because even though there’s, there’s patterns and stuff out there, not everything is the greatest, you know, and I, I really just want people to make cute bags.

Like, we can’t be putting out mess. So, so I’m like, okay, let me jump in here and, you know, try to get people to make some of my designs, as well. So yeah, I’m working on that, but Etsy is a great resource. Weaver Leather, which is one of my partners, they are amazing. They have a lot of tutorials that they offer, products, everything, literally it’s, like, a one-stop shop. So a lot of my free tutorials that go up on Weaver’s site comes with the video tutorial, in addition to the products that I used for that. The only thing that’s not available is the pattern, but yeah, you can get patterns anywhere, and they can, kind of, start from there.

Helen: Well, I’m going to wait for your’s cause I want to make the bags on your Instagram.

Treasure: That’s what I’m talking about.

Helen: Yeah, well that was going to be my next question is where to get leather and how to choose leather for a project.

Treasure: So when it comes to choosing leather, I would say that was the biggest struggle for me, um, because there’s so much, there’s, like, way too many options out there. So I would say, figure out if you want a sturdy project versus a more flexible project. So, you know, if you want a clutch bag with a softer leather, or if you want to make a clutch bag that stands on its own. So anything that stands on its own, I would definitely recommend a veg tan leather. Anything of a softer weight would be a cowhide leather.

There’s a ton of suppliers out there. Definitely Weaver Leather. There’s a place here in Los Angeles called United Leather. That’s where I get a lot of my prints and stuff. They can order online. I would not recommend Amazon. I’m sorry for anybody that has gotten leather off Amazon, but that’s a no-go.

But more of the, you know, bigger, like, reputable leather suppliers, they can always order samples. So if you were to call, maybe, Weaver Leather and say, hey, I want to figure out what leather to use. You can always call a supplier and get them to send you a bunch of samples. That way you can get a feel for the type of leather you want to work with.

Helen: That’s really smart. And I like that leather projects often don’t require too much materials. As sewists, we’re used to these, like, giant pattern pieces and things like that. So it must be, kind of, freeing to be working with smaller materials.

Treasure: Oh, yeah. I love it. Although I’m a mess, I’m a hot mess because I want to do, like, big outrageous projects, but then I start to calculate up how much leather, and I’m like, okay, let’s keep it to a minimum.

Helen: And what about polyurethane or vegan options like cork and plastic? Have you ever used those in your bag making?

Treasure: I have used vegan leather which I really love. I’m actually working with a company right now who is working on producing more vegan leather in better options because the options are very limited. I do not work with polyurethane anymore. I, kind of, worked with that starting out. I just don’t like the quality of it, but I would highly recommend vegan leather. It’s beautiful. It’s, it’s still, of course, it’s sustainable, but the quality of it is just, it’s good. If you can get some good quality vegan leather, um, that’s a great option. I haven’t worked too much with cork or really any other, other material besides vegan leather, so I can’t really say for that.

Helen: Okay, we’ll try to put some links in our show notes for our listeners out there. And then lastly, when it comes to working with the leather, like, what other tools do people need to get started? I’m not trying to get a preview of your course, but…

Treasure: Oh no, it’s all good. I know. It’s all good. Um, I would definitely recommend a mallet, if you are hand stitching, some chisels for your holes, um, there’s a variety of leather punches. The one thing I will say that Amazon is great about is having beginner friendly kits available. So when it comes to leatherwork, I would visit Amazon because they have everything you need in one kit.

So if you are wanting to start working with leather or whether it’s hand stitching or machine stitching, they offer a little bit of everything in these kits, but yeah, a mallet for punching, chisels, hole punches. There’s so many, guys, it’s, like, ridiculous. It’s so ridiculous, but that’s a good start.

Helen: I bet there’s, like, a lot of artisanal tools, too, with, like, beautiful handles and things like that.

Treasure: Yeah.

Helen: Like, I can imagine it’s a whole scene.

Treasure: Yeah. It’s a whole production.

Caroline: I’d also love to know through the lens of, like, teaching classes and your experience working with students who are new to leatherwork, what are some common hurdles that pop up for your students in these classes? I know you already mentioned the hand stitching, but is there anything else that comes to mind?

Treasure: No, it is literally the hand stitching. Everything else is a breeze. I feel like once you get past that certain lock stitch at the top, it’s okay. But even going through this, that is the main issue for my students. Everything else is like, oh, this is great.

I can, well, no, okay, I take that back. Punching the holes, and I can only say this from my in-person classes, punching the holes is a little tedious. Um, it’s a lot of work. It is a whole lot of work to do leathercrafting. So yeah, between punching the holes and stitching it, that is the most challenging part of leatherwork.

Helen: Do you have to catch yourself sometimes when you’re designing and you have a great idea for a bag, but then you realize that it’s going to involve punching, like, a thousand holes or something?

Treasure: You know what? No, because I’ve punched probably more than a thousand holes, and it’s usually not until the end, I’m like, how? Why are you doing this to yourself? But I’m such a creative. I just have to get it done. Like, if there’s something I want to make, I’m going to make it. And I don’t care how tired I am. I’ll just figure it out. But yeah, it’s usually at the end, I’m like, girl, you need to sit down somewhere.

Caroline: Oh, yeah, and I mean, you have such beautiful attention to detail in your bags. We love how unique they are. We love your style. And I would love to know where you turn to for inspiration when you’re designing and, you know, how do you stay true to yourself and your brand when you’re creating products?

Treasure: Hmm. That’s a really good question. Actually, there’s a lot of things that inspire me. I’m very big on art. I love aesthetics. I love decor. So a little bit of everything around my atmosphere, I just, I try to find beauty in everything, even if it looks crazy. So I really pull from everything when it comes to inspiration, the whole Bohemian aesthetic, I’m, like, overly obsessed with, so that is what allows me to stay true to my vision because when I start to drift outside of that, I can feel it, and it doesn’t feel right.

So that whole aesthetic just draws me back in like, no stick to the vision, stick with why you got here and why you need to stay here. Like, it’s the whole premise of Nikki&Mallory, and people know that. I love when people send me a message like, oh, I saw your bag, and I knew it was yours, you know? So that’s what keeps me true to the vision.

But when it comes to inspiration, everything, music, I’m highly obsessed with music, as you can probably tell from my stories, but yeah, art, just everything. Like, I can cook something, and I’ll be like, ooh, the color of that palette that I just cooked, you know? It’s so crazy the stuff that I think of. I don’t know. I feel like I’ve truly become a real artist. Like, I didn’t, I wouldn’t, would have never said that before. I would’ve never coined myself as being an artist in my earlier years, but I, I’ve really loved art, and it just, it just draws me. It draws my attention every single time to create something new.

Caroline: It’s so wonderful. And I mean, it’s so clear that you prioritize this creativity and being an artist while you’re still running your business…

Treasure: Ooh, girl.

Caroline: …and you make it look easy. I would love to dive a little bit into a business chat and talk a bit more about, kind of, the day-to-day of your business. So yeah, I mean, let’s start off and just tell us, like, do you do all of the designing and sewing for your products right now?

Treasure: Oh yeah. I love that question because I swear people don’t believe me. And I think it’s because, I don’t know, I don’t really know what it is. Maybe it’s because of how everything looks or how I pull everything together. But yeah, I literally, I designed everything myself from scratch.

I think I was saying in my last, another, um, interview that there was one bag that wasn’t mine, that I had purchased, like, a pattern piece for just to, kind of, experiment, and it felt crazy to me. I was like, this is not me. This is not my original bag. Like, I don’t like this. So because of that and because I’m so big on just the authenticity of Nikki&Mallory and what I stand for, I like it to be my own. Like, I want it to be a design of mine. So I bust my butt trying to figure out how to be original and create original designs.

And it’s, kind of, annoying when I see, because I recently came across a YouTube channel where somebody was literally making my exact bag. And I know it because it was from, it was this exact way that I constructed it. And so I was like, okay, I don’t really like that feeling, you know, but yeah, I try to stay very, very true to my designs and my look, you know, the look for my brand. But, um, what was your other question? I can go off on that.

Helen: We’re wondering if you design and sew all the products, and you mentioned earlier that you’re maybe in a bit of a transition period. So can you tell us a bit about what your plan is moving forward?

Treasure: Oh, yes, definitely. So yes, I do design everything on my own. Um, I don’t have help. I would love help. This year I’m actually planning to hire a little team because I can’t do everything on my own. I’m wearing way too many hats, and it’s very overwhelming. Um, but yeah, it gets a little hectic when it comes to creating and running a business on my own. It’s a lot. I think people fail to realize I have to, it’s, like, a ongoing machine that I have to oil and manage and run every single day. Because if I don’t, I won’t have a business.

Um, which is why I’m pivoting to answer your other question. I am changing things up a bit. I’m still going to be bag lady. I will still make bags but more so on a custom base because it’s just so much work, like, creating on demand is too much for me. I literally need, like, a whole team to help me execute if I want to progress. So while I’m in this transitional period, I’m going to focus, you know, more on teaching and the other things that I’m launching in the next couple months. It’ll be, uh, geared towards teaching and patterns and all that type of good stuff.

Helen: All that stuff that we get to enjoy.

Treasure: Yes.

Helen: Yeah. You’ve written some really cool articles on your website, um, one of which recently was called Business Mindset: 2021 Intention.

Treasure: Mhm.

Helen: Um, and I recommend any aspiring or existing entrepreneurs go read that because I think the tone of it was just so great. It was a great reminder that it’s hard, it’s hard to run a business. And you talked in it about being that inspiration for people but also reminding people that the cute exterior is not always the reality of the situation.

Treasure: Mhm. Yeah.

Helen: So how do you balance that? Because you definitely have a cute exterior, like, it’s polished, so…

Treasure: I try to keep it cute, you know? Wow. I don’t, to be honest, I don’t know how I balance it. I really don’t. I wake up every single day, and I’m just like, okay, we’re still here. Like, let’s keep going. I think it goes back to just me being hungry, like, for the progression, the longevity of this business. But that is why I’m so transparent on my, my social media and, you know, my outlets because yeah, the cute is, is cute.

Like, it’s cute, visually, but behind the scenes, there’s so much work. There’s work. There’s tears, there’s tiredness. There’s long nights. It’s a lot. It’s a lot. Like, I swear, even just in talking to you guys, I’m thinking about how much it is because when I leave this podcast I literally have to go upstairs and just bang out work. Like, it is nonstop.

And I feel like social media has created this facade of these perfect little worlds that people live in. And that’s just based on exterior, but it’s like, nah, there’s so much more to this than these cute little images that I’m putting out here. So I need people to really understand, if you want to start a business, if, you know, this is the world that you want to pursue, get ready. Like, literally legit strap up your boots. There’s, it’s no game.

And I have a lot of friends, recently, who, and I’m pretty sure they’ve all told me, you know, you’ve inspired me to start my business, and I’ve helped them. A couple people I’ve helped, like, okay, well let’s create a plan. Let’s get realistic about this, but please understand once I step away from helping you, it’s all on you. And I feel like the couple of friends that I’ve helped launch their businesses, they’re trying to figure it out. And they’re just like, I don’t know what to do now. And I’m like, I tried to tell you, this is a every day thing.

So yeah, I really don’t know how I balance it all, but God willing, I get up every day and that’s my mindset because in the back of my head, I’m like, I cannot go back and work for somebody. I will be miserable. So we got to figure this thing out.

Helen: Yeah. I can totally relate to that. And I feel like sometimes it’s isolating, too, because from the outside, even for friends and family, they’re like, oh, you’re doing what you love and you’re following your passion and you’re an entrepreneur, so you have all this, like, free time and flexibility and it must be so wonderful, right?

Treasure: They have no idea. Well now my family only knows because they see how crazy I am as far as work. Like, they see it’s nonstop, and I’ve honestly, I feel like I, I haven’t lost friends over time, but most of my real friends know now.

Don’t call, Treasure. She’s probably working. Like, we can’t ask her out, but, you know, I’m, kind of, growing out of that, like, shell mentality, like I’ve, I’ve built the foundation for the business. I’m good to go now. Like, you can call me again, but for years it was literally just me in the trenches trying to figure this thing out.

And I wouldn’t take it back for the world because I’m living my reality. I’m living my dreams, and it’s so amazing. Granted there’s moments where I’m like, I might need to go get a job because, you know, business fluctuates, and I try to keep it real as far as that, too, like it’s okay to have a job. I’m just the type of person that knows how I am when I work for people. So it was probably best for me to stay out of people’s offices.

However, I’m big on work ethic and progression and anything you need to do to progress, you just got to do it, but yeah, you have to have a lot of obedience and discipline to do it.

Helen: Yeah.

Caroline: Yeah, absolutely. Yeah, and I think it’s so inspiring, too. I mean, I’m sure people are inspired by your business and everything that you’ve done as an entrepreneur, but I also find it really inspiring that you are confident enough to, kind of, take a step back and evaluate, like, this wasn’t working for me, how I was doing it. I’m going to pivot. I’m going to, kind of, change how I’m doing things so that I can be happier and have a little bit more balance. Hopefully. You know, that’s the idea.

Treasure: Yeah.

Caroline: But I do wonder, you know, how you kind of balance that in your business of, like, being able to have some self care and nurture your creativity, but also, you know, get things done and work hard and push yourself. It sounds like you are, kind of, managing to do both of those things. I wonder if you have any advice about that?

Treasure: You know, it’s tough. I’m not going to even lie. It is so tough. I was just saying last night, I really need to sit down and do a facial. Like, I really need to sit down and lotion my feet, like, because every day I get up, that’s my mindset, work, work, work, work, work.

So I do tend to forget about myself sometimes, but I feel like, or I’m growing into this person that realizes the benefit of self care and taking care of me first because if I’m not taking care, there won’t be any business. So it’s a gradual learning curve for me. I have my moments where I’m like, nope, I’m not touching a needle and thread. I don’t want to see that sewing machine. I’m about to go ride my bike. You know, I have my moments.

But then there’s moments where I’m like, nah, we’re just going to sit in this design room for 12 hours straight and get it done. So it really depends on my mood and trying to find that balance is tough, but I try to let people know to just not forget about yourself because I have been at moments, or I’ve had moments, where I’ve been so burned out that I was sick. Like, I can’t even get up. Like, I’m so freaking tired.

And for me, I just don’t ever want to feel that again. So I just try to incorporate little sporadic moments. It doesn’t have to be, you know, long periods of times or hours straight in a row, but just try to find an hour or two or 10 minutes or 15, just to sit with yourself. Sit with your thoughts. Go stand outside. Look at how beautiful it is. Like, little things. Little things contribute to myself care.

Helen: Even just taking a few deep breaths works for me.

Treasure: Oh my gosh, yes.

Helen: Yeah. Another thing that you’ve said in your writing is never devalue your worth, and I would love for you to elaborate on that for our listeners.

Treasure: Okay. So I’m big on that right now because I feel like starting out, we all just, we want to succeed, you know? We want to see our product, our business flourish. We want to be great. We want people to notice that we’re great. And with that comes this mindset of, well, dang, let me just do this so this person can, you know, take a liking to what I’m doing which also means you’re, kind of, stepping back from your value.

Like, you cannot give yourself for free. You can not give your products for free. You cannot figure out what your price point is going to be and lower that because somebody can’t afford it. It’s like, no, this is what I’m doing. This is the artistry that I’m putting out. This is the amount of time, labor, energy that I’m putting into this. If you cannot afford it, that is not my problem. I’m sorry. You’re just not my customer.

But I feel like, from the beginning, as a designer to who I am now, I’ve put in so much work into my pieces where I’m like, there’s no way I can devalue what I’m doing to accommodate for anybody. It’s not about that. It’s about, this is art. Or you want it or you don’t. If you don’t, that’s okay. You can just, you know, gaze at it from afar, but I’m just really big on valuing yourself as a person in addition to valuing yourself as an artist. And you can’t take any shortcuts with that because people will start to devalue you, just in general.

Helen: Yeah. Were your bags always sort of priced at that point, or did you, kind of, work your way up to that? How did you figure out how to sell your products and what to charge for them?

Treasure: I, kind of, worked my way into that. And a lot of my close friends who do leathercrafting, they know that’s something I still struggle with. Right now, I base my prices off of, now I actually have a labor price, you know, per hour. If I have to leave and go get leather supplies, I need to put a dollar amount on that, you know, so I incorporate, or I factor in everything: shipping, time, labor, um, just my time in general. And that’s not what I used to do in the beginning.

I literally would look at a piece like, oh, that could be, like, 25. And then I could get, like, 20 sales. And it was like, no girl, you are going about it all wrong. It wasn’t until I started losing money and not profiting when I was like, oh no, we got to change up this whole flow because this is a business we need to profit, and we need to make sure we’re putting a value on our work. And so it took me some time and it’s, I still have my moments with it, but I think I’m definitely getting better at it.

Helen: Yeah, and you give so much, too. It’s not like the bags are the only thing that you’re putting out there for people to partake in or to learn from. So, um, I think it’s important to recognize that, too, that there’s lots that you’re giving that people can have for free. They just need to look for it.

Treasure: For free. This is free game. I need you to understand.

Helen: I wonder if you ever struggle with, like, negative self-talk and self-doubt because you sound, like, so confident in talking about your business and does those thoughts ever creep into your head?

Treasure: You know, what they used to, they used to early on. I’ve had many days of nights where I would just cry just trying to figure this thing out. And I think that was more so when nobody was paying attention to what I was doing and I was overworking myself. And it just seemed like I was not, I’m not, I’m not ever looking for recognition, but when you want your brand to be great, when you want to put out great things, you, kind of, want people to at least, you know, see it.

And in the beginning, that was something I struggled with. Granted, I also grew up with depression. So early on in business, I would have really, really, like, dark moments where I’m like, I don’t, why am I doing this? Like, this is too much. And it’s already enough to try to figure out life. And now I’m trying to figure out life and a business.

And then as time went on and just me pushing through, I think that was the confirmation that gave me the optimism that I have and that I, kind of, live by. And my mom is just big on, she’s just a very positive person. She’s such a free spirit. And so balls to the wall, like, she’s a renegade, and she does not care.

So I take on a lot of her personality when it comes to being down on myself, you know? I have to, like, stop sometimes like, girl, breathe your way through it. It is okay. You are still alive. You have life, health. So I just try to factor in all of the amazing blessings around me to not allow myself to go to those spaces anymore.

So, I guess to answer your question. No, I don’t really. I have bad moments. And when I say moments, I mean like five, 10 minutes, we got to cut it short, but we cannot have bad days. We cannot have bad hours. Like, I just won’t allow it. Like, I will fight through it and literally sit outside and stare at the sun and look at the palm trees. Like, girl, we got this. Like, get through. It’s not that serious. I’m very, very tough on myself, but I try to be gentle with myself as well.

Caroline: Yeah. Yeah. It is so easy as a business owner, and I speak from experience as well, to, kind of, dwell on the challenges and the things that are, are hard and really not take that time to take a step back and think like, what am I proud of?

Like, what do I love about what I do and why am I doing what I do? So I’d love to ask you that question. What are you proud of over the years of running a business and why do you keep doing what you’re doing? Because it is hard sometimes, but you seem so passionate about it.

Treasure: It’s tough. I’m not going to play about that. Um, but I really, I have, it’s crazy because I have, while you were asking me that I just got, like, the biggest smile on my face because I never was one to look at my accolades and give myself praise. And I think over time, I’ve had to force myself to do that, just to recognize like, oh my gosh, we have come so far, like, so far.

And if I don’t look back at my journey, in retrospect, and realize my growth then really what am I doing this for? Like, this is not a game. This is literally my lifestyle now. So when it comes to recognizing, I don’t know, my growth, I guess, when I recognize my growth and the amount of progress I have made since day one, tThat’s what keeps me going because, you know, we all have these dreams in our heads and these visions that we start out with. And it’s like, once you get past that first stage, and then you look back like, wait, so I literally just manifested that. So you mean to tell me if I keep going, I can manifest these other things.

That’s what keeps me on this journey to keep doing what I do. Because everything that I have dreamed so far has come to fruition. Like, even the space that I’m in right now, this was a dream when I was stuck in that cubicle crying mad because it was raining outside, and I had to go to work and drive on the freeway, like, all of those little moments I think about, and I used to tell myself, I will work for myself one day and I won’t ever have to see these miserable faces because everybody’s unhappy. And, you know, so it’s, like, just, if you just pause for a second and look back at how far you’ve come, you can realize, or you can see how, how far you’ll go.

And so that’s what keeps me, keeps me going. Honestly, it is not easy. I tell people every single day. But I love it. I love this not easy.

Helen: Oh, I just got chills.

Caroline: Yeah, it’s so inspiring. I wonder if before we wrap up this business chat, if you have any other, kind of, overarching advice that you’d want to offer to budding entrepreneurs out there, maybe any of our listeners out there who are small business owners, who are thinking of starting a small business.

Treasure: I think the biggest question that I run into, A lot of people DM me and ask me, where do I start? How do I begin? I’m in, I’m in fear that I won’t be good enough, or my products won’t be good enough. And I think fear and learning how to slap fear in the face is the biggest obstacle to overcome. And I think because I’ve, I purposely over the years have thrown myself into very challenging, tough situations. I do it on purpose because that’s my way of slapping fear in the face. And I think once people figure out that once you get over that threshold of fear, literally everything and anything is possible.

So instead of waking up and doubting yourself, instead of waking up and thinking I’m not good enough, or feeling like I’m not good enough and taking in, you know, this unsolicited advice from the peanut gallery around us, who try to deter us from pursuing our dreams and passions. You just really have to sit with yourself and dig deep and understand that fear is, I mean, there really is no fear.

Like, it’s all mental, like there’s really nothing to fear. And once you get out of your head and figure out that you are capable of doing anything, I swear your whole mindset will change. Like, but you have to be willing to put in the work. You have to be willing to just put yourself out there and not care.

I think that’s what most people are afraid of doing. It’s just not caring. So, I don’t know. It’s there. So I can go into that. I should really write a book.

Helen: 2021 Plan. You should start a podcast, too.

Treasure: I know, right? I don’t know. It’s so crazy. The, the one thing I, I really just want people to I guess sit with, is that anything is possible. Like, you can literally do anything you want to do, anything that you dream. And I know it sounds so cliche, but once you do it and believing yourself enough, you start to see the atmosphere around you change. And when your atmosphere changes, your mindset changes and you just continue to progress on that. So just keep going. Don’t give up. Don’t listen to anybody around you. It’s about you.

Helen: Oh, I love that so much. I think it applies also just to the practice of sewing and creating, not just business, you can make anything, you can do it. So I hope our listeners will take that to heart. And this has been such a treat, Treasure, to talk to you.

Treasure: Aw, thank you.

Helen: I feel very inspired. I’m also going to go do some work this afternoon, and I’m ready for it.

Treasure: Get it, girl.

Helen: Yeah. Are there any, um, things coming up for Nikki&Mallory that you want to share or, um, where can our listeners find you and support you online?

Treasure: Definitely. Um, you can follow me on Instagram. I’m a little wild and crazy, and I have my moments, but I’m very much so @nikkiandmallory, you know. Nikki is very eclectic and, kind of, wild and hipster-ish, and Mallory is very minimal chill. Like, I won’t even talk, but I would say that’s the best place to follow me and, kind of, understand my world and, um, my level of creativity.

Um, as far as things that I have coming up. There’s a lot. There’s a lot on the horizon, um, a lot to do with teaching and, um, just inspiring people, people even more to continue in the pursuit of their own creativities. A couple of platforms I’ll be launching, um, towards April. You can look out for that. I’m really big on not saying what I’m working on. So you guys know Imma keep that on the hush. Just follow the journey, and you’ll see, but yeah.

Helen: Yeah, and you’ll get to see Treasure dancing. So, it’s worth it.

Treasure: Imma keep a smile on your face if I can.

Caroline: Well, we can’t wait to see what you’re cooking up this year. And, um, I hope all our listeners will go and follow you and support you. And thank you so much for chatting with us today. It was so much fun.

Treasure: Thank you for having me. I truly enjoy talking to you ladies, and I’ll be, um, on your Instagram taking a peek at everything.

Caroline: Amazing.

Helen: Yay. Alright, we’ll see you there.

Treasure: Alright.

Helen: Okay. Bye.

Caroline: Bye.

Treasure: Bye.

Caroline: That’s it for today’s episode of Love to Sew. You can find me Caroline at blackbirdfabrics.com and Helen at helensclosetpatterns.com.

Helen: We’re recording in beautiful British Columbia, Canada, and you can get in touch with us and get links for everything we talked about, Treasure’s beautiful bags, in this episode at lovetosewpodcast.com.

Caroline: And if you’re loving the show and you want to help us out, you can support us on Patreon. Contribute $5 or more a month and you’ll get access to our bonus episode feed. Contribute $10 or more a month and you’ll get a 15% discount code for both of our shops, which basically pays for itself, and an extra bonus mini episode. Go to patreon.com/lovetosew for more info.

Helen: Thanks to our amazing podcast team. And thank you all so much for listening. We’ll talk to you next week.

Caroline: Bye.

Helen: Bye-bye.

Caroline: Ooh!

Helen: Oooh!

Caroline: Ooooh!

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Press play to hear all about pressing! We discuss the pressing techniques, tools, and tips that result in beautiful finished garments.

The transcript for this episode is on this page at the end of the show notes.

Love to Sew episodes mentioned:

Pressing resources:

Helen’s Pressing Setup:

Helen’s pressing setup with ironing board, iron rest, and utility cart with pressing supplies.

Black + Decker The Classic 1100W Iron

Inside the utility cart: Tailor’s ham, seam gauge, rulers, tailor’s sausage, point presser, glass bottle for refilling iron water, and (just barely visible on the second shelf) pressing cloths!

Caroline’s Pressing Setup:

Including padded-out ironing board, sleeve board, tailor’s ham and sausage, pressing cloth, iron, and iron rest! The little ceramic jug by the window is for refilling the water in her iron. Caroline loves her view of the garden from this window!

Recommended Irons:

Ironing Tools: 

Transcript:

Caroline: We are recording today on the traditional, ancestral, and unceded territories of the Coast Salish and Kwakwaka’wakw peoples, including Tsleil-Waututh, Squamish, Musqueam, and K’ómoks first nations.

Hello, Love to Sew listener. We’re currently in our podcast off season. So we’re taking a little break from recording right now.

Hello and welcome to Love to Sew. I’m Caroline, the owner of Blackbird Fabrics.

Helen: And I’m Helen, the designer behind Helen’s Closet Patterns.

Caroline: We’re two sewing buds who love to sew our own clothes and want to encourage you on your sewing journey, too.

Helen: Join us for today’s topic: pressing.

Caroline: Hi, Helen.

Helen: Hi, Caroline.

Caroline: How are you today?

Helen: I’m doing well. Actually, I have a pressing issue I want to discuss with you.

Caroline: I love talking about pressing matters with you.

Helen: And our listeners, too. This episode was a beast to prep for, I have to say. It was a lot of information. Who knew there was so much to say about pressing? Not ironing, pressing.

Caroline: More on that later. Yeah. No, it was a fun one to prep for because it made me reflect on my own pressing and ironing and all of it, anything to do with using heat in sewing. It made me think about that and how I approach it and how I can make little tweaks to, maybe, have better results in the end. So I’m excited to talk more about it with you today.

Helen: Yes, pressing is such an important part of the sewing process, and it can make a really big difference to the finished garment. If you’ve ever struggled to get your handmades to look polished, ironing and pressing during and after the sewing process can help you to achieve that professional look that you might be looking for.

Caroline: Yeah, and there are lots of tools, techniques, and tips when it comes to pressing. We have so much information, and we’re so excited to share it with you today. So I think we should just jump right in and, maybe, first, Helen, tell me about your pressing experience. Do you have anything you want to share when it comes to pressing before we get into the episode?

Helen: Well, I’m one of those sewists that really does love to press. I find it soothing and satisfying. I also like ironing my clothes, um, just flattening things out with the iron I think is a lot of fun, and it gives me a bit of a break from my machine, too, which I have come to really appreciate. I like to set my iron up a little bit far away from my machine, so I stand up and I walk over there and I press and I get to move around my sewing space a bit more that way and stay warm. Sometimes if I sit at my machine for a long time my hands and feet start to get cold. So just keeps the blood flowing, you know?

And I haven’t had too many major pressing mishaps. I definitely overheated my iron and scalded some of my fabrics before which is always really sad when they get, kind of, shiny or you get those iron imprints on the fabric, but thankfully, I’ve never burnt a hole in my project. No shade, Caroline. And I’ve also never burnt myself too badly, but I have had my fair share of, you know, minor iron burns on my arms and hands and that’s, kind of, a, kind of, the part of the process unfortunately.

Caroline: Uh, yeah, I definitely have some burns on my arms and hands, and I’ve also dropped my iron more times than I’d like to admit. I have a lot of, like, dents in my floor from my iron, just, like, hot iron flying through the air, and I’m like, ah! Step out of the way and then the iron, like, bounces on the ground, and somehow it’s still working.

Helen: Oh my goodness. Yeah, you know what? The other day knocked mine off my board, and I had this magical moment where it was falling and I went and I reached for it and snatched the handle like out of midair. I felt like I was in, like, a superhero movie or something. It was so awesome. And you probably shouldn’t reach for your iron when it’s falling because it’s dangerous, but it was an instantly ref-, it was, like, an instant reflex, and I nailed it.

Caroline: That’s your superpowers: iron snatching.

Helen: Yeah, exactly. Oh my goodness. But I also love ironing tools. And I know we’re going to talk a lot about tools. But I wanted to say that my favorite tool is my tailor’s ham because it’s so handy, and it’s so cute.

Caroline: It is very cute. I love my tailor’s ham, too. Interesting that you say that you love having your ironing board far away from your sewing machine so that you can take a walk which I definitely see the value in that. Personally, I love having a setup where I can actually wheel my chair over to my ironing board during the sewing process. So I actually like having my iron right near my sewing machine so I can, can just, sort of, spin around on my wheelie chair and just do my ironing and then spin back to my sewing machine.

And I, that, so that’s, like, my setup is, like, a big part of it, what of, what I love about ironing and, kind of, like, making sure that everything is right there. All my tools are ready to go, and I definitely have told the story before on the show where I melted a hole in my blouse in the final stage. This is a while ago. I want to say it was almost 10 years ago. So I’m over it. I’m telling you. I’m over it now. But it was a poly satin which is really easy to ruin with high heat. Like, a poly satin, if you just go over the edge of, like, it’s, sort of, heat threshold, you will melt a hole in it. I haven’t had any major drama since then but I do occasionally have that shiny fabric situation if I use too high of heat which is always a huge bummer.

What else about pressing do I want to share? I love my extra padded ironing board, and it actually has a dock on the end for my iron which I really like that set up, the, the ironing boards that have that little metal piece on the edge where you can set your iron down, so it doesn’t take up that precious real estate. But I added, like, an extra layer of batting to my ironing board which I think really helps to not have those, like, marks on your fabric as you’re pressing.

Also love my ham. Love my sleeve roll. Love my press cloth. Love having my tools nearby.

Helen: You have all the pressing tools.

Caroline: But I definitely learned the value of pressing in fashion school. I did not press early in my sewing journey, but now I always press as I go because I think it does make a really big difference in the finished garment and the look of the finished garment. So we’ll talk more about that today.

Helen: Yes, let’s get into the basics for any of our newbies out there who are wondering, what is the difference between ironing and pressing? So ironing is a back and forth motion that’s usually used to remove wrinkles from the fabric. So you might iron a sheet or a tablecloth or something, you know, to get those wrinkles out, and it does smooth it out and stretches the fabric slightly, getting rid of those wrinkles.

And pressing is an up-and-down movement, so putting your iron down to press down, picking it up, moving it over, going to the next spot which prevents any stretching and warping of the fabric, which as you can imagine you would not want during your sewing process, cause we’re dealing with these cut out pieces that are kind of delicate, and they have areas cut on curves in a bias, and they can get stretched out and warped, so we don’t really want to be messing with it too much. We want to pick up and press.

Caroline: Such a good point and past guest, David Paige Coffin, wrote a Seamwork article where he recommends that you explore pressing in different ways. So this helps to provide an understanding of how the fabric changes shape and becomes distorted depending on the amount of pressure you use, the direction and movement you can manage with your iron, and heat resiliency. So fabric can really, kind of, change and perform in different ways when you’re pressing it and ironing it. So he recommends taking some swatches of fabric that you often work with and do some testing to actually witness the changes that happen when you’re dragging your iron across the fabric.

Helen: I love this idea. It’s so helpful sometimes to do those tests and actually see it for yourself. And it also proves how much pressing can help us to shape fabric in our garments. It’s amazing how much you can mold the fabric with pressing to get fabric to sit in an intended way like across a bust, or in tailoring for blazers, they often use pressing to actually shape the garment. And garments that are unpressed during the construction process tend to look more wrinkled and the seams tend to have a bit of a wavy or bumpy look so if you’re noticing that maybe you need to do a little bit more pressing during your sewing.

Caroline: Yeah, also I always think to knit neck bands when I think about the power of pressing because it’s amazing what a difference a little bit of steam and heat will make to a neck band on a knit garment looking really beautiful and flat and almost, like, molded to the shape of the neckline. When you look at it before and after pressing, it can be so different. And that is the power of pressing and, kind of, understanding your iron as a really valuable tool in your sewing room that you can use to make your garments look more professional.

Helen: Definitely and because we spend a lot of time pressing, as sewists, and pressing can be physically demanding, you want to make sure that your pressing setup works best for you. So for some of us this might mean setting up an ironing pad or mat right next to the sewing machine so that you don’t have to move to an ironing board, or use Caroline’s method where you use a rolling chair or rotating chair, so you can easily just turn around or roll over to your ironing board, and then you’re good to go.

Caroline: Yeah, and on the contrary some of us, like Helen, may prefer getting up from a ergonomics standpoint and simply changing positions. It can be good to, kind of, stretch out your back. So ironing board height is important. It’s an important thing to consider as well. So you can try a few different heights if your ironing board is adjustable. And once you find your preferred height, you can even mark it on your ironing board leg, so you can always have that setting. If your ironing board isn’t always set up, when you do set it up, you’ll know exactly where to put it. And if you can’t adjust your ironing board, maybe you could stand on a little step-up or put your board on a little platform or step-up to help you to get it to that height.

Helen: I love this idea. It can make such a big difference on the back.

Caroline: Yeah. I want, like, a sewing ergonomics chart or something to help me to figure out, like, exactly what level everything should be at.

Helen: Right? How far you should be sitting from your machine or where your, uh, presser foot should be, but of course, it’s different for everyone because we’re all different, right?

Caroline: Totally true.

Helen: Yeah, some of us might have a whole ironing station set up. So if you have a larger studio at your disposal, you can keep your ironing tools nearby, too. Maybe you have an even larger ironing surface that you’re using or whole ironing table and the important point here is just to think about how you can make your pressing setup work for you no matter what your studio size is and no matter what your needs are.

Caroline: Yeah, make it work for you. Okay, let’s talk about when to press. Obviously, you want to press your fabric prior to cutting. I think that’s our first thing that we need to press in the sewing process and not pressing your fabric can possibly result in inaccurate cutting. We want to avoid this because it could affect the overall finished garment. So, for example, if your fabric when you wash it, kind of, crinkles up a little bit, you definitely want to iron that out before you sew it if you think that you’re going to be ironing your finished garment, and you want that fabric to have you know a flat texture. Sometimes you might not iron it if you want to keep that, kind of, like, crinkly bit, but that’s, that’s another story, another topic.

Helen: You can also press your pattern pieces, too, to help them lay flat, as well, and that also improves the chances that you’re going to cut your pieces out accurately so you can iron on the paper an-, or the tissue paper if you’re using a tissue pattern. You just want to do this with a low heat, no steam. We’re not trying to wet the pattern here.

Caroline: Yeah.

Helen: And if there’s any tape used on the pattern pieces, if you use the print at home pattern, press from the back side where there’s no tape, so you’re not melting the tape as you go. So just be cautious, but I love giving my pattern pieces a good press before I get started because then they don’t roll or fold up or anything. It’s great.

Caroline: Low steam is actually, or no steam, is actually really important because I’ve actually seen paper shrink if you use steam, so you have to be careful when you’re ironing to use that low heat just enough to iron out the wrinkles because if you use too high heat, your paper can actually shrink down a little bit.

Helen: Ooh, okay. I have not noticed that, but that’s a good tip. And you mentioned pressing your fabric before you cut it out, and I have to say that I almost never do this. I like to put my fabric in the dryer and then immediately use it if I can, so take it right out so that way you’re minimizing the amount of wrinkles that might appear because you’re taking it out of the dryer when it’s still hot and putting it out on the cutting table and, like, you’re good to go. So obviously, if there’s a lot of wrinkles or if there’s an area that I need to cut a piece out on and it’s all wrinkly, I will press it. But I do try to avoid this at all costs because I find pressing a large piece of fabric just difficult and, and annoying. So…

Caroline: Yeah.

Helen: …I will often just try and do some, like, creative cutting so that I’m not cutting, you know, close to the selvedge where it’s really wrinkly.

Caroline: I definitely have noticed that about your sewing practice that you don’t often… I’m

Helen: It’s called a phone alert.

Caroline: …because I definitely will, like, leave it in there for a day and then take it out, and it’s just, like, a big crumpled mess, and it, there is no chance of me cutting into that fabric without ironing it, but I understand the appeal of of trying to figure out how to avoid ironing because it is a bit of a pain when you’re ironing, you know, three, four meters of fabric. And…

Helen: Yeah.

Caroline: …the full width doesn’t fit on your ironing board. So it really does take a while to get through the whole yardage.

Helen: It does. It might not be possible for some people, so I’m just here to say that it’s okay…

Caroline: Yeah.

Helen: …not to do it, but I also have another tip about the dryer which is it can get really twisted up especially if you’re washing a long yardage, so what I like to do is fluff it before I put it in the dryer. And then also I’ll check the dryer every 20 minutes or so and flu-, re-fluff it because it gets twisted, right? It gets all twisted up in there, and sometimes if you have multiple pieces of fabric, they get tied in knots and stuff. It’s, it can be a lot, so checking every once in a while to make sure that it’s not getting like that will improve the chance that it’s not wrinkly, as well.

Caroline: I love this. You have, like, a high commitment to your, like, drying process so that you can have a low commitment to your ironing process.

Helen: Right? It’s true. You got to put the effort in somewhere else.

Caroline: Yeah, I mean I do press most of my fabric yardage before I cut out, especially I find, like, cottons, linens, and rayons because I forgot them in the dryer are, you know, it’s really hard to get away with not pressing, but I can usually get away with not pressing with knit fabrics, especially if I, kind of, fold them up or sort of prep them ready to cut, like, right out of the dryer. Usually, they’ll just, sort of, like, settle, and I won’t have to iron my knits which is always a treat.

Helen: Yes. This is true. Okay, so getting back to the sewing part of things. Pattern instructions will often indicate to press a seam after sewing it. Some pattern instructions don’t tell you this, so you do, kind of, have to guess as you go along, but lots of patterns nowadays will tell you when to press, and they will also tell you whether to press the seam open or to one side.

And this is important to follow because how you press the seam can affect the bulk in the project or the seam and how it looks on the outside of the garment. So the designer’s probably taken this into account and planned if you’re going to press this seam one way then the connecting seam’s going to be pressed the other way. So paying attention to those little details can really pay off.

Caroline: Yeah, like, for example, a curved seam may look better when it’s pressed to one side versus a flat seam looks better often when it’s pressed open because you’re, kind of, redistributing that bulk behind the seams, but you also may want to use your iron differently. Again, making that iron work for you, really using it as a tool in your sewing room depending on the type of seam that you’re pressing.

So for flat seams, you can use the full soleplate of your iron. When you’re pressing and for curved seams, you might want to use the tip or the side of your iron to maneuver around those curves. And this is also an area where that tailor’s ham that we love so much really comes in handy to give yourself almost, like, a smaller surface to press on, and it just makes it a little bit easier to get into those tricky areas around curves.

Helen: Yes, definitely and one area where you’ll often press, especially as a beginner getting into garment sewing, is a dart perhaps, so we want to press darts after they’ve been sewn to get them to line nice and flat. And to press a dart you want to press to, but not beyond, the dart point. And I’ll be honest, I had never read this tip before, and I often press way beyond the dart point, especially if I’m laying it over my tailor’s ham to get that curved area. And I haven’t experienced any issues with that, but apparently you’re not supposed to go beyond the dart point. Did you know that, Caroline?

Caroline: Uh, I can’t say that I knew that specifically, no. I don’t think that I press beyond the dart point anyway, but it does make sense, I guess, right? Because it’ll just not sit as the dart intended if you’re pressing too far beyond it. That being said, Helen, I mean the garments that you sew are beautiful. And so…

Helen: Thank you.

Caroline: …I really think little things like this, like, little rules like this bother me a little bit because it’s, like, everyone is, if you get there in the end, does it really matter? Whether you press beyond the dart point or not?

Helen: No, I think it only is something to think about if you are unhappy with the way that it looks in the end. Maybe you got some, like, bagged out, kind of, areas around the nipples which is not really what we’re looking for with a bust dart, especially, so in that case if you’re experiencing, like, warping a fabric around there, maybe just try not pressing beyond that dart point.

Caroline: Yeah.

Helen: And pattern instructions might indicate the direction to press the dart as well. Typically, like, horizontal darts are pressed down, and vertical darts are often pressed towards the center back or center front. That’s from the Threads Sewing Guide Book, but you may encounter darts that are also cut open and pressed open, especially if you’re using a bulky, like, wool fabric. And in tailoring, sometimes adding padding opposite the dart to balance that bulk so you might actually add some padding on the other side of the dart so that again, over the bust, it isn’t, like, a super bumpy area where it’s, you can really tell that there’s a dart there.

Caroline: Mhm That’s a really, really good point. And then pressing after, uh, turning a piece right side out helps the piece to lie flat so that’s an important step I think. And then pressing also comes up, of course, when we’re hemming, so this includes pressing your hem prior to sewing and also after hemming, so I think there’s value in both of those. You have a cool technique that you’re using now where you, kind of, like, pre-press your hem even before sewing the side seams or, like, the sleeve seam, right?

Helen: Yeah. I’m obsessed with pre-pressing. I’ve been putting it in all of our pattern instructions now because I think it does make such a big difference in so many areas of sewing where it’s easier to press, say a sleeve hem, when it’s flat before it’s even sewn onto the garment. It’s just the sleeve pattern piece, and then you can go ahead and you can make that nice clean press along the bottom, both the lines if you’re doing a double fold, and then you just unfold it, and you go about your sewing, and when that sleeve is finally sewn and it’s a long tube you already have those press lines, so you just, kind of, flipping them up, and they’re good to go. And you can repress if needed, but a lot of the time it’s just ready to go and ready to sew, so I find doing that extra little bit up front just makes it, makes you so happy when you get to that point, and it’s all done.

Caroline: Oh, yeah, I can totally see the value in that, and then you have it’s so much easier to work with the fabric when it’s flat, right? So…

Helen: Exactly.

Caroline: Makes so much sense.

Helen: Yeah.

Caroline: Okay. I think we should touch on different pressing techniques and, like, principles to, sort of, keep in mind throughout sewing practice. So the first one would be that you want to ensure that you’re choosing the correct iron temperature for your fabric, and this is so important because for some fabrics you can actually scorch them, and it really does change the look of the fabric. And if you’re working with a fabric that maybe you spent a lot of money on or that’s really special to you for some reason, it’s so important to think about this before you, like, dive in with the iron because, you know, it can ruin your fabric if you use too high heat on a fabric.

So test on a swatch before you dive into your project. Even Google that fabric plus pressing to, kind of, understand what tools you might need to have on hand or what iron temperature to use with that particular fabric. Sometimes there is a suggested iron temperature that’s, like, included in the fabric details when you purchase it or maybe on the hang tag if the fabric store provides that. That is usually found within the care instruction, so after the washing instructions, there will be ironing instructions as well.

Helen: Yes, and what are you looking for when you’re testing if you do decide to do a swatch? What is it that you’re actually looking to see?

Caroline: So you want a temperature that allows you to fold and press the fabric. So you want the fabric to be able to hold that crease line but not so hot that it scalds or scorches the fiber. So you can look for shiny spots or iron imprints. If your iron is too hot, you can even melt your fabric. This is especially with synthetic fibers like polyester. If you’re using too high heat, the fibers will actually melt because poly is, you know, at the core of it, it’s plastic, so it will melt.

And with napped fabric, you also want to make sure that you’re not crushing them. So, like, a velvet or corduroy, if you iron it with too high heat or too much force, you can actually crush those fiber piles, and it really does change the look of the fabric. Not all fabrics are, like, a good time to press. I’d say polyester can be a little bit frustrating because it does need that really low heat. Often, it doesn’t want to hold a press, so that’s why we love working with natural fibers because they’re just satisfying to sew with and press. They, like, hold that crisp line that you need, but I would say you want to go as hot as you need to to be able to have your fabric do what you need it to do, like hold a press but not so hot that, you know, you’re just, like, burning the, the bleep out of it, you know?

Helen: Yeah, I totally agree, and I think that doing a test is really good or at least starting your ironing on the wrong side of the fabric just in case, and I often will try and iron always on the wrong side as much as I can because that’s the side that’s not going to be seen. So if you do happen to get, like, a shiny spot or your iron gets a little hotter than you intended, hopefully, it’s not in a visible area. So it is important to test, and it’s important to find that right temperature. And err on the side of caution here, I would say.

Caroline: Yes, definitely.

Helen: Okay, let’s talk about a pressing technique that can be easily overlooked, but it is important, and this is pressing after a seam has been sewn. And I’m not talking about pressing to one side or pressing open, actually talking about just pressing the seam the same way that you put it through the machine, taking that to your ironing board and just pressing on it. And this is called setting the seam or setting the stitches, and it’s simply pressing the seam that was just sewn which helps to set the stitches into the fabric, making it easier when you later press your seams open or to one side or however you end up pressing them, so setting those stitches. Now, Caroline, do you do this?

Caroline: I definitely do not do this, but I could totally see how this would help. And I’m thinking specifically of, you know, when you sew a seam and sometimes, like, no matter how good your tension is, no matter how well-behaved your sewing machine is being, sometimes you just get, like, a little bit of waviness in the seam or a little bit of pulling almost where seems like the tension is maybe a little bit too tight and setting that seam before you press it open or do anything else, I think will help to have your fabric just, like, lay beautifully and flat.

Helen: I don’t do it. But after prepping for this, I really want to try this because again, as I said, I love pressing, so this is just another opportunity to do more of it, and I’m interested to see if I notice a difference. Like you said, maybe it will actually be a game changer for me.

Caroline: Yeah. No. I, I, this is one of those do as we say not as we do situations.

Helen: We want to give you the information that you need to make your own decisions

Caroline: Yes. It is very cool, and I love learning these little things that you can, kind of, work into your sewing practice to just take your sewing up a notch. So I think this is a cool tip.

Helen: Yeah, there’s also something called finger pressing. Have you ever finger pressed, Caroline?

Caroline: Yes. I’ve definitely finger pressed. I find finger pressing really useful in shirt making when you’re, kind of, there’s a lot of fiddly bits. There’s a lot of little areas where you just need to get something to lay flat before you go to the next step, and going over to your iron might seem like a slog, and, you know, things like cotton that you work with when you’re shirt making can, can be finger pressed quite easily.

So let’s talk about what that is. This is when you maneuver your fingers to separate the layers at the seamline, so it can actually work really well, especially if you can use like a nail along that seamline, but I also just find that, like, the heat of your hand is enough, if you rub it, if you rub your finger across the fabric to heat it up, just enough to make your fabric, kind of, lay flat. It’s definitely not as powerful as using an iron, but it can definitely do the trick in some instances.

Helen: Yeah. I’ve been seeing it a lot in quilting because I’ve been watching more quilting YouTube videos and things, and it seems like finger pressing is really common with quilting. It works very well with cotton, and you’re using a lot of small pieces, or you just want to get that thing pressed so you can sew the next piece on. So I think it’s a really good tool for when you want to sew a small area or if you’re working with a cotton or maybe you’re sewing two intersecting seams before going to your iron just so you have to get up and move around less. Or maybe even three intersecting seams, you can just finger press one, sew the next one, and then you can go to your iron and give it all a good press after.

Caroline: Yeah.

Helen: Yeah. Okay. So I have another random pressing tip for you that you might not know about.

Caroline: Please share, Helen.

Helen: Did you know that you also want to pay attention to how you angle your iron when you’re pressing? So, you can avoid tucks and pleats in the fabric by matching the grain with the direction of your iron. So, for example, a bias seam should be pressed with a 45 degree angle on the iron to prevent distortion, and I thought this was really interesting because when you’re thinking about, like, a bias bound neckline and sometimes when you’re pressing that you see all of these, like, diagonal lines forming, sometimes we call that, like, roping or just, like, little tucks and pleats can start to form. Maybe just angling the iron would make a difference there, you know, and I’ve never tried this. So again, I will be working this one into my sewing, but I like the idea of paying attention to that. Or when you’re hemming, holding the iron in line with the grain of the fabric.

Caroline: This makes so much sense.

Helen: Very cool.

Caroline: Yeah. Great tip, Helen.

Helen: Oh, thanks. I made it up myself. I’m just kidding.

Caroline: Okay, as we mentioned earlier, some patterns may indicate when to press a seam open or when to press a seam to the side. So we press seams open when we want to evenly distribute the added bulk from the seam allowance. So this creates some symmetry around the seamline. This simply looks like opening up the seam allowance on the wrong side and pressing it open to both sides. And in this case, you may want to finish each edge of the fabric before you sew it cause it can be tricky to get in there with your zig zag stitch or your overlocker when it’s pressed open and make sure that you’re, like, not, kind of, catching anything underneath. Pressing to the side is just as it sounds. So this involves pressing the seam allowance to the right or left side on the wrong side of the fabric, and when you’re using this pressing technique, you can finish the seam allowance after you sew it. So…

Helen: Yeah.

Caroline: …something to keep in mind when, if your pattern instructions don’t tell you when to finish the seams you can, kind of, keep that in mind.

Helen: Exactly, and I think we need to talk about steam as well because steam is a huge part of pressing and ironing. So when do we want to use steam and how do we want to use the steam?

Caroline: Okay. So steam allows us to add moisture in the pressing process which is gonna help us to shape the fabric, and this moisture is commonly added through steam irons. I think a lot of us have those irons that, kind of, create their own steam. But sometimes you can also add that moisture yourself so you have a bit more control, and this can be with a spray bottle or something called a dauber.

Helen: A dauber.

Caroline: So a dauber is a tightly rolled up small piece of woolen fabric that’s often secured by some sort of, of band, like an elastic band, and it’s actually dipped in water and dabbed on to a seam which is then pressed with a dry iron. Whoa.

Helen: Cool. Again, this is from the Threads Sewing Guide. Thank you Threads. I’ve never used a dauber, but it makes sense because it can make a huge difference to actually wet the fabric before you press it, and that does depend on the fabric, so again, always do your research on your testing before you start spraying water everywhere.

Caroline: Definitely, and it’s important that your iron is fully heated before you’re applying steam. So if you’re using that steam function in your iron, sometimes if you don’t wait for it to be heated up, you might get water drips which could damage your fabric. And steam can also be used when you’re pressing to help manipulate the shape of a garment, so it helps to make pressing easier and to achieve that, kind of, smooth result that we’re going for.

Helen: Yes, and I’m thinking how much steam should we be using? Because I think it really depends on the application and the fabric, so it’s hard to give our listeners a hard and fast rule here. I think as sewists we love steam. It’s so satisfying often when you’re pressing. It feels like if the steam is on, everything’s going smoothly, and it’s, like, really getting the job done. So maybe we actually over use steam in some cases just because it is so much fun. I know I do, but you can choose not to use it, too, and that can really work to your advantage. For example, when you’re getting in close to the iron with your fingers, turning off the steam really helps because you do not want that hot steam, like, exploding out from under the sole plate and hitting your fingers.

Caroline: Yeah, our hands do not need a facial.

Helen: No, and it’s important that the fabric is completely dry and free of steam before moving it which leads us to a very important point in the pressing process which is after you press, don’t forget to let it cool down. It’s so easy to want to pick up your fabric and move on to the next step, rush back to your machine, but this can cause unintended distortion of the fabric. Again, these pieces are delicate. They have areas that can stretch and warp. So letting everything cool down, taking the time to just let it settle, that is the finalizing part of that pressing step. So, let everything cool down. Let it settle in, and that will finalize that pressing step before you move on.

Caroline: Yeah, great tip. Okay, let’s talk about pressing tools.

Helen: Ooh.

Caroline: I think there are some really fun tools that you can have in your sewing room for pressing and some of them are more of an investment, definitely not all of them are needed, but we’ll go through some options today for everyone. Certain items can be picked up along the way in your sewing journey. So if you’re new to sewing don’t feel like you need to go out and buy all of these things right away, and there’s definitely also some cost-efficient hacks that you can use for some of these tools which we’re going to talk about as well. But starting out, you’re, of course, going to need an iron and some sort of ironing board or surface.

Helen: Yes. So let’s talk irons. A good iron is going to help provide you with ideal press, and it’s actually one of the tools we get asked about the most, and not only just on the podcast, but at Helen’s Closet, we get asked about irons a lot because I share in my tutorials using the Black & Decker Classic 1100 watt iron, and it’s such a great iron. I really like it. Caroline, you recommended it to me, and it’s an affordable option. It’s nice and heavy. It has a classic look to it. So I think it’s a really great option. We’ll definitely link it in the show notes.

I do wish it had a steam button, like, you can’t push a button and have steam explode out of it, like, my old iron had that, and it was really satisfying. This one is, like, the steam’s either on or off, and depending on how hot you put it, it might make steam or not. So you don’t have quite as much control over the steam, but I’ve, kind of, gotten used to that now.

Caroline: Yeah, I agree. That’s definitely one of the drawbacks from this Black & Decker iron and what I love so much about it is how heavy it is. It reminds me of a gravity feed iron, both in the way that it looks, but also just in the weight of it, which I really like a heavy iron when I’m working on sewing projects. It just makes me feel like I have more control. It makes me feel stronger. But I agree about the steam button, I think that would be really useful.

I have that iron in my sewing room. We also have used T-fal irons for workshops in the past. I think they’re, like, a really affordable option that can be pretty reliable. Costco has some really good T-fal options. We’ll link some in the show notes, but those are our favorites pretty much, right?

Helen: Yeah, I would recommend that Black & Decker one for sure, especially for new sewists because it is, I think it’s, like, 40 or 50 bucks, which is a pretty good price for an iron, especially one like that that I think will last you a while. And it does have an auto shut off which I know is a bit of a controversial opinion when it comes to irons because, of course, when you’re in the middle of your sewing project, the last thing you want is to go over to your ironing board and find that your iron has turned off because you hadn’t been there in a while and then you have to wait for it to heat up again, but I think for safety purposes, and for me personally, as I’m bad at remembering to turn these kind of things off, like hair curlers and stuff like that, too, the auto shutoff is an important thing for me.

Caroline: Yeah, I agree. It’s good for me, too. I would not want to forget my iron on, so I, I’m a fan of the auto shut-off. But we also asked on Instagram what iron our listeners use, and we wanted to round up some of the results of that. So Oliso was the most popular brand. They have one standard iron option currently, which is the Oliso Smart Iron. It’s approximately $150 U.S. They also have a mini iron, which is about fifty dollars, and some of you wrote in and said that you really like the mini irons just because they’re a great space saver.

Helen: Mhm. And Rowenta was another really popular brand mentioned. As a brand, Rowenta has several different kinds of irons. The most popular Rowenta irons were the Eco Intelligent, the Rowenta Steamforce, and the Rowenta Focus. Loves the names.

Caroline: And quite a few of you mentioned that you had a cheaper iron picked up from a thrift store or stores like Wal-Mart. This can totally get the job done. Do what works for you and your budget. I’ve actually found some pretty nice irons at thrift stores. I scored a Rowenta, like, 10 years ago at a Value Village, and it served me for a good number of years. So keep your eye out for those, like, kind of, fancier irons at the thrift store, so you can save a little bit.

Helen: Yes, and do clean them if you’re buying used irons and you don’t know where they came from. Because people use irons for, like, melting wax onto their snowboard and stuff like that so, you know…

Caroline: Good point.

Helen: …you don’t know where that iron’s been. A number of you also recommended gravity feed irons which are really cool. And if you don’t know, gravity fed irons have a water tank that’s a separate unit, and that’s often hung above the ironing surface or, you know, the iron has a really long cord that, kind of, goes up and then down. So essentially the water is gravity fed down into the iron, and a huge pro of having a gravity feed iron is that you don’t have to regularly refill the water tank because it’s so much larger than what would be inside your standard iron. These irons also get really hot. There what’s used most commonly in the fashion production industry. So, yeah, it’s, I guess it’s more of an industrial approach to your ironing which is pretty badass.

Caroline: Ooh, I want to mention a tip that I read, I believe it was in that Seamwork article by David Page Coffin, where he recommended putting a hook on your ceiling even if you’re just using a regular iron, just to hook the cord out of the way so that you’re not always, like, tripping on it. And this is an issue that I have all the time where I’m like, my iron’s attached to an extension cord, and then there’s just, like, so much happening, and then it gets caught in the fabric. So I definitely want to try that because I feel like it would really, kind of, up my sewing setup.

Helen: That would be cool. If you have, like, a really high ceiling you could also just put a hook, like, on a wall depending on where you’re situated, right? Make it work.

Caroline: Mhm. Okay, and then finally, there are also steam press tabletops. So, these are much larger, and they, kind of, operate like a grill press where you slide the fabric inside and push down the handle to press. They are really handy for bulk fusing interfacing. These can cover a large surface area, but we think it’s important to have, like, an iron that you can really use the tip of and, kind of, use it as a tool that works for you. So, I think that the steam press tabletops can be cool for certain applications but really, like, getting in, you can’t, like, you know, press a dart on a steam press table top. So I think having an iron…

Helen: It would be challenging.

Caroline: …is also important.

Helen: Yeah, for sure.

Caroline: They’re a cool tool.

Helen: Very cool. I think I’m, there might be one of those in my future one day if I have an even bigger studio.

Caroline: Yeah.

Helen: We’ll see. Okay. Now that we’ve discussed irons, the next important component is an ironing board or surface. So the classic ironing board table is something we can all easily recognize, and you can get them, you know, at Costco, IKEA, Walmart. You can get them used. I found one in a back alley once, and I’m still using it, so, you know, they’re everywhere.

Caroline: I love that. One man’s trash…

Helen: Right?

Caroline: …is another woman’s treasure.

Helen: It was a metal ironing board, you know, so, like, they don’t really go bad.

Caroline: Yeah, they are very, I mean re-padding and recovering a board is easier than you might think, so it’s totally worth it if you, you know, see something in a back alley that looks like it could be useful. You never know.

Helen: And looks like it’s free. Don’t just go taking stuff.

Caroline: I mean if it’s in a back alley, I think it’s fair game.

Helen: That’s how I view things. Okay, and you mentioned the good cover which I think is a great tip. So if yours is thin, or maybe it’s a little dirty, a little old, consider cleaning it or replacing it. You can always sew your own ironing board cover, too. You don’t have to pad the cover when you sew it. You can just sew, like, a cotton cover and then buy it some padding to go underneath it, or you can also work the padding into the cover when you make it, it’s up to you.

You can put multiple layers in there, too. Like, if you buy a, kind of, cheap ironing board from Walmart, and you notice that, like, when you, kind of, push on it, you can feel all the bumps underneath. You can feel that, like, metal grate underneath, that’s not great. So you actually want to have, like, enough padding in there so that you’re not feeling all those bumps, and they’re not going to show up on your project. So you can just buy a cheap ironing board pad and put that underneath and just layer those until you feel like you’ve got a good surface.

Caroline: Yeah, you can buy, like, specific pads for ironing boards. You can also just use quilt batting. That’s what I’ve done, and I just have a piece in my stash, and I, kind of, cut it to size as needed. I also wanted to mention, regarding ironing boards, for the longest time I just used one of those little IKEA table top ones when I was sewing in a really small space.

I think those are super handy, like, you can even put it next to your sewing machine or on your cutting table, and it’s really easy. It even has a hook attached to it that you can, like, hang it on a wall afterwards. So having something small that, you know, kind of, worked for your space can totally work for your sewing practice. I don’t think you have to have, like, a huge elaborate ironing board set up to get a good result. So those like little mini ones work great, too.

Helen: Yes, they can be super handy, and I love this idea of customizing your ironing board by making your own cover. So, use a fabric such as, like, a cotton canvas or linen or hemp or quilting cotton can be great option for ironing board cover. Um, you want the fabric to have some texture to it to provide a little bit of resistance. So you don’t want something, like, slippy, and you don’t something polyester because we want it to be able to take that super high heat. So if you’re using quilt batting make sure it’s wool or cotton quilt batting. But get creative, and there’s lots of blog posts out there that will walk you through making an ironing board cover if you want to do that.

Caroline: Definitely. Okay, so alternative to an ironing board are hand built pressing tables or ironing mats. These are so cool. Brooks Ann Camper has a dreamy pressing table setup which is similar to her hand built cutting table but with batting and cotton canvas on top, so we’re going to link this in the show notes. It’s so, so good.

But for those of us that are limited on space an ironing mat or mini ironing board, like I mentioned, could be a good option. You can purchase these online or you can make your own, and these are really great because after sewing, you can simply fold them up and put them away. I’ve seen some really cool, kind of, custom setups like this where, either using, like, a little kitchen island that you then cover with batting and canvas or even just, like, a board and that you then cover with batting canvas and then you can, kind of, stow it away under your table or, you know, in a closet.

Helen: Yeah.

Caroline: I think you can really, kind of, customize your ironing board based on the space that you have and, sort of, the setup that you like personally in your sewing practice.

Helen: Yeah, and it’s, like, a beginner upholstery project.

Caroline: Yeah, and such a fun way, like, doing these custom covers or even custom, kind of, pressing table setups, it’s such a fun way to use those quilting cottons in your stash. I don’t know about you, but I definitely have a bunch of cottons that are, like, really fun prints that I bought early in my sewing journey that, maybe, aren’t right for garment sewing, but you’re, kind of, saving them for a project. That’s a fun way to, like, inject color and print into your sewing room with quilting cottons.

Helen: Yes. Okay, what about sleeve boards? Because I see these, like, little miniature almost ironing board shaped things, but they’re not really big enough to actually press anything on. Caroline, tell me about sleeve boards.

Caroline: So, sleeve boards, they, kind of, look like miniature ironing boards, and these are really great for pressing seams in sleeves or other, like, tube-like sewing things.

Helen: Like pant legs.

Caroline: Yeah, so they’re, kind of, you know, these, like, long skinny ironing boards, and I have one I pull it out when I’m, you know, really in need of, kind of, getting into those tricky spots. I think it’s one of those tools that you can have if you’re wanting to invest a little bit more in your sewing practice and have, like, a few more, kind of, handy tools around. I don’t know. Do you use your sleeve board?

Helen: I think the name says it all, and I don’t wear a lot of sleeved garments, so I don’t really have, like, a need for a sleeve board. But I think if you do wear a lot of button up shirts, it’s a handy thing to have, just for maintaining those items in your wardrobe and actually pressing them, you know, making them nice and crisp for, for your Zoom meetings.

Caroline: I find a sleeve roll is something that I’ve reached for more often than a sleeve board. I think my sleeve board can be a little bit cumbersome, and it’s not the best. It, kind of, like, collapses on me sometimes, so I don’t reach for it as much as I reach for my sleeve roll which is next on our list of tools that we want to talk about: the tailor’s ham and the sleeve roll or what I like to call the tailor’s sausage because when you have a ham, of course, you need a sausage to go with it.

Helen: Yeah, it makes total sense.

Caroline: But these are often sold in a set of two. They look really similar. Um, you know, the tailor’s ham is, you know, ham-shaped and the sleeve roll is more, kind of, long and sausage-shaped. And the tailor’s ham is a stuffed, curved pillow that makes for a great pressing tool when you’re pressing curves, like sleeve caps, necklines, darts. Because of the curved nature of the tailor’s ham, it allows us to press those curved seams more easily and really get into those, kind of, trickier areas.

Helen: Yes, and a sleeve roll is similar to a tailor’s ham, but it’s more cylinder or sausage-shaped, as Caroline said. You, so you can use it to press seams in sleeves and pant legs. You can stick it inside, up the arm of your sleeve and get in there and be able to press on top. So you’re just pressing right onto these tools. You’re pressing on the tailor’s ham and on the sleeve roll, and you want these tools to be packed really tightly. They’re almost hard to the touch if you actually buy one from the store, but you can make them yourself. You just have to make sure that you’re really stuffing the padding in there because you do want them to be really solid.

Caroline: And if you want to make your own tailor’s ham or sleeve rolls, Kristiann Boos from Victory Patterns wrote a really great blog post for Tilly and the Buttons, and we’ll link that in the show notes if you want to explore that.

Helen: Yes, I like that these tools have this traditional look to them, like, they often have this wool plaid side and this, like, cotton underside. So, like, I have a sleeve roll that’s like the red and black buffalo check, and then my tailor;s ham is more of a red and green and, and white plaid texture, and I think those are typically what they are, and I think there’s probably an origin story there, but we didn’t include that in this prep. We’ll have to look that up.

Caroline: Yeah. I think those, the two fabrics used are an intentional thing, right? The cotton side you can use with higher heat when you’re doing, like, shirt making and pressing things like cotton. And the wool allows for, like, a really good grip on whatever you’re pressing, so this is something that you would use when you’re pressing wool. Of course, you know, wool with wool also synthetics or fabrics requiring low to medium heat are good ones to press on the wool side. I, kind of, just, like, use mine willy-nilly. It doesn’t make a big difference, but it is interesting that there’s actually, like, a purpose for each of the fabrics on either side.

Helen: Yeah, and if any of our listeners know why those fabrics, uh, were chosen in the first place, like, other than their intended purpose, but why those prints were chosen, I would be curious to know that.

Caroline: Yeah.

Helen: Hit us up.

Caroline: Hit us up.

Helen: There’s also something called a needle board which is used for pressing napped fabric, and it’s a surface with tiny little needles on the top. It, kind of, looks like a little mini bed of nails, and this holds the fabric up when you’re pressing so that any of the nap, like, if pressing a velvet, can go down into that needle surface, and then you can press on top without crushing which is what would happen if you did it on a flat surface. An alternative, if you don’t have a needle board, is to use just a cotton towel because it has that texture so it can hold the nap up above the ironing board.

Caroline: Yeah, it gives, like, a little buffer, right?

Helen: Yeah.

Caroline: Okay. Let’s talk about hemming tools. Seam gauges can be used to help mark an even seam allowance. I like to keep a seam gauge with my pressing tools to help with hemming. I find it super useful. You can find cheap ones for, like, two bucks. You can also invest in a little bit of a higher quality seam gauge that’ll maybe last a little bit longer.

Helen: Yes. I agree, and a good alternative is just keeping a ruler nearby because essentially you just want to have something nearby that you can measure with.

Caroline: Yeah, definitely.

Helen: Another great hemming tool is the hot hemmer. Hot hemmers are a ruler that you can iron on, so it’s a great tool to help with your hemming. You can put it down. You can fold the fabric up onto it. Make sure you get that hem allowance right, and then you just press right on this ruler. It’s, kind of, got, like. a foam texture to it.

Caroline: Yeah, you can find different versions of hot hemming tools depending on the name brand. So we’ve heard good things about the Clover Hot Hemmer and the Dritz Ezy-Hem Gauge. I love these names. Hot hemmer.

Helen: Hot hemmer. Yeah, I think having some of these pricing tools on hand can be fun and also super handy, obviously. But yeah use what works. Use what you got. It’s all good.

Caroline: Yeah, another tool that can be handy if you want to, like, up your sewing game is a tailor’s clapper and or a point presser. So the tailor’s clapper is something we mentioned in our wool episode, and this is a pressing tool made of wood that helps to form flat crisp seams. So you use it by pressing the seam with steam, and then you lift your iron, and you press the seam down with the clapper until the surface cools. So you keep that clapper down until the fabric is cooled, and then you lift it off, and this is going to create, like, a really beautiful flat seam.

Helen: Exactly.

Caroline: Sometimes a tailor’s clapper is attached to a point presser. And this has, like, two points to it. One is pointier. One is, kind of, squared off, and this is a great tool for pressing smaller areas like collars, cuffs, corners. So, I think if you have, you know, a little bit more to invest, you can get the whole shebang which is, like, the clapper and the point presser, but if you don’t have the budget for this, that’s totally fine.

If you don’t have a tailor’s clapper or a point presser, you can also just use a piece of wood. That’s what I do. I literally just have a scrap piece of wood in my sewing room that I clamp down, or clap down, when I’m doing anything like wool, with wool or tailoring or anything like that. So you definitely don’t need the fancy stuff for this.

Helen: No, you don’t, but it is fun to use this technique because it does make a big difference with wool garments, and I’ve also found that it helps a lot with denim as well. Those bulky seams, pressing down on them and letting them cool helps to just make sure you’re setting that press.

Caroline: Yeah, agreed.

Helen: Okay, press cloths is probably the one thing I would say, if you’re going to get any ironing tool to have in your arsenal, a press cloth because it provides protection between the iron sole plate and your fabric or your fabric and the ironing board, depending on what you’re doing. So there are lots of different kinds of press cloths you can use. You can purchase them. You can make your own.

We like the silk organza press cloths because they’re see-through, so it’s easy to identify the area that you’re pressing. You can, kind of, see what you’re doing. They can handle a really high heat. That’s why press cloths are often silk organza, but cotton is a good option, too. So, just a scrap piece of organic cotton or a hundred percent cotton will work as a great press cloth as well, and they’re usually pieces of fabric with the edges cut with pinking shears. So you really don’t need to buy them from the store, but you can just go buy some yardage of these kinds of fabrics and cut them, or you can buy, I think, the Dritz has the silk organza pressing cloth that I see most often.

Caroline: Mhm. Yeah. I love those silk organza because you can see through it. It’s, like, the most convenient one for me. But when you’re sewing with wool, it’s a good idea to use a wool press cloth or maybe even just a scrap piece of wool left over from cutting. Generally with press cloths, I mean the cool thing is that you can make your own, right? So even just using, like, a piece of cotton muslin is good enough, I think. And it’s something that we think we should definitely have, so if you don’t want to buy one, just make your own, and I think it’ll work great.

Helen: Yeah, and we have an episode all about interfacing if you want to learn more about interfacing, but that’s where press cloths are often used is to protect your fabric and your iron from the interfacing, especially, you know, the fusible ones obviously where there’s glue involved. So you can layer a press cloth. You can put a cloth down on your board and then your project and then another cloth and then your iron. Just protect everything so that things don’t get dirty and messy, and I speak from experience because my ironing board is a hot mess. So I’m not careful with that kind of thing.

Caroline: I remember back when you lived in Vancouver there was an ironing board that was like very, very, very, dirty…

Helen: Sad…

Caroline: …and I used to bug you about it because it was like…

Helen: It had a hole in it and everything.

Caroline: Yeah. It was, like, there’s, like, brown stains across it. It was, like, I was like, how are you pressing on that? But you know, you know your ironing board best, Helen, you know.

Helen: I just replace them often.

Caroline: Yeah.

Helen: I can’t be bothered. I like to get messy when I’m creating.

Caroline: I totally get that.

You may encounter some other ironing tools, as well, that we haven’t mentioned today. We love our bias tape makers for making bias tape. We always like to keep pins on hand by the ironing board for pressing and pinning as you go, like on a hem, so obviously, there are other tools that you could use, but these are, kind of, the main ones.

Helen: Mhm, and you’ll also want to have a water filling jug or some sort of vessel to fill your iron if you don’t have a gravity fed iron. So this could be a little funnel or a watering can specific. I have, like, a little glass vial, kind of, thing that I keep fill, and it has a little spout, so it’s easy to pour in without making a mess. I think that’s the most important thing.

Caroline: Yeah. I have a cute little, like, cream jug that I use that I found at a thrift store, and I find it, like, really cute on my little window sill next to my iron, so you could use pretty much anything as a water filling jug, but it is handy to have something there.

This sparks an interesting question, Helen, and that is what kind of water should we, you be putting in your iron? And I have to admit, I haven’t really thought about this very much… until this episode.

Helen: You don’t go to the sewing store and get the iron water, Caroline, the special iron water?

Caroline: How much does that cost? It sounds like a rip-off.

HeleN: Okay, this does depend on your iron. So first, consult your iron manual. See what the best water is they recommend. If you have a water filter like a Brita or a filter built into your fridge, according to Nancy Zieman, this is the best water to put in your iron. So you want to avoid any mineral or sodium buildup by using filtered water. A common myth is that you need to use distilled water for your iron. For some irons using distilled water may be fine, but for popular brands that we’ve talked about today, for most irons that are out there, most of them say not to use distilled water.

For example, the Oliso iron we mentioned earlier just recommends using tap water or spring water but not distilled water because distilled water can remove the minerals from the metals inside the iron, so we don’t want that happening. And I will say I just fill mine with tap water, but I know that water is different wherever you live. So I think it is something to consider, and I can’t say, with some certainty, that tap water is fine everywhere, you know?

Caroline: yeah always good to do your research, but I think If you use tap water, you’ll probably be fine.

Helen: Yeah, you probably don’t need to change now.

Caroline: Okay, let’s move on to some pressing tips that we have. Um, this is the last thing we’re going to cover. So let’s get into it, Helen.

Helen: Okay, how not to burn your fingers brought to you by Love to Sew. Be careful when you’re pressing. It can be, kind of, easy to burn your fingers with your iron. So like I said earlier, don’t use the steam if you’re getting in really close with your fingers. And if this is something you struggle with often, Clover has a Precision Stiletto Tool that can help to hold down tricky spots without having to put your fingers close to the iron, but, like, you could use, like, long tweezers or something.

Caroline: Yeah, I also actually have, which I don’t use them very often, I actually forgot that I had them until now, but these little silicone finger covers that I bought.

Helen: Oh yeah.

Caroline: I can’t remember the brand. I feel like it’s Dritz or Prim. But yeah, you just, kind of, slip onto the edges of your fingers, and they make it so that you can get in really close with the iron and not burn yourself. So I’ll see if I can find a link, and we can link that in the show notes. But having those tools that work for you, I think, is a great call so that you do not burn your fingers. Okay, so you’re not burning your fingers. Number one tip.

Helen: Check.

Caroline: Let’s talk a little bit about efficiency because I feel like there are some things that you can do in your sewing practice that make it, you know, the ironing experience, go quicker, feel a little bit less cumbersome to, like, the flow state that you might get into when you’re sewing.

So our first tip for efficiency would be to sew all the seams that you can before pressing, and this is actually something that I learned from you, Helen, cause I used to be, like, a very meander-y sewist that would just be like, I’ll sew a seam. And then I’ll go press it. And then I’ll sew a seam.

But you are so serious about, like, always sewing all the seams that you possibly can before you take your project over to the iron. So you’ll, kind of, like even jump around in the steps to get to that point where you can just be more efficient with your pressing.

So, for example, instead of sewing up one side seam, going to press it, and then coming back and sewing another one, you can sew up both of your side seams before you even pick up your iron. You may also even be able to sew multiple seams in a project before you go to the iron. So jump around like Helen, and make it happen. I do think this is such a great efficiency tip, and it can make a really big difference, and it’s also really satisfying to feel like you’re like, I am maximizing my ironing time.

Helen: Yeah, I enjoy doing this, and I think I enjoy the most when it’s a project I’m really familiar with, so obviously, with designing our own patterns, I make them so many times, so I know exactly what seams can be sewn before I hit that iron. But if it’s your first time sewing something and you just want to follow the instructions, I think that makes total sense.

Another tip we have is to have all your ironing tools on hand. So try keeping all your press cloths and other ironing tools close by your ironing station. I, like, have a little IKEA rolling cart that I use for that. You could set up a little shelf or something nearby. I think having them on hand makes a huge difference when you start to get into your ironing.

Caroline: Yeah, and then just plugging in your iron at the start of your sewing session. This might seem obvious. But that way you don’t have to wait for your iron to heat up. I also like to, kind of, have, like, my third eye on my iron at all times. Like, I’m always kind of, like, checking because it flashes red when the auto shutoff goes on, and I’m always, like, looking for that red flashing light in my peripheral vision to, like, then go and, like, turn it back on so that when I do need to go and use it, it’s not the, like, doomsday red flashing, No, I have to wait a few minutes now!

Helen: I’ve definitely done that thing where you go and you press with the cold iron and you try to use the steam and it spits water all over your project and it’s, like, disaster.

Caroline: Yeah, but it is nice to, kind of, get to know your setup and get to know your ironing tools and, kind of, have it all the way that you need it to be, to be as efficient as possible for you. So I think that looks a little bit different for everyone but really embracing pressing and the process, I think, will help you get there.

Helen: Yeah, especially if you’re a beginner, because setting yourself up in the early stages of your sewing to get in the habit of pressing, I think, then it will just become less cumbersome over time, and hopefully, you’ll learn to love it, too.

Caroline: Yeah.

Helen: Okay. Finally we can’t leave you without talking about cleaning your iron because mineral build-up can actually burn and potentially stain your fabric. So we do recommend taking a look at your iron. See if there’s any build-up, or perhaps, you know, sticky spots that should be removed from the sole plate. Maybe that’s something you can do after you listen to this episode. Go run and check out your iron. So you can clean your iron in many different ways. Check the manual, again, to see what’s good for your specific iron, but we read that Crafty Gemini uses a Mr. Clean Magic Eraser to clean her iron. She turns the iron on hot and rubs the Magic Eraser across the surface, and I love my Magic Eraser, so I might try this.

Caroline: I would wear, like, an ‘Ove’ Glove when I’m doing this or something. I feel like rubbing a Magic Eraser on a hot iron is, like, a finger burning…

Helen: It’s true.

Caroline: …risk.

Helen: I don’t know why the iron needs to be hot for this. I might try it cold first.

Caroline: Yeah, but it’s true that the Magic Eraser is actually quite magical. It can do a lot, so that doesn’t surprise me.

Helen: Dryer sheets are another popular method where you place the sheet on top of a towel and just run the iron over the sheet on low to remove any buildup on the sole plate, and after this process, you can wipe down any any residue left on the plate with, you know, a damp cloth.

Caroline: There are lots of other ways, too. We’re going to link all of these resources in the show notes at lovetosewpodcast.com. The important thing is: clean your iron to help it perform its best and prevent any unnecessary staining.

Helen: Yes. Okay who knew there could be so much to cover about pressing, really?

Caroline: Who knew?

Helen: It really is a pressing issue, and we’re glad that you stuck with us till the end. And if we missed your favorite pressing tool or technique or you have some amazing thing that you do when you’re pressing that you want the world to know about, reach out to us on social or in our inbox and share what works for you. We can’t wait to hear from you, and we’ll talk to you soon. Bye.

Caroline: That’s it for today’s episode of Love to Sew. You can find me Caroline at blackbirdfabrics.com and Helen at helensclosetpatterns.com.

Helen: We’re recording in beautiful British Columbia, Canada, and you can get in touch with us and get links for everything we talked about in this episode at lovetosewpodcast.com.

Caroline: And if you’re loving the show and you want to help us out, you can support us on Patreon. We have so much fun over on Patreon. Contribute $5 or more a month and you’ll get access to our bonus episode feed. And if you contribute $10 or more a month, you’ll get a 15% discount code for both of our shops and a bonus mini episode. So you can go to patreon.com/lovetosew for more info.

Helen: Thank you to our amazing podcast team. And thank you all so much for listening. We will talk to you next week.

Caroline: Bye.

Helen: Bye-bye.

Caroline: I’ve tried to think of a good pun to end it off, but no. What about, like, press forward with your day? Press on! Press On!

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Anybody need a pep talk?

We have assembled a fantastic pep squad of sewists to reignite your sewing passion! In this episode, there are nine short talks from former guests Brooks Ann Camper, Jasika Nicole, Elise Blaha Cripe, Aaronica Cole, Jenny Rushmore, Julian Collins, and Denise Archer, as well as your hosts, Helen and Caroline.

The transcript for this episode is on this page at the end of the show notes.

Brooks Ann Camper:

A post shared by Brooks Ann Camper (@brooksanncamper)

Jasika Nicole:

A post shared by Jasika Nicole (@jasikaistrycurious)

A post shared by Jasika Nicole (@jasikaistrycurious)

A post shared by GET TO WORK BOOK (@gettoworkbook)

A post shared by elise blaha cripe (@elisejoy)

A post shared by Blackbird Fabrics (@blackbirdfabrics)

A post shared by Aaronica (@needleandthebelle)

A post shared by Aaronica (@needleandthebelle)

A post shared by Aaronica (@needleandthebelle)

Jenny Rushmore

A post shared by Cashmerette Patterns (@cashmerette)

Julian Collins

A post shared by Julian C. (@juliancreates)

A post shared by Julian C. (@juliancreates)

Helen Wilkinson

A post shared by Helen’s Closet (@helens__closet)

Denise Archer

A post shared by Denise Archer (@pin.prrrick)

A post shared by Denise Archer (@pin.prrrick)

Transcript:

Helen: We are recording today on the traditional, ancestral, and unceded territories of the Coast Salish and Kwakwaka’wakw peoples, including Tsleil-Waututh, Squamish, Musqueam, and K’ómoks first nations.

Hello and welcome to Love to Sew. I’m Helen, the designer behind Helen’s Closet Patterns.

Caroline: And I’m Caroline, the owner of Blackbird Fabrics.

Helen: We’re two sewing buds who love to sew our own clothes and want to encourage you on your sewing journey, too.

Caroline: Join us today for a supercharged pep talk! Woo!

Helen & Caroline: We’re back!

Helen: We are so happy to be back for our spring season with you all. Thank you so much for your patience and your support over the break and your support of us taking a break. We really, really appreciate it.

Caroline: Yes. Breaks are very healthy, and we had such a great time, but now we’re back, and we really want to thank our patrons. Since we decided not to have advertisements on the show anymore, our patrons are our support network, and Patreon is how we pay our team and ourselves. So thank you all so much for supporting us over there. And if you want to join our Patreon family you can do so at patreon.com/lovetosew. We release bonus episodes every month even in the off season.

Helen: Yes, and we do monthly catch up’s where we talk about what we’re sewing and share our favorite recipes, music, and shows and just have a little bit more of a personal connection with you all which is so lovely. So we would really love to have you join us patreon.com/lovetosew.

Caroline: Yes, and we had a really nice holiday season and super busy start to the new year. We hope that you’ve been well and safe and that you had a chance to do some sewing.

Helen: Yes, and today we have an exciting episode to kick off the season. We invited some of our past guests to record a little pep talk. So we could have an episode dedicated to lifting you up and encouraging you in your sewing. I feel like we could all use a pep talk these days. So this is one we hope that you can return to any time you need a boost and a reminder that you can do it. So without further ado, let’s hear these pep talks.

Caroline: Let’s hear them.

Brooks Ann: Hi there. My name is Brooks Ann Camper, and I am a couture wedding dressmaker who teaches my unconventional methods of custom sewing to those with unconventional bodies who sew for themselves. And for my pep talk I’m going to start with the classic: “You can do it!” Didn’t do the trick? Well, I’m going to talk about hats and flossing my teeth while addressing the inevitable questions that arise while working through a sewing project and making a case to go slow.

Well, for those of you who are self-taught, from someone who has a full academic and professional background, I want you to know that I don’t have all the answers, and I don’t know what I’m doing either. I simply do a lot of prep. I am scrappy. I know how to wing it, and I want to empower you to wing it, too. Instead of being frustrated by all the inevitable unknowns, think of your questions as possibilities and opportunities because you don’t have to already know the answers to your questions.

Part of successful sewing is figuring things out, and you get to decide the right answers for you and the best part: you don’t even have to get it right. Often moving forward means you have to go backwards. But you are so smart and lucky to have chosen sewing which is full of reversible, adjustable processes at almost every step.

As a couture wedding dress maker, you probably think that I am big on precision and insist on proper technique, but, y’all, I am loosey-goosey, and I find a lot of advantages to being loosey-goosey. The maker gets to decide their path and their goals, and if you reached your goal, then you did everything properly. So many sewists fear a bunch of mysterious rules and worry that they’re not doing things right, when sewing steps can really just be a puzzle that you get to solve in your own way.

So my work is not successful because I know what I’m doing. It’s that I have gotten good at, and enjoy, revising and editing throughout the process. I am not afraid to try and get something wrong and go back. In fact, I expect it. I welcome revisions and puzzles and questions with curiosity rather than approaching them with frustration. So when I say I’m someone who wings it, I may sound like I mean I throw caution to the wind, but that is rarely my style. I wing it cautiously. I’ll wing it slow.

For example, I incorporate a lot of hand sewing into my garment making which may lead you to think about meticulous, persnickety finishing stitches, but the vast majority of hand stitches used in my garments are temporary. The stitches aren’t part of the final garment. They just help me make the garment a success. The easiest hand stitch, which is the running stitch, is by far my most employed and most useful stitch. Basting is a marvelous tool that gives me tons of information without any risk. Basting allows me to quickly go back which allows me the confidence to go forward.

Basting stitches don’t need to look pretty and can be quick to stitch, but the greatest feature is that you can remove them without a trace in about one second. Basting can be your command + Z button. You get to try out the seam or placement of a pocket or whatever, with no risk and no commitment. And if you love it, then basting helped you make your decision and most often, will also aid you in making the temporary permanent.

But the true value of basting is that you can discover early when something isn’t doing it for you. You gain the knowledge and can make improvements without a seam ripper, which is a huge time-saver. So as I wing it and forge my own path, I rarely know how I’m going to complete a step before I get there. Instead, I keep things as temporary as possible for as long as possible, and I move forward cautiously one step at a time.

And while I do a lot of prep work and experimenting and I take a lot of care while sewing, I also have zero expectations for perfection. I am experienced enough to know that it will never be perfect. And after 20 years of sewing custom professionally, I have never made anything that I wouldn’t do a little differently the next time around, but that’s also, kind of, my favorite part. I love learning. I am not a factory. I am one human being, and I love that my handcrafted clothes have that human element to them.

To me, the most interesting and beautiful parts of a handmade garment are where you can see the mark of the maker. And personally, I love the history and the stories that are stitched inside something custom made. So keep it real. Perfect is boring. For me, realizing that perfection is unrealistic and unnecessary has been fantastically freeing. The questions that naturally will arise during a sewing project and the answers that you’re looking for are most often about your specific project, your specific tools and materials, your specific body, your specific skills, and your specific personal preferences.

These are not answers that can be found in a book or that could have been predicted by your commercial pattern’s designer. So your questions are a natural and imperative part of the process. Loosening perfectionism and abandoning dependence on someone else’s work forces you to consider the exact moment of the process that you are in, and staying in the moment forces you to consider your specific goals and needs for your unique mash up of elements which will lead you to being successful with these elements. And what’s the worst that could happen?

For several years, I worked for the theatrical milliner Lynne Mackey making custom hats for Broadway shows. Often fellow hat makers and I would head to her table scared or confused or frustrated over something that we were working on, and so often Lynne would put it into perspective by simply saying, “It’s only a hat.” So y’all, it’s only clothes. Relax, learn a lot, cut that delicious fabric, and enjoy every minute of it.

But what if you feel stuck, like you have no way to figure out the answers? Well, this is usually telling you that you are getting ahead of yourself or that you have a barrier in place. Instead of figuring out the answer to your original question, you may need to slow down and figure out what barrier is keeping you from success and how you can eliminate this barrier.

So, for example, up until recently I rarely ever flossed my teeth. It’s not that I didn’t know that it would be beneficial. It’s not that I didn’t want to have flossed teeth. So I started to think about why I wasn’t doing it. And what I came up with is: flossing is super boring, and I don’t want to stand around and complete the task, even if it only takes one minute, which helped me come up with a plan that turned me into a flosser.

What if I combined it with something that I love? Well, any excuse to stay in the bubble bath just a few minutes longer is fine by me. So now I keep my floss with my soaps and I get more time in the bath, and my teeth are thankful. And I’ll never forget one of the brides that I worked with who used me, kind of, like the bathtub. As soon as Greta got engaged, the part of wedding planning that she looked forward to the least was the wedding dress.

So she made the decision to instead do whatever she could to make it the most fun part of all. Instead of salon shopping, she hired me, and we had an absolute blast together. And I often think of Greta’s way of conquering her challenges by making sure she approached them with the mindset of having fun.

So the crux of most failures isn’t that you don’t know what you’re doing, it is impatience. If you can relax your need for speed to the finish line, I think you’ll find more peace and more success. Wait for that swatch, work through that mock up, do practice samples, baste. Sewing is fun, and doing it well is a lot of work. Recognize this, plan for this, celebrate this. Find ways to make each step fun while taking it slow.

Be someone who is willing to put in the work, conquer the challenges, and forge your own path to make beautiful things. And another thing I think is important to recognize is when it’s time for, to quit for the day and when it’s time to wrap up a pep talk. So in closing, questions are good. Sewing includes command Z. It’s only a hat. Floss your teeth. And you can do it. Buh-bye.

Jasika Nicole: Hey, all you Love to Sew listeners? This is Jasika Nicole here with a little bit of a pep talk for all of the makers out in the world who are looking to reinvigorate their making process. I have a couple of big Ideas that really hit home for me over the past year that I would love to share with you all.

So at the beginning of the pandemic, I got back into pottery for the first time in a few years. I used to belong to a local pottery studio where I learned how to use the wheel. I learned a little bit about hand building. I learned about glazing. And I had a really great time at that studio. And I really love the man who owned the place. He was kind and gentle and very generous with his knowledge. The pottery that I made at this studio was always pretty small because I was too afraid to throw anything bigger than, like, a pound at a time, but I was still really proud of the stuff that I made there.

Now fast forward to early 2020 when a friend of I’m gifted me her pottery wheel because she just wasn’t using it anymore. And I obviously, you know, had not been doing pottery for a while at that point, but I happily accepted this free gift. And I decided to set up shop in the storage room beneath our garage, and over the span of a couple of months, I turned that storage room into a really lovely, little pottery studio for myself.

Um, I have shelves for all my greenware so that it can dry. I’ve got a table where I work on handbuilding. I’ve got a nook for my pottery books. I’ve got a little unit to put all my glazes and hand building tools. And of course, I’ve got my little used wheel and my stool that goes with it. Now it took me a little while to get back into the groove of throwing, but once I did, I started noticing that the things I was creating were so different than what I had created when I was a member of the pottery studio.

Now, I loved the work that I had done before. Again, I really did feel proud of it. But when I was working in my own studio, it was the first time that I felt like I was creating pieces that looked and felt like me. I was all of a sudden inspired to experiment with different techniques and inspired to try out weird things, and I would keep what worked for me, and I would discard what didn’t, but I wouldn’t have any judgment of myself or my work in this process.

I started wondering why my pottery experience at home was so different than it had been at the studio, and I realized that that was exactly my answer. It was my environment, being able to work at home in my own curated space with nobody looking over my shoulder and telling me that what I was doing was quote unquote wrong, which did happen more than once with some of the men who were also members of the studio, and I really hated it.

It just unlocked something in me where I suddenly, I didn’t have the need to, to be, like, performatively creative. That is a term I just made up, literally just now, but I feel like it describes the mindset that we sometimes have as artists where we try to create and the way that we have been taught or to create in the way that we think others will respond to instead of in a way that feels really authentic to our own style and experience and comfort level.

So the pieces that I was making in my own home, they felt, like, a world apart from what I had created in the pottery studio I belonged to, and now I, kind of, wonder how long, if ever, it would have taken me to, kind of, find my own voice through this medium if I had stayed at the studio and not been able to build a practice on my own terms in my own space.

The point of the story isn’t to say that everybody needs to create in isolation at all. But rather, that everybody should really try and pay attention to the environment that generates the most, the most peace, the most comfort for you individually because that is the type of environment that you are going to end up thriving in. There are some people, like me, who love to create in isolation. There’s other people that are going to soar when they are in a group setting because they find so much inspiration from the energy that is being cultivated around them. There are other people that are going to realize that they don’t really care who’s around them, that they just like to create while they’re outside in nature. There are other people that are going to realize they like to create to the rhythm of music or to podcasts or to make when everybody in the house is asleep or to make when everybody in the house is awake.

There’s obviously no right or wrong answer to what your environment should look like. But I do think it’s really important to pay attention to what supports you and your ability to focus and to dream and to create the things that you are excited about.

Okay. So, the last part of my making pep talk intersects a bit with my previous idea. Essentially, I have learned to stop using the word failure in the realm of my making because I realized, through all aspects of my making, with sewing, with pottery, with knitting, with cooking, with all sorts of things, that there is actually no space for that word. Failure is a word that is used to denote something that doesn’t work out as planned, something that has no worth, no merit, aesthetically or otherwise, but the truth is that even my ugliest, worst fitting projects that did not work out as planned have taught me something really valuable that I was able to utilize in other projects that I worked on in the future.

This, uh, really beautifully shaped cup, you know, that I molded out of clay to try and make into this really interesting shape that fell apart right before I was ready to take it off of the wheel, I no longer look at that as a failure because I learned that my walls were too thin to hold up such a large piece, so that is a learning success. The sweater that I knitted for what felt like 12 years because I could not get the sleeves to attach, like, nicely to the armholes, I did not fail at that because I learned that I have a preferred method of attaching sleeves, and now I know what to look for in the sweater patterns that are drafted in the way that I want them to be drafted. And also, by the way, I did finally get the sleeves right. It took me four times, but that is a learning success. This gorgeous pair of knee-high boots that took me hours to pull off of the last because I couldn’t break the last to pull it out of the shoe, and I ended up having to use, like, all these random tools from my garage and a metal spatula to pry it out. It felt like a real failure in the moment, and I was so upset about it, but the truth is that it was totally a learning success because I did manage to get the lasts out of the boots, even though it took a lot of time, and I can also guarantee you that I will never, ever try to make a boot with an unbreakable last inside of it.

You know, the concept is, is very simple. But the truth is that the language we use to talk to ourselves in our heads has a huge impact on our emotional well-being. If we tell ourselves that we failed at making something, then it follows that we might start thinking of ourselves as failures, too. And so I want to right here and right now debunk that thought process. The word failure has no business being in the vernacular of any maker. If you are a visionary, if you have the ability to create something new out of nothing, if you can look at lifeless materials and mold them into something new that is beautiful or functional or interesting or pleasing, then you have done the opposite of fail. You have created. To fail is to reach a dead end. To fail is to run out of options. But to succeed is to keep going and to continue to say yes to yourself despite the obstacles that might have come up for you in the process. So makers, collectively, I want us all to feel like we are not failures. We are winners.

Alright, that is all the pep talk that I have for today. Thanks so much for listening. Happy making everybody, and thank you Helen and Caroline for having me on again!

Elise: Hey, I’m Elise and I’m the creator of the Get To Work Book. I don’t have any sewing businesses, but I do love to encourage people to set goals, especially goals around creative things. So it is a gift to get to share a pep talk with you today, and my pep talk, this is something that I think about all the time when I am sewing or I’ve been, like, out of the habit of sewing, and I really want to get back into it.

I use glue sticks now instead of tape when I’m tiling my patterns. I have to say it’s really, really helpful if you’re not already doing it. You probably already are. I think I’m behind. It’s amazing. And so sometimes my step is, like, cutting out a pattern right and I will often break down the project into a lot of little steps like that and then schedule it out. So Monday, I’m going to change my serger thread. Tuesday, I’m going to print my pattern. Wednesday, I’m going to tape, or glue, my pattern together. Thursday, I’m going to cut it out. Really, simple breakdown. If you feel like your steps are too big, break them down even smaller.

It is okay if it takes you three months to make a pair of pants, okay? The idea is just to get back into it and figuring out a way that you’re not overwhelmed by the project. We all know how good it feels to be able to say, thanks, I made it, right? So do that, like, to get there. Just think about the next step only. Don’t worry about if the pants are going to fit. Just worry about changing that serger thread. And if we piece all those little steps together, suddenly, we get to have a garment that we made, and, um, it’s so exciting, and then I think getting into that next project is easier when you’ve just gotten over the hump and have just gotten over the overwhelm.

So that’s my pep talk. Happy making!

Caroline: Hello, listeners. Caroline here. I am so excited to give you a pep talk today because really, who doesn’t need a pep talk right now? I hope that this feels like a big hug from me to you. I hope that it inspires you and makes you feel supported and loved because you deserve that. You are awesome.

So I learned to sew about 20 years ago. What? And I’ve had a lot of ups and downs throughout my sewing journey. I actually learned when I was a kid, and I forced my mom to teach me how to use her old Singer sewing machine because I was just drawn to it and fascinated by this idea of making clothes for myself. I really loved clothing and fashion at the time, and when I learned at this young age, there really were no rules. I didn’t use patterns. I didn’t know what I was doing. I just cut into fabric. I draped it over my body. I tried my best, and I made some cool things. And then I sewed on and off throughout my adolescence, but my next real stint was sewing was during my fashion design studies.

I decided to go to school for fashion design because obviously, I had this interest in sewing. I was drawn to it. And this time in my life was all about rules. I mean, I learned some great sewing skills and habits during this time, and that was really important I think and foundational for my sewing journey in the future. But, you know, I sewed on and off for a few years after school not a ton and the focus real-, wasn’t really about sewing for myself.

But in some ways, I, kind of, wish I could go back to those early years when I was a kid and there were no rules. There were no expectations. I was simply sewing because I thought it was so cool, and I wanted to do it. It was pure fun. It was a creative outlet for my young self, and that was such a special time. But of course, it’s not that simple. Sewing as an adult in the age of social media and podcasting, there is so much more that goes along in this practice, and I love those parts, too. I love that our podcast explores all of the complicated layers of sewing clothes for yourself, and there are so many feelings involved in this hobby, and that’s okay.

But one of the things that has enriched my sewing practice lately is to try to ditch the negative self-talk. I’ve spent many years with feelings of guilt wrapped up into my sewing I was telling myself that I wasn’t sewing enough or that I wasn’t sharing enough and that was making me feel not worthy of participating in this community in ways that I wanted to, but I am here to tell you that however much you sew, it’s enough. It’s enough for you. It’s enough for this day or week or month of your life. It’s more than enough. It’s great. It’s time that you are spending on yourself, and that is so special.

So don’t feel guilty for not sewing all the time. Stop comparing yourself to everyone else. You are worthy of sewing just as much as anyone else, and I don’t want you to let guilt or shame stop you from taking that step to just start a project. Make a plan, take small steps, schedule it in, sew for 10, 20, 30 minutes, stop thinking about other people, and just think about yourself.

I also want to encourage you to take a step back and evaluate what you love most about sewing. Take a look back at your sewing journey and think about the times that you felt really good. Don’t worry about what you think you should be sewing or what you feel like you need. Remember it’s okay not to sew everything. Figure out what you love about sewing and chase that. Chase that joy and satisfaction. Do more of what feels good and right. And take that precious sewing time that you’re carving out for yourself, and sew what you want, especially if you’re like me and you feel like you don’t always have time to sew and you have trouble fitting it in and there’s a lot of feelings around that.

Take that time that you do have and make sure that you make it special for yourself. And remember to have fun. Experiment. Drop all of your rules and expectations and pretend you’re a kid just doing this because you think it’s cool. Embrace that childlike curiosity. I’ve been playing with brighter color lately, and it’s bringing me so much joy and inspiration. So even making a small change like that, injecting something new into your sewing practice, remembering why you love it and doing more of that. I think that is going to help you feel inspired and joyful in your sewing practice.

So to recap: ditch the guilt. Embrace your sewing practice where it’s at. Chase that feel good sewing feeling. And have fun.

Aaronica: Hi, my name is Aaronica Cole, and I run The Needle & The Belle. So since I’ve been sharing more and more pictures online within this sewing community, or even just period, one of the things that I hear often is, I just love your style. And it’s so wild to me that people say that to me now because when I think about how I get dressed or even choosing the fabrics that I use and the patterns that I use to make myself things, I don’t often think of myself as being someone who’s, like, trendy or stylish or any of those things.

When I first started out sewing, one of the things that I used to do was I would just go and buy up fabric. I remember, uh, joining a Facebook group, and they would have all of these auctions, and I would just buy, just to be buying. I had no concept of what I was going to be making with the fabric, and I had no real concept of even how the the fabric felt because I was essentially rejoining, um, sewing in my adult life.

And I fell in love, or rather, the hot fabric in the moment was Liverpool, and y’all, I bought up all this Liverpool only to have it delivered, and I was like, hmm. I actually don’t particularly love the way that Liverpool feels on my skin. So I had all of this Liverpool, and I still have some of it left, I ended up just, kind of, not using it. And in fact, I did this for years, like two to three years where I was just, kind of, buying fabric that I saw with no particular thought in mind of how this would play into my closet until about three years ago when I started to really develop an aesthetic.

In my head, I thought I was, like, this really bright, bubbly, and pattern loving person. And in reality, I love the way that earth tones make me feel. So the first thing that I would suggest is: decide on a color palette. So I love the color mustard, and that was, at the time, what I, kind of, used to base all of the other colors and patterns that I chose, as far as fabrics, off of. In order to make that work, what I would do is I would actually just go ahead and put in the color mustard in the search bar of any, kind of, any fabric website that I went to just to see what fabrics that they had.

Um, whether they were patterns or just straight solids. And then I actually expanded upon what my color palette looked like. I love mustard, rust, olive green, and blush, as well as, like, a deep coral. All of those colors just scream, ah, I love that! And then I love camouflage, just like your basic traditional olive base camouflage, and cheetah print. I also have an affection for some stripes, and it’s so classic, right? So once I decided on the colors and, like, patterns that I was going for, then I would just begin to search that out.

And even now I do that. I have it set up for my kids, as well, where each one of them has, kind of, like, a color that’s strongest in their closets, and that’s just so that as we get dressed nothing goes to waste, like, we can find anything in our closets and mix-and-match them. And that was my goal. I would like to say that we do have a capsule wardrobe, but in truth, our wardrobes are a little bit too robust for them to be considered a capsule. But we do have a cohesive wardrobe, and starting out with that color palette is one of the things that really works well for us.

The next thing that I do is I have a set of, like, just certain cuts that I love on myself. Like, I love crop tops. I know as a plus size woman, you know, it’s been said for so long that we are not supposed to be wearing crop tops, and I’m so excited about the body positivity movement, just empowering many women and men to feel like we can actually just wear whatever, you know, makes our hearts happy. Crop tops make my heart happy. Crop tops and bodysuits are oftentimes, um, the basis for m-, or the foundation for, whatever outfit that I’m about to build.

I love a good body suit, too. The main reason why I love a body suit is because the way that my body is set up, there is always my shirt in the back rising, and I love to have, like, a nice, sleek, smooth line as opposed to consistently feeling like I have to fight with my clothing back there. So within my wardrobe there are some consistencies, right? Like, I love turtlenecks. I love the way that I look in turtlenecks. So I have a lot of turtleneck dresses. Some are sleeveless. Some are long sleeve. I love a sleeveless turtleneck dress because that layering, it’s so classic. And then having bodysuits, as well, because if you have a sleeveless turtleneck dress and you put on a bodysuit, now you have an entirely different look.

So that’s what I did first was, I decided what I wanted my wardrobe to look like, as far as layering went, because I am also hot natured, so I needed something that I was going to be able to get in and out of. And then I also took a look at how it played into my day-to-day, like, lifestyle. Now prior to COVID hitting, I did a lot of traveling for work, so I would need to have items that could pull double duty that didn’t need to be ironed because I was oftentimes folding things up and, like, literally shaking them out to go.

So a lot of the fabrics that I use are knit, and the reason why is because they just typically do not hold wrinkles, and it makes it so much easier to just, kind of, smooth those wrinkles out and have a cohesive and nice, neat look. The other thing that I do within my wardrobe is, I’m not afraid to mix and match patterns. In fact, in my opinion, camo as well as cheetah print are neutrals, so are stripes actually. So when you pair them all together, all you have is just a bunch of neutrals just, kind of, hanging out together. But I feel like that’s one of the statements that my wardrobe makes is that, you know, it’s, it’s bold and, and in a muted way because they’re bold with earth tones, you know?

And the other, and the last final piece that I’ll say about developing a wardrobe is that you have to do it for comfort. If you’re comfortable in dresses, then you should absolutely be sewing dresses. If you’re more comfortable in pants, you should absolutely be sewing more pants. The key to having, like, really great style and a cohesive wardrobe is really dressing for what feels good to you as opposed to trying to, you know, fit in with some other, kind of, um, life that may not be your’s.

Like right now, I’m living in all of my, you know, loungewear, and I love it. I’m absolutely having the time of my life in, like, my super plush loungewear. And I think that style, you know, we can all be trendy, right? But style is what makes it personal. Style is what makes it our own, you know? It’s our own twist on it. And for me, comfort is what does it for me, you know? I’d like for my clothes to scream, oh, she looks like she would be really fun to sit and have a cup of coffee with, and I think I do a good job tying that together.

Jenny: Hi, everyone. This is Jenny Rushmore of Cashmerette, and I’m giving you a pep talk today all about sewing clothes that fit, especially when you’re plus size. So, many of us, including me, decided to start sewing because it’s just so difficult to find clothes that fit and are nice and are made out of nice fabrics and are constructed well if you’re anything other than a totally standard size.

But, as I well know, because this is why I set up my company, it can also be frustrating when it comes to sewing patterns, and there are several things that I always want, especially beginner plus-size sewing people to know about to make you have, like, a much higher chance that you’re going to have a really fantastic outcome. Now, the very first thing I want to say is: you need to always bear in mind what has become my mantra which is that you’re going to be changing the clothes to fit your body and not your body to fit the clothes.

What that means is if a sleeve doesn’t fit you very well, it’s not the fault of your body. There is nothing wrong with your arm. It’s the problem with a sleeve, and the amazing thing about sewing is that anyone can make any sleeve in any size. There absolutely are no limits. So it’s a really, really exciting prospect. If you’re just beginning now, it takes a little while to get there, you know, like naturally you’re not going to be, like, fantastic at everything overnight, but there are a couple of things that you can do that are going to maximize the chance that you’re going to have a really good first garment and you’re going to find it a positive experience.

So, the first thing is, how do you know what size to make? Now, this is a really big one because if you’ve already started looking into patterns, you’re going to find that the numbers on sewing patterns are often not the same as the numbers of clothes that you would pick in the shops. So, for instance, I’m about, I don’t know, an 18 or a 20 in American ready-to-wear sizes right now if I went in a store, but depending on the sewing pattern, some people I’m in a 26. Some I’m in a 2X. Some I’m in an 18 G/H. But the thing is, that might sound really frustrating, but actually as sewists, it’s a really great opportunity, and the reason is, because we pick our sizes based on our measurements, not just based on a single number.

So what you need to do is, you need to measure the key parts of your body, and you can get, um, there’s loads of help on that online, but on the Cashmerette website, you go to sizing, you can find it there. You measure those points, and then you can actually pick the size that fits you best from the measurement tables. Now over 80 percent of people are going to find that their numbers aren’t all in one size. So you might be like, hold on. My boobs are a size 28, but my waist is a 32, and my hips are a 24. Oh, no, like, I’m, I’m, I’m disheartened. What am I going to do?

Well, the number one thing I recommend for people when they’re starting their journey of fitting is learning how to grade between sizes. What you basically do is join up, dot-to-dot, the different sizes and make a totally custom garment for you. And when you start to think about it, of course nothing fits you in the shops right if you’re different sizes. Like, I don’t know, I’m, like, an 18 to a 22 to a 16. Of course, I can’t find dresses to fit me in a shop because no one makes dresses for that, but I can sew my own.

If you want to learn about grading between sizes, you can go to cashmerette.com/grading and we actually have lots and lots of different tutorials on how to do that. So if there’s one thing I’d recommend you learn as a beginner who’s plus size, it’s grading between sizes.

Now, what’s the next thing? It’s so much easier if you can start with a pattern that’s more or less going to fit you. The good news is that in the last five years since I launched Cashmerette, there’s actually been tons of progress in sewing pattern companies going up to larger sizes. So now, in fact the last count, I think I saw somewhere that there are over a hundred sewing pattern companies now that go at least to, I think it was a 56 inch hip I saw on that one. If you see something you really love and you’re like six sizes out of it, I mean, first of all, I think you do have to think, does that sewing pattern company, like, deserve my money, right? And I think the very first thing I’d recommend you do is see, is there another sewing pattern company that has something really similar or maybe something that’s in the same ballpark, but you could adjust it a little bit?

So for instance, maybe there’s a new t-shirt out and you love the v-neck, but you can’t fit in that one brand. Have a look for other brands with t-shirts and you can actually change it pretty easily to have that v-neck. So you, we’re in a much better situation now than we were a couple of years ago, and we actually have a guide, there are many places now where you can find lists of companies that go into plus sizes. So on our website, if you go to cashmerette.com/plussizepatterns, we have a big list. But there are also lists available, um, there’s the Curvy Pattern Database, you can look at online. And you can also go to the Curvy Sewing Collective, and there’s lots of reviews there. and you’ll probably find that there are loads and loads more patterns there than you really ever imagined.

Now just because you do find one that fits you, say you’re like, okay, it turns out, like, I’m a size 26 in this pattern. Great. I can make it. Does that mean it will definitely fit you perfectly straight off? No, it doesn’t because there is so much variety, and sewing pattern companies have to pick a certain body type, right? They have to say, well, the shoulders are this wide. Because, you know, they have to go with something but, you know, your shoulders might be wider. Your shoulders might be narrower. Who knows? So learning to do basic fitting is really then, like, the gateway into clothes that fit you really fabulously unless you’re lucky enough that you precisely fit a sewing company.

So learning to fit, again, there are loads of online resources these days. We have a online workshop called Fitting for Curves, but there’s also, like, tons on YouTube. A lot of your sewing pattern designers will have individual blog posts. So you shouldn’t feel that, you know, there’s no pull that, you know, it’s hopeless trying to fit. I know a lot of people start off like that because now there are, there are lots and lots of places that you can learn how to do things. Again, sometimes you can make it easier. Our patterns at Cashmerette come in cup sizes up to a G/H, and we also have full bicep sleeves, if sleeves are usually too small for you, but different pattern companies have, like, different pieces. So sometimes you can really even skip the fitting altogether.

The final thing I wanted to talk about is community, so it’s really easy when you’re plus size to end up feeling very excluded and very different and trust me, like, I know how bad that feels. But what’s amazing is that, especially online, There are now these really big communities where you can fit in. You can get advice, and you can interact with people.

So just a few, the Curvy Sewing Collective, which is originally a website which I co-founded in 2014 I think, quite a long time ago now, has a super active Facebook group. And I really recommend it to all plus size and curvy sewists. It’s incredibly positive. It’s a really safe space, you know, people are putting pictures of themselves in their underwear or skimpy things. And really, you post there and you’re going to have, like, a hundred people within 10 minutes telling you, you look awesome, which indeed you should. But there is a wealth of knowledge in there because there are so many people who have so much experience that if you have a question, you can get it answered really easily. And it’s just a really fantastic sense of camaraderie in there.

And increasingly online, like, if you go on Instagram, there are loads of plus-size sewing people on there now, and I found it really helpful to like curate my Instagram feed when I was starting out because I found myself so inspired by seeing people who look like me, and sometimes I might be like, well, I can’t wear that, you know? I’m too big, and then I would see someone who was quite significantly bigger than me looking incredible, and it would be such a wake-up call that, you know, your size really doesn’t dictate whether you can look gorgeous. It doesn’t dictate what you can wear. It doesn’t dictate what your style is.

And that’s the magic of sewing because if you don’t sew, well you, kind of, are limited actually to, like, what some buyer in a shop decided, like, three years ago at some fashion trend conference, you know, what they thought the plus-size people should wear. That’s how we end up with, you know, a lot of butterflies and cold shoulders, but it doesn’t matter what your style is if you can sew. Like, if you want to go minimalist, you can do that. If you want to go goth, you can do that. If you just want to go, like, simple chic, and to me that’s the most exciting thing about sewing. If you’re just beginning, yeah, it takes a little bit of time to get there, but pick a pattern that comes in your size, learn to do some basic fitting, and take your measurements, and I think you will be super happy super quick.

Alright, guys, get sewing. I’m excited to see what everyone makes.

Julian: Hello. My name is Julian, and I am the creator behind Julian Creates. And I, kind of, want to just, kind of, talk to you today about ways to really invigorate your creativity, especially this year. One of the ways that I get excited about new projects, or just to really use my creative muscles sometimes, is by getting a new gadget, be it a sewing machine, be it an iron, or sometimes, as simple as a new set of pins or other notions. Sometimes you just need a little something new to play with to really help get the juices flowing.

Understand that though sometimes projects can be hard and we are a little scared to try different things, if we don’t try, we don’t succeed. So it’s ok, even if you make a mistake or mess up because usually in those mess-ups and mistakes, you learn something. So always have, even if it’s just some scrap fabrics or something that you’re not too sentimental about, just some, some plain fabric that you can play with and try. The biggest thing is that you try because even in every trial, that’s where you get your best lessons.

I know, for me, the reason that I started making men’s clothing is because I saw a pattern that said it was easy. It was my second actual garment. It was a button-up shirt. Now when I actually got into it, it wasn’t that easy, but I had started already, and I just took it step by step. Is it perfect? Heavens, no, but that’s okay. From that shirt, I learned so much, and it led to other shirts and other pair of pants and coats and other different projects that gets me to where I am today.

And even today, of course, I still make mistakes, but in every mistake, usually there’s a learning lesson. Be it around, making sure that I stay stitch certain parts of shirts before putting on collars or making sure that I’m using the right correct tension or differential feed with my overlocker. All these different things lead to great learnings to make, for me, a better sewist going forward. So don’t be afraid to try.

One of the things I do is, I always make sure I have scrap fabrics available, be it from older projects or anything else. Just sometimes, I need something to sew, especially if you don’t understand a big project that you want to do right now. Sometimes you just need a little something that you can keep running under the sewing machine. Fo-, when I first started sewing, I would buy scraps of fabric from IKEA. Um, they used to sew big squares that you can sew together, and I always made sure, even when I wasn’t working on a project I had some squares of something that I could sew together.

Even to this day, I usually keep a jelly roll or a charm pack or something like that that I can just sew together as a way to keep me moving and keep some part of that creativity going because it’s like a meditation for me. It’s really about self-care. So find that thing that helps you just keep going. Even if you are coming across a road block, don’t stop. Don’t put it up and just never pick it up again. Sometimes you just might need to take a moment, sew on something simple, and then come back to it.

Note that you have a community that is always behind you, that you can always ask questions to, that you can always go to for cheering on, or just to commiserate about learning lessons. We won’t call them ails or anything like that, but learning lessons, so really dive into that community. Reach out to us. We’re all here to help because we’re all wanting the same thing. We want people to be excited about the makes that they’re making. So I-, just know if you ever see me online. I’m always going to be a cheerleader for you, and I hope you can do the same for others.

We are all one big worldwide sewing community. So let’s all make sure that we are providing that positive energy to make sure that others know that this is a welcoming space that other people can come and sew, too, as well. Take it a day at a time. Sometimes you need to take it a moment at a time. But even in those great problem moments, you’ll get through it.

Note: we’re rooting for you.

50:41 Hello, dear listener, this is Helen from the podcast and from Helen’s Closet Patterns. And I want to talk to you today about taking charge because you are in charge of the sewing process and the design. And I know it might not seem like this when your machine eats your project or your iron burns your fabric or the pattern instructions make no sense to you, but you are in charge of your sewing and you are the boss of your sewing space and I want to talk today about getting creative and trusting your instincts.

So first, let’s talk about taking charge of the sewing process. There are lots of ways to approach things when sewing, so if you want to try a different method or technique, you should do that. Sewing pattern designers, like myself, love to use certain methods that we enjoy, or we like to include new ways to approach things in our patterns to make them all these unique learning experiences and bring new things to the table every time, but I’m here to tell you that, as a pattern designer, it’s okay to veer from the instruction booklet. It’s okay if the methods presented make you roll your eyes and want to do it another way. I’m not there. I can’t see you, and even if I was there and I was watching you, I would be cheering you on and encouraging you to do whatever works for you.

You can use whatever method that you prefer and even tried and true instructions from one pattern for a step in another pattern, like a zipper fly or a shirt placket. If you have a pattern in your collection that you know works for you, pull it out and use it. Curate your sewing experience to avoid frustration and feel so empowered in your sewing. As a beginner, I want to say that I know this is really daunting. Sticking to the instructions can be super important for a lot of people when they start sewing, and that’s totally fine. But one day you’re going to come across a step in the instructions and you’re going to think, really I have to do it that way? Can’t I just do it the other way that I liked in my last project? And you can because you are the boss.

And another aspect of taking charge in your sewing is taking ownership of the design. Now, this does take some practice. Seeing beyond the pattern envelope line drawings does not come easy. The more garments you sew, the more styles you try, the more you’re going to start to see these illustrations and pattern pieces as a suggestion not a directive. You’re the real designer, not me. The pattern is only the roadmap, but you can take detours. You can stop to get gas. You can even change your mind halfway there and decide to go somewhere completely different. Okay now, I just want to go on a road trip.

But I want to encourage you to look closely at the pattern designs and try to see opportunities to get more mileage out of the pattern and customize it for your needs. This can be just a brainstorming session, and you don’t need to commit to sewing anything just yet. Just look at some of the patterns in your collection and think about things, like can you change or add pockets? Maybe you want to eliminate pockets? Could a top also be a dress if it was lengthened? Could you modify the neckline to suit your personal style? Change the rise on a pair of pants to make them just perfect for you? Could you layer a garment to work for you for more seasons? Could a skirt or a dress have a gathered panel added to the bottom? One of my favorite hacks. Can you make a pair of pants into shorts, too? Maybe you can do a mash-up of a top and a bottom to make a cool jumpsuit, and yeah, you might have to add a zipper or something to get in and out, but you can do that. I know you can.

And one of my favorite things to look for in patterns is where you can add seams because you can add seams wherever you want. There’s no limit. You can cut the pattern up and add a seam allowance and put a seam anywhere. This lets you mix and match fabrics, if you want to do some scrap busting. It lets you add little hidden pockets. It lets you add details like piping. It’s so exciting to take a boxy top and add seams in places where you think they should be and mix and match your fabrics and have so much fun with the design.

You can make these kinds of changes and begin flexing those design muscles. It’s so much fun to take ownership of your sewing project and make it exactly what you want. And remember that this is all a big experiment and a learning process. So if it doesn’t work out the way you plan, don’t sweat it. The practice you got and the lessons you learned are what are important. I want to remind you also to follow our #youcanhackit hashtag for inspiration. A lot of sewists out there are using that one on Instagram, and it is amazing to see what people are doing with the patterns available.

Okay, that’s all I have for you today. To recap: bossy pattern designers, like myself, finicky sewing machines, and aggressive irons are not in charge of your sewing. You are.

Denise: Hello, Love to Sew listeners. I’m Denise Archer, otherwise known as @pinprick on Instagram. I’m going to begin with a story. When I was a 21 year old student living in southern France, four of my British friends drove down to see me so we could celebrate the New Year. We fumbled around together for a week in our carefree imprudent way and laughed through it all. We had a wonderful time.

However, on the day my friends needed to return home, they suggested I hitch a ride with them. And I hesitated. I had planned to take the train up to Paris to meet a new group of incoming American students, but I had wanted to travel alone. Also, my friend’s car was a tiny British thing, and five people squished inside didn’t sound so appealing. But my friends begged, and I said, okay, so in the ba-, afternoon, we took off.

The drive up to Paris wasn’t quick. We were slowed down by the constant barrage of toll booths, bathroom breaks, dinner, and a flat tire, and we arrived in Paris in the middle of the night at one am, totally exhausted. My friend pulled over the car and parked. We had no idea where we were, just that we needed to sleep. It was too late to check into a hotel, and we didn’t have extra money for such conveniences anyway. So we decided to sleep sitting upright in the tiny car in Paris in the middle of winter.

Hours later, I woke up to my head resting on the cold window. I opened my eyes and saw the beginning of dawn outside, veiled in a dusky gray, and inside the car, all the windows were wet with condensation from our breathing. The five of us were shivering, and our necks, backs, and hips ached, and then there was a sudden explosion of cussing as everyone wanted to get out of the car. But the two in front had a difficult time stepping out because their joints wouldn’t function, and the three of us and back were hitting the seats yelling for them to release us. But once outside, we stretched and limped with our cold stiff bodies, and we blinked and exchanged glances.

My friends just wanted to get back to England, and I just wanted a hotel. It was getting lighter and some activity had begun on the sidewalk shop, so it was my chance to exit. I gave everyone a quick, miserable hug and set off to find a warm bed, and I found a decent one star hotel with just the basics, and I was so relieved when I sat down on that bed, and that’s when the first wave hit me. I was coming down with a nasty cold.

My original plan was to arrive in Paris three days before the American crew so I could visit museums and sit in cafes and study. But what I ended up doing for three days was shivering underneath the covers of my hotel bed, sponge bathing my stinky armpits whenever I woke up in a pool of sweat because my room just had a toilet and a sink, and whenever I was hungry, I had to dress myself in my feeble weakened state, hobble down three flights of stairs, find the nearest convenience store, and barely make it back up to my room.

Even worse, there was no TV, and I didn’t bring a single novel because I didn’t want to be distracted from my studies. All I had brought were French grammar textbooks and notebooks filled with grammar notes. And the reason I did this is because as soon as the American students were scheduled to arrive, everyone was to be tested and placed in one of two intensive French classes, either introductory French or Advanced French. And even though I only had a year of college French under my belt, I knew which track I wanted to be in. I had paid for this year wi-, myself and I wanted that advanced French class. So while I slept a lot during those three days in my hotel room, there was also a lot of downtime, and I was so painfully bored. I pulled out my French grammar notes and textbooks and read those because it was the, only a little less painful than laying in bed staring at the stained wallpaper.

And after three days, I met the American students at another hotel where there was a shower and a TV, and once cleaned and in my bed, I got sucked into a documentary on mating lions, which was also very graphic, but I pulled myself away from the mating lions because even though I felt like garbage, I needed to study for that test. And the next day, I took that test even though I wasn’t sure of the outcome because getting really, really sick wasn’t part of the plan.

On a more serious note, me getting breast cancer was also not part of the plan, and now I have a lot of friends who have had breast cancer because eventually, we all find one another. And some of those friends have had their breast cancer returned as stage 4, which means that while they are still living they are also preparing for their death because the average life expectancy from stage 4 breast cancer is three years. And when you only have three years, your priorities straighten up very quickly. And that’s not to say that there aren’t days of wallowing grief because there certainly are.

But in between my friends have to make a choice. And they choose to live. They choose to play with and hug their children. To have those meaningful, difficult conversations with their spouses. To accept with grace that a stepparent most likely will be involved in raising their children because to insist otherwise is not a good outcome for anyone. And of course, they go on lots of vacations.

You know, we’re all so caught up in our plans. We casually throw around these entitled statements like, “when I’m retired” or “later, after I’ve done such and such” or “when I’m a grandparent,” but you know, not all of us will get there. Even though our entitlement says that we will, life just doesn’t work that way. So what I’m saying is that the time is now. Whatever that now is for you, whether it’s to speed up or slow down, jump in or jump out, or simply appreciate what you have in this moment because despite all the fear and grief in the world, there is one truth: we’ve all been given a whole lot of time. We are blessed with time in a way that we’ve never had before and will never have after.

So the time is now. It’s your moment. Become reacquainted with your sewing machine. Finally, make those darn pair of jeans that you’ve always wanted to make if you only had the time. Or pick up another hobby you’ve always thought about. Get out of your head and into your hands. Or delve deeper into your head if you feel that’s where self-improvement is at.

You know, everyone has a fire in their belly. Even if it’s just a little pilot light, that still counts. Use it. You have the power to change those things given to you without your permission for your time now. Because in a sea of fails, and you will have many, many fails, we all know we have many, many fails, you never know when you’re going to catch that win, like me making the cut into that advanced French class.

And also, when we all get the chance again, hug your friends. I mean really hug them. Let them know how much better your life is because they’re in it. I didn’t realize that the last time I would ever see my four British friends would be at dawn in Paris when we were all shivering, and I basically gave them back pats. I don’t know when any of my cancer friends will suddenly have a complication that results in hospitalization and a possible death. You never know when that final moment with your loved ones will be or when that final moment will be to love yourself. So the time is now.

Helen: That’s it for today’s episode of Love to Sew. You can find me Helen at helensclosetpatterns.com and Caroline at blackbirdfabrics.com.

Caroline: We’re recording today in beautiful British Columbia, Canada, and you can get in touch with us and get links for everything we talked about in this episode at lovetosewpodcast.com.

Helen: And a little reminder, if you are enjoying the show and you want to help us out, you can support us over on Patreon. Contribute $5 or more a month and you’ll get access to our bonus episode feed. And if you contribute $10 or more a month, you alsol get a 15% discount code for both of our shops and another bonus minisode on a specific sewing topic. So go to patreon.com/lovetosew for more info.

Caroline: Thanks to our amazing podcast team. Thank you to all of our lovely past guests who sent us pep talks. And thank you all so much for listening. We will talk to you next week.

Helen: Bye-bye.

Caroline: Bye.

Helen: Oh, yeah. I gotta take charge. Gonna ditch the guilt.

Caroline: Gonna go, gonna go have fun in my sewing room.

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Do you need some sewing motivation? We discuss the many ways you can reignite your sewjo, and share our personal experiences in staying motivated to sew!

Follow us on Instagram during the break:

Support us on Patreon to stay in touch!

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Helen’s fav TNT patterns:

Caroline’s fav TNT patterns:

Wardrobe planning:

Topstitch ATL has been doing some great online courses!

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Habit trackers:

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Has a tool or resource completely changed your sewing practice? We share your revelatory stories on what has altered your sewing game, and ours too!

Thanks to Goheen for supporting Love to Sew! Goheen is offering a 20% discount on all digital patterns for Love to Sew listeners through Dec 17th. Head over to GoheenDesigns.com and use coupon code LOVETOSEW at checkout.

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We discuss the many exciting options for sewing your own accessories! From sewing bags to making your own shoes, we round-up some amazing project ideas and share our favourite me-made accessories too.

The Love to Sew Shop is now live! Click here to shop!

Love to Sew episodes mentioned:

Helen and Caroline’s sewn accessories:

Caroline made bow ties and a belt for her nephew, niece, and cousin!

Caroline’s handmade market bags!

Masks:

 @juliancreates

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@pinkcoatclub

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@danicadoesit

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@pistolwhip 

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Bag Pattern Options:

Bag Sewing Supplies:

Scarves/bandanas Sewing Patterns

Ties, bowties Sewing Patterns and Supplies

Shoes, socks & slippers Sewing Patterns

DIY Espadrilles by Melly Sews

Hair Accessories

Jewelry

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Belts

Gloves/Mittens

Hats! 

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Planning on sewing for kids? We discuss some differences between sewing for kids and adults, considerations for making kids garments, and special techniques you may encounter in the sewing process. We also share our tips and experience in sewing for young ones.

Love to Sew episodes mentioned:

Helen and Zoya in their matching dresses! (Pattern: Marcel Dress by Chalk and Notch)

Helen’s handmade jumpsuit for Nora (Pattern: New Look 6724):

Resources for sewing kids clothing:

Fabric certifications mentioned:

Info on commercial kids sleepwear:

Velcro resources:

Snaps:

Applique

Sewing Pattern Companies mentioned:

Matching outfit inspo:

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Andie Wells joins us to talk about their sewing practice and how the community can better support sewists living with chronic illnesses and disabilities. They also discuss fat sewing, who they love following in the online sewing community, and some of their favourite sewing resources!

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Transcript: 

Helen: We are recording today on the traditional, ancestral, and unceded territories of the Coast Salish and Kwakwaka’wakw peoples, including Tsleil-Waututh, Squamish, Musqueam, and K’ómoks first nations.

Caroline: Hello, and welcome to Love to Sew. I’m Caroline, the owner of Blackbird Fabrics.

Helen: And I’m Helen, the designer behind Helen’s Closet Patterns.

Caroline: We’re two sewing buds who love to sew our own clothes and want to encourage you on your sewing journey, too.

Helen: Join us for today’s interview with Andie Wells from Sew Pretty in Pink.

Hello, Andie. Thank you so much for coming on the show today.

Andie: Thank you so much for having me. I’m really excited about this.

Helen: We’re so excited, too. Can you please introduce yourself for our listeners?

Andie: Sure. My name is Andie Wells. Um, I am a self-taught, plus-size sewist, or fat sewist, depending on what term you prefer. I, actually, I live in Toronto, Ontario, up in Canada, but I’ve also lived in several provinces on the east coast of Canada, as well as several places in Ontario itself. And I also do improv comedy in my spare time, and I am a disabled sewist.

Helen: Wonderful. And we love to kick off the show, learning a little bit about our guest’s sewing journey, so can you tell us how and when you learned how to sew.

Andie: Sure. I started sewing in 2008. It’s actually a very cute story. Um, and I love telling it because it’s, sort of, like, the origin story with my partner Velvet, but I started sewing after a conversation with him, the very first conversation actually, where we were talking about Halloween costumes. And I got into a conversation where I was like, oh, there’s nothing available in my size, and I really wanted to be this. And then basically, like, over the course of the conversation, I just decided, hey. I’ll go and buy a sewing machine and, and then I made my very first costume that way. And, like sewing, me and my partner have been together ever since as well. So that was a great starting conversation and a great connection point with us too.

Helen: Oh, that’s so cute. So were you a couple at the time when you were having that discussion?

Andie: It was literally our first conversation. We actually, um, we connected over Facebook and, because he was running a Facebook group at the time where he basically got people to do snow angels of themselves and then share them just as a way of, like, interacting with winter weather that he didn’t really enjoy at the time

And, uh, and then he would donate to the Daily Bread Food Bank, which is the local food bank here in Toronto, based on how many people shared, and it’d be, like, $5 per, so he was just, sort of, getting engagement and then chatting with people who had joined the group as part of this snow angel fundraiser.

And he added me and I am not the type of person to add someone back who I don’t know and haven’t met in real life, but I did this time and it just worked out really well. Within two weeks, he flew me to Toronto, so it’s quite, it was quite the whirlwind.

Helen: Aw, that’s so romantic. I love that story.

Andie: It was adorable.

Caroline: Sounds like it was meant to be.

Andie: It was definitely meant to be. Like, I, I constantly think about it, and I’m like, wow. Like, if circumstances had been any different, I probably wouldn’t have pressed add, but, like, I saw his eyes, and I was like, oh my gosh, he’s so adorable.

Caroline: Oh, that is so sweet. And then that spurred you’re sewing, but I wanna learn a little bit more about what happened after that. How did your blog come into play? How did your sewing practice evolve over the years? Tell us more about that.

Andie: So in 2008, I just, sort of, went rogue, and I didn’t use a pattern at all. I didn’t really know about patterns. I mean, my mom is a sewist as well, but, uh, I steered clear of the sewing machine. When I was really young, she actually sewed over her finger with her sewing machine, and it made me terrified of sewing machines.

So I, I did a bunch of hand sewing as I was growing up and a bunch of things, like needlepoint, crossstitch, knitting, crocheting. I did all sorts of crafts, including, like, making my own dollhouse, but I never got a sewing machine until 2008. And then I, sort of, sewed for, sewed a couple of things here and there. Like, I sewed a bag after that.

And then I sewed another costume, which was a Alice in Wonderland costume. I was doing burlesque at the time. I have a long history of performing in any sort of way. And, uh, I just, I didn’t really get into it because I couldn’t find anything in my size. And it wasn’t until about, uh, 2013 when everything, sort of, changed.

And a little bit after that the Curvy Sewing Collective was created, and there were a lot more resources out there for fat sewists to be able to, like, actually use patterns and then also more resources about how to adapt patterns to your size and, and make modifications and stuff like that.

So around 2013, I started sewing even more. And from that point on, I basically just, just replaced every ready to wear aspect of my closet with hand sewn stuff. And I’ve never turned back.

Helen: Amazing. And you have a fantastic blog called Sew Pretty in Pink. And how long have you been writing that blog?

Andie: Since 2013. And I started pretty much at the same time because I was like, I just need a place to document this stuff. So I started in 2013 and I used the Pretty in Pink because my name is Andie, and Andie is also a character in Pretty in Pink, the 1980s movie with, uh, Molly Ringwald and, oh, I can’t remember his name.

Helen: Is it John Cusack in that?

Andie: Uh, no.

Caroline: I love that movie though.

Andie: It’s so good. Yeah.

Helen: I can picture his face.

Andie: I know. It’s Ducky. Ducky is his character name, and he’s fantastic. And then there’s, like, Andrew, um, Andrew and the Spader dude. Oh, man. Names are totally escaping me.

Helen: All of our listeners are gonna be yelling at their speakers.

Caroline: I’m looking, I’m looking it up. Pretty in Pink. Harry, uh, John Cryer was Ducky.

Andie: Yes. John Cryer. Exactly.

Helen: Yes.

Andie: Yeah. So I had, like, I had just watched it for, like, the four hundredth time, and I was creating my, my blog and I was like, aw, pretty in pink is perfect. And then I had to make a pun, of course.

Caroline: Of course.

Andie: Because puns are the best form of, of comedy, at least in my opinion.

Helen: Oh, yeah.

Andie: But, uh, yeah. So it’s been about seven years with it.

Helen: Amazing. And how has it evolved for you? Like, starting off sewing and working, you know, with the CSC? I know you’ve done some articles with them and taking all that inspiration from the community out there. How has your sewing evolved since 2013 to now?

Andie: So I would say I’ve definitely been focusing less on, uh, more typically feminine pieces of clothing, like dresses and stuff like that. And focusing more on, uh, pants and separates. Part of that has to do with me coming out in the last year as non-binary. So, uh, that has definitely changed a lot of my sewing because I realised that, you know, like, there are a lot of comfortable pant patterns out there. And I really hated pants before. Um, and I feel like I have a more gender affirmation with the kind of outfits that I’m putting together now versus then.

And I’d also say that over the time, my blog has definitely become more political leading. I’m definitely not shy about that. Like, I believe in equality, and I believe that, like, a lot of things need to change in this world and a lot of things can be changed by normal people like us.

Caroline: Mhm. Yeah, absolutely. And that definitely comes through in your work with @ChronicallySewn and @SewEnabled, which we’re gonna talk a little bit more about later on in the show. But before we get to that, I also wanted to ask you some, like, gratuitous sewing questions. Like, what is your favourite fabric to work with?

Andie: It’s probably cotton lycra. Cotton lycra. It’s just, like, you know, you can sew it up on your serger so, so quickly. Well, I mean, if you have a serger, or if you don’t, then it’s, it’s perfect for a sewing machine as well. It’s so easy to sew unlike fibres with, like, rayon content for knits.

Caroline: Mhm.

Andie: It’s just a lot more stable. And I just like the way that it, it feels when I’m wearing it. Part of my disability, kind of, gives me a bit of sensory processing issue. So when it comes to, like, itchy things or certain textures or something like that, then I, I cannot wear them. But cotton lycra is one of those where I’m like, I can wear this anytime.

Caroline: Yeah, I, I love cotton lycra as well. It’s such a great fabric, so breathable and soft. I also wonder if you have a favourite make of all time.

Andie: So I think my favourite make of all time would probably be my wedding dress. I used a McCall’s pattern for it and also used silk charmeuse for the first time. It’s a very, like, lightweight and shiny silk. And I got it from Dharma Trading, I believe, just a regular white, and I just love it. Like, it’s, every time I look back on those pictures, I’m, I’m really happy with it. It’s, has, sort of, a high-low hem, which to be honest was not intentional, but afterwards it was a design element

Helen: Amazing. It helps you walk down the aisle better, too.

Andie: Exactly, right. Yeah. It also showed off the, uh, the crinoline that I had underneath. So, like, I, you know, I like showing off elements like that.

Helen: Well, we already mentioned your husband Velvet at the top of the show, but do you ever sew for him or have you sewn for him?

Andie: I do. Um, I actually have a pair of shorts, Mel Shorts, the Seamwork Mel pattern. It’s actually not a shorts pattern. It’s just a joggers pattern. So I have a pair of those cut out for him. And I, I make him things like pants, costumes, underwear, although, you know, I’m not gonna post those on the internet, but, but, uh, yeah, so I, I make him a lot of stuff. I think that I would really like to get into more me-, more men’s wear styles, like more tailoring styles, just, uh, but it’s just been, like, the newest shiny that’s been preventing me from doing that.

Helen: Of course. We all know that feeling as sewists.

Andie: Exactly.

Helen: And we know that you like to sew bras and underwear and swimwear for yourself, as well. We recently did an episode about sewing undies, and we were wondering if you had any sewing undies tips that you wanted to share with our listeners.

Andie: Yeah. So I think, like, the thing is with undies, going slow when you’re applying things like the fold over elastic is really important, but honestly, like, batch cut and sew that stuff. Like, that is, you know, then you’re basically, like, at the end, you don’t just have one pair of underwear, you have four pairs of underwear, and then you can, like, every day you have, you know, like a shiny new thing to wear. And that’s, like, that’s such a, a huge thing for me because sewing just one pair of underwear, it doesn’t take that long, but, like, it’s a small piece, right?

And to me, it’s like, if I’m sitting in front of the, of the sewing machine, then I want to make sure that, you know, like, I’m maximising my time and my energy because I have very limited energy. So batch cutting and sewing with underwear, it’s always a really good idea and then break it down into smaller bits. So there will be days where I’ll just serge the seams and then the next day, you know, I’ll come back and maybe do the fold over elastic for, for one pair because it matches the colour that’s in my sewing machine at the moment. And then I’ll, you know, like, I’ll come back the next day and maybe work on another, so it’s not as overwhelming, but then at the end of it, you know, like, while you’re going through and doing it in small batches, you have, you know, like, more and more pairs at the end of it.

Caroline: Mhm.

Andie: Um, so I find that that’s really, really great. And then the other tip, which actually is part of the Muna and Broad, uh, Waratah Undies, I hope I’m pronouncing that right, is bar tacks on your fold over elastic. Like, on the ends, it helps prevent them from fraying, and it, like, just gives you a really great finish, and you can also have the end of it at the back, so you know where the back of your underwear is.

Helen: Oh, that’s smart. Now, do they recommend that you butt up the edges of your fold elastic and then bar tack or overlap and then bar tack?

Andie: They actually overlap and bar tack.

Helen: Okay.

Andie: I haven’t tried the butt up end part, but it actually sounds like it would be, kind of, interesting. I’m, I, kind of, wanna experiment with that.

Helen: I mean, to be fair, I haven’t tried it either. I was just curious. I was trying to visualise how it would work. Um, that’s a great tip. I like that. And is that your fave undies pattern of the moment, the Waratah ones?

Andie: 100%. I used to use a self-drafted one, which was really just, like, rubbed off of a ready to wear pattern that I had and then adapted for the fit issues that I had. But the Waratah Undies are so good, like they’re high-waisted and have really, really great coverage, but they’re also incredibly comfortable. Like, I, I don’t think I’ve ever been a fan of high-waisted underwear until these ones. So this has been, like, a complete difference for me.

Caroline: Yeah, absolutely. And that’s such a good tip with batch sewing about not necessarily batching all in one go. Like, I think when you think of batching, often for me, at least, I think, oh, that means I’m, kind of, marathon sewing this batch of, of undies, but you can really sew little bits at a time, but in batches and, and really get a lot done at the end. So, it’s a great tip. Thank you.

Andie: Yeah. And it’s a great tip, as well, for people who have limited energy, like, I mean, batch sewing isn’t necessarily about, you know, like, getting that assembly line down. It’s just about breaking it down into smaller bits. So, you know, like, you get it all cut out at once. You sew the seams all at once. And then, you know, you can focus in on one pair at a time for the fold over elastic or do several at a time.

Caroline: Mhm, mhm.

Helen: Yeah. Not having to switch gears so often.

Andie: Exactly. Yeah.

Caroline: And what is it that you love about sewing your own undergarments?

Andie: So for me, it’s, it’s that underwear and bras for, uh, fat people are really expensive and really ugly. Like, and I am not a person who really likes beige, and there’s a, there’s a heck of a lot of beige with, with underwear in, you know, like, in the fatter sizes. So it’s just, like, I, I hated, you know, I’ve been a 44HH for years now.

So for me, it’s like, not only are bras way more expensive, like I think the last time I bought a bra, it was $200, and it was red. So, you know, like, I, I spent extra money on a, on a bra that wasn’t beige, but it did not fit. Like, after a bit, it just basically, like, sort of, stopped fitting in certain spots and, you know, like, you know, when you get a bra and you’re just like, oh, this is just relaxing in a way that it just does not fit anymore and it’s not comfortable anymore.

Caroline: Mhm.

Andie: So with sewing my own bras, it meant that I could get them in pretty colours and, you know, I, I could put my own spin on them, and they, they fit exactly how I want them to.

Helen: That is amazing. I’m wondering if you have a favourite bra pattern that you wanna share with our listeners?

Andie: See that I do not. I would say that, well, most of the rest of the sewing community is getting there with, with fatter sizes that, um, bra and underwear sewing is something that really definitely needs more sizes. Um, so unfortunately I’ve literally never been able to find a bra that’s in my size that worked for me. I tried a few different ones. I tried the Classic Bra pattern from Pinup Patterns and I tried the Maya Bra from AFI, I believe.

And then I decided that the best way to tackle this would just be to draft my own. So the first one that I created was after the Classic Bra pattern, when I took the bra making class with Beverly Johnson. After that, I just decided to clone it a lonely bra that I really, really loved and was getting really raggedy looking. So I took it apart and then basically made a pattern off of that. And then for years I was adapting that.

And then, most recently, I started doing full self-drafting. So using the [Bare] Essentials: [Bras] by Jennifer [Lynne Matthews-]Fairbank[s], I believe her name is. Just starting from scratch based off of my measurements and then adapting it to the style that I wanted.

Helen: Wow. That is so cool. Do you self-draft other garments as well? Or are you just focused on bra drafting right now?

Andie: Mainly, bra drafting because I think that there’s so much out there, especially right now. I mean, like, there’s been so many more size extensions in the sewing community, but I will do a lot of pattern adaption.

So if there’s a specific costume that I wanna create, then I will adapt a pattern massively to, to the point where it’s not really recognizable as that pattern. And I’ll also self-draft skirts, but I mean, with skirts, it’s just, like, rectangles of fabric or circles. So, to me, it’s like, that’s, yes, technically self-drafting, but very easy.

Helen: Well, that’s very inspiring. I’m sure some of our listeners are gonna be interested in that book you mentioned, so we’ll put that in the show notes.

Andie: Yeah. It’s a really good book, especially, uh, third edition, which, uh, just came out in October.

Helen: Oh, cool.

Andie: Yeah, it has more of a plus-size lean to it, which is great.

Helen: Nice. Very cool. Well, you talk openly about being a disabled sewist and having Ehlers Danlos Syndrome, and we were hoping you could tell us a bit more about this disease.

Andie: Sure. It’s a genetic disease that is passed down through generations. It can also be a spontaneous genetic mutation, which is, uh, totally fair. I think that that’s my case. Um, and it is a connective tissue disease. So what Ehlers Danlos Syndrome basically does is it means that we create flawed collagen. So what is collagen? Collagen is exactly what creates the glue that holds us together. So, um, our skin, filled with collagen. I mean, we often hear about people getting collagen injections, you know, like, that’s, that’s one of the aspects of where we have collagen, but we actually have it throughout our entire body. So it’s in our, in our organs, it’s in our hair, it’s in our bones, although to a lesser degree, um, and it’s in our cartilage, our muscles, our everything, basically.

So when you have a flaw in collagen, basically that means that you have multisystemic issues, and it can present in any way with people who are diagnosed with it. Um, so it can present in, in totally different ways based on the person. For me, it means that I have frequent dislocations, that my joints are hypermobile, which means that they bend beyond the normal range so I can bend back a lot of things. That was great when I was a kid, not so great as an adult.

And it also, uh, for me, you can also have multisystemic issues. So for me, that presents in asthma, a large amount of allergies. I also have, uh, some sensory processing issues as well, cause autism and EDS go very well together.

There’s also autonomic responses where our heart or our, uh, cardiovascular system can respond differently. So basically there’s, there’s another comorbidity, which is a bad name for it, but that’s the medical term called POTS which basically, it means that when you stand up, you can cause yourself to faint.

There’s all sorts of, uh, multisystemic issues with EDS that it can cause. Also, migraines for me. Been having a lot of those lately. So there’s a lot of different aspects of, of EDS, which can have a major impact on your daily life. I use a cane. I definitely will transition to a wheelchair one day, or I might also have a walker in the meantime, but my joints will continue to, to have issues because they aren’t as stable as someone who doesn’t have EDS.

Helen: And how does this impact your sewing practice when you’re getting into your sewing projects? How do you handle having your disability and getting your sewing projects done?

Andie: So I do everything differently, to basically adapt to my pain levels and avoid dislocating my joints, because one of the major things about EDS is that as you dislocate more often, you cause, uh, your bones to basically, like, degenerate.

And it’s not that your bones are degenerating in themselves. It’s just that from injuries, you’re doing this to yourself. So just by existing, I’m constantly harming myself, which is, I mean, one of those, like, “whoa” factors to a lot of people is just, like, even just walking to, say, the bathroom is enough to harm me.

That makes it very important for me to do things very differently based on my abilities. So when it comes to sewing, I will manage it based on my energy levels. So if I happen to not have the energy for the day, sewing doesn’t happen. So, unfortunately, unlike a lot of other people who are in the sewing community, I don’t have a, a large amount of productive ability, at least not like I did in 2013 or, you know, even just five years ago.

And I also use different tools. So I’ll use things like surgical clamps in order to hold onto things like elastic, or I’ll use, you know, beeswax to condition the thread so that if I’m doing any sort of hand sewing, I just basically get rid of that resistance. I’ll also use leather thimbles and you know, like, those little slippy things, um, that help you grip needles and stuff like that. I basically, I avoid certain projects as well because of the, of the difficulty that I would have with them. So I’ll leave those for days where I have more “spoons” as we call it in the, in the, um, chronic illness community.

You know, it, it’s all about adaption and about making sure that, like, you’re conserving your energy, but also balancing that with actual, you know, things that you enjoy.

Caroline: Yeah. That makes a lot of sense. And you really do your part in raising awareness about the disease that you have and talking about it openly online. And I wonder why you think it’s important to be open about chronic illness on your blog and on social media?

Andie: I think it’s important to talk about it because representation matters. And, you know, like, I, I’ve gotten a lot of feedback from people who are like, wow, you know, like, I didn’t know that before. And I think part of that is because people who are chronically ill are often very much in the background.

We’re, kind of, like, the missing people because we can’t participate as much as we would like to. So then a lot of people end up not remaining friends with us because we can’t participate. So, to me, it’s, it’s very important that people are aware that we exist and that people are aware of the types of challenges that we have and that we still want to be invited to things.

So, you know, and it, and it’s super, super important that we get rid of stigma surrounding chronic illness and disability that, you know, one of the main things is that, it’s really important for me to use my voice to help fight ableism. And ableism is, is just one of those things that can crop up anywhere. And so part of me talking about that has to do with, you know, making people aware of where we’re at, so that they can avoid making ableist comments to us.

Helen: Yeah. We’d love for you to expand a bit on that and talk with us about some examples of ableism in the sewing community and how, you know, we can be more inclusive of those living with chronic illnesses and disabilities in our community.

Andie: Sure. I think one of the main things that I see, especially in the sewing community is this concept of lazy sewing and you know, like, doing something differently because it’s an easier way of doing it, but not understanding that for people who are disabled, these lazy things are not lazy. They’re the only way.

So that’s a huge thing to me. And that’s something that, you know, like I talk about pretty often where it’s, like, you know, just stop using that term. It’s just a different way of doing it. There is no right way. It’s the way that you can do it. So, you know, stop using the term lazy because it’s, it focuses on this concept of productivity that I just think that we need to get rid of. Cause, I mean, that’s, that’s a whole complex conversation in itself.

The other thing that I noticed is that a lot of people focus on perfection. Whereas with disabled sewists, it’s more important to focus on what we can do. So if a seam happens to be a little bit wavy in a spot for, for top stitching, that’s a design element. It’s not, it’s not about, like, oh, I didn’t do this right. I didn’t do that right. It’s, this is, you know, something that I had decided that I wasn’t gonna go back and fix because it is not worth my time for a little tiny skip in the seam.

There also seems to be a focus on doing things exactly as the instructions say, and I think that that needs to stop as well because there’s, there’s a lot of room for adaptability within that. Instructions aren’t the end all and be all; they are a guideline. And I know that this is hard for you, Helen, when you create all of these fantastic instructions, but uh, sometimes the, like, methods just don’t work for me.

You know, like, uh, I came across one the other day where it was, where it suggested leaving a little bit of the side seam open in order to insert an elastic. And, for me, it’s a lot easier if I serge the elastic, like, the band on and then leave an opening there to put it in. And it’s just, like, that little difference that it’s, like, following the instructions to the T is not something that, you know, like, you need to do once, once you’ve learned what works for you and, and how you can change those things.

Helen: Yeah. No, it’s such a great point and don’t worry. I’m not offended. I really love when people interpret things differently. And that’s one of the reasons we focus so much on different hacks and adapting patterns for different situations, because it is fun, first of all, and there’s all sorts of different ways that you can, um, sew patterns and work with patterns, so I’m all for it.

Caroline: We also wanted to talk about accessibility on blogs and social media. And we’re wondering if there are things that community members and businesses should be doing to make their content and products more accessible.

Andie: I think there’s a lot that can be done for websites and stuff like that. Making sure that you’re putting in the alt text or the image descriptions. Both words are interchangeable there. So that also helps you with, that also helps your business, putting that in bumps up your search engine optimization. So it’s a win-win situation there.

I also think it’s really important to be mindful that there’s no “one size fits all” solution for disability, that somebody who has, you know, like, low vision is not going to have the same needs as somebody who has hearing impairment is not gonna have the same needs as somebody who has migraines.

So all of these things are about, you know, like, making sure that you are able to pivot very easily when somebody gives you feedback and also setting up a feedback process on your website so that people can contact you. And then, you know, include in that, if you need something to be adapted for you, for your disability, just contact me. So that’s a, that’s a huge thing that just shows how much of an ally you are to people with disabilities.

In sewing patterns, there’s a huge amount of stuff that could be done. Number one biggest pet peeve for me: don’t use pictures. Use line drawings. Um, I know that you do that, Helen, but when people use photographs, it’s so difficult to see those, like, the, what’s being done.

What steps are, what’s happening? What the, you know, what’s the wrong side? What’s the right side? And I think that a lot of people don’t understand the value of line drawings. On top of that, also giving image descriptions to those things. So that can either be in the instructions itself to show, like, this is what the picture does, or, you know, like, just putting it underneath as a caption.

Then, the other thing is, uh, in sewing patterns, layers, different colours. Don’t use the same colour or the same look for different lines of different sizes. I came across one pattern that did that and I, I threw it out cause I was just like, I can’t, I can’t deal with this. Like, every third line was a solid line.

Helen: Yeah.

Caroline: Oh.

Andie: And, and it did me in. Um, then in terms of events and stuff like that, I would love to see people think about that from the beginning, so choosing accessible venues. I’ve definitely been in a situation where, you know, like I haven’t been able to stick around a place because it wasn’t accessible.

Also, having a place for people to sit down if they need to because I’ve also been in situations where I’ve looked around and I’ve been like, there are no chairs here. Goodbye. Cause I need to recoup, and I need that rest. So, yeah, like, there’s a lot of things that the sewing community could do. And I think that the most important point there is, that, always be open to feedback.

Um, so, like, listen to people when they say, you know, like, would you consider doing this in an accessible venue. Responding to that and, and being open to, to changing things or being open to next time saying, oh, okay, next time I will look for that accessible venue and make sure that you can get there, something like that. But I think that, you know, starting off with just being open to change is a huge thing.

Caroline: Yeah.

Helen: Yeah. That’s a really good point. And I’m thinking, also, about community events, not only in person, but online. Like, have you noticed anything during online challenges or prompts that we’ve seen, you know, all the time happening on Instagram where you’re sharing X or doing Y, anything there that you wanna highlight?

Andie: Yeah, absolutely. So one of the, one of the reasons I created the #SlowProjectChallenge over on @ChronicallySewn was because of this focus on creating a thing at the end of a challenge, and that’s how you become eligible for it. So my request to people who are creating challenges is to think about what kind of alternatives could you have to a challenge that requires something to be completed.

Could you consider an honourable mention category where people have shared the hashtag, which helps you and helps your challenge get out there? So, like, you know, using that as a way of, you know, like, generating a prize for an honourable mention or setting up a giveaway in conjunction with the challenge so that people who, who can’t participate in the challenge have an opportunity to win something?

Anyways, cause I think one of the major things about challenges is that they usually happen in a very short amount of time. So they’re usually announced at the beginning of a month, and then they end at that end of the month, which can really derail someone with disabilities and chronic illness because they like to prepare for these things.

Like, I need to prepare for those in order to compete. So I don’t do a lot of challenges because of that reason, unless it’s something like a photo a day challenge, which I’ll do sporadically or something like #MeMadeMay, which is a lot easier for me to participate in. But in terms of something, like, you know, like, one of those month long challenges, I’m probably not going to be able to do it unless it fits with something that I had already planned and already had cut out.

Helen: Yeah. That makes a lot of sense. Thank you for those tips. I wanna cycle back to pattern design for a moment, um, asking for a friend, um, are there things that you wish, uh, pattern designers would consider when they’re designing garments and how can we create clothing and tutorials and options that work for more people?

Andie: Absolutely. So I think one of the major things that I would suggest to any pattern designer is when you’re creating your photography with the finished pattern and everything like that, think about showing it seated. Cause for wheelchair users, that’s a huge thing to see. And for people who are going to, you know, be seated a lot of the time, they would like to see things in that format.

The other thing is when you’re designing it, can your pattern be adaptive? So could you think of something that, like, could hack this pattern into an adaptive pattern? Like, I know that, Helen, you do a lot of, like, tutorials where you’re, like, put a button placket, but, like, that’s a huge thing for, for a disabled sewist who maybe, like, isn’t able to put it over top of them. Like, say for the York Pinafore, having a button placket or having a zipper there can be a lot easier for someone with shoulder issues.

So can your patterns be adaptive? Can people use them to create side zip versus a back zipper? Can you design for wheelchair users? So have you thought about how things look seated? Think about ways that you could be more inclusive with your models themselves. At the same time, try not to use them as tokens, which is, you know, like, a difficult thing to balance. Where a token in the disabled community is basically someone that you’re just having there as way of saying, hey, I’m an ally, but not actually doing the work.

So make sure that, like, if you are using disabled people in your, in your pattern images that you are also providing a lot more resources in the background, too. So, you know, like, you’re doing the work for that.

Caroline: Mhm, yeah. Thank you so much for highlighting all of those tips. We’ll definitely be mentioning some of those on social this week to make sure that the community has a direct line to all of your amazing advice. I also wonder if there are any brands or companies in the community that do a good job at supporting the disabled and chronically ill community of sewists. Are there any companies that you could mention that are doing a good job with that?

Andie: I think that Friday Pattern Company is doing a really good job with that. I also think that, like, your patterns are, are quite adaptable as well, Helen, and that, like, I mean, you’re a great voice anyway, so, but it’s not all about you.

Helen: I love to hear it. Thank you so much. That means, honestly, means so much to me. I appreciate that.

Andie: It really does, and I think that, like, also Cashmerette. Um, the ability to do layers, anything where you can do large format printing, as well as the smaller format printing, where you tape it all together, which is actually oddly my preference. Um, so I think that there are a lot of companies doing it right. I do think that there could be more representation.

Caroline: Mhm.

Andie: So recently there was a company that, uh, decided that they’d put a call out for disabled sewists and more diverse sewists that could be, you know, part of their pattern insiders or testers, basically. And they didn’t include people in wheelchairs, so it’s, it’s, kind of, like, well, you, you got there, but not quite.

Caroline: Mm, yeah.

Andie: Um, so that’s what I would like to see. Um, Friday Pattern Company, RAD Patterns, uh, Closet Case, quite a few of that, of the pattern companies are starting to get more disabled sewists in their imagery, which I think is great. Again, as long as they’re not being used as tokens.

Helen: That’s great advice.

Caroline: Yeah.

Helen: And who is inspiring you right now in the disabled and chronically ill sewing communities, so we can all go follow them, too?

Andie: @PurpleSewingCloud, she’s fantastic. She’s also, uh, like, loves colour and, and, like, always creates these beautiful, beautiful creations. Then, um, there’s @MicheBeMason, uh, who is a wheelchair user, and @SiobhanSimper, also a wheelchair user, @SewDisabled, wheelchair user, also. Um, @SewPositivity, uh, has a walker. Then, there’s @WhatLydiaMade, who also has EDS, just like me, @Marie_StitchedUp and @TheCamdenStitch.

And I think that all of these sewists are fantastic at being advocates, as well, because they all speak up about it. So they, you know, like, they’ll talk about their conditions. Also, keeping in mind that, don’t ask prying questions about health.

Helen: Mhm.

Andie: It’s okay in this format I’ve approved it. But, uh, just don’t come into someone’s DM and be like, hey, what about this? Like, we don’t like those.

Helen: Yeah.

Andie: But, uh, I think that all, like, all of these sewists are fantastic and I, I, like, love following them. I love seeing what they make. I love seeing them talk about the challenges that they have, and they have also given me such great tips.

Helen: Oh, that’s awesome. We’re gonna put links to all of those people on our social this week, so that it’s easy for everyone to go follow along. Thank you for that. And we wanted to talk a bit about Sew Enabled, too, because you and a team have awesome makers recently launched Sew Enabled, and you’ve got a website, an Instagram profile that folks can follow along with. So can you tell us a bit about this new collective?

Andie: Absolutely. Um, I got involved actually at a later stage. So the main people who, who created this, um, cause I wanna make sure that they get all the credit are, uh, @What_Tasha_Made and then @Mrs_BS_Sews, and @MellyHopps. Um, so Mel, um, Tasha, and [Abi] are fantastic, and they founded Sew Enabled.

Um, I came a little bit later after things were, uh, sort of, decided after, uh, Mel contacted me and was like, could you promote us? And I was like, yes, 100%. In fact, how do I get involved? Because this is something that I have wanted for a really, really long time. And it’s just been a matter of finding people who also wanted it because you know, like, we have limited resources, so we need a little bit more of a collective experience here.

Mel was just basically like, yeah, join us. Um, basically, we are a collective of amateur sewists who, we feel really strongly about the sewing community and the fact that it needs to be more accessible for sewists with diverse needs. And what we plan on doing is having a pattern directory of people submitting patterns who, uh, have adapted them or find that they’re easily adaptable, as well as patterns that are specifically adaptive patterns.

So an adaptive pattern is something that is made with disabled people in mind. So something like, there’s a few patterns from RAD Patterns who are made specifically for people with wheelchairs, so it has, like, an open back. And then there’s G-tube patterns and stuff like that. So if you happen to have a G-tube, which is a tube that goes directly into your gastrointestinal system, then you know, like, these little pads help prevent it from getting irritated or falling out.

Basically, the other thing that we want to include is an accessible business directory. So how many fabric shops, haberdasheries, events, exhibitions are, you know, accessible, and that’s also user submitted. And then we will also have resources for accessible pattern adaptions. Sewists talking about, you know, like their experiences as, as a disabled sewist, or as a sewist with chronic illness, and this could be mental or physical. So it’s really just a one site fits, you know, like, we’re just trying to do as much as we can, so that it’s one stop shop for disabled and chronically ill sewists.

Caroline: Yeah, it’s so wonderful. And I wonder if any of our listeners wanted to submit sewing patterns or businesses, how can they do that?

Andie: So they can go to SewEnabled.co.uk or SewEnabled.com. Both work very well. And then they can click on the accessible pattern directory or the business directory. And then from there you can submit, uh, there is some criteria involved in submitting patterns and businesses that we’ve listed there, but the submission form is right there.

Caroline: That’s awesome. Thank you. We also wanted to talk about your IG account called @ChronicallySewn and ask you a little bit more about that. Why did you decide to create this account and what kind of content do you share over there?

Andie: So I decided to create it because there wasn’t really a place where sewists with chronic illnesses or disabilities could share things and we didn’t really have a hashtag at the time. Um, now we do it’s #ChronicallySewn.

There’s also a few other hashtags that I’ll talk about in a moment. I started it just as a way of really highlighting the many, many sewists out there who have disabilities and chronic illnesses that aren’t very visible to the rest of the community because there’s such a focus of production. Constantly, like, you know, like, updating Instagram and stuff like that. So this was my way of getting them more follows, more visibility.

And then, you know, it’s, it’s for anybody who identifies as chronically ill or disabled, and that again, can be mental or physical, and it could be both. With me, it’s both. And what content is shared there is, uh, I mean this year has been sort of difficult for me with sharing anything because I’ve had a, an influx of migraines, um, that makes screens very difficult. So my intention with that is to share tips and then also, uh, share from the specific sewists. So they’ll use the hashtag, and then I will repost, getting permission for it.

Caroline: Awesome. And then you, uh, mentioned earlier the #SlowProjectChallenge, and I really wanted to ask you a little bit more about that and kind of what it entails and what it’s all about.

Andie: So the #SlowProjectChallenge is a challenge that, uh, it’s over the space of a couple of months to three months. I think that last year I did two months, this year, I did three months, and there’s no requirement to finish. You just need to use the hashtag. Talk about it. You could even just talk about plans. You could show fabric. It doesn’t matter.

And then I’ve gathered a bunch of sponsors, and basically, at the end of the challenge, I’ll continue sharing what the sewists have made and then also people will get prizes. So it, it’s one of the few that don’t require something to be done. The other aspect of it is that it’s very important to me that it decenters productivity, and that’s why I say Slow Project Challenge.

So not getting things done, but moving forward in terms of projects. Um, so, you know, like, having a little bit more progress every time, but try not to focus on, I have to get it done. I have to get it done. Because it’s not about productivity, it’s about creativity, and it’s about participation.

And a lot of us in the chronic illness community often feel like we can’t participate because of that focus on productivity. So when I created it, it was very much about the, I have not been able to, um, participate in any challenge for several months, if not years now. And this was my way of saying, hey, I can create a challenge that can do that for everybody else. And, you know, I also participate, I just don’t get prizes. That’d be wrong, right?

Helen: Only a little. Yeah, it’s such a great challenge and encourages people to take things slower, too, which I think is a welcome change of pace for a lot of folks, um, just as far as our making practice goes to be a bit more intentional and just enjoy the process rather than the destination, as it were.

Andie: Exactly.

Helen: So that’s amazing. And you mentioned that you had some hashtags to share. Do you wanna share those with us now?

Andie: Yeah, so I already shared #ChronicallySewn. So then there’s also #DisabledSewing and #SewingDisabled, so you can reverse those. And then there’s the very important one #SewnShownSeated, which is very hard for me to say. So…

Helen: You’re… I’m not the only one.

Andie: #SewnShownSeated. So it’s, it’s a hashtag where sewists take pictures of themselves while they’re seated. And again, like, that’s just a huge, huge thing for wheelchair users to see.

Helen: Yeah. Yeah. That hashtag has really been growing over the past few months, and it’s wonderful to see, and it’s fun to participate in, too.

Andie: Yeah, it really is. I had such a fun time doing my first set, which was only just last month. Cause I, I don’t have a, in my other photography spot, I don’t have a chair, and I took some pictures outside, and I was like, oh, I’ll just do some seated. And then I was like, these look amazing. It, it gave me such a boost where I was like, okay, I like this. I’m doing it every time. So I’ve gotta get a chair upstairs.

Helen: Yeah, that’s awesome. And with the Sewn Shown Seated hashtag, is there certain angles that you find are more useful for people to see? Like, I’ve noticed people sharing front and side, um, what’s your take on how to position yourself ideally?

Andie: I mean, it, it’s all about what you feel comfortable about. And I think the thing is that, like, if you have intersections, you know, like you’re, you’re fat and you’re disabled, a lot of fat phobia does prevent us from showing certain angles. So not everybody feels comfortable with that, but I think in terms of, like, if you are willing to do it all, do it all, um, if you are able to do it all, of course.

I think that, like, side views are great. I also think that front on is great. And I think that even leaning back is good because there are some people who, who are in wheelchairs who actually need to be reclined because of the impact on their joints. You know, like, all of these things would help any sewist who is in the same spot.

Helen: Thank you. Yeah, those are great tips. And speaking of intersections, we know that you mentioned you identify as bisexual and gender queer, and we were wondering if you could tell us a bit more about how being non-binary intersects with being disabled as it relates to your sewing practice? Um, I know we talked about your style at the top of the show, but does anything else come to mind?

Andie: Yeah, absolutely. So with me, I am not able to, uh, to wear a binder because if I have any sort of compression across my, um, underbust, my ribs will dislocate, and that is not fun, let me tell you. It’s actually quite painful. So I think that, like, one of the things that a lot of queer community focus within non-binary styles is on bust-less styles. And I just can’t do that nor can I get, uh, surgery to get rid of my bust.

So I will never look as androgynous as someone else who doesn’t have as much of a bust as I do. So, for me, it’s, it’s really more focusing on styles that can easily be worn by male or female or non-binary people and just not focusing on the sex of a garment, like that’s, uh, you know, like, a whole other topic, but because we often have garment, you know, like patterns where it’s, it’s, like, advertised as just women. And it’s, like, but I can wear this, too.

But the main thing with non-binary and me specifically with, with disability is that there’s a lot of things that I cannot wear. So I can’t wear tight fits anymore because I get hives from, from compression, which, again, is not fun. And then, that binder is just not gonna happen. And a lot of, like, highly tailored looks where it’s constricting my joints or, you know, like, causing tightness in certain areas where I can’t move, then I can’t wear those.

So a lot of my style is based around accounting for that and making sure that I’m wearing, you know, like, loose fitting things and things that won’t irritate my skin. In terms of the bust issue, I just need to embrace it. You know, like, it, it’s just something that, you know, like, I can’t do anything about it because of my chronic illness, so I just gotta embrace it. And I’ve been finding that a lot of, like, the more boxy styles lately have really been gender affirming for me.

Helen: That’s wonderful.

Caroline: Yeah. That’s so great. And you mentioned just the idea of, kind of, taking gender out of pattern descriptions, and potentially trying to use, you know, less gendered language with their promotions of patterns and that kind of thing. And I wonder if, from your perspective, there are other ways that we can improve our community for queer sewists and any other changes that you’d like to see.

Andie: I mean, I’d love to see people stop addressing the entire group as ladies . And that’s mainly in, like, Facebook groups and within posts themselves where it’s like, hey girls, or hey ladies, because not everybody identifies as a woman. And there are a lot of male sewists out there, too, that feel pretty excluded from that group as well. So I’d love to see people use more gender neutral terms like sewists. Sewists is a great gender neutral term or, you know, folks. I love folks. It’s perfect.

Caroline: Mhm.

Andie: Um, I’d also, I would love to see people not just removing male and female or woman and men, uh, out of that, but maybe having a selection within something like a dress where there’s a no bust option cause I know that a lot of, you know, a lot of patterns have cup sizes and then there could be a pattern that has a flat top or a tutorial on how to remove the bust from your dress pattern so that it fits, you know, like a more androgynous bust versus my bust.

But, uh, you know, like, I think that thinking about different intersections would really help anybody within the sewing community. So how would my content be received by the queer community? How would my content be received by the disabled community? And how can I change that so that it is better received? And I think one of the most important things is that, in that, is that you also just are open to change.

And I think that there’s a lot of people out there who get very defensive when you ask for accommodation, and I’d like to see that stop. When you’re like, hey, can you use a more gender neutral term? And then you’re responded with, well, there’s mostly females in this group, and it’s like, okay, that may be true. But what I’m asking is that, you know, like, you use a more gender neutral term…

Caroline: Mhm.

Andie: …so that the people who aren’t females can be included.

Helen: Yeah.

Caroline: Absolutely.

Helen: It’s so true. Such good advice to just take a moment to accept that feedback and ruminate on it and reply thankfully and graciously because someone’s gone out of their way to try and help you to grow and to include more people, which is always the goal here in the sewing community. So, yeah.

Andie: Yeah, exactly. And that sort of feedback is never from a place of malice. Like, I mean, unless it’s, like, the 14th time that you’ve asked, but, but it’s always from a place of, I like you. So, you know, like, I want this community to be better, and this is my, my call in, it’s not a call out. It’s just a call in. And if you decide not to do that, I mean, I’ve, I’ve learned a bit about you, but ultimately, like, it’s about a place of, this is a community that we want to make better, so don’t get defensive about it.

Caroline: Yeah, absolutely. And, and we feel the same way. You know, we think that there’s definitely room for improvement in the community, and we hope that our listeners hearing you talk about this will help to amplify those things and, kind of, help pattern designers and businesses reflect on their actions and reflect on how, you know, what they say and do affects also is because everybody deserves to be included.

Before we wrap up, we did wanna touch on one last thing with you, which is fat sewing, because we know you also identify as fat or plus size. And I wonder what, um, or how sewing your own clothes has impacted your body image?

Andie: So, for me, I started sewing mainly because Canada doesn’t have a great plus size clothing industry, which I guess you probably know that.

Caroline: Mhm.

Andie: Basically, I was getting everything from the U.S. and incurring import fees for everything. It also meant that I was spending way more on clothes, and it’s not to say that sewing means that you’ll spend less on clothes. It could me-, mean, it could end up meaning that you spend more. So that’s, you know, that’s something to keep in mind, but it means that you’ll make something that fits you how you want it to fit you, not how some clothing designer was like, oh, people who are fat have large shoulders, so this is how we’re fitting them.

So I’d always be, kind of, unhappy with the fit. So when I started sewing, I was like, oh, clothes can fit me. It’s just that those clothes weren’t made for me and these clothes are. And that does amazing things to your confidence once you get past the fitting hump, which is a huge hump to get over. But, for me, sewing has made a huge difference in how I see myself and very much think that it’s increased my confidence. It’s increased, you know, my awareness of, of fat phobia.

Um, cause you know, like, I’m, I’m a mid fat, which, you know, in the fat community is, is, you know, like, there are small fats, mid fats, um, super fats and infini fats. So mid fat, kind of, covers the range of 22 to 24, I believe. And then you go up from there with super fats and infini fats. And we very much like these terms, much better than the O word, which is forbidden, um, which is a medical term and wrong, but sewing has done so much about how I view myself.

I also think that it’s made me more body neutral versus body positive. And I think the thing is that I just wear whatever I want to wear versus what I think is the beauty standard. So it’s, for me, it’s about comfort, and it’s about wearing a style that I really enjoy. And then also getting the fit that I need.

Caroline: Yes. Thank you so much for sharing that with us. And we also are so thankful that you’ve agreed to come on the show and talked to us about everything that we talked about today. We learned so much from you and we know our listeners will learn so much, as well, so thank you.

Andie: Thank you so much. I mean, I’ve, I’ve been such a fan of the show for a really long time, but it’s, like, I’m fan-girling over here or fan-nb-ing. There’s not really a fan equivalent to non-binary.

Helen: Well, we feel the same way about you, and it’s lovely to have you on. Thank you again for joining us.

Andie: Thank you.

Helen: Take care. Buh-bye.

Andie: Bye.

Caroline: That’s it for today’s episode of Love to Sew. You can find me, Caroline, at BlackbirdFabrics.com and Helen at HelensClosetPatterns.com!

Helen: We’re recording in beautiful, BC, Canada, and you can get in touch with us and get links for everything we talked about in this episode at LoveToSewPodcast.com.

Caroline: If you’re loving the show and want to help us out, you can support us on Patreon. Contribute $5 or more a month, and you’ll get access to our bonus episode feed. Contribute $10 or more a month, and you will get a 50% discount code for both of our shops and a bonus mini episode. Go to patreon.com/LoveToSew for more info.

Helen: Thanks to our amazing podcast team Sam Humphrey and Melanie Brister. And thank you all so much for listening. We’ll talk to you next week.

Caroline: Bye.

Helen: Buh-bye.

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Photo credit to Tailor Made Shop!

Learn all about elastic! We dive into different types of elastic, and which ones you should be using for your next project. Plus, we share our top tips for sewing with elastic, along with our favourite elastic sources!

Love to Sew episodes mentioned:

Braided Elastic – it is best used  for casings and channeling

Braided Elastic – Blackbird Fabrics

Knit Elastic – use knit elastic for casings, undies, or boxer shorts! 

Knit Elastic – From Strap Crafts

Woven Elastic- works best for outerwear, workwear, pants, etc.

Non-Roll Woven Elastic by FabricsnFunShop

Blackbird Fabrics Soft Woven Elastic

Clear Elastic – used to gather knits or stabilize seams, such as necklines shoulder seams, or dance wear.

Clear Elastic from Emerald Erin Shop

Swimwear Elastic – there are cotton/rubber or all rubber types!

Cotton & Rubber Swimwear Elastic from Blackbird Fabrics

Rubber Swimwear Elastic from Blackbird Fabrics

Lingerie Elastic:

Picot Elastic from Tailor Made Shop

Strap Elastic from Tailor Made Shop

1/4 elastic from Tailor Made Shop

Fold Over Elastic (commonly abbreviated as FOE) – can encase raw edges which works great for knit garments and lingerie

Fold Over Elastic from Emerald Erin Shop

Decorative / Fashion Elastic – elastic that is often added as a visual element to a garment

Fashion Elastic from Pacific Trimming

Elastic Cording and Thread:

Elastic Cording from Dritz

Elastic Thread from YarnShop4U on Etsy

Buttonhole elastic – works great for maternity clothing, kids clothing, and anyone with a changing waistline.

Buttonhole Elastic from CharmCraftStore on Etsy

Drawcord/drawstring elastic – popular in sportswear!

Drawcord Elastic from The Sewing Place

Elastic options for mask-making:

Different ways to insert an elastic:

Helen’s Closet has a whole blog tutorial on hacking the Winslow Culottes with an elastic waist!

Where to Buy Elastics Online:

Sewing patterns mentioned in this episode:

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We share some of the amazing feedback we have received over the past 6 months in this semi-annual feedback fest! We cover sewing confessions, sewing tips, helpful resources and so much more!

Thanks to Kinship Handwork for supporting Love to Sew! Check out Kinship Handwork’s monthly sewing membership, The Make-It-Your-Own Society, where garment sewists come together in a sewing adventure like no other and make seven knit garments completely their own. Love to Sew listeners get one month free by using the coupon code LOVETOSEW at kinshiphandwork.com. 

Thanks also to A Way We Sew for supporting Love to Sew! A Way We Sew offers kits that teach specific techniques with all the steps printed right on the fabric. Learn more and get $5 off your first kit at awaywesew.com using coupon code ‘lovetosew‘.

Love to Sew episodes mentioned:

Love to Sew’s Anti-Racism Action Plan

Love to Sew Sewing Confessions Bingo

A post shared by Love to Sew (@lovetosew.podcast) on Jul 24, 2020 at 9:30am PDT

Helen’s mentioned Refashioners Challenge dress:

Thread + Needles Guides:

Sewing needles organization:

A post shared by Luisa Fini (@luisa_sews19) on Aug 16, 2020 at 2:24pm PDT

Other listener mentions:

A post shared by P A R T S (@_parts_design_) on Jul 6, 2020 at 12:21pm PDT

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