Love to Sew

We share four big strategies for saving money on sewing, with lots of helpful tips from our listeners. You can make amazing things without spending a lot – or anything at all!

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

Show Notes: 

Previous Episodes Mentioned:

Photos:

Helen’s Denim Patchwork Dress for Re-Fashioners 2016

Helen’s Colourblocked Brooks Jeans Shorts

Helen’s Scrap Busted Ilford Jacket

Hannah’s Costa Tote pattern, printed on the back of “incomprehensible archaeology information”!

WithWendy’s Chanel-Inspired Blanket Upcycle

Learning Resources:

Sites for Buying Secondhand Materials or Getting Them for Free:

Other Mentions:

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 and BF Patterns.

Helen: And I’m Helen, the designer behind Helen’s Closet Patterns and Cedar Quilt Co.

Caroline: We’re two sewing buds who love to sew and it’s literally all we want to talk about.

Helen: Today’s episode is about sewing on a budget. We share four big strategies for saving money with lots of help from our listeners. You can make amazing things without spending a lot. Or anything at all!

Caroline: If you love to sew, this is your show. Hello, Helen!

Helen: Hi Caroline!

Caroline: How are you?

Helen: I’m good, how are you?

Caroline: I’m pretty good. I’m pretty good, Excited to talk about budget sewing today.

Helen: I know, I love saving money.

Caroline: Me too!

Helen: Yeah, we got so many great tips from our listeners and it was really fun to hear about all the different ways that people out there make sewing work for their budget.

Caroline: Yeah, honestly, I learned so much from this episode, so I feel like we should just dive in.

Helen: Yeah, let’s do it. Okay, welcome to the Budget Sewing Academy. We put a call out for budget sewing tips on our social media and we got great responses from our listeners. It was really cool hearing all of their tips and we’ve grouped all the advice into four main strategies for budget sewing. So each section has some general advice followed by a bunch of actionable specific tips that you can take.

Caroline: Helen, I want to know how you would rate your budget sewing ability between 1 and 10, 10 being a budget sewing master.

Helen: Okay, well, I’m definitely not a master. I would say maybe a 4. I mean, I buy a lot of fabric and notions new because I love fabric shopping, and I also run a business, so I need supplies. And I’ve gotten into quilt fabrics lately with the quilting side of things. So that’s a whole other world of fabric consumption, and it’s so much fun to buy quilting fabrics. So I’m trying as hard as I can to limit that, but you know, it’s, it’s hard. You can relate, right?

Caroline: Especially when it’s something that’s fairly new. I mean, I guess you have been quilting for a couple of years now, right? But new enough that it still is, like, shiny, exciting. You probably are discovering new fabric lines all the time and tools that you need. So yeah, it must be difficult to rein it in sometimes.

Helen: Oh yeah, and there’s always new fabric in the quilting world. It’s like, every season there’s new collections and it’s just so exciting. So yeah, I’ve been trying as hard as I can to keep that to a minimum, but of course it’s very, very exciting to buy the new fabrics. But when I started out sewing, when I got back into sewing in my early 20s and when I was starting my business, Helen’s Closet, I was a lot more resourceful. I was definitely using bed sheets for muslins, even when I was starting my business. I was sewing on a used sewing machine that somebody gave me that had just been sitting in their closet. And that was what I used for the first few years running my business. And I was shopping at discount fabric stores and discount sections and trying to just get my hands on all the materials I could so that I could actually run the business. So I have a bit of a background in budget sewing, but these days I am buying more virgin goods. But I’m bumping myself up to a 4 on this scale because I do really enjoy saving all my leftovers and my scraps. So I love keeping track of all of them, keeping them organized, and so they’re ready to be used. And I really like making patchwork projects and kids’ clothes and other smaller, like, home decor items. I also love refashioning garments when I don’t like wearing them anymore, like turning them into something else. So I have a bit of a money saving streak for sure. How about you?

Caroline: when I read this question, I’ve, I kind of felt like I should be disqualified because I feel like my circumstances are not necessarily, like, relatable or common for people in the sewing community. But I have owned a fabric store for 10 years, so I almost never pay out-of-pocket for fabrics and notions and sewing supplies. So I feel like I, I don’t get to rate myself in this. But. If I, like, counted up my fabric purchases from my own business and, sort of, looked at those from a budget perspective, I would be, like, a 1.

Helen: That’s fair.

Caroline:I bring home a lot of fabric, probably too much, and I am so lucky to have access to the fabrics that I do. That is definitely not lost on me. But I’m still super stoked to learn about folks’ budget sewing tips because I know it’s a topic our listeners are super interested in.

Helen: Oh, definitely. They’re so excited. I think people are going to learn a lot from this episode. And no matter how good you are at budget sewing, like there’s always more to learn. Even just simple things to save you a little bit here and there. Fun things that you can do that just kind of, like, I don’t know, you game the system a little bit. It’s exciting.

Caroline: Totally. Okay, I feel like we should start this episode. Let’s get into the meat of it. Our first big strategy for sewing on a budget is: Use what you have.

Helen: It sounds kind of obvious, but shopping your stash is underrated. It is like shopping in a store that only carries stuff that you like, and it’s free. I mean, I know it’s actually not free because I paid money for it at some point, but Current Me doesn’t have to pay anything to use the fabric that Past Me bought. So, ergo: free.

Caroline: Yeah. Linda said, “When I’m in the mood to start something, I first look at my stash and then go to the web and get ideas with that in mind.” And this is a great way to save money. I love Linda’s idea, suggestion here. If you usually start by finding the pattern you want and then shopping for fabric to match it, try switching that around. Look at your stash first, pick a fabric you’re excited about, and then find a pattern to match.

Helen: Yes. Ann said, “I have big hopes to sew down all my stash this year. Garments and quilts, even wreaths and Christmas ornaments and gifts. The only money I want or need to spend is to have my sewing machine serviced.”

Caroline: Yeah, this is next level stash shopping. But if you don’t want to go as hardcore as Ann, you could shop your stash for every second project you make, or maybe every third.

Helen: Yeah, I’ve heard of people setting up these kind of ratios or formulas so that they’re getting a little bit of new fabric every once in a while, but there’s more going out than coming in.

Caroline: Yeah. Another strategy is to use your stash fabrics in unexpected ways. So, Mary said, “I’m making a quilted jacket for my daughter and instead of buying batting, I found a sad looking mid weight knit with a stable stretch in my stash. It’s working beautifully in place of the batting and I never would have used it for a shirt or pants.”

Helen: Ooh, I love this! Especially for a fabric that you aren’t in love with anymore. You can use those fabrics for toiles or batting, maybe sew-in interfacing that will be hidden in a lining…or a lining for that matter. I mean, you’re not going to see it that often. It’s on the inside. Maybe just use a cotton that you’re not that into anymore.

Caroline: Mmhmm. Okay, Heather said, “This fall I planned a collection based on Alexandra Morgan’s August 2023 YouTube videos for which I used only “fabric pantry” aka stash fabric and existing patterns. I’m halfway through making a group of garments which coordinates. Planning it makes me view my fabric with new eyes.”

Helen: Oh, we love a capsule challenge. I think something like this can really refresh your excitement about your stash fabrics and patterns. For some reason, stash fabrics can seem a little dull next to the fabric waiting in your online shopping cart. But I need to remember that I was excited when I bought my stash too. Helen: So there’s got to be stuff in there that i’m excited about now still.

Caroline: I also love the concept of a fabric pantry.

Helen: Yes! It makes it feel even more useful too because we all love our pantries, right? They’re full of all these delicious things, great things that we need for cooking on a daily basis. So thinking of it like that almost makes it feel, yeah, like something you want to look at more often.

Caroline: And, similar to a pantry, sometimes you might forget about, like, that can of beans at the back of your pantry. And then one day, you’re going to need it, and you’re going to be glad you have it.

Helen: What is the equivalent of a can of beans? Like a, black linen.

Caroline: Yeah. Something basic and reliable.

Helen: Yeah, totally. Heather also wrote, “I have a loose-leaf notebook documenting my fabric pantry and a small sample of the fabric taped on next to the fiber content, size, amount remaining if partially used, and where and when I bought or got it. This has prompted me to shop my pantry.” Ooh, you can just browse, like a book.

Caroline: Yeah, knowing what’s in your stash is the key to using it. And Heather sounds like she has a really good system. And we go over some other ways of keeping track of your stash in Episode 185: Fabric Stash Organization.

Helen: Another great way to use what you have is to make do with the thread and notions in your stash. For example, Lisbeth said, “Don’t buy overlock thread in every colour. My fabric store salesperson recommended just one off-white and one off-black, like a dark gray, four cones each. That is perfect. I bought them four years ago and I haven’t had to buy overlock thread since.”

Caroline: Similarly, @sandy_piper said, “I only replace the fourth serger cone when working with a different colour fabric. And even then, only if I’m working with a fabric that my white serger thread will show through when the fabric is stretched. It’s a little weird on the inside, but on the outside, you can only see the second needle stitch anyways.”

Helen: Ooh, it’s so true. White, gold, and grey are all versatile colours to use for your looper threads, even the main stitch threads. Even if you’re sewing on a regular machine, sometimes a good-enough thread match works just fine, especially if you have a busy print going on. A compromise is to use a thread that doesn’t match on the seams for the construction and seam finishes, and then you can switch to a thread that matches for the topstitching. This is a great way to reduce waste and the number of spools rolling around in your sewing box. I really need to do this, just, like, keep them next to my machine and keep feeding them in for construction. So I just use them all up. Amd then I love the idea of just saving the matching thread for the top stitching.

Caroline: Mmhmm. Yeah, it’s such a good idea. Following that thread…eh? Eh? Eh? See what I did there? Di said, “Use coned thread on the sewing machine! Pop it in a mug or make a wooden block with a piece of dowel in it.” Great idea.

Helen: Yes! Okay, did you all know that you could do this? There are thread stands out there that you can buy. It’s basically like a stick on a stand. You place the cone next to your machine, the stick sticks up from there, and then you can thread your machine because it’s got like a little stand that’s holding the thread up high enough to thread it. But if you don’t want to buy a thread stand, you can just put a cone into a mug or some kind of vessel that will hold it upright. To feed the thread through the top of the machine, tape a safety pin onto your machine near the top with the bottom end sticking up, and then you can feed your thread through the loop and through the rest of your machine. Jan Howell has a video on YouTube that will show you how to do this. And this means even if you don’t have a serger, if you find a good deal on thread cones, you can use those in your regular machine. And I wanted to say, similarly, you can use regular thread spools in your serger for doing that trick where you’re just changing that one spool. You might have just a regular thread that matches perfectly. You can pop that in there.

Caroline: Yeah, totally. Di had another tip for using what you have. “Use household things rather than buying expensive gadgets, like a wooden rolling pin wrapped with a tea towel for a seam roll, silicone baking mat for fusing, or matte magic tape under the foot rather than a Teflon foot.”

Helen: Those are all great suggestions. Of course, if a tool makes your life easier and you can afford it, then you can go for it. They’re often not too pricey. But if you can’t afford it, it totally makes sense to use what you have around the house. This tip reminds me of our Surprising Gadgets and Guidance episode. There were all kinds of creative ways to use non-sewing stuff for sewing. Like, I’ll never forget the idea of using cutlery for pattern weights. Like, just throw a bunch of knives and forks down there. You’re good.

Caroline: Yeah. Yeah. So you can use so many things for pattern weights. I love it.

Helen: Yeah.

Caroline: Sometimes you want to use what you have, but mainly what you have is scraps. Scrap busting is another challenge that can really build your sewjo. It feels like taking a bunch of nothing and making it into a wonderful something. And we have a couple of episodes that are all about busting scraps. We’ll link those for you in the show notes. But our listeners had some other suggestions that we loved.

Helen: Joy wrote, “For quilting, I love to piece smaller pieces of batting together to make the size that I need.” Okay, this is a great tip. I’ve heard this in the quilting world called franken-batting, which makes sense because it looks kind of Frankenstein-esque with all these seams and zigzags. Batting is expensive, but you can but the pieces up next to each other and zigzag stitch over the place where they meet. Just make sure your stitches aren’t stretching the batting out and making the seam kind of wavy. You obviously want everything to be as flat as possible. You could also hand sew the pieces together with long whip stitches. Another method is to use fusible web to attach strips of fabric over the joins. And then, of course, once it’s in your quilt, you’re stitching all over the top. So that’s going to hold everything in place nicely. So this is a really great way to use up all of those scraps.

Caroline: Mmhmm. And Theresa wrote, “If you want to sew something but don’t want to use a lot of fabric, try sewing underwear. There are many great sewing patterns for both knits and woven fabrics. You can use jersey scraps, you can use silk or lace scraps. Sewing your own underwear is a really rewarding experience that doesn’t have to cost a lot of time or money. Also, batch sewing is really easy.”

Helen: This sounds like a really fun way to scrap bust. Sewing undies could also be handy if you only have money in the budget to buy a little amount of fabric, but you still want to get your sewing done. And similarly, bra sewing requires very little fabric. A little bit more specialty fabric, but still, small amounts. And the notions can be taken off of old bras you already own or old bras from the thrift store. Those, like, sliders and rings and even the back clasps often are still in pretty good shape.

Caroline: Yeah. love that idea.

Helen: Okay, Martha wrote, “I have a couple of draft excluders from legs of old jeans stuffed with fabric scraps. It looks a little kooky to have a single leg stretched out against a door, but I like it.”

Caroline: This is so cute. For those who don’t know, draft excluders are like thin, long bolster pillows that you put in front of a drafty door to keep air from coming in. I think stuffing it with scraps is a great idea because draft excluders have to be kind of heavy to stay in place, and scraps can be heavy when you stuff them into things. And if you don’t want to use jeans, you could use a different stash fabric, upcycle a garment you don’t want to wear anymore, or make patchwork pieces with your scraps. I really do love the idea of a leg though.

Helen: A leg. Yeah.

Caroline: It’s just so cute.

Helen: I, confession, keep all of my jeans and Sam’s old jeans because I love making denim projects using leftovers from jeans. I’ve made a few on the blog. We can put them in the show notes. So I have a little pile of used jeans where the crotch has, like, been mended too many times, or they just don’t fit anymore. So I could totally make some draft excluders.

Caroline: Yeah. Totally. Okay, another way to use what you have is to use your patterns more than once. Agata noted that this lowers the cost per item. And that’s totally true. If you pay $15 for a pattern and use it once, the pattern costs $15. But if you use it three times, it spreads out to $5 for every time you use it.

Helen: Oh, that’s a great way of thinking about it. I like that. Heather wrote, “Pattern hacking is my budget sewing tip. Find what you most like to wear, then pick a hackable pattern or a pattern that has several style options. It’s amazing how different the same pattern can look when made up in different fabrics or with minor hacks such as added frill or something like that. Saves a fortune.” Oh, Heather, you’re speaking my language.

Caroline: Yes, totally, you can use the same pattern and make really different-looking garments. Even the same view of a pattern can have a whole different feel in a different fabric. But when you think of all the hacks you could do, you can make a whole wardrobe with just a few patterns.

Helen: Yes, oh yes. Preach. This is why we love to design wearable basics at Helen’s Closet and then we share hacks for them on our blog. Because I love having that great straightforward view of a garment just nailed down. It’s perfect as is, doesn’t have a lot of, like, bells and whistles. And then explore ways to customize it by adding those different details or changing it from a top into a dress or adding pants to make a jumpsuit. I mean, really, the world is your oyster when it comes to this stuff. So I’m totally on board.

Caroline: Mmhmm. Okay, our second big strategy for sewing on a budget is just to buy less. I know it sounds like, “Duh, of course.” But if it’s so simple then why do so many of us struggle with this? Let’s talk about some of the habits that you can build to buy less.

Helen: So, Jackie says, “Don’t buy the fabric until you’re ready to make the item. Seriously, don’t even buy the notions that you’re going to need. I don’t always keep this rule, but it does save me a lot of money. You’re a creative, of course you’re going to have a million ideas. You’re going to want to make a garment out of everything. But taking it one project at a time has really helped me and my wallet.”

Caroline: Yeah, I love this advice. This would both keep your stash manageable and save you money. Plus you wouldn’t lose your excitement as the fabric, notions, and pattern languish in your stash. Hard relate. And you could ride that sewjo wave all the way to the shore.

Helen: I love that. Yeah, I feel like everyone can relate to this. Like, you start to feel guilty for not sewing the thing that you set out to sew. Sometimes you just forget what you were doing with that fabric. I mean…

Caroline: Mmhmm. I know. And I love the win-win of having a small stash. It takes up less space in your home. There’s less of that, like, mental struggle of knowing that you have all that stuff that you need to get through. So it’s totally a win-win.

Helen: Totally. The fabric store Cross and Woods had another suggestion for buying less. They said, “The best money-saving on fabric tip we always tell our customers: cut your pattern pieces out first, lay them on the table or floor, and measure how much fabric you actually need. Patterns will mostly size up, and by laying it all out on the right size on the width of your desired fabric, you might lose up to half a meter. You can also find out which pattern pieces can be done in scrap fabric, things like pockets, facings, or you can get what you need by piecing things together. This is going to save you money, fabric, and heaps of must-do scrap projects because you end up with loads of fabric remnants if you just follow the cutting layouts provided with the pattern.”

Caroline: Mmhmm. There’s something really satisfying about being able to fit a garment out of way less fabric than you think you need. Especially if you’re using a stash fabric that you want to get through versus buying something new, right?

Helen: Oh, definitely. It’s a great idea. I’ve seen people do this by putting painter’s tape on the floor or a table in the width of the fabric and then doing their layout. Having, like, a taped-out area is really helpful just to visualize what you’re working with. And I will definitely attest, as pattern designers, it’s so true. We add a little extra fabric for wiggle room in case of shrinkage or a difference in the fabric width. I mean, we don’t want you to end up with too little. That’s, like, the worst case scenario, right? You don’t have enough. So we always want you to have extra. And we don’t squeeze the pieces right next to each other like you would when you’re actually cutting things out. We don’t seize those opportunities to, kind of, like, just get something right next to another piece. Because, again, you never know, a slight difference in the width of fabric, and all of a sudden, that piece doesn’t fit. And also, we have to provide layouts and fabric requirements that work for multiple sizes. Otherwise, that section of the booklet would be like 20 pages long, right? So it’s just not feasible to do that. So that’s why there’s always a little extra. And it’s true, there always is a little extra. So this is a great way to save on fabric.

Caroline: Definitely. Another way to buy less is to make a capsule wardrobe. A capsule wardrobe is like a set of clothes that can be all matched together to make different outfits, like a mix-and-match situation. That way you end up needing fewer garments overall. So Deb said, “I decide on my capsule wardrobe for the upcoming season, then buy fabrics in one go. Generally from one or two suppliers max. This not only reduces postal costs, but also stops me from buying fabrics on a whim because I have everything I need to make the season’s garments already.”

Helen: Ooh, this sounds like such a fun idea. I think I would love the planning process especially. And you could incorporate garments you already have into the plan as well, or try to make some things that are going to be multi-season appropriate. I have a friend who does this, and she always makes very seasonal wardrobe capsules. So, like, in autumn, everything is orange and red and brown and, like, cozy. And then in spring, everything is bright and fun. And it’s just really cool to watch her process and to see the things that she comes up with to make. And I think that can be really inspiring.

Caroline: Yeah, no, it’s so cute. I love this idea.

Helen: Okay, we all know that media and advertising can make it hard to buy less. Some of our listeners commented saying they realized that they were being negatively affected by it and they needed to tune out. So, Cherry said, “ Media and groups made me too critical and obsessive. Just realizing that I was caught in a never ending cash-grab was all I needed to stop the gathering. I took a break from sewing, and I’m beginning to see it with new eyes. I want to sew like they did in the old days, not knowing what others are doing or thinking so that I can hear my thoughts. I need a hole-up phase, and with that, I anticipate using what I have and being more creative on my own. And I think that’s going to feel really good.”

Caroline: It makes so much sense that if you’re spending more than you want to, you should take a step back and really ask yourself how you’re being affected. If it’s not a factor in overspending for you, that’s totally fine. And we don’t have any issue with social media and advertising, but we totally support anyone who feels like they want to tune it out so that they can hear their inner voice.

Helen: Oh, definitely. I can relate to this. I mean, anyone who’s spent any time on social media can relate to this, right? So, in a similar way, @bodkins4everyone wrote, “Not really frugal per se, but last year I unsubscribed from all the sewing and fabric emails I was getting. It really made a difference for how much fabric and patterns I bought last year, which was none. And I have a very healthy fabric stash and tons of patterns I haven’t used yet. I just had to turn off the temptation to buy more.”

Caroline: And this is a really good strategy. It’s easy to unsubscribe and resubscribe to emails. So subscribe when you want to and unsubscribe when you want to. It might be the key to working through your stash.

Helen: Okay, one of the most exciting ways to spend less is to get stuff for free!

Caroline: Yes! Okay, so Danielle said, “My library has sewing books that I can borrow. They often have patterns. I just trace off my size and write out the instructions for myself. Ahead of the Curve by Jenny Rushmore has been my favourite. Great expanse of fitting information and a good size range in the patterns.”

Helen: Oh, so smart! Definitely check out your local library’s resources. They might have sewing books that include patterns or a subscription to a magazine with patterns like Burda. You can also ask a librarian how to request books. The library can buy the book if you’re interested in it for their collection. And then other people can enjoy it for free too. And, of course, do what Danielle does and trace the pattern and leave it in a good condition so that other people can do the same.

Caroline: Totally. my gosh, it’s so true. Imagine if you get the book and somebody has already cut out their size or something. That’d be really sad.

Helen: I’m sure it’s happened.

Caroline: Chickie suggested “letting people know you accept extra fabric and hand-me-downs you can use for fabric, notions, and equipment.” Okay, this is such a great idea. You’d be surprised how many people have inherited sewing stuff that they don’t know what to do with. Or people with big stashes of their own that they’re looking to downsize. I know I’ve been there. I also know I’ve been offered sewing things from friends and family over the years. So, it feels like those things are very easily accessible if you’re looking for them. So just put that energy out there.

Helen: If you’re active on, like, Facebook or Instagram, just putting up a post, I’m sure you’ll get some stuff.

Caroline: Yeah, absolutely.

Helen: Similarly, online groups like Buy Nothing or websites like Freegle, Kijiji, Craigslist can be great ways to find free sewing stuff. Inanna said, “Join a local Buy Nothing. You can create ISO posts for fabrics, notions, and even sewing machines. Buy Nothing groups are growing and have a strong ethics of gifting and participating in circular economy.” This is a great suggestion. And by the way, “ISO” means “in search of,” so you don’t have to wait for someone to offer something. You can make a post letting the group members know what you’re looking for.

Caroline: Yeah, I think sometimes when you have things to offer, one of the biggest barriers is, like, actually making a post and putting, like, taking the picture. So if someone were to post, like, “I’m in search of, you know, this type of fabric,” and I knew I wanted to offload that fabric, that would be so convenient for both parties. So I feel like that’s a really good, really good call.

Helen: Definitely. And Buy Nothing groups are fabulous. I know a lot of parents in my life swear by them because people are always exchanging kids’ stuff for different ages and it’s just great that you can have access to that stuff without having to pay for it. It’s like, pay it forward, right?

Caroline: Yeah, totally. Lee said, “I’m part of my local Buy Nothing group. I’m always looking for fabric, sheets, curtains, notions, and sometimes even sewing machines come up. I even got a wedding dress where I was able to reuse the silk fabric for a different project.” What an amazing score, Lee. Oh my gosh. Love this.

Helen: Love that. Samantha says, “I have been lucky enough to find free fabric on Marketplace, Freegle, or cheap in charity shops. Even lots of Christmas jersey given away on local Facebook site of people giving away free stuff.” Oh, yes.

Caroline: We also had listeners talking about in-person groups. Claire said, “Go to sewing meetups. There are often swaps where you can not only donate fabric, patterns, and supplies you’ve fallen out of love with that might catch another sewist’s eye instead, but you can also pick up new-to-you things for free.” This checks so many boxes for me. Meeting local cool sewists: check. Destashing: check. Free sewing supplies: check. Love it.

Helen: Absolutely. Okay, our final suggestion for getting stuff for free is to get free patterns online. There are so many amazing sewists and pattern companies who have published free patterns. We have a whole episode about free sewing that we’ll link in the show notes. Punk Frockers episode 69 is about free patterns, too. Making and Books has a big post with a ton of free patterns linked. And Jess of Broad in the Seams and Muna and Broad has a post of over 100 free plus-size sewing patterns. So there’s a few places to get started there. There’s really just so many great freebies to choose from.

Caroline: Okay, on that note, it’s time for a quick break. Love to Sew is made possible by listeners like YOU! We are so grateful for the support of our amazing patrons and subscribers. If you love Love to Sew and you want to help support the pod, we have a new option for you.

Helen: You can now become a paid subscriber on Apple Podcasts! Subscribers get access to our monthly bonus episodes. It’s so convenient; if you already use Apple Podcasts, the episodes are right there in your feed!

Caroline: So, what are the bonus episodes? Well, we do a chatty catch-up on what’s been happening in our lives, share about the realities of running a small business, discuss new indie pattern releases, and talk about what we’re sewing right now! Many of our subscribers say these fun bonus episodes are their favourite, and if you subscribe, you get access to the full back catalogue. That’s over 75 hours of Love to Sew! We also do a mini-episode that deep dives into a specific topic. We get to discuss so many fun sewing techniques and answer specific subscriber questions about sewing!

Helen: And we are still on Patreon! If you subscribe over there you can get access to the bonus episodes, behind-the-scenes photos, and a special 15% off discount code at our superfan patron tier. That discount applies at Helen’s Closet, Cedar Quilt Co., Blackbird Fabrics, and BF patterns. If you shop with us regularly, it basically pays for itself!

Caroline: If you’d like to try out Patreon or Apple podcast subscriptions and check out our bonus content, you can sign up for a free 7-day trial. And, of course, you can help support the show by listening, just like you are right now. You can also leave a review! Reviews really help our show to get discovered by new listeners. We know that financial support isn’t always possible and we want you to know that we love you for listening!

Helen: Go to patreon.com/lovetosew or visit our show’s page in the apple podcast app to become a paid subscriber. Thank you to all of our listeners, patrons and subscribers – you’re the best!

Caroline: And we’re back with more budget sewing ideas. Helen, do you want to tell everyone about our third strategy?

Helen: Our third strategy is: take your time. Take your time deciding what to make. Take your time actually making your projects. See what I’m doing here, Caroline?

Caroline: Yeah, you’re taking your time. I love it.

Helen: Take your time so you can buy your fabric on sale. And extend the life of your projects by mending and altering.

Caroline: Yes, okay, so first let’s talk about how you decide what you want to make. We had some comments from listeners who said that they save money by resisting trends and focusing on their own personal style. I think trends can be fun, but it’s true that sometimes you can get swept up in something that you’ll end up disliking in a year. If this is something that keeps happening to you, defining your personal style will really help. And we have our free Create Your Dream Wardrobe worksheet and our episode where we both work through it. We also have an episode called What’s Your Me-Made Style. That’s super fun. The best part is hearing all the creative names people have come up with for their personal style. Helen, I’m going to remind everyone that yours was “Matisse Painting Come to Life” and “Pacific Northwest Hipster Caught in the Rain,” which, still hilarious.

Helen: It’s still accurate. My summer and winter styles.

Caroline: And mine was “West Coast Gardener on Lunch Break” at home and “Chic Yet Approachable Fabric Mogul at work.” I don’t know, slightly embarrassing, but still accurate.

Helen: We were trying to keep up with our listeners on that one because they came up with the coolest names for their style. It was so fun.

Caroline: But truly, spending some time really thinking about what you want to make and wear is going to help you budget-wise because you’ll be less likely to waste money on something you don’t actually like.

Helen: Yes, and spending more time to make a project special is an underrated way to save money. Making a muslin for good fit, hand basting fiddly steps like inserting zippers, hand finishing the details, that are gonna give you a garment that you love and you want to wear. And if you find yourself speeding through project after project, it actually saves you money to spend more time on each one. Fewer projects, but better ones. And you’re doing an equal amount of what you love, which is sewing.

Caroline: Yes! And if you want patterns, fabric, or a specific tool but it’s not in your budget right now, it pays to be patient. You can sign up for the newsletter of the company you want to shop from so that you keep an eye on the sales. You can set eBay alerts or check Facebook marketplace periodically. You can even set up Facebook marketplace alerts, I believe. And you can check the sales flyer of chain craft stores to see when there’s, like, a $2 pattern sale or a deep discount on the fabric that you’re looking for.

Helen: Another way to take your time with your projects is to mend, alter, and refashion. It’s definitely less expensive to fix a garment or quilt than to replace it. And it’s a great way to show some love to your textiles. Even if you have to buy a couple notions or a small amount of fabric, you’re still going to come out on top financially.

Caroline: Julie said, “I’ve been refashioning some of my clothes and enjoying wearing them all over again. I’ve taken in box tops to be more fitted, changed elbow length, full sleeves to cap sleeves, and taken a dress up a few inches.”

Helen: Ooh, that’s very cool. When I get through my mending and alterations pile, it feels like having a whole new wardrobe. And there’s always so many gems in there and I’m never, like, let down by doing it. It’s amazing the difference a couple inches on a hem can make or chopping the sleeves off of something. It’s just like a whole new world.

Caroline: Yeah, totally. I feel like I will never get through my mending pile, but every time I get one thing done, I feel like I’ve won the lottery, so I just gotta keep chipping away at it.

Helen: Exactly. It is a fun place to go to when you’re in need of a project. And I often forget about my mending pile. ‘Cause it’s not so much a pile; it’s like a bin that’s tucked away somewhere. So it’s good to take a look at it every once in a while.

Caroline: Yeah.

Helen: Okay. Our final big strategy for this episode is to shop smart. Thrift shops and estate sales are great places to find fabric and notions and even sewing machines.

Caroline: Ellie said, “Start with the absolute basics. You don’t need every tool to start. I have a set of tile samples that are both my pattern weights and serve as a clapper pretty well. Also, look for estate sales with sewing supplies. All my best machines, notions, and tools were from estate sales. Just no vintage thread. Buy an old machine with metal gears and you’ll have a workhorse that will last forever. Mine was free off Facebook Marketplace. Do spend your hard earned money to get a tune-up for your new machine.”

Helen: Yes, that’s an amazing find. I agree that estate sales are a great place to find notions. Vintage notions are often really high-quality. As Ellie said, thread is kind of the exception here because it can lose its strength over time. So make sure if you are using old thread that you test it and make sure it’s still strong. I feel like notions always add up way more than I planned when I’m shopping. They can be so expensive. In Canada, you can google “estate sale companies” and your province to get targeted results. And in the US, estatesales.net is a good directory for finding one. I also have to agree with Ellie about the metal machine thing, because that’s what I was sewing on before. And, oh, as much as I love my new Pfaff, my old Sears Kenmore, I mean, what a workhorse. Just so reliable.

Caroline: Yeah, I know, they don’t make them like they used to. Isn’t that what people say?

Caroline: Tracy also likes estate sales. They said, “Keep an eye on estate sales. The husband and I drove an hour to go to one this last spring. I got about 30 yards of fabric, some notions, a vintage pattern, and a coin purse for 40 bucks. That includes vintage denim, velvet, and cottons. Also go to community flea markets. I got around 10 yards of fabric for 10 bucks because somebody cleaned out their scraps and unwanted quilting fabric. I regret not going to buy more.”

Helen: Ooh, that’s amazing. Community markets and garage sales are a good place to source sewing stuff. I feel like it can be hit-and-miss, of course, but if sewing stuff isn’t the only thing you’re looking for, or you just enjoy the hunt, you can get amazing deals. And I know for beginners, one of the challenging things about picking up fabric here and there is that you don’t know what it is or if it’s any good. And so if you can bring a friend, a family member, somebody in your life who does know a little bit about sewing and fabric, bring them along for the ride. You’ll have a nice time hanging out and they can help you identify whether the fabric you’re picking up is any good.

Caroline: For sure.

Helen: Michelle said, “I use thrifted notions frequently, especially buttons. Sometimes buttons on thrifted garments are higher quality and less expensive than carded buttons at big box stores. Hardware for purses can also be quite good, even if the bag itself is not.”

Caroline: This is a great tip. You can also harvest notions that are still good from your own worn-out garments, kind of like Helen’s idea for bras earlier.

Helen: Yeah, exactly. If something’s done, you can still save those buttons.

Caroline: Christine said, “I buy most of my fabric from thrift stores, remnants or deadstock, which means I end up with unique pieces.”

Helen: This is a great point. You’re not only saving money, you’re finding fabrics that are rare and special, a little bit more unique, have been saved from the landfill, which is always a good feeling. Caroline, I know I’m not alone; when I see that deadstock label on the Blackbird Fabrics newsletter, I get pretty excited.

Caroline: I know! There’s always unique finds with deadstock. And the thing with it is that often we can’t get it again, which is a little heartbreaking, but that’s kind of the point, right?

Helen: Yeah, exactly. I want that exclusie.

Caroline: Yeah.

Helen: Okay. @krumbymadeit said, “Search for a haberdashery opshop, aka a thrift store, in your area. Notions, fabric, and patterns at a fraction of the cost and saving unwanted items from the landfill.”

Caroline: These are also known as creative reuse centers. It’s 100 percent worth it to find out if there’s one near you. Plus, it’s a great place to donate if you need to reduce your stash. We have one in Vancouver called FabCycle.

Helen: Ooh, yes, totally. And speaking of fabric recycling places, Caitlin says, “I love to shop at FabScrap, a textile waste facility.” This is such a cool place. Some of the fabric they get gets recycled. Some gets downcycled into stuff like insulation. Some does go to the landfill and then some gets resold in their shop. They have one in Brooklyn and they have one in Philadelphia and they have a small selection of stuff that you can buy online. Check your local area too. There might be a similar kind of thing happening in your town or your city. Somebody organizing this kind of fabric recycling depot.

Caroline: Another way to shop strategically is to use textiles in ways that they weren’t originally intended for. Michaela said, “I love to shop estate sales and thrift stores for old sheets, curtains, or tablecloths to use as fabric. Once, for a friend’s wedding, I made a matching set of Winslow Culottes and an Ashton Crop Top out of an old set of sheets.”

Helen: Oh, that sounds amazing. I mean, some sheets are really nice quality. Like, actually sheets have a higher thread count than most fabrics do. So if it’s in good condition, then you’ve got yourself some really nice fabric. And some sheets have, like, Star Wars prints, and that’s also cool and nice, so you never know what you might find.

Caroline: Yeah. There’s something for everyone.

Helen: Karen said, “Switch to linen sheets. Have the best sleep of your life, and after a few years, the fitted sheet will thin and rip and voila, yards and yards of linen fabric. And repeat.”

Caroline: Yeah, often the fitted sheet will wear down so much faster than the top sheet. So even if your fitted sheet is ripped up, you’ll still have tons of fabric in that top sheet. It’s genius. It kind of makes that purchase like a two-in-one.

Helen: Yeah, I do love this idea. So smart.

Caroline: Sarah said, “I can make a top out of two IKEA budget pillowcases or a small fitted sheet. I sometimes even print on them.”

Helen: Oh, smart. Okay. The IKEA As-Is section, you know, that little section at the end where they have all this stuff that, like, is a little rough around the edges, we’ll say, returned or something like that. Such a great place to find the cheap linens, the curtains, blankets and stuff like that to upcycle. I’m remembering we talked to WithWendy earlier this fall and she had upcycled a blanket from IKEA into, like, a really cool Chanel jacket that looked amazing. So you really can do lots of things.

Caroline: I know, I always make a beeline for that section when I get to IKEA and I’ve never really looked at it through the lens of, like, what could I use for a sewing project or a muslin or something, but now I feel like it’s going to open up a whole new world.

Helen: A whole can of worms. Yeah.

Caroline: Of possibilities. Yeah.

Helen: Tracy said, “For stuffing plushies, and pillows, I go to Target and buy pillows from them for 4 bucks. I found this out because I wasn’t going to spend 30 plus dollars to fill a 9 foot sandworm plush for myself. Also, you get bonus fabric for mock-ups and whatnot.”

Caroline: Ooh, I’ve never thought of this, but it’s such a smart way to get stuffing, especially clearance pillows that like no one wants to buy that probably will end up in the landfill. You can actually put those materials to good use.

Helen: Totally. Sometimes buying a pillow form is like more expensive than buying a pillow, which is weird.

Caroline: I know. Isn’t that wild?

Helen: Look, I don’t understand this world, Caroline. I’m just here to try to make some budget sewing tips.

Caroline: All right, here are some more ways to pay less than full price. Rebekah said, “Plan ahead. If you know you want to make a coat, you can usually find really good deals on wool in the summer or swim fabrics in the winter.”

Helen: Totally, shopping off-season or end-of-season is so smart. That’s definitely when things go on sale to get discounted. So keep your eyes out. Stephanie said, “My biggest money-saver for sewing is buying from AliExpress. For trims, tassels, beads, ribbons, buttons, and notions of all kinds, their products are pennies to the dollar of somewhere like Joann’s. It takes a while to ship from China, but it cuts out the markup middleman who’s selling you those same products anyways. If you can plan your sewing in advance, you can save tons.”

Caroline: Yeah, AliExpress is a wholesaler that also sells to individual customers, so they do have really low prices and this is a great place to look if you haven’t already.

Helen: Yeah.

Caroline: One more piece of budget wisdom: It’s only a bargain if you would want it at full price. So if you come across a great deal, but you won’t actually use it, buying it actually isn’t saving you money. So, on the other hand, if you love it, move fast, because it might sell out or the sale might end. But just give it a think. Remember, go slow.

Helen: Go slow. One trap I always get sucked into is I gotta get that free shipping, Caroline.

Caroline: Yeah, you gotta bump it up. It’s worth it, what can I say?

Helen: I mean, I love getting free shipping, but ultimately you’re spending more money. So something to think about. Obviously, you know, I’m with you on liking that free shipping, guys. I hear you.

Caroline: Yeah. But if you are shopping less, and I think one of our listeners mentioned earlier, like, they’re only placing one or two orders a season, you’re kind of accumulating all of those things, then you’ll save so much on postage by going for that free shipping offer, so.

Helen: Yes, absolutely. Batching your, your purchasing for sure. Okay, before we wrap up this episode, we have a few little miscellaneous money saving tips from listeners. Annmarieke says, “Print PDF patterns at work.” Okay, this is hilarious, but I support it. It depends on your job, of course, and hopefully, you know, you have permission, but listeners replied to say that they also use the big tables at work to assemble patterns after hours, maybe use the paper cutter, maybe even a little tape. I mean, the supplies are there, right? They gotta get used.

Caroline: Absolutely, yeah. I mean, you know what? I support it. Hannah said, “We always reuse printer paper, which means my best beloved sometimes takes papers to work with pattern pieces on the backs and my patterns have incomprehensible archaeology information on them.”

Helen: Hannah sent us a picture of the back of her Costa Tote pattern pieces. Definitely incomprehensible archaeology info. We can confirm.

Caroline: Yes, yes.

Helen: I love reusing paper. I totally have a stack of paper because I print out a lot of stuff. I test print all our patterns and make sure they assemble nicely. And I have, like, a big pile of prints next to my desk. And whenever I’m printing something that’s not important, I just slap some of that scrap paper in there.

Caroline: Yeah. same. Love reusing paper. Such a great thing.

Helen: Yeah. All right. Before we wrap up, we have a great little story/tip from Tori. A story from Tori. “This tip might not work for everyone, but here it goes. Start a sewing club. In 2023, some friends and I worked in the Tacoma Tool Library, which is a nonprofit lending libraries for tools. And I started a bi-monthly sewing club. We started meeting to discuss it in April 2023 and then launched it to the public in July, and since then we’ve received many, many donations of notions, fabric, sewing machines, and sewing tools, including a few quilting frames and cutting tables. We offer a Sewing Machines 101 at every meeting, which covers basic sewing machine operation and tips. And then we have a slate of projects people can work on to improve their skills with all the materials and machines available for them to use at no cost. We also have volunteers on hand who can help with projects, answer questions, share their knowledge. And because we’re working with a nonprofit and because we are pooling our resources, the costs are exceedingly low. One of the tool library’s main focuses is lowering barriers of access. So all the events are free to attend and all the supplies are provided. I began garment making this year and my first toile came from fabric from our club, using pattern weights from our club, and sewn on a machine from the tool library. Not to mention, using the insight I’ve been able to soak up from more experienced sewists I’ve met via this and other community resources, such as another sewing club in our city that’s also free, which is full of artists and garment makers. Maybe sewing will become more expensive as my skills and desires for specific makes expands, but for a beginner sewist, our sewing program has been instrumental in my ability to learn how to sew for a little cost.”

Caroline: Oh, this is so amazing. I love that you’re creating a low cost way for you to learn to sew as well as make sewing accessible to others. Bravo, Tori!

Helen: Yes, this is cool. I love tool libraries as a concept and I have used them and they’re amazing. And it makes so much sense to have sewing machines be a part of that because there are so many sewing machines out there in the world and they’re not all getting used. So it’s great to be able to spread that love around

Caroline: Yeah, it’s so true. Okay, so to recap our big budget sewing strategies: use what you have, buy less, take your time, and shop smart.

Helen: And if you have any more budget sewing tips, let us know about them. We’ll share them in future episodes. And happy sewing and saving. Cha ching!

Caroline: And that’s it for today’s episode of Love to Sew. You can find me, Caroline, at Blackbird Fabrics and BF Patterns, and Helen at Helen’s Closet Patterns and Cedar Quilt Co. We’re recording in beautiful British Columbia, Canada.

Helen: You can support Love to Sew and get access to bonus content by subscribing on Patreon or Apple Podcasts. You even get access to the back catalogue of bonus episodes. That’s over 75 hours of Love to Sew. So go to patreon.com/lovetosew or check out our podcast page on Apple Podcasts for more info.

Caroline: You can head to lovetosewpodcast.com to find our show notes. They’re filled with links and pictures from this episode. And if you’d like to get in touch with us, you can leave us a message at 1-844-SEW-WHAT. That’s 1-844-739-9428. Or send us an email at [email protected].

Helen: Thanks to our amazing podcast team. Lisa Ruiz is our creative assistant, Jordan Moore of the Pod Cabin is our editor. And thank you for listening. We will talk to you next week.

Caroline: Bye!

Helen: Bye!

Podcast: Play in new window | Download | Embed

" onclick="javascript: this.select();" onfocus="javascript: this.select();" style="width: 70%;" readOnly>

In this episode, we interview Jacqueline Shaw, an expert on African fabrics and fashion. We chat with her about waxprint (also called ankara, African print, or kitenge) – what it is, how it’s made, what you can sew with it, and lots more! Jacqueline is a successful and passionate entrepreneur with a deep knowledge of the subject. Listen in and get inspired!

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

Show Notes: 

Find Jacqueline Online:

Jacqueline’s Books:

Waxprint Fabrics:

A Few of Jacqueline’s Waxprint Makes:

A post shared by African Print Sewing Kits (@waxandwraps)

A post shared by African Print Sewing Kits (@waxandwraps)

A post shared by African Print Sewing Kits (@waxandwraps)

Other Mentions:

A post shared by African Fashion Manufacturers (@fashionafricatradeexpo)

A post shared by African Fashion Manufacturers (@fashionafricatradeexpo)

A post shared by African Fashion Manufacturers (@fashionafricatradeexpo)

A post shared by Africa Fashion Guide (@africafashionguide)

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.

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

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

Helen: We’re two sewing buds who love to sew and it’s all we ever talk about.

Caroline: Today we’re interviewing Jacqueline Shaw, an expert on African fabrics and fashion. We’re going to chat with her about what waxprint is, how it’s made, what you can sew with it, and lots more.

Helen: If you love to sew, this is your show. Hello, Jacqueline. Thank you so much for coming on the show today.

Jacqueline: Hi, thank you, thank you for the invite. Super excited to talk to you and share a bit more.

Helen: we’re so excited to have you here on the show. Can you please introduce yourself to our listeners?

Jacqueline: Yeah, sure. So, hi everybody, my name’s Jacqueline Shaw, or I go by Brown sometimes. I am the founder of a company called Wax and Wraps, and it is an African prints sewing subscription box. And I am also the founder of a company called Africa Fashion Guide.

Helen: Fantastic. And we can tell a little bit by your accent where you might be from, but can you tell us where you’re at?

Jacqueline: Oh yes, I’m a Brit in and out. I’m British-born to, actually, Jamaican parents. I’ve traveled around Africa a lot. Well, around the world to be sure. Well, in fact, but, um, travel a lot around Africa as well for business.

Caroline: Oh fabulous. Well, we can’t wait to hear more about your career, but the first question we always ask our guests is how and when they learned to sew. Can you tell us a little bit about that?

Jacqueline: Wow. You know what? I definitely was a child. I have these memories of, and I always, I have people laugh about it, the people in my family, because I always say, “I never had dolls. I had teddy bears.” So, you know, usually, like, people say, “I used to sew for my dolls.” They have these Barbie dolls and so forth. I never had any dolls. So I had teddy bears and I remember getting scrap fabric from primary school and I would bring it home and I would sew these little vests and shirts for my teddy bears and I’d just hand sew it. I remember I had one of those little hand sewing machines. It was just the weirdest thing ever. And I would just, just sew garments for my bears. So yeah, I was definitely quite young. And always loved it until I was able to get my first sewing machine when I was a teenager.

Helen: Oh, amazing. And did you have family members or friends who sewed as well that guided you or were you self-taught?

Jacqueline: I was mainly self-taught. My mum knew how to sew, but she was mostly a, she used to make us clothes, but she used to do a lot of knitting. So that, I remembered her for knitting. I did try my hand at knitting. I did enjoy it, but I just never kept it up to get good at it. So I just kind of left knitting. But sewing, I taught myself how to make patterns by undoing items of clothing and drawing around the trousers, for example, to see how the pattern pieces were and then just learned how to put it together. And then I did a evening course when I was, I think about 16, 17. I had did an evening course to learn a bit more about sewing and just learn a lot myself through books, literally through books, no internet then, no YouTube or anything, so it was all sewing books that taught me how to do what I needed to do.

Caroline: Oh awesome. Can you tell us what came next for you?

Jacqueline: Yeah, so because of my love for sewing, it evolved into a creative career. So even though my maths teacher would always be annoyed because I didn’t…I was good at maths, but I didn’t do maths or economics. I decided to go down the route of doing arts. So I did, like, Art A-levels, as we call it, and that’s the time between, you finish school at 16 and before you go to university at 18, you do, like, a two year course, we, for us it’s called A-levels or Advanced Level Studies. And so I did art, and then I went on to another one year course, which was a preliminary course before you do a degree in fashion, and I went on to do that fashion degree when I was 19 years old. And from there, I went into a career which I never expected to last me, I think, 17 years. As a designer working for high street brands, retailers. Living in the UK, working for brands there. Germany, Turkey, and China, um, living and working for brands, in sportswear, swimwear and high street fashion. So that became my career, that became all that I loved doing and talked about. And then when I was the grand old age of 30, I went through, I guess, an epitome. I wanted to explore my heritage, being Black British, first-born Black British to Jamaican parents who came over here. I wanted to explore my story and I looked at my heritage from, to Jamaica and from Jamaica.

I’ve heard that my grandfathers were from a group of people called the maroons or the maroon tribe, They were known as, they were runaway slaves. They refused to be slaves. They were warriors, they were powerful people, and they were very skilled in a lot of things that they did. They ran into the mountains, they fought off the Spanish, but were unfortunately overcome by the British, back in the day, during the days of colonization. So that story really hit home for me. I wanted to go to Africa to kind of learn where these people came from. They were from West Africa, and I wanted to learn more because that was my heritage. That was, made me who I am, I guess. So I decided to go to West Africa, first stop to Ghana, and I just completely fell in love.

I really loved the textiles from friends I saw. I’d go to their African parties, or weddings or birthdays and things like that. But when I stepped into Africa the first time and went to Ghana I just fell in love. I just said, “Yes. This is it, whatever it is I’m looking for, this is it.” The textiles, the sounds, the colours, the language, the energy. I just thought, I don’t have this in the UK. The energy alone. Anyone who goes, they always, I see a smile on their face, because they just know there’s so much energy. You just feel you can do anything. And so, I just wanted to explore more, and that’s where I birthed my first clothing line. And then I decided I wanted to do a business all around Africa’s fashion and textile supply chain. So, connect my love for Africa and my heritage with my career and love for fashion.

Helen: That is absolutely amazing. And were you living in Africa at the time in Ghana or were you still living in the UK and kind of traveling back and forth?

Jacqueline: Back then, 2009, I was still living in the UK. I still lived in the UK when I started my business. And at that time, actually, I went and did a master’s. I just, I went to Africa and I came back and I just thought I wanted to do a master’s, I wanted to do something around sustainability. And the first ethical fashion master’s came out in the UK, the first of its kind, and then it was followed by others. And I did that and I decided I’m going to focus on Africa’s supply chain and that’s where my business officially birthed. I did a book, I did a blog, I did a website, I started to do consultancy work and helping brands and designers to source and manufacture fashion and fabrics from Africa. But I was still doing it all from the UK. I just would travel to Africa sometimes three or four times a year, different countries. Every year I was going until the pandemic, literally from 2009 until the pandemic. I did events out there. I took people there or with groups. I do so much. But yeah, that’s kind of my journey so far.

Helen: Very cool. I mean, it sounds like you’ve accomplished so much already and really being a leader in this industry. And you mentioned your book, which is called Fashion Africa. Is that correct?

Jacqueline: Yeah, so Fashion Africa was the book that I self published initially, when I finished my ethical fashion master’s, and then I got founded by a publisher in 2013 and they republished the book officially, published the book in 2014. And it got into some of the major bookshops, it was found and seen across the world, sold across the world. And, now the anniversary edition is out, people can grab hold of that. And I’ve been given three new book deals with the publisher. So, the next in the series of Fashion Africa is Fashion Africa: The Artisan’s Edition. And that’s going to be showcasing everything around the textiles and all the stuff that the artisans make and do on the continent as well, the textile artisans, fashion artisans. So I’m really excited about that and I’ve got a couple of other books coming out after that. But yeah, really exciting time, and the books are like coffee table books, things you can kind of gift and just having your house to show off and look good, you know. Those kind of books, you know those pictures they have on those interior design shows or those magazines and there’s always that big book on the table. And that’s the book. That’s the book you have there. I’m really excited about the anniversary edition being out. So yeah, get your hands on it if you can.

Helen: Yeah.

Caroline: Oh, incredible. I can’t wait to get my hands on a copy. And you mentioned Wax and Wraps. So let’s touch on that for a second because that’s a business, like you said, you started in the pandemic, and you’re coming up on a little bit of a period of transition. So can you tell us a little bit about your journey with Wax and Wraps?

Jacqueline: Yeah, this was a really interesting one. So with my main business, the one that I birthed out of my journey for first traveling to Africa and doing my master’s, I was always doing business or doing business which was about memberships and subscriptions and so I knew how to do this. I was quite successful at doing this, and then I was serving people in my main business as a consultant helping people to start fashion businesses made in Africa. Then I realized, you know what, it’s in a pandemic. I’ve got my artisan people, my fashion manufacturers and makers seeking help from me. I’ve got these small businesses and designers who want to do more stuff or will go make money. And I realized, you know what, I could help them through this business model that I’m seeing is really growing, which is subscriptions and memberships. And I said, I’m going to help them to start their own subscription business, doing fabrics or gifts or anything else they put in the box and they can source from around the world. And it would help them if I showed them how by doing it live. So I started Wax and Wraps as a way of showing people how to start this type of box business.

And I said, you know, I’m going to use it as a way to order fabrics and I also put gifts in the box, which are coming from the artisans as well. So maybe African fans or little key rings or things that have been handmade. And I would add those in the boxes as well. So I was purchasing from these artisans and these makers during the pandemic, and I was selling it to people across the world and boxing it up, you know, at home and sending it out each month. And it was, you know, got a hundred subscribers within six weeks. I didn’t even have the proper box finished, but I was just very good at promoting and just getting the community, getting people on board and getting people purchasing. And so I was really happy to, each month, be helping a new artisan.

So I did this to help others to learn how to do it. And they were making, setting up their own boxes. They were doing tea boxes. They were doing other sewing boxes, doing head wraps. They were doing different types of gifts, shea butter and other beauty products, all different types of things my clients were doing. And, you know, getting featured in the New Yorker magazine, getting featured on TV in the UK. It was, it was amazing. It was a really, really exciting time. And I thought I was going to stop it, but I just continued to do it. And, you know, four years later, the box was still going until I made a decision recently, which I’m sure we’ll talk about next, but yeah, that’s really how it started.

Helen: It is such a great idea as a way to showcase all of these different artisans and their work. I love the idea of the little gifts that you’re adding, and a way to share these textiles with a broader audience, which is probably right up your alley. And listening to you talk, I’m struck by just what an entrepreneurial spirit you have and how excited you are to share that with other people.

Jacqueline: Absolutely. I’ve always been an entrepreneur, but never realized it. You know, I used to think it was just a hustle just to make money in the beginning. ‘Cause as a student, you know, you get broke and you just need extra money. So, I could sew. So I started to do that. That I could sew, I could teach people how to do things. Okay. But this time with this business, I felt that there was purpose. With African Fashion Guide going into producing Wax and Wraps, there was a purpose around it and it was more than me. It was more than just, you know, a quick hustle just to make some money. It was about trade. It was about changing perceptions of what people thought about Africa. It was about building economy. And I get so inspired when I go over to the continent and see what people make and the resilience. And I just think, you know what, I’m in a so-called first world country and there’s people who are so much more lazier than those I’m meeting across in the African continent. They’re not all, they’re not all, you know, like that, but there’s many I meet that just inspire me to keep going with business and to build on purpose. So yeah, it’s definitely a purpose business and one that I do call a God purpose business because it wasn’t me. I believe it was God that inspired me to do this and gave me a reason. And there’s something that I always have to give praise to God and have to, you know, share that part of my story that is related to my faith as well.

Helen: Mmhmm. So where are you headed next with this business? You mentioned that you’re transitioning. Tell us a little bit about that.

Jacqueline: Yes. So, the last couple of years, even though I was still doing the boxes, I, um, in 2021, I was diagnosed with breast cancer. I did catch it quite early and again, really thankful to God I was able to get it operated on. I went through chemo, radiotherapy as well, and had my all-clear end of last autumn, or fall, shall I say, and so, itself makes me think about things. The boxes kept me going, the boxes, and the purpose of that, and the customers, and everything I was doing, helping and supporting people, kept me going. And I was really happy to keep going. But then in the last six months after I got my all-clear, I started to think about purpose again. And what is it that I really want to do? Why did I do what, start what I’m doing? And it was about, you know, supporting artists and supporting the makers, manufacturers, building trade, changing perceptions, going back to the root of why I was doing this. And I knew that with some of the consultancy work that I still do, I wanted to help support the artisans in a deeper way with capacity building, with business training, with market access and teaching them how to do that. And I’ve been able to do that through projects I’ve done on the continent right now. As we speak, I’m working with an organization in Sierra Leone. I’m going back and forth and supporting groups of brands, designers, and makers in their capacity-building, in their market access and understanding business and in greater ways. And I want to do more of that. So I decided that I would stop doing Wax and Wraps, not just because I want to, but because I feel it’s the best decision to do that.

I feel that by focusing down on the capacity building side of it, I’ll be able to equip some of those makers with more of the skills that they need to be able to enter more markets and build more trade, more than I could do with the boxes. Getting them in front of others, where they can get bigger orders, for me, is even more impact. So I want to put all my energy into that. And I’ve been testing it out and it’s been good so far and I want to just build it, get some funding, and launch the platforms for that as well. So there’s a lot to come for the rest of this year, which is quite exciting. The boxes, the products, even though the patterns and the kit that’s…full sewing kits won’t be available, people will still be able to access fabrics that I still bring from the continent and some of the gift items available on the website fashionafricatradeexpo.com, or the FATE as I like to call it, but that website people can still purchase products from there because there is a shop page there. So, items are still available, but just not in the same way that it was before with Wax and Wraps.

Caroline: Awesome. Yeah, we’ll definitely link up all of these things that we’ve been talking about in the show notes so that if our listeners want to go discover some of these beautiful textiles, they can go and do that. We really do want to get into talking about the fabrics themselves, but I think we’re going to take a quick break first and we’ll be right back.

Love to Sew is made possible by listeners like YOU! We are so grateful for the support of our amazing patrons and subscribers. If you love Love to Sew and you want to help support the pod, we have a new option for you.

Helen: You can now become a paid subscriber on Apple Podcasts! Subscribers get access to our monthly bonus episodes. It’s so convenient; if you already use Apple Podcasts, the episodes are right there in your feed!

Caroline: So, what are the bonus episodes? Well, we do a chatty catch-up on what’s been happening in our lives, share about the realities of running a small business, discuss new indie pattern releases, and talk about what we’re sewing right now! Many of our subscribers say these fun bonus episodes are their favourite, and if you subscribe, you get access to the full back catalogue. That’s over 75 hours of Love to Sew! We also do a mini-episode that deep dives into a specific topic. We get to discuss so many fun sewing techniques and answer specific subscriber questions about sewing!

Helen: And we are still on Patreon! If you subscribe over there you can get access to the bonus episodes, behind-the-scenes photos, and a special 15% off discount code at our superfan patron tier. That discount applies at Helen’s Closet, Cedar Quilt Co., Blackbird Fabrics, and BF patterns. If you shop with us regularly, it basically pays for itself!

Caroline: If you’d like to try out Patreon or Apple podcast subscriptions and check out our bonus content, you can sign up for a free 7-day trial. And, of course, you can help support the show by listening, just like you are right now. You can also leave a review! Reviews really help our show to get discovered by new listeners. We know that financial support isn’t always possible and we want you to know that we love you for listening!

Helen: Go to patreon.com/lovetosew or visit our show’s page in the apple podcast app to become a paid subscriber. Thank you to all of our listeners, patrons and subscribers – you’re the best!

Caroline: All right Jacqueline, so we really want to talk about waxprint fabrics, and we thought the first thing we could do is just explain what is a waxprint. Can you do that for us?

Jacqueline: Okay, so yes, waxprint, this is a bit of a bane for many of those who are in the African fashion industry who are real supporters of Made in Africa. So waxprint fabric, it’s a technique of fabric. It’s, many people call it African print, some call it ankara, especially on the African continent in West Africa, they’ll call it ankara. Some call it chitenge, kitenge in East Africa. And there’s so many other terminologies for it, but it’s recognised a lot around the world as African print. It’s very colourful. Originally, it’s like a resist dye using hot wax technique that was originated from Indonesia, and it was copied by Dutch salesmen. They saw it there, they wanted to sell it, but because the way, the way that they did it, it had, like, this brokenness in the print that made it look like it wasn’t finished properly. That it looked like a mistake, but they saw it as an opportunity to, because of the bright colours and as they were passing through Africa, from Asia, they would see, the dark skinned black people there, or just black people, because all kinds of skin shades, and they would see, it’d be great for them. So they were selling it there and selling it through Africa, and it became very popular. African people adopted it themselves. So it is, a technique that was originally Indonesian is now very much a Dutch or Netherlands product, but it’s been produced in many countries around the world now, but notoriously in China. And, it’s got a lot of popularity. Many of the prints have symbols on them. It could be things like bags, it could be actual symbols, it could be adinkra which is related to West African history, which has meanings as well. Or it could just be images. And it’s got stories and there’s some very interesting ones with birds and all sorts on it. So it’s very interesting with the stories. And markets in Africa have adopted it.

But the debate is, and which I’ve put in my own blogs as well, “Is waxprint African? Is African waxprint?” And, you know, what I appreciate, I love waxprint, I think it’s great print, great colour, it’s vibrant, it’s fun, it’s unique. But what I do love to support as well, which is what we do sell and put in our Wax on Wax boxes, is actual batik prints, which I think probably more listeners are more familiar with. So your hand printed batiks, hand blocked prints, done by producers or makers in Africa. And different countries have different techniques, so Ghana will have, like, your traditional batik print. In Nigeria, they have a version that they call adire, and that’s got a technique for it that they use wax resist. They also do tie and dye, and that’s done in Sierra Leone, done in The Gambia, done all around West Africa, East Africa as well. But all these techniques are used in this kind of wax relief prints as well. So those are two, kind of, versions of the same technique, but just one is hand done and one is done by machine these days.

Caroline: Awesome. So the batik, is that the one that’s hand done and the African waxprints generally are done by machine? Or am I getting that wrong?

Jacqueline: Yeah, well, waxprints, they used to do them using hand techniques as well, but a bit more mechanized in the machine, what they would use to produce it. But now a lot of it goes to to some of the waxprint factories. Like, Vlisco is one of the biggest-known factories who do it. And they own waxprint houses in Ghana, in Senegal, in Tanzania as well, so there’s… and I think Ivory Coast, am I correct? There’s definitely a few African countries that have waxprint houses now and it’s all mechanized now, but they’ll still kind of give it the same look and feel. But the one that’s done by hand is the one that literally, if you remember potato printing at school when you were kids and, you know, like the same technique, but using hot wax, and that’s the one I just love.

But the challenge with that, which many people don’t think about, which is, it’s a great technique and it’s nice to keep something traditional, made in Africa. But the, the inks, many dyes are coming from abroad, many from China, and they’re not exactly what they call REACH certified. So REACH is, it’s an acronym, all about the dyes and the sustainable side of that and certification around that. So if it’s not certified, toxin free, if it’s not the best quality dyes, it could be harmful. And if you’ve ever seen a batiker, they don’t often wear masks, they don’t often wear gloves, so their hands are being exposed to those dyes and their noses are taking it in or breathing it in their mouth or noses. So there is an issue with that technique and there seems to be a rise of interest at the moment with adire from Nigeria, batik prints and tie ‘n’ dye at the moment from Africa. So it’s kind of like the lesser of two evils. It’s great because it supports African makers. It’s handmade, it’s traditional techniques. But then the dyes they’re using…there is an amazing organization in Burkina Faso. It was supported by the International Trade Center in Geneva, it’s the part of the UN, and they worked with them to develop these prints using dyes that are from nature, so you can think things like turmeric or saffron, maybe not saffron, it’s quite expensive, but turmeric or onion or tomato or things or peppers or things like that would just make the colours. They’ve been working with that group, a group in Burkina Faso, to be able to do that as a development project. So there’s opportunities there, but it’s a bigger need now with the growth of handmade, hand printed fabrics.

Helen: Right. Yeah, that makes a lot of sense. Can you give our listeners a bit of an overview of how the process actually works when it comes to creating these fabrics? Obviously, there’s hot wax involved. Is that applied to the fabric and then the dye is applied?

Jacqueline: Yes, so, sometimes they’ll use a stamp, and the stamp could be made from wood, the stamp could be made from just different materials, and they would cut out sometimes a sponge, like an actual sponge-sponge, but they will cut out the design, so whatever it may be. Usually just kind of like a symbol that doesn’t really mean anything, or it could be an actual symbol that means something. So they will tend to cut that out. In some techniques they will use, like, a kind of pen kind of item, especially when they’re doing the adire, because adire is a bit more hands-on. I’ve got some videos over on Africa Fashion Guide on Instagram, you can see some of the techniques they’ve done using a pen kind of tool, and they will just draw onto the fabric.

So you have your, your base fabric, your white fabric or in the greige colour, and they will just draw in that with the hot wax. It’s very much an expertise because they have to know, especially if there’s multiple colors, you have to know when to put what dye and what colours to put. And because, obviously, colours will wrap, then the blue and yellow make green, for example. So you have to kind of know what you’re putting on and when. So they would draw, draw it on and then they would dye it. Or they would dye the fabric, let’s say, yellow, and then they would put the wax on that, and they might put your name, and then they would dye it with the wax on, they dye it with blue, the parts without wax would now turn green. And then they would remove the wax and there’ll be the yellow still underneath it from the original dye, if that makes sense. So you have to think about, what colour do you want, and when do you dye the full thing and so forth. But it’s a great technique and that’s kind of the basics of it. With tie and dye it’s a bit different because then you would put string around where you want the design to be and you’ll tie it up. And then you dye that whole thing, and where the string is, you take that off, then you see the base kind of fabric, or the original white fabric, or beige fabric. And, those are quite fun. Those are quite fun, because it’s a bit more unique, but again, it’s a technique, a serious technique that you have to have the expertise for. And there’s so much more in it. I’m not an expert on it, but I’ve seen it, but there’s so much more can go into the kind of mordants you use and all kind of, it gets very technical with dyeing. But it’s a great technique that you can then build your own prints. And that’s the joy of it. With waxprint, it is as it is, those who use it will find that they could be wearing the same thing as somebody else if they’ve bought that fabric. Whereas, with the tie and dye and batiks, you’re now creating that. And that’s why I want to introduce other people to that joy of creating your own fabric with a drawing of it, or somebody or a tree or, you know, your names or words or you know, whatever, a car or something like that. I love that flexibility of the batik fabrics.

Caroline: And typically, what sort of base cloth is used for these waxprints or batiks? Is it a specific fiber content or weight or weave that they use?

Jacqueline: With the batiks, it’s better with cotton, a fabric that can dye easily. So it’s a bit more trickier with, like, satins or silks. Though they will take it, or jersey fabrics, they will take it but it won’t be the best. So cotton fabrics, ones that are a bit more porous, are able to take in the colours. That’s kind of the best route really. With waxprints, again, if it’s a hundred percent cotton, that’s a good way to check as well. If it’s a good quality waxprint and if it is, like, African-made or from the Netherlands with Vlisco, is that it will be a hundred percent cotton. When China started to copy a lot of this and cause a lot of issues, and this is not a, you know, a thing against China, but it’s against the fake fabrics that were coming into African countries and taking a lot of the local business from African businesses. A lot of them were not 100 percent cotton. They were poly-cottons. And poly-cotton is what you use in linings, you know, it’s not the best quality, it’s not breathable. It’s polyester, which is oil; it’s not the best for your skin. And many of these fabrics were 100 percent polyester or 80/20 poly-cotton. Then they were getting better and better, to the 50/50, to the 20/80 poly-cotton, so it’s more cotton rich, and now they’re doing a lot of copies that are 100 percent cotton. So it has evolved, but it still is an issue of taking away the local business. So that is where you may find in this industry, a lot of people will have an issue with Chinese fabrics because they will be taking that business from the African businesses. But generally, those are the fabric bases that would be best for waxprints and for batik/tie dyes.

Helen: I wonder if there’s a way for people to tell where a waxprint came from or if it is authentic or 100 percent cotton. Is there some way to know when we’re shopping for this type of fabric?

Jacqueline: Yes, so with waxprints, well, a great thing they do is they have on the selvage, which is the top edge and bottom edge of the fabric, they’ll have, like, a code, they’ll have, like, the company who made it. So if you see “Vlisco” or “100 percent Holland wax,” you know, it’s there, if you know, and then they’ll have the print on it as well. So I have like a sticker and the sticker is stuck on the, when they fold it up and they go to sell in six yards, they come in six yards packs for the waxprint, they will have a sticker on the front and the sticker will show the brand of where it comes from. And. If you know the main brands, so: ATL is factory that does the waxprint in Ghana for example, they have another company called Printex, they have, another company called GTP, Ghana Textile Print, ATAL is Akosombo Textile Limited, I believe it’s called. And those are owned by Vlisco, which is a Holland company, which I spoke about the Dutch salesmen previously. So they own that company. Their ones are the ones that are made in Africa, so you know you’re getting that, they’re 100 percent cotton, you know where it’s coming from, you know the source. It’s probably more expensive, is another way to check, because the Chinese ones, or the imported ones, tend to be very cheap. And there’s a company called High Target, who does, who actually does do some very nice prints, but they are a Chinese-owned one. So that’s one company, you know, and there’s many others. There’s so many, generally the cost will tell you that this is probably Chinese. The Vlisco ones, sometimes between like 60, 80, 100, 120, 150 pounds and dollars. Whereas the Chinese version would be 15 pounds or 20 dollars.

Helen: It’s like a, “if it’s too good to be true” kind of situation. Yeah.

Jacqueline: The price would generally tell you the difference where it’s coming from.

Helen: I want to come back to the prints that are on these beautiful fabrics. You mentioned there are some recurring prints and I understand there’s some classic or popular prints that get made over and over in different iterations. Can you talk a little bit about how people come up with these designs?

Jacqueline: Yes, I actually created a mini book around this, which you can get the link to it on my Instagram @waxandwraps, it’s, Guide to Waxprint, and it’s only like 5.99 or 8 dollars or something like that, it’s quite cheap. And it goes into quite a lot of the prints and the heritage. So some of it, for example, people will do, maybe based on a political situation, so there’s one called Nkrumah’s Finger, and that, Nkrumah was one of the most popular Ghanaian presidents, who a lot of, a lot of things around the country, the impact he had, the changes that were made coming out, like, from independence, he put a lot of things in place, a lot. There’s a lot of love and support for him, and so there’s a waxprint named after him. There’s one that’s got, they call, um, previous FLOTUS Michelle Obama. And there’s one for her bag, Michelle Obama’s Bag. And there’s some which has roller skates on it, there’s one with, um, birds in a cage, and it’s all around marriage and relationships. And so there’s all these different prints, and there was a group in the UK, so in the UK, in a place called Manchester, England, ABC, which is one of the waxprint houses in the UK, and they would also have the factory, they do the prints in the factory in Ghana. They had print designers and the designers were, some from Netherlands, some from Ghana, some from England, and they would design it based on some of these old, I don’t want to say “old wives’ tales,” but these old, just stories or advice that you would say to somebody. Because it’s not like, if you, if you know about some of these fabrics, in Kenya, they’ve got a fabric called the kanga. And the kanga is a printed fabric, you could call it their version of, they’ve got a kitenge which is your typical kind of waxprint that you may be familiar with, but they’ve got one which looks like the kind of scarf that Versace would do, those kind of big massive scarves. And it has a frame around the outside and it’s got, like, a print design in the inside, the inside square, the big inside square, and the small kind of frame, outside frame. And on that outside frame, there would be words in Swahili, which is the language they, well, the language they’re speaking in Kenya and East Africa, like Uganda, for example, as well, and Tanzania. And these words were phrases and they were messages. So people would use it, they’ll give gifts of fabrics to people and they would use it as a way to share a message, a warning, a, just a message, something they would say to the person they’re giving it to. So in that way there’s kind of like a kind of subliminal messaging within that or sharing of a story or sharing something with families and loved ones when it gets shipped out so they would know what they’re saying to them. Whereas, um, the ones that you find typically in West Africa, they’ll have, there’ll be storytelling, the things that your grandmother might tell you, those kinds of stories, which I just love. But a lot of it now is just, you know, it’s just a pattern, a print. Or if it’s a political story or something, there’s a political thing happening, they might have a picture of the local president. If there’s an inauguration happening, they’ll have special waxprints made for that. Or for funerals or special occasions. So there’s so much, there’s so much. But yeah, that little book I mentioned, The Guide to Waxprint, gives them some insights to the really popular old school waxprints that are out there. So I would definitely say to people, grab that if you can.

Helen: Yeah, that sounds like a great resource. I love this element of storytelling and history as well. The fact that these fabrics can contain information about things that have happened in the past or warnings, like you were saying, that’s so interesting. Do you have a personal favourite print that you’ve encountered?

Jacqueline: Oh, I, I struggle. I struggle with that because for me it’s about the colour. Because it could be a print that I like, like the Nkrumah’s Finger, like I mentioned, that’s, that’s a great print. It kind of looks like backgammon, in some ways. But it has to be in the right colour. I made a coat out of that, a green coat out of that and, like, that colour just made it. I just liked it because it made me think of it, kind of this army print kind of feel to it. The kind of camouflage kind of colourways, which I kind of liked about it. But if I, when I see that in avocado, it just doesn’t look right. So for me, it’s really about the colour and can I rock that? Do I have the swag to rock that? You know, as the kids would say. But yeah, I am old enough to say that now, I’m in my 40s, I’m allowed to. But yeah, for me, it’s about, it’s about the colour. The colourways, really. And, how it would look on the design that I have. So yeah, no favourites. Just give them, give me them all in the right colours.

Helen: Yes. Give me more.

Caroline: I’m sure it must be impossible to choose.

Jacqueline: If you see my office, you’d be like, okay, I see what you’re talking about. Give her them all for real. I have so many that I’m so-called sewing and making at the same time and they’re still sitting there. I just don’t want to cut them, but I want to make something, but I don’t want to cut it. Cause you know, it’s your babies. You sew, you know. It’s your babies, you don’t want to cut your babies now, don’t you?

Caroline: I love that. A lot of our listeners are home sewers and I wonder if you have any tips that are specific to waxprint fabrics in relation to how to treat them, how to care for them, how to prep them for sewing, that kind of thing.

Jacqueline: Absolutely. I think the first thing is about taking the sticker off. So you want to remove the sticker, but you will find as soon as you try to peel it off…I don’t know what the gum they use or some of these companies, but it doesn’t necessarily peel off very well. So you end up just battling with getting all the last little bits off. The best thing with that is you can put some water on it on that side, but you turn it over on the back side and you’ve got a hot iron. You use that. You steam the back to be able to remove the sticker. That’s the best way so you don’t have the residue and you’re, you’re fighting with yourself to remove it.

So that’s the first thing. The second thing is around the way that you wash it and keep it. Again, so if you’ve got 100 percent cotton, you’ll find some of them that you buy feel quite stiff, and that’s because they will probably starch it. So you want to be able to remove that. Use a soft washing powder. Maybe something, like, you’d use on babies. Something that’s gentle that won’t really harm the prints. You might find that some of the print dye might still be coming out a little bit if it’s been hand dyed as well, you might find that. So you want to make sure that you wash it in a cool wash or you can hand wash it just to soften it up a bit to remove some of the starch and then it’d be good to go. I mean, to be fair, with any fabrics I would recommend washing because you just, you know, you just don’t know where it’s coming from. It’s coming, you know, being shipped internationally, so it’s a good thing. But it’s good to do that, as well. I would also say, iron it along the journey because that helps to, to keep your design or whatever you’re making, looking good. Like ironing your cuffs, ironing your hems, all that stuff to make sure that it finishes, that the finish of it is well. Pre-washing it is really important. Avoid twisting it, avoid wringing it, because it is cotton, you want to kind of keep it looking good. Yeah, some people will use professional cleaning, that’s up to you. Yeah, that’s really the main things I would say. And a lot of this I put in, that little guidebook as well, to waxprint, it’s in there as well.

Helen: Fantastic. I love that you mentioned pressing because we make a point of telling our listeners all the time how important it is to press as you’re making your projects. And one of my favourite things about waxprints is the structure that they have. And you can make these beautiful kind of poofy sleeves or these moments where it has so much amazing volume. Did you have any project, or like, sewing pattern ideas that you wanted to share with our listeners as far as what you think these fabrics make good projects for?

Jacqueline: Yes. First of all, I think they’re really great for blazers. I love a waxprint blazer. I think they are amazing. And then secondly, off-the-shoulder tops with the puff sleeve, like you said. I have given that in a few of my projects as a dress, as a top, as it’s a really big puff sleeve. You might want a bit of elastication around the top edge as well. But those really, really do well. And as I’ve mentioned that, the blazers, even just coats as well. They, they really just hold well. And full dresses. I know a lot of people do, like I’ve got, a high-low dress. It’s just so majestic because it just, you come in the room and everybody sees you because, like I said, they’re quite stiff as well, and you have this low back and this high front for the hem I’m talking about. Oh it’s just so impact, it’s just so impactful. The maxi. It’s great for maxis, and I know people, designers who tend to do, like, the three-in-one kind of dress, where you can, the top of it, you can adjust it to create a different silhouette at the top. So that’s quite good, and you just have this full, full skirt. So anything that you want kind of pizzazz, if you want to be seen, anything structured as well, you want to do your corsetry, it’s great for that. So think of it as a tailored fabric, and any kind of volume, you’re going to create impact. As my Jamaican family would say, “They will know when you come and they will feel it when you’re gone.” The impression, and they’ll say that with the accent, of course, but I don’t want to embarrass myself in case any Jamaicans are listening, but they, you know, they, you, they will, they’ll, they’ll know when you come into that room because you’ll make an impact; when you’re gone, they’ll be like, “Something’s missing.” So that’s waxprint for you.

Caroline: Those all sound like incredible ideas. And they also sound like they would use up a fair amount of fabric, especially if you’re doing, like, a maxi-style dress or something that’s a convertible style. But I also understand that waxprints aren’t necessarily sold by the yard. How are they usually sold?

Jacqueline: Well, we have been. We’ve been selling them, well, at least as three-yard packs minimum. But, generally, you tend to get them as a six-yard pack. Some will do twelve yards, especially if you’re getting it from the factories, but a six-yard pack is the way to go. And that’s because, traditionally, in African countries when it comes to dress, so what you wear in the West is not traditionally what you’d wear in Africa. You’d have what you call a wrapper, you would have a boubou top, and then you’d have a head wrap. So the six yards, for a woman, that is, by the way, six yards tend to be the amount that you’d need to do the wrapper skirt, which is literally the fabric tied around your waist. And then the boubou, as you’ve seen a lot of these, think of like a kaftan, but as a top and that would be tucked into this, the wrapper skirt, and then you’d have the, the head wrap. So that’s it. That’s what the six yards were for. That’s the way it was cut traditionally. So that’s how you would buy them.

Helen: Okay, amazing. Thank you. Well, speaking of wearing these amazing prints, a lot of us in the sewing community want to make sure that we’re using these culturally significant fabrics and designs with the respect that they deserve. And we wanted to hear your perspective on when it’s appropriate to wear this fabric and what people should maybe keep in mind when they’re buying it and wearing it.

Jacqueline: Yeah. So this is what I get a lot of discussion, especially in my groups, because since Wax and Wraps was launched, many would think, oh, you know, our customers are mostly black or they’re mostly Africans. And yes, of course I had black buyers, mostly female. I have some men, but mostly female. Africans, yes. But a large proportion were white British ladies, European ladies, white Europeans, of a particular age, like, in later stages of their life, 50s and upwards. That would be a large part of my customers. And I guess, you know, the sewing community, there’s, you know, a lot of women of that age, And that’s why you’d have a lot of new groups arise, like Black Girls Sew, or Stitch Please, with Lisa, she’s amazing. So many I can mention, but there’s, that’s probably why there’s been evolving a lot of, like, Black Women Sewing. But, when it comes to appropriation, I think there’s some, well, waxprint, again, as I said, it’s not traditionally an African thing, but it’s been adopted by Africa. So people will see it as African, but it’s not African, initially. But I would say: if you like it, you wear it. When it comes to things like, what is traditionally African, such as things like kente, such as things like the adire in Nigeria or country cloth in Cote d’Ivoire or Burkina Faso or many other countries. Things that are traditionally African. I would say it’s about understanding, like, even me, myself, I’m black, but I need to appreciate as well. I bought fabric, which was kente from Ghana. I made a coat out of it. You might think, “Okay, what’s the problem with that? You know, you’re black as well. You’re making a coat. You’re appreciating that.” With kente, you know, you’re not supposed to cut the fabric. It’s meant to be wrapped. That’s why you see, like, the traditional Ghanaian man, and he has the fabric wrapped around his body. It’s a style, it’s a heritage, it’s a culture, it’s history, it’s tradition. That’s the way you do it, and the same with the women. And so I’m not really supposed to cut it, but I did. And I know that, you know, it’s not that it’s frowned upon because people do these days, but traditionally that’s not how you use it. So it’s just understanding it, knowing where it’s coming from, appreciating that, sharing that with people to say, look, I got this, it’s actually printed in, in Ghana or Kenya and these words around it mean this. And so educating yourself, if there is a meaning when you buy the fabrics, that’s why that little guidebook I mentioned is helpful. Then you can tell people what it means if you’re getting those prints. But other than that, I say that it’s, the prints are there for everybody to wear. Especially now, a lot of people are loving African culture. It’s really trending, the dances, the foods, the languages. Yeah, I say just get educated as well. I think that’s important to know where it’s coming from. And share that, so people are educated by you as well when you get your education.

Caroline: Yeah, that’s a really good point. I think it’s important to both appreciate the textiles and also kind of make sure that you know where they’re coming from and if you’re going to wear them, be able to share a little bit about their origins and all of the, you know, wonderful work that went into creating those textiles. I think that’s a nice way to nod to those makers. I wonder if we have any listeners out there who are excited about working with these textiles and love the look of the bold prints and colours like waxprint fabrics, but who are maybe nervous about trying something different from their usual style. Do you have any advice for those sewists out there who are a little nervous to dive in?

Jacqueline: I would say you never know until you try it. You know, I, you know, I have Jamaican heritage and in Jamaica, culturally there wasn’t, it wasn’t a waxprint even though there was a traditional wear that was originated from slave masters, basically the Scottish, the British, slave plantation owners. There was a traditional wear that kind of came from that and the Indian, um, the Madras as well, that as well. But I started to wear the fabrics. I was learning because I had so many African friends and I was going to parties and things and I wanted, I needed to fit in, for that because that’s how it is culturally, you wear the fabrics. So I would start to learn, I would understand, that’s how I started to build my education. And then I was able to share with others. I just say, it’s something where you’ll never know until you dive in. Reach out to people like myself if you want to know a bit more. Wax and Wraps page is still open, Africa Fashion Guide, my other page is open. Happy to share, happy to educate, it’s something that I do. Try it. Start with the waxprints. If you’re interested, if you love batiks, you love that rawness of the batiks, then go for that. But there’s so much out there. And if you can, buy from African makers, African sources. I would say that’s better because then you’re bringing trade to the continent. You’re bringing trade to African businesses. So I’d encourage that, or black-owned at least, especially if they are sourcing from Africa, because not all of them will be sourcing from Africa. But if you can buy from a black-owned business, then that’s a great way to start, and that’s your way of supporting African-made or African-sourced or black-owned.

Helen: Yeah, we’ll definitely be linking up some resources in our show notes for this episode so folks can go and find some of these gorgeous fabrics. And before we wrap up the interview here, we wanted to touch on Women’s History Month because it’s March and it’s Women’s History Month. Jacqueline, you are a very inspiring woman. It’s been amazing hearing about your journey and how much you do to uplift other people in your community and in the world, like truly globally. It’s so cool. And we were wondering if you had any thoughts on, I don’t know, following your dreams, I guess? Encouragement for our audience out there. We have a lot of women listeners and I’m sure they’d love to hear your little “pep talk,” if you will.

Jacqueline: Oh yes, you know what, as I mentioned from the beginning, this was all about purpose for me. I’m an entrepreneur and I’m a creative, which is just like, can be crazy because if you know, entrepreneurs have loads of ideas and they don’t fit into the norm and then creatives also don’t fit into norm and have a million thousand ideas. So purpose should drive whatever you’re doing. I think it’s really important, especially when you’re doing things to support other people. So I would just encourage you to ask yourself why, why I want to do this, why I want to get into, why, or even why I want to sew, whatever it may be. But if you want to start a business or you want to do something, then look at your why, look at who you could be impacting, positively impacting. And you have a story. Everybody has a story. My story just happened to start off with me exploring my cultural heritage, my background, my history. It then evolved with me having breast cancer a few years ago. And it’s something which, everything that happens makes you and it makes whatever you’re doing even more impactful to somebody else, is part of your story. And I just want to encourage anybody that whatever you’re going through, whatever your reason why you’re doing what you’re doing, remember that. Purpose will drive you to do it, even when times get tough. Even when the money’s not coming in, even when nobody wants to buy, even when people copy what you’re doing, all the things that’s happened to me, or you get sick, or life changes, or a pandemic happens, your purpose will drive you. And evolution, there’s nothing wrong if you evolve it as well. Things change. Things may look different, but your why must always be at the center of what you’re doing.

Caroline: Wow. Thank you so much, Jacqueline. You’re such an inspiration and it was such a pleasure talking to you today. We can’t wait to see what’s next for you. I know we’ll be following along and I hope our listeners will as well. Can you tell our listeners where they can find you online, where they can follow along?

Jacqueline: Yes, absolutely. So, Instagram: @waxandwraps or @africafashionguide. That’s “Africa,” not “African.” Africa Fashion Guide. The same on TikTok. I do probably do more on TikTok these days and on Instagram. And then website: so I’m actually rebuilding the Africa Fashion Guide website, but I say for the moment you can go to JacquelineShaw.co.uk and that tells you a little bit more about myself, my history, and the kind of things that I do. And if you want to get fabrics, It’s fashionafricatradeexpo.com or you might want to find some African suppliers. So that’s what happens on that website, too. So hopefully that will help you and feel free to send me a DM. Let me know you heard this podcast and that the ladies are great at Love to Sew and I’d love to, if you’re interested in more fabrics and understanding it, I’ll be happy to help and explain more.

Helen: wonderful. Yeah. Thank you so, so much. We’ll link up everything we chatted about today in our show notes. It’s easy to find. And yeah, Jacqueline, we just had a joy talking to you. Thank you so much.

Jacqueline: Thank you. It’s been my pleasure

Caroline: Okay. Talk to you soon. Take care. Bye!

Helen: Bye! That’s it for today’s episode of Love to Sew. You can find me, Helen, at Helen’s Closet Patterns and Cedar Quilt Co. and Caroline at Blackbird Fabrics and BF Patterns. We’re recording in beautiful British Columbia, Canada.

Caroline: You can support Love to Sew and get access to bonus content by subscribing on Patreon or Apple Podcasts. You even get access to the back catalogue of bonus episodes. That’s over 75 hours of Love to Sew. Go to patreon.com/lovetosew or check out our podcast page on Apple Podcasts for more info.

Helen: Head to lovetosewpodcast.com to find our show notes. They’re filled with links and pictures from this episode. If you’d like to get in touch with us, you can leave us a message at 1-844-SEW-WHAT. That’s 1-844-739-9428, or send us an email at [email protected].

Caroline: Thanks to our amazing podcast team! Lisa Ruiz is our creative assistant, Jordan Moore of the Pod Cabin is our editor. And thank you for listening. We will talk to you next week.

Helen: Bye.

Podcast: Play in new window | Download | Embed

" onclick="javascript: this.select();" onfocus="javascript: this.select();" style="width: 70%;" readOnly>

This episode is all about lace! What it is, how to sew with it, and WHAT to sew with it. Plus, an overview of the history of lace, the different kinds of lace, and your lace questions, answered! We also answer a listener question about how to draft a paneled circle skirt.

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

Use the Hashtag #LoveToSewLace to show off your lace me-mades on Instagram!

From the Listener Questions Section:

Previous Episodes Mentioned:

Resources:

Types of Lace:

Inspo:

Sewing Patterns:

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 and BF Patterns.

Helen: And I’m Helen, the designer behind Helen’s Closet Patterns and Cedar Quilt Co.

Caroline: We’re two sewing buds who love to sew and it’s the only thing worth talking about.

Helen: Today’s episode is all about lace. What it is, how to sew with it, and what to sew with it, plus an overview of the history of lace, the different kinds of lace, and your lace questions answered.

Caroline: If you love to sew, this is your show. Hello, Helen.

Helen: Hi Caroline!

Caroline: How are you?

Helen: I’m doing well, how are you?

Caroline: I am great. It’s a sunny day here in Vancouver. Like, the sun’s out. She’s out, gracing us with her presence.

Helen: That is always a treat, isn’t it? Especially this time of year.

Caroline: Oh my gosh. Yes, this time of year is so gloomy. I’m sure we’ve already talked about it on the show. You probably already heard us complaining about the weather, but now I am not complaining about the weather.

Helen: It’s a sign of things to come. Of brighter days ahead, yes.

Caroline: Oh my gosh. Yeah. How are you?

Helen: I’m doing well, I was just thinking that I should have worn some lace to celebrate our topic for today.

Caroline: Oh my gosh. It’s so true. I do not own many lace garments right now, but I could have put on my wedding dress.

Helen: Yeah, there you go. Missed opportunity to wear that bad boy again.

Caroline: Dang.

Helen: Oh my gosh, did you ever get anybody interested in your wedding dress? I remember you put it out there that you were like, “I’m willing to part with this if anyone wants it.”

Caroline: I don’t think so. No, not that I recall. So if anyone is interested, it’s still up for grabs. It’s sitting in my sewing room closet and I get to peep at it once in a while when I’m in there. I was like, love that thing.

Helen: You know, it’s because our audience is full of sewists and they want to make their own wedding dress, which is totally fair.

Caroline: Totally. Yeah. Are you saying I should list it on, like, marketplace or something?

Helen: Oh, I’m sure somebody would snap it up, like, if you did that, but it wouldn’t have quite the same lovely connection that you’re looking for, I think.

Caroline: I know. I don’t know. I’m still uncertain if I’m even ready to part with it. So we’ll see. I’ll hang on to it for a little while.

Helen: Yeah. I’m excited to talk about lace today. I’ll be honest: not a lace expert over here.

Caroline: Oh my gosh. Okay. Full disclosure: nor am I. We don’t carry a ton of lace at Blackbird and I haven’t worked with it a ton, but it was really fun learning more for this episode and we’ve got lots of great info.

Helen: Yes. And if there are any lace experts out there, feel free to hit us up. Let us know what you think of the episode. And if you have any additional lace tips to share, we want to hear them.

Caroline: Yeah, absolutely. We’re going to start off this episode with a listener question, though, and this one comes from Hannah.

Hannah: Hi Helen and Caroline, my name is Hannah, I’m from Queens, New York. I just finished a podcast episode where you mentioned that you wished you were getting more phone calls. And I thought to myself, “I have a question for them, I can give a call.” So here I am doing so. I have a question about circle skirts. I know that there are wonderful circle skirt calculators all over the internet, but I have a bone to pick with them and a question for you all. Every time I put in measurements of my waist and of the length of fabric that I have and the length of skirt I want it to be, without fail, the calculator comes back saying, “Your sizes are too big for the circle skirt calculator because the typical width of fabric is too narrow, I’m sorry, the skirt won’t fit.” So I never know what I’m supposed to do with that information! I’m working on a maid of honour dress for my sister’s wedding, and I’d like to make it with a pretty fitted tube bodice/bandeau kind of style and then a half- or a quarter-circle skirt flowing from there. And I cannot figure out how to make this because the calculators all kind of stop and say, “Your width of fabric doesn’t work.” I actually got some sandwashed Cupro in a brown colour from Blackbird Fabrics recently to make the wearable toile of this dress and I want to figure out how I can make it out of panels. Whenever I look at tutorials online for circle skirts out of panels, they’re very specific. Something like, “Here’s how to make a full circle skirt out of four panels at this length.” I’m trying to figure out more about the theory behind circle skirts, more about the math so that I can do it myself and play around with how long I want the circle skirt to end up. I don’t even know if I want a half or a quarter yet, I want to play around with the different looks. All that is to say, can you help me beat the circle skirt calculators? Can you tell me a little bit about them so I can understand them? Thanks so much! I’m a huge fan of the show, I’m a patreon, and I appreciate you both so much. Bye!

Helen: Hi, Hannah. Thank you so much for calling us. Really appreciate it. Circle skirt math can seem quite complicated, but we’re going to demystify it a bit here and share a link to a couple of articles for you to reference. Those will be in the show notes. But first, let’s define a few math terms. Oh my gosh. Bringing me back. And what they mean for circle skirts. So first: circumference. This is the distance around the circle. And this is your waist measurement, since you’re measuring around your waist.

Caroline: And diameter is the length of a line that goes from one end of the circle to the other. So you might need to know this to make your circle skirt pattern.

Helen: Radius is half of the diameter, so the length of a line going from the center of the circle to the edge. And you’re definitely going to need this one to make your circle skirt pattern.

Caroline: So it is time to dust off that math that we learned back in the day. And in order to get the radius of your skirt, you’re gonna need to use your waist measurement, which is the circumference of the circle. The formula is: circumference divided by pi equals diameter. So let’s say you have a 40 inch waist. 40 divided by 3.14 equals 12.74. And that’s the diameter. Divide that by two and you get the radius: 6.4. And that’s the number you would use for a full circle skirt.

Helen: You lost me.

Caroline: Honestly, did not think I’d ever be saying “pi” on the podcast.

Helen: All you need is pi.

Caroline: Yeah.

Helen: Okay, but there are lots of calculators online that will do all of this good math for you. You just need your waist measurements, so those can be super useful. You said, Hannah, that you wanted to make a half or a quarter circle skirt, so let’s talk about that too. So, for a half circle skirt, you’ll double your circumference before you divide it by pi. And for a quarter circle skirt, you’re gonna quadruple the circumference.

Caroline: Okay. Now, how do you take your radius and make a paneled skirt out of it? I would recommend drawing out your skirt pattern on paper first, rather than going straight to the fabric. If you have pattern paper with dots or a grid, it’s going to make it extra easy to work with, but this is not absolutely necessary.

Helen: The first step is to make a circle skirt pattern. Don’t worry about the panels or any seam allowances at this point. Take the radius measurement, use it to draw a quarter circle in the corner of your paper, and then use your skirt length measurement plus your radius measurement to draw out the hem. And now you’ve got your circle skirt pattern.

Caroline: And now it’s time to make it into panels. So you can draw a line down your pattern wherever you would like there to be a seam. And if you want the panels to be perfectly equal, you can fold your pattern in half to make it into two panels. That will make a skirt with eight panels in the end. The width of your fabric will probably play a part in how many panels you can make. Cut along the lines you’ve drawn and now you can add seam allowance and hem allowance to the pattern piece. And that’s it! You’re ready to cut it out of fabric. And when you’re placing your pattern remember that the grain of the fabric should go straight down the middle of each panel.

Helen: Yes, very important to put those grain lines on when you’re making the pattern. Circle skirts are a total fabric hog. So get lots of fabric if you’re going to be making one. Paneled skirts are also a fabric hog. I’ve had the same experience as Hannah. They were talking about how, you know, they do the calculator, they put everything in, they’re like, “I want this length of skirt,” and the calculator’s like, “Nope, can’t do it, sorry.” But I do have a tip for getting around this: so, shorten the length of your skirt until the calculator works. So you might have to go for a mini skirt for your size, but at least the calculator will give you your radius so you can get the waist math that you need. And then from there, you just extend out the lines from the hem to make the skirt longer, the length that you want it to be. And I’ve gotten around the fabric width limitations by cutting my skirt on the cross grain. You can get a full length skirt out of a 60 inch wide fabric if you cut it on the cross grain instead of cutting it on the lengthwise grain where you’re more limited. So that’s my little tip for you.

Caroline: Oh, that is a great tip. Thank you. Hannah, I hope your circle skirt adventure goes well. We’re going to link some great blog posts by By Hand London so that you and any of our listeners out there can do this yourself. And I think it’s time to get to the show.

Helen: Yes, we have so much info to share today. And we all have an image in our head when we hear the word lace, but let’s talk about what lace is really.

Caroline: Okay, but lace is actually kind of hard to define. There are a few things that sources agree on, though. First, lace is an openwork fabric, so that means it has a lot of openings or holes in it.

Helen: Secondly, lace is ornamental, so it has designs or motifs in it to make it extra beautiful.

Caroline: And last, it’s made in a variety of ways. Some of the oldest techniques are needle lace, which is made using just a needle and thread, and bobbin lace, which is made with a bunch of bobbins that the lace maker twists loops or plaits into designs. Nowadays, most lace is machine-made, but there are still a lot of different lace types. And not everyone agrees on what counts as lace either. Are embroidered net and eyelet really lace? It kind of depends on who you ask. So in this episode, we’re going to use a pretty wide definition of lace, since the sewing tips and project ideas will stay pretty similar for all the fabrics that fall under the lace umbrella.

Helen: Okay, so today we are going to share a bit about the history of lace and go over some of the different types. We’ll give a ton of tips for sewing lace, including a really cool technique to make your seams invisible. And then we’ll also share some ideas of where you can add lace trim to a project, recommend some indie patterns for sewing a whole lace garment, and answer some listener questions at the end. And also, lace is definitely a lingerie staple. A lot of people might be picturing underwear when they hear the word lace, picturing lingerie. Since lingerie is kind of its own thing, we’re going to focus on other garments in this episode. But if you want to hear more lingerie-specific advice, we have Episode 53: Bra Making with Emerald Erin, Episode 162 on Sewing Undies, and episode 220, which is Bralettes. And with that said, there’s a lot of sewing tips in this episode that will be transferable to lingerie making and vice versa.

Caroline: Yes, I’m excited to get into it, but I want to know, Helen, have you worked with lace a lot? I know you mentioned mostly not, but…

Helen: Yeah, like, you already know the answer. I have not. I have only used lace in the context of bramaking and even then it’s pretty limited. Just a little decorative embellishment here and there. But I’ve always been curious to try making a garment from lace. But I feel like our listeners can relate to this. I don’t have the occasion to necessarily wear a lace garment or the guts to go for it. So this episode is definitely something that I need to push me to try some lace projects and maybe get inspired of how I can wear lace in a more casual way.

Caroline: Oh yeah, I would venture to say that, in this year, 2024, lace in a casual vibe is kind of on-trend. So I feel like we might have some project ideas later on in the episode and I feel like you’re going to come away feeling inspired.

Helen: Oh, I hope so. I have two pieces of lace in my stash. One of which I think I got from you, Blackbird; it’s one of the bridal fabrics. And I wanted to make, like, a Cameron Button Up out of it, like something more casual and just, like, have the lace really shine, but still have it be a wearable casual everyday garment. I thought that could be neat.

Caroline: That sounds beautiful. Gorgeous.

Helen: Yeah, okay. Okay. I’ll put it on my list. Caroline, what about you? Have you made any lace projects?

Caroline: Honestly, I am similar to you. I have not sewn a ton with lace outside of bramaking. I think earlier in my sewing journey, I made a few things. I, if anyone out there remembers when I used to blog on Sewaholic back in the day, I had a few projects on there. Some eyelet things and a couple lace things. I tried for the life of me to dig up a photo of this, like, boxy T-shirt that I made out of guipure lace back in the day and I could not find it. Helen, I even opened, like, this folder on my computer that has, like, old iPhone photos going back to 2009.

Helen: Oh, wow, you were digging.

Caroline: I was digging and I couldn’t find it. So I did pop a couple pictures in here for you to see.

Helen: These are so cute!

Caroline: I know! Back in the day. We’ll put them in the show notes. Back when I lived in the west end of Vancouver and I used to take photos on my rooftop up there. There’s one in particular where I used lace as a panel on the back of a shirt, like a t-shirt vibe. That was a really cute top. And then, of course, my wedding dress, which I think fits under the “lace umbrella.” But that fabric that I used for my wedding dress, I would say is more of an eyelet. So Yeah.

Helen: We’ll throw it in there. Totally counts.

Caroline: I think we’ll count it today. Yeah.

Helen: Yeah, today we’re counting it.

Caroline: But I do really love the look of lace. Like I said, I’ve been seeing it in the trend forecast. I’ve seen some really cool brands making awesome things with lace and I’m inspired. I think I might make a lace pair of pants this year. That’d be crazy.

Helen: I mean it depends on what you’re wearing under them, I suppose.

Caroline: It’s true.

Helen: No, that sounds really cool. I’m excited to talk about patterns and projects at the end of the episode and get inspired. But we are gonna start off here with a brief history of lace. We don’t have a down-to-the-minute or even a down-to-the-year date for when lace was invented, but it most likely started to appear in the early 16th century. And the earliest types of handmade lace were needle lace and bobbin lace.

Caroline: Yeah. So needle lace is made by sewing outlines of thread on a temporary backing and then filling the space with elaborate geometric patterns using just a single needle and thread.

Helen: Bobbin lace, on the other hand, is made by twisting many bobbins of thread around a grid of pins that are stuck onto, like, a pillow form. So it’s made with multiple threads, and it’s a bit quicker to make than needle lace. Side note, Caroline: I am so obsessed with watching people make bobbin lace.

Caroline: Really?

Helen: It’s so beautiful. And you can find lots of reels and videos of it and it is wild how fast they can move the bobbins around and flip them over each other and create this beautiful lace. And like, it just seems like they have this whole other intuition with their hands. I don’t know even how they’re telling the bobbins apart. It’s just like, it’s like friendship bracelet, but to the millionth degree, you know?

Caroline: Wow. Okay. This is cool. I’m going to go check this out after we finish this recording.

Helen: Yeah, you can definitely watch them online and it’s really fun.

Caroline: So niche.

Helen: Right?

Caroline: Okay, so back to the little history lesson. By the late 16th century, lace fabric and trims had exploded in popularity across Europe. Remember those portraits of Queen Elizabeth I in giant lace ruffs? Yes, those were elaborate needle lace. Fashion dictated changes in lace over the years. Softer collars made of narrow bobbin lace were popular in the early 17th century. Raised designs for flat lace trim came into fashion during the later 17th century. And super delicate linen lace was the standard in the 18th century.

Helen: In the 19th century, machine-made lace began to be produced. And a big development was in 1804 when our old friend the Jacquard machine was patented. This uses long cards with holes punched into them as a program that tells the loom what to make. It’s considered a precursor to the modern computer. And another big development was in 1809 when John Heathcote developed a wide net fabric that didn’t unravel when it was cut. Manufacturers found ways to imitate many handmade lace fabrics and created new fabrics, too. By the end of the 19th century, the handmade lace industry had shrunk to a tiny size.

Caroline: The mechanization of lace making made it more affordable than ever. By the 1930s, most people could afford lace, something that had never happened before in history. And styles of lace changed throughout the decades as well. Allover Chantilly lace was popular for party dresses in the 50s. Cotton Cluny lace trimmed peasant dresses in the 70s. And big Guipure collars adorned dresses in the 80s. And today I’m seeing a lot of lingerie-inspired satin slip dresses with lace trim. Chunky 3D lace appliques on sheer illusion netting are a thing too, like Taylor Swift’s flower dress at the Grammys a few years ago. I wonder where lace is going to go next, Helen?

Helen: Ooh. Well, we’re trailblazing today. Handmade lace hasn’t totally disappeared, which is great because it is such a cool art form. There are some amazing artists and makers who are handmaking lace and keeping these skills alive. For example, Maggie Hensel Brown makes beautiful needle lace pieces that illustrate quiet moments from her everyday life, like a zoom call or a bath or sleeping in. We’re going to link her website in the show notes. Honestly, just stunning. Stunning.

Caroline: Okay, let’s go over a few of the different types of lace. So first up, Chantilly lace. This one is a lightweight, airy looking lace that usually has scalloped edges and sometimes little eyelashes along the scallops. Machine-made Chantilly is sometimes called Raschel lace.

Helen: I think this is one of the ones that I have. I’m trying to figure out what I have and I’m pretty sure I have some Chantilly lace.

Caroline: It’s quite, like, light and delicate and it doesn’t have those like raised, almost like cording, on it that some laces will have.

Helen: Yeah, okay, good to know. Cluny lace is made from cotton and it’s a bit coarser because the yarns are thicker than most laces and it typically has more geometric patterns.

Caroline: Guipure lace is a heavier lace that uses braids or cords to raise parts of the design and it has no net backing. Guipure lace tends to feel, like, much chunkier.

Helen: Heavier, right? Like it actually has some weight to it. And then to connect the more decorative elements it’s got like, almost like little strings, right? Instead of the netting. Yeah. Okay, I have definitely seen this before. You’re doing a great job pronouncing these by the way.

Caroline: Oh, thank you.

Helen: I’m going to try this next one. Alençon. Alençon. Is that how it is?

Caroline: I think it’s Alençon. Alençon.

Helen: Alençon? There’s a cute little accent under the C, so that sounds right.

Caroline: Yeah.

Helen: Alençon lace is like Chantilly lace, but it has raised cords outlining some of the motifs.

Caroline: Yeah. I think this one is one of those more common laces that you’ll find in, like, fabric stores and stuff. It’s got that delicate look but it still has some raised cords to it. It’s sort of like, a good best-of-both-worlds-type lace.

Helen: Okay, cool.

Caroline: Crochet lace is handmade by crocheters. And there’s no way to make crochet by machine. Though there are some knitting machine stitches that can imitate crochet. Cluny lace is sometimes called crochet lace in product listings even though it isn’t really crocheted.

Helen: There’s also stretch lace, which has a percentage of spandex in it, and that is usually used for lingerie or for trim on knit fabrics.

Caroline: And stretch lace also tends to be quite light and delicate in look. it doesn’t have those, like, raised cords because that wouldn’t really work with the spandex that it needs to have.

Helen: Yeah, fair.

Caroline: Okay, now for a few fabrics that people tend to disagree about putting under the lace umbrella. Embroidered net is a fine netting that has designs embroidered on it. Eyelet, also called broderie anglaise, is an embroidered fabric, usually a super lightweight woven cotton. It has little holes cut out of it to make, like, a pretty design and each little hole is finished with a satin stitch around it.

Helen: Yes, we love eyelet in the sewing community. I mean, it’s so fun. It’s just got that lovely whimsy. And it’s pretty common. You can find it lots of different places, so it’s a good one. Today, most lace is made of nylon or polyester. The exceptions would be Cluny lace and eyelet, which are usually made of cotton. But you can find silk, rayon, cotton, and blended lace fabrics to buy. They’re just not as abundant as the synthetic options.

Caroline: Yeah. My wedding dress fabric was, I want to say, cotton/rayon.

Helen: Yeah. I remember you telling me it was a rayon blend.

Caroline: Yeah. But it looks like silk to me. So you can find some really interesting compositions in lace fabrics. A couple of things to keep in mind when you’re shopping for lace. Lace can have a scalloped edge or a plain selvage. The scallops can be on one or both sides. And lace with a pretty edge is usually more expensive.

Helen: And you can use that edge to your advantage too, and work it into the hems on your sleeves or on the bottom of your garment. It can be really handy. Lace can come in narrower widths than other fabrics, so be sure to check the listing before you buy it and make sure that you’re getting enough of it.

Caroline: For sure. And you also may need to buy extra yardage to account for the nap cutting layout and choosing the best placement of the lace design. So keep that in mind.

Helen: Okay, let’s take a little break and afterward we’ll start sharing all our tips for working with lace.

Caroline: Love to Sew is made possible by listeners like YOU! We are so grateful for the support of our amazing patrons and subscribers. If you love Love to Sew and you want to help support the pod, we have a new option for you.

Helen: You can now become a paid subscriber on Apple Podcasts! Subscribers get access to our monthly bonus episodes. It’s so convenient; if you already use Apple Podcasts, the episodes are right there in your feed!

Caroline: So, what are the bonus episodes? Well, we do a chatty catch-up on what’s been happening in our lives, share about the realities of running a small business, discuss new indie pattern releases, and talk about what we’re sewing right now! Many of our subscribers say these fun bonus episodes are their favourite, and if you subscribe, you get access to the full back catalogue. That’s over 75 hours of Love to Sew! We also do a mini-episode that deep dives into a specific topic. We get to discuss so many fun sewing techniques and answer specific subscriber questions about sewing!

Helen: And we are still on Patreon! If you subscribe over there you can get access to the bonus episodes, behind-the-scenes photos, and a special 15% off discount code at our superfan patron tier. That discount applies at Helen’s Closet, Cedar Quilt Co., Blackbird Fabrics, and BF patterns. If you shop with us regularly, it basically pays for itself!

Caroline: If you’d like to try out Patreon or Apple podcast subscriptions and check out our bonus content, you can sign up for a free 7-day trial. And, of course, you can help support the show by listening, just like you are right now. You can also leave a review! Reviews really help our show to get discovered by new listeners. We know that financial support isn’t always possible and we want you to know that we love you for listening!

Helen: Go to patreon.com/lovetosew or visit our show’s page in the apple podcast app to become a paid subscriber. Thank you to all of our listeners, patrons and subscribers – you’re the best! And we’re back! Now let’s talk about sewing with lace. Lace has a nap, so use a nap cutting layout. Or if your pattern doesn’t have one, you’re going to need to make your own custom layout. Make sure you’re cutting all your pieces in the same direction.

Caroline: You also want to cut in a single layer. Put a layer of tissue paper on your cutting surface to keep it from shifting around.

Helen: And think about how you’re placing your pattern pieces. If the lace has large motifs or stripes, you may want to center them. Check to make sure that the design doesn’t hit you in awkward places. And this is good advice for all large prints. We’ve all had that moment where we finish the garment and there’s a big flower on the boob or a weird circle right on the butt.

Caroline: A seam that just creates a shape that you just don’t want on your clothes.

Helen: Yeah.

Caroline: You can cut on the cross grain in order to use the pretty scalloped edge if your fabric has one. Plan for it by drawing out the hem folds on your paper pattern pieces. And then when you’re placing your pattern on the fabric, make sure those lines are laying evenly across the scalloped edge.

Helen: The vast majority of lace is not going to fray. So if you want to cut around the lace at the hems to make your own decorative edge, you can totally do that. You can also carefully cut around the motifs of your lace to make appliques. You can sew them onto the garment you’re working on to increase the drama, or you can sew them onto a totally different garment just to add a little extra whimsy. I mean imagine, like, a denim jacket with some lace applique on the shoulders. That’d be so cool.

Caroline: Yeah, and I love the idea of using your lace scraps in different projects to kind of extend the life of that lace. Most lace fabrics will not do well being ironed, so steam them instead. And if you absolutely must press, use a low iron and a press cloth.

Helen: There’s a really cool technique for sewing lace seams that makes them practically invisible. So during the cutting phase, you want to mark out the edges of your pattern pieces along the seams, so where the stitching is going to be. The best way to do that is to use long basting stitches in a contrasting thread colour so you can easily see them and you’re not going to lose the, like, chalk mark or anything. They’re just always going to be there. And then you cut around the lace motifs to make the seam allowance. When you’re ready to sew the seam, you overlap the pieces so the thread markings are sitting right on top of each other. And then you can sew along the edge of the top piece with a small zig zag stitch. So instead of sewing a traditional seam, you’re doing an overlap. After that’s finished, you can cut away the bottom piece near the seam that you just sewed. It’s kind of magical how good it looks, honestly. You can do the same technique with darts so you don’t have that extra, like, triangle flapping around on the inside. So we’ll link a few resources in the show notes so you can learn how to do this. And obviously you’re going to remove your basting stitches later.

Caroline: This is such a cool technique. It almost feels like too good to be true to have such a beautiful finish that doesn’t show those, like, seam lines. So definitely go check out these links if you’re interested in seeing it in action.

Helen: Yeah, you can make it look seamless because if you’re sewing right along the edge of where the lace naturally moves and you’re attaching it together, you can basically get it to look like there is no seam there and it’s just continuing across the seam which is really cool.

Caroline: I guess the key would be a really good thread match.

Helen: Yes, that’s true.

Caroline: If it’s not, like, black or white, you know.

Helen: Yeah, and hand sewing too. You could totally do hand sewing to have a little bit more control and to hide your stitches better.

Caroline: Yeah! Love that. If your lace is very fine and doesn’t have big motifs, it might not make sense to do the applique seams. So in that case, you do have a few options. You can sew French seams. These are going to strengthen your seams and finish them at the same time.

Helen: You can also underline your lace. This means you would baste your lining fabric to the lace and then treat that fabric as one piece. And then you don’t have to worry about making a pretty finish on your seams because they won’t be visible through the lining.

Caroline: You can bind your seams with bias binding. You could use strips of your lining fabric to make it less visible or you could choose a fabric that matches your skin tone if your garment isn’t lined.

Helen: Depending on the type of lace you’re sewing, you might want to stabilize your seams. So, for shoulder seams and waist seams, you can use stay tape, you could use straight grain binding, or a small strip of organza so that they keep their shape.

Caroline: If you only want to stabilize a seam so it doesn’t stretch out while you’re sewing it, you can use tear-away stabilizer or tissue paper. And if you’re sewing a zigzag stitch, use wash-away stabilizer. This is also going to keep the lace from getting sucked down into your machine.

Helen: You also want to avoid stretching your lace as you sew, and check your machine settings on scraps to make sure they’re not creating wavy seams. Really depends on the lace you’re working with, but the last thing you want is for things to get all stretched out of shape, so that’s why we’re talking about stabilizing those seams, maybe stay stitching, checking your settings, all that good stuff before you start sewing your project.

Caroline: Yeah, definitely. Most lace has some amount of sheerness, so here’s how to deal with that. You can line your garment. A traditional lining is best for thicker or more opaque laces. This is going to make the inside of your garment look super neat. You might want to choose a different method if your lace is super sheer, though. It would look messy on the outside because you’d be able to see the seam allowance of both your lining and your sheer lace.

Helen: Yeah, that’s where underlining your garment might be the way you wanna go. It conceals all of the seam allowances inside the lining. The risk with underlining is that the fabrics can bunch or wrinkle as they slide over each other. So underlining is a good choice for more structured pieces like fitted bodices. But if you have something that’s a little more swingy, there’s always a risk that the underlining is not gonna hang the same as the outer fabric. And then you end up with some weird things happening in your seams.

Caroline: Yeah, that’s where testing would be really helpful as well.

Helen: Yeah.

Caroline: You can create a separate slip or shell to put under your lace garment. This is a good option for drapey garments like dresses or tops that hang from the shoulders rather than ones that are anchored at the waist.

Helen: Yeah, true. I mean, if you were doing something like a lace pant, Caroline, you could wear some kind of cute little boxer briefs or like, bike short kind of things, or even like, some sexier underwear under there. You definitely don’t have to line your lace garment. You can go without any kind of lining. Sheer clothing is definitely in. I have a little mesh top, Jackson Tee, that I made that I absolutely love. And I wear just, like, a little plain black bralette under it. It’s just the right amount of sexy for me and it’s so fun to wear. So definitely experiment a little bit with the sheer.

Caroline: Oh, yeah. Mesh is in too. Like, it’s so 90s and so cute. I love it. Closures might need some special consideration here. So buttonholes might not work at all in some lace fabrics because of all the openings. So consider using button loops instead. Or attach a separate button placket in a complementary fabric.

Helen: If you want to insert a zipper into a lined lace garment, you might need to treat the lace and lining pieces as one instead of trying to sandwich the zipper in between them. That way, you won’t see the zipper tape through the lace.

Caroline: And if you don’t have a pretty edge on your lace or you don’t want to cut along the motifs at the hem, you can do a single turn hem. If your lace has big openings, just reinforce it with a thin strip of mesh or tulle that matches your skin tone or your lining fabric.

Helen: And of course, there’s the question of how to care for your lace garment. Most lace fabrics will do okay on a gentle cold cycle. Don’t quote me on that. Obviously, with special fabrics like this, you need to test it beforehand to make sure you’re not going to ruin it. But if you put your lace in a mesh bag so it doesn’t get snagged and then you air dry it afterwards, I think you’re probably okay to put it on that gentle cycle.

Caroline: Oh yeah. And I feel like if you’re hanging your lace garment to dry…all those holes…it’ll dry really fast.

Helen: That’s true. It’s probably going to come out dry.

Caroline: So much aeration.

Helen: Especially with poly lace, right? Those fabrics, yeah.

Caroline: Yeah, it’ll practically come out of your washing machine dry.

Helen: Yeah. It’s not going to hold water really.

Caroline: All right, let’s move on to some project ideas. First up, we have some things that you can make with lace yardage. So, simple shell tops look amazing in lace. One of the samples for Cashmerette’s Montrose Top is made in a chunky blue guipure lace and it’s so pretty worn over a simple camisole. I think the cropped view of the Ashton Top would look really pretty in lace, too. And you could pair it with, like, a midi skirt for a dressy look.

Helen: Ooh, I love this idea. Maybe this is what I should do with my guipure. Guipure lace.

Caroline: Guipure.

Helen: Guipure. Yeah, I think that would be amazing. I’d love to try the seamless finish along the side seam and the dart. And there is a whole article on Cashmerette’s website about how they did that on the Montrose Top and they have pictures and everything. So it’s a great resource. Shift dresses and swing dresses would work well in lace. The Style Arc Lena is a short sleeveless swing dress that would look great with a spaghetti strap slip underneath.

Caroline: You could really take advantage of the scalloped edge of the lace fabric by making a dress or skirt that has lots of ruffles. The Fibre Mood Trix dress has layers of ruffles going from the bodice down to the hem. It would be easy to make a simple skirt using the same technique and all those pretty scalloped edges would look so good. And bonus: no hemming.

Helen: Oh, I love this idea. I feel like for this one you’d probably want to use a lighter weight lace to get all those ruffles and have it not weigh so much when you’re done.

Caroline: Imagine! You’re like, this is so see-through but it’s so heavy.

Helen: It’s so heavy. I also love the idea of a tea dress made out of a lightweight lace or an embroidered net. I think the Taika Blouse by Named would be a really great option. It reminds me of dresses from the early aughties, and adding the lace would just give it extra whimsy. It’d be so cute.

Caroline: Yes, and lace button-ups are so cool. it would take a bit of extra work to figure out the interfacing situation, but it can definitely be done, especially with sturdier lace fabrics. I think you could use organza that matches your skin tone or you could match the colour of the lace so that it makes a statement; like, the collar and button plackets could be opaque while the rest of it is sheer. This isn’t a button up, but Donny Q made, like, a slouchy guipure lace top as a layering piece, and it looks so good. He paired it with linen pants and Birkenstocks. I feel like that’s a great way to dress down a lace look, and I know you have Birks, Helen, so.

Helen: And linen pants. I’ll look just like Donny Q. No, I mean, I can never look as cool as Donny Q, but he’s totally pulling this off and it’s really cute. I love this idea. And I also really like the idea of a button up, like I was saying at the top of the show, and the suggestion to make elements of it opaque like the collar and the cuffs and the button placket because obviously those need to be secured anyways with a little bit of interfacing or something. And that would just make them pop on the shirt while the rest of it is sheer. So cool.

Caroline: Totally. Okay, there are a bunch of ways that you can incorporate lace into your makes. Lace insertion is actually so much easier than it looks. Basically, you sew lace trim onto the fabric with a small zigzag stitch over both edges, and then you carefully cut the fabric down the middle on the wrong side and press it outwards. And then you can sew over the folded edges with a small zigzag and then trim away the excess. This leaves you with a sheer strip of lace down the middle of your fabric. Jessica Quirk on Instagram is so good at this. We’ll link a couple of the tops she’s made for inspo, plus a tutorial for how to do lace insertion on your own makes. And by the way, ladder lace is a really nice choice for lace insertion. It’s a little less frilly than some of the other options.

Helen: Yeah. Ladder lace is so cool. I mean, it looks like a ladder.

Caroline: Yeah.

Helen: Try to imagine it. No, it does look really modern and cool if you’re not into the florals. It’s a good option. You can also sandwich lace trim into your seams. Narrow lace can go around the edge of a collar or along the edges of a button placket. You can put gathered lace trim at your sleeve cap seams or at the seam where you attach a ruffle to a skirt. So many options here. Basically anywhere where there’s a seam you could be putting lace trim. So just think about that.

Caroline: Just think about it.

Helen: Just think about it.

Caroline: You can use a small amount of lace as an accent as well. Yokes or bibs are a great place for this. If your lace has a decorative edge, you can layer it over the fabric underneath and stitch it down, leaving the decorative edge hanging free.

Helen: You can add a cool lace-up detail with certain Cluny lace trims. The kind that you’re looking for is narrow with points that have little holes in them. You can sandwich the lace in the center fronts between the main fabric and the lining and then when you turn it out only the points and the holes will be visible. And you can take ribbon or cord and lace it through the holes. This was a really popular closure on the Gunne Sax dresses in the 70s.

Caroline: Flat lace appliques or trims look great on satin slip dresses and camisoles, or even on the hem of a bias cut satin skirt. Can you imagine the Simone Slip by Closet Core with some eyelash lace along the top edges? I feel like that would be so good. Seamwork also has a tutorial for sewing lace flat along a hem. We’re going to link all of this for you in the show notes.

Helen: I do love the look of an eyelash lace. There’s something just so romantic about it.

Caroline: It’s so pretty.

Helen: So pretty. Ooh, I am definitely feeling inspired, Caroline. I’m gonna go look at my lace.

Caroline: Oh good.

Helen: Okay, before we go, we have a few listener questions about lace. Melissa wrote, “I want to dupe the Wanda Top from Reformation. What kind of lace is used in it and what would I look for to order? Bonus: any pattern recommendations to hack to make it?”

Caroline: Ooh, you know, our creative assistant Lisa came through for us on this one. This is such a pretty top. I love everything from Reformation. This is no exception. It’s so cute. It has a square neck with a narrow yoke made from lace trim. And then below the yoke, the body of the top is gathered. It has puff sleeves and the cuffs are made from that same lace trim. At first glance, the trim looks like a flat eyelet, kind of like a broderie anglaise. But when I zoom in, I think it’s actually a woven lace trim that’s kind of made to look like eyelet. I definitely think you could get the look by using eyelet trim though. Choose a trim that’s, like, at least 2.5-3 inches wide so you have room for seam allowance. And you could hack this look with the Champagne Field Dress and Top by Matchy Matchy Sewing Club. Skip cutting out the yoke pattern piece and make your yoke out of that lace trim instead. And then add a strip of the main fabric that you put pin tucks into. And if you end up making this dupe, please do send us a pic. I feel like it would be so cute. I would love to see how it turns out.

Helen: Yeah, I do love this idea. It’s so cute with the little mitered corner on that square neck.

Caroline: Yeah, that’s great.

Helen: Claudine wrote, “I love lace, but it screams special occasion and I have such a casual life. I would love to hear ideas on how to use lace in more casual garments.” Same.

Caroline: Helen, this is, like, exactly what you were asking earlier.

Helen: Yes. Okay. Lisa has also come through on this one. You can definitely wear lace in casual garments. Part of the issue is maybe the sheen that lace has. It gives it that special occasion glow. If you search for cotton lace, Cluny lace, or crochet lace online, you’ll find a bunch of options that look great as trim on more casual cotton tops or dresses. You can also experiment with adding smaller amounts of lace or embroidered net by colour blocking, which sounds really cool.

Caroline: Yeah, I think bright coloured laces could also work really well to, like, casual-fy, casual-ize a garment, Like, using lace in, kind of like, a non-traditional way. I love the brand A Bronze Age. We pick up some of their deadstock sometimes and they’re a local fashion brand here in Vancouver. And they made these really cool kind of like, layered, gathered skirts and just, like, loose pants in lace and they look so good. And the way that they style them, like, I’ve seen the owner on TikTok styling some of their lace pieces with just, like, a t-shirt and a pair of sneakers and it looks so cool and casual. I feel like you can totally do it.

Helen: Yeah. I’m looking at this product listing here that we linked up and oh my gosh, these are gorgeous. Like, I love the idea of a lace pajama set, but, like, that you wear outside.

Caroline: I know. And like, think about, okay, I linked up some of their pants here. Think about these pants with, like, a pair of sneakers and, like, a t-shirt. Come on.

Helen: Very cute. Very cute. You know, I can totally picture that in a place like Vancouver, like in a city, but I’m imagining myself wearing it around my small town. Like, it’s a different vibe. I would get so many looks. So many looks.

Caroline: I know, here in Vancouver, you can be like, “I’m on my way to this, like, tapas bar with my friends. What are you looking at?” And you’re like, “I’m going to the grocery store.”

Helen: Yeah, wandering around Costco or, like, walking my dog on the beach.

Caroline: Oh my gosh, I would love to see, like…you need to make, like, a reaction compilation video. Like, get, like, Sam to secretly film people. I would pay money to see that. Oh my goodness.

Helen: I would totally check out somebody wearing lace pants. So I wouldn’t blame them, you know?

Caroline: But you wouldn’t be judging. You’d be like, “Ooh-wee!”

Helen: Yeah, I’d be like, “Who are you and can we be friends?”

Caroline: Yeah, exactly. Oh my gosh. Madison wrote, “How the heck do you sew lace onto knit fabrics?”

Helen: Well, if you’re sewing lace onto a knit, you’re going to want to use stretch lace. It should stretch at least as much as the main fabric that you’re using. You can attach it with a zigzag or a twin needle. The flattest, most comfortable way to do it is to layer the lace over the edge of the knit fabric and sew it down with a zigzag stitch. If your lace has a scalloped edge, you can follow the scallop with your stitching and then trim away the excess knit fabric close to the stitching for that really beautiful finish. You could also do this method with a twin needle. And if you don’t need the seam to be flat, you could serge or zigzag the lace and the fabric with right sides together. I think just experimentation is needed here if you’re trying to embellish a t-shirt or something like that. Get a lace that stretches and then just see what happens when you try to put it on there.

Caroline: Yeah. Stephanie wrote, “Please can you provide a good resource for modern lace/fewer flowers? I’m in the UK.” So I think it just takes a bit of digging to find the right one. If you’re searching online, here are some terms you can use: you can look up geometric lace, medallion lace, cluny lace, crochet lace, and of course, modern lace. I think Etsy would be a really good place to start and you can change the settings so that it only shows you shops that ship to the UK.

Helen: Oh yes, good tip. Nancy asks, “Can you make lace on an embroidery machine?” And you can! It’s called freestanding lace and it looks really beautiful, kind of like guipure. Wonderfil has a beginner’s tutorial that looks really good. You use a 40 to 80 weight thread and a pattern that is made for freestanding lace The piece is embroidered onto a water soluble stabilizer, like Wet N Gone by Floriani. And after you’ve finished, you dissolve the stabilizer in water and then air dry the lace. Easy peasy.

Caroline: It’s as easy as that.

Helen: It’s as easy as that. You just need an embroidery machine and special thread and water soluble stabilizer and you can have freestanding lace.

Caroline: There you go. All right. That is all we have for today’s episode. We want to see your lacy me-mades on social media. So please do tag us. We would love to check them out and get inspired. And if you are a lace expert and you want to school us, send us an email or better yet, send us a voice memo because we want to hear you tell us all the things that we forgot about lace.

Helen: Yes, please do help us educate folks out there about lace. We should do a hashtag for this episode. #LoveToSewLace?

Caroline: Yeah, why not.

Helen: #LoveToSewLace.

Caroline: #LoveToSewLace.

Helen: Do it. Show us your makes.

Caroline: That’s it for today’s episode of Love to Sew. You can find me, Caroline, at Blackbird Fabrics and BF Patterns, and Helen at Helen’s Closet Patterns and Cedar Quilt Co. We are recording in beautiful, sunny British Columbia, Canada.

Helen: You can support Love to Sew and get access to bonus content by subscribing on Patreon or Apple Podcasts. You even get access to the back catalogue of bonus episodes, which is over 75 hours of Love to Sew. So go to patreon.com/lovetosew or check out our podcast page on Apple Podcasts for more info.

Caroline: You can head to lovetosewpodcast.com to find our show notes. They’re filled with links and pictures from this episode. And if you’d like to get in touch with us, please leave us a message at 1-844-SEW-WHAT. That’s 1-844-739-9428. Or you can send us an email at [email protected].

Helen: Thanks to our amazing podcast team! Lisa Ruiz is our creative assistant, Jordan Moore of the Pod Cabin is our editor. And thank you for listening. We will talk to you next week.

Caroline: Buh Bye!

Helen: Bye! …onto a water soluble stabulizer. Stabulizer?

Caroline: I feel like we need, can we just put a PSA in this episode? Um, please forgive us if we’ve mispronounced any of these words.

Helen: Right? I know.

Caroline: I’m like, I think it’s guipure, but I actually think it might be not that. I don’t know.

Helen: Maybe it’s G Pure.

Caroline: Maybe it’s guipure.

Podcast: Play in new window | Download | Embed

" onclick="javascript: this.select();" onfocus="javascript: this.select();" style="width: 70%;" readOnly>

In this episode, we interview Kenneth D. King – couture designer, technical sewing wizard, teacher, writer, and contributing editor to Threads Magazine. We chat with him about the couture techniques he developed himself, his storied career, and his latest book: Doll Couture!

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

Show Notes: 

Find Kenneth Online:

A post shared by Kenneth D. King (@kennethdking)

Doll Couture: Creating Custom Clothes Featuring the Story of Lola by Kenneth D. King

If you have the book, you can email Kenneth to get the “Story of Lola” excerpt with photos!

A post shared by Kenneth D. King (@kennethdking)

Elton John in One of Kenneth’s Hats

Kenneth’s Lines of Inquiry

Kenneth’s Articles in Threads

Other Mentions:

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

Helen: And I’m Helen, the designer behind Helen’s Closet Patterns and Cedar Quilt Co.

Caroline: We’re two sewing buds who love to sew and it’s all we ever talk about.

Helen: Today we are interviewing Kenneth D. King, couture designer, technical sewing wizard, teacher, writer, and contributing editor to Threads Magazine. We chat with him about the couture techniques he developed himself, his storied career, and his latest book, Doll Couture.

Caroline: If you love to sew, this is your show.

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

Kenneth: Well, thank you. It’s my pleasure. Good to see you.

Helen: Yes, we’re so excited to get the opportunity to chat with you. Can you please introduce yourself to our listeners?

Kenneth: Okay, for those who don’t know who I am: Kenneth D. King, “D” as in “Diva.” I like the D in there. I think it alliterates nicely. I have a following in the sewing world. I do a lot of different things, but I started sewing when I was four. I started sewing for Barbie, more on that later, and started making clothing for myself as a teenager. My degree is in fashion merchandising from a college in Oklahoma. So my first career was window display. Window display got me to San Francisco. And when I got to San Francisco and worked in window display, I had a boss who was certifiably crazy. And we had a chance to kill him and make it look like an accident. No, I’m not making that up. The only thing that kept me from killing him was: I believe in reincarnation. So I understood. I have to work for myself. So when I started making…my first paying customer was a mother of the bride, which cemented in my mind that I could make money doing this. Then I started making hats because accessories don’t have to…you don’t have to worry so much about fit. And I was able, then, to quit my job in March of ‘87. And I have been self-employed primarily as a couturier, but the purview of my business has expanded ever since then. So, 1987, you do the math, probably before you two were born.

Helen: Only just, only just. Wow, thank you for that quick overview of your career. It’s amazing to hear it like that. Like, then this happened, then this happened, and no big deal. Now I’m a couturier.

Kenneth: There are all of the stories because one of the things I do, I’m an adjunct professor at FIT here in New York. So, you know, I get the kids when they’re young. And one of the things I tell them is, you know, “It’s all really persistence.” Because I quit my job in March of ‘87. And again, you’re too young to remember this. The stock market crashed in October of ‘87. So by December of ‘87, I lost my apartment and I was sleeping on a broken-down sofa in my studio, which was like a big garage. And there came a point when I had to melt down my jewelry to fill an order. And I’m not kidding.

Helen: Oh my gosh.

Kenneth: But, you know, it was, you know, I tell my students, like, I said, you know, this really sucks when you’re going through it, but you can dine out on these stories for the rest of your life. So, I got through that, you know, I was living in my studio, listening to the mousetraps clacking like castanets at night for about six months. And then I was able to kind of turn everything around and, you know, then I was off and running. So I started with accessories. I started selling to a store in Los Angeles called Maxfield, late ‘86. That was when the big break happened. There was a gal named Mindy. And this is something I tell my students: If you’re going to be selling to retail, it’s not necessarily the owner of the store or the buyers that understand. It’s the head salesperson. So, the owner and the buyer didn’t quite get what I was doing, but they said, let’s go get Mindy. ‘Cause Mindy sold, like, five-to-one over everyone else. And she came and said, I can sell this. I see money. And so between 7:00 in the evening on the Thursday before Thanksgiving of ‘86, I remember distinctly, and 10:30 the next morning, they had sold everything that they had bought. Then they were on the phone saying, “Hey, does he have anything else laying around his studio?” So I was making hats and other accessories for three years and all my friends were kind of, you know, they didn’t quite know what to make of it like, you know, it’s like he has this weird hobby where he’s making hats. And they just thought, you know, poor thing, he’s so deluded. And I said, you know, “This is called inventory.” So when they called and said, “Do you have anything else in, you know, laying around your studio?” I’m like, “Why, yes, I do.” And I boxed everything up and shipped it out and I was launched. So you know, the short version is: the rest is history.

Helen: And also, thank you, Mindy.

Caroline: Yeah.

Kenneth: Yes, well, we still talk. And you know, and we were talking recently, as a matter of fact, ‘cause see Elton John was an early client, more on him later. But she has a theory that when he started palling around with Versace, if you look at the timeline, and I think she’s got on to something. Versace’s clothes in the mid-to-late 80s heading into the 90s were very clean and very streamlined and all of this. And then, all of a sudden, this whole Baroque thing showed up. And she has a theory that he saw my pieces from Elton and it caused him to go into a new direction.

Caroline: Oh my goodness.

Kenneth: So, you know, I mean, I think, you know, the timeline, it matches. So anyway, but yes, we love Mindy.

Caroline: So you mentioned Elton John, and we have to ask you to elaborate a little bit. Like, how did that connection happen? Can you just tell us a little bit more about that?

Kenneth: Well, it happened through the store in Los Angeles. And I remember I was taking a jewelry class at City College and my jewelry professor…his sister was a stylist in Los Angeles. So she became my agent. She was the one who got me into Maxfield. One night I was in class, jewelry class, it was a Wednesday night I remember, and he came out and he said, your agent’s on the phone, you know, cause she had called him trying to track me down. And apparently Elton had been in Maxfield and bought what they had and said he wanted to see four more vests by Tuesday. Could we do it? And, you know, it’s like, okay, that’s just one of those…like, you just have to motor through it. So I stayed up 72 hours at a stretch to get those into that store. So that’s where he started buying my things. I did the hats for his concert tour in 1988. Which I was very pleased about. The news on that was a little bit, kind of, nerve wracking because I was at my studio. It was a Saturday afternoon. I was working away and the phone rang and it was Brenda and she’s like, “Oh my God, Tommy’s breathing fire. The person who was pulling together his concert tour said she’s going to buy the hats directly from you. He’s furious. He’s talking to your answering machine at home. Call me when it’s over.” And she hung up, and I remember sitting at my desk, and it was like, “Okay, the good news, the bad news. The good news is: he’s considering using my hats for his concert tour. The bad news is: I had to tame a dragon.” And, you know, so the phone rang, I was able to kind of soothe his shattered nerves and, yeah, so I did the hats for his concert tour. You know, if you look at, there’s a Diet Coke commercial you may, if you go on YouTube: “Elton John Diet Coke Nightclub.” That’s one of my hats. There is a video for “You Gotta Love Someone,” that’s one of my hats. The video for “Sacrifice,” one of my hats. He has a lot. He has the good stuff. Because what he would do, I would get the phone call: four hats, two weeks, blank check. So, you know, my job was, okay, what did I do last time? How can I outdo it? So, of all the people who have my work, he has the best. He got all the best.

Helen: I mean, the right person to have them, I think.

Kenneth: Yes. Well, you know, interestingly, because, see, in August of ‘89, there was a concert in the Bay Area. And of course, this is still when we had rotary phones. So, you know, I was calling in for tickets and I, you know, at 10:05, you know, all the tickets were sold out except the ones in the parking lot. So I bought two of those because I figured, okay, that’s the best I could do. And so I had Brenda, I said, “Could you ask Maxfield to talk to his people? I just want a decent seat. I don’t want to sit in the parking lot.” And they, of course, said “Oh, no, we couldn’t possibly.” So a friend of mine just said “Oh, to hell with that.” So she found out who his people were and she sent a letter saying, “These are two creative people who enjoy each other’s work. Don’t you think it would be great if they were to meet?” And they said, “Excellent idea. We’ll have backstage passes at will call.” So I, of course I’d like to think I’m blasé, but I’m not, so I, of course I was wearing a new hat, and we got there and she was kind of guiding me through the maze in the back. And when we finally saw him, he was, like, wearing a t shirt, overalls, baseball cap, hanging out before he was going to get ready to sing. So, Betsy kind of pulled the two of us together. And the first thing he said was, “I’ve often wondered what you look like.” Now, how cool is that?

Helen: That’s so cool.

Kenneth: And then the second thing he said was, “I’m the one who owns the yellow jacket.” Now, Maxfield had ordered this taxicab yellow moiré dinner jacket. So, I, of course, not really trusting that Maxfield would know what taxicab yellow was, because they were this very minimal store, I sent a swatch. Saying, “Okay, are we all on the same page on this?” They said yes, that’s it. That’s the colour. And I thought, oh sweet Jesus, how am I gonna make this work? So I figured, okay, I can’t do the tasteful and understated. I have to just kind of go the other way. And I found and bought 70-some dollars worth of glass fruit and vegetables. And the embellishment on this jacket was these glass vegetables. And I laughed for three days making this thing because it was just, it was a riot. So, the second thing he said after he said, “I often wonder what you look like,” is, “I’m the one who owns the yellow jacket.” Because, see, Maxfield was very coy about, you know, where these things were going. So then, of course, here we were. They weren’t letting people sit backstage, so we still had these really crummy tickets in the parking lot. And I could have dropped dead right then, my life complete. I, you know, I wasn’t thinking any further than: I have met Elton John. So we’re walking out, Betsy’s on, I’m in the middle, she’s on my left, he’s on my right, and she leaned over and she said, “Elton, I know this is tacky, but we don’t have tickets.” And he snapped his fingers and he said, “Tickets for these people.” So one of his minions came running up with these fifth row center tickets. So he said, “Now I have, I have to go get ready. I have to go sing now.” So you know, here we were like, stepping through people, you know, to our seats. “Excuse me. Excuse me.” We were backstage. “Excuse me. Excuse me. Excuse me.” And so the hat that I was wearing which he tried on because he and I were at the same hat size, he then ordered four of them.

Helen: Oh my gosh.

Kenneth: So, yay! So I got them all done and I sent them off. And then the earthquake hit in ‘89. So the next day I got a phone call from his people. And I thought, oh my god, what happened? The hats didn’t get there. Were the hats damaged? Did he not, like, you know, I was, like, off on this whole thing waiting for the other shoe to drop on, he hates the hats, or something like that. And she said, “Well, how are you doing?” And I said, “Well, fine, thanks.” And you, and she, there was this little pause and she said, “There was an earthquake. He wanted us to call you, to see how you’re doing and if you need anything.” And I mean, that completely never occurred to me. And I’m like, “Well, thank you. That’s very lovely.” And so, then moving right along. I said, well, you know, you’re going to be getting an invitation because we had just rented a new studio space. I had signed the papers on that place, like, two hours before the earthquake hit. So, in December, first, like, first part of December, it was a couple of days before the party. I got this phone call from his people and they said, “You know, he really wanted to come, but he can’t.” And I said, “Okay, you know, thank you for calling.” I mean, like he’s going to come to my party, you know, he’s famous, I’m not. So that was fine. So the day of the party, my mother came in from Oklahoma, my mother who wanted me to be a pharmacist. While they were getting, my mother and my sister were getting ready at my place, I was at the studio kind of just, tying up loose ends and so forth. There was a message on the machine from a florist. So I called him back and he said, “We have a bouquet we need to deliver.” I said, “Okay.” So he said, “Well don’t you want to know who it’s from?” And I was just spoofing. I said, “Oh, it’s probably from Elton.” He said “Oh, damn.” I went and got my mom and my sister, so here they, you know, we got back and the doorbell rang and they brought this gigantic, it was like the horse came in second at the Kentucky Derby, gigantic, bouquet, you know. I’m like, I’m trying to be blasé, like, “Oh, set it over there,” you know, “Mom, read the card,” and it said, “Dear Kenny.” Now, Elton is the one person besides my sister who I allow to call me Kenny. “Dear Kenny, congratulations on your studio warming. Sorry I couldn’t be there. Thanks for everything. Love, Elton.” Well my mother…when everyone in the, you know, the party guests came, she was Queen Mother. And she was telling everyone, you know, “I always encourage my children to do, to follow their dreams.” And it was like, okay, I’ll overlook that you wanted me to be a pharmacist and you didn’t really understand what I was doing up until today. So he bought a lot. He has a lot of pieces. He has jewelry. He has hats. He has dinner jackets. He has vests. He has the first footstool. So he has, Mindy said she thinks it’s probably over a hundred pieces.

Helen: Wow. Amazing. Well, and he’s clearly such an admirer of your work and you’re saying how amazing it was for you to meet him, but he obviously wanted to meet you too. And that’s just the coolest. I can’t even imagine how that must have felt.

Kenneth: Well, what’s kind of sweet is, you know, come, you know, bringing forward to, to now, Mindy actually sent me a link because he’s moving out of his apartment in Atlanta. So there’s this whole auction at Sotheby’s and different things he’s auctioning off. And she said, “You’ve never seen any of your work being auctioned off.” And I said, “Okay.” And she said, “I think that’s because he likes it so much. He wants to keep it.”

Caroline: Aww.

Helen: Oh yes, of course.

Kenneth: So, yeah. So, you know, I can say, I can only say good about him because, you know, he, he didn’t have to be nice to me. He didn’t have to have his people call and say after the earthquake, “Are you okay? Do you need anything?” Because that never occurred to me that that would happen. So, yeah. I have nothing but good to say about him.

Helen: He wanted to make sure you were okay so you could keep making him cool hats.

Kenneth: And that’s okay because it’s a win-win, you know. I mean, he gets the cool hats, I, you know, get to make wonderful things because really, honestly, years ago, I delivered a piece to the Victoria and Albert Museum in London, Hermit Collection, and she was saying, “Okay, where is the good stuff? With your output?” I said, “Elton John has it.” If you, you know, if you’re, if you’re ever motivated to ask him for it, that’s where the good stuff is.

Helen: Take it up with him. Yeah.

Kenneth: Yeah.

Caroline: That’s just incredible. We wanted to talk about one of your most recent projects as well, which is a book that you came out with in December called Doll Couture. So can we get into it? Can you tell our listeners a little bit about this book just to kick it off?

Kenneth: Yes. Well, I have to start back a little bit. I’ve made Barbie clothes pretty much my whole life. That’s how I learned how to sew. In 2019, my husband’s niece in Australia, little Charlie, it was decided that she was old enough for Barbie clothes. Okay. So, you know, that was, I had time between the fall and the spring semester at FIT. So I was just sitting in my studio, you know, making this and making that and posting it on Instagram. All of a sudden I get this email from New York Magazine. The fashion director there said, “Hey, we really love what you’re doing. We’re doing an article on Barbie as influencer. Can you replicate these looks from the collections?” And she sent four photos. Two of them were ugly. Two of them were great. So I just decided I only want to do these two because they’re pretty, but the other ones are ugly. So I wrote back and I said, “Well, I only have time to do two and I want to do these two. And I want this big ton of money to do it.” Thinking, you know, they’re going to say no, and she said, “Yeah, can you have it by the 15th?” I’m like, okay, I guess I’m going to have it by the 15th. And so the doll that I was working with on Charlie’s clothes, it was one of my vintage Barbies called the Fashion Queen. This was a doll in the, like, 19-mid-60s that wore wigs. She had this molded head and there were different wigs so you could change her hair. So I had her out. I was making the clothes on her. So this project turned into, I called it, “the top secret project.” I started to put it on Instagram. And so as I said to the people, okay, Barbie figures are different now than they were then. So I need stand-in dolls so I can make the clothes to fit them. So they sent these two dolls. And so, when they arrived, part of the Instagram thing was, “Oh look, the fit model and the intern have arrived.” And it started this whole cast of characters. There’s the bodyguard, because my assistant was mobbed in Lincoln Center for her internet fame. Then he has an assistant named Gus. Gus carries a baby doll. We don’t know why, but he does. Then there is the fitter, because, and she, she makes sure everything fits properly. She always has her tape measure and her pin cushion at the ready. And Crazy Bella, who is the, she’s sort of the muse. Crazy Bella. This was just an unexpected…I was making more clothes for Charlie. And I had this body with no head on it. And in the photos, it was looking a little weird. So I found this head rolling around in my box of parts and popped the head on the body. And I heard the words “Crazy Bella.” And I thought, “Okay, this is Crazy Bella.” A friend of mine, she’s one of my Park Avenue gals, but she before she married well, she was in PR for, like, Vuitton and Cartier and all. She called me when Crazy Bella made her first appearance and said, “She’s going to be big.” That, you know, I’m like, okay, I’ll take, I’ll, so yeah, so fast forward, I’ve been making clothes during the pandemic in 2020. It was how I kept myself from going crazy because I don’t know how it was where you were, but in New York, no one went outside. We were all locked in for a month. So, I just decided, okay, I, you know, this is how I’m going to keep from going crazy, is making Barbie clothes. I started a story where Crazy Bella was going to bring back the old New York tradition of the tar beach, meaning you go up on your roof to get your sunbathing.

Helen: Okay.

Kenneth: And so, you know, while she was up there, she thought it was entirely private, so she took off her bathing suit. Well, unbeknownst to her, these bad guys with telephoto lenses were taking photos of her without her bathing suit. Then they started to try to blackmail her. And all my friends were calling me saying, “Are you okay?” I’m like, “This is how I’m coping with this.” And interestingly enough, that was the foundation for the book. So if you, ‘cause there’s @kennethdking is my Instagram. There’s @lolatheshowgirl24. So if you go to @lolatheshowgirl24 and scroll down to the first post and go forward from there, you can actually see the whole Crazy Bella blackmail story because it figures into this book. So in December of 2022, I was having tea with the CEO of Taunton Press. I was saying to her, you know, what would be really cool is to do a sewing book, but with, you know, with a story, like a Crazy Bella story, but with sewing. And she said, “Okay.” I thought, “‘Okay.’ Does that mean, ‘Okay. You’re crazy?’” And she said, “I’ll have my people call you.” That’s how this book started. So, you know, the character, the central character is Lola. She was a showgirl. And so, if you ever have heard the song “Copacabana,” at the end of the song, she’s not in a very good place. She’s drinking herself half-blind. I pick her up there. And so, Lola the Showgirl, she basically gets her life back together. She gets a new group of friends. But there are some plots and twists and turns. And so it’s a story. One of the things I had to make sure on the cover is, I think it’s called “Creating Custom Clothing for the Story of Lola” which is the subtitle for Doll Couture. So, yeah, that is each plot point in the story. Lola’s outfit is, there’s a pattern, there’s all the instructions on how to sew it, there’s a whole section on fitting, because the new dolls have different figures. So, you know, these clothes, I say, these clothes are based on an 11 ½” fashion doll with these measurements, but if you have a doll that has different measurements, this is how you can adjust these patterns so that they can work for those dolls. So, it’s kind of a long story, but that’s, that’s the book. And it launched December 6th. It went into its second printing before January 6th. So it’s exciting.

Caroline: It’s incredible, yeah.

Helen: It is so cool. I mean, it goes without saying: what a unique idea for a book! To pair the story with the sewing. And I love the concept and I’m sure people could learn a lot from the techniques in the book as well, because you walk them through how to actually sew the clothes. Do you recommend fabrics as well? Are you telling people to kind of go through their stash?

Kenneth: Yes, you know, I mean, it’s like a sewing book, you know, there’s a beginning section on: these are the materials and marking tools and such that you want for this, these are the little tiny pressing tools that you have to make, you know. I have, like, the little tiny seam roll and the little tiny pressing ham and the little tiny ironing board and all of this because you need them to scale because they’re, I mean, you can use a regular sized iron, but for pressing a lot of these different things, because pressing is next to godliness, you have to have specialized pressing tools. So there are patterns so you can make those as well as the garments.

Helen: Wow, that’s so cool. And did they sew them on the machine or is it hand sewing?

Kenneth: Primarily machine.

Helen: Okay.

Kenneth: There’s a little hand sewing here and there, and there’s a little section in there on the different hand stitches that you want to know when you’re making clothes like this. But yeah, it’s on the machine.

Caroline: Are there any other, like, major differences between sewing doll clothes and regular clothes? Like any special techniques that you talk about in the book?

Kenneth: Well, the order of construction is much different, especially a lined jacket. You know, in a human scale project, you make the jacket, you make the lining, you hand sew the lining in the jacket. I tend to hand sew, but in a one-sixth scale, it’s just completely different how it constructs. So, I go into how to make it so that you can have a fully lined jacket, and there’s only maybe about an inch and a half, two inches of hand sewing at the hem to close everything up for the final closure.

Helen: Very cool. It must feel like a bit of a full circle moment to have started off sewing doll clothes and now to have a book all about sewing doll clothes. How does that feel?

Kenneth: Well, it’s really wonderful. I don’t know if you’ve read the introduction yet, but I talk about, this was something that I got a lot of grief for when I was growing up because I played with Barbie clear up until junior high. There was a moment when I understood that I’d better hide them in the attic or I would come home and they would be missing. Because my mother really, you know, I mean, she was doing the best she could. She didn’t want her son to grow up to be a sissy. Well, that was going to happen anyway. But, you know, she, I understood I had to hide them away. so having someone shovel a nice amount of money at me and say, here, show us how you do this was wonderful. I remember when I was, when I turned in all of what I needed to turn into Judy, she’s, you know, I, so I was of course often running on, okay, how do we promote this knowledge? She said, Oh, let’s slow down a moment. She said, you know, as an editor, I look at books differently than other people. I look at the typeface, I look at the photos, I look at, you know, I look at the books differently. And she said, I really, I think that you’ve created a work of art here because not only have I done a book on sewing, the story itself has some messages. Like, it’s a very diverse cast of characters. Crazy Bella and Lola have had stalking in their life. I’m not going to go too much into that. But, she said there are some bigger messages here than just a sewing book. And I remember when I got off the phone, I was, you know, it was one of those moments where I was sort of, kind of, shaking and I didn’t know why. So I thought, “I need to go out for a walk.” So I went out for a walk and I remember looking around in Union Square and I remember thinking: that little kid who made Barbie clothes succeeded. You know, that was, you know, I was rewarded for something that I had been shamed for as a child, an adolescent. And that was pretty cool. That was almost worth, you know, I like having the advance. But, that was a big deal for me. And, you know, I got kind of emotional about it. Because I thought, you know, that was, that was a long time coming. But in the introduction, one of the messages I say to people is, you know what? Let them do it. If they’re not hurting anyone, if it’s giving them pleasure, just let them do whatever they like doing. If for no other reason, then it gives them joy.

Caroline: Mmhmm.

Kenneth: So, yeah, it was definitely a full circle kind of thing.

Helen: And I’m sure many of our listeners can relate to having doll clothes be their introduction to sewing. I know I used to have an aunt who would sew doll clothes and send them to me. So I can relate to being the Charlie in this situation and receiving those beautiful handmade doll clothes. It’s so special. So I do encourage our listeners to go and check out your book, Doll Couture. And before we move on, we’re going to take a short break.

Caroline: Love to Sew is made possible by listeners like YOU! We are so grateful for the support of our amazing patrons and subscribers. If you love Love to Sew and you want to help support the pod, we have a new option for you.

Helen: You can now become a paid subscriber on Apple Podcasts! Subscribers get access to our monthly bonus episodes. It’s so convenient; if you already use Apple Podcasts, the episodes are right there in your feed!

Caroline: So, what are the bonus episodes? Well, we do a chatty catch-up on what’s been happening in our lives, share about the realities of running a small business, discuss new indie pattern releases, and talk about what we’re sewing right now! Many of our subscribers say these fun bonus episodes are their favourite, and if you subscribe, you get access to the full back catalogue. That’s over 75 hours of Love to Sew! We also do a mini-episode that deep dives into a specific topic. We get to discuss so many fun sewing techniques and answer specific subscriber questions about sewing!

Helen: And we are still on Patreon! If you subscribe over there you can get access to the bonus episodes, behind-the-scenes photos, and a special 15% off discount code at our superfan patron tier. That discount applies at Helen’s Closet, Cedar Quilt Co., Blackbird Fabrics, and BF patterns. If you shop with us regularly, it basically pays for itself!

Caroline: If you’d like to try out Patreon or Apple podcast subscriptions and check out our bonus content, you can sign up for a free 7-day trial. And, of course, you can help support the show by listening, just like you are right now. You can also leave a review! Reviews really help our show to get discovered by new listeners. We know that financial support isn’t always possible and we want you to know that we love you for listening!

Helen: Go to patreon.com/lovetosew or visit our show’s page in the apple podcast app to become a paid subscriber. Thank you to all of our listeners, patrons and subscribers – you’re the best! And we’re back. Okay, Kenneth, we’d like to circle back to the work that you do as a couturier. Can you first tell us what “haute couture” means to you?

Kenneth: Well, “haute couture” is, there are people out there, and I’ve run into them, that they have this definition that and these are arguments I hear on chat lines, and I think, okay, you should be sewing rather than arguing about this. But there are the people who say that haute couture is something that is entirely sewn by hand with a needle and thread. You can’t use a machine, you can’t use modern technology, whatever. And then there are those who say, well, yeah, you can, and I’m in that particular group. I believe that couture evolves as technique evolves, and technique evolves as couture evolves. So, some years ago, at the Met, they had a show, Manus x Machina, and it was hand and machine. So, there was this wedding gown, Karl Lagerfeld did this wedding gown and the train on this thing, seriously ladies, it was, you could land a 747 on it. It was that long. And it was done with hand embroidery, it was done with heat set rhinestones, it was done with computer generated imagery, it was done with heat, you know, bonding fabrics together with heat. The dress itself was made out of scuba. And there were invisible zippers. Now, there are some people who say that you can’t have a couture garment with an invisible zipper. Well, if Karl Lagerfeld can do it…do it. And his message was: it’s all fair game for couture. So, recently, Iris Van Herpen, I saw this thing on Instagram just, I think just this morning. They talk about how she really is someone who is marrying couture techniques and technology: fiber technology, fabric technology, and so forth. So I think it’s more of an idea that you take whatever time and effort and money to get a particular vision. But the rest of it, I think, is just details. So that’s how I would define it.

Helen: And your garments certainly do have so many delicious, gorgeous details. So can you describe your aesthetic for our listeners?

Kenneth: Oh gosh. Well, I’m not a minimalist. I think minimalism is a bore. What really inspired me when, because I moved from Oklahoma, God help me, to California, to San Francisco. When I was a young pup in San Francisco, I ushered at the Opera House, which if, you know, I tell my students, if you can get a gig like that, that is a gig you want. Because I got to see opera once a week. I was on the Saturday series; I got to see whatever came through that opera house. So I got a taste of spectacle and drama and the grand gesture. Also the Opera House itself, and the entire Civic Center in San Francisco, was built in what’s called the Beaux Arts style of architecture. It was very popular during the Gilded Age. There was this idea of splendour in everyday life. And, like, if you’ve ever been to City Hall in San Francisco, you walk into this magnificent rotunda and just the texture and the pattern and the pattern on pattern and the details are just magnificent to look at. The Victorian houses, you know, there’s all of this riotous detail on these houses. That all really kind of soaked in. So, I really, I like something that’s visually rich. Now there are a couple different “bodies of work,” I guess I would call them. My first, in business till about 1995, was what I call “the embellishment.” And so a lot of the, most of the Elton pieces, are that. So it was a particular thing where I used the embellishment and I would always plan architecturally on the garment, a place for the embellishment to reside. Because years and years ago, I hope I’m not stepping on any toes here, but there is wearable art and then there is couture. Now, I had a very smart man say to me, don’t get mixed up with the wearable art thing because wearable art, as he defined it, was art to embarrass yourself in, or, I’m wearing someone’s art project. It’s where the garment itself is the star. But in couture, and this is where I hew, the person wearing the garment is the star. And so, in that situation, first off, they have to be the first thing you see. Secondly, as far as embellishment there, I’ve seen some people who do embellishment and they just kind of smack it somewhere on the garment. But what I learned observing architecture is that there was an architectural detail that held the embellishment there. It wasn’t just like kind of smacked onto a wall. There was like, you know, pediments that held up columns or whatever. So that is, kind of, that’s really where my style came from. So there came a point when I realized I had said what I wanted to at the embellishment, so I withdrew from the marketplace for, I’d say, about three years and I started experimenting with what I call the “lines of inquiry.” And there are three of them. There’s the soufflé, there’s the cutwork, and there’s the leafing. And this was spawned by, I studied pattern making in San Francisco from a woman named Simone. Simone trained at the École Guerre Lavigne in Paris. She trained as a première for a couture house. She moved to the United States. She got her immigration based on her education. They said it was like a master’s degree. So she had a little school and I studied with her. It was a tremendous education. It made so much possible. But one of the things that really stuck with me: she would regard, she would call seams “scars,” and she would dramatically say, “You don’t want a scar on your face. You should not have a scar on your garment.”

Helen: Oh my goodness!

Kenneth: No, seriously! And so for me, the, with these three lines of inquiry, they all went back to, okay, how do I make something that either has no seams or it has no apparent seams? And so the soufflé is based on lattice smocking. I don’t know if you, your grandma probably, had the round pillow that looked like basket weave on the edges and had the button in the center.

Helen: Mmhmm. I mean, those are back in style now, Kenneth.

Kenneth: Yes, everything, yes, everything old is new again. Yes. And my grandma, when I think about this, it never occurred to me at the time, but I’d like to go back and ask her, but she’s in heaven now. “Grandma, where did you get gold lamé in Salina, Kansas?” She probably had to call Kansas City to order that. But she had those in gold lamé, and I loved those pillows. I thought they were great, and I always wanted to sleep on them when we went to visit. So, the soufflé is taking that as a base, and generating garments from that. The leafing is, you basically cut out the little tiny leaves, and assemble them into a three dimensional garment with no seams. And then the cutwork is, it’s kind of the mirror image of the leafing, where you cut openings out of a piece of fabric. And in that case, what I end up doing is pivoting the seams so that they are design lines. So they, it doesn’t read like a dart or an armhole or, you know, a princess line. The seam actually looks like an aesthetic call. So that’s kind of where I go now. And people ask me, “Really, what is it?” And for me, the whole thing is, it’s all about technique. You know, if you know your technique, you can do what you need to do. And so each one of these have their own stylistic unity because of the different techniques that I’m choosing to execute them with.

Helen: And do you ever mix them together or do you tend to do one or the other?

Kenneth: Oh no, they, they overlap. Especially, there’s one cocoon coat that comes to mind. This is, I made this for a customer, where the leafing is between the layers of the organza. I don’t necessarily mix the construction of the soufflé with the other two because it’s its own thing and there’s a lot of volume to it. So that, and people kind of clutch their pearls when I say, “Well, this is all polyester.” But honestly, if you have something that has, it’s kind of puffy. If you sit on it, if it were silk, it would smash like a bug. You would never, ever be able to fluff it back out. But working with man-made fibers, just hit it with a little steam. It pops right back out. And I make clothing for modern women. I shared studio space with a painter for 17 years in San Francisco. And she wasn’t a dainty, girly girl. She was a modern woman. So what I would do if I was coming up with something is I would give, I would hand it to her and I would just say, “Okay, interact with this. What do you do with it?” And, you know, and there were things I learned, like where to place a pocket in an evening wrap, where not to. What’s going to be problematic, what’s not. One of the things that she said early on is, if you’re going to have ruffles that hit the face, you’re going to have makeup all over it. And so, that’s why I like polyester, because you can take it into the ladies room, you can stick it under the faucet. And the hand, the hand dryer, and you’re good.

Helen: This is very true. It’s good testing for you.

Kenneth: Yes.

Helen: Well, I think some of our listeners out there would be really interested in learning some more about soufflé and leafing and cutwork. Do you have any resources where they can learn about those?

Kenneth: Now, they can read about it on my website, but, see, and this is one thing. I had a very dear friend who is an intellectual property attorney. And I was talking about patenting or whatever, and he said, “No, you know, a patent is a ticket to court.” He said, “What you just need to do is document the hell out of it and keep it to yourself.” So I have it all. I have all my samples and archives. And so, part of it is, I don’t really draw that much. My drawing skills are really painfully ugly. So I make a lot of samples. I do a lot of different tests and that sort of thing. And then I make lots and lots of notes so that if I decide not to use it right away, I can go back and pick up the thread and figure out what I’ve done and not have to reinvent the wheel. But you know, there are plenty of things that I, I’m happy to teach, but not this, not yet.

Helen: Well, that’s fair. We can see some beautiful examples of this work on your website. And I’m thinking to myself, listening to you talk, are you solo in your studio? Do you work with other people?

Kenneth: Yeah.

Helen: No, you do all the sewing yourself?

Kenneth: I’m solo, yeah. Because see, I’m the best I know! I mean, that’s not, you know, that I learned early on. I, when I was in San Francisco, I’d of course had a gigantic studio in San Francisco. I had an assistant. So she did things like keep my desk tidy and make piping and sew repetitive bead patterns. And, you know, she was, and she looked like, Betty Draper in Mad Men. Her name is Shelly. So that’s really helpful to have is like a really, really pretty assistant. Cause you know, whenever I would have things pleated, I would always send Shelly to go pick it up. ‘Cause it was always at least 30% less, because: Shelly. But I learned early that if I want it done the way I want it done, I have to do it myself. And also, you know, I, yeah, ‘cause if you have a business, you know, if you’re managing people, you spend more time managing people than sewing. So I’m a, I’m a sole operator.

Caroline: That’s so true. I’m also wondering, because you mentioned earlier talking about your sort of career as a couturier, that you had three phases. So we talked about the first phase. We talked about the lines of inquiry. What is the third era?

Kenneth: The third phase is this is, I mean, this is kind of what I’m working on now. You know, now that the book is out. And this is something I tell my students at FIT, and it really is true. I say to them, “If you know your craft, you will always have work.” Sometimes it’s the fox fur hat for the Chihuahua. It’s not on my resume. Um, and then there is, uh, Fortuny has kind of come back to life. I’ve been kind of doing this on-again-off-again project designing handbags for them because they want to do handbags that are kind of, like, high end, kind of like an Hermès sort of thing. And so this is, this is something we’re kind of, you know, it’s like, it goes a little ways and then it stops and then it goes a little ways and it stops and I got an email from him saying, you know, I’d like to kind of talk further about that some more. So, you know, I’m happy to do that because, you know: Fortuny. The other thing I’m working on, I can’t talk too much about it because it is for the government, but: spy clothes. I know that sounds crazy, but when I got the first Zoom meeting, it was, I had to go to class afterwards, and the Zoom meeting was like 10 minutes. These two guys, and they were being very cagey about what they were asking me about, and I didn’t, you know, and I got to school. I said, “Okay, kids, I don’t quite know what happened here. It’s a little unclear, but if it’s what it sounds like, I think I’m gonna be making spy clothes.”

Caroline: Incredible. Oh my god.

Kenneth: And, that’s, that’s it. Yes. That’s, I am. ‘Cause see, it’s, I can’t tell too much about it, but see, they have all these engineers working on it, but they don’t want it to look like a hazmat suit. So they want a designer to actually make it look like something that someone would want to wear, because it’s supposed to pass unnoticed in a crowd. And so I’m like, and what’s kind of fascinating is, the guy at the very tippy-tippy top of this project, his mother reads Threads Magazine.

Helen: Oh gosh. Amazing.

Kenneth: You know, I mean, you know, it’s, it’s interesting how all these different things tie together because, you know, I say to my students, I say, you know, right now, this phase of my career, the central pivot is that I know my craft, I do my craft, I investigate sewing things, I write about sewing things, I make videos on sewing things, I sew things, I teach sewing. You know, I mean, there are all of these different, yeah, spokes on the wheel, but it all comes back to: I know my craft. And so, and I’ve said to students, I have made, and I’ve done this, I can get. You know, if you have a situation because you have a spectrum on, you know, for, okay, what kind of, how you’re going to approach a product, it’s like, how much time do you have? How much money are they going to spend? And how long does it have to last? So something that you have an hour to get onto a runway is going to be constructed differently than something that’s going to live in a museum after 30 years of useful life. And so I have done enough different kinds of things. And this kind of goes back to my window display days, because in window display, you don’t have to have a deep knowledge of a bunch of things, but you have to have a broad base of knowledge where you can kind of dip your toe in and figure it out and do what you need to do. So that seems to be the third phase is the, you know, I’m looking at all of these different parts and pieces of my business. So it’s not just couture anymore. I just finished a, I don’t know if you saw on Instagram, a caftan for this customer. And it was, Oh, it’s this beaded fabric. It weighed about 10,000 pounds, but you know, and, and it was like just a caftan, you know, and then, and then she, I wanted to wring her little neck. God, you know, she told me what she wanted. She had the caftan here, here take, get the pattern from this. And, and so, you know, I got it done. And then we went and tried it on and she’s like, “I really would like the fab-” Because it was lined with the silk. I’d like the silk kind of trimmed off so that it, you know, the sleeves kind of look like a…” Okay, that’s easy to do. Fine. So then, when I got it back to the studio, her sister, who is my landlady, and there’s certain things you do for your landlady because, well: landlady, and she said. she feels that the fabric, cause she brought the fabric. The silk was too stiff and she wants something that’s not so stiff and she’d like for you to go find something that matches that and basically remake the dress. And I said, “No.” That was a heavy lift getting that whole, you know, ‘cause wrangling 70 pounds worth of beaded fabric. I just said, “No. no.”

Helen: Yeah.

Kenneth: No, this is, this is, you know, she gave me the fabric, she got what she, she got what she asked for.

Caroline: Yeah.

Kenneth: If you want me to do it again, it’s a new charge. We’re starting with a new dress. So I don’t do that many pieces for private clients anymore because I have all the other things I’m working on.

Helen: It sounds very exciting, especially the spy clothes. And when you were talking about needing something that blends in, all I could picture was the yellow rain jacket with the, with the vegetables.

Kenneth: Yeah. Well, you know, this, it’s got to blend in. It’s got to not look like, you know, it’s spy clothes.

Helen: Yeah, that’ll be a really fun challenge.

Kenneth: You know, I was telling my students, I had a student, I teach with Susan Khalje, and we had a sit-and-sew, and I had a gal there, and, you know, it was obvious that she knew how to sew really well. So we were talking, I said, “So, what kind of things do you make?” And she said, “I work for the CIA.” I said, “Tell me more.” She said, “That’s all I can tell you.”

Helen: I’m going to start saying that.

Kenneth: It’s, well, yeah, it’s secret. You know, I said, “How did you get that job?” And she said, “Well, it was a weird ad. You know, it’s like, they said, “We need someone who knows how to sew who can pass a security clearance.” And that, and so she said, “I can’t tell you what I make. I could just tell you that I sew for the CIA.” And I tell my students, it’s like, kids, you know. Like, how, how unusual and unexpected is that? So this spy clothes thing is kind of that sort of thing. you know, I say to them, if you know your craft, you’ll always have work.

Helen: Amazing. You never know what opportunities are going to present themselves to you.

Kenneth: Yes.

Caroline: I wonder what advice you would give to listeners, because a lot of our listeners are home sewers. If any listeners want to start working more couture techniques into their sewing practice, do you have any advice for them?

Kenneth: What I would say is, there’s some information out on YouTube. I’m very selective about, there’s a very narrow bandwidth of people who I actually, I think are okay. Susan Khalje. Take any classes from Susan Khalje Take any classes from Lynda Maynard. Take any classes from me if you want. Because there’s so much information out there and sometimes the information is like, well, just because you can do it that way doesn’t mean you should. I would say, you know, save up and go to a Susan Khalje, she has these things called sit-and-sew where, you know, you bring a project and, and some of the projects have been really fun. First off, what I would say is, the phrase “home sewer,” I, I bristle at that a little bit because there are some people, I run into them at FIT, who say, “Oh, he’s a home sewer.” Like really? And a lot of these people who would say, “Well, I’m just a home sewer,” really can sew circles around some of my colleagues. So what I would say is: don’t look upon that as a bad thing. The thing is, understand that if you really want to up your skills, one of the things to accept first off, is get the best fabric you can. And don’t be afraid to ruin it.

Caroline: Mmhmm.

Kenneth: I know, I know that sounds crazy, but I’ve ruined enough good fabric that I can, I speak from experience. And you know, the thing is: practice. This is all practice. I have students who say, “Wow, yeah. You sew,” ‘cause see, I sew fairly quickly. Part of it was my training with Simone. I mean, the sheer volume of things I had to get through to make, you know, my samples to get through that class. I got really fast, but it’s, you know, it’s, I’ve been sewing, let’s see, I was, I’m 66 now. So like, 62 years I’ve been sewing. Understand it’s going to take some time. And so don’t be afraid of taking that time. Because ultimately, it’s going to get you somewhere. That’s the best I can do as far as advice.

Caroline: Yeah, that’s true. Taking your time is something that we can all do, I think, on the day to day.

Helen: Do a little more of, yeah.

Kenneth: And also just understand, there are, see this is something that a lot of people don’t really understand, is in the couture, there’s what’s called the tailoring ateliers, and there are the dressmaking ateliers. And so, people have a different hand. Some people have, see, I’m a tailoring hand. I have a hand for tailoring. I’m pretty damn good at tailoring. I can make a chiffon dress. I will charge a freaking fortune for it because I don’t want to. It’s a nosebleed. My friend Lynda Maynard can sew a chiffon like it’s cotton muslin. Doesn’t understand what I’m complaining about. I remember, I did this; again, for my landlady. I had this, it was a four-ply silk crepe dress that she wanted. And I needed some moral support, you know, and so I texted her and she called me and she said, “Kenneth just do it! Just man up and do it!” Like, okay, I’ve been told. I’ll man up and do it. So yeah, understand that you may have an affinity for tailoring or you may have an affinity for dressmaking. So those, those are variables. And, you know, I will say my tailoring is much better than my dressmaking.

Caroline: Yeah, no, it’s true. Knowing yourself, kind of knowing your strengths is important too, and you’re, when you’re developing your sewing journey and kind of figuring out what to focus on. I want to circle back for a second because I know you live in New York and you’ve mentioned fabric a few times and I bet our listeners would love to know if you have a go-to fabric store in New York.

Kenneth: Oh, you know, the default, everyone thinks, is Mood Fabrics. I go there if I have to, but that whole section, tt’s like, between 6th and 9th Avenue and 39th through 35th, I think. You know, a lot of times if you just kind of walk up and down and go in those jobbers, then you’re going to find what you want. You know, if there are times that I just need something, like one example, I needed a half yard of black cotton sateen. Period. I need it in a hurry. I would go to B&J. B&J is, San Francisco people would understand the Britex reference. B&J is like Britex in San Francisco. It’s a very nice store. You’re going to pay some money, but, you know, for me, that was, that’s convenience. I know that if I go there, I want that particular thing, I’ll get it. I’ll spend some money, but I need it. If I need it, I need it. There’s a place in the Lower East Side called Mendel Goldberg. They have, I mean, it’s kind of a fascinating business. The New York Times did an article about them. And I think she’s the fifth generation, you know, the business started in a pushcart on the Lower East Side. I mean, it’s the typical immigrant success story. She has the really extravagant, extravagantly expensive, but definitely-worth-every-penny kinds of things. Like, if you’re looking for a Linton tweed for a Chanel jacket, that’s the place I’d send you. If you’re looking for fabulous linings for that jacket, that’s the place I would send you. She has some amazing wools. She gets all the stuff from the couture. I don’t know how she does it, but she does. So if you’re looking for those kinds of fabrics, that’s where you would go. But other than that, really, you know, if you’re coming to New York, it doesn’t hurt to make a trip to Mood. Because it’s, I mean, it’s quite a lot of fabric. But it’s not my go-to place.

Helen: Fair enough. It can be overwhelming as well with all of the selection that they have, multiple floors. But, I mean, fabric shopping is always so much fun. I also really like B&J. It’s just a delight to shop there. It’s so nice and bright and, I don’t know, organized.

Kenneth: Yes. And they really do have, you know, anything you’d really need.

Helen: Yeah, some absolutely gorgeous fabrics. Well, Kenneth, I have a bit of an odd question for you, or an out-of-left-field question perhaps, but while we were preparing for this episode, I noticed that you share a lot about perseverance and, you know, not playing it safe. You seem to have this really positive attitude and a strong drive to live life to its fullest. And I know you impart that to your students as well. So can you speak on that for our listeners?

Kenneth: Well, perseverance…we’ll take the two separately. Perseverance, you know, I had so many people when I started out say, you know, “This art stuff is all well and good, but you gotta make something for the common people.” Well, first off, I didn’t know what the common people wanted because I’m not a common person. I’ve stuck with this since the 80s. And all of those people who gave up, I’m still doing it. A lot of times you have to wait for people to catch up with you. And this was really what was happening when I was making the hats. I had this sense. Because someone asked me, who is your customer? Like, if I were a woman with lots of money, I’d be the customer. I made what I wanted to wear, really. And so the thing was, you know, if you just keep going, if you keep putting one foot in front of the other and keep doing it, eventually they’re going to see it your way. And when Mindy saw these pieces at Maxfield, she was telling me, she said that it was, like, exactly what the market needed right then. And no one else had filled that particular niche. And it was one of those things that, I just had this feeling that, if I just keep going, eventually everyone’s going to catch up with me. So, yeah, you know, I just stuck with it because also, you know, I mean, it’s what I do. This is what I’m good at. Yeah, so I just keep going. But as far as, like, the positive attitude and so forth, you know, it’s, you have to kind of, sometimes you have to buck yourself up. You know, I have those times when I’m like, “Oh god,” you know, “What did I do?” Oh, you know, “Wahh!” Like, well, one example: moving to New York. I, you know, I decided I wanted to move to New York in 2000. And it took me until 2004 to figure it out. And there were people like, “Ah, you know, you’re not going to do it. You’re just talking about it. I’ve laid money on the fact that you’re never going to go to New York.” I’m like, “I haven’t gone…yet.” And, you know, there are times that you have to wait for the window of opportunity. And, and people then, because I was 46 when I moved to New York, people said, “Oh, you’re being so brave. You’re all of this.” It’s like, even when I moved to San Francisco, people were like, “Oh, aren’t you scared? You’re being so brave.” Like, well, actually, apprehensive about moving, but I understood that it’s not about bravery. I understood that it was necessary. And so a lot of times I just look at what I have to do is, okay, this particular thing is necessary to get to where I’m going. So I don’t know if I’m answering your question, but it’s necessary. Another, a side thing, and this is something that I say to people: perfectionism is a disease. Because people who can’t make a move until everything is perfect never make a move. And, like, when I found this place here, it was one of these situations where it landed in my email box. That’s the short version, but, and they, people said, “You’re not going to take the first thing you looked at.” I’m like, “Yes, I am.” It landed in my email box. And if there’re not rats running along the baseboards when I go see it, I’m going to rent it. And you know, because it was like, it isn’t perfect, but it’s close enough.

Helen: Mmhmm.

Kenneth: And, you know, I could have sat in San Francisco and folded my arms and said, “Harumph, it’s not perfect. I’m going to wait until the perfect thing comes.” And then I’d still be in San Francisco. So, you know, sometimes you just have to take that action. And when I moved here, because I drove the moving van across the country with my dog. When I got here, a friend of mine was here kind of to help watch the truck while they were unloading everything. And we went to dinner afterwards and she said, “Fortune favours the brave.” And so, yeah, fortune favours the brave. I think fortune also favours the persistent.

Helen: Yes, and it does sound like in so many situations throughout your life you’ve gone with your gut instinct and believed in yourself and that’s really paid off for you. And it’s so lovely to hear your story and I’m sure a lot of our listeners are going to feel very encouraged by your words.

Kenneth: Good.

Caroline: Yeah.

Kenneth: Okay, what else do you need to know?

Caroline: Oh, well, it’s been so inspiring hearing all your stories and I think we have to wrap up now because we’ve been going for a little while, but we can’t wait to see what’s up next for you. Can you share any new projects that you have on the horizon? Is there another doll book coming?

Kenneth: Well, you know, if people buy this one, ‘cause see, my husband, who contributed fashion sketches for the book, by the way, said the next book has to be on Crazy Bella. Because Crazy Bella’s timeline, because on @lolatheshowgirl24, there comes the point where that story, the Bella blackmail story merges with the Lola story. So I needed, I wanted the backstory to be there. But Lola has kind of a, she has a varied and sort of chronologically unusual life. She worked for the Red Cross during World War II. She was a showgirl for the Folies Bergère. She sang at the Café de Paris. She has, she is unknownst to a lot of people and I haven’t shown the spy car yet. ‘Cause I have a, she has a spy car with a rocket launcher. She is a covert agent for the MI5 in the UK. And she has all these different, like, things. And so my husband said, the next book has to be on Crazy Bella. That would be a gas. I would love to do it.

Helen: I would love to see that happen. So all of our listeners need to go buy your book right now.

Caroline: Buy this book!

Kenneth: And one thing, I’m just, this is a little announcement, this is something new that you all get to, to break, is one of the things I asked for when we were doing the editorial is, like, a bonus track. You know, ‘cause there’s always, you know, like with albums and such, there’s always the, you know, that track that didn’t get on, you know, didn’t get into the album. And there are photos that didn’t really get into the book. And, you know, also just because it’s a book and all, some of the photos were not as large as I would like. So what I have for anyone who gets one of my books and, you know, all you have to do is email me and say, “I bought your book” or “I got your book as a gift,” and I will send you the link to the excerpt from the story of Lola. So you get a really good look at those photos. You can print them out if you want. And, you know, it’s just the story without the sewing. So it’s like the Lola story excerpted. So it’s kind of like a companion piece. So if you don’t really want to sort through all of the sewing to keep track of the story, you can just read the story. So that I’m making available in about two weeks.

Helen: Oh, very cool. Okay. We’ll definitely link that up in our show notes for our listeners. Kenneth, where can our listeners follow you online? If they want to see what you’re up to.

Kenneth: Well, let’s see. My website is kennethdking.com. “D” as in “diva”. Instagram is @kennethdking, and @lolatheshowgirl24. Facebook is Kenneth D. King Design. So those are the three that, those are the three main places where you get to see what I’m doing.

Caroline: Wonderful. Well, thank you so much for being with us here today, Kenneth. It was such a pleasure getting to know you and chatting with you.

Kenneth: Well, thank you. I appreciate that.

Caroline: Awesome. Thanks. That’s it for today’s episode of Love to Sew. You can find me, Caroline, at Blackbird Fabrics and BF Patterns, and Helen at Helen’s Closet Patterns and Cedar Quilt Co. We’re recording today in beautiful British Columbia, Canada.

Helen: You can support Love to Sew and get access to bonus content by subscribing on Patreon or Apple Podcasts. You even get access to the back catalogue of bonus episodes. That’s over 75 hours of Love to Sew. Go to patreon.com/lovetosew or check out our podcast page on Apple Podcasts for more info.

Caroline: You can head to lovetosewpodcast.com to find our show notes. They’re filled with links and pictures from this episode. And if you’d like to get in touch with us, leave us a message at 1-844-SEW-WHAT. That’s 1-844-739-9428. Or you can send us an email or a voice memo at [email protected].

Helen: Thanks to our amazing podcast team. Lisa Ruiz is our creative assistant, Jordan Moore of the Pod Cabin is our editor. And thank you for listening. We’ll talk to you next week.

Caroline: Bye!

Helen: Buh-bye!

Podcast: Play in new window | Download | Embed

" onclick="javascript: this.select();" onfocus="javascript: this.select();" style="width: 70%;" readOnly>

In this episode, we’re taking you through all the steps of making test garments, a.k.a. muslins, a.k.a. toiles! From choosing the right fabric to how to cut it, baste it, and adjust it, we’ll demystify this sewing step so you can get your perfect fit and style. Plus, we have a little chatty catch-up about what we did during our winter break.

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

Show Notes: 

Previous Episodes Mentioned:

From the Catch-Up Section:

Caroline’s new puppy, Sally!

Resources:

Where to Buy Muslin Online:

Sewing Patterns:

Other Mentions:

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.

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

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

Helen: We’re two sewing buds who love to sew and it’s essentially all we want to talk about.

Caroline: Today we’re taking you through all the steps of making test garments, a.k.a. muslins, a. k. a. toiles. From choosing the right fabric to how to cut it, baste it, and adjust it, we’ll demystify this sewing step so you can get your perfect fit and style.

Helen: If you love to sew, this is your show.

Caroline: Hellooo!

Helen: Hellooo!

Caroline: Hellooo! Hi Helen!

Helen: Hi Caroline, how are you?

Caroline: I’m good, how are you?

Helen: Good! Very excited to be back for our spring 2024 season! So good.

Caroline: Oh my gosh, we missed you all! We’re back!

Helen: We’re back! Oh, I love this time of year, filled with all the spring vibes, and very excited to be back.

Caroline: Oh my gosh, me too. It’s fun to be off for a little bit, but it’s also really fun to get back into the swing of things. And we have a really fun season planned. I know we say that every season, but this one’s really great.

Helen: Well, I mean, they’re all great, so we’re not lying. No, we do have so many fun guests lined up and this first episode topic, muslins and toiles. I mean, we say this all the time, but how have we not done an episode about this?

Caroline: I know this is definitely one of the ones that we probably should have done by now, but I’m excited to talk about it today.

Helen: Me too. There’s so much to get into, but I want to hear a little bit about what you got up to over the break.

Caroline: Ooh, okay, so I gotta think back, but we ended the year, we ended 2023 on a high note because we launched the Baby Bestie Bag. And we also had a really fun photo shoot for our next BF Patterns, which are a pair of tailored trousers and a T-shirt that are coming out really soon. So I’m very excited about that and it was just like such a nice way to end off the year, our launch year for BF Patterns, with some fun BF Patterns activities.

Helen: Yeah.

Caroline: We took two weeks off for the holidays, which was really nice, a new thing, to be able to give that time off to my team and obviously, myself too, I wanted that time as well. So that was really nice. Normally we just take a week. So we got to take two weeks this year, spent a lot of lovely family time and lots of cooking and relaxing. And then we got a puppy.

Helen: Most importantly, the puppy.

Caroline: Surprise! Yes, we have a new member of our family. Her name is Sally. She’s a little black lab. And yeah, we got her over the holidays. So she is fresh! She’s full of energy and life!

Helen: Yes, a handful, one might say.

Caroline: Yes a real handful, but she’s super sweet and she’s doing really well and we love her a lot. And Pepper is also really enjoying having a new sister to play with and just hang out with. It’s been going really well, actually. So we’re really excited. And, that’s been, like, probably the biggest thing that has happened in the off-season is: we got a puppy.

Helen: Yeah, puppies are pretty all-consuming, so that makes total sense that you’re focusing on that.

Caroline: Yeah. 100 percent. And it’s the right time. We’ve always kind of known we wanted to have two dogs, but we were waiting until after the wedding and after, like, some of the travel that we did this fall, going to see family and all that stuff. And then we were, like, okay. We’re ready. And then it happened really fast and now it’s happening.

Helen: It’s happening!

Caroline: It’s happening!

Helen: Well, that’s very exciting news. Congratulations.

Caroline: Thank you so much. Tell me about your break. How was it?

Helen: Oh, it was really good! I also had a very nice Christmas filled with all the family time and cooking and all that good stuff. And over at Helen’s Closet, right before the holidays, we launched our Arbutus Robe, which is a super snuggly dressing robe pattern that is really fun to make and so fun to give as a gift. So we got to see a lot of people doing that over the winter season. That was really nice. And then more recently, we launched our Nelson Pants and Slocan Tank. And this is a comfy knit loungewear set, super versatile. You can wear the tank as, like, a layering tank or a bralette. There’s a bralette view, which I’m totally obsessed with. So I’m stoked to have these both in the collection because they’re both just really wearable and so fast to sew. Oh my gosh, love a quick sew!

Caroline: Awesome. Oh my gosh. So fun. So many launches. I still want to make the Arbutus Robe. It looks so cozy and it’s still a little bit cold here. So definitely on my list of makes, and I’ve been seeing so many beautiful ones pop up.

Helen: I recommend flannel if you can do it. It’s like a little bit narrower so you do need quite a lot of it, but the one that I made for Sam is like an orangey flannel and he wears it every morning and it just looks so cute on him and I just like, it makes me smile every time I see him wearing it. So that has been just like a real added joy to my life that I wasn’t expecting.

Caroline: I have this dream of, like, making matching flannel robes for Shea and I, because I feel like a flannel robe is something you keep for so long. Like, I remember my dad had this robe that he wore, like, literally my entire childhood, like, until it was totally threadbare. So I’m, like, I want, like, a lifelong flannel robe that I can cherish.

Helen: They are investment pieces. And flannel is such a, like, strong fabric so it does actually last. So it’s a really good choice for it. Just the right amount of warmth.

Helen: But yeah, it was, it’s been fun to launch a few patterns over the break. I’m still very into quilting. Don’t worry y’all.

Caroline: Oh, I don’t think we doubted that. Or, at least I didn’t.

Helen: I have a feverish love for quilting that has not subsided. It’s been one year since we launched the quilt company, so I’m excited to see where Cedar Quilt Co. takes us over the next year. And I’m just excited for spring. I love this time of year. There’s so much gardening happening. I can get back out there and start tending to all of my plants and planning all the things I want to do in the garden. So it’s just exciting. I love March.

Caroline: Oh, yay! I’m excited to see the evolution of your garden. I’m sure we’ll come out to visit you sometime this summer and get to see it in full force. I still really want to have a vegetable garden this summer, so I need some words of encouragement from you, my only friend that gardens.

Helen: I mean, I don’t even vegetable garden that hard because I don’t have very much sun, but all my advice is just: you can do it. Just put some seeds in the ground. It’ll be great!

Caroline: Yeah. Maybe this will be my year.

Helen: Well, we do all of our catching up monthly over on Patreon or Apple Podcast Subscriptions. You can access that content via both of those platforms, so please join us over there. We have so much fun catching up every month and we love sharing our lives with our patrons and it’s just a real joy to record those episodes. So if you’ve been thinking about it, come and join us.

Caroline: Oh yeah, definitely. The water’s warm! And we appreciate so much everyone who is already supporting us over there. You truly make this podcast possible. So thank you so much.

Helen: Thank you. Okay, let’s get into this episode, Caroline.

Caroline: Let’s do it! Okay.

Helen: testing, testing, one, two, three. Can you hear me, Caroline?

Caroline: Loud and clear!

Helen: Okay, this episode is all about testing via making muslins or toiles. And these are test garments, so whether you’re drafting your own pattern or fitting a pattern that you bought, muslins can help you to refine the shape and the fit of your pattern without messing up your final fabric. They are cut and sewn differently from a final garment, and we’re going to go over all the techniques in this episode.

Caroline: Yes, and first up we’re going to cover where the word “muslin” comes from. So traditional muslin fabric is a fine, plain woven cotton that was first made in the city of Mosul in what’s now Iraq. And that’s where the name comes from. And in the 17th century, very fine muslins were made in India and imported to Europe. And then later manufacturers in Scotland and England began to produce muslins of their own.

Helen: Today when we talk about muslin fabric, we mean a plain woven cotton fabric that’s either undyed or bleached, kind of like quilting cotton without a print on it. You can buy it by the yard or by the bolt, and we’re gonna talk about all of that in this episode. and you may have also heard muslins referred to as toiles. So what’s a toile? Caroline, you’re French. Tell us.

Caroline: “Toile” is the French word for cloth, and we couldn’t find a lot of info on why English speakers started using it to mean test garment. I’m pretty sure French speakers don’t use it that way. As far as I know, it still just means cloth or canvas. But I think they’re kind of interchangeable, right?

Caroline: “Toile” is a word for cloth, “muslin” is a word for a type of cloth, but you can also make toiles and muslins. So, a little bit confusing for a beginner sewer, but when you talk about toile or muslin in the context that we’re talking about today, we’re talking about test garments.

Helen: Yes, exactly. And you can use either word. I mean, “toile” makes me feel fancy. So sometimes I use it just for that reason alone. Another term that we’re going to be using today is “wearable muslin.” And sometimes when people make test garments, they use muslin fabric or another cheap fabric, like a thrifted bedsheet, for example. But if you don’t want to waste any fabric or time, or maybe you anticipate that you won’t have to make big changes to the garment, you could make a muslin that becomes a fully-finished garment when you’re done. So you’ll use a fabric that you like and that’s similar to the final garment fabric in drape and weight. But, generally, you’re looking for something that’s not as expensive or maybe it’s something that’s been, like, lingering in your stash for a while and you just haven’t used it for some reason. You’re like, “Oh, I’ll just use this for a wearable muslin because it’s been languishing here and I’m obviously not that interested in it.” But you can still do things like adding extra seam allowance or basting seams together to try it on. The difference is once you get the fit that you want, you’re going to sew the seams with your regular stitches and finish them and then finish the whole garment so you have something that you can actually wear. And that’s a great way to try out a garment too.

Caroline: Mm hmm. The potential downside of making a wearable muslin is that you might not be able to get the fit perfect on your first try. For example, if you need to change the fit of a pants crotch by adding fabric and you don’t have enough seam allowance to recut it correctly, you might just have to fix it as best you can and make the correct adjustments on the next muslin. So sometimes those “wearable muslins” don’t actually end up being wearable.

Helen: Yes, it’s true. It is a little bit of a shot in the dark. But of course, if your muslin works out, then you have a garment that you’ll actually use with very little waste having occurred, so that’s cool.

Caroline: Yeah, definitely. Helen, I want to know, like, what is your experience with wearable muslins? Do you do them? Do you not do them?

Helen: I definitely do them on occasion. I used to be a big wearable muslin person because I couldn’t quite wrap my head around, you know, putting in the time and effort for the sewing and not having something wearable at the end. And I think that’s why a lot of people gravitate towards wearable muslins. But in the past couple of years I have pivoted to going with basic muslin more often. Usually whenever it’s possible to use I’ll just go for that. I find that as soon as I decide to make it “wearable” I want to finish the seams and do all the nice things that make it nice and and completed. And I end up choosing a fabric that I’m not that into because it’s just a tester, right?

Caroline: Mm hmm.

Helen: And then, sometimes, you know, I finish the wearable muslin in this fabric that I wasn’t that into to begin with. And then I never end up making the actual version that I wanted to make because I already made it. But then I’m left with something in my closet that I don’t really like that much because it wasn’t, you know, what I actually had in mind, you know what I mean? whereas muslin, you know, the fabric is just a whatever, tester fabric, so it means that I can just slap it together, I can mark it up, I can cut it up, play around, and I don’t lose that motivation to actually make the final version. Um, so I’m a bit of a muslin convert, I will say.

Caroline: Ooh, interesting. I totally see your point because that’s definitely happened to me before, where I end up using a fabric that I’m, like, so-so on, and then you just like don’t end up wearing the garment anyway, so like what was the point, you know? But I am still on the side of wearable muslin, personally. Sometimes this means that I, like, add a lot of extra seam allowance or sew things in, like, a slightly different order to be able to check the fit properly before finishing the garment. But, like you, I, when I’m making a wearable muslin, like, I want it to be wearable and durable. So I will finish the seams and, like, go through all the trouble of making it look nice. I won’t really ever use that special fabric for a wearable muslin. But I do try to pick something that I like for the most part. And I find sometimes I’ll use, like, one of those forgotten fabrics that’s, like, maybe not so exciting in my stash. And then it’ll kind of, like, I’ll, like, fall in love with it again, which is pretty fun. So that’s definitely happened to me before where I’m like, “Okay, let me go stash diving to find something to use for this muslin.” And then I’m like, “Oh my gosh, this fabric, I would have never thought to use it for this garment, but I did and now I love it and I wear it.” So it can kind of go either way.

Helen: It’s true. Sometimes you get that unexpected win. And if, you know, the fit works out, then you’ve got yourself more than a wearable muslin. You’ve just got yourself a garment.

Caroline: Yeah, totally. What do you do with, like, all of your muslins?

Helen: I just recycle them into my recycling bin that goes to FabCycle in Vancouver.

Caroline: Mm hmm.

Helen: So yeah, I do have, like, a studio that’s set up for sewing. So it’s convenient for me to make muslins. And, obviously, we make them for our pattern development as well, so it’s part of our process. And I think that’s also just encouraged me over the years to lean more towards wanting to make the muslin first because I’m just accustomed to it at this point and I do have a setup that allows me to do that and and recycle them after. But yeah. it can be kind of annoying to source muslin fabric or bed sheets or whatever it is you’re looking for. Sometimes what you have more of is actually just garment fabric and then at that point you think, “Well, I might as well just make the thing and hope that it turns out. And then I’ll get to wear it.” Which is totally reasonable.

Caroline: Yeah, and I think, also, like, muslin can’t do every job, so, like, if you’re making a pair of jeans in a rigid denim, you might want to use a more similar denim for your muslin. Or if you’re obviously making a knit garment, you can’t muslin in regular muslin, so you’d have to find a comparable knit to use. Or I don’t know, there are probably other examples that I could think of but I also feel like if you’re fabric shopping and you find, like, a bolt of fabric that’s on clearance that’s, like, a nice, plain weave mid to lightweight cotton vibe that feels like muslin, you can kind of use that for your muslin and it might even be a better price than what you can find in-store for your, like, classic muslin fabric.

Helen: Oh, definitely. I like to keep a little bit of just plain rayon on hand for muslining rayon garments, because muslin can’t be rayon.

Caroline: It’s so true.

Helen: Yeah, I source those kind of things in the clearance section of fabric stores all the time, so I have that on hand too.

Caroline: Yeah, and we have lots to say about this topic later on in the episode as well.

Helen: We’re getting really ahead of ourselves, Caroline.

Caroline: Yes. Okay. No, let’s move on. Now that we’ve talked about what a muslin is, let’s get into the “why.” So why do people make muslins?

Helen: Yes, I’m sure we have listeners out there wondering this. Why would you spend the extra time, effort, resources, money, all that good stuff to make a muslin? And I think the number one reason is to check the fit of the garment. It’s easier to make fit adjustments to muslins than it is to final garments. They typically have wider seam allowances. The seams are only basted together so you can quickly make changes. You can draw right on them with sharpie and things like that if you want to mark pocket placements or mark areas where you want to make adjustments. And it’s really handy to go through that process as a sewist because that’s how you’re going to learn more about fitting as well. So if that’s something you’re interested in, then muslins are a good plan.

Caroline: People also make muslins to check the style of a garment. So if you’re drafting a new pattern or if you think you might want to make some style changes to an existing pattern, you can make a muslin to see what you’re imagining in three dimensions and then you can adjust the muslin until it fits your vision exactly.

Helen: Yeah, and that can be so much fun too. You’re playing designer, right? It’s great. It’s really, like, a playful experience. People also make muslins so that they don’t waste the nice fabric and notions. Muslins are, of course, made out of fabric that isn’t rare or precious. So if the fit of the muslin is totally off and it’s not fixable, you didn’t really waste too much material. You didn’t spend a lot of extra cash on the nice fabric. So you don’t necessarily have to feel as disheartened by that experience, which is good.

Caroline: Yeah, and it’s also freeing to have a muslin to work on. You don’t expect it to fit the first time, so there’s no need to be disappointed if it doesn’t. It’s made to be messed up. You can even cut directly into the fabric to make it roomier. You can add strips here and there. Something that’s just not going to happen with your precious wool suiting. You can do all of that with your muslin. I know when I was making muslins for my wedding dress, I was sharpie-ing, I was cutting into them, I was, like, “Let me try this neckline,” you know. And that was really fun, to be able to just, like, play around, super low stakes, and know that, like, there’s always more muslin.

Helen: Yeah, exactly. You can always make another one. And if you’re having to do that kind of stuff, it means that it didn’t fit very well, so it’s really a good thing that you’re doing it, right?

Caroline: Exactly.

Helen: Making a muslin is kind of like hedging your bets that, you know, if you’re going to like the final garment or not. So even before you cut into your final fabric, you’ll have a good idea of how it will look because you’ve made the muslin. So it’s a nice interim step.

Caroline: Mm hmm. And another reason to make muslins is that they are great for practicing construction techniques, especially if you’re a beginner. You might want to, like, kind of go through some of the process of sewing the garment before you actually make it in your real, precious fabric and try some of the finer details that you’ve never tried before. The first collar or sleeve placket is like the first pancake. It’s always a little messed up. So do your learning on the muslin and then use your shiny new skill on the final garment.

Helen: Yeah, I think this is an underrated benefit of sewing a muslin for sure, especially if you’re the kind of person who likes to go rogue with the pattern instructions. This can be a good way to keep on track and experience sewing the garment before you reach for the precious fabric.

Caroline: Yeah, totally.

Helen: Okay, so those were a lot of benefits of making muslins, or “pros,” if you will. So what about some “cons?” Are there negatives to making a muslin?

Caroline: I mean, yeah. ‘Cause I will avoid it if I can.

Helen: You’re like, “There must be, because I don’t want to do it.”

Caroline: Well, the obvious would be sometimes you just don’t feel like it. Making muslins isn’t what I would call the fun part of sewing. It can be pretty boring.

Helen: Yeah, sometimes you do just want to, like, throw caution to the wind and go for it.

Caroline: Yeah, take that risk.

Helen: Making muslins takes time and energy. And most of us have limited time to sew, so the thought of spending it working on a muslin can feel kind of annoying. Especially if you are on a deadline and you want to wear your new garment, like, this weekend, or for your trip that leaves tomorrow. Caroline, sound familiar?

Caroline: That feels like a personal attack, but okay. Making muslins also costs money, especially if you need certain fabrics. Old bed sheets or deep discount fabrics don’t cost a lot, but you can’t use those for every muslin. So, for example, to make a muslin for a swimsuit, you would need fabric with the same weight and stretch percentage. So basically just more yardage of the final fabric. And that is especially the case for certain types of knit garments or specialty kind of garments. So that can be expensive. It’s not cheap. So that’s something to keep in mind too.

Helen: Yeah, totally. And it’s an interesting balancing act because, of course, if you’re not making muslins then I think you end up with more garments that you don’t wear, which you also spent money on. So it’s a way that you can make sure that the fabric that you did invest in ends up being what you want it to be. But you do need this additional fabric to make that happen. So, I don’t know, if it’s like a chicken and egg situation or what, but…

Caroline: I know. It’s kind of an argument for like what we said earlier. Just stock up on those, like, discount bolts of fabric in like different weights and stretches and types and then you’ll kind of have, like, a little stash of muslin fabrics that you can use. Because it does get expensive, especially with things like swim fabrics. They can be, you know, $30, $40 a yard sometimes and you only need maybe a yard to make a swimsuit. But then you might need to get another yard to muslin it.

Helen: Yeah.

Helen: It’s true. And like, can you really muslin a swimsuit? That’s a garment that I would make a wearable muslin for because you have to, like, put in the lining and the finishing to actually evaluate the fit properly. So at that point you’re making the whole swimsuit.

Caroline: It’s kind of like a bra, right?

Helen: Exactly. You really can’t just, like, make the cup part and hold it up and know if it fits. You’ve got to make the band and the straps and all of that. Another con for making muslins is that evaluating fit can be very confusing. It is a skill that you can build up with time and effort and learning resources, but it can also be overwhelming when you first start working on it. So if you’re new to sewing and you make your first muslin, you’re standing in the mirror looking at all of these weird lines and wrinkles, and it’s just like, okay, now what? I don’t know what to do!

Caroline: yeah, you’re like, can I phone a friend? Where’s my lifeline?

Helen: Exactly. But that’s where having books like Fit for Real People or something like that on hand, you can, you know, look up the lines that you’re seeing and try to figure out what’s happening. But yeah, it is overwhelming and it is a skill that needs to be built up. So that can be a con is just feeling like, yeah, you don’t have the skills required to actually translate what you’re seeing on the muslin to the final garment.

Caroline: Yeah , it’s so true. But you have to do it to be able to develop the skills. So don’t be intimidated, folks! I feel like if you’re wanting to, like, continue your sewing journey and build your skills, fitting is a big one that can make your garments more wearable in the end, if you’re able to figure out how to get that fit perfect for your body. So it’s worth the effort, I would say.

Helen: I mean, I think so.

Caroline: Okay, we have a couple more notes about muslins in general. If you’re confident a garment will fit well, you might want to skip the muslin.

Helen: Yeah, garments with a forgiving fit like knits or oversized tops, boxy dresses don’t usually need a ton of fine tuning. You’re probably good to go making an educated guess based on the size chart and the finished garment measurement chart.

Caroline: Yeah, and if you know that a certain pattern company’s garments always fit you well, you can probably skip the muslin. I know I have that with a couple pattern companies where I’m like, “Okay, I know I just need to lengthen by an inch and grade between these two sizes and the fit’s always good.” If you learn that about a company then just go with it.

Helen: Yeah, and you can even compare patterns that you already own to see if one is going to fit you. You’re like, “I really like the fit of this bodice.” Put it up next to your new bodice that you’re working on and see what the differences are. There will be differences, so don’t be alarmed. It not necessarily means that it’s, like, not going to fit. But it is a good way for you to evaluate whether you’re heading in the right direction.

Caroline: Mmhmm.

Helen: And not all adjustments have to be made before you cut out the final garment. Some of them can be made during the sewing process. So in some cases you might not need to muslin because you can make adjustments to things like the fit through the side seams to get like a smaller or larger fit, especially if you have, you know, ⅝” seam allowance. If you let that out over several seams that actually amounts to a lot. So there’s some wiggle room for sure when you’re doing your construction. And if you notice something’s off, you can rip out stitches and you can fix it. And you can wiggle room a little bit here and there. But generally, you’re taking seams in and out with making adjustments while you’re sewing the final garment. So there’s some limitations there for sure.

Caroline: Yeah, for sure. Okay, you may want to consider making muslins if your bust, waist, and hip measurements fit into different sizes according to the pattern size chart. Especially if you’re jumping across two or more sizes.

Helen: You might want to consider making muslins if ready-to-wear clothes never fit you right.

Caroline: If you are often disappointed by the fit of your me-mades.

Helen: Maybe you often get frustrated when sewing and find yourself making construction mistakes or getting confused by instructions.

Caroline: And, finally, if you’re interested in improving your fitting and pattern alteration skills.

Helen: Yes, muslins can truly help with all of these things and can be quite liberating. I know we talked a little bit about our muslining experiences, Caroline, but are you feeling any differently about it after that conversation?

Caroline: No. I mean, I think the long and short of it is that I make muslins when I feel like I absolutely need to. For example, with my wedding dress, I made many, many muslins. If I can help it, I usually won’t muslin the whole garment. I’ll just do like the shell of the garment or the part that I’m unsure about. So for example, on a dress with, like, a full skirt, like my wedding dress. The thing that I spent a lot of time muslining was the bodice because that was the fitted part of the garment. Or for pants, I would just muslin, like, the pant legs and the waistband. I wouldn’t do the pockets or the fly. I just do it as quick and dirty as humanly possible. And if I’m not making a wearable muslin and I’m using, like, actual muslin fabric that I won’t be able to reuse, I’ll do it as quick as possible. It’s not my favourite part of the process, but I recognize that it’s necessary sometimes and I absolutely see the value in it because I’ve definitely been in situations that you’ve even witnessed where I’ve muslined something and I do have to make a lot of adjustments and I probably would have ruined, like, a really good garment if I hadn’t done it.

Helen: Yeah. Disasters can be avoided.

Caroline: What about you?

Helen: Well, as I mentioned before, I love a muslin and, uh, I do enjoy doing it for our pattern samples as well. I think it’s really cool to kind of see a design in a stripped down, like, neutral state. It’s almost like a blank slate and it can make it a lot easier to evaluate things like fit and proportions when there isn’t a fabric to distract the eye. A lot of the clothes I make these days are from our existing pattern collection. So I already know that they fit. But when it comes to new patterns, I generally will muslin. The only exception would be, like, something loose or, like, a knit garment. But as I mentioned earlier, like, I’m well set up for that. And I think one of the things that has made a difference for me for making more muslins is just having muslin. Like when I first started sewing I never had it or I didn’t have enough of it or it was, like, this sort of precious thing that I had in my stash. Or I’m like, “Well, I only have a couple yards of muslin. Do I want to use it for this project?” It sounds silly but it’s just not something I encountered, like, that often at fabric stores or, for whatever reason, I just didn’t have it. But now I have a whole bolt of it on hand so I can always just whip up a muslin without worrying about using it up. Maybe there’s listeners out there who can relate to never having muslin on hand.

Caroline: I don’t know about you, but I always used to have this, like, Bin of Muslin Doom that was just, like, scraps of muslin from like previous toiles that I had made that I’m like, “I surely will reuse this someday.” And then I have to go through it and be like, “Is this piece big enough? Is this piece big enough?” Like, they’re all different weights, like, they all smell kind of weird. I’m like, “No, I don’t want to go in there.”

Helen: Yeah, and at that point it does feel like a lot of work. It’s a daunting task, whereas just like whipping out the bolt is, yeah, it’s easy peasy.

Caroline: Yeah. It makes you feel like a fancy designer, which I guess you are!

Helen: I know! I totally don’t think of myself as a fashion designer, which is funny because I am.

Caroline: Yeah, it’s true, you are. And I hadn’t thought about the pattern side of it because I’ve only been doing BF Patterns for like a year and a half. And, like, honestly, we have so many samples and so, so much stuff and that we have to figure out what to do with. But yeah, owning a pattern company can really generate a lot of muslins.

Helen: That’s a big part of the process.

Caroline: Because they’re necessary. All right. Before we get into the steps of making a muslin, we’re going to take a quick break.

Caroline: Love to Sew is made possible by listeners like YOU! We are so grateful for the support of our amazing patrons and subscribers. If you love Love to Sew and you want to help support the pod, we have a new option for you.

Helen: You can now become a paid subscriber on Apple Podcasts! Subscribers get access to our monthly bonus episodes. It’s so convenient; if you already use Apple Podcasts, the episodes are right there in your feed!

Caroline: So, what are the bonus episodes? Well, we do a chatty catch-up on what’s been happening in our lives, share about the realities of running a small business, discuss new indie pattern releases, and talk about what we’re sewing right now! Many of our subscribers say these fun bonus episodes are their favourite, and if you subscribe, you get access to the full back catalogue. That’s over 75 hours of Love to Sew! We also do a mini-episode that deep dives into a specific topic. We get to discuss so many fun sewing techniques and answer specific subscriber questions about sewing!

Helen: And we are still on Patreon! If you subscribe over there you can get access to the bonus episodes, behind-the-scenes photos, and a special 15% off discount code at our superfan patron tier. That discount applies at Helen’s Closet, Cedar Quilt Co., Blackbird Fabrics, and BF patterns. If you shop with us regularly, it basically pays for itself!

Caroline: If you’d like to try out Patreon or Apple podcast subscriptions and check out our bonus content, you can sign up for a free 7-day trial. And, of course, you can help support the show by listening, just like you are right now. You can also leave a review! Reviews really help our show to get discovered by new listeners. We know that financial support isn’t always possible and we want you to know that we love you for listening!

Helen: Go to patreon.com/lovetosew or visit our show’s page in the apple podcast app to become a paid subscriber. Thank you to all of our listeners, patrons and subscribers – you’re the best!

Caroline: And we are back! Now we’re going to walk you through every step of making a muslin.

Helen: Every step.

Caroline: Get ready, folks.

Helen: First, you’re gonna need some of that muslin fabric we’re talking about to make your muslin out of. So one option, of course, is to use the traditional muslin fabric. Now, it does come in different weights, so keep your eye out for that because there’s lightweight muslin and then there’s like heavyweight stuff that could be almost like rough to the touch, like more like a canvas situation. So you want to be using the muslin that’s going to work best for you. Muslin is generally less expensive per yard than most fabrics, but there is varying degrees of price point on muslins, depending on where you get it from. So try to find a good price point and try to match the weight of your muslin to the fabric that you’re going to be using if you can. You might want to have a couple of different weights of muslin on hand. And it doesn’t have a print so you can see all your markings clearly. And that is really helpful. Like I said earlier, you don’t want to be distracted by the fabric. Sometimes when you’re working with a bed sheet, you know, you don’t really have a choice in the matter. It might have a crazy Ikea geometric print on it and that’s just how it is.

Caroline: It’s true. If you’re using, like, a print, let’s say you found a bolt of, like, printed cotton or something, you could try using it wrong side out so that you can still make those markings and the print won’t be as distracting. Because really you’re just using it for the fabric and not the print. But we do have alternative ideas to traditional muslin. So, like we’ve mentioned, thrifted sheets are a great option. You can use stash fabrics. I’m a big fan of that. Hand-me-down fabrics you never want to wear. And deep discount fabrics. Look out for those.

Helen: Yes, if someone’s de-stashing and giving away fabric, that’s a great place to get your hands on some muslin fabric. Ideally, your muslin fabric will be similar to your final fabric. So, for example, if you’re making a chiffon dress, you want a lightweight and drapey muslin fabric. It’s going to give you a much better idea of how the final garment is going to look and fit. You could still work out a lot of fit issues using a mid weight cotton muslin fabric in that situation. But we’re just talking ideals here. So, you know, you got to use what you have.

Caroline: And if you’re making a muslin for a knit garment, you will want the muslin fabric to have a very similar weight and stretch percentage. This is why it’s usually not practical to make a muslin for knits, but sometimes it’s necessary.

Helen: Yeah, and sometimes can have a knit that’s only $10 a yard that you make the shirt out of first before you use the $20-a-yard one. Strategies.

Caroline: Mmhmm.

Helen: You can buy muslin fabric lots of different places: indie fabric shops, chain fabric stores, sellers on Etsy, even at Blackbird. I know you guys have a classic cotton muslin, Caroline. Would you say that’s, like, a pretty standard medium weight cotton muslin?

Caroline: Yeah. we went for something that was, like, as middle-of-the-road basic as we could find. Kind of what you think of when you think of a classic muslin.

Helen: Yeah, that will work for most things. Core Fabrics also sells an organic cotton muslin. Mood has several weights of muslin available. As I mentioned earlier, investing in a bolt can be a great idea if you make a lot of muslins. It is less expensive than buying it by the yard. I buy mine from HomeTex and we’ll put a link in the show notes.

Caroline: Yeah. Even if, like, you obviously are not usually buying from a wholesale company, you might be able to buy a bolt of muslin because they might have, like, a minimum spend or something. So check out if you have, like, a local fabric warehouse or something and call them up and see if you can get a bolt of muslin from them.

Helen: Yeah, I used to buy a muslin also from Wawak. They sell, like, little five yard bundles.

Caroline: Yeah, or wait for, like, a sale. Like sometimes your local fabric store will have a sale, big sale twice a year, and like wait for that and stock up on all your basics like muslin. Okay, next up, you’re going to want to figure out what size to cut. So even though you’ll be able to make adjustments to your muslin, you should still take accurate measurements of yourself and compare them to the size chart and the finished garment measurements. And your muslin will be more successful if you choose your size based on your best guess.

Helen: Yeah, and you can make certain adjustments before you cut out your muslin. For example, you can grade between the waist and hips if those fall into different sizes. You could make a full bust adjustment if your cup size is bigger than the one the pattern is drafted for. You can adjust the rise if you’re taller than the pattern was drafted for, or shorter. Those are all pretty standard ones that you can do before you even get started, which can give you a leg up.

Caroline: And think about what it is you want to test out before you make your muslin. Is it to check the fit through the torso and arms? Is it the style? Is it the proportions of the details? This is probably going to impact how you approach it.

Helen: And then once you’ve figured out what you’re actually looking at or looking for, you can only cut out what you need. So if you’re muslining a jacket, for example, to check the fit, make the shorter view, not the longer one. This saves you a little bit of fabric. Maybe you want to check the rise and crotch on a pair of pants. Just make the shorts view. Maybe you don’t need the whole leg.

Caroline: Mhm, and like with my wedding dress, if you want to fit a dress with a gathered skirt, you can just muslin the bodice part because a gathered skirt is loose. It’s gonna fit you no matter what.

Helen: Yeah, that would be a bit of a waste of muslin. Although you could probably reuse it because it’s just a big rectangle.

Caroline: True, yeah, if you want to get a sense of like the proportions or the length as well or something like that.

Helen: Yeah, exactly. You also want to make sure you’re cutting and sewing your pieces accurately. Muslining can be a bit of a quick-and-dirty process but it is still important to make sure you cut and sew accurately so that you have the right information to transfer to your pattern.

Caroline: It’s so true. This is an aside, but sometimes with BF Patterns, we, like, agonize over, like, a quarter inch there, a quarter inch here. And then we laugh because we’re like,

Helen: And we’ve already talked about this a little bit, but you can mark up your muslin. So here’s some marks you might want to make. You can draw the seam lines on both the paper pattern pieces and on the muslin pieces. It’s a good idea to transfer notches and other markings like pocket placement too. Drawing in the seam lines is helpful if you’re adding a lot of extra seam allowance so you always can be able to see where the stitching is supposed to go.

Caroline: Yeah, and you also want to mark your balance lines and grain line. Alexandra Morgan talked to us about this in her episode, so we’re going to link that in the show notes if you want to go back and learn about it. But balance lines go perpendicular to the grain. For a top, Alexandra likes to mark them at the bust, waist, and hips. And the position of these lines is going to give you info about whether you need to lengthen or shorten. You can draw the grainline down the center front and center back for a top or skirt and down the center of each leg for pants. You don’t want the grainline or balance lines to tilt, so if they are, you may need an adjustment. And on the other hand, if your lines are balanced, make sure your adjustments don’t tilt them. So that’s a really helpful tool when you’re making those fit adjustments.

Helen: Yeah, definitely. And you don’t need to use removable marking tools unless you’re making a wearable muslin. You can use regular markers, pens, I use a sharpie a lot of the time because it’s really bold and I can see it. If you want, you can use one colour for your original markings and seam lines and then maybe switch to another colour when you start making changes so that you can kind of see your process as it evolves and keep track of what you’re doing.

Caroline: And you want to draw all of your initial markings on before you baste together your muslin. This is way easier when the pieces are flat.

Helen: And if you’re not sewing details like pockets, you can just mark those on. I do that all the time. It’s like, “Chest pocket is gonna go here,” and I’ll just draw it with sharpie so that I can look at where it sits on the body without having to actually sew the pocket.

Caroline: Yeah, totally. Which kind of brings us to our next point. You can skip those details most of the time. So for example, if you’re interested in fitting a garment around your torso, you can skip pockets, cuffs, hems, and collars. And you can also do things part way, like pressing up the hem of a top instead of stitching it, or drawing on the placement of patch pockets instead of cutting them out of fabric.

Helen: Yeah, it’s a fun, like, process to figure out what you can get away with.

Caroline: Yeah.

Helen: “What do I need to do?” If you do specifically want to check the fit of a neck, then you do want to include the collar. That would be an important part to include. So it is a balance of what you’re trying to achieve. And another exception is if you wanted to practice a specific detail or technique, like you want to sew the sleeve placket so you get a chance to actually give that a go on your practice version before you jump to your final one.

Caroline: Mmhmm. It’s really going to depend on, like, what your goal is in the muslining process, I think. The next step is to assemble your muslin. So this goes much more quickly than assembling a final garment. Woohoo!

Helen: Yes, it can be so fun to sew a muslin. Use basting stitches to make your sewing really fast. So, nice long stitches. You’re going to be flying through that machine. These are also really easy to rip out if you want to make changes. You can keep your seam ripper nearby or if it’s a really stable muslin, you can just rip it and the stitches pop right out. And I love doing that.

Caroline: I do, too. And I will say, like, it’s a fun time to practice machine speed too. Like, if you’re a beginner and you’re afraid of going fast, just, like, freaking go for it with the muslin. But make sure that you’re accurate, because a quarter inch extra in your seam allowance is going to add up to an inch all around on, like, a basic skirt or something. So you really want to make sure that you’re trying to keep it accurate regardless of how fast you’re going.

Helen: Yeah.

Caroline: Another thing you can do is skip the seam finishes. So you don’t need to serge or finish your seams in any way. If you’re using muslin fabric, you don’t need to bind necklines or arm holes. You can even cut the seam allowance away from these areas if you want to get a true sense of the proportion. Same goes for the hem.

Caroline: So, for example, if you aren’t adding your, whatever, collar or neck band, you can just trim off that edge so that you know exactly where it’s going to end.

Helen: Mmhmm. And it can make a big difference. Like, imagine you’re sewing a simple shell tank and you make the muslin and you’re basically just like, shoulder seams, side seams, darts, and then you put it on and it looks kind of, like, chunky and weird. It’s, like, too wide or, like, it just doesn’t look quite right. Because it doesn’t have those armhole finishings or neckline finishings. So trimming off that seam allowance will give you a better sense for the proportions of the garment. So that is a good thing to keep in mind. You can also staystitch those areas too so they don’t get stretched out. Things like necklines, armholes, you want to be finishing them, eventually, with a binding, but when you’re doing the muslining process you’re not going to be finishing them. So they could get stretched out when you’re trying them on.

Caroline: Yeah, same thing with pants, like, or skirts at the waistline. If you aren’t going to attach a waistband, definitely stay stitch because that will stretch out very easily as you’re putting it on and off. Especially if you’re checking the fit.

Helen: Yeah, I remember, Caroline, when we did our jeans sewing workshop with Lauren Taylor at Camp Workroom Social, saying really adamantly, is that you cannot muslin jeans without a waistband. Like, you can’t just sew the pants and like put them on and actually assess the fit. The waistband is essential because it holds that waist in and actually it gives you a much better sense of the fit. And you’re going to get it all stretched out if you don’t have it on there. So there’s no point.

Caroline: And whatever Lauren Taylor tells me to do, I will do.

Helen: Yes, it’s the law.

Caroline: It’s the law.

Helen: You also might think because you’re muslining and you’re going fast that you don’t need to press, but I think pressing is still pretty important with a muslin. You do want to press at least with your fingers to get those seams to look flat, because this can really impact the look and the fit. It’s hard enough to evaluate fit on muslins, so do yourself a favour and press so that everything’s looking nice and flat.

Caroline: Yeah, definitely. Okay. Next up, it’s trying it on. So take a look in the mirror and take some photos. A tripod and a timer is going to give you a good view. Or better yet, get a friend to take photos of you, front, side, and back.

Helen: Yes, and this can be a little bit of a strange experience because muslins never look good.

Caroline: Yeah.

Helen: So if you’re, like, you’re going through all this trouble to make a muslin, you’re like, “I’m going to do what Helen said, I’m going to make the muslin.” And then you put it on, you look in the mirror. You’re like, “Well, that looks terrible.”

Caroline: Yeah, there’s something about seeing a butt like straight on, particularly your own butt straight on, where you’re like, “Oh wait, those are folds that I, like, didn’t even know could be real.”

Helen: Expect a lot of wrinkles…

Caroline: “Where is all that fabric going?”

Helen: Yeah. Yes. Yes. It’s a weird thing, evaluating fit and really looking at photos, especially of fit. And so, we’re going to talk about that, evaluating your muslin. Here’s a few outcomes that can happen with your first try-on. I mean, maybe it’s perfect and it doesn’t need any changes, and you’re like, “This looks so good. I am ready for my fabric.” It’s rare, but it’s very exciting. So you just get to move on.

Caroline: Honestly, if I made a muslin and it was absolutely perfect, I would, like, pop a bottle of champagne, buy a lottery ticket, like, pat myself on the back. I won at life. Like, it’s pretty rare. Especially with muslin fabric, you can just see everything. So yeah, if that’s you, good for you. It might also seem like your garment needs a couple of changes, but you like the overall style and you are pretty sure you can make it perfect. So now you can start working on those adjustments one at a time.

Helen: Another situation is that the fit is very off, and there are several paths that you can take in this situation. You could cut out a new muslin according to a different size. A lot of times, changing size can solve quite a few issues with fit, especially if it feels really tight or if it’s looking really baggy. So that’s both good indications that you just need a different size and then everything could be totally different. You could make the first adjustment or two and see if they help. Generally, rule of thumb is that you want to make one adjustment at a time and see what kind of impact it has before you make others, because they all affect each other. And then you could also just decide that the pattern doesn’t work for you, you’re not really that interested, and you can move on.

Caroline: Yeah, it is okay to move on. You might realize that you don’t like the style of the garment and that’s also good. You saved yourself the trouble of making something that you’re not into. So in the end, I think that’s a big W.

Helen: Yes, definitely. Okay, a quick note about muslin fabric. We talked about how things can look kind of terrible and they can also feel kind of terrible because muslin is an extremely unforgiving fabric. It has zero stretch, like zero. It gives less than almost any fashion fabric. So keep that in mind. I have made muslins where things felt a bit snug or maybe for pants, like, I couldn’t crouch down. Like, everything is, like, very tight and stiff. And then in the final fashion fabric, like a denim, there’s enough give in that fabric for you to move your body. So fabric choice can change the fit. And this ultimately is going to come down to experimentation and practice and experience and your ability to evaluate, you know, what is a fit issue and what is the fact that the muslin has no give.

Caroline: Yeah. And just generally speaking, like, muslin fabric just kind of looks terrible. Like, it never really, you’re never looking at a muslin and being like, wow, I would wear that in public. 100%. I mean, every jacket I’ve ever muslined looks like a lab coat. Blouses look like tents. It takes practice to learn how to look past the fabric and see the fit or the style.

Helen: Yes, the lab coat phenomenon. It’s really hard whenever we’re working on a jacket for Helen’s Closet. It’s just like, muslins! I’m just like, “This looks so bad. Like, this just is giving lab coat realness. It’s not cute.” But then you make it in a nice fabric and boom. Amazing. Another note is that drag lines tend to be more pronounced. And this is a good thing because it means that you can see them. You can spot them from a mile off, but it can be also really tempting to overfit. So try to look for the bigger drag lines and look past the little ones. Focus on the big things first. There’s definitely going to be some wrinkles here and there. We were talking about the butt. You’re going to see a lot more lines than you’ll probably see in a fashion fabric. So keep that in mind And just focus on the big areas where there’s gaping or things like that.

Caroline: And remember that some lines are okay. Like, you need to be able to move around in your garment. So there will be folds in the fabric. There will be extra space. Like, try your best not to overfit because then you’re going to run into different issues.

Helen: Yes, exactly.

Caroline: The next step is to make those changes to your muslin. So one of the best things about muslins is that they’re not supposed to fit the first time. So don’t feel bad if you need to make adjustments. That’s what muslins are for. It’s not finished yet.

Helen: And you may want to have some fitting resources on hand to make sense of what you’re seeing. We’re not going to be able to get into every adjustment today, obviously, but we do have some resources to recommend. The Palmer Plestch Complete Guide to Fitting is a great book on fitting bodices, sleeves, and skirts. And Pants for Real People by the same authors is all about fitting pants.

Caroline: Seamwork has a ton of adjustment tutorials and they’ve actually collected them in one big fitting guide, so we’re going to link that and all the resources we mentioned in this episode in the show notes.

Helen: Past guest Alexandra Morgan has a lot of video tutorials for adjustments and fitting techniques on her website, In-House Patterns Studio, and I think she also runs workshops, which is pretty cool.

Caroline: Sometimes pattern companies will make tutorials for common adjustments using the exact same pattern that you are, so keep an eye out for those. They’ll make your job way easier.

Helen: And here’s some general ways that you can make changes to your muslin. You can take the seams in and you can let the seams out.

Caroline: You can pinch out fabric to add a dart.

Helen: You could cut into the fabric and see if it relaxes the fit in a certain area.

Caroline: Yes, you can also slash the muslin and add more fabric. Helen, you did this with Sam’s Yantas, right?

Helen: Yes, and I took a bunch of pictures because it was such a fun process fitting the Yantas for him. And he loves them. They fit like a glove. So it really paid off. So on our website you can go and see the muslins that I made for him and places where we slashed it open to add more length and things like that.

Caroline: Yeah, and I did this with my Yates coat back in the day when we were…oh my gosh, it’s bringing back memories…because we made coats in my old office!

Helen: Right, how old were we, like, 12?

Caroline: Like 20 maybe?

Caroline: But it was a while ago, and I remember that slashing technique worked wonders because it just allowed me to know exactly how much fabric I needed to add. And I was able to sort of, like, move around with that additional sort of slash in the fabric that I pinned in to make sure that it fit. And that’s a, it’s a really, really great technique if you’re, especially if you’re newer to fitting.

Helen: Yeah, and you can, like you said, pin it in or you can sew it in. And when you’re sewing into a slashed area, you don’t need to sew a seam necessarily. You can just overlap the fabrics and, like, slap them together with some basting stitches. Just to, like, get a look, right? Also, you can replace things like sleeves or collars to try a totally different style. Maybe it’s just not working for you. Maybe you want to try a totally different sleeve. I love that.

Caroline: Ooh, do you remember one of my first wedding dress muslins? I did, like, two different sleeves because I wanted to see which one I liked better. So each side had a different sleeve and that was really helpful if you’re not sure, like, what view of a pattern you want to make. Let’s say if there’s, like, different sleeve options. You can do one of each and see which one you like better.

Helen: Yeah. It’s really cute. It’s like a little franken-sleeve situation. Like, “Turn this way! Now turn this way!”

Caroline: It’s also a good practice to make one change at a time. I think we mentioned this already, but it’s worth stressing again. This is so that you have a clear idea of what changes are working. So start your adjustments at the top of the garment and move down. Fixing one fit issue can solve the others below it. So just take your time, do it one at a time. Max two at a time.

Helen: We’ve all broken that rule, right? We’re like, “Yes, one at a time, except also I’m going to do this other one as well.”

Caroline: Yeah, I think if they’re, like, very unrelated, like, for me, if I was, like, making a jumpsuit and I needed to, like, lengthen the rise and also do something in the shoulder area. I might like do both of those at once, but I don’t know.

Helen: Yeah, I would.

Caroline: I would. Let’s be real.

Helen: I would. If the changes you need to make are major, you might need to make another muslin and that’s okay. It’s actually kind of fun to just, like, evaluate the fit of this one and move right on to the next one. You can even do it the same session if you have the time, which can be kind of exciting.

Caroline: And make sure that you’re documenting the changes that you make as you make them. You might be able to remember, but it’s best not to take the chance. I know I’ve been there.

Helen: Yeah.

Caroline: Just write it all down.

Helen: Right? It is really important because it does start to get quite confusing, especially if you start making more and more adjustments and then you just can’t remember which one worked. So you can take photos and notes. You can write down what you did and why. This will help you when it’s time to make the final changes to your pattern.

Caroline: And these are also great details to include if and when you share your make online so other sewists can get an idea of what adjustments they might need to make or just get inspired by your fitting journey.

Helen: Definitely. Finally, we have reached the end of our muslining journey, and the final step is to transfer those changes to your pattern. Some changes are easier to transfer than others. So, for example, if you shortened the waist by half an inch, you can make that adjustment to your paper pattern pieces just by slashing and overlapping.

Caroline: For more complex adjustments like a change in dart shape, you might want to use carbon paper and a tracing wheel. So the layers would go: paper pattern on the bottom, carbon paper with the colour side down, and then muslin. And then line up the muslin with the pattern piece and use the tracing wheel to transfer the markings.

Helen: It’s also possible to use the muslin as your pattern and skip the paper pattern pieces completely. Heather Lou wrote about it on the Closet Core blog, so we’ll link that up. She learned it from Susan Khalje. You can transfer all the markings from the paper pattern to the muslin fabric when you first cut it out, and then you draw on the seam lines, balance lines, grain lines. Finally, you stitch along the seam lines. This stabilizes the fabric so it holds the correct shape. And then when you’re finished adjusting your muslin, you just take it apart, press it, and then you’re using the muslin pieces as if they were your pattern.

Caroline: That’s a really cool technique.

Helen: Yeah.

Caroline: So that’s the muslin process from beginning to end. See, it’s not so bad.

Helen: It really isn’t. I know we said it’s not the most fun part of sewing, but it has potential to be fun. I have had fun making muslins. It can be a very freeing experience, a very exciting learning experience. It makes me feel very designer-y, very, like, couture house ooh-la-la.

Caroline: Ooh-la-la!

Helen: Like, throwing fabric around, like, “No! Not good enough! Make another one.”

Caroline: “More muslin! I need more! Bring me the bolt!”

Helen: Yes, exactly. And I love the results you get when you spend the time getting the fit and design right. You end up with something in your wardrobe that truly fits and really is exactly what you wanted. And that’s pretty rewarding.

Caroline: It’s so rewarding. Yeah. so give it a try.

Helen: Yeah. Okay. We’re so excited to be back. We’ll talk to you next week!

Caroline: Bye! That’s it for today’s episode of Love to Sew. You can find me, Caroline, at Blackbird Fabrics and BF Patterns and Helen at Helen’s Closet Patterns and Cedar Quilt Co. We are recording today in beautiful British Columbia, Canada.

Helen: You can support Love to Sew and get access to bonus content by subscribing on Patreon or Apple Podcasts. You even get access to the back catalogue of bonus episodes and that’s over 75 hours of Love to Sew. So go to patreon.com/lovetosew or check out our podcast page on Apple Podcasts for more info.

Caroline: You can head to lovetosewpodcast.com to find our show notes. They’re filled with links and pictures from this episode. Lisa does such a good job with our show notes. And if you’d like to get in touch with us, please leave us a message. You can call us at 1-844-SEW-WHAT. That’s 1-844-739-9428. We love hearing your voices. Or send us an email at [email protected].

Helen: Thanks to our amazing podcast team. Lisa Ruiz is our creative assistant. Jordan Moore of The Pod Cabin is our editor. And Margaret Wakelee is our transcriber. And thank you for listening. We will talk to you next week.

Caroline: Bye bye.

Helen: Bye.

Podcast: Play in new window | Download | Embed

" onclick="javascript: this.select();" onfocus="javascript: this.select();" style="width: 70%;" readOnly>

In this episode, we head to the place where sewing and media meet! First, we share some TV shows, movies, podcasts, and audiobooks that are about sewing. Then, we share recommendations from us and listeners about non-sewing-related media we love to put on while we sew. We also share some tips for how to actually hear or see media while you’re at the machine. Plus, we share listener feedback about a me-made wedding dress, a roller sewing machine foot, and the archaeology of sewing needles.

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

Show Notes: 

From the Listener Feedback Section:

Previous Episodes Mentioned:

Resources, Patterns, and Products:

Sewing Competition TV Shows:

Fashion Documentaries:

Fictional Sewing-Related Movies:

Sewing YouTube Channels: 

Sewing Podcasts: 

Fashion and Textile Podcasts: 

Sewing-Related Audiobooks: 

Music:

Non-Sewing-Related Podcasts

Non-Sewing-Related TV Shows:

Non-Sewing-Related Audiobooks:

Other Mentions: 

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 and Cedar Quilt Co.

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

Helen: We’re two sewing buds who love to sew, and it’s all we ever talk about.

Caroline: In this episode, we’re heading to the place where sewing and media meet. First, we’ll share some TV shows, movies, podcasts, and audiobooks that are about sewing. Then, we’ll share recommendations from us and listeners about non-sewing related media we love to put on while we sew. We’ll also share some tips for how to actually hear or see media while you’re at the machine or hand sewing at the couch.

Helen: If you love to sew, and watch TV, this is your show.

Caroline: Who doesn’t love watching TV? I feel like, I don’t know if I should say this out loud, but I don’t really trust people who don’t like TV.

Helen: I don’t trust people who don’t listen to music.

Caroline: I think we’re going to make some enemies.

Helen: I know.

Caroline: I love everybody. I love all of you listeners. To each their own.

Helen: To each their own. But this episode’s probably not for you.

Caroline: Yeah. Oh, my gosh, Helen. This is the final episode of Fall 2023. I can’t believe it.

Helen: I know. We have loved making and sharing this season with you. We brought back guests. We had some really great chats about lots of different sewing topics. And it was such a fun season. And we’ll be back in the new year with another fresh crop of episodes for the first week of March in 2024. It’s only three months away, so don’t panic. We will be back.

Caroline: Also, this is our 250th, let that sink in, episode of Love to Sew. I can’t believe it. 250!

Helen: That’s wild. That’s a quarter of a thousand.

Caroline: Helen, it’s been a journey.

Helen: It’s been a journey. I can’t believe it.

Caroline: Oh, my gosh.

Helen: Who knew there was 250 topics to cover about sewing?

Caroline: I know, and I think about, like, when we started, and we were recording our first episode in my first office, which then became your office. And then we recorded in your apartment. And then we recorded at your house, very briefly, in Courtenay. And then we started recording separately. And that’s what we’ve been doing for the last few years, but we’ve, kind of, been all over with this podcast.

Helen: It’s true. It’s been a part of our lives for a significant portion of our adult lives at this point, which is pretty amazing when you think about it. And yeah, we don’t have any plans to stop, so…

Caroline: Oh, my gosh.

Helen: …get ready.

Caroline: I’m going to get emosh. When you just said that, it’s so true. How old were we when we started this podcast? I’m turning 35, so I must have been 27.

Helen: We were 27 or 28.

Caroline: Yeah, that is wild.

Helen: I know. It is wild.

Caroline: And here we are.

Helen: Can we say anything else about it? Wild. Crazy.

Caroline: It’s wild. It’s crazy. It’s so cool. Yeah, and here we are 250 episodes in. And I’m still excited about this podcast. And I’m still excited about the topic that we cover every week. It’s always fresh. It’s always new, keeps us on our toes.

Helen: I know, and we have so many fans out there and so many lovely listeners who write to us or DM us and tell us that they love the show. People are discovering us all the time and catching up on all of our past 250 episodes, which is amazing.

Caroline: Yeah.

Helen: And I just love that we can provide a place for sewists to come and listen to podcasts about their favourite topic.

Caroline: Yeah. And our assistant Lisa reads every single one of your emails. And whenever we get a sweet message from a listener, I have to say, she puts it in the Slack chat so that we can see it. And I just love reading your messages, especially when you talk about your own journey of listening to Love to Sew and how it’s changed your life or affected you in any way.

Caroline: We love to hear it. We love to see it, so please keep writing in.

Helen: Yeah, please do. We’re going to start this episode with some listener feedback from some of our episodes this season. Molly wrote, “Hi there! I recently listened to an episode where Claire Birnie, the designer of Sew Outdoorsy and sewing outdoor clothes, suggested using a teflon foot. They are good for many applications, but a roller foot can be an excellent choice as well.”

Caroline: Ooh. Hi, Molly. Thank you so much for sharing this tip with us. I had actually never heard of a roller foot before until we mentioned it in our sewing bags episode. It has two or three textured rollers that sit on top of the fabric and help it feed through. And it seems like the roller foot is especially useful for fabrics that would stick to a regular foot or get marked up with too much pressure. So it does seem like it would be a good option for outdoor gear fabrics, faux leathers, vinyls, and lightweight real leathers.

Helen: Totally. It’s also just cool. And I love having all the tools for the job, you know, I could see myself getting a roller foot.

Martha wrote to say, “In my day job, I’m an anthropologist, and I came across an article about the archaeology of sewing needles in an anthropology newsletter I subscribe to called SAPIENS. I thought you might enjoy the read!”

Caroline: Thank you for sending this article to us, Martha. It’s super fascinating. Here’s something interesting we learned from it. It seems like ancient humans didn’t just sew for utility. They also sewed for decoration. There were lots of different kinds of needles around. Some were large and flat, probably used for piercing thick hides and skins, and others were round and fine, probably used for decorative stitching like embroidery or beading.

And this is during the Upper Paleolithic period from 10,000 to 50,000 years ago. The whole article is super interesting, so we’re going to link it up in the show notes. I personally can’t believe that people were sewing 50,000 years ago. I don’t even know what to say about it.

Helen: I think it’s so cool. And I’m thinking now we need to have an archeologist or anthropologist on the podcast to tell us a little bit more about this.

Caroline: Oh, my gosh. That would be amazing. Let’s find the author of this article…

Helen: Exactly.

Caroline: …and invite them on.

Justine wrote to us about sewing her own wedding dress: “I was very hesitant to sew my own dress knowing that I am new to sewing – I didn’t think I had the skills. But after going to many dress shops I found the quality to be lacking for gowns that were minium $2,000 – up to $8,000. They were all uncomfortable. I didn’t like the textures next to my skin. And I was going to have to spend up to $500 to get extra length on them. I ended up spending $2,000 on the lux-est fabric – but I love it, and it is unlike anything I could find. And I know the quality is there.

“I really enjoyed the process and was so happy with the result. There were a few things that I would have done better if I had more time, but the 3 ft rule really works! I ran out of time to do a bustle, but on the night of the wedding my sewing buds (we call ourselves the button buddies) just safety pinned it for me which worked fine.

“I also loved forgoing boning and corsets and other things that made store bought dresses uncomfortable. And I could pattern hack elements which I loved from different places. I think I got to about 5 toiles – I got the skirt mostly right on the first go so I just kept redoing the top. Totally worth it though.”

Helen: Oh, that sounds pretty similar to your dress sewing experiences, Caroline.

Caroline: Yeah.

Helen: Hi, Justine. First of all, congratulations. This gown is absolutely beautiful. We’ll link it in the show notes. The fabric is a gorgeous sheer white with, like ,gold foil print. It has a v neck, short sleeves, and a slit in the side front and pockets.

Justine has only been sewing since 2020, so this is such an amazing accomplishment. All of those toiles were definitely worth it. And by the way, I love that your sewing friends are called the button buddies. It really sounds like a TV show that I would like to watch.

Caroline: It sounds like a really cute kids TV show. The button buddies!

Helen: Yeah. The button buddies. They just, like, rescue each other when they get, like, rips in their pants and stuff.

Caroline: Yeah. And speaking of TV shows, Helen, should we get into this episode?

Helen: Yes! I love sewing, obviously. I love to sew.

Caroline: No. Do you?

Helen: Yeah, I do. But I also love to be entertained and sewing and media go together like peanut butter and jelly, apples and cinnamon, like me and you, Caroline.

Caroline: Oh, so true.

Helen: It just feels so good to put on some music or tv show or podcast and dive into your sewing project and enjoy the media at the same time, so we’re going to make a ton of recommendations in this episode and share your recommendations, too. And we hope this gives you loads of fun things to enjoy during our Love to Sew break.

Caroline: So first we’re going to talk about how to actually hear or see the media you’re playing while you sew. With hand sewing, it’s pretty easy. You can just sit on the couch and watch or listen while your project is on your lap. There’s no loud sewing machine to compete with, and it’s easy to stop and look up if you need to.

Helen: You might consider putting some pillows on your lap so that you don’t have to crane your neck to look at your work. Rose Parr, the expert that we interviewed in our ergonomics episode, has a free tutorial for a lap desk. It’s pretty much just a piece of flat foam core that’s covered with fabric, and she sets it on several pillows, so it’s nice and high. We’ll link the tutorial up in our show notes.

Caroline: It can be nice to have a little bowl or box to corral your scissors, thread, and pincushion. You can use one you already have, of course, but we also found a super cute tutorial for a sofa sewing caddy on the Overdale Fabrics blog. There’s a flat quilted pad which lays over the arm of your couch. It has pockets for your tools, a pincushion, and a bin hanging off for your waste threads. It’s so cute. I could totally see you making this, Helen.

Helen: I know, but I actually, I sit on the side of the couch that’s up against the wall.

Caroline: Uh-oh.

Helen: I don’t have an arm, but I do have, like, a little area behind the cushions, or I can, like, tuck things. I have, like, a tissue box and a knitting bag and an embroidery bag. It’s, like, my little stash of things.

Caroline: I love that.

Helen: I also love having light when I’m working at the couch in front of the TV, but we’re often watching TV together, so I don’t want to disturb Sam. So it can be really helpful to have, like, a little headlamp or, like, one of those Lumos Lights, they’re popular for knitting. You wear them around your neck, and they just illuminate the area in front of you. That can make a huge difference.

Caroline: Yeah, it does, kind of, kill the vibe when you need, like, full light when you’re watching a show or a movie.

Helen: Right. But if it’s too dark, you end up making a lot of mistakes, and it’s not fun for you. So, yeah, it’s a balance.

Caroline: Playing media while you’re sewing at the machine, it takes a little bit more strategizing. So we usually like to play something that doesn’t require a lot of concentration to follow. A bunch of you told us that you do, too.

Jo wrote, “I like something mindless that requires minimal brain but provides background noise and entertainment. Selling Sunset is perfect! And also frothy sitcoms – Community was great sewing ‘viewing’!”

@YorkieMouse wrote, “Watch something familiar where I know the plot every time!” This is great advice. Watching something you’ve seen before or something with a formulaic structure means it’s no big deal if you miss something.

Helen: Yes, I totally agree with this. I love rewatching things when I’m sewing so I don’t have to pay attention because I can just picture it in my head.

Caroline: Yeah.

Helen: And how about hearing the media over your machine? You can of course turn up the volume. If you’re not annoying any people nearby, that’s an option. But if not, Bluetooth headphones are a great idea, especially noise cancelling ones.

Caroline: And if you don’t have a TV in the area where you sew but you really want to watch something, you have a couple of options. You could play it on a smaller screen like a laptop or tablet or even a phone. There are really cool phone and tablet stands with flexible arms that you can clamp onto your tabletop, and then you can arrange it so you can see it from your machine. If the sound doesn’t go up high enough on your phone or tablet, you can connect it to a Bluetooth speaker or headphones.

Helen: Another option is to move your sewing set up to the room with the TV, get a sturdy folding table to set your machine on and an extension cord, and you’re all set.

Caroline: Helen, tell me, like, what your setup is when you’re watching a TV show while you’re sewing because it can be a little tricky to find the right spot, you know?

Helen: It can. And honestly, mine’s pretty bare bones. I don’t really like headphones, so I often just play podcasts out of my phone, and I’ll keep the phone in my pocket. Or I, sometimes I just put it on top of my sewing machine and, like, stick it in with, like, the thread spindle and just leave it there and let it play.

Caroline: That’s tricky though ‘cause when the sewing machine is, like, if you’re trying to go really fast, and it’s, like, bouncing around, I’ve had my phone, like, fly off my machine.

Helen: I know it’s not an ideal system. I really should just get a proper phone holder for it. Or use my speaker. I have a speaker in my office, but it’s just, like, I don’t go through the trouble of turning it on…

Caroline: Yeah.

Helen: …and connecting it. I just, like, play it out my phone. But for TV shows, I’ll just put my laptop, you know, just behind my machine where I can see it, like, directly in line with my sewing machine foot. So I’m, like, looking at the foot, but also the show is, like, right there where my eyes are pointing anyways, and I find that works pretty well.

Caroline: Yeah. That’s a good setup if you have, like, a deep enough table, and you’re, kind of, set up the right way. I have, kind of, like, a working triangle in my sewing room. So depending on what I’m doing, I’ll set my laptop down on either my sewing table or my cutting table and just, kind of, place it so that I can see it from where I work. It’s pretty straight forward, kind of, obvious, but it works really well for me. So if you have, like, a lot of surfaces, you can, sort of, move whatever device you’re using around. I do love wearing headphones, so I can hear my media over my machine I tend to reach for my, like, they’re not earbuds, but… oh, my God, what are the other kinds of headphones called over the head headphones.

Helen: Over the head headphones.

Caroline: You know, those ones, those are the ones that I reach for, but I always keep, like, one ear exposed so that I could hear if someone comes to visit me, aka Shea, because I’ve definitely been startled by him before, and nobody wants to be startled while holding a pair of sharp scissors, you know?

Helen: It’s true.

Caroline: And now he actually, like, stomps down the hallway when he comes to see me and, like, makes sure to make a lot of noise because we’ve had a few times where he’s like, just totally freaked me out by just creeping up on me.

Helen: Oh, yeah. This is why I don’t like headphones. I just feel like I can’t, I’m not aware of my surroundings, and I just find it, like, kind of, I don’t know, it just, it makes me uncomfortable. But I have definitely snuck up on Sam while he’s painting his miniatures at his desk and, like, come into his office and, like, I try to be really loud. I’m like, hello, hello, hello, but, like, he doesn’t hear me tap him on the shoulder, and he’s just, like, so scared.

Caroline: Also, it’s, like, with miniatures, do you wait until he’s, like, not, doesn’t have, like, brush to miniature ‘cause that would be horrible.

Helen: Can you imagine? He’s putting, like, an eyeball dot on or something. It’s just, like, a big splotch.

Caroline: The other thing about headphones is they, kind of, hurt my ears after a while, especially the ones that go over your ears. Like, I don’t know if it’s, like, a big head problem that I have, but, like, I tend to get sore ears if I wear them for too long. So not ideal, but it works.

Helen: Yeah, I mean my system of just playing it right out your phone speaker is pretty good.

Caroline: I know you just have to play it so loud. Like, it’s hard to hear sometimes.

Helen: I know it’s true I actually will wear my Sam Apron, and I put the phone in the chest pocket with the speaker pointing up towards my face.

Caroline: Just blasting in your face.

Helen: Yes, it’s just, like, right there, and then it’s just with me everywhere I go, so, if I, like, go to the washroom or, like, leave the room, the podcast is still playing. I’m good.

Caroline: Some would argue that bluetooth headphones, sort of, would do the same thing.

Helen: Here’s my problem. You, this is going on for way too long, but here’s my problem with bluetooth headphones is that they don’t stay in my ears. I cannot wear earbuds I don’t have, like, the right shaped little doohickey in my ears, and I just have never found a pair that fits.

Caroline: It is one of the most frustrating things when you’re wearing earbuds, and they just, like, slip, keep slipping out.

Helen: Keep falling out.

Caroline: Like, yeah, I’m like, do I have sweaty ears? Like, am I just going too hard today with the sewing? I don’t know.

Helen: I have compared my ears to other people’s ears and like, there’s this little cartilage bump that goes up on most people’s ears and holds earbuds in place. Mine goes straight out.

Caroline: Oh, shh… Okay.

Helen: It’s just the wrong, it’s just the wrong shape. I’m just very, I’m a special unique snowflake.

Caroline: Your ears are beautiful, Helen.

Helen: Thank you.

Caroline: Don’t ever be ashamed of them. Okay. We got so many recommendations, so I think we need to get into it. First up, we have our favourite media that’s about sewing. So we’re going to talk about things that are centred around sewing first, and then we’ll get into other stuff.

And the first thing we’re going to talk about is sewing competition shows. Whenever I watch one of these, I get a really bad itch to sew. So watching them while I sew is next level satisfying. And most of these shows don’t need to be watched closely. I just take a break from my sewing during the reveals of the final garments. I know you love, you love a sewing competition show, Helen, right?

Helen: I do, but I actually don’t watch them while I sew because I want to, like, watch them.

Caroline: Yeah.

Helen: I enjoy every delicious moment. I like seeing the workroom chaos and all the in progress stuff and all the drama and the ITMs. Yeah, I’m into it. Project Runway, Making the Cut, and Next in Fashion all feature designers who want to make it in the fashion world. They design and make some amazing and some not so amazing garments, according to different challenges. One of my favourite project runway challenges is the unconventional materials one. We talked about this with Mister Larrie. I just love when they send the designers into, like, a dollar store or a pet shop or a flower shop and tell them to grab all the materials they can in 10 minutes and make an outfit. So much fun.

Making the Cut is actually interesting ‘cause it has less sewing than the other two. It’s more focused on the design part than the construction part. And the designers have a team of seamstresses working with them, and I think it’s actually hilarious because they often will, like, leave notes, they’ll design, they’ll leave notes and then the next day they come back in and, like, what’s been sewn for them overnight is, like, not at all what they had in mind or, like, their design come to life just, like, does not work. And the designers who don’t know how to sew very well always, kind of, struggle with this because they’re not really anticipating the construction elements, so I think that’s very entertaining.

And I love Next in Fashion. I think that one is really fun. I love Tan France from Queer Eye. He’s a great host, and they have a lot of really cool designers on there, and I think they have a lot of fun with that show.

Caroline: And of course, classic OG Project Runway. You can’t go wrong with Project Runway.

Helen: So great.

Caroline: Tim Gunn? Come on. The next show isn’t super sewing focused, but there’s one episode in every season that’s all about a sewing challenge. RuPaul’s Drag Race is a drag queen competition show, and it’s amazing. I think this must be the most difficult competition show on TV. I’m like, because I’m really into American Ninja Warrior now, so I don’t know. I can’t, it, kind of, depends on how you define difficult, but…

Helen: I mean… I feel like Drag Race has it beat, honestly, like, the level of, like, performance, dance, comedy, the sewing ability, the costuming, the endurance. I mean, they’re wearing, like, heels. They’re tucked. They’re cinched. They’re full makeup. I would like to see any American Ninja Warrior even pull this off for, like, an hour. I dare them.

Caroline: But do you know what else would be fun is if American Ninja Warrior did an episode where Queens had to do the obstacle…

Helen: Oh, that’d be great.

Caroline: It would have to be, like, a little bit easier, but it would be so funny and so fun to watch. Oh, my gosh. Okay, but no, it’s true. I think anyone who loves fashion, comedy, or music would super enjoy RuPaul’s Drag Race. Definitely check it out if you haven’t already.

Helen: Highly recommend. One of my favourite, favourite shows of all time.

Caroline: Yeah.

Helen: And you know what? There is only one episode where they do sewing typically, but a lot of queens on that show make every outfit that they bring to the runway, and they talk about that, and I just think it’s incredible. It’s so cool.

Okay, this next show is super beloved in the sewing community and that, of course, is the Great British Sewing Bee. This is a BBC show featuring amateur sewists who compete in sewing, upcycling, and design challenges. The Fold Line always does round up videos of the patterns from each episode. And I’m so jealous of UK sewists. BBC executives, if you’re listening, please find a legal way for the rest of us to watch it. We’re begging you. It’s so great.

Caroline: We’ve actually had a couple of guests who’ve competed on the Sewing Bee. Tilly of Tilly and the Buttons was on series one, and Rumana was on series four, and we’ve interviewed both of them. So exciting.

Helen: Oh, it is really great. I love British reality television, too, because everyone’s so nice to each other and so supportive. It’s great.

Caroline: And I mean, speaking of competition shows, I don’t even know if we mentioned this later in the episode, but Great Pottery Throwdown, another British competition show. And I know we mentioned the Great British Baking Show. It’s just so good. There’s something about those shows.

Helen: It’s the camaraderie. It’s everybody, like, in the room competing, but also wishing nothing but success for the fellow contestants and just appreciating each other’s creativity. It’s really, really inspiring and sweet.

Caroline: Now let’s talk about some other media that features sewing. Documentaries about fashion designers, fashion houses, and stylish people are good for inspo. They make me feel like I’m a couturier working on my fall winter collection. Just working away in my little studio. If you want to feel that way, here are a few documentaries that look really great. Diana Vreeland, The Eye Has to Travel, about the influential columnist and fashion editor.

Helen: Ooh, I haven’t seen that. I’m going to put that on my list. McQueen, and that one’s about the late, brilliant British designer Alexander McQueen, of course.

Caroline: Iris is about the fashion icon Iris Apfel, you know, the one with the big glasses and piles of colourful jewellery.

Helen: Oh, I’m obsessed with her and her interior decorating style. Just all of the beautiful prints and colours and everything. Maximalism. So good. 7 Days Out, which follows the Dior events team in the seven days leading up to the couture shows.

Caroline: The Fold Line has a longer list of documentaries that we are going to add to the show notes, but we need to add all of these to our list. There’s so many good ones.

Helen: So many good ones. And there’s some really great fictional movies where sewing is an important part of the plot, too. Here are a few good ones. Bright Star is a movie by Jane Campion about the romance between Fanny Brawne and the poet John Keats. Fanny is a sewist, and there are some beautiful scenes of her sewing and wearing her makes. It’s a gorgeous film.

Caroline: How to Make an American Quilt is a drama movie from 1995. It stars Winona Ryder as a grad student who visits her grandmother and great aunt so she can hang out and finish her thesis. They have a quilting group, and each member tells a story about different kinds of love they’ve had in their lives. The vibe is really warm and sweet, and of course, there’s lots of sewing. It wasn’t super highly reviewed, but there are some great actors and great quilts, and it’s worth watching just to see Maya Angelou as the leader of the quilting group. So cool.

Helen: I have not seen this, but I’m totally sold.

Caroline: Yeah, I feel like maybe it wasn’t highly reviewed by non-sewists, but I can’t imagine a sewist watching this and not giving it a high review.

Helen: It’s hard to judge movies by the reviews, too, so you just have to take that with a grain of salt, you know? I really enjoyed the movie Phantom Thread. It’s a dramatic movie that features lots of sewing. It’s about a couture dress designer and his relationship with his wife and muse.

Caroline: The Dressmaker is about a sewist for a couture house in Paris who returns home to her small town in the Australian Outback. It’s funny, dramatic, and filled with great 50s costumes, and it stars Kate Winslet. Perfect.

Helen: Yeah. Have you seen that one, Caroline?

Caroline: No, I haven’t, but I need to add all of these to my list. I think I need to have, like, a sewing-themed movie marathon or, like…

Helen: Ooh! We should do that when we go on our trip later in December.

Caroline: Ooh! That sounds fun.

Helen: We can add some of these to our list.

Caroline: Yes, we’re going on a trip to visit our sewing friend. That would be the perfect time. Okay. I’m in. Check.

Helen: All right. It’s time for a quick break. and we’ll be right back.

Caroline: Love to Sew is made possible by listeners like you. We are so grateful for the support of our amazing patrons and subscribers. If you love Love to Sew and you want to help support the pod, we have a new option for you.

Helen: You can now become a paid subscriber on Apple Podcasts. Subscribers get access to our monthly bonus episodes, and it’s so convenient. If you already use Apple Podcasts, the episodes are right there in your feed.

Caroline: So what are the bonus episodes? Well, we do a chatty catch-up on what’s been happening in our lives, share about the realities of running a small business, discuss new indie pattern releases, and talk about what we’re sewing right now.

Many of our subscribers say these fun bonus episodes are their favourite. And if you subscribe, you get access to the full back catalogue. That’s over 75 hours of Love to Sew. We also do a mini episode that deep dives into a specific topic. We get to discuss so many fun sewing techniques and answer specific subscriber questions about sewing.

Helen: And we are still on Patreon. If you subscribe over there, you can get access to the bonus episodes, behind the scenes photos, and a special 15% off discount code at our super fan patron tier. That discount applies at Helen’s Closet, Cedar Quilt Co., Blackbird Fabrics, and BF Patterns. If you shop with us regularly, it basically pays for itself. Head to patreon.com/LoveToSew to see all the perks and options.

Caroline: If you’d like to try out Patreon or Apple podcast subscriptions and check out our bonus content, you can sign up for a free seven-day trial. And, of course, you can help support the show by listening just like you are right now.

You can also leave a review. Reviews really help our show get discovered by new listeners. We know that financial support isn’t always possible. And we want you to know that we love you for listening.

Helen: Go to patreon.com/LoveToSew or visit our show’s page in the Apple podcast app to become a paid subscriber. Thank you to all our listeners, patrons, and subscribers. You’re the best.

Caroline: And we are back. Okay. There are so many good sewing YouTube channels. I feel like we could talk about this for the rest of the episode. And the casual friendly vibes are perfect for sewing time. It feels like you’re sewing with friends. So here are some of the channels that you recommended, recommended when we asked you to recommend things. Sorry, I gotta say that again. Oh, my God. Here are some of the channels that you recommended.

Helen: The Fold Line, super popular in the sewing community. They have fun seasonal “Sew the Trends” videos and “Find that Pattern” videos for movies and shows like Barbie and the Marvelous Mrs. Maisel and new pattern release round-ups, which is super handy if you want to stay on top of all the patterns that are coming out.

Caroline: Kittenish Behavior is a garment sewist with a vintage-inspired personal style.

Helen: Stitched Up is a chatty garment sewing channel with Tuesday tips, vlogs, and sewing planning videos.

Caroline: Rachel Maksy is a super funny YouTuber who makes costumes and vintage-inspired garments.

Helen: With Wendy, of course, a thrift flipper, sewing vlogger, and all-around amazing person, and former guest on the pod.

Caroline: The Closet Historian, many of you have written to us to say how much you love this YouTuber’s videos about pattern drafting and hacking. We love a good hack.

Helen: The Dahlia Sewciety is a channel by a mother-daughter duo who own a fabric and notions shop. They chat about what they’re sewing, new arrivals at the shop, and developments in the sewing world.

Caroline: PricklyAlpaca is a channel about costume design, fantasy art, and crafting. Her work looks so whimsical.

Helen: Kathleen Illustrated is a channel focused on thrifting. She does thrift flips, hauls, and styling advice. Love that.

Caroline: Hazariel Costumes is a channel all about costuming and crafting. She doesn’t use a lot of expensive materials, and the stuff she makes looks amazing. Plus, she’s super funny.

Helen: The Yorkshire Sew Girl does fabric hauls, round-ups of recent makes, and sewing vlogs.

Caroline: Bernadette Banner is an experienced hand sewist who makes both historical and historically inspired clothing, and we interviewed her recently. It was so inspiring. She is such a cool creator if you haven’t checked out her channel.

Helen: Micarah Tewers makes fun, trendy outfits, completes challenges, and creates jaw-dropping costumes.

Caroline: Several of our past guests also have amazing YouTube channels. Mister Larrie, Saremy Duffy from SewSewLive, Evelyn Wood, Joanna Lu, and Brittany J. Jones just to name a few.

Helen: And there are so many other great channels out there. Lots of people doing sewing, vlogging, sharing what they’re up to, sharing their makes. Once you subscribe to a few YouTubers you like, the algorithm really takes care of you and suggests similar channels that you might want to follow. Don’t even get me started on the quilting YouTube channels, Caroline.

Caroline: Oh, that’s like a whole other episode, I feel.

Helen: I know. Quilting media.

Caroline: All right, sewing podcasts are another popular choice. We know because many of you have told us that you play Love to Sew during your sewing time. It makes me so happy to think of us keeping you company over the years. So here are some other sewing podcasts that you recommended.

Helen: We’ve got Sewing with Threads by Threads Magazine.

Caroline: Check Your Thread. This one’s all about sewing and sustainability.

Helen: Seams, Dreams, and Small Business Things, which is former guest Terrance Williams podcast, he talks about sewing and running a small business with “love, light, and positivity.”

Caroline: Oh, how did I not know about this one? I need to check this one out. Sew Organised Style, which has tons of interviews with members of the sewing community.

Helen: Stitch Please, the podcast of Black Women Stitch.

Caroline: Asian Sewists Collective. This one explores the intersection of Asian identities and sewing, and we interviewed the hosts Ada and Nicole last year.

Helen: Sew and Tell from the editors of Sew News.

Caroline: Here We Sew Again, where three sewists from different backgrounds discuss everything sewing related. Fun fact, I’m pretty sure Here We Sew Again is a continuation of Sew and Tell with the same hosts because they stopped making Sew and Tell.

Helen: Oh, okay, that makes sense. Clothes Making Mavens, which unfortunately hasn’t updated since 2020, but you can still listen to the back episodes, and they did a lot of episodes.

Caroline: Punkfrockers is an inclusive podcast for sewists looking to connect with other sewists.

Helen: Seamwork Radio has been going for many, many years. Lots of great episodes to enjoy there.

Caroline: And the Tipsy Sewists, this one sounds really fun.

Helen: Totally and a recent one Caroline that you pointed out is the Sewing Club Podcast. It’s a brand new one from Kylie of Kylie and the Machine and Gemma of @SewingGem. And they haven’t released their first episode yet at the time of recording this pod. But I think it’s coming out really soon, and I’m very excited to see where they’re going with this podcast.

Caroline: Yeah, I’m definitely going to be listening to this one. There were a few more podcasts that our listeners recommended that aren’t specifically about sewing, but are definitely related. Haptic and Hue’s Tales of Textiles combines history and fabric in a way that is absolutely fascinating.

Helen: Dressed: A History of Fashion covers so many interesting stories, recent ones include gender and pocket parody, sixteenth century fashion bloggers, and costuming 1975’s The Wiz. This podcast is next-level amazing, like, so well-researched and just, yeah, it’s so cool. The topics they cover are such a wide variety. It really opens your eyes to all the different ways you can look at fashion.

Caroline: Mm-hmm. Garmology is all about menswear, fashion, ethics, and sustainability.

Helen: And Articles of Interest is one that we’ve mentioned on the show before. Articles of Interest is a podcast about what we wear. It began as a critically acclaimed mini-series within the 99% Invisible podcast and is now its own separate independent production with Radiotopia.

Caroline: Audiobooks are another great option for sewing time. Books are usually denser than podcasts or frothy TV shows, so I think it makes sense to play them when you’re doing more mindless sewing tasks. Or you could just pause it when you need to focus and then start again when you’re ready. Here are a few sewing-related audiobooks our listeners recommended.

Helen: The Sewing Machine by Natalie Fergie is the story of four generations who sewed on one Singer Featherweight.

Caroline: Worn: A People’s History of Clothing by Sophie Thanhauser is a nonfiction story in five parts: Linen, Cotton, Silk, Synthetics, and Wool. I really want to read this one, this sounds really cool.

Helen: Yeah, it sounds great. The Dressmakers of Auschwitz: The True Story of the Women Who Sewed to Survive by Lucy Adlington is a nonfiction history of the group of inmates who worked in the upper tailoring workshop, making clothing for the elite Nazi women. The description says their bonds of family and friendship not only helped them endure persecution, but also to play their part in camp resistance, weaving the dressmakers’ remarkable experiences within the context of Nazi policies for plunder and exploitation. Lucy Adlington exposes the greed, cruelty, and hypocrisy of the Third Reich and offers a fresh look at the little known chapter of World War II and the Holocaust.

Caroline: Next up, Threads of Life: A History of the World Through the Eye of a Needle by Claire Hunter is a globe spanning history told through sewing and embroidery. Topics covered include the English Royals, the Catholic Church, World War I soldiers coping with PTSD, maps sewn by schoolgirls in the New World, the AIDS quilt, Hmong story clothes, and much more.

Helen: Listener Johanna wrote, “A good book I read lately was By Her Own Design: A Novel of Ann Lowe, Fashion Designer to the Social Register by Piper Hughley. It is a fictionalised story about a woman who overcame poverty and racism to become a society dressmaker. She made Jackie Kennedy’s wedding dress.

Caroline: Ooh, cool.

Helen: Very cool.

Caroline: Putting on sewing-related media when you’re sewing is fun, but let’s be real, putting any good media on when you’re sewing is fun, does not have to be sewing-related. When we reached out for your recommendations, you did not disappoint. Music was definitely a popular choice. Lisa wrote, “I usually just like to listen to my favourite music. Mama’s Broke has been on repeat for a few weeks.”

Helen: Okay, Lisa, I have to say I listened to this album just a couple days ago when I was reviewing all the prep for this episode. I love it so much. It might be one of my favourite albums I have ever heard in my life. It’s so good I have listened to it, like, 12 times in the last 24 hours.

Caroline: Oh, my.

Helen: On repeat all day today. It’s just so good. So thank you so much. And if you have any other recommendations, I am open to them.

Caroline: I love that. Oh, my gosh. I’m going to listen right after this episode. Sasha recommended Tiny Desk concerts. You can find these on YouTube. They’re short concerts by great musicians, and it’s produced by NPR.

Helen: @EspeciallyMadeByFlorence recommended ambient worlds on YouTube, calling it dreamy background music for nerds. And looking at the channel, it seems like they have videos inspired by Lord of the Rings, Stranger Things, Disney parks, and so much more.

Caroline: Martha wrote, “Back episodes of BBC radio 4’s Desert Island Discs are great to listen to while sewing. Good combination of talk and music, and you learn about a person’s life.” This show sounds super cool. Famous guests share the eight songs, one book, and one luxury they would take on a desert island.

Helen: Ooh, uh, that’s a tough one. I like that you get eight songs.

Caroline: Yeah. Not just one song, obviously, that would drive you crazy.

Helen: Jackie wrote, “If I don’t have to concentrate too much, then the trashiest reality TV I can find will be playing. But if it’s something I have to keep my focus on, then lo-fi beats with no lyrics really help to block out the constant inner monologue.”

Caroline: First of all, I 100% relate to the trashy reality TV thing. Second, lo-fi music without lyrics seems like a great choice. Lo-fi has a fuzzier, less defined sound than hi-fi music, so lots of people find it less distracting. We actually listen to a lot of lo-fi at the office because we always, kind of, have music playing in the background, but sometimes you just need it to be, like, truly background music, you know?

Helen: Yeah. I’m a big fan of this for concentration as well. And I also will watch hours of trashy reality television, so I’m right there with you.

Caroline: Yeah.

Helen: Rachel from @MinimalistMachinist on Instagram put together Maker Sounds which is a series of music playlists made by makers. There’s a ton of sewists involved in this project, and it’s all on Spotify, I believe, so definitely check out that series.

Caroline: Alright, Helen, what do you like listening to when you sew in terms of music?

Helen: I love classical piano music for concentration. Chopin is a personal favourite of mine, and when I need to get pumped up, Beyoncé or Lizzo, obviously, go-to’s. But I also love making my own playlists, and Sam does, too. And it’s something we’ve been doing for years and years. Between us we have over 100 playlists, and we’re always sharing music and making lists for each other.

So there’s endless stuff to listen to in my Spotify catalogue. I also really love my Discover Weekly for finding new tracks. I listen to that every Monday, and I save all the songs that I like. I really, really love and appreciate all music. And I know that sounds really cheesy because, you know, there are some genres that I like more than others.

But I just think that all music is incredible, and I can pretty much get into anything. But my Spotify skews more towards, like, folk singer/songwriter, jazz, and world music. Albums I would recommend would be Angel Olson, My Woman, Joan Armatrading, pretty much any of her albums, but To the Limit is pretty amazing, and anything from Chavela Vargas or Oummou Sagaré, just incredible. Love them.

Caroline: Ooh, cool. My favourite Spotify playlist, I usually go with a playlist, I love oldies personally. So Good Times, Great Oldies is a really good one. Also, there’s a playlist called Grandma’s Home that… it just hits. It’s really good.

Helen: Nice.

Caroline: It’s all the best oldies. My Life is a Movie is a playlist that I found, maybe six months ago and I keep going back to it. It’s just a great one to have on in the background, but it still has really fun, interesting songs.

And I’m a big fan of folk music as well. I love the Woman of Folk playlists. Always go back to that one. And I also had a hot tip, if you are on Spotify and you find a song that you like, you can go to song radio or go to artist radio. It’s, like, one of the options if you click the three dots. And Spotify will make a playlist for you with songs or artists that have, like, a similar vibe to that song. And this has actually worked really well for me to discover new music. So if you haven’t heard of that little function, try it out. It’s great.

Helen: Ooh, I love that function. I have definitely used that before, and it really points you in new directions while keeping it, like, in the family.

Caroline: Yeah.

Helen: So great.

Caroline: I know. And it’s, like, sometimes I just, I love a song, and I’m like, I just want more of this, but I don’t want to get sick of this song. So I feel like generally Spotify really nails those, like, little compilations.

Helen: Yeah, I’m a big Spotify fan if you hadn’t already picked up on that. And the more that you put into it as far as, like, letting it know what you like, the better it gets. So it actually does, like, pay to put some effort into, like, telling it what you want.

Caroline: Do you mean by, like, liking songs that you enjoy?

Helen: Yeah, liking songs, making playlists, saving albums, letting it know, like, what artists you like, and then it will start recommending things that it thinks you’ll like and those things will be more accurate.

Caroline: Cool.

Helen: We got so many amazing podcast recommendations as well. Of course, we both love listening to podcasts, and I really enjoy podcasts while I sew. I find it’s the perfect thing for sewing because as we were talking about before, TV shows are a little hard to keep your eyes on. Music can sometimes get distracting.

But there’s something about just people’s voices, especially when you’re really familiar with them. You know the cadence of their voice, you feel like they’re your friends. There’s that, like, parasocial relationship happening. It makes it feel like you’ve got company in your sewing room. So I’m a huge fan of a podcast while I sew. How about you, Caroline?

Caroline: Oh, same here. I am always listening to podcasts. I can never have too many podcasts. Love bingeing a podcast. Love going back to a podcast that I know I love. I often listen while I sew, but I also listen while I drive. I commute to work about 30 minutes each way every day, so that’s a great time to catch up on podcasts. While I cook, while I clean, literally anything.

Helen: Yeah, I know, I think I listen to like a few hours of podcasts a day, which sounds like a lot, but there’s so many out there that you can really fill that time.

Caroline: Yeah, and I just love a day when there’s, like, a lot of new episodes from creators that I like, so I can just be, like, add to queue, add to queue, add to queue, and, like, there’s something really comforting about knowing that you have, like, a little queue of new episodes to listen to in a day. I love it. So we both love Maintenance Phase; Too Scary, Didn’t Watch; Small Town Dicks; Sounds Like a Cult; and Love to See It. These are all great podcasts. And by the way…

Helen: Never miss an episode.

Caroline: …we talk about our favourites in our bonus episode every month. And a lot of these podcasts that we mentioned we’ve like either talked about on the show, recommended to each other. I don’t know. I feel like a lot of good recommendations happen there for podcasts, so…

Helen: Definitely.

Caroline: Okay. Helen, what are your go-to podcasts these days?

Helen: Okay, these are the ones that I never miss an episode from. Tooth and Claw, which is about animal survival stories. Real Survival Stories, which is also about survival stories.

Caroline: Sensing a theme here.

Helen: Off Menu is a great podcast. A couple of comedians interview somebody about their dream menu. You’re Wrong About with Sarah Marshall. Obviously, amazing show. I know a lot of people are a big fan of that one. If Books Could Kill is another one of Michael Hobbs shows. He also co-hosts Maintenance Phase. It’s great. And My Dad Wrote a Porno, which is no longer running. They’ve been doing some episodes recently that are like best of’s, but they’re not doing the full show anymore. But one of my favourite podcasts of all time, and I will just go back and relisten to random episodes because it just cracks me up. It’s so funny I also really enjoy any true crime stories like Missing Richard Simmons, The Dropout, Dr. Death, Heaven’s Gate, Someone Knows Something, S-town, Serial. I mean I could go on, Caroline.

Caroline: There’s so many. There’s been so many over the years, and they’re all, kind of, like, short or most of them are, like, short-lived, right? It’s, like, a season and then it’s done because it’s on a specific story. So yeah, man, I listened to a lot of true crime podcasts over the years.

Helen: Yes, true.

Caroline: So for me the ones that I never miss Solicited Advice. This one’s a new one. I think there’s only, like, four episodes, but it’s the new Alison Roman podcast. I’m really enjoying it. Camp Counselors podcast. It’s hosted by Zachariah and Jonathan. They are a couple, and they’re also pretty popular TikTok creators that I find super hilarious, especially Zachariah. He just kills me with his videos. So this podcast is the two of them, and it’s just really funny.

A Date with Dateline. Y’all probably know I love Dateline, and this is Kimberly and Katie recapping Dateline episodes basically. It’s so funny, like, so, so funny. So I never miss that one. Unsolved Mysteries. If you’ve ever watched Unsolved Mysteries the show, it was rebooted on Netflix. It’s really good, and there’s also a podcast that I’ve really enjoyed. I think they’re finished making episodes now, but there’s quite a few in the back catalogue.

Stuff You Should Know is a classic. They have hundreds and hundreds of episodes, and that one is one that I find just, like, really soothing. Their voices are really soothing. They’re always talking about interesting topics. And there’s new episodes, like, every few days. So it’s always something to catch up on. And then Science Versus is another one. I think it’s hosted by Wendy Zuckerman, and it is really fascinating. They cover a lot of different science-y topics, and it’s really well-researched. So I’ve enjoyed listening to most of those episodes as well.

Helen: There’s just so many good ones, Caroline.

Caroline: I know!

Helen: While you were talking, I was thinking of, like, all these other shows. We can’t list them all.

Caroline: I know. We didn’t even describe the first ones that I talked about. Should we do that? Because I feel like these are, like, the best ones. We both love them.

Helen: That’s true.

Caroline: Okay.

Helen: I mean, Maintenance Phase is a must-listen. It’s all about how obsessed our culture is with fat phobia and how a lot of the stuff that we know about health and wellness is just wrong.

Caroline: Yeah.

Helen: It’s very informative. It’s really interesting. It’s mind-blowing and the hosts are lovely, so highly recommend.

Caroline: Yeah, I love that one. Too Scary, Didn’t Watch is one that you put me on Helen, and I feel like I was in my Too Scary, Didn’t Watch era up until recently because I went back and listened to all of their back episodes, and then I subscribed to their Patreon and listened to all of their bonus episodes.

I cannot get enough of the three hosts. It’s Emily, Henley, and Sammy, and they’re friends, and I feel like this podcast, they’re recapping horror movies, which is already funny, but it’s really about their friendship, too. Like, something about the chemistry between those three women is just, I can’t get enough of it. It’s so good.

Helen: Yeah, it is so good. I know I’m right there with you. I’m absolutely obsessed with that show. Small Town Dicks, also great chemistry on that show. There’s four hosts, which is a lot of hosts.

Caroline: Yeah.

Helen: Um, but they really pull it off. One of them is Yardley Smith, who does the voice of Lisa on The Simpsons.

Caroline: Yeah.

Helen: So if you’re a Simpsons fan, you might enjoy this podcast. It’s about detectives from small towns, and they share their stories investigating crimes. And it’s from their perspective as the investigator, which is really interesting. And I think for a true crime podcast, it does a really good job being very respectful of the stories, which I appreciate…

Caroline: Yeah.

Helen: …and the people that were involved in the stories. So I’ve always really liked that show.

Caroline: Mm-hmm.

Helen: Lastly, Love to See It. Caroline and I are both proud, very proud fans of the Bachelor franchise.

Caroline: Oh, yeah.

Helen: I…

Caroline: Oh, my gosh.

Helen: …can’t even say that with a straight face.

Caroline: What do you mean? I’m proud.

Helen: I, like, hate to be proud, you know? Like, I’m like, I love the Bachelor. I watch every episode, every spinoff, whatever, but there’s so many things I hate about it. But I just can’t stop, and anyways, this podcast really walks that line perfectly for me because they’re also in that, kind of, boat where they love the show, but they wish that there were different things about it.

Caroline: Yeah, they’re feminists. They point out the cringe and the things that are wrong with it.

Helen: Yeah, and all the ways that it could be improved and they just look at it through a lens of, like, this is one of the most popular shows on television in our culture today. Let’s look at it and really dissect what kind of messages it’s sending us about the way that we should be falling in love and forming relationships and all that kind of stuff. So I think it’s really interesting.

Caroline: Yeah, and they also do recaps of other reality dating shows like, Love is Blind or The Ultimatum or Temptation Island. Like, there’s so many that they’ve done. So lots of good back catalogue there. And, again, the hosts are great, so love it.

Helen: Okay, we also want to share some podcasts that our listeners recommended. Ariel wrote, “My favourite thing to listen to as I sew is horror movie review podcasts because I’m too much of a baby to watch horror movies. It has the added bonus of making me associate my clothes with the movies I listened to as I made them.”

Caroline: Oh, that’s interesting.

Helen: Yeah, that’s funny. I love that you can look at some of your shirts and think, oh, Nightmare on Elm Street 2: Freddy’s Revenge.

Caroline: Oh, my gosh.

Helen: Um, we already mentioned Too Scary, Didn’t Watch. It’s a great horror movie recap, but I wanted to plug one of Sam’s favourite shows. Like, he’s a super fan of this podcast series called With Gourley and Rust, where Matt Gourley and Paul Rust recap horror movies, and they’ve been doing this for many, many, many years, so there’s tons of content there, and it’s his favourite podcast.

Caroline: Oh, cool. Speaking of horrors, a bunch of you recommended true crime podcasts. In fact, Stevie wrote, “If this isn’t 50% true crime recs then I don’t know the sewing community like I thought I did.” Here are a few that came up, so: Casefile, A Date with Dateline, Cold, We Saw the Devil, and The Prosecutors. Okay, some of these I have not heard, so…

Helen: Same.

Caroline: …I’m going to have to go subscribe.

Helen: So exciting. Our listeners also recommended cooking podcasts Milk Street Radio and Home Cooking. I’ve definitely had Home Cooking on my list for a while because of our patron Madhu, who has recommended it twice. And the hosts are Samin Nosrat, who wrote Salt, Fat, Acid, Heat, and Hrishikesh Hirway, an accomplished podcaster and musician, and they’re not updating the show anymore, but apparently it’s a great show. And yes, we are going to listen. I promise.

Caroline: Yes, I actually just hit subscribe when I was reviewing this episode prep because I was like, dang, I gotta subscribe to that one. It sounds so good.

Helen: I know. I love a cooking podcast.

Caroline: Me, too. There’s, I don’t even think we mentioned, what’s that Bon Appétit one? Dinner SOS is a good one. Borderline Salty is another good one.

Helen: There’s also The Sporkful podcast, which is an interview style podcast where the hosts get to know the guests through their food related experiences and stories. So it’s not like cooking necessarily, although cooking is discussed, but it can encompass lots of different kinds of food stories. So I think that one’s really interesting.

Caroline: Cool. Okay, let’s move on to your TV and movie recommendations. Jen said she likes “easy-to-watch frivolity like Bridgerton and Selling Sunset, and listening to audiobooks of romcom books I’ve read already. Then if my mind needs to focus on sewing and I miss part of the book, I still know what’s happening!”

Helen: Yes, totally agree with this. Sewing time is perfect for re-watching. Caroline, I have not seen Selling Sunset.

Caroline: What? Wait.

Helen: It’s on my… I know, it’s on my list. I should do it, right?

Caroline: How did I not know that you have not watched Selling Sunset? Helen!

Helen: I know, and I see the characters pop up in, like, other shows, but I haven’t dived in yet. It’s, like, an uncharted territory for me.

Caroline: Oh, it’s so good and it is perfect for watching while you sew.

Helen: Okay.

Caroline: You have to.

Helen: Okay. I will. Uh, in a similar vein, Robin recommended Hallmark Movies, saying, “I don’t have to constantly look at it to know what’s going on.” It’s true.

Caroline: Yeah. Hallmark movies, they’re a little on the nose, you know? Birdie wrote, “Great British Bake Off. It doesn’t matter if I’m not concentrating too much, and the visual snacks keep me happy.”

Helen: Yeah, that’s a very comforting combo. Also, I want to give a shout out to the Canadian Bake Off because it’s really cute too.

Caroline: I know! And, like, the first, is it the first, or first and second, season is hosted or co-hosted by Dan Levy, who I love.

Helen: Yeah.

Caroline: Oh, my gosh. So good.

Helen: It’s great.

Caroline: Ooh. That just made me think of Schitt’s Creek. That’s another great show. Oh, my gosh.

Helen: Oh, totally worth rewatching. Yes! Stephanie wrote, “A vote here for comedy. I watch Mystery Science Theater 3000 and Rifftrax on a continuous loop. The movies are goofy, the riffing is fun, and I’ve seen most of them so many times that it doesn’t matter if the machine gets too loud to hear anything.”

Caroline: Leslie wrote, “I always watch the West Wing when I sew. 7 season,s and then start again.”

Helen: Leslie, do you have the West Wing memorised? No, I could totally see how watching your fave show every time you sew would be nice. I do this with the Gilmore Girls, so I get it.

Caroline: Yeah, we also had listeners recommend Star Wars movies, Gilmore Girls, and Golden Girls. I bet it’s a similar rewatch your favourites kind of thing.

Helen: Definitely. Our listeners also recommended a lot of TV shows with great costumes like Miss Fisher’s Murder Mysteries, The Marvelous Mrs. Maisel, Downton Abbey, and PBS Masterpiece Shows. I can totally see why these appeal to garment sewists.

Caroline: Helen, I know you’ve been watching a lot of Gilmore Girls lately, which, I mean, I need to get on that because I do love the Gilmore Girls. But what other shows are you watching while you’re sewing?

Helen: I often do podcasts. TV is, like, less common for me in my sewing room, but I do love watching old sitcoms like Seinfeld and Friends because I’ve seen them so many times that, yeah, like we’ve been saying, you just don’t have to pay attention.

Caroline: Mm-hmm.

Helen: How about you?

Caroline: Sex in the City is a big one. I’ve seen that show, oh, my gosh, I can’t even count how many times I’ve rewatched that show. Basically know it by heart by now, and it still is so good every time. Should come as no surprise.

Dateline is also a great one to watch. The episodes are free to watch online and, or most of them are. And yeah, it’s just, it’s great background, but also just really fun to watch. Any crime, true crime documentary type show, anything that comes up, I love putting that on, on the background. There’s also a show called Heartstopper that I was watching while sewing, my wedding dress that I really enjoyed. And then any other kind of trashy TV, Selling Sunset, Below Deck is another great one if you’ve never watched Below Deck. Love it.

Helen: I have not seen that one either. Oh, my gosh. I just, like, I always go for the dating ones, like, any reality dating show. I’m there. If it’s on an island, you know, all the islands.

Caroline: Yeah.

Helen: And then they start making them in every country around the world. It’s just endless.

Caroline: Yeha. It really is.

Helen: We also have some audiobook recommendations from our listeners. Tash recommended Terry Pratchett’s Discworld books. There’s over 40 of them, so you have a lot of options. And our assistant Lisa loves the Discworld Witches books. It’s a series-within-a-series about a group of lovable, hilarious, rural witches. That sounds amazing.

Caroline: @o_shocknasty wrote, “I listened to all of the Phoebe Reads a Mystery books during lockdown as I attempted to sew. Her voice is magic, and the books are very particular – they require slowness.”

Helen: Ooh, this is a really interesting pick. In it, Phoebe, who’s the creator and host of The Criminal Podcast, narrates classic mysteries. It looks like so far she’s done The Picture of Dorian Gray by Oscar Wilde, The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson, and The Valley of Fear by Arthur Conan Doyle. Very cool. I love Phoebe’s voice. Like, she would be the perfect narrator.

Caroline: Yeah. Kathy wrote, “I enjoyed Olive Kitteridge and Olive Again by Elizabeth Strout, but I can’t always concentrate on the book – so I might listen to the Outlander series by Diana Gabaldon because I’ve already read the books and the narrator is so good.”

Helen: Ooh, I haven’t thought about re-listening to favorite audiobooks while I sew, but it makes so much sense. I also really enjoyed both the Olive Kitteridge books. And Outlander is a great TV show, I think, to watch as well would be a good one.

Caroline: I haven’t watched the recent seasons, but I did really enjoy the first few seasons of Outlander.

Helen: It’s great. Dawn wrote, “Hi! I love to listen to audiobooks by Kerry Greenwood – the Phryne Fisher series has 20-odd mysteries set in the 1920s. They’re just the right amount of racy and the outfit descriptions are divine. Phryne is a very well dressed woman.”

Caroline: There’s Miss Fisher again. I’m intrigued about the “just the right amount of racy” part. Ooh, la, la.

Helen: Yeah, I just made that connection of Miss Fisher. I was saying her name wrong. It’s Phryne, right? There’s an E on the end.

Caroline: Oh, yeah. It’s true. Phryne. Phryne Fisher.

Helen: My bad. Some of our listeners recommended getting on Hoopla and Libby. These are apps where you can listen to audiobooks you borrow from your local library. So amazing that you could listen for free rather than doing something like Audible.

Caroline: Yeah, you know what? Audiobooks are tough for me. I want to love them, and I’ve definitely attempted to get into audiobooks, but I really struggle to stay engaged, and I end up, like, missing major parts or, like, totally zoning out, and then I realise that, like, I haven’t been listening for 10 minutes.

Helen: Yes.

Caroline: So it’s tough to do while sewing for me.

Helen: Yeah, I couldn’t agree more. I’ve really struggled to stay on top of audiobooks. Also, podcasts where there’s a lot of information being given, I struggle to, like, retain and actually pay attention. But one audiobook series that I do listen to is Harry Potter because I’ve read those books so many times. So it’s one of those, like, re-listening slash re-reading things, and it’s very enjoyable.

Caroline: Mm-hmm. Yeah that would be a good one. Like, listening to a book that you’ve already read many times makes so much sense.

Helen: Yeah.

Caroline: We also had a few recommendations for media that were difficult to categorise. Chris D recommended D&D live play! For the uninitiated, D&D stands for Dungeons and Dragons. It’s a fantasy role playing game. It can be super entertaining to watch or listen to, especially with talented players! Critical Role and Dimension 20 are both popular options.

Helen: Ooh, yes. This is going to be so much fun. Some of you love to watch sports while you sew. @happyskrappy wrote, “Baseball, college basketball, tennis, football…I craft to it all!” And Filita wrote, “Test match cricket – uninterrupted sewing for 5 days. Or motorsport for the same reason.”

Helen: Ooh. Endless possibilities if you’re into sports and sewing.

Caroline: Does American Ninja Warrior count as sports?

Helen: I don’t know. I mean, they’re athletes, so sure.

Caroline: They are. Okay, we also got this response. Hanna wrote, “Nothing. I need to think when I sew.”

Helen: I have moments like this, too, and I’m sure you’re not the only one, Hanna. You do you. Silence is golden. We love you.

Caroline: As sewing media makers, we love it when media and sewing come together. So I hope that now you have a long list of things to listen to and to watch while we’re on our break. We’re going to miss you guys.

Helen: Yeah. Have a great few months. And if you think of anything that you think we might enjoy, hit us up. We definitely want to hear about it.

Caroline: Yeah, we do.

Helen: That’s it for today’s episode of Love to Sew! You can find me, Helen, at Helen’s Closet Patterns and Cedar Quilt Co., Caroline at Blackbird Fabrics and BF Patterns. And we’re recording in beautiful British Columbia, Canada.

Caroline: You can support Love to Sew and get access to bonus content by subscribing on Patreon or Apple Podcasts. You even get access to the back catalogue of bonus episodes that’s over 75 hours of Love to Sew. That’ll get you through the break, if I do say so myself. So go to patreon.com/LoveToSew or check out our podcast page on Apple Podcasts for more info. And thank you so much to all of our supporters on Patreon and Apple Podcasts. We appreciate you all so much.

Helen: Yes. Thank you. Thank you. Thank you. You can head to LoveToSewPodcast.com to find our show notes. They’re filled with links and pictures from this episode. You know you want those links. And if you’d like to get in touch with us, you can leave us a message at 1-844-SEW-WHAT. That’s 1-844-739-9428 or send us an email at [email protected].

Caroline: You know what would get me through this break Helen is a lot of voicemails from our listeners.

Helen: Yes! Call in. Tell us what kind of episodes you want us to do next season. Ask us your sewing questions. Come on.

Caroline: Okay. And thank you to our amazing podcast team. Lisa Ruiz is our creative assistant. Jordan Moore of the PodCabin is our editor. And Margaret Wakelee is our transcriber. And thank you all for listening. We’re going to talk to you in March 2024, or sooner if you’re a subscriber.

Helen: Buh-bye.

Caroline: Buh-buh–buh-bias tape.

Podcast: Play in new window | Download | Embed

" onclick="javascript: this.select();" onfocus="javascript: this.select();" style="width: 70%;" readOnly>

Today we’re diving deep into bag making! We talk about the best fabrics to use, how to give your bags structure, and how to make a bag that’s both functional and stylish. We also demystify bag hardware and share some great indie bag patterns! Plus, we answer listener questions about making IRL sewing friends and picking up tiny threads after seam ripping.

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

Show Notes: 

From the Listener Questions Section:

Previous Episodes Mentioned:

Resources:

Patterns:

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

Tools and Materials:

Sources for Bag-Making Supplies:

Bag Pattern Companies We Love:

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

Helen: And I’m Helen, the designer behind Helen’s Closet Patterns and Cedar Quilt Co.

Caroline: We’re two sewing buds who love to sew, and it’s basically all we know how to talk about.

Helen: Today we’re diving deep into bag making. We’re talking about the best fabrics to use, how to give your bags structure, how to make a bag that’s both functional and stylish. Plus, we demystify bag hardware and share some great indie bag patterns.

Caroline: If you love to sew… bags… then, this is your show!

Hi, Helen.

Helen: Hi, Caroline.

Caroline: How are you?

Helen: I’m doing well, thanks. How are you?

Caroline: I’m good. I’m good. I’m excited to talk about bags today.

Helen: Oh. Me, too. I have really been on a bag sewing kick lately, and I feel like the community is on board because I’ve been seeing quite a few bags popping up, bag sewing happening. I mean, I know there’s a lot of diehard bag sewers out there, too, that just love to sew bags, and I’m beginning to understand why. It’s a lot of fun.

Caroline: It’s a lot of fun, and it’s one of those things actually that gets a lot of wear for me personally. I wear a bag every day to work, and it’s great. And when you have a handmade bag, it feels amazing because often I don’t have handmade bags, so now that I do, I wear them with pride.

Helen: Right? You can really complete your head to toe handmade look with accessories, and you can make bags in literally any style. There’s so many different ways to approach this to get the look that you want, so if you’re picturing a certain kind of handmade bag look, you might be surprised at what you can achieve adding some hardware, some different materials, and just choosing a pattern that really suits your needs.

Caroline: Absolutely. There are so many options out there, and I feel like there’s a misconception that handmade bags don’t look necessarily like store bought bags, but I don’t think that’s true. You can really achieve a store bought look sewing your bag at home.

Helen: Totally. And you don’t have, like, someone else’s logo on you, which is great.

Caroline: Exactly. You can add a little cute label and make it your own, and it’s so cute. I love bags.

Helen: Okay. Let’s start this episode off with a couple of listener questions before we get to the bag sewing. This first one is from Archana: “I have some FOMO over wanting my own group of sewing besties, and I’m curious to know additional tips on finding local sewing people! I found some local shops where I’m thinking of taking classes to meet people, and I haven’t had much luck with Instagram hashtags. Do you have any other thoughts?”

Caroline: Ooh, okay. Hello. This is a great question. I think this is a situation that a lot of sewists are in, and we do have a couple of episodes about the ways you can use social media to meet online friends. So episode five, we’re reaching into the vault with that one, it’s called How to Sewcialize, S-E-W Sewcialize, and episode 79 is Sewcializing 2.0. But it’s so true that having in person sewing friends really bumps things up a notch, so we do have some ideas for meeting people in person.

Helen: First of all, I would like to recommend finding out if any of your current friends or family members are interested in sewing, and if they are, you can have some sewing days where maybe you teach them or you learn together doing projects, and they just might get hooked like you. This happened to our former guest, Simone Nelson, of Intensely Distracted with her sister. Love seeing her sister’s makes.

And also to me, with several members of my family, my cousin’s wife, my mother-in-law. My own mom has gotten back into sewing in a big way. And it’s been so fun to see everyone’s journeys. And you’d be surprised a lot of people really wish they could sew, and if you give them the opportunity, they might just take you up on that.

Caroline: I feel like your love of sewing is infectious, Helen, because people around you pick up sewing like I’ve never seen before.

Helen: Spreading like a disease.

Caroline: Classes are also a great idea because you’re going to be in the same space with the same sewing-interested people. So don’t be afraid to ask for their phone numbers or social media handles or extend the fun and go out for drinks after class. You’ll bond over sewing. Yeah, totally.

Helen: Yes, it’s so true. I recommend taking a multi-day class or, like, maybe once a week on Thursday nights kind of class so that you have multiple days with those people. You start to form a stronger bond. If you just do a short little class sometimes it doesn’t quite stick so you need to, like, you know, get in people’s face over and over again.

Caroline: Totally.

Helen: Meetup is a great resource. Our assistant Lisa has met sewing friends through a Meetup stitching group that’s mostly geared towards knitting and crochet. There’s a lot of crossover with crafty people So if you go to things like knit nights, crochet nights, that kind of stuff, you’re likely to meet other fibre arts enthusiasts and that does include sewers.

Caroline: Yes. A couple of the most popular online sewing communities are the sewing subreddit and the pattern review forums. There are also a lot of sewing groups on Facebook. I know Curvy Sewing Collective has a very active one. Online communities are a good way to interact with other sewists, but it’s less likely to net you an in-person friend unless you’re intentional about it. You can make a post asking if there are any sewists in your area and meet people that way. Of course, use caution when meeting people this way. Meet up in a public area, and don’t give out personal information unless you get to know someone.

Helen: Yeah, when I met Caroline, I made sure it was in a coffee shop just in case she was a murderer.

Caroline: Yeah, totally. And somehow I still met up with you even though you told me that you had a dream about me, so… I don’t really know what we were thinking there.

Helen: It was still early days, you know, social media was just a baby. You can check out your local fabric shop’s event schedules. Small businesses especially tend to have some great meetups and classes, open sew nights, things like that. Make sure to google whether there’s a Frocktails near you or in a nearby city that you could go to. New York recently had one, and all the Instagram photos were making me so jealous. Caroline, we have to go to New York Frocktails.

Caroline: Okay, Helen, you don’t even know. When I was watching all those pictures come in and people travelling to New York to go to Frocktails, I was like, why am I not there? I want to be there. We got to do it. I love New York so much and going to New York for Frocktails would be, like, next level ultimate goals.

Helen: It would be amazing. And just any Frocktails really is an incredible experience. I’ve only had the pleasure once, but it was such a night to remember. It was so much fun. And I know you mentioned that you’re struggling to meet people online, and it is challenging to really build those connections.

Like, you know, you like each other’s photos, you leave comments, but everything gets lost in the shuffle, and it’s hard to keep track of who’s who and really make those stronger connections, potentially take them to an in-person or Zoom hangout level. But we did meet each other on Instagram, so it can be done.

And when you’re about to follow a sewing account on Instagram, maybe check their profile to see, see if they list their location, if they’re in your area, shoot them a personal message to see if they’d be open to meeting up or just to introduce yourself and say, hey, we’re in the same area. Just started following you. I really love what you’re working on. The worst that can happen is that, you know, they don’t respond or they’re not interested in meeting up. And the best that can happen is that you have a new sewing buddy and maybe a podcast partner and friend for life.

Caroline: Yeah. You might get lucky.

Helen: We did start those, um, city hashtags.

Caroline: Yeah.

Helen: Well, I don’t know if we started them, but we were encouraging people to use them on the early days of the podcast. So if you live in a more major city, you could try #VancouverSews or #DenverSews. Those kinds of hashtags do help you to meet people in your area and find local sewing groups.

Caroline: Yeah, absolutely. Give it a shot. Let us know how it goes. Okay, our next question is from Kristie: “Every time I make a mistake and have to unpick seams, when sitting there picking each individual thread from the fabric by hand, I always wonder if there’s a better way to remove the little short threads. Do you have any tips on how this can be done better and quicker? Is there a tool to help with removing the threads more efficiently?”

Helen: Hi, Kristie! I do know a great hack for this. You can use a lint roller or some low tack tape, like painter’s tape or masking tape, to remove those threads. It’s a lot faster than picking them out by hand. I’ve also seen little silicone , like, thread erasers, I think they’re called, that you rub over the seam to, kind of, pull out all the threads and gather them together. Those work pretty well, but tape is cheaper, and you have it already.

Caroline: This made me think of the other day, when I was speed sewing my Halloween costume and doing a million gathers and then having to pull out the long gathering stitches, and I had so many tiny pieces of thread on my floor after that project. And then I just, like, walked out of there like, oh, I’m done, not realising that I was tracking so many tiny threads through my house. And I woke up the next morning and I was like, what have I done? There’s little pieces of thread everywhere. I don’t know if anyone else can relate to that, but I find after I get done a sewing project, I find threads everywhere. All over the place.

Helen: Oh, yeah. All over the place. They’re always on my clothes. They’re always on Sam’s clothes or in my hair. It’s, yeah, it’s a lifestyle.

Caroline: Alright, it’s time to get to the show, and we’re going to be talking about bags today. For a lot of us, every outfit involves a bag. They’re accessories, but they’re also necessities. How else are you going to sneak candy into the movie theatre? I don’t know. I have some ideas. There… pockets are great for that, too, but I think bags, bags are probably more convenient.

Helen: The number of times I’ve, like, snuck my full water bottle, just with water in it, because you know, like, you go to events, and they’re like, you can’t bring in your own water. You have to, like, bring an empty bottle and then fill it up. Like, I don’t want to do that just, like, shoving it up my shirt and being like, I dare you to ask me what’s under here. I dare you.

Caroline: Wait, Helen, what’s the, like, craziest food item that you’ve brought into a movie theatre?

Helen: Ooh. I can’t think of one for me personally, but I went to a movie with some friends recently, and one of my friends brought grapes. And we had all brought snacks, and we were, like, passing them up and down our row. And then when, like, the Tupperware container full of grapes got to me, I was like, what? Who brings grapes to a movie theatre? But it was so nice.

Caroline: Yeah. No, a nice, like, refreshing crunch of a grape. I could see that. A little relief from all the popcorn.

Helen: It’s pretty clean. It doesn’t, like…

Caroline: Pretty clean. Yeah.

Helen: …get on your fingers.

Caroline: Oh, my gosh. When I was, I want to say I was a teenager at this point, in Montréal, would go to this movie theatre that was right next to this amazing Greek restaurant. And one time I brought in, like, an entire Greek chicken souvlaki pita and, like, French fries.

Helen: Oh, my gosh!

Caroline: And, like, you know, Greek food is, like, quite fragrant. Yeah, you can smell the garlic and the yogurt and the, like, the roasted meats and stuff.

Helen: Yeah, that is, like, a bit rude.

Caroline: You better believe the whole theatre smelled like souvlaki, and I was super embarrassed, but it was delicious.

Helen: Oh, my gosh.

Caroline: Don’t actually know how I managed to get into the theatre with that because it was quite a bulky package but you know, probably had a great bag.

Helen: In my experience, the, like, 15 year olds working at the movie theatre do not care what you’re taking into the movie theatre. I go through a lot of lengths to hide things, and they never seem…

Caroline: Yeah.

Helen: …to care at all.

Caroline: It’s true.

Helen: Okay, let’s get back to bags. You want a good bag to be functional and stylish. So functional meaning that it works for your needs. A clutch isn’t going to be functional if you’re running errands with an eight month old baby, and a canvas tote isn’t going to be functional for a formal event. So obviously, when you’re thinking about what bag to make, you want to think about what you want it for, what you want it to hold, and how you plan to wear it.

Caroline: Stylish meaning it goes with your personal style. So think about the colours and styles you already have in your closet and what would go with them. The most versatile bag is probably sturdy in a neutral colour, but statement bags are so much fun. Who knows? If you get into bag making, you can make a different bag for every outfit and occasion.

Helen: I love having variety in my bag so I can match them with my outfits. It’s so much fun.

Caroline: Oh, me too! I have a cream coloured Bestie Bag, and then I also have, like, a faux leather black one. So those two work really hard, but then I also have a fun statement checkerboard block print one that I actually love and reach for a lot because the colours in the checkerboard match a lot of the clothes that I wear. They’re, kind of, like, autumnal pinky brown colours, and I just love a bag that is gonna, like, add some interest to an outfit.

Helen: Yeah, totally. I think a lot of sewists are a bit intimidated by bags. They sometimes require special hardware, thick interfacing that you’ve never used in your life, and unusual fabrics. And we do have a few things to say about that.

First of all, not all bags are tricky. There are totally beginner level bags that look amazing. And if you’re not ready to tackle something that’s super structured, there are bag styles out there that are more loosey goosey that are totally going to work for you.

Caroline: Second of all, it’s not as scary as it sounds. With a few tips and a couple tools under your belt, you can make a gorgeous bag. And we have all of that information for you today.

Helen: Yes, and last but certainly not least, bag making is a great way to flex your sewing muscles and take a break from sewing garments. There is little to no sizing and fitting, the pieces are small and manageable, and the construction offers new and exciting techniques that are really gonna push the boundaries of your sewing practice.

Caroline: Yeah, so we hope that after you finish listening today, you feel ready to try something new. Or if you’re a seasoned bag sewist, I hope you take away a few tips for your next project.

Helen: Before we start sharing all the info, maybe let’s talk a bit about our own bag sewing journey. I have released a few bags over the years under the Helen’s Closet label. The very first pattern that we did was a little book bag with a front flap. It’s called the Granger Bag. It’s no longer available in our shop.

So if you have that pattern, it’s, like, a little Helen’s Closet sewing gem that only exists. It’s on a few people’s computers. I’ve thought about re-releasing it because it is a good pattern. It just didn’t fit the vibe, like, where I was going with the pattern line, so we discontinued it, but I had a lot of fun designing that pattern, and it was a good way to get started on my pattern development journey.

And then we have the Costa Tote, which was designed by my former employee, Chloe. Shout out to Chloe. Really cute little book bag, tote bag, kind of, thing with, uh, exterior pockets all around and holds tons of stuff, so that’s a really great one for beginners.

And I’ve recently started developing a new bag pattern for the Helen’s Closet collection. I’ve been teasing it quite a bit. So you may have seen it out there. It’s a circular bag with a quilted star on the front. A bit of a crossover between my garment sewing loves and my quilting loves coming together to create this bag baby. So I’m very excited to share that. It’s going to be available quite soon. Probably not when this episode comes out, but keep your eyes peeled because it is coming your way.

Caroline: Ooh, it’s so cute. I love that there is, like, infinite scrap busting ability with this bag.

Helen: Totally.

Caroline: You can piece together scraps on the front, and it’s, like, a nice small size that you could even use scraps for probably the whole bag, right?

Helen: Yeah, that’s definitely the intention. We’re doing yardage requirements as well for people who want to get supplies, but it’s definitely designed with scraps in mind, and also a great project if you’re curious about quilting, quilting curious.

Caroline: Quilt curious. Yeah. Yeah. I am. I am.

Helen: Caroline, how about you? I know you’re into bags in a big way these days.

Caroline: Ooh, okay. Yeah. So my bag journey, I mean, honestly, before we designed a bag at BF patterns, I had not sewn that many bags, just, like, totes and really simple stuff. But then we had the idea for the Bestie Bag, and then, we dove deep into bag making, and I am honestly so in love with the kind of craft of bag making. It feels different enough from regular sewing that it gives you a break from the garment of it all, like we already mentioned, and it’s also just, like, really, really satisfying. Small pieces, comes together fairly quickly. So, yeah, I just, I’m just selling bag making again, but I love it.

So yes, I’ve made many Bestie Bags. Our Bestie Bag is, like, a crossbody, sort of, banana-shaped bag with a few different strap options and a couple size options. And we’re also getting ready to release a little expansion pack for this pattern. As soon as it was released, we had some requests for a smaller size, which we totally agreed with. We actually wanted to add a smaller size, but we just didn’t have enough time, and we wanted to release the pattern.

So we’re gonna add on this little expansion, and we’re calling it the Baby Bestie, and it’s very cute. It’s, kind of, like, a little satchel, like, fanny pack size bag, but it’s in that same style as the Bestie. So it’s, like, a crossbody, kind of, banana-shape and it’s so cute and small. It’s just big enough to fit, like, your keys, your cards, maybe a little reusable Baggu, your cell phone, but not much more. It’s really, like, a grab and go situation. Love it.

Helen: Cute. I can’t wait. It sounds adorable. I have had the Bestie Bag on my list, of course, since it has been released. And I do think that pattern is just so handy, especially the large size. You can fit so much stuff in there. Like, that’s the bag you want when you need your laptop and your sweater and your water bottle and your extra pair of sandals and, you know, like, you could just fill it, and it’s just, like, got everything you need, and you throw it over your shoulder, you’re good to go.

Caroline: And confirmed that a cat fits in it because we’ve had some customers try that out. And so if you’re wondering, you can put your cat in your Bestie Bag.

Helen: Oh, that’s cute. It does, kind of, have, like, a baby carrier shape. Like, don’t put your baby in there, but…

Caroline: No, don’t put your baby in there. Only your fur baby.

Helen: Yeah. Okay, let’s kick things off talking about materials since shopping for them is one of your very first steps. So, how do you choose the main fabric for your bag? I think this depends a lot on the pattern or the application, but we have some tips for you.

Caroline: Yeah, so most bags call for a heavier weight main fabric. Structure helps the bag hold its shape even when it’s holding a bunch of stuff. So first up canvas and bull denim. These are both really nice options. They have good structure, and they’re washable.

Helen: Also, waxed canvas has water resistance and even more structure than regular canvas. You can’t wash it, but you can wipe it down, and it has that rustic creased look. I think waxed canvas bags are quite popular these days in ready to wear. So if you’re looking for a modern look for your bag, this is a great option.

Caroline: Mm-hmm. I love the way wax canvas wears, and then, you can always add more wax to, sort of, refinish it again if, if the wax rubs off a lot over time, so it’s a pretty durable fabric that would work really well. Leather and faux leather are super common in ready to wear bags. Most faux leather can be sewn on a home sewing machine. Some softer leathers can be, but leather working is usually a separate hobby using specialised sewing machines or hand tools. We have a bunch of info about it in Episode 175 Leatherwork with Treasure from Nikki and Mallory. And if you want to use leather for a project that’s not designed specifically for leather and you want to use your machine at home, use leather that’s three ounces or less in weight.

Helen: Yeah, you want to make sure you can actually get it through your machine. If you’re looking at faux leather, it’s usually made of polyurethane, that’s PU, or polyvinyl chloride, PVC, that is bonded to a backing fabric. It comes in different weights, and some faux leathers have some stretch to them. They usually have a vinyl layer on the right side and a fabric layer on the wrong side. Sometimes there’s a padding layer. Sometimes the fabric layer is a different colour. Sometimes it blends with the main fabric to look more like leather.

This can affect whether or not you’re going to leave those edges raw. Faux leather doesn’t fray, but it can look weird if the backing fabric is showing a lot. You can use leather edge paint or even some simple matching Sharpie marker to colour the raw edges. Test on a scrap first, but there’s a lot you can do with faux leather. Um, and there’s amazing faux leather out there that is pretty indistinguishable from the real deal.

Caroline: Mm-hmm. So true. And if you absolutely need to press, press on a low setting on the wrong side of the fabric, use a press cloth, and do not use steam. Steam can loosen the bond between the fabric and vinyl layers.

Helen: And vinyl can really stick to your presser foot, so if you’re having an issue with this, you could try a Teflon foot or a roller foot. You could also try putting some scotch tape on the bottom of your presser foot or laying tissue paper over top of your fabric. You can tear away the paper after you press the seam. And another option is to lower your presser foot pressure or lower your feed dogs and feed the fabric through manually. Obviously, just testing is going to be your best friend here.

Caroline: Mm-hmm. And remember that holes in vinyl are forever, so take your time. And this is true for real leather, too. Once you sew it and you unpick it, those holes will stay there forever. So slow down your machine speed if you need to really take your time, and good luck.

Helen: And there are other vinyls that are not faux leather, for example clear vinyl. And clear purses are so adorable.

Caroline: So cool.

Helen: I really love the idea of sewing a clear bag. I mean once all my junk is in there, it doesn’t look as cute but…

Caroline: I know. I was going to say I feel like a clear bag can’t be an everyday bag because I don’t think it would have the same charm if you have, like, crumpled up receipts at the bottom, you know?

Helen: It’s so true. My bag is so messy. I am one of those people that if you dumped it out, you would be absolutely horrified.

Caroline: That’s fascinating. I definitely try to keep a clean bag because it really stresses me out if I have too much stuff in my bag.

Helen: I just have a lot of, like, gum wrappers and receipts and, like, candies and, like, loose chocolates and…

Caroline: Loose chocolates. Oh, my gosh.

Helen: I know!

Caroline: Like, out of the wrapper?

Helen: And I have so many bags, and I use them all randomly. Like, one time I found an old orange in the bottom of one of my bags that I’d taken out and just forgot to put back.

Caroline: Wow.

Helen: Sorry, that was way, that was TMI. I apologise.

Caroline: No, no, it’s very interesting.

Helen: Hopefully, relatable.

Caroline: Yeah, I’m sure it is. Yeah.

Decor fabrics, the kinds that are usually used for upholstery or heavy curtains, work great for bags as well. And for those of us who don’t head into the decorator fabric section often, it can be really fun to imagine all the amazing velveteen tapestry and printed canvas bags to make. Many of these fabrics are spot clean only though, so keep that in mind and always check the label for the care directions.

Helen: Yes, great tip, but there’s so many fun fabrics, lots of like, little, metallic accents and things. Oh, I love it. Sometimes you can use lighter weight fabrics for your bag making, too. For example, the Fold-Up Market Tote by Purl Soho is intended to be a reusable shopping bag that you can fold up nice and small, and I think it would actually make a great everyday bag, kind of, tote in a nice linen or heavier weight fabric, too. Light or medium weight non-stretch fabrics would be best for bags like this. And I would avoid things like rayon because it would probably stretch out too much, and the weight of whatever the bag is holding might cause the seams to rip open. So you want to go with something that’s quite stable in this case.

Caroline: Yeah, I definitely go with, like, cotton or linen for bag fabrics for the most part, or synthetic like a, something like a nylon or, or a polyester.

Helen: Yeah.

Caroline: If you interface a lighter weight fabric, you can use it for a more structured bag, too, so definitely don’t sleep on something lighter weight if you really love it, because yeah, adding structure, which we’re going to talk about next, can really, stretch a fabric. Or I guess not stretch a fabric.

Helen: To make a fabric not stretch.

Caroline: Yeah.

Helen: There are a few ways to add structure to a bag. Interfacing is one way, and it’s great because it can add body and stability to a lighter weight fabric or just beef up something that’s not quite there. If your fabric stretches, like a stretch woven or knit, you could add iron on interfacing to make it non-stretch.

Although, make sure not to use stretch fabrics for a bag without interfacing them, because again, the weight of the stuff is just going to pull the bag, and it’s going to end up much closer to the ground than you intended and all bent out of shape.

Caroline: Yeah. By the way, we did a whole episode all about interfacing. This is episode 78. So if you’d like to go back and listen, check that out. But for interfacing a bag, you want to use a woven or bonded iron on interfacing. The type that you use is going to depend on the starting weight of your fabric and how heavy or stiff you want it to end up.

So if you have a stash of interfacing, you can test different kinds or go with what the bag designer is suggesting because they’ve probably tested a few types of interfacing. I know we definitely tested a bunch of interfacing with our Bestie Bag, and we have suggestions for the best ones that we think work best.

Helen: Yeah. It’s so true. A lot of times that, it is a process to go through all that trial and error. So there’s usually a recommended interfacing in the pattern instructions for you. For a more structured bag, you’ll want heavier interfacings than we would normally use for garments. Fusible fleece, flex foam, and stiff woven interfacing are common. Some bag patterns even combine these to create a super interfacing. Damjana from AppleGreen Cottage layers fusible fleece and woven interfacing in her Teya Crossbody pattern so that the bag has both body and stability. And one is fused to the outer layer, and one is fused to the lining layer, so that’s how they end up together.

Caroline: Oh, cool. And here’s another trick from Damjana. Sometimes if you use a stiff interfacing, the bag can show creases when you turn it right side out. So to avoid this, layer a softer, more pliable interfacing first, and then apply the stiff interfacing.

Helen: Ooh, great tip. Foam is another type of interfacing that will give your bag a lot of body. It’s also nice and springy. There are fusible and non-fusible versions. If you’re using a fusible version, cut away the seam allowance from the pieces before you sew it. The seams can get really bulky if you’re sewing the foam in there. And if you’re using sew-in foam, you can baste it by sewing a straight stitch just inside the seam allowance and then trimming away the foam close to the stitch line.

Caroline: At Blackbird we love our medium weight weft interfacing. This is something we already use for garment sewing, and we tested a lot of interfacings and really even though this one’s meant for garment sewing it worked the best especially with the fabrics that we were recommending for the bag. It adds just the right amount of body to a bottom weight fabric without making it too crisp or, like, crunchy feeling.

Another thing I noticed when we were testing interfacings is sometimes when you use certain types of interfacing. It creates almost, like, a bubble effect in the bag where it fills with air and it doesn’t, like, sit as close to the body. And I don’t know why it does that, but some interfacings do that. And we didn’t love that, so we tried to pick something that would, sort of, have, like, a more natural fall, I guess, or drape to the fabric and the bag. But if that doesn’t bother you, then there are even more options out there for you.

Helen: Yeah, or if you’re making a bag that’s meant to sit, like, a perfect rectangle or square when it’s, like, sitting on a table, then you’re definitely going to need something like foam to make it stand up.

Caroline: Yeah.

Helen: If you’re using a thicker vinyl, faux leather, or real leather, you can often skip the interfacing or, pretty much always, you skip the interfacing because you’re not going to be able to fuse it on there anyways.

Caroline: Yeah, and fusible interfacing is not the only way to add structure, so you can also use an underlining or stabiliser. This works well if you want to avoid ironing your fabric like with faux leather or suede, velvet, or corduroy.

Helen: So to do this, you’re going to cut the pattern pieces the same as your main fabric and then baste them together along the edges. You can do this by machine or by hand, and then, you just treat your pieces as if they were one single layer.

Caroline: And you can underline with a cotton muslin for light structure, but for more structure you can also use canvas or buckram. You can buy specialty stabilisers in stores, but you don’t need to. This is actually a great time to use what you have. If you have some scraps of, like, canvas or denim from a previous project, you can use them to add structure to your bag.

Helen: Oh, so smart. I always have those little bits of leftover denim from making things like jeans.

Caroline: Mm-hmm.

Helen: A cool way to add structure to your bags is to quilt your fabric. Ask me how I know. This creates a really cool puffy textured look. We’re seeing a lot of quilted bags around lately and loving them. You can even use pr- quilted fabric if you don’t want to quilt your own, but it’s such a small area typically with a bag that I say go for it and have some fun with the quilting. Try it out.

Caroline: Yeah, and if you want to quilt your own bag you have two options. You could quilt large lengths of fabric and then cut your pattern pieces out, kind of, like block quilting. Or you could precut your pattern pieces and then quilt them. If you do this just be sure to add around an extra inch of fabric all around the pieces because they’re going to shrink when you add your quilting stitches, and then, you’re going to go in afterwards and trim them to the correct size of the pattern pieces.

Helen: Yeah, this is the method that we’re using with the star purse that we’re working on because it’s just easier to do each piece individually, and then you get out your pattern pieces and you cut them down. And that way you also don’t have to worry about getting everything perfect because you’re gonna be trimming it down at the end anyway, so if things got a little wonky, no worries. You don’t have to backstitch with your quilting. It’s just a bit of an easier process that way.

Caroline: Yeah.

Helen: If your bag is lined, you don’t need a backing for your quilted pieces. You can just have two layers. You’ve got your main fabric and your batting, and then you’re quilting that. If your bag is not lined, so, for example, it’s finished with a binding on the inside or serger. You’re going to want to add a backing to your quilted pieces, so there’ll be three layers and then, yeah, you don’t actually have to sew a lining because the lining is included.

Caroline: You can use foam instead of batting if you’d like your quilted pieces to have an even higher level of structure. And you might decide to quilt some pieces and not others. I am loving the look of quilted straps on a bag. I’ve seen a few Bestie Bags like this. It’s a great way to use your main fabric for a strap but add some interest, some texture, and even some stability.

Helen: If you want to get really quilty, you could piece a quilt top, quilt it, and then use that for a bag. So it’s not just plain fabric that you’ve quilted, it’s actually got some patchwork involved. This would be an amazing way to use up scraps as well.

Caroline: Yes! Okay, it’s time for a break. We’ll be back.

Love to Sew is made possible by listeners like you. We are so grateful for the support of our amazing patrons and subscribers. If you love Love to Sew and you want to help support the pod, we have a new option for you.

Helen: You can now become a paid subscriber on Apple Podcasts. Subscribers get access to our monthly bonus episodes, and it’s so convenient. If you already use Apple Podcasts, the episodes are right there in your feed.

Caroline: So what are the bonus episodes? Well, we do a chatty catch-up on what’s been happening in our lives, share about the realities of running a small business, discuss new indie pattern releases, and talk about what we’re sewing right now.

Many of our subscribers say these fun bonus episodes are their favourite. And if you subscribe, you get access to the full back catalogue. That’s over 75 hours of Love to Sew. We also do a mini episode that deep dives into a specific topic. We get to discuss so many fun sewing techniques and answer specific subscriber questions about sewing.

Helen: And we are still on Patreon. If you subscribe over there, you can get access to the bonus episodes, behind the scenes photos, and a special 15% off discount code at our super fan patron tier. That discount applies at Helen’s Closet, Cedar Quilt Co., Blackbird Fabrics, and BF Patterns. If you shop with us regularly, it basically pays for itself. Head to patreon.com/LoveToSew to see all the perks and options.

Caroline: If you’d like to try out Patreon or Apple podcast subscriptions and check out our bonus content, you can sign up for a free seven-day trial. And, of course, you can help support the show by listening just like you are right now.

You can also leave a review. Reviews really help our show get discovered by new listeners. We know that financial support isn’t always possible. And we want you to know that we love you for listening.

Helen: Go to patreon.com/LoveToSew or visit our show’s page in the Apple podcast app to become a paid subscriber. Thank you to all our listeners, patrons, and subscribers. You’re the best.

And we’re back! Let’s talk about lining next. Many bag patterns include a lining. And good news, lining a bag is a lot simpler than lining a garment.

Caroline: With a bag lining you don’t have to worry about bunching the same way you would with a garment lining, so you don’t have to worry about choosing super smooth fabrics. You have a lot of options.

Helen: You might want to think about how bulky your lining will be. The heaviest weight I would recommend would be, like, a quilting cotton.

Caroline: And this means a lot of garment fabrics would make great linings. So cotton poplin or lawn, rayon bemberg, challis, or twill, silky poly fabrics, lighter linens. These are all good options. Bag linings are a great place for scrap busting as well. So look through your stash first. It’s always fun to choose a print for a lining, add a little bit of interest, pop of colour.

Helen: Ooh, totally, or just use, like, a bunch of different pieces because it’s on the inside, and it will just be, like, a fun surprise.

Caroline: I love that.

Helen: If you want to finish your bag without a lining, that’s totally an option, too. You can use binding to enclose the raw edges on the inside. If you’re going around curves, you want to cut that binding on the bias. If it’s just straight edges, you’ll be fine with straight grain or cross grain binding. You could also try using a woven tape like twill tape. Another option would be to simply serge or sew a tight zigzag or overcast stitch over the raw edges. I mean, it’s the inside. You’re never going to see it. It’s fine.

Caroline: So true. Some fabrics like vinyls or faux leathers don’t need finishing because they won’t unravel. You could bind them just for a neater look, or you could put on some edge paint, or you could just leave them as is. Again, it’s on the inside.

Helen: It’s on the inside. You can totally make bags without needing any special kind of hardware. By hardware we’re talking about zippers and rings and clips and belt adjusters/sliders and all that kind of stuff. But if you love the professional look that the hardware gives, don’t be afraid of it. It’s so much fun to play with these kinds of things. Here are some of the special hardware and notions of the bag making world.

Caroline: D rings and O rings are connectors that are attached to the tabs at the ends of straps, handles, and the corners of bags, so these are really common.

Helen: Yeah. And swivel hooks, also known as swivel clasps or clips, are clasps that are attached to a D ring. They can swivel around so the bag strap doesn’t get twisted. They also give you the option to switch out your bag strap for a different size. I love the idea of being able to switch between a crossbody strap and a shorter handle.

Caroline: Yeah. Or just remove it if you don’t want to have a strap and maybe you already have a handle built in.

Helen: Oh, yeah.

Caroline: That’d be cool. Mm-hmm. Strap sliders are what make bag straps adjustable. Having an adjustable strap is really handy if you want to switch between wearing your bag on your shoulder or across your body. It’s also good if you’re giving a bag as a gift and you don’t know the giftee’s perfect strap length, which I’ve learned is very personal. Some people like wearing their bags low. Some people like wearing their bags right under their armpits. It’s very personal.

Helen: It’s so true. And these kinds of things, D rings, O rings, strap sliders, they come in all different widths, all different colours, all different finishes. So you can find what you’re looking for. Just make sure you’re paying attention to how wide that strap is.

Caroline: Yeah.

Helen: Zippers are a great closure for bags for both the main closure and any outer or inner pockets. The nice thing about bags is that you can usually sew the zipper in flat, which is way easier than inserting it into a garment. For the main closure of your bag, go for a number five or heavier. If you have other metal hardware, a matching metal zipper is always a really nice touch.

Caroline: Yeah, I love that when you can tie in the metals from the different finishes on the bag.

Helen: Yeah, I think a metal zipper really takes a handmade bag to a more ready to wear looking place. Whereas the typical plastic sewing zipper tends to make it look a little bit more homemade, but that’s just my interpretation.

Caroline: Mm-hmm. No, it’s so true. I think if you have a plastic zipper with the plastic hardware and a matching strap, I feel like it can look pretty cool. But it’s more of, for sure more of, a casual look as well, like, kind of, more of an everyday look. Magnetic snaps are nice because they’re super easy to open and close. They’re not too hard to insert either, but it’s really handy to have a pair of pliers so that you can get the prongs to lay flat. And make sure to use scraps of interfacing to reinforce the area where you insert the snaps. Melissa from Polka Dot Chair swears by using plastic canvas to reinforce her snaps and sometimes even her bag bottoms, the kind of canvas used for needlepoint with yarn.

Helen: Ooh, that’s really smart because it would, like, never fall apart.

Caroline: Yeah.

Helen: Brilliant. You can also use regular metal snaps as closures. Often, you have to hammer these on. The snaps you buy should come with a little kit and instructions and you’ll just need a hammer and a hard surface to attach them.

Caroline: Grommets are another kind of hardware you’ll need to hammer. You can use them for bags with drawstrings. And cording can add a lot of definition to structured bags. Using a cording foot or a zipper foot can get your stitching right up close. Do a lot of clipping to hold everything in place, and take it slow with your stitching for a nice finish. Don’t forget to clip those curves.

Helen: Cording does look so cool on bags. It’s that really nice extra touch. Webbing is another thing you’ll come across, and this is great for straps. It’s sturdy. It doesn’t stretch. It also comes in lots of colours and widths. There’s a lot of cool bag patterns that have webbing as a strap option, including the BF patterns Bestie Bag and any duffel bag worth its salt, of course.

You can also cover webbing with fabric for strong straps with no fusing. With bags, the stronger the straps the better, and it’s, kind of, nice to just use webbing because then you don’t have to cut a long strip of fabric and interface it and fold it and sew it and all that stuff. You can just, like, unroll the webbing, and you’re good to go.

Caroline: And I do think it gives a really nice professional finish when you use webbing, it’s just, like, one of those extra touches. So where do you get these special bag making supplies? We do have a little list for you.

I’m going to plug my business Blackbird because we sell Bestie Bag hardware kits in the shop right now. So you can get your webbing, zipper, and slider in the correct measurements all at once, and you can choose the colours. And we also have some more Bestie Bag fabric kits coming out in a few weeks after this episode comes out, so check that out.

Helen: Noodlehead has a really nice selection of high quality hardware and notions including drawstrings, cords, leather patches, and metal zippers. I would definitely trust Anna Graham to know what counts for good hardware.

Caroline: Klum House has a ton of good stuff, including leather straps, tabs, and zipper pulls. Plus, they have full kits to make their patterns, as well as smaller leather and hardware kits.

Helen: The old standbys like Wawak and Etsy have big selections of bag making supplies to choose from. Make sure to check the measurements of the stuff you’re buying. You need your webbing width to match your slider width, for example.

Caroline: Okay, now it’s time for some bag sewing tips. We’re gonna run through these for y’all. There’s some really good tips in here. So, first up, you want to use a heavier thread if the bag has a lot of structure and will be used for holding heavy items, like a cat…

Helen: Like a cat.

Caroline: Like some cats, actually. Maybe my only, my cat is really heavy.

Helen: I think there’s a fair amount of heavy cats out there.

Caroline: I’m, like, cats are really heavy. Sometimes I lift another person’s cat, like, pick up another person’s cat. And I’m like, oh, my God. My cat is so large.

Helen: Yeah, but you have a really fluffy cat, so the fluff really makes it appear heavy. And also probably weighs a ton.

Caroline: He is, yeah, he’s, like, 18, 19 pounds. So I don’t know if it’s all fluff. I don’t know if we can attribute all of that to the fur.

Helen: I need a dog bag for Emma. She’s only 80 pounds.

Caroline: Oh, yeah. You’re gonna need some really heavy thread for that bag.

Helen: Yeah, really heavy. If you’re using heavy thread and thicker fabric, you want to use a heavyweight needle or a denim needle. That’s going to help you get through all those layers. And you might need multiple needles because you’re probably going to be breaking some. That’s just what happens when you sew with thick fabrics.

Caroline: You want to use a hump jumper tool or slide some cardboard under the back of your machine’s foot to level it out when you’re starting seams or going over thick parts like where seams meet. If your machine has a black button, you can use that to level out the foot, too.

Helen: Oh yeah, some machines on the foot, like, if you look at the foot, kind of, sideways, there’s a little button. Sometimes it’s black, and, I think, sometimes it’s red, but my machine doesn’t have one. But you push it in, and it basically stops the foot from tilting front to back…

Caroline: Oh!

Helen: …so it stays perfectly straight. And that basically is, like, a built-in hump jumper.

Caroline: Can you believe almost 250 episodes and I’ve never heard of this?

Helen: I, I like, didn’t know about it either because my machine doesn’t have one. And then I think I saw a reel about it a month ago, so…

Caroline: So cool.

Helen: …my mind was blown.

Caroline: Yeah, I need to go check my machine for that.

Helen: Lengthen your stitch length and go slowly. You’ll need a longer stitch to get through thick layers of fabric, and if you’re using faux leather, you’ll want longer stitches to get the look of a leather bag anyways.

Caroline: Yeah, Wonder Clips are really helpful for sewing bags. Some fabrics will get permanent holes if you use pins, and it can be difficult to even get pins through the thick layers, so Wonder Clips are your friend.

Helen: Yeah, I heard that on Wawak you can get, like, a bag of these clips for an affordable price.

Caroline: That’s a good tip because they are pretty pricey.

Helen: They are. Yeah

Caroline: You don’t get that many in a package.

Helen: No, you get, like, 10 in a pack. Yeah, I think you can buy, like, 100 of them at a time if you, if you look for different sources.

Caroline: Ooh. Okay, okay.

Helen: When you’re interfacing your handles, err on the side of too much rather than not enough. Handles get a lot of wear, and they will soften as you use them, so it’s better for them to be too stiff than not stiff enough.

Caroline: And when we say handles, we also mean straps if you’re using, like, a self fabric strap. And speaking of straps, when attaching straps, handles, or loops with D rings, use a box stitch, like a box X stitch. It looks like a square with an X in it, and it’s super strong. We’re going to link a tutorial for it in the show notes, but I’m sure you can visualise it. It’s just a big box with an X going through to the four corners.

Helen: I love sewing box Z stitches. They’re so satisfying just going around, and like, you know, I’m going this way, and now I’m going this way, and now I’m going this way.

Sometimes, when you’re attaching straps or handles you have to sandwich them between layers of the bag fabric, and it’s not easy to use pins for this. And sometimes the handles can shift even with the clips holding them down, so instead use regular old scotch tape to hold them in position. Just pull the tape off once you’ve sewn them down. I mean really anything you can think of to hold those layers together while you get them sewn together. You can get creative.

Caroline: Yeah, and if you’re not making an adjustable strap, you want to try the bag on before you stitch the strap down. Baste or pin the strap down and let the bag hang on your shoulder, in your hand, or across your body, and make sure that the bag is hitting you in the right place. Adjust the length of the strap or handles until it looks just right for you.

Helen: Customise your pocket. A bag is super purse-onal. Get it? Purse-onal.

Caroline: Okay.

Helen: But seriously think about the stuff you carry around every day. What do you want to reach for often? What are you usually searching in your bag for? Design a pocket situation that will be most useful for you. You can add or remove pockets to the lining or outer shell and customise where they are, how they’re shaped. I definitely recommend making a pocket that, like, snugly fits your cell phone because it’s annoying when it falls out, and it’s annoying when it’s too tight, so you want it to just be like, like a little mm, like a little hug.

Caroline: Yeah, isn’t that so satisfying when a pocket, like, perfectly fits an object that you want to put into it?

Helen: Exactly. You have that power.

Caroline: Slides right in. If you want your lining to fit perfectly inside your bag, you can reduce the pattern pieces slightly for the lining pieces. This is a great tip.

Helen: Yes, and you can use your iron to shape your bag. Use steam and the hottest iron setting your fabric can handle. You can insert a sleeve roll into your bag to help with shaping. This is something that I have noticed making, um, some bag samples, is that when you first finish them, sometimes they look a little bit like…

Like, like, they need to relax, they need to be used a little bit. They can look a little bit too structured, almost, or like they haven’t quite fully turned right side out all the way. And that will happen with time, but you can also get in there with your iron and your steam and really help it out.

Caroline: Yeah, and it’s especially important to trim seams and clip curves before you turn a bag out. Those layers can be really bulky, so that’s going to make a difference with how your bag hangs.

Helen: Totally. Okay. Before we finish this episode, we want to share a few of the great bag patterns out there and a few bag pattern companies that we know of.

Caroline: Noodlehead is one of the best places to go for bag patterns. Their designs have a rustic utility style, and most of their samples are in canvas with some leather accents. I love the Making Backpack. It’s a boxy backpack with handles similar to the Fjallraven Kanken.

Helen: Totally. I really love this bag. I just love everything that she does. Her bags are so beautiful and have so many gorgeous details, and we have a whole episode with her, so check that out, too. Tytka, I’m hoping I’m saying that correctly, could be Tytka Studio has really interesting bags. They’re, kind of, origami-esque. I love the Noodle Bag, which is a quilted slouchy tote that has a thick folded handle and pleats radiating from the opening. And also the Flower Shaped Bag is amazing. It’s a little small circle bag with petals all around it. So it looks just like a daisy. Is it too early for spring sewing? I want to make this.

Caroline: It’s so cute. This company has so many bag patterns, and they make all of their samples in this, like, creamy colour, and it’s very aesthetically pleasing to browse their patterns because it’s almost like you’re looking at a blank canvas, and you’re only just seeing the shape and details of the bags, but you can imagine all of the fun fabric and colour combinations that you could do.

Helen: Oh, totally.

Caroline: Merchant Mills has a few bag patterns as well. The Francli Day Pack is a really cool roll top backpack that’s designed with hiking in mind.

Helen: Yeah, it’s even got a little water bottle pocket and, like, those crisscross-y strap details that you see on hiking bags. Love it. The Fennel Fanny Pack by Sarah Kirsten is super popular in the sewing community and for good reason. This boxy style belt bag is so stylish and so functional.

Caroline: Lavender and Twine has really chic purse patterns. The Janine Clutch is an envelope bag with two inner compartments, a zippered pocket, and card slots. I can totally see this as a special occasion bag.

Helen: I really want to make a few clutches to use for special occasions because every time I have a wedding to go to, like this past summer where I had a bunch, I just, like, could not find a bag in a store that I liked. Like, they were all too much. I want something a lot simpler, and I feel like making your own just, like, neutral clutch, you would use that all the time.

Caroline: Yeah, this one is really cute. It has a very ready to wear vibe, and I could see it working in so many different fabrics. I love how the straps have these little ties on the end that hold them in place in some of the views. It’s just really cute.

Helen: Yeah. Another classic in the sewing community, the Portside Travel Set by Grainline Studio. This includes a duffel bag, a dopp kit, and a travel pouch. So thoughtfully designed with covered zippers, nice hardware, sturdy straps. I would feel so proud using me made luggage on a weekend away and having it all matching. It’s, like, a little, like, Russian doll. Like, open one bag, you’re like, and inside is another matching bag and then another matching bag. You could go real small.

Caroline: Oh, my gosh, You really could. Grainline also has the new Town Bag, which is ideal for knitters. Wink, wink, Helen.

Helen: It is so cute. This is such a great project bag. We mentioned this company earlier in the episode, but Apple Green Cottage has nice bag patterns that are designed for quilting cottons as the outer fabric, so you can get so many fun combinations. They have some great soft structure thanks to the layers of interfacing. And I think they would also look amazing in yummy linen solids. Like, all those leftover linen scraps you have. It would be so cute.

Caroline: Oh, that would be so cute. Ooh. I also wanted to mention Kylie and the Machine has a couple of cool patterns. They have a Mule Tote, which is this, like, really oversized tote bag that we actually used as a sample for our custom, printed cotton twill collection, and it sewed up so nicely. Just a really fun extra large bag that could fit so many things, and they also have a clutch. It’s called the Arch Clutch. So some really, really cute patterns from, coming out from Kylie and the Machine.

Helen: I wanted to mention a couple of quilt pattern designers that I love who have recently released really cool bag patterns. The Blanket Statement, Erin over at the Blanket Statement, has the Emerson Crossbody bag and the Pembina Backpack. Both are so cute. I’m especially enthralled with this backpack, Caroline.

Caroline: Mm-hmm.

Helen: It’s absolutely adorable. It looks like the perfect size, too. And, of course, they’re full of all that quilty goodness, which I love. Ma Tante Quilting, Shelly over there, has the Doable Duffle. Very doable, I think.

Caroline: Oh.

Helen: And that’s another great travel that has some good structure because of the quilting, can fit tons of stuff, and I think she has hardware kits available for that as well. So all those patterns are quilted and designed to use up quilted fabric or existing quilts that maybe you never got around to finishing, and all three of these are definitely on my to-make list.

Caroline: So cute. Okay, and then of course the Bestie Bag from BF Patterns. This one is versatile, and it has different sizes and strap options and an optional lining. I personally think everyone needs one of these in their bag collection. I have three, so… yeah.

Helen: I mean, uh, I want one in every size, honestly, because I can see so much potential for just how useful this bag would be in my life.

Caroline: I’ve seen some really cool quilted versions of the Bestie Bag too, which I wouldn’t have, like, thought would work, but it works so well, especially the large size looks so cool. It’s, like, a big pillow that you can wear.

Helen: Yeah, totally. I mean, I’m all for adding quilting to everything.

Caroline: Speaking of which…

Helen: Yes. Stay tuned for my Star Bag pattern. It’s coming your way soon. Caroline, do you want to know what it’s called?

Caroline: What is it called?

Helen: We’re calling it The Orbit bag.

Caroline: Oh, that’s perfect.

Helen: It’s cute, right?

Caroline: Oh, my gosh. You nailed it with that name.

Helen: I know I was so happy when it finally came to me. It’s like a little star or like a little planet because you can also make it without the star. You can make a plain version that orbits your body on the strap.

Caroline: I love it.

Helen: So cute.

Caroline: So cute. I can’t wait for this one to come out. I’m definitely gonna make one with, like, some denim scraps or even just, like, a solid one in, like, a creamy colour I think would work really well with all of my clothes. Love dreaming of bags.

Helen: You can never have too many purses with stars on them, in my opinion. I have four, and I rotate through them, so they all have different garbage inside.

Caroline: Oh, my gosh, Helen. Next time I come over, I’m going to have a bag intervention with you.

Helen: Yeah, you should get me to empty one out. You will be amazed.

Caroline: Oh, my gosh. Alright, that’s another episode in the bag.

Helen: Purse-onally, I learned a lot today, and…

Caroline: Oh, no, not another purse-onally,

Helen: Purse-onally.

Caroline: Purse-onally. Oh, thank you so much for listening, y’all. Bye.

Helen: That’s it for today’s episode of Love to Sew. You can find me Helen at Helen’s Closet Patterns and Cedar Quilt Co and Caroline at Blackbird Fabrics and BF Patterns. We’re recording in beautiful British Columbia, Canada

Caroline: You can support Love to Sew and get access to bonus content by subscribing on Patreon or Apple Podcasts. You even get access to the back catalogue of bonus episodes when you subscribe. That is over 75 hours of Love to Sew. Go to patreon.com/LoveToSew or check out our podcast page on Apple Podcasts for more info.

Helen: You can head to LoveToSewPodcast.com to find our show notes. They’re filled with links and pictures from this episode. And if you’d like to get in touch with us, leave us a message at 1-844-SEW-WHAT. That’s 1-844-739-9428. Please call us. No one ever calls us, Caroline. Why don’t they call us?

Caroline: I know. Call us!

Helen: Call us! We want to hear your voice! Or…

Caroline: Oh, it’s the best.

Helen: …send us an email at [email protected].

Caroline: Thank you to our amazing podcast team. Lisa Ruiz is our creative assistant. Jordan Moore of the PodCabin is our editor. And Margaret Wakelee is our transcriber. And thank you all for listening. We will talk to you next week.

Helen: Buh-bye.

Caroline: Bye.

Podcast: Play in new window | Download | Embed

" onclick="javascript: this.select();" onfocus="javascript: this.select();" style="width: 70%;" readOnly>

In this episode, Caroline tells us all about making her own wedding dress! From designing to fabric shopping to muslining to hand finishing, she shares her joys and her lessons learned. Congratulations, Caroline!

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

Show Notes: 

Previous Episodes Mentioned:

Photos (professional photos by Cassandra Casley of Twist & Shutter):

Resources and Inspo:

Sewing Patterns:

Fabrics:

Other Mentions:

A post shared by Sarah – GTA Vintage (@dwellingonthepast)

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 and Cedar Quilt Co.

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

Helen: We’re two sewing buds who love to sew, and it’s the only thing worth talking about.

Caroline: In this episode, I am going to tell everyone all about making my own wedding dress! From designing to fabric shopping to muslining to hand sewing, I’m going to share my joys and lessons learned.

Helen: Ooh! Congratulations, Caroline! If you love to sew, this is your show.

Caroline: Hi, Helen.

Helen: Hi, Caroline!

Caroline: Ooh! I am excited for this episode. It has been a long time coming. Hasn’t it?

Helen: Oh, my gosh. Yes, it truly has. And I mean, first off, huge congratulations to you on your marriage.

Caroline: Thank you so much.

Helen: I mean, more importantly on the completion of your wedding dress though. Let’s be real.

Caroline: Yeah. Let’s get those priorities straight. I made my own wedding dress y’all, and it was no joke. It was serious. I made it. I did it. And I finished it.

Helen: Yes. I cannot wait to talk about it. It’s such an exciting episode. We’re going to hear all about your wedding dress journey. And I think when you decided to make your own dress, we already knew that this was going to happen. We had to do an episode about it. So now the dress is finished. You had your beautiful wedding. We can finally talk about it, and I’m so pumped.

Caroline: Yeah, we debated doing this episode last season or earlier in this season, but ultimately, we decided we wanted the wedding to be finished and everything to be done so that we could do a true journey from beginning to end and a true debrief. So it’s really exciting. We are going to cover everything. I’m going to talk about the inspiration behind the dress, the process of making the dress, lessons learned, resources, and even share a little bit of advice for anyone thinking of going down the same path as me.

Helen: Ooh! Yes, because, you know, if they’re getting married next summer, weddings typically are in the summer, there’s no time like the present to start now.

Caroline: Yeah. It was about this time last year that I was waffling about whether or not I should make my dress. So if you’re waffling, maybe this episode will help you decide.

Helen: Yes! And we are going to do things a little differently in this episode. I, Helen, that’s me. I’m going to interview Caroline about her experience sewing her own wedding dress. And I have so many questions, and I can’t wait to get started. So let’s jump in. Are you ready?

Caroline: I am so ready. Let’s do it.

Helen: First question, Caroline, I want to know, from your perspective, how was the wedding? Can you share a little bit about your overall vision for the day and how it went and just tell our listeners a little bit more about it?

Caroline: Okay, well, thank you for, indulging me and allowing me to talk about just the wedding in general. But yes, the wedding was amazing. Shea and I are super grateful that everything went really well on the day. And we had several events actually that weekend. We had a welcome dinner. And we had our wedding. We hosted a little family brunch the next day.

So there were a lot of moving parts, and everything came together even better than we envisioned. It was a total hit. And if you listen to our bonus episodes you’ve probably heard a lot of this already because I’ve been talking about my wedding for, like, the whole year basically in every bonus episode, but I do want to share a little bit on the regular show about the day and, kind of, how it all came together and what the vision was.

So our wedding was, like, medium-sized, I would say. We had around 55 guests, which was perfect for us. And we did it at a community centre, on a golf course, right near our house. We definitely fell in love with the venue, like, the vibes were perfect. It was exactly what we were hoping for. It’s a historic building built in the fifties, and it has lots of exposed wood, really high ceilings. We just loved the feeling of the space. So as soon as we saw it, not only was it affordable because it was a community, kind of, hosted space, but we just really fell in love with the vibes there, so we knew that was the space for us.

And then on the day with the decor, obviously, I had a lot of fun thinking about decor and planning decor. So we went for, like, a rustic, whimsical, colourful look for the wedding, which I think works really well for both my style and Shea’s style. We really, kind of, like, wanted to make it feel like us. We had a lot of orange terracotta accents, which has come as no surprise if you know me and my style, but we also brought in some jewel toned velvet furniture for, like, a little lounge area. We had string lights to, kind of, add to the cosiness.

And we also brought in really colourful seasonal flowers and, sort of, scattered them around everywhere. The flowers were, like, burgundy and purple and yellow and orange and, like, there was just so many beautiful, kind of, warm tone, but also colourful, flowers all over the place. And that was really fun. We actually picked up the flowers from a local flower farmer, and we ordered buckets from her, and then, we did the flower arrangements ourself, so that was one of my favourite parts actually.

Helen: So beautiful. I absolutely loved the flowers at your wedding, and this is a benefit of getting married around the end of summer because you get dahlias and dahlias are so beautiful. And just, like, otherworldly, they’re so cool looking, like, stunning, stunning..

Caroline: Yeah. No, the flowers were amazing, and obviously, we’ll share lots of pictures. But our main goal for the day was just to have a fun party with all our friends and family. We love food. We really wanted to have great food at the wedding, and we wanted to dance the night away. So we had our wedding catered by a barbecue truck, and they had their smoker on site, which was really cool because when guests came up they could, like, smell the smoked meat happening. We served family-style meal. We had ribs and brisket and smoked chicken and mac and cheese and beans and coleslaw, cornbread, all the fixings. It was so good. Take me back, honestly. Like, when I talk about it, like, my, I’m, like, salivating. The food was so delicious. I was so happy.

Helen: It really was. That brisket was unreal. And you forgot to mention the Kool Aid pickles.

Caroline: Oh, my gosh. The Kool Aid pickles: polarising. I’ve heard from some guests that they thought they were weird. I personally thought they were so cool. But literally, it’s exactly what it sounds like. Our caterer makes pickles that he brines in Kool Aid. So they were, like, bright purple and, kind of, like, sweet…

Helen: Yeah, and, like sweet and sour.

Caroline: Yeah.

Helen: It was so good. I loved them.

Caroline: It was really different. I loved it. And then it was also important to us to add a lot of personal touches to our day. Shea and I are both really creative people, and we love hobbies and doing things with our hands and all that, so we wanted to, kind of, incorporate that into the day. So we actually spent this whole year making mugs for all of our guests as wedding favours.

This was another element of the day that was really special to us and just one of my favourite things. It was a huge project. And one of the biggest projects that Shea and I have ever taken on together, but we’re so proud of these mugs. I’m so excited to see them in the homes of all of our loved ones. It was just definitely one of the highlights, I think, of the day for our guests, as well. Like, I remember walking into the venue and seeing people, kind of, gathered around the mug table.

The way we set it up was everyone could pick their own mugs as they arrived. So there was definitely, like, a bit of a rush to the mug table, but there were no bad mugs. They were all really different and fun. And yeah, we made them all kind of unique and we really split it down the middle. Like, half the mugs were mine, half the mugs were Shea’s work. And yeah, that was an awesome part that I loved a lot.

Helen: Oh, it was so great. What a great wedding favour to take away. Like, uh, we got two because there’s two of us in our household, so that was such a treat. And I really do think of the wedding every time I use it, so it was a huge success, and kudos to you for that project. Like, on top of all the other things that you were doing to prepare for a wedding, you’re gonna make, what, 50, 60 mugs? That’s, that’s a lot.

Caroline: Yeah, we made even more because we accounted for the possibility of there being, like, mugs getting ruined because that definitely happens during the process. But no, it did. They turned out so well, and we had, like, we were, kind of, talking about it early, early days. Like, do we want to do this? Do we not want to do this?

And I’m so happy we decided to do it. We knew it was going to be a ton of work. But it was just, like, a really nice way to spend some time together and work on something together for the wedding. And we knew that our guests would really appreciate the favour. And yeah, it just turned out great, so that was awesome.

Shea and I also took dance classes to make our first dance extra special. We did, like, a choreographed dance, I guess. But it wasn’t, like, crazy or anything. It was just a slow song. We danced to Harvest Moon, which is one of our favourite songs, and that was really nice. I, I loved that personal touch, as well, and I think our guests enjoyed that.

And then, like I mentioned with the flowers, my family and I all worked together to make the flower arrangements the day before the wedding. And we used thrifted glass bottles that I had been sourcing all year long with the help of my best friend, Sarah, who has a little Instagram vintage reselling shop called Dwelling on the Past, a little plug there, but she’s awesome.

And she helped me so much with wedding decor, and the glass bottles was one of the things that she really helped me with sourcing. And then Shea and I also designed all the stationary and signage for the day. I had the, kind of, vision for that, and Shea was able to execute it with his expert Photoshop and Illustrator skills, which was awesome.

And then I even incorporated fabric into the ceremony. I wanted to do, like, a draped fabric arch behind us for the ceremony portion, and it turned out so cute. I was so happy with it. So I’ll definitely attach a picture of that if anyone wants to see how that turned out. And then, obviously, my wedding dress. That was a huge personal touch for the day. I made my niece’s flower girl dress, as well. So those two things were both big projects. Obviously, the wedding dress was even bigger, the biggest…

Helen: Just literally bigger. Yeah.

Caroline: Literally bigger and mentally bigger. But yeah, no, that was really the icing on the cake was being able to make my niece’s flower girl dress, as well.

Helen: Yeah, well, and you used the same fabric, so you guys were actually matching, and it was so cute.

Caroline: Oh, my gosh.

Helen: Like, incredible. It was such a beautiful day. I loved your wedding. It was so fun. I had such a good time. We danced the night away, truly, like, so much dancing. And you guys looked great throughout the evening, at the altar, I mean, all of it. You just looked incredible.

Caroline: Oh, thank you so much. Yeah. Well, thank you also listeners for listening to my little spiel on the wedding. And hopefully that sets the scene…

Helen: Yeah.

Caroline: …for the dress.

Helen: Okay. Let’s get into the dress. I want to hear a bit of the background story. What inspired your decision to sew your own dress? Was there something that pushed you over the edge into “I’m going to do it”?

Caroline: Yeah, so I actually didn’t come to this decision lightly. When we got engaged, this was back in December 2020, I actually didn’t think I would make my own dress. I feel like you and I even had conversations where I was like, I’m not making my own dress. I told myself it would be too much stress and that I should just leave it to the professionals.

I just really didn’t want that big project for my wedding. But over time, I really warmed to the idea. I felt like I wanted to feel that personal connection to my wedding dress. And the more and more I looked at inspiration and, like, ready to wear wedding dresses, the type of dress that I was envisioning wearing really didn’t exist.

Like, it was really hard to find, especially in shops that I had access to or sizing that I had access to, so that was definitely a factor. And truthfully, a part of me also felt a little bit like people would expect me to make my own wedding dress. And if I’m being honest, I was thinking about, like, the day of my wedding having people be like, did you make your dress? And having to say no. I just, like, I don’t know, part of me just wanted to be able to say, yes, I made my dress. So yeah, that’s, kind of, like, the thought process behind it.

And then about a year before the wedding, I decided to go dress shopping. I wanted to have that experience with my mom and Shea’s mom who really, really wanted to go dress shopping. And I also just, kind of, wanted to, like, entertain the idea of buying a dress instead of making one. And I told myself that if I found the perfect dress, I would buy it. I would just, like, save myself that time and effort and just purchase a dress. But in the end, this dress shopping experience, kind of, cemented my decision to make my dress.

Helen: Oh. Uh-oh.

Caroline: Yeah.

Helen: No, I do want to hear a little bit more about your dress shopping experience. It’s one of those things that’s always pictured on TV and in movies as being this, like, beautiful, wonderful day where you get be arincess and try on all these things and everything looks amazing and everyone’s crying. And I don’t know. I’ve been to a few dress trying on things, and it doesn’t really go like that.

Caroline: No, and I mean who hasn’t seen, like, Say Yes to the Dress? Like, we all have that idea in our minds of, like, what it’s gonna be like to go dress shopping. I’m gonna be honest, it wasn’t the best experience for me personally. It felt like the wedding dress, kind of, world didn’t cater to my size 20 body.

Most of the stores I went to just didn’t have dresses even remotely close to my size. So I had to squeeze into dresses that were way too small for me, like we’re talking size 14 or under, which just didn’t even feel right in the moment. I was like, I don’t feel like I should be asked to put this dress on my body. It wasn’t fun. And it just didn’t feel like there was a lot of effort made to make larger bodies feel comfortable or beautiful in these stores. Like, the whole experience is just designed around smaller bodies.

And even though I, like, kind of, did some research and called ahead and tried to find places that carried larger sizes, the range of dresses that were available to try on in those larger sizes was so limited. And it was so discouraging to be looking at racks and racks of dresses and then be told, oh no, you can’t actually try that one on because it doesn’t even come in a 14. Like, it only comes in a six or an eight.

Or, you know, have, like, this tiny little section of dresses that I could actually try on and close on my body. And then everything else, you’re, like, just sort of making do, and they add fabric and clips. And some salespeople were a lot better about it than others, like, just in terms of, like, making me feel like my body wasn’t the problem and, like, making that experience a little bit more seamless. But then some of the salespeople were, like, not so great about it and didn’t make me feel good.

So it was not the best experience. And there were also plenty of dresses that I loved that I couldn’t even try on, like I said, because they were just too small. They just would not even go on my body, even if you add fabric to the opening or whatever. And also, by the way, when you do that, you don’t get the full dress experience. Like, you don’t, when you’re trying on a dress that’s, like, six sizes too small, like, your, the cups are too small. Everything is too small. So you don’t even get to see, like, what the dress would look like on you if it did fit.

Helen: Yeah, you’re not comfortable.

Caroline: Yeah, you have to, like, conjure this image for yourself. And then it, kind of, broke my heart that there are people who don’t sew who have to go to these stores and, like, literally make a choice about a dress that they don’t even fully get to see on their body. And it’s a lot of money. I don’t know. The whole experience made me, kind of, angry. I’m getting, like, a little bit worked up even just thinking about it honestly.

Helen: Fair enough.

Caroline: Yeah, it was just, there was just a lot of weird, like, there was some stores that were like, this is our new collection. Isn’t it so great? But you won’t be able to try it on for another six months because we’re not getting the larger sizes for six months. And it’s, like, okay, well, cool. So you think that, like, smaller people deserve to wear these dresses before me. Like, I don’t know. It was just not cool.

Helen: Well yeah and think about all the sizes that aren’t included at all, too, right? Like, you’re on the smaller end of fat so it’s, like…

Caroline: Exactly.

Helen: Most, most people are actually fully excluded from that experience.

Caroline: Yeah. And they’re saying like, oh, we have plus sizes, but they’re talking about a size 18. You know, they’re not talking about a size 24, 26, 30 and beyond, which personally, I think all, like, wedding dress stores should have, like, a small, a mid, and a large size. Like, have the big size so that larger people can have that experience, too. And you can always cinch it in, but it’s really hard to visualise a dress when you’re taking it out to a large degree, so I don’t know.

Helen: Yeah.

Caroline: It was just really infuriating, but really that experience, sort of, like, added fuel to my desire to sew my own dress. And I think this is often the experience of sewists for any kind of ready to wear shopping. You go out and you shop and often you don’t find what you want and you’re like, you know what?

Screw this. I’m gonna make it, you know, because these people don’t care about me, and I want to feel good in my clothes. So, in the end, I’m really glad I made my own dress because I was able to, sort of, shape that experience for myself, and there was no icky feelings along the way. I just felt really excited to be able to make something that was literally made perfectly for me.

Helen: Yeah. So many icky feelings. And then at the end of the day to have to also give them your money is, like…

Caroline: Oh, yeah.

Helen: …twisting the knife.

Caroline: And so much money, so much money, you know. It’s a huge investment to buy a wedding dress, so, yeah. Anyways, that’s my little rant. If anyone wants to talk about wedding dress shopping with me, hit me up, I will vent with you cause it was not fun.

Helen: Oh, I’m very sorry to hear that. But I am also glad that you decided to make your own dress. And I’m excited to hear a little bit more about the inspiration. Where did you decide to go design-wise once you’d made the decision to sew your own?

Caroline: Yeah, okay, so. My wedding dress shopping experience did help me a little bit because it, kind of, helped me to figure out what styles and details and fabrics I didn’t like. And it was also really interesting to see the construction of dresses, the types of fabrics that were being used, even though I, kind of, ended up going in a different direction than a lot of the dresses I tried on.

It was really helpful to just, kind of, like, get in that mindset, especially trying on different necklines. I thought that was really, really helpful because wedding dress necklines and, like, bodice fits are quite different than the kind of clothes that I would wear on the day-to-day. So it was nice to be able to try that on my body so I didn’t have to make a million different muslins to try to even figure out which direction I wanted to go.

But in terms of design inspiration, Pinterest was my go-to. I had a board basically since I got engaged, I’ve been, like, adding ideas to this Pinterest board. And yeah, so that’s, kind of, where I’ve ended up finding my ultimate dress inspiration.

Helen: Yeah, you had a pretty clear vision. There was one dress in particular that you were, like, I want this for me, but with, you know, my fabric and my size and all that, but it seemed like you were really into that one dress. Can you tell us about it?

Caroline: Yeah, there was this one particular dress that I fell in love with quite a long time ago. It was after we got engaged. I started looking at inspo and I found this dress on a blog, but the fabric was really unique and I just couldn’t find anything even remotely similar to that fabric.

I waffled a lot on design and fabric because aside from that dress, like, I didn’t really have a super clear vision of what I wanted. I was like, I want this dress, but I don’t know if I can achieve this look without finding the right fabric. So I, kind of, abandoned that dress idea, tried to find another design that made me just as excited.

And I went back and forth for a while. Like, I think it was really stressing people out, too. ‘Cause, like, even you, my mother-in-law was also really invested in this journey. So she was, like, calling me and being like, how’s the dress going? And I kept being like, I don’t know what I’m doing yet ‘cause I just couldn’t decide on something.

My mind, at the back of my mind, I always just had this one dress. So one night I decided to do, like, a super deep dive trying to find this unique fabric. I’m going to tell y’all about it in a couple of minutes, but I actually ended up finding, like, literally, it was probably, like, 2 a.m., and I was like, I will find this fabric. And I found, like, a dead ringer.

Like, I was so excited when I saw this fabric, I took it as a sign. I was like, I found the fabric. I am going to recreate this, like, dream dress that I’ve had in my mind for the past couple years. And yeah, because I just wanted to pretty much replicate this exact dress that I had my design figured out pretty quickly once I found the fabric.

Helen: Ooh. Okay. Can you describe the dress for us? Obviously, we’re going to include tons of photos in the show notes and on social media, but give us a little verbal rundown of what it looks like.

Caroline: Yes! Okay, so I’ll describe the inspiration dress first. It’s a Mara Hoffman dress that is no longer being made. It also did not come in my size to begin with. I think it only goes up to, like, a size 14, bleh, but I first saw it in, like, a wedding spotlight on that blog called June Bug Weddings. They do, like, a lot of different blog posts with different weddings and pictures and all that stuff. I’ll link it up in the show notes.

But the dress is ankle length, it has a fitted bodice with, like, a low v neck, a gathered skirt. It has these beautiful, dramatic, puffy sleeves that go to the wrist. It buttons all the way down the front with, like, fabric covered buttons. And the fabric itself, this unique fabric that I was having so much trouble finding, is, like, a cotton eyelet.

I don’t know for sure because I didn’t see the fabric in person, but from my eye, my fabric eye, it looked to be cotton. It has, like, a large scale, kind of, geometric floral pattern. It’s flowers, but they’re very in a grid sort of shape. And the unique part of this eyelet that made it really difficult to replicate is that it’s two-toned.

So the base fabric is, kind of, like, a creamy ivory, ecru colour, but the stitching on the eyelet is a sandy beige colour. So it’s not, like, super contrasty, but it’s definitely tonally different. And you can see that stitching really well, which is how you can, like, notice the pattern. So yeah, that was the fabric that I was having so much trouble finding.

The dress that I ended up making turned out really similar. So basically same description, long puffy sleeves, long gathered skirt, low neckline, but not as low as the inspo because the girl wearing the inspo dress didn’t have a lot of chest. So my bust is quite a bit larger than hers, so the super, super low wouldn’t have really worked on me, so I went a little bit higher. The sleeves, like, not quite as dramatically puffy. And the fabric, while it’s really similar, it’s not the exact same fabric as the original, so it does look a little bit different.

And because of the sheerness of the fabric, I ended up picking I ended up lining it, so a little bit of a different look. I should do, like, a side by side or something to see, like, how close I got it. But I think I got it pretty close. I, kind of, adapted it to work for the fabric that I found and my body, which was very different from the person who was wearing the inspo dress, so…

Helen: Yeah, well, and that would be a bit of a challenge having an inspiration picture where the model is around a size four or six. So, like, trying to envision how that’s going to translate when you’re wearing it on your own body with a different, kind of, figure shape and all that stuff, that would be difficult. But I really love the way that your dress is, like, this beautiful homage to your inspiration picture. Like, you really got there in the end, but it does look like its own unique dress, as well. Like, it’s almost like you designed it yourself.

Caroline: Well, if you want to talk about, like, infuriating. It’s like, if you’re looking for inspiration for wedding dresses, the number of wedding dresses photographed on larger bodies is, like, even less than the number of wedding dresses available for larger bodies in stores.

It’s, like, it’s almost impossible to find inspiration where you can actually see a dress on a larger body. Like it was so rare so, I mean, I think a lot of us are used to that in sewing where you’re looking at a picture of something that you want to make, and it, it’s not your body. You, kind of, have to have that vision. But I am so happy with how it turned out. It really did come together.

Helen: Yeah. And I think the fabric you found brought a little extra flair, as well. Because from the looks of the inspiration picture, the eyelet that they use was more cotton looking, and you ended up with one that had a little bit more sheen to it. It almost had this, like, silky feel and look. And so it took it to, like, an elevated level, I thought.

Caroline: Yeah. Okay. We,should we talk about the fabric?

Helen: Yeah. Okay. Tell us about sourcing. Where did you find this? How long did it take you?

Caroline: It was really challenging, like I said. Like, I I looked. I didn’t find anything. I, kind of, abandoned the idea of finding this eyelet. And I was actually then planning on using some of our deadstock bridal fabrics that we had at Blackbird Fabrics earlier this year. We actually still have a lot of them in stock because we got quite a bit of them, but none of them were, like, quite right for my vision.

Like, I just couldn’t make it work in my mind. And I was, like, really wanting to achieve that look. So that night when I was searching high and low, I ended up finding the perfect fabric from an online shop called Fabrics and Fabrics, who, by the way, great customer service, fastest shipping ever. Like, I think I got my fabric within a couple of days, and they’re based in the U.S., and I’m in Canada.

And the lining and underlining that I used were deadstock fabrics that we happen to have at the BF warehouse. And I got my notions from a bunch of different places. I can talk about that more in a sec. But the fabric itself, let me, like, circle back, I’m getting ahead of myself. The eyelet fabric, so we’ll include photos in the show notes, but it’s actually a cotton rayon blend eyelet.

In person, it’s quite lightweight. It almost has, like, an organza/voile type of a feel to it. And honestly, it feels like silk to me. Like, if I, without a burn test, just, like, to the naked eye and, like, touching the fabric. It had, like, a really high end silky look. And the thing that made it feel so spot on for me with my inspo was that it had that two-tone effect.

So the base was, like, an ivory, and the stitching was not as sandy as the inspo dress, a little bit more of, like, a creamy beige, I guess, less grey undertones, but really, really close. And then when you added that, like, lining behind it, which I ended up using a cotton lining because I still wanted to get that, kind of, like, not too formal look.

I didn’t want to line with, like, a shiny silk or a satin or something. I decided to go with a cotton lining, which I think really, like, helped that stitching pop and almost dressed down the fabric just enough to make it work for the style of the dress, which I would say is a little bit non-traditional as far as wedding dresses go.

Helen: It is, like, non-traditional by today’s standards, but it has a traditional look if you think about, like, older style wedding dresses.

Caroline: Yes! True.

Helen: It was a really nice mix.

Caroline: Yeah, it wasn’t floor length. There was no train. It, like, hit me at the ankle. And the sleeves and everything, yeah. And also, ooh, the nice thing about the fabric that I ended up choosing, because it had sheerness to it, I was able to have a sleeve that was, sheer or semi-sheer, I guess.

Whereas the inspo dress was, like, the fabric was thicker so there was lined, but it didn’t, like, pop really. So the sleeve and the main body of the dress, kind of, looked the same. Whereas my dress, because the fabric was more sheer, the sleeve I was able to have, like, some skin, kind of, peeking through, which I thought really added to like the elegance and it, I don’t know, it made it look a little bit more unique compared to the inspo dress.

Helen: Yeah, it was incredible. The sleeves I think are my favourite part. Just, you know, I love a big puffy sleeve. And the fact that they were sheer, it just was so pretty.

Caroline: Yes! Oh, my gosh. Yeah. The sleeves were also one of my favourite elements to sew and even the fitting process, in the muslining process when I was trying to get the fit right of the sleeve, that was, like, the most fun element to manipulate because it’s pretty easy to manipulate a sleeve and get different looks with the fullness and gathering and sleeve head and all that stuff. So playing around with that was, like, I don’t know, much easier, I guess, than the bodice fitting, which we’ll get to in a minute.

Helen: Yes, we will. Okay, I think now’s a good time to take a quick break, and then, when we get back I want to hear all about the making of this dress.

Caroline: Love to Sew is made possible by listeners like you. We are so grateful for the support of our amazing patrons and subscribers. If you love Love to Sew and you want to help support the pod, we have a new option for you.

Helen: You can now become a paid subscriber on Apple Podcasts. Subscribers get access to our monthly bonus episodes, and it’s so convenient. If you already use Apple Podcasts, the episodes are right there in your feed.

Caroline: So what are the bonus episodes? Well, we do a chatty catch-up on what’s been happening in our lives, share about the realities of running a small business, discuss new indie pattern releases, and talk about what we’re sewing right now.

Many of our subscribers say these fun bonus episodes are their favourite. And if you subscribe, you get access to the full back catalogue. That’s over 75 hours of Love to Sew. We also do a mini episode that deep dives into a specific topic. We get to discuss so many fun sewing techniques and answer specific subscriber questions about sewing.

Helen: And we are still on Patreon. If you subscribe over there, you can get access to the bonus episodes, behind the scenes photos, and a special 15% off discount code at our super fan patron tier. That discount applies at Helen’s Closet, Cedar Quilt Co., Blackbird Fabrics, and BF Patterns. If you shop with us regularly, it basically pays for itself. Head to patreon.com/LoveToSew to see all the perks and options.

Caroline: If you’d like to try out Patreon or Apple podcast subscriptions and check out our bonus content, you can sign up for a free seven-day trial. And, of course, you can help support the show by listening just like you are right now.

You can also leave a review. Reviews really help our show get discovered by new listeners. We know that financial support isn’t always possible. And we want you to know that we love you for listening.

Helen: Go to patreon.com/LoveToSew or visit our show’s page in the Apple podcast app to become a paid subscriber. Thank you to all our listeners, patrons, and subscribers. You’re the best.

And we’re back! Before we get into the actual sewing, I want to know when you started sewing the dress. When did you actually begin?

Caroline: Oh, my gosh. We should have, like, a Price is Right style game where people guess when I started this dress because it’s pretty predictable. I, kind of, left this dress to the last minute. I did a lot of thinking and not a lot of doing for quite a while. So it was November 2022 when I decided to make my own dress. I didn’t make any serious moves until May 2023 when I finally found this fabric and purchased the fabric. And then I actually didn’t start working on the dress seriously until the end of June. And my wedding was in September. So, you were freaking out, I remember.

Helen: Yeah.

Caroline: You were like, you gotta get going, Caroline! But…

Helen: I just wanted you to start so badly because you’ve been talking about it for so long, and I’m like, you… Please, please. Make a muslin. Just make some-, do something.

Caroline: Oh, my gosh.

Helen: Okay, did you end up using a pattern for your wedding dress?

Caroline: Yes, I did. I actually used several patterns. This was another tricky step for me because I was, again, faced with the challenge of finding a similar pattern to my inspiration that was also available in my size. Sadly, I was not quite successful at finding a pattern in my size, so I ended up going with two Deer and Doe patterns.

I went with the Magnolia Dress and the Orchidée Dress, and I, sort of, pulled elements of both of the patterns and mashed them up as my, like, starting point. So I didn’t even muslin them separately. I just, like, looked at them, traced different parts, kind of, made it work. And sadly, the size ranges are a little bit lacking on these patterns. They only go up to a 45 inch bust and a 48 inch hip. I think the newer Deer and Doe patterns have a better size range, but these ones are a little bit older in the catalogue.

So I ended up cutting the largest size on both of these patterns and grading out from there, which is not ideal, but it wasn’t the hardest thing because I am a little bit smaller in my top half. The bottom, like, of the skirt is just a gathered skirt, so that was just an easy one to adjust. And with the bodice I knew I was gonna have to make a lot of tweaks to it, so I just started somewhere, and then, I went from there.

I will say these patterns are, like, a true starting point. Like, I made, many, many, many, many, many, many, many, many changes to these original patterns, so you wouldn’t be able to, like, get the look of my dress straight from these patterns. I made a lot of adjustments, but it was helpful to start somewhere. So if you want, like, a starting point to get the look, I would start with something similar and then just manipulate as needed.

Helen: And that’s a really great tip because it can be really challenging to find a wedding dress pattern. Like, there are some out there if you look at, like, the big 4 catalogue, in particular, but just find a pattern that has the style lines you’re looking for, the, like, crucial fitting points that you’re trying to achieve. Like, for you, it was that fitted bodice with the princess seams. So if you can find that and then you can manipulate things like the sleeve and the skirt pretty easily, so don’t be disheartened if you can’t find a pattern that perfectly matches your vision.

Caroline: Yeah. And there was actually a Vogue pattern that was also very similar that I almost went with as a starting point, but it wasn’t available as a PDF. It also didn’t come in my size, so I would’ve had to, like, order it and wait for it and then work with the tissue pattern, which, you know, I’m not a fan of. So I didn’t end up going in that direction, but if anyone’s interested, I can find the number and put it in the show notes ‘cause I think that would’ve also been a really good starting point.

Helen: Yeah, I do love Deer and Doe patterns, too. They have such a wonderful romance in their style. And I think they are going back and updating all the past patterns slowly, but surely, so that’s great.

Caroline: And the Magnolia Dress, in particular, is one that a lot of people have used to make their wedding dress, which I thought was, kind of, interesting. Like, looking at inspo on Instagram and all that stuff, I was seeing a lot of Magnolia wedding dresses. So there’s something about that pattern that just translates really well to bridal.

Helen: Okay. Take us through this process from beginning to end as far as actually sewing the dress. How much fitting was involved? How many muslins did you make?

Caroline: Oh, my gosh. Helen, there was so much fitting involved.

Helen: More than expected, I think.

Caroline: Oh, my gosh. I think I made, like, 8 to 10 muslins total, most of them not complete muslins. A lot of them were just the bodice, but still, it was a lot. My first muslin was of the entire dress and looking back, it was pretty funny. And yes, I do have photos that I will share. But Helen, do you remember the convo we had? I think we were texting…

Helen: Yeah.

Caroline: …when I took photos. I, like, finished the, it was, like, a full dress, and I was like, I, like, finished it, and I, like, sent it to our little sewing group chat, and I was like, what do you guys think?

Helen: It’s done. Here it is.

Caroline: And I think I had, like, blinders on a little bit, but…

Helen: It was cute. No, it wasn’t, like, it wasn’t terrible by any means. I think our friend Tasia and I were both just, like, a little bit like, oh. Like, it was really, it wasn’t actually that similar to the dress that you’d shown us, so I think that, kind of, threw us off because, like, it had similar elements, but the style wasn’t quite the same. And, like, it had, it was very buttoned up the front. Like, it looked really conservative and, like, I don’t know, very Ren Faire, we said. We decided it looked very Ren Faire.

Caroline: Yeah. It was giving Ren Faire. It was giving milkmaid. It was giving… Like, Nat and Laura, at work also, I was chatting with them about it, and they were like, you, kind of, look like you could be, like, greeting people at Disneyland. Like, you know, like, it’s just had that, sort of, vaguely costumey vibe.

Obviously, looking back now and knowing, like, where I ended up with the dress, it was really not right, but at the time I was like, okay, it’s starting to come together, and, like, it fit. I put it on my body and it fits, so that was cool. But no, the neckline was a lot higher.

One of the things that I changed pretty quickly was, like, the buttons down the front. I had originally, kind of, put them quite close together. And I ended up, I think on the finished dress, they were two inches apart. Each button, which really modernised the look, like, a really close together, like, self-covered button front can really give, like, Ren Faire.

Helen: Yeah.

Caroline: But the, like, kind of, spacing a part of the buttons, I think really helped to make it look a little bit, I don’t know, bring it into this decade. And then the sleeves also, I needed more drama in the sleeves. That was one of the things that you suggested. You were like, I think we need bigger sleeves.

Helen: Bigger sleeves. Also, the neckline. I think you were, like, a little scared from your dress fitting experience in the store. Like, you tried on some, like, wedding dresses these days, a lot of the styles are very cleavage focused. There’s nothing wrong with that, but I know that wasn’t what you wanted, and so…

Caroline: Yeah.

Helen: …you’d gone, like, way up.

Caroline: Yeah, I don’t know, like, about anyone listening. If, I’m sure many people have had this experience, but, like, as someone with a larger chest, when you wear something with cleavage, like, you always get comments.

Helen: Yeah.

Caroline: Like, there’s always somebo-, some family member who’s gonna be like, whoa, or like, ooh, boobs, you know? Like, as if they haven’t seen them before. But you get, I had, like, insecurity about the idea of, like, showing too much, you know, which I definitely, like, kind of, came around to the other end, I guess. Is that right?

Helen: Yeah, you did. No, no, your dress was a perfect balance in the end, and it was just, like, just the right amount. And that was one of the first things I commented on. I was like, can we just, like, undo a few of these buttons and…

Caroline: Yeah!

Helen: …like, tuck them back and see what happens?

Caroline: Yes! Which I, exactly! I ended up just basically undoing some buttons and pinning them back, and, like, that change alone, it made a huge difference. And then the other thing that I changed from the original muslin was I ended up, a later down the line through the different iterations, I switched the back neckline to a square neck, like, a lower square neck. Beforehand, it was, like, just up, you know, like, very…

Helen: Full back.

Caroline: …basic back, full back, exactly. Which I think also, kind of, added a little bit of a detail that brought it into modern times.

Helen: Yes. It’s funny. You don’t think that the back really matters all that much if it’s not going to be, like, a statement back, but having it go all the way up, even though, you know, your hair was probably going to be covering it. It just didn’t look right. It felt, it felt off. Yeah.

Caroline: Yeah. I’m really glad I made that change as well. But yeah, I think the bodice was the hardest thing to fit the most challenging part. It took a lot of different iterations to get it just right. And it was just a lot of, like, pinching here, taking it out here, marking with Sharpie. Okay, let’s, like, add a little bit there and tweaking the neckline, like the armhole, where that would sit on my underarm, the princess seams. There was a lot of back and forth.

And a couple of times where I was like, okay, I’m overfitting now. I need to take a step back, you know? And definitely some mistakes were made. Like, when you’re taking a four-piece bodice and changing it again and again and again, like, there was definitely a time when I forgot to add seam allowance, and then, I tried it on, and I was like, well, why is this two inches too small, you know? Like, little things like that, when you’re really in it, that happens. You just have to bounce back. I bounced back.

Helen: Yeah. And overfitting, I think, is a common thing that happens too when you’re really engrossed in a project like this where you’re trying to get the fit perfect. You can go too far…

Caroline: Yeah. Totally.

Helen: …and try to fit every little tiny wrinkle. And fitting also changes day to day. Like, one day you might think it looks great, you try it on the next day, you’re like, wait a second, where did that wrinkle come from? It’s just a bit of a minefield in that way.

Caroline: Yeah. And then, like, at a certain point when I was into the fitting, I had this realisation of like, oh. I need to figure out, like, what bra I’m going to be wearing on the day of my wedding if I’m going to wear a bra and not, like, have this structure, kind of, built into the bodice.

So then I had to go bra shopping, which is, like, a whole other beast that is horrible. But I ended up finding a bra and that also helped me to be like, okay. This is what the boobs are gonna be like on the day exactly so I can.

And that’s one of the tips that I would definitely have is, like, figure out your undergarments early so that you’re doing all of your fittings with that because a bra fit can really change where your, your bust, your chest sits right, so…

Helen: Yeah.

Caroline: …so that took me about a month. I was muslining from late June to late July.

Helen: Late June to late July. So then that leaves just a month basically to actually sew the dress, right?

Caroline: Yeah, pretty much. Honestly, like, going into it my goal was to finish the dress in July. I was like, I want to be done by August. That didn’t happen. But I am glad that I set that goal because if I had been like, I want to be done in August, then I would have been sewing my dress, like, in the weeks leading up to the wedding, which I really didn’t want to do.

Helen: Did you have to work on it, like, consistently, like, every day during August? Like…

Caroline: Yeah.

Helen: How much time were you putting in?

Caroline: Well, so I actually had a lot of house guests in August. We had a wedding of a friend of mine, so I had another friend staying with me who was here for the wedding. I had, my brother moved to Vancouver in August from Toronto. My sister came to visit. My parents came to visit. Like, we literally had, like, back-to-back house guests.

So I told everyone, I was like, I am working on my wedding dress. So I tried to spend a few hours every couple days on it, if I could, or, like, squeeze in an hour here and there. I didn’t play, like, I wish I had, like, put on timers and paid really close attention to how much time I spent on the dress. But if I had to guess, I think I probably spent about 20 to 30 hours on the final dress. And that was throughout the month of August. I spent the whole month of August working on my dress, and I finished it by the end of August….

Helen: Oh.

Caroline: …about two weeks before my wedding.

Helen: Yeah, that’s pretty good though. ‘Cause I, no offence, thought you would be working on it the night before.

Caroline: Oh, gosh. I know. I think a lot of people did, and I was working on my dress when we were interviewing Wendy for the podcast from WithWendy, and I don’t know if you remember when we were hearing about her wedding dress experience. She was talking about working on it the night before, and she was like, don’t do what I did. And I was like, I’m not going to do what you did. I promise.

And, like, she was really worried about it. And, like, I just felt like I really needed to not be working on it the week of, and I’m proud of myself. I’m proud of myself that I finished. Not to say that I wasn’t working on other sewing projects the week of my wedding, but none of them were, like, so important that it was make or break.

Helen: Yeah, no, you got it done. And once you nailed the fit, you can feel a little bit more confident about the dress coming together, but you still had to sew the precious fabric…

Caroline: Oh, yeah.

Helen: …which I’m sure was a bit daunting. Did you include any details or techniques in the dress to make it feel extra unique or extra special?

Caroline: Yeah I really wanted to incorporate some, like, more couture techniques in the final dress. So I ended up doing a ton of hand sewing mostly because, like, I wanted to have that control, you know, like, when you’re sewing by hand you can manipulate every piece so that it’s sitting just perfectly. You’re not, like, at the mercy of your sewing machine, like, moving things around or getting something caught underneath.

So I hand sewed a lot of different elements of the dress starting with the bodice. So because the fabric was sheer, every bodice piece I underlined by hand and then it was then lined. So I wanted, obviously, no, like, raw seam allowances to be showing in the bodice, so it needed every piece needed to be underlined, which is basically when you’re underlining something you’re cutting a duplicate of the main fabric, and you’re putting that underneath, and you’re attaching it all along the raw edges so that you’re basically doubling up a fabric and treating that then as one layer and then continuing with the rest of the process.

So every piece was underlined by hand, and then I constructed the bodice by machine, And I constructed the lining by machine, but then when it came to attaching the sleeves, I ended up, kind of, sewing the sleeve on. But then when I closed the lining around the sleeves, I hand sewed that close. So where the lining, kind of, met the sleeve opening, I, kind of, folded that under, and there was a lot of clipping involved and, like, slow, slow hand sewing. Also, just, yeah, kind of, seam allowances, locking them in place so that they would stay in place and not move around. There was some, like, whip stitching involved to, kind of, keep things down.

And then in closing the bodice, like, once that bodice was constructed and I attached the skirt and I wanted to close the lining of the bodice, I did that by hand. I inserted a hidden zipper in the bodice, as well, which is something that, I kind of, went back and forth on. But with the very, like, fitted nature of this bodice, I was worried that with the buttons being two inches apart that I would just end up sitting down the way your body moves, you know, like, it, kind of, pulls the buttons apart. I really didn’t want to be worrying about that.

Helen: Yeah.

Caroline: So I ended up doing, I don’t know if I would call it a lapped zipper, but, sort of, like, a lapped zipper where it was, kind of, on the inside of the bodice, so you really couldn’t see it from the outside. But it just acted as, like, a full secure closure and the buttons were, I guess, technically decorative, although they still buttoned, like, it was still, you know, like, a true button closure, but that zipper was, like, that extra layer of closure. And that was also by hand.

I also hand sewed these, like, little loops at the shoulder, which I’ve seen people do, but I’ve never actually tried myself, a little thread chain loop with snaps at the shoulder to keep my bra straps hidden, which worked amazingly. Didn’t flash my bra straps at all on the day, which was great. But yes, it was a lot of hand sewing, more than I have ever done or probably would ever do again. But I did get really comfortable with hand sewing, and now I feel much better at it. So, yeah, I definitely learned some new techniques.

Helen: I’m glad you went for the hand sewing because we talk about it on the show constantly about how great it is because you have more control and it’s beautiful and all that good stuff. So I’m really glad to hear that you went for it, even though I know it’s not your go-to usually. And we had a great guest on the show who I’m sure inspired you a little bit with your hand sewing.

Caroline: Oh, my gosh. Okay. So funnily enough we interviewed Bernadette Banner around the time that I was, like, deep into working on my dress, and I, to prep for the episode, was watching a lot of her videos and just watching her sewing. I picked up some really great hand sewing techniques from watching her work. And even simple things like sewing a secure back stitch, instead of a running stitch, a back stitch is much more secure, especially in certain applications.

So watching her do that, I was like, okay. You know, when you see something in video form, it’s, like, so much easier to absorb and understand. So that’s one of the resources that I would recommend, especially if you’re doing a lot of hand sewing is, like, watch some of Bernadette’s videos because…

Helen: Incredible.

Caroline: …she just basically constructs entire garments by hand. And so you get to see all different types of stitches and techniques and little things like, little tools that she has around, little, in some of her videos, she’s like propping up her work so that it’s, like, at eye level, so you’re not hunching over. So, I kind of, rigged up little things on my table so that I could have my sewing at eye level when I was doing all of that hand sewing. There was just so many little things that I picked up from her.

And then, other resources. So obviously, past guest Brooks Ann Camper is, like, a hand sewing queen, so I visited her blog…

Helen: Wedding dress queen.

Caroline: …and a wedding dress queen. Yeah. But I visited her blog and browsed some of her, like, process posts. She does a lot of really great posts featuring wedding dresses that she’s made. She does custom bridal. So really, really gorgeous work. And her post, the one that I thought was really helpful was she has a post on attaching bridal button loop tape, which I ended up using, kind of, that elastic-y loop tape.

And then also she recommended hiding metal hooks in, like, strategic places to keep things in place. And I did, even though I had that zipper, I did end up using metal hooks in a few different places on the inside of my dress, which really was effective for what I needed to do. So, yeah.

Helen: Ooh. Yeah. There’s so many amazing resources out there. So you can definitely learn a lot of different techniques for sewing something like a wedding dress, even though you’ve never done it before. It is doable. I love Brooks Ann’s blog because she makes the most incredible custom bridal and very unique to the bride. And she’s a great storyteller, too. So just a great place for inspiration as well.

Caroline: Mm-hmm. Yeah.

Helen: Okay, can we talk budget because I think people often think sewing is less expensive than ready to wear but of course, as sewists, we know this to not really be true. But what about for something really expensive like a wedding dress? Was it cheaper to make your own dress than to buy one?

Caroline: This is a great question, and I did tally up my, like, approximate costs, but I didn’t include my time in this costing. So the biggest investment for me was the eyelet fabric that I purchased. With the exchange rate, I ended up spending about 450 on fabric. Now I did order a lot of extra fabric because I was really worried about running out.

Which, because I had so much fabric, I was playing a little fast and loose with my cutting, you know, like, I wasn’t being as careful with how I cut and fabric, kind of, consumption and conservation while I was cutting. And I actually did end up recutting, having to recut something, which I’ll talk about later. So I’m very happy that I got extra fabric because it was needed, and I ended up using a lot of the extra little pieces to make my niece’s flower girl dress, so that also was part of that.

The lining and underlining fabrics that I used I ended up using some deadstock fabric that we have at Blackbird HQ from a designer that we haven’t put online. Effectively, it was free for me, but if you were getting some, a fabric like this, it was not, like, a crazy expensive fabric. When we sell this fabric at Blackbird, because it’s, like, deadstock that we picked up, we’ll probably sell it for pretty inexpensive, like, five to ten dollars a metre. So that would be like another hundred dollars, I’d say, on lining and underlining fabrics. And I ended up using the same fabric for the underlining and the lining.

The zipper was, like, five bucks. The button and button loop tape was about 50 dollars with shipping and everything. The patterns were 35 dollars for the two patterns. And then I also used some deadstock for the muslin and, like, fitting fabrics calling that free because I think you could use fabric from your stash for that. So total was about 540, 640 if you account for that 100 dollars of deadstock fabric that I used.

If you include my time in the cost, it would be much more expensive on paper. I spent two months working on this dress, probably averaging, like, eight hours a week, so about 64 hours total. But most of the dresses I looked at were over 1,500 dollars. Many of them closer to, like, three, four thousand dollars, so…

Helen: Oof.

Caroline: Yeah. If you’re considering your time, you know, maybe it’s on par, but if you’re, sort of, counting your time towards like, I don’t know, this is something I’m doing for myself.

Helen: It’s my hobby anyway.

Caroline: It’s my hobby anyway. Exactly. I think a lot of us don’t necessarily consider our time when we’re, like, costing out projects. So I think if we look at it that way, it is less expensive than ready to wear.

Helen: It sounds like it.

Caroline: But it’s unique to me.

Helen: It is wild how expensive wedding dresses are, considering that, like, you can buy a fancy dress that’s not a wedding dress for…

Caroline: Mm-hmm.

Helen: …much cheaper.

Caroline: I know and, like, don’t forget you have to wait, like, a year basically for your dress. Like, a lot of dresses take, like, eight months to be made and then another couple months for alterations. And more money for alterations. So yeah, wedding dresses are not cheap.

And also, I mean I see a lot of content online around, like, thrifting wedding dresses, people who like, you know, don’t necessarily buy new, maybe they buy used…

Helen: Yeah.

Caroline: …or they buy, they find a wedding dress in a thrift store which is great. If you can do that, that’s great. But I will say I have never seen a wedding dress in my size in a thrift store. So I think that would be really challenging for a larger person. And I don’t necessarily think that’s an accessible option for everyone.

Helen: No, but it is a great option if you are on the smaller size end. And I think that there’s absolutely nothing wrong with that. I have had so many friends do used wedding dresses, buy them on Craigslist or at thrift stores, and they look absolutely gorgeous.

Caroline: Oh, yeah.

Helen: And it’s still your special dress for your special day, so go for it.

Caroline: Oh, so true. Like I, I would have considered that option if I thought it was an option.

Helen: Yeah, exactly.

Caroline: ‘Cause I think you can find gorgeous dresses at thrift stores or secondhand. And that history is really cool, too.

Helen: Yeah. I do think there’s also just so much more value in the fact that this dress fits you perfectly, and it’s literally one-of-a-kind, it doesn’t exist anywhere else. You created something totally unique and that personal touch also has a lot of value. So, it’s hard to put a price on that, you know?

Caroline: Yeah. And you know what? I’ve been thinking a lot about what do I want to do with my dress now? And I haven’t decided yet, but I am considering, like, rehoming it. I’d really love to not sell it, but, like, give it to somebody who would want to wear it to their wedding and maybe with the promise that they would then pass it on to someone else, you know?

Helen: Oh, my gosh, listeners.

Caroline: Travelling wedding dress.

Helen: Yeah. Like, sisterhood of the travelling wedding dress.

Caroline: Truly though if anyone out there is interested, like, hit me up because I really would love, to find somebody who would wear this dress again because it’s crazy. You spend so much time and effort on something and then you wear it once and, like, I’m not going to wear this dress again.

I’m not going to shorten it and dye it. Like, I’m not, you know, like, it’s this dress is, it’s the dress, and it’s still in, like, perfect condition. So, yeah, someday I would love, someday soon hopefully, I would love to find a new home for it and someone who will be able to wear it again.

Helen: It’s so tempting to keep it because of the sentimental value, but a lot of people just end up with them sitting in the closet for the next 40 years or whatever.

Caroline: Exactly. Yeah, I have a lot of photos of it. So I am a sentimental person, but I don’t think enough to keep this wedding dress for the next 40 years.

Helen: I think you’re underestimating how excited some of our listeners out there would be to wear your wedding dress, Caroline. Like, I wanna wear it.

Caroline: Oh, my gosh. I’m honestly not even joking, though. If anyone is interested, please get in touch with me because, honestly, giving it to a listener would make me, I’m going to, like, cry thinking about it, it would make me so happy.

Helen: Oh, that’s so sweet.

Caroline: Just going to put that out into the universe, who knows, right? Okay, let’s move on.

Helen: Yes. Okay. Big question coming your way. Do you have any advice for people out there who are thinking of making their own wedding attire, be it a dress or otherwise?

Caroline: Yes, I do. Okay. I thought a lot about this. I mean, everyone’s on their own journey, right? This is my journey. Everyone’s journey is different. I am a unique person who doesn’t work super far in advance. That’s just who I am. But I would give the advice that you want to give yourself enough time. I would say start early.

I know this is not easy for some people like me, but I was really happy that I had the time to take a step back and come back to this process with fresh eyes when I needed to. And I think if I had left the dress until, like, the week before or the two weeks before, I wouldn’t have had that luxury. And that really made a difference for me.

For example, one of my biggest challenges throughout the final dress process was getting the neckline opening to sit closed at the very top where the v, kind of, intersects at the bottom of the v neckline. Just the way that I constructed it with the buttons and the zipper, like, it was, kind of, pulling apart a little bit at the very top, and I tried a bunch of different, like, hooks and snaps and things to, kind of, keep it secure. Nothing was working. It wasn’t sitting right.

And I was able to just, like, step away. I took a day or so, I thought about it, it was, kind of, at the back of my mind, and then I was like, okay, let’s try a different kind of hook. Let’s try this different position for the hook. And it worked! I ended up figuring out a solution that worked. Sometimes when you’re, like, so in it and on a deadline, like, it just feels so dramatic and you’re like, I have to figure this out, and then if you don’t, it’s, like, very hard, so you don’t have to give yourself a ton of time, just give yourself enough time to be able to take a breath and step away from it if you need that moment of clarity.

Helen: Yeah. And I think it’s ideal if you give yourself extra time to also take breaks and work on other things.

Caroline: Oh, yeah.

Helen: You might get tired of working on your wedding dress and you’ll want to sew a t-shirt or something, have a little palette cleanser. So having a little time built in for that would be great, too.

Caroline: I actually ended up making a dress for our friend’s wedding in the middle of the process, and that was great. Like, having that moment to step back. and I think like, I don’t know if it was you or Shea or someone was like, why are you working on this when you should be working on your wedding dress? But, like, I just needed that palette cleanser, and it was really nice to, to be able to make something else and then come back to it. And I wouldn’t have been able to do that if I had left it to the last minute.

Helen: Yeah.

Caroline: So that’s a great point. Okay, my next piece of advice would be to set goals and milestones for yourself and tell somebody about it. So tell your friends and family, like, I think I told you I wanted to finish the dress by August. Obviously, it didn’t end up happening, but it kept me somewhat on track knowing that there were people who were going to ask me about it and follow up with me.

And I did have a few people in my life that were really good at, like, gently nudging me, you included, Helen. And that was really helpful to just know that, like, these people were supporting me and, like, excited about this journey and just keeping me on track. I do really well with that outside accountability. So if you have that kind of personality, I think that’s really helpful.

Helen: Yeah. That makes sense.

Caroline: My next piece of advice would be to mentally prepare yourself to make a lot of fitting adjustments. Obviously, it depends on the style of the garment that you’re making. I laugh when I think about our interview with Claire Birnie, and I think I mentioned this on the bonus episode, but when we interviewed Claire from Sew Outdoorsy for the pod, she was telling us about how she made her wedding dress and she said something, I can’t remember the number, but she said that she made, like, over a dozen muslins. I think it was, like, 13 or 14 or something.

And I, like, cackled. I was like, ha-ha! It couldn’t be me. Like, I would never make that many muslins. That’s ridiculous. In the end, I, I wasn’t that far off. Like, I was kicking myself. Everything took so much longer than I thought it would, especially, like, that journey to, like, achieving that perfect fit and look that I wanted. I thought I would be able to do it within, like, a couple iterations. Didn’t happen. Like, it took a lot of work and revisiting this pattern to get it to the place that I wanted it to be. That might not be the case for everyone, but just build in enough time and, like, get ready for it. And then if it doesn’t end up being that way, then at least, you know, you were ready.

Helen: Yeah. That’s true. Then, you can be, like, really pat yourself on the back, and then, you can be like, Claire and Caroline are both ridiculous.

Caroline: Oh, my gosh. Okay. My final piece of advice is to take notes and, like, document the process for yourself, not just for the memories, but also just to have, like, a written, kind of, catalogue of everything that you need to keep in mind. Like, I filled pages and pages of my notebook with fitting thoughts, changes, measurements notes, I was constantly taking my measurements, construction steps because I was, kind of, working on with, like, a hybrid pattern. I, sort of, had to come up with the construction steps on my own.

When I was ready to make my final dress, I sat down and made a list of every step that I would need to do and milestones and little notes of, you know, don’t forget to add this little detail or whatever. It really helped me to stay focused and know what needed to be done next so that I didn’t have to think too much about it.

And similarly, this is a big one, if you have pattern adjustments to make, make them on the final pattern. So I made a very rookie mistake, which led to some drama. I wanted to add a few inches to the length of my skirt, and I didn’t think too much about it. It’s such a small detail. It was, like, a, quite a rectangular skirt because it’s a gathered skirt.

So the whole time I was fitting, I was like, I’m just going to add a few inches at the end. I’m just going to add a few inches at the end. And when it came time, I was so exhausted. I didn’t feel, like, adding a few inches to my pattern pieces. So I was like, I’m just going to remember to add that length when I go cut out the fabric. Obviously, I’m going to remember. Guess what happened, Helen?

Helen: Nope. It never happens because you’re going along with that rotary cutter, and you’re just like, ooh, here I go. It’s like when I try to cut things flat when they’re supposed to be on the fold. I’m like, I’ll, I’ll remember to flip it over. I won’t cut right up the centre back.

Caroline: Oh, my gosh.

Helen: Every time.

Caroline: Yeah. So I didn’t remember, and then, I was kicking myself because I wasn’t that diligent with fabric conservation. So I, I ended up having to recut my skirt pieces, and I didn’t even have enough fabric from, like, the batch of fabric that I originally ordered, so I had to go back and I, like, panic ordered a couple extra yards, and then, they were, like, short.

I only ended up getting, like, another yard. I was, like, it was very dramatic, and I ended up being fine. And I did still have enough, like, off cuts to cut my niece’s flower girl dress, but, like, it was touch and go. And then honestly, like, if I hadn’t been able to get more fabric, I would have just ended up having to settle for, like, a shorter dress, which probably would have been fine.

But, like, I, it’s my wedding dress, you know, I wanted it to be perfect. So make the adjustment, like, don’t think that you’re going to remember. You’re not going to remember. Just do it. Just take the five minutes and, like, add the chunk of paper and, like, lengthen the skirt. Like, just, I’m talking about… Clearly, I’m talking to myself right now, but, like, just do it please.

Helen: I always try to get away with this. Sometimes I’ll write a little, like, in red pen at the bottom of the hemline. I’ll be like, add one inch here with, like, a big arrow, and I still don’t remember to

Caroline: Oh, yeah. And you’re just like, do, do, do, do, do cutting out, like listening to music or whatever. And you just forget. And like, yeah, that’s so annoying.

Helen: So annoying. That’s so funny. I mean, it’s not funny in the moment. I’m sure it was very… you were so panicked when you did it.

Caroline: I was stressed. I was stressed, but it ended up working out.

Helen: Was that the most dramatic moment in the whole experience, do you think?

Caroline: I think it was the most dramatic moment. Yeah. I think it was. Yeah.

Helen: That makes sense.

Caroline: Oh, my gosh.

Helen: Okay, I want to know a little bit about how you balanced just the emotional and physical demands of such a labour intensive project, especially during a busy time when you’re planning a wedding.

Caroline: Yeah. I, why did I do this? Wait, we just talked about it. Okay. I know I did it, but I, I worked really well, or I work just in general really well under pressure. Or, like, when I have a deadline, like, I’m a procrastinator, I will stay up all night to finish something. Like, I just, that’s how I work. That part was okay.

I was really comfortable working on this in the months leading up to my wedding. But I really quickly learned like, when I’m working on a tight deadline, something has to give, so I spent a lot less time cooking, cleaning, doing other hobbies. Thank goodness, like, Shea picked up a lot of slack. He took care of so many things around the house.

And we worked on our mugs further in advance because Shea is not a procrastinator like me. so we finished our mugs early. So I was able in those last couple of months to really focus on my dress and tune everything else out. Definitely, like, turned to friends, family, coworkers for support and encouragement when I needed it. Don’t be afraid to ask for advice. Like, sometimes just bouncing an idea off somebody else or, like, asking for troubleshooting advice will just solidify, like, what you already knew to be true.

It’ll just help you come to that decision, right? Like you’ll know right away if someone gives you advice, like if you want to follow it or not, but it, kind of, sometimes helps bring clarity to that decision. And just in general, challenges feel a lot less scary when you have someone to lean on when you can talk about that with loved ones. So that was a big one.

I’m really happy that I shared the process with Shea. He was there for me, like, every step of the way. I didn’t keep the dress a secret. I showed him all of my weird muslins along the way. He was there for, like, the late nights. He was pinning my, my bodice, the back when I needed help.

And I was just really happy to be able to show him the process and share in that, like, joy. Once it was finally finished, it really was, like, a really joyful moment when I finally came out in the dress and I was like, I finished. And he just thought it was so cool, and it just made me even more proud that he was, like, impressed with and loved the final results.

So that was a special thing that I’m sure not everybody would want to do, but it, for me, helped me to keep, like, morale high is, like, having someone there that was, kind of, on that journey with me.

Physical demands. I mean, yeah. Listen to our episode on sewing ergonomics with Rose Parr. I tried to do a lot of sitting and standing and making myself comfortable in those moments when I had to do a lot of hand sewing, stretching, try not to ditch all of my, like, physical fitness things that I like to do on a daily basis to try to, like, keep myself feeling good. So, continuing with that, I think is important. So you’re not just, like, having this, like, tunnel vision and just like hunched over your machine, like, a little, you know, yeah…

Helen: Oh, yeah. We’ve all been there.

Caroline: I think definitely. Yeah. Yeah, just make sure you maintain balance some semblance of balance as much as you can throughout.

Helen: Yeah. And giving yourself grace, too. It’s a very high pressure project, right, wanting it to turn out perfectly. Having this vision that’s, kind of, hard to execute. There’s a lot of different factors going on, and you’re very, it’s an emotional piece as well. So yeah, just giving yourself a lot of grace throughout the process. I’m sure it’s very important. What was it like to wear the dress on the big day? What did it feel like?

Caroline: It was pretty surreal. The whole day was surreal. Wearing the dress was surreal. One funny story I have is that so Shea and I decided to get ready together on the day. We wanted to have, like, a quiet moment to, like, get ready for the wedding. And so we, our photographer came, like, at the tail end of our getting ready time to start taking photos.

And I had already put on my dress. Like, I had just finished putting on my dress, and there were quite a few buttons and hooks and things to get in there. And the buttons are, kind of, hard to button, just the elastic loop and stuff. I don’t know. It was a challenge. I got it all on, and I came out and she was like, you look amazing. Can you take the dress off? I want to get some pictures of it on a hanger. And I was like, no!

Helen: Oh, no.

Caroline: I had to unbutton the whole dress, take it off, get photos, and put it back on. That was probably the most annoying part about getting ready. But in the end, like, once it was on, I was so happy with the dress. I was really comfortable. I felt really beautiful. The whole day was, kind of, a blur, but I didn’t notice the dress, which I think is a good thing.

Like, it was there. I felt good, but it wasn’t bothering me in any way. And yeah, it was so nice to be able to say that I made it and share in that joy with all of our guests. So it was a really special experience to wear a handmade dress on your wedding day.

Helen: Oh, I can only imagine. And I mean, I said this at the top of the show, but you looked absolutely fricking gorgeous in that dress. Like, it was such a showstopper, like, just so beautiful. It felt very you, and you could just feel the confidence radiating from you. And we know that that comes with sewing your own clothes. Like, it brings a certain spring to your step, you know, and I felt like I could feel that on the day.

Caroline: Yeah. Thank you so much. Yeah, no, it was, it was so special. And I just want to thank everyone, all of our listeners, for coming along on this journey with us, with me, over on Patreon and the bonus episodes, sharing that process but also today here on the show. I had a blast, and I’m happy that you all listened.

Helen: Oh, it was so fun to hear about it. And if you have any questions about Caroline’s wedding dress, or you want to own it for yourself, you can reach out to us via email or on social media this week. And we’ll be sharing tons of photos of the process, the finished dress, the wedding, all that good stuff over on our Instagram. So definitely you’ve got to go check that out.

Caroline: Oh, yeah. Thank you so much, y’all. We’ll talk to you soon.

Helen: Bye.

Caroline: Bye.

Helen: That’s it for today’s episode of Love to Sew! You can find me, Helen, at Helen’s Closet Patterns and Cedar Quilt Co. and Caroline at Blackbird Fabrics and BF Patterns. We’re recording today in beautiful British Columbia, Canada.

Caroline: You can support Love to Sew and get access to bonus content by subscribing on Patreon or Apple Podcasts. You even get access to the back catalogue of bonus episodes. That’s over 75 hours of Love to Sew. Go to patreon.com/LoveToSew or check out our podcast page on Apple Podcasts for more info.

Helen: You can head to LoveToSewPodcast.com to find our show notes. They’re filled with links and pictures from this episode. If you’d like to get in touch with us, leave us a message at 1-844-SEW-WHAT. That’s 1-844-739-9428, or send us an email at [email protected].

Caroline: Thanks to our amazing podcast team. Lisa Ruiz is our creative assistant. Jordan Moore of the PodCabin is our editor. Margaret Wakelee is our transcriber. And thank you for listening. We’ll talk to you next week.

Helen: Buh-bye!

Caroline: Bye!

Podcast: Play in new window | Download | Embed

" onclick="javascript: this.select();" onfocus="javascript: this.select();" style="width: 70%;" readOnly>

In this episode, we interview Bernadette Banner, historical sewist extraordinaire! She answers all of our hand sewing questions, chats with us about historical clothing, and gives us a behind-the-scenes look at her YouTube channel.

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

Show Notes: 

Find Bernadette Online:

Bernadette’s Book:

Make, Sew and Mend: Traditional Techniques to Sustainably Maintain and Refashion Your Clothes by Bernadette Banner

Bernadette’s Sewing Patterns with Clockwork Faerie:

Videos by Bernadette: 

Other mentions:

A post shared by heathcliff (@mxheathcliff)

Transcipt:

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.

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

Caroline: I’m Caroline, the owner of Blackbird Fabrics and BF Patterns.

Helen: We’re two sewing buds who love to sew, and it’s basically all we want to talk about.

Caroline: Today we’re interviewing Bernadette Banner, historical sewist extraordinaire. She answers all of our hand sewing questions, chats with us about historical clothing, and gives us a behind the scenes look at her YouTube channel.

Helen: If you love to sew, this is your show.

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

Bernadette: Thank you so much for having me. I’m very excited to chat with you.

Helen: Oh, we are thrilled to chat with you, too. Can you please introduce yourself to our listeners?

Bernadette: Hi, listeners. I’m Bernadette Banner. I have a YouTube channel on… YouTube. Oh, god. We are starting off on a great foot. Well, I started off as a dress historian. I was training in dress history. Well, actually, how far back are we going? But I started out in costume design for theatre back in New York on Broadway and then, from there, sort of, went into dress history and decided to start posting my personal projects on YouTube.

And that, sort of, ended up becoming a job. So I never really know, like, what is the official title to, like, introduce myself as. YouTuber, if we want to be very base. Historical sewing YouTuber. I focus primarily on the history. So I, you know, modern sewing is not quite my, area of expertise, but the history of sewing, hand sewing, give it to me. I’m all about that.

Helen: Well, that’s amazing. That’s exactly what we’re going to chat with you about today. And we also wanted to know where you’re from and where you’re living right now.

Bernadette: I’m originally from New York. New York is my home, but I am in London currently. I ended up coming over to London for a job starting in 2017 and had been going back and forth a bit. But now I’m here pretty much full time, which is great. I mean, there’s lots to do in both cities, and they’re both wonderful places to live. I’ve been very lucky to get to experience life in both places, but there’s a lot of great dress history opportunities in London, which I’m very merrily taking advantage of right now.

Helen: And the fabric stores, too. My gosh, in one of your videos, you went to, like, 27 fabric stores in one day. And I was like, I wish. I wish.

Bernadette: Yeah. Yeah. I do occasionally think about that every time I go on one of those fabric shopping adventures. It’s like, wow. I don’t know what it’s like not to live in a city that just has, like, a street of fabric shops, just, like, 20 fabric shops.

Helen: My goodness. Yeah, it’s not quite the same, but hey, sometimes you still don’t find what you’re looking for, so…

Bernadette: Yes. Oh, yes.

Helen: …it’s not a guarantee.

Bernadette: I do feel like when you have that much choice, you start to become pickier than you probably should.

Caroline: Yeah. So tell us a little bit more about your career over the years because we’re always very enthused and impressed by anyone who has made sewing their career. So can you tell us, kind of, the evolution of that for you?

Bernadette: Sure. I started out in theatre. I did, I was working on the costume design team for the designers for Broadway in New York. And that was great fun. I was primarily on design, though. So there’s the design teams, which is where I was, and then there are the costume shops, who are, sort of, the fabricators of the clothes. And then there’s wardrobe, which is a whole separate union and department, which does the day-to-day running the dressing, the working with the actors. So I was in design. We, sort of, work up until opening night, getting the clothes together and figuring out what these clothes are going to be. There wasn’t a whole lot of sewing involved in that as you can probably imagine.

And sewing has, kind of, been something, I mean, I did it when I was younger. You know, there was a fashion club in high school that I did, and I enjoyed it. I always put a more costume-y, historical spin on things. But it was always more, sort of, a, a necessary means to an end, you know? It’s not like I’m doing this because I enjoy the sewing it, I was doing it because I wanted, you know, a costume at the end of it or to present the final collection or whatever it was.

And it wasn’t really until I ended up going, because I went right into theatre from high school really, I got my first job at 18, but there was a point where I was just like, I need to stop. I didn’t realise what a rollercoaster the world of theatre is, especially where I was working in the more creative sides of things. I don’t, you know, I don’t know how it is for the actors. But for creatives, it tends to be we top and tail these shows. So that you’re starting the work for the next show at the end of the other show.

So before I knew it, four years had gone by, and I, it was just a blink of an eye, and I thought, you know what, if I’m not careful, I’m going to wake up, and I’m going to be 45. But I need to stop for a second and, you know, go get a college degree, you know, do something else with my life because I was, like, 22 at this point, and I feel like, I mean, it was a fantastic experience, but something feels a little bit risky about, sort of, committing to one thing at 18 and then, just rolling with that for the rest of your life.

I don’t know, maybe it works for some people, but anyway. So while I was at university is when I discovered the history of fashion. I mean, there are fantastic references that we look for in designing for theatre, but, you know, at the end of the day, we have three months to design 300 costumes that need to go on stage, the curtain goes up and everyone’s got to be dressed. So we don’t really have that much time at the end of the day to be like, how historically accurate is this? What would this have actually looked like?

And those were the questions, sort of, running through my mind, doing a late 16th century show at one point, and we put everyone in codpieces, which now I’m like, why would we, why would we do that? Codpieces went out of fashion in the middle of the century. But, you know, these little peculiarities of fashion that come up that you just start to have questions about. Like, mm, I wonder where this came from. Like, where did the codpiece come from? And there’s not really time to look into that. But, you know, I was really interested in that.

So when I went back to school, I had the opportunity to get into more of the study of historical dress, and ultimately, I got put on every Shakespeare and, you know, all the historical productions because I was the only one who wanted to do them. And, you know, I went so hard with the research because that was my interest.

And weirdly enough, although not weirdly, I don’t think, no, very weirdly, they don’t really teach you how to sew in design school because they figure, you know, you’re not going to be doing the sewing. There’s going to be a shop doing the sewing, which I think is a huge mistake. Because it does really help to know how the clothes are constructed in order to design clothes and to do really cool things with seams and shapes, you know, if you know how the clothes work.

So I was, sort of, I had been pushing for that for a few years. Like, there really should be a sewing class here, and a few of my professors were like, why is there not a sewing class here? They ended up sending me over to the graduate department that did have a sewing class, and I was very lucky to be able to take one of their classes. And the big project for that class was you, sort of, have the entire second term, to build a historical garment from a historical pattern. And that was when I just absolutely fell in love with historical reconstruction.

Helen: That must have been so much fun to do, to be given the opportunity to take the time and really explore that creative process. Did you sew using historical methods of sewing as well?

Bernadette: No, so we didn’t have to do original practice. They said, it was a, you know, it was a costume construction class, so ultimately, we did use modern machines and serging and, you know, those sorts of things. But once again, I started to have all these questions because we were working with, like, Janet Arnold, who, you know, if you do historical costuming, you know, Janet Arnold, she took patterns from original garments, you know, publish them as they were historically.

So sometimes they don’t make sense because it’s, like, someone had pieced this, someone didn’t have enough fabric, so we’re just making it work. It was a mistake, you know, that some seamstress in the 18th century just did. Sometimes there are odd seam lines that don’t make sense to us today, but that certainly made sense historically. So I had so many questions about, what was going on in this? And some of the questions, my professor was extremely knowledgeable. You know, she taught me lots, but, you know, some of the things a modern costume maker doesn’t really have the answers to.

Towards the end of my final year, I ended up, one of my professors had put me in touch with the School of Historical Dress here in London. And they weren’t teaching at the time, but the principal there, Jenny Terramani, who was a fantastic dress historian. Hugely respected. She invited me to come work on the newest Janet Arnold book that was coming out the following year. So I got to come over here to London for a few months and work with her to put together this book, and I got to, you know, look at the original garments and see how the patterns are taken and do some reconstruction work myself.

I mean, she basically, when I got into the room with her, she said, do you know how to sew? And I said, yes, I know how to sew. This is what I’ve been training for. And she said, great. Unlearn all of that. I’m going to teach you from scratch. And she taught me how to sew by hand with a historical mindset. And that was when I fell in love with the sewing process. No longer was sewing just a means to an end of a costume, but it was sewing as a form of time travel, it was tangibly getting your hands on history and walking the same path that someone in the 18th century making a pair of stays would have walked.

The same struggles, very, very similar materials, very similar hand movements. and really getting a sense of how much labour went into these clothes. The journey itself became such an enjoyable process that by the time I was finished, I’m like, what do I do with the garment now? I want to start a new project. And that’s when I started sharing my work on social media, and one day it just took off, and now that pays the bills.

Caroline: It is so incredible how you had this journey and then you, sort of, really started relishing in the process and that energy is so infectious on your YouTube channel and in the content that you share. That process that you’re sharing with your audience, I think is what is really pulling us in and is making your content really fun to watch and unique and interesting. And I wonder what was the inspiration, why did you decide you wanted to start sharing about this on the internet and, and what did it feel like when it really started taking off?

Bernadette: I think I was, I mean, I was just excited, you know, I was in this process of learning about historical dress and, you know, by that point I’d been doing it for, a bit more than two years and, you know, I was all set to go, you know, I was set to go on a master’s program for dress history. I was, like, full-on along this journey to go into dress history, and I was just so excited. The trouble with a field like this is that there are such limited career possibilities. You know, there’s the School of Historical Dress, which is a fantastic institution, but you know, they’re not as well funded as, like, the VNA.

Can you really make, you know, a sustainable living working and, you know, teaching historical dress? Is there the, you know, public interest to, like, fund that? You can go work in a museum, but that takes decades of training to get up to a point where you can earn a living wage, and it requires many years of free work, which I wasn’t sure I was able to do. You could go into academia, but again, how does that pay?

So I wasn’t sure what the career prospects were about this, and I was fully preparing myself to get a job somewhere, sort of, tangential. Like, maybe I’d go work at Colonial Williamsburg which is very related to historical dress, but you know, maybe go work in a costume shop or something that wasn’t quite, exploring dress history, but something, sort of, related that I could settle for.

But in the meantime, I was just going to share my excitement about this research journey that I was on. And I didn’t expect it to go, and, you know, I was aware that, you know, people on YouTube made money, but who was interested in the history of dress? Like, no one would be interested in this. There is no possible way that any person on the face of the planet is going, or enough people on the face of this planet are going, to be interested in the history of dress to watch these videos in a way that would make money. I ultimately decided to go onto YouTube because I did have a bit of filmmaking, and it was just, sort of, a natural, sort of, creative outlet for me.

Instagram is great for photos, but I was finding, I wasn’t able to capture the process of hand sewing in one frame. You know, I needed a video to do that. And you know, I love filmmaking as well. So it just, sort of, melded my interests very well to go on to YouTube. And, then unexpectedly, out of nowhere, the one video just took off, and it really exploded.

Helen: It’s absolutely amazing, and we’re so lucky to have you on YouTube to watch, because like Caroline said, you put out this amazing content, and we noticed that you wear historical garments in a lot of your videos, if not all of your videos. So we were wondering, do you ever wear, like, normal clothes?

Bernadette: I do. Yeah. I do dress in a lot of historical dress. Mostly because, I mean, when you study the history of dress, you realise how many amazing silhouettes there are and construction techniques there are and, you know, materials that were used, and just, you know, going to a high street and buying something modern can just be so disappointing in comparison, but no, I do, and increasingly more so now, I have, you know, resorted more to normal dress, just coming out of the pandemic really especially because we’ve been in lockdown for two years and then coming out of that.

People started to recognize me on the street, which was, I mean, it’s always been wonderful. You know, I’ve never had a bad interaction with anyone, but sometimes it can just be a bit uncomfortable.I’m a bit introverted. So, you know, there are some days when I’m just like. I just want to be a normal person today. I don’t want anyone to, like, perceive me in this grocery store. So I’m just gonna be here with my hair down and, you know, a normal pair of trousers on. And it does work. For the most part it does work.

Helen: You’re like a celebrity with your ball cap and your sunglasses, like, trying to avoid eye contact with the paparazzi. No, that makes total sense. But we do really enjoy seeing your outfits on your channel. And one of the questions we had was whether you find wearing historical garments cumbersome or uncomfortable at all, and how did people in those time periods feel wearing those garments? Were they, like, sweaty?

Bernadette: Oh, well. It’s hard to say because, you know, we are not the people of the past, and attitudes towards dress were completely different. Societal attitudes were different. So, you know, they might be very uncomfortable in our clothes that we wear today. But I will say, because I grew up with scoliosis, to the degree that I was in a back brace, and I had to wear that, which is essentially, it was a plastic corset for about five years of my life.

And people think of corsetry as, like, this super constraining, like, oppressive garment that people are fainting in. And I will tell you that from five years of wearing that thing, it became so unnoticeable, like, it was, I mean, you’d think like a hard plastic thing that digs in the waist, like, that would be uncomfortable.

But, you know, I didn’t even notice it. I wouldn’t even, like, perceive that it was there. So, part of me, you know, based on that experience, is led to believe that the clothes that we perceive as uncomfortable to the wearer who is wearing that, you know, every day of their lives, they wouldn’t think twice about it.

I mean, most of us, I think, put on our underwear every day and then proceed to not give it a second thought at any point during the day unless it’s, you know, there’s something wrong with it and there’s an underwire that’s digging in or whatever. But, you know, for the most part the garments that you wear that are comfortable on you, as a corset, you know, that is fitted to you is meant to be, as they were historically, you know, it’s not gonna theoretically be a noticeable annoyance in your life.

Some periods, I think, are more comfortable than others. And, you know, it, again, there’s a class issue here, too, because a lot of the high class women who had to be very fashionable were doing extreme things for the sake of fashion that, yes, would have been uncomfortable. Women who were tight lacing their corsets into 18-inch waists, yeah, that’s got to be uncomfortable. But for the most part, you know, the average middle working class person would just have been wearing clothes in a way that was comfortable to them, in my belief.

Helen: That makes a lot of sense, and I’m sure in some cases, they may be even more comfortable because they’re wearing more breathable fibres, or they have more practicality in their clothes, in a lot of cases. Our modern clothes don’t often give us the practicality of some of those historical garments, and I think it’d be nice to swan around in all those layers of fabric, personally.

Bernadette: Oh, it’s delightful in the winter. I will say, you know, in very, very cold days in New York, I’ve put on a couple of petticoats and been just fine.

Caroline: That’s awesome. So yeah, let’s talk about your YouTube channel a little bit because as we mentioned, we love it. It’s delightful. It’s informative. And you share your process making amazing historical garments. So we wanted to, first off, just ask what are your favourite fashion eras.

Bernadette: Oh, that’s such a hard question. I like to say, sort of, academically, my favourite era is whatever era I’m working in. Because, you know, you get so into the research that you start noticing all the little details and appreciating everything so much more. Like, you know, I’ll say Regency is my least favourite, but then I’ll do a Regency project and realise, oh, there are so many really interesting aspects of this period or whatever.

The period that I keep coming back to the most is between 1890 and 1910, mostly because that’s the period that I like to wear the most. It’s great because it, it has a very distinct period look about it. You know, it does look very, oh, you have walked out of a portrait. You are from another time.

But you don’t have to deal with crinolines and panniers and bustles of, you know, previous fashion centuries that, while tolerable, are slightly cumbersome in how today’s society is set up. You know, you’re not going to very easily be navigating the tube at peak time in a crinoline gown.

Helen: Would that be considered the Victorian or Edwardian periods? Because you talk about them all the time, and to be honest, I don’t know what that is.

Bernadette: Oh, to be fair, these, these Victorian, Edwardian, Georgian, these labels are very Anglo-centric because they refer to the monarch of England at the time. So in the U.S. or Australia or Canada, it really shouldn’t be called that. But, yeah, the Victorian period is from, like, 1837 when Victoria takes the throne to 1901, and that would be 1850, so the crinoline is Victorian.

The Victorian period is so massive, it spends most of that 19th century decade, so it’s difficult to say, like, this is Victorian and have, like, one singular image because you have the big, you know, crinoline, what is called in the U.S., sort of, Civil War era, you know, those big southern belle gowns.

Caroline: Mhmm.

Bernadette: But you also have the bustle dresses, and you have the 1890s with their enormous sleeves. So it’s, fashion changes quite a bit, but, it’s all Victorian, technically.

Helen: I would love a bustle. I mean, bring back the bustle, I say.

Bernadette: Bring back the bustle!

Caroline: You spend a lot of time making super detailed garments on your channel and we were wondering if you could share maybe your most labour intensive garment that you’ve made so far.

Bernadette: That’s a good question. I want to say, I did a reconstruction of a 15th century gown at one point. The most labour intensive garment, actually two, I have not done on YouTube. One was an 18th century gown that was stitched by hand because the 18th century, the sewing machine isn’t really introduced domestically until the 1860s. So all of my work in the previous periods is done by hand in the spirit of that. And then there was a pair of 17th century stays which took absolutely weeks and shredded my hands to bits because it just, there’s so much really tough stitching.

But for the channel, as was, I think, the question. It’s a 15th century gown, which was again all stitched by hand, and there were, I think, ten panels in that, so, you know, long dress panels that all had to be stitched, and then the seams finished all by hand. I had a great time with it. It was lots of fun.

Helen: I mean, I’ll take your word for it.

Bernadette: If you enjoy hand sewing.

Helen: …which we’re going to get into. And I believe by the end of the episode, all of our listeners will be itching to get their hands on some hand sewing. Do you have any projects coming up that you’d like to tease for our listeners? Any fun historical things planned for this fall?

Bernadette: Oh, my goodness. Oh, I have so many things planned, as is, I think, the plague of the person who sews is just the project list is endless. I’m working on a really interesting project right now that I’ve actually been working on all day, so I’m very excited about it. I have designed this cape, this wool cape that I’m very looking forward to wearing for this autumn and winter. But it’s not really based in any sort of period. It is a self design.

But, what I really love to do is take elements of historical dress and pull them into silhouettes that I think look really cool to wear for modern day. So this cape has got a pleating configuration in the back that is very reminiscent of 18th century gowns just because I love the fullness that that allows. It’s very cape-like. You know, the dresses themselves are cape-like, so why not use that in an actual cape?

Then I’ve sort of configured the sleeve portion to have a little bit of that early 1890s, little puff. There’s a yoke on the back that’s going to have all this braid work that’s very Edwardian. So I love, sort of, picking out the details of history that draw my eye and, sort of, putting them together in something that can also be worn. I mean, you can also wear historical dress in the modern day, but you know, a garment that feels like it was also designed in the 21st century.

Helen: Oh, it sounds so dreamy. We also wanted to ask a little behind the scenes question about your videos because they’re very well edited and produced, and your content is super fun. It makes us laugh and some of your videos are quite lengthy and cover these large multi day projects. So we were wondering many things, like, do you do all the editing and do you plan everything out in advance? And do you write all the content yourself? Like tell us your secrets.

Bernadette: I used to do everything by myself, and it nearly killed me.

Helen: I knew it.

Bernadette: Looking back on it, I’m like, I don’t know how I did this. I was uploading, like, one to two sewing videos a month, hand sewing half these projects, doing all the editing myself, all the writing, all the script work, all the voiceover. I mean, I still do all the voiceover, obviously. But I just, I mean, I worked every waking hour of the day, every day of the week, for about two and a half years. And that, I mean, it nearly killed me at a point.

And it’s unfortunate because I’ve set a standard on this channel of, you know, two sewing videos a month, what, I was uploading weekly at one point, four videos a month, two of them were sewing videos or whatever, three videos a month. Now to the point where, you know, people are like, how come you don’t put out as many sewing videos and it’s like because I’m taking care of myself. I mean, I’m having a sane work schedule.

No but I do have really really fantastic people working with me now, and I’m very very lucky to be in a position where I can start working with people. You know, the channel’s in a place where it makes enough money that you know I don’t need all of it to live. So let’s bring in an editor. My sibling very conveniently at one point was moving out of a job and was looking to get into more creative pursuits. I had no idea they were such a fantastic editor, but it turns out they are. They do really amazing video work, and they know my style really well.

They, they sew. So there is obviously that bit of understanding, which has been such an issue for me in the past is not being able to hand off my sewing projects to an editor who doesn’t understand the sewing process, and, you know, it doesn’t know where to put things. So it’s been such a lifesaver to have an editor to work with. And, you know, Danny, my editor, my sibling has a great creative language, and they’ll put their own little sort of creative spin on things, which adds a whole new level of humour to the videos that, you know, the audience turns out to love.

I have a great assistant, Heathcliff, who started out helping me with research and who also turns out is a fantastic stitcher as well. So now we started off, I would give them little bits of sewing to help me with, you know, really I only have to film half the garment because garments tend to be symmetrical, so if we’re doing a shirt, you know I’ll film one sleeve and they’ll, stitch the other one while I work on the collar or whatever, so that, sort of, helped speed things up a bit.

But now I’ve started handing off some to them and, sort of, giving them some independent projects. So, you know, hopefully we’ll be able to produce more sewing content as we go along with, you know, here’s the Heathcliff project, and I’m, sort of, in the background, and Heathcliff explains things to me, and I’m asking questions, and Heathcliff is asking questions, and we’re, sort of, you know, having a communication, but that’s still their independent projects.

And they’re also able to do, they’re more interested in menswear, so they’re, they’ll be covering more menswear subjects, which I get requests for quite a bit. While I’ll cover more, I don’t know, I guess womenswear, just so that there’s more variety of sewing content on the channel. It’s been a really interesting journey, and it’s a work in progress. You know, there there are still places I would like to go with making this into more of a streamlined production, but all in good time.

Helen: Somebody give this woman a TV show.

Bernadette: Oh, god. I don’t know if I can handle that just yet.

Caroline: Yeah, I mean, your channel has a really nice variety of videos as well. You mentioned sewing videos, but you also have some really fun videos where you’re, like, reviewing historical costumes in movies or other kinds of projects or, kind of, just talking about context or historical garments more practically versus, like, you know, actually sewing them up. But I wonder, like, what is your favourite type of video to make? Is it still the sewing or are you enjoying some of the other content as well?

Bernadette: My favourite is having that variety. If I’m doing a lot of sewing, I do, sort of, get frustrated with a project and need a break at some point, but I really love, you know, doing some research into a topic. Because costume design is my background, I love looking at costumes and analysing costumes and assessing how character and story and costume all sort of intertwine with the history of dress and, you know, in a real capacity.

So I do genuinely love all the different aspects of the content that I produce, and they’re all very important. You know, they all serve very important different purposes on the channel. The sewing is really great, you know, for the people who love to sew, and I, you know, there are some very very passionate audience members for the sewing projects, which I love I always feel good putting out a sewing video because I know it’s going to be received with such love, but ultimately, and, you know, to an extent, my initial hunch was, there’s a finite audience of people who love to watch sewing videos.

You have to, at some point, expand the pool, and that’s where the costume reviews of popular shows come in, that’s where the sort of research videos on really widely wondered topics like corsetry and how did they pee in those dresses? You know, the questions that anyone on the street might have. So I like to take those topics and put them out, so that those can sort of go out to a new audience and, sort of, get people down that funnel of thinking about the history of dress. Oh yeah, so how did they pee in those dresses? What were those dresses made out of? How were they constructed?

And all of a sudden, you know, people start out watching a, a video on Bridgerton costumes and end up felling the hem on their pair of jeans. Like, that is the ultimate goal, for me, is to widen the awareness of dress history and whether or not people go on to sew, that would be my, my dream, is to get people sewing for themselves, or just, aware of the labour that goes into clothing production, because ultimately that raises awareness of, well, how are my clothes made? Who’s making my clothes? How am I buying this shirt for two pounds? Who made it that warranted that price tag? And how much were they being paid?

You know, so ultimately, we get people thinking about fast fashion, which, that’s a whole different rabbit hole. What’s it now, the statistic is the textile industry is now the second leading pollutant in the world or something, more above aviation and shipping combined. It’s something just staggering, is the statistic. So, any awareness and anything we can do to, sort of, get people thinking about that is good, ultimately. And if we can do that through entertainment and historical dress and traditional crafts, all the better.

Helen: Oh, definitely. I love the idea of someone stumbling upon your channel to watch a little costume review of a TV show and breaking out their sewing machine or even just grabbing a needle and thread because you do emphasise how easy it is to get into sewing with just these simple tools. And we’re going to pivot now and talk a little bit more about hand sewing. But first we’re going to take a quick break and we’ll be right back after this message.

Love to Sew is made possible by listeners like you. We are so grateful for the support of our amazing patrons and subscribers. If you love Love to Sew and you want to help support the pod, we have a new option for you.

Helen: You can now become a paid subscriber on Apple Podcasts. Subscribers get access to our monthly bonus episodes, and it’s so convenient. If you already use Apple Podcasts, the episodes are right there in your feed.

Caroline: So what are the bonus episodes? Well, we do a chatty catch-up on what’s been happening in our lives, share about the realities of running a small business, discuss new indie pattern releases, and talk about what we’re sewing right now.

Many of our subscribers say these fun bonus episodes are their favourite. And if you subscribe, you get access to the full back catalogue. That’s over 75 hours of Love to Sew. We also do a mini episode that deep dives into a specific topic. We get to discuss so many fun sewing techniques and answer specific subscriber questions about sewing.

Helen: And we are still on Patreon. If you subscribe over there, you can get access to the bonus episodes, behind the scenes photos, and a special 15% off discount code at our super fan patron tier. That discount applies at Helen’s Closet, Cedar Quilt Co., Blackbird Fabrics, and BF Patterns. If you shop with us regularly, it basically pays for itself. Head to patreon.com/LoveToSew to see all the perks and options.

Caroline: If you’d like to try out Patreon or Apple podcast subscriptions and check out our bonus content, you can sign up for a free seven-day trial. And, of course, you can help support the show by listening just like you are right now.

You can also leave a review. Reviews really help our show get discovered by new listeners. We know that financial support isn’t always possible. And we want you to know that we love you for listening.

Helen: Go to patreon.com/LoveToSew or visit our show’s page in the Apple podcast app to become a paid subscriber. Thank you to all our listeners, patrons, and subscribers. You’re the best.

And we’re back. Okay, Bernadette, you are a hand sewing goddess, literally. You have some great videos teaching hand sewing on your channel. So, definitely, listeners, check those out if you want to see some in action. But Bernadette also just published, recently, a really helpful book all about hand sewing came out last year called Make, Sew, and Mend: Traditional Techniques to Sustainably Maintain and Refashion Your Clothes, and we’ve been wanting to make an episode focused on hand sewing for quite some time. But we needed the perfect guest, and now here you are!

Bernadette: Hello!

Helen: Hello! Before we get into, like, the nitty gritty of how to hand sew, we wanted to ask what do you see as being the benefits of hand sewing versus machine sewing?

Bernadette: Oh, there are no restrictions to hand sewing. It’s fantastic. It’s so freeing. You don’t need a sewing machine. Of course, those can be a bit pricey, but you also don’t need electricity. So, you know, if, if the power goes out, if you’re in an environment where electricity is a bit difficult to come by.

Nowadays we are, at least in the UK, energy prices are just appalling right now. So the less electricity we can use, the better. It’s really great to know that you can make entire garments with just your hands and a needle and thread, as people have been doing for centuries before the invention of the sewing machine in the 1860s. Electricity doesn’t come until around the 1920s. So, yeah, it’s really freeing.

Caroline: It’s also, like, you’re not tied to this, like, big heavy machine that you have to lug around. You can bring your hand sewing with you, which I always thought was so great if you want to sew in front of the TV or at the dinner table or whatever, you can do that. I’ve also heard you talk about how hand sewing can be really strong and durable.

And I think that there is a misconception that hand sewing is a little bit more delicate, especially as modern day sewists. I know we do a lot of hand sewing when we’re maybe doing, like, a, a hem or a little detail in a garment. We don’t really think of hand sewing an entire garment. So can you talk a little bit more about the strength and durability that can come along with hand sewing.

Bernadette: You are right on the nail, right there. Is that the expression? Probably not.

Helen: Something like that.

Caroline: Good enough.

Bernadette: Close enough. You know what I mean. I do like to raise that point when I talk about hand sewing is that because we now have sewing machines nowadays that can do the main constructional seams for us, we don’t need to know how to sew durably and functionally.

We just need to be able to do the tasks that machines can’t do, which are the delicate tasks. So when we learned to hand sew, we learned to hand sew very delicately, which is absolutely not how it was done historically. Hence, you know, my mentor saying to me, unlearn everything you know about sewing, and I’m going to teach you how to do this historically.

Because historically there was a lot of strength that needed to be put into the sewing, into the thread, into the seam, into the pulling of the thread. I mean, to a, to an extent, because you don’t want to put too much tension in the fabric that can’t take a lot of tension. But, you know, that’s all part of the learning and experimenting process. The seams do have to be very strong. And there are stitches that you can do.

You know, the running stitch is what we usually think to do in hand sewing. But that’s the weakest of the stitches. The back stitch is the strongest. The buttonhole stitch is also quite strong, but you don’t use that for seams. But for seams, you know, when you backstitch a seam, I’ve had garments where the fabric itself has worn away before the seam has even thought about disintegrating.

Helen: Wow, that’s amazing. And a back stitch would be a stitch where you’re going back over the stitches as you move forward. So you’re, kind of, going forward and back, is that right?

Bernadette: Yeah, so you bring the needle up at one point. When you insert the needle again, you insert it at the exit point of the previous stitch, put the needle under, and then bring it up a little ways forward, bring the needle through, and then enter it back in at the exit point of that previous stitch again. So you have, sort of, this dual pull, this forward and backward pull on the thread instead of just a one way pull. So when you pull on that seam, you don’t even need to knot the thread really. It’s not going anywhere because the thread is simultaneously being pulled in both directions. It can’t go anywhere.

Helen: Oh, okay. Yes, that makes sense. And we were wondering how you decide whether you’re going to hand sew something or machine sew something. Is hand sewing always that’s the choice and machine sewing, sort of, the, the concession?

Bernadette: Hand sewing is, is usually the preferred method. But I, I go by what history says because a lot of what I do is, is reconstruction work, and it’s for the, purpose of learning about history. So, especially in garments pre-, sort of, 1860’s everything will be hand sewn regardless. Just because that’s how this garment would have been made, and I want to try and get as close as possible to those original methods.

But you know, by the late Victorian period where they did have sewing machines, it’s, sort of, up to the discretion of the maker. So a lot of the longer seams like skirt seams and bodice seams would be done by machine, but there’s still quite a bit of hand sewing.

So, sleeves were often set in by hand because, especially with the treadles that are, sort of, mounted into tables, it’s, sort of, difficult to get the armscye to lay flat, and, of course, it’s very possible to stitch very, very strongly by hand. So you would put in a nice, sturdy backstitch into those sleeve seams, and those can take all the strain in the world.

So yeah, it just depends on, you know, I like to look back to history to see what were they doing, because clearly they’d figured many, many things out over the years. And I like to, you know, I like to use their wisdom where possible.

Helen: Oh, definitely. We often tell our listeners that setting in sleeves by hand is the way to go if you’re finding it frustrating because even on a machine, it’s challenging to put those two opposing curves together. So hand sewing is definitely your friend in those cases.

Bernadette: Yeah, you have so much more control over hand sewing as well, which is another, yet another reason why I love it. But with sleeves that can be tricky. You just, you have complete control over exactly where you’re putting the needle for every single stitch, and that’s, it makes things a lot easier, in my opinion.

Caroline: Is there anything that you wouldn’t hand sew?

Bernadette: Hmm. I do quite like to do long structural seams by machine. You know, a skirt seam, a sleeve seam. You know, the long sleeve seams, not the armscye. Seams that are just long and repetitive. Obviously, I will do them by hand if it’s pre-sewing machine era, because that’s just what would have been done, but for speed purposes, it’s nice when it’s not shown. And that is one of the hacks. I want to call it a cheat. I won’t say really it’s a cheat, because what is historical accuracy anyway?

But if a film or a theatre or TV production wants to get really close to reproducing historical dress without necessarily taking all of the time to, you know, if they’re on a tight budget. If they do all of the long seams by machine that are not seen and then do every, you know, all the top stitching, all the visible seams by hand that is seen, it can actually produce a garment that looks really authentic without, you know, having to spend the full amount of time hand sewing a long skirt seam by hand, which is inevitably going to take three times as long.

Caroline: Mhmm.

Helen: Yeah, that’s probably not in the budget in a lot of cases.

Caroline: What would you say are, like, the bare minimum tools that you would need to hand sew an entire garment?

Bernadette: Definitely a needle and thread. Those, those are the prime essentials. You also probably need something sharp to cut the thread. Otherwise, you’re doing it with your teeth, and don’t do that. I would also say a thimble, which I know people are, are very contentious about this topic, but I’m very pro-thimble, especially if you’re doing a lot of hand sewing and you’re doing hand sewing on stiffer or tightly woven fabrics. By your fourth hour, you will be very grateful for that thimble.

Helen: I’m grateful for it immediately when I use mine. I’m such a thimble fan. And now when I don’t have it, I just, I’m so whiny because I just have to stab it with my flesh, and it’s not fun at all.

Bernadette: No.

Caroline: Do you have a preferred type of thimble? And I also wonder, for, like, the uninitiated, if you could just explain quickly how to use a thimble.

Bernadette: Yeah, the thimble goes on the middle finger of your dominant sewing hand. So, I’m right handed, so my thimble goes on my right middle finger. That’s the finger that you push the needle through the fabric with. Theoretically, if for some reason you are accustomed to sewing in a different way, where you’re pushing the needle through with a different finger, by all means, use a thimble on whatever finger most suits you.

But there are the hard metal or plastic thimbles, which certainly, I mean, that’s the traditional thimble that has been used for centuries, and what people most likely think of when they see a thimble. Those can also be a bit cumbersome to use and a bit more difficult to get used to. So if you’re finding using a thimble difficult, I would go looking for a leather thimble.

Sometimes they make rubber thimbles or, softer thimbles that are, sort of fit like a sock over your finger. But they’re much softer, and so they conform to your finger a lot better, they grip your finger a lot better. They’re much better if you have long fingernails, like I tend to do because they can, sort of, you know, it’s not going up against a hard plastic ceiling.

Helen: Oh, yeah. That makes sense. And you do have gorgeously long nails, I noticed that I’m like, how is she sewing with these nails?

Bernadette: I find them very useful, you know, get those little threads.

Helen: That’s true. Are there some tools for hand sewing that are maybe a nice to have, but not essential?

Bernadette: Oh, if you’re working with linen thread which isn’t very common nowadays, but if you’re doing historical reconstruction, you probably are. You will definitely need some wax for that. You probably won’t if you’re working with modern synthetic or cotton or silk threads. Some people do like to wax all of their threads just for strength and, you know, good behaviour, so that’s a nice to have. I guess a seam ripper is, kind of, nice to have. I personally just use tiny scissors, but you know, having another specialty tool is sometimes fun.

Helen: It’s amazing that it requires so little to do hand sewing because again it’s a big expense to have a machine and, it is cumbersome if you want to travel and things like that and not everyone can afford to buy a sewing machine, especially a nice one, and in a lot of ways hand sewing I think would be better than a cheap sewing machine.

Bernadette: Yeah.

Caroline: And one of the things that I find challenging with hand sewing is that I always am tempted to pull up a really long length of thread so I don’t have to keep re-threading my needle, but then the thread gets tangled and knotted, and I end up just cursing. So I wonder if you have a tip for that, if there’s, like, a, kind of, go-to length of thread that you always go for that’s, like, manageable, but maybe not I’m gonna get tangled all the time.

Bernadette: This is an interesting point because this is an ongoing argument I’ve had with some of my teachers in the past. They tell you never to cut a length of thread longer than the length from your hand to your forearm, which I think is too short, because you run out of thread so quickly. The argument for that is that you avoid the knotting and the tangling, which I totally get. Absolutely. Yes. It, it does, having a shorter thread does prevent a lot of that.

However, because when you, I don’t know if people hand sew differently nowadays, but the way I was taught to thread a needle is you just put the thread through and you just let it, and you have a tail, a shorter tail at one end, but you, don’t knot the thread in the needle. So what I like to do is I like to almost but not quite double that length and just let the rest of it live in the tail and, sort of, slowly as I stitch, let the tail shorten and get more length into my stitching thread. So that way I get to stitch a little bit longer with the same thread without having to re-thread, but also, theoretically, avoiding much of the tangling.

Historically, I have seen, I have seen wood cuttings of tailors in the 16th century holding their arms way out to the side because their thread is still so looped, there’s still so much slack in the thread. So I have certainly brought that to a teacher, too, and said, look, look. This method is historically accurate. And how do you argue with that?

Helen: Maybe it was a picture of somebody doing it wrong though.

Bernadette: Oh, it was a tailor. It was a trained tailor sitting on his, his, table as they do with a, with a, I think it, I don’t think it’s the one with an awl stuck in the table, but I don’t know. I don’t know.

Helen: There is an upper limit because I guess the answer is it shouldn’t be longer than your arm span because then you’re going to have to do multiple pulls to get it through. But I do like a long thread and, I have to confess that I almost always double up my thread because it’s just easier to do the knot at the end and have, you know, make sure the needle’s going to stay in there because there’s two lines. Is that a bad thing to do when you’re hand sewing?

Bernadette: No, absolutely not. You can do double if, especially for strength, if you want some extra strength. It does make your seams slightly bulkier, which is not going to be noticed if you’re doing, you know, if you’re working with a stiffer fabric. But if you’re working with a really fine fabric, that’s probably going to be noticeable. But, you know, there, there are ways to start the thread in the fabric itself, where you don’t see the knot or the tail, but that doesn’t involve putting a knot into the thread itself.

Helen: Right, and then you just have to make sure that your needle doesn’t become unthreaded as you go along.

Bernadette: Yeah, yeah, yeah, yeah. As in the discussion of backstitching afore you know, the backstitch is a very secure stitch, so if you just put one or two, backstitches at the start of your stitch, that will be enough to hold it. And if you’ve got two layers of fabric, you can start your needle in, you know, somewhere yonder off a few inches, and then bring it up at your stitching point, pull it through so that that tail disappears, and the end of the thread is caught between the layers of fabric. You do your two backstitches, and it’s just, you know, a nice, clean start to that thread, where there’s no tail, no, like, close cut where it’s gonna come undone.

Helen: Oh, smart. Yeah, just giving it that, like, little tug so it pops into the fabric. Yeah. Oh, I love that. It’s, like, such a satisfying little sewing thing to do. Pop! And do you have a go to thread preference like cotton or poly or silk or linen?

Bernadette: It depends on the project and it depends on the material that I’m working with. I rarely ever use poly threads. That’s just a personal decision because I, you know, I work primarily historically, so where is there use for poly threads in my work? I think I use cotton thread the most because I work most in late 19th century and cotton was the most popular at that point, but I do love some good linen thread. It’s just so historic to work with. It’s so uncommon today, so it’s almost, like, a luxury to get to work with it.

Caroline: Yeah, I was watching your video where you were making that black blouse with the black linen thread and you were waxing the thread, and I thought, oh, my gosh, I would love to try sewing with linen thread. It was really inspiring because I’ve never actually seen linen thread. So I’d have to seek it out.

Bernadette: Yeah, you Do have to, sort of, special order it online, because it’s not usually in the craft stores.

Caroline: That’s very cool. We’ve also seen you pin your fabric to a tailor’s ham so that you can hold the fabric taut as you sew it. Do you need to do this for every seam, or is this only certain seams? And maybe certain fabrics that you find need this method?

Bernadette: Oh, you don’t have to do it for anything, it’s just if it’s comfortable for you. It just helps, you know, if you find yourself when you’re hand sewing, if you’re holding your seam very tightly with your other hand to give it the tension that you need, if you find that you’re doing that and after the fifth hour, your other hand is just suffering, it can really help to pin the end of that seam, or, you know, the end that’s closest to you, to a cushion, a stiff cushion, or a tailor’s ham, and to just hold it with the other hand at a tautness that is comfortable, but that doesn’t involve straining your fingers. I have definitely been doing long hems for hours, and, you know, by the end of the day just had to run that hand under hot water. Like, why didn’t I just pin this to a cushion? I could have saved myself so much pain.

Caroline: Yeah. I have to ask, because you mentioned earlier, a project, kind of, killing your hands, or I can’t remember exactly what you said, but that it was hurting your hands, and I wonder, like, with all of the hand sewing that you do, how do you, sort of, mitigate that strain and, and that wear and tear on, on your beautiful hands, which don’t look ruined at all in the in the videos, and we see some closeups. So I wonder what your secret is there.

Bernadette: Wow. My secret is I work very slowly.

Caroline: Ah, ok

Bernadette: So there is time, you know, I’m not, I don’t sew every working day, which is not accurate to what would have been done by tailors and seamstresses historically. I will say for a period of time when I was, you know, before YouTube, when I was working in reconstruction full time, my hands were a mess.

I have photographs of my hands. They are disgusting. They’re bleeding. They’re scabbed. They’re blistered. They’re calloused. For the most part, it doesn’t hurt. It’s just, you know, the repetition of pulling the needle through, which again, this is all after wearing the thimble. So please wear a thimble if you’re doing this sort of level of hand sewing work.

But it does help that, you know, this week I’m working on a sewing project, and this week I’m working on a research project. So I can, sort of, not kill my hands. Not to say that every sewing project will do that. I was working on some particularly strenuous sewing projects through really stiff fabrics. That, usually, is a bit more hard on the hands than, you know, working with a linen. When I was doing that black linen shirt I don’t think my, my hands wouldn’t have shown anything from that. And that’s a good, I don’t know, 30, 40 hours of stitching in that.

Helen: Oh, my goodness. Well, I’m glad to hear that you’re taking more breaks these days. You don’t have quite so many blisters. You go through a lot of stitches in this book and show people how to sew these varying stitches. Can you tell our listeners what are the main stitches they’ll need to know in order to hand sew their garments?

Bernadette: Yeah, I like to say you can pretty much make anything if you know the basic three stitches, and that is the running stitch, the back stitch, and historically, it’s called the felling, or the hemming, stitch, but nowadays we know it as the whip stitch. Those three stitches pretty much are the basis for all fundamental construction.

So the running stitch, which I’m sure most of us are familiar with, is just you know, in, out, in, out. It’s a very fast stitch. So historically, you know, on long skirt seams, for example, which today we would just machine for speed. But those seams don’t need to take strain. You know, they’re not holding a bodice together. They’re not holding a sleeve on. They’re just, sort of, existing there. So most of those seams are just running stitched for speed. Running stitching is great for speed, but it is not the strongest stitch.

So if you do need that strength, the backstitch is your friend. That would be for bodice seams, for sleeve seams, you know, anything that’s when, when you pull or when you move or it’s going to be laced very tightly. Corsets would be backstitched.

And there is a combination, which conveniently is called the combination stitch in some texts, that is a mixture between the running and the backstitch. So for every two or three running stitches you take, you take one backstitch. Just so that, you know, you do get that speed of running stitching, but you also, every two or three stitches, you get that lock into place. So that, you know, if that thread snaps at one point, the whole seam isn’t going to rip out, but it’s just going to rip out until the point of the next backstitch, which is very convenient.

And then there’s the felling stitch, or the whipstitch, which is great if you need to sort of fold one fabric over another, as in a hem. So if you need to hem anything, you know, fold it over, fold it over again, and whip stitch it all the way down. It’s a nice, fast stitch. It’s pretty strong. Generally, these don’t need to take strain but it’s pretty quick. and well, the smaller you go, the, the, the more time it takes. But I love felling. I find it so relaxing.

Caroline: Yeah, and speaking of the stitch length, do you have, like, a best practice or a go-to length for your stitches?

Bernadette: I tend to work pretty small. It depends on the weight of your fabric though. If you’re working with a very thick wool, for example, you’re not going to be able to get tiny stitches just because of the, when you pick up the fabric, the bend that it needs to take to be able to put the needle back through, it’s going to, be a bit thicker than, working with a very fine silk.

But I love to use tiny needles, which make for tiny stitches. So the smaller your stitches are, the less space there is between the stitches. So the stronger that stitch is. It is also seen a bit more. So if you’re doing a felled hem, for example, the finer your stitches are, the more stitches you’re putting into it.

If you’re hemming through to the front side of the garment, the more that will be seen. So for some felled hems, you actually want to do a longer stitch so that there’s fewer pin pricks to the front. But you know, it is once again dependent on time. It’s dependent on fabric weight. It’s dependent on needle size. And…

Helen: Dependent on mood.

Bernadette: …exactly. Dependent on mood. Historically, you see all sorts of stitching. You see fine, beautiful, perfect stitching, and you certainly see some very angry, very frustrated stitching. So anything goes, and everything’s valid.

Caroline: I would love to see, like, the, all of that in one garment. You can, kind of, imagine the person, like, getting more and more frustrated.

Bernadette: Well, even in early couture garments, in, you know, late 19th century couture garments, you would be shocked at the stitching on some of these garments. I find it very reassuring, though.

Caroline: I also wonder, like, in, you know, our modern sewing, when we’re using all of our machines, we’re really used to just throwing a seam through an overlock just to finish that seam or using a zigzag stitch. So, how are you finishing seams when you’re actually hand sewing a garment? Are you just leaving those edges raw? Or do you have another method that you use?

Bernadette: Once again, it depends on the period because different periods have different standards for finishing seams. Historically, fabrics were woven, tended to be woven a bit tighter. So they were less prone to fraying and finishing seams was slightly less of a must-do as it is nowadays, which doesn’t help me because I’m working with modern fabrics, and that is very much my issue.

But pre-19th century, most of the seams are turned and felled. Seam allowances, you know, main seams as well as hems are just, you know, turned under and felled. But by the 19th century, you start getting fabrics that are just over sewn, so, sort of, like, a whip stitch going over the raw edge, which just helps to, sort of, hold those last few rows of the weave in place. It doesn’t, you know, you don’t want to do that on a very delicate silk, but you know it’ll do for a tightly woven cotton or wool or silk taffeta.

But they would also pink the edges of some seams in the 19th century that, you know, are tightly woven enough to do that, as well as in the 18th century, it was great for decoration as well. They would just pink the edges and ruffle them up and, sort of, put them on the outside of dresses. So it’s, it depends on the project and the period and mood.

Helen: I like the idea of using that whip stitch or felled stitch to, to finish a seam. Doing a flat felled seam is something that we see a lot in sewing patterns, and in some cases it’s really hard to get into tricky areas like inside a sleeve or just hard to fold that fabric under and sew it on the machine. So, again, I can imagine hand sewing coming in really handy in those scenarios because you have so much control.

Bernadette: Oh, absolutely. I don’t even know how you would finish a seam, a sleeve seam, an armscye seam. Not by hand.

Helen: I mean, I’ve done it. You just have to really cram it under the foot.

Bernadette: By that point, you might as well just hand sew it.

Helen: It’s true.

Caroline: It’s so true.

Bernadette: It will take less time, I think.

Helen: Oh, fine! Okay, we talked a little bit about hand sewing a whole garment. And I have to admit it does seem a little overwhelming to me because I am used to doing things quickly on my machine. But I’m curious about it, and I’m wondering if you have Any tips for building that patience for hand sewing? Maybe it’s just taking on a whole project and seeing how it goes.

Bernadette: Yeah, I do find it helps to appreciate the process itself. I did not really enjoy sewing and not really enjoy hand sewing before I, sort of, started to look into the history and to really start appreciating the garments themselves and the, sort of, connection to history, the hand sewing journey provided.

That might be a bit of a, a personal thing, but certainly that helps to enjoy the process, but I also think hand sewing is such a great project just to have as a fidget material, you know, so when I’m watching Netflix or, you know, watching a YouTube video, I love to have some sewing with me.

If I’m taking a long train journey, I love to have, you know, little hand sewing bits with me. It’s just really great to keep the hands occupied. I love to, you know, take my sewing out to a park on a nice day. It’s great to be able to, like, have a craft to entertain you, really to entertain your hands and to, sort of, get that fidgety energy, if you’re like me and you have fidgety energy. I feel like, you know, us crafty people tend to.

But it’s, it’s about enjoying the journey, and, because if you’re ultimately in this just to have a finished garment, hand sewing is really just going to feel like it’s slowing you down. But if you’re in it for the enjoyment of the process itself, I think you, we will very much enjoy hand sewing.

Caroline: And at least give it a chance because you never know if you might like it, even if it

might not seem like that much fun to begin with. But especially with your YouTube channel in the background to keep folks company, I feel like they’ll get really excited about it.

Bernadette: Yeah, and you do have to give it some time. You do have to develop that muscle memory because in the beginning when you’re just, sort of, trying to get your head around what the stitch is and remember how to repeat it and you know how to get your seam even, and it’s not turning out the way you want it to.

But once you’ve got that rhythm and your, your hands can just do it. and, you know your brain is watching Netflix, and your hands are just doing it, that is, like, that is the state of bliss to be in. And that will come with practice, but it doesn’t, it doesn’t happen immediately. And when I first start a stitch, I do feel that frustration of, why isn’t this perfect right now? But, you know, once you get it, then, like, that’s, that’s where the real, real fun starts.

Helen: It makes me think about knitting because I learned how to knit a few years ago, and it was so hard to learn how to do it, but now that I know how, it just feels like riding a bike or, I don’t know, swimming. Like, it just feels like second nature, and it’s so much fun. So I imagine it’s a similar experience once you’re really accustomed to hand sewing.

Bernadette: Yeah, definitely. I do think we crafty people also tend to have a bit of a superpower in the ability to pick up hand, you know, muscle tasks a lot easier because, you know, we are used to knowing how to train our bodies in that way, so we do have a bit of benefit.

Caroline: Mhm.

Helen: It’s true. We’re already pretty skilled at handling the fabric. It’s just a, a different needle application.

Bernadette: Yeah, yeah, just putting your knowledge to a different sort of flex, I guess.

Caroline: And I wonder if you have any recommendations for a movie or TV series with, in your opinion, the best costumes.

Bernadette: Yes. There are a few, but I will say Gentleman Jack has stood out to me as just gorgeous. It’s a series that takes place in the 1830s about the historical figure Ann Lister. Um, and there, you know, there are a bunch of characters. It is primarily upper class. There, you know, there’s a bit of class range, but primarily upper class, which is what it is.

But what I really love about that show in particular is that not only does the designer and the build team pay impeccable attention to the construction, the historical existing construction of these clothes. You can see hand stitching where there should be hand stitching. You can see the pattern cutting is echoing what would have been done in the period as being carried over from the Regency period and how that develops into 1830s.

It’s just, you can tell there’s been so much thought put into the design. But what I love about that series in particular is that it doesn’t deal solely in the people that you see in portraits. There is portraiture of Ann Lister. There’s, like, two. But there are instances where the designer has had to do some design work, because Anne Lister is, is noted for being, sort of, one of the first very out lesbians in history, really, and her style of dress was noted in her diaries as being, sort of, non-conformist and more skewed towards the masculine. So the designer has had to invent because there’s no portrait evidence of people like this. So the designers had to invent, sort of, get into her head and based on what clothing and resources and fashions she would have available to her in that period, build her wardrobe.

So there’s still very much an element of costume design as an art form in it, but it’s within the constraints of what this character realistically would have had access to in that period. Yeah, she could absolutely have worn a top hat because she could have gone into a gentleman’s milliner shop and, and bought one.

There’s no portrait evidence of the real Ann Lister ever having worn a top hat, but there’s no reason why she couldn’t have. She’s wearing men’s work boots, which, there’s, again, no evidence that she ever wore those, but it’s absolutely something that she could have gone into a shop and purchased or had made for her. So, I just love the level of both design and research that’s been put into that show. It gives me so much to think about.

Caroline: Oh, awesome. Well, we’ll definitely include a link in the show notes if folks want to check that out as well. Okay. Well, before we wrap up this chat, we just want to reiterate how amazing your book is and let our listeners know that it’s an excellent resource for both beginner and more advanced sewists. Also, a New York Times bestseller, I need to add because… Congratulations!

Bernadette: Once again, how historical sewing got popular, I will never know. It’s…

Helen: It’s you. It’s because of you.

Caroline: But, yes. You cover pressing, smocking, sleeve gussets, pockets, darning, and so much more. It’s also beautifully photographed in natural light, which is something that we both love about your YouTube videos as well. The lighting is always stunning, so listeners, check out the book, Make, Sew, and Mend. It is awesome.

Bernadette: Oh, thank you.

Caroline: Okay, we had just a couple more questions before we wrap up with this chat. So you collabed with Clockwork Fairy to make your first pattern, and we were wondering if you could describe that for our listeners. It’s so cool

Bernadette: Oh, it’s been so exciting. It’s something that I had hoped to do for a long time because ultimately, especially with the projects that I draped or drafted myself or that I’ve translated out of Victorian books that are very dense to comprehend, I get people in the comments saying, oh, I would love a pattern from you about this, or, you know, I would never be able to understand these instructions and draft this for myself.

So, you know, offering patterns has been something that I would have loved to do, but I just, first of all, I didn’t have the time, but I also didn’t have the skill set because I didn’t want to put out a pattern that was just, here’s the original pattern I used, good luck scaling it to your size. But, you know, I would want to put out something that is accessible to beginners, that’s graded in a wide range of sizes, and I just, that is a whole, sort of, mathematical art form that I would have to develop skills for, which, again, I didn’t have the time to do.

So thankfully, Michelle and I have been following each other for many, many years. I adore her work and she’s been doing some really, really great digital pattern work and selling them on Etsy. And I thought here, like, this, this is what needs to happen. We just need to collab. I’ll, provide the design of the clothes, and she’ll list them in her shop, and it’s great because I feel like I could have gone to one of the big 4 pattern companies and said, would you want to work together?

But, in a way, I don’t trust them to understand the history and why I’m doing seams in certain places and the fact that there shouldn’t be ease in a corset because of reasons, very obvious reasons. You know, I’ve just seen them do some curious things with historical dress, to no fault of their own, they are modern pattern companies. And, you know, historical dress, isn’t what they do.

But what I love about Michelle’s work is she has done a ton of historical sewing herself. So she knows why seams are where they are. We have already released one pattern, and she was able to say, so in this resource, they actually have this additional, you know, see, a piece that goes around the sleeve. Do you want to add this for this pattern? I just, I was like, yeah, absolutely. Let’s do it.

You know, so she has other thoughts about the the history of of the original garments that she can also contribute to the pattern, and it just makes for an overall much better pattern, and I’m very, very proud to be able to release these and very, very honoured to be able to work with her.

Helen: Ooh, it sounds like a dream collaboration. You two sound very well matched, and the Darcy Top is available at the Clockwork Fairy Etsy shop, if anyone wants to check that out. Lots of beautiful corsetry to admire there as well. And we can’t wait to see what else you come up with. Will there be more patterns in your future?

Bernadette: Oh yes, we have so many plans.

Helen: Ooh.

Caroline: Ooh, yay.

Bernadette: The ultimate goal would be to release patterns with the videos in future. It depends, you know, I don’t want to suck up all of her time, but you know, it depends on how much time we all have. But that would be the goal, is to have patterns released with the videos as well as a backlog of things that we’ve already done.

Helen: Oh, wow. Okay. We can’t wait to see more from you and definitely go check out this pattern because it’s really neat. I’m sure it’d be a really fun sewing experience. And the other thing we wanted to ask you about, which is completely unrelated, like the most unrelated, is that, your guinea pigs.

Bernadette: Oh, thank god. I thought you were going to ask about ankles. That has happened on live radio. National radio.

Caroline: Oh, my gosh.

Helen: What about ankles should we be asking?

Bernadette: No, don’t.

Caroline: No, just go to the, your YouTube channel. Go to, go to Bernadette’s YouTube channel, and you’ll know.

Helen: It’s true, it’s right up there in the header. But we do love seeing your guinea pigs when they pop up in your videos and we did an episode recently about sewing for pets.

Bernadette: Oh, yes, I saw.

Helen: And we were wondering if you’ve ever thought about sewing costumes for your guinea pigs

Bernadette: I have thought about that. I’ve had actually a video on my list for about three years at this point. I wanted to do one of those, like, a parody on those 500 years of fashion videos, but, like, on a guinea pig.

Helen: Oh, my gosh,

Bernadette: And I have, I just have never got around to it. They’re so difficult to dress because they are just potatoes. They don’t even really have heads, so, like, you can’t put anything on their necks. And it’s just, like, it’s just a cylinder with legs. And how do you, how do you clothe that?

I did have my, my last boy was a lot more tolerant. I mean, he didn’t enjoy it but, you know, he was, he was, he was a good sport about it. He was, he was my little puppy. I have two girls now who are rescues who are very skittish, so they’re still young, so maybe they’ll grow out of it, but at the moment, I don’t want to put them under more stress than they can handle.

Helen: That’s fair. We did emphasise in our episode that you should only dress your pet up if they like it or if they seem to like it.

Bernadette: I think they’d look really cute in ruffs, but we’ll see. We’ll see.

Caroline: Maybe someday.

Bernadette: Yeah. Although, my sibling does do fantastic portraits every year. It’s become a running joke between us where they paint guinea pigs in historical dress. And so now I have these portraits all over my studio of guinea pigs…

Helen: I saw those.

Bernadette: … in royal dress. So if that’s, you know, if you’re interested in what a guinea pig looks like in a ruff, I do have many an example.

Caroline: Fabulous. Oh, well, thank you so much, Bernadette, for chatting with us today. Can you share with our listeners all the places they can find you online?

Bernadette: Oh, of course. It was such a great opportunity to chat with you as well. I’m on Instagram @BernadetteBanner. I do post there on occasion. I’m also on YouTube @Bernadette Banner. That’s just the channel name. I am more, you know, more on YouTube. I think that’s it.

Helen: Well, you do have these patterns now, which again are at The Clockwork Fairy. And amazing YouTube channel. Absolutely incredible. I’ve so enjoyed diving in and watching literally hours of your content. So this has been a dream getting a chance to chat with you. Thank you so much for taking the time.

Bernadette: Oh, well, thank you so much for having me. I have, likewise, you know, done my, my hours of digging into your podcast. Thank you for the entertainment.

Helen: Oh, of course. Have a great night.

Bernadette: Thank you. You too.

Caroline: Bye.

That’s it for today’s episode of Love to Sew. You can find me, Caroline, at Blackbird Fabrics and BF Patterns, and Helen at Helen’s Closet Patterns and Cedar Quilt Co. We’re recording in beautiful British Columbia, Canada.

Helen: You can support Love to Sew and get access to bonus content by subscribing on Patreon or Apple Podcasts. You even get access to the back catalogue of bonus episodes. That’s over 75 hours of Love to Sew. Go to patreon.com/LoveToSew or check out our podcast page on Apple Podcasts for more info.

Caroline: You can head to LoveToSewPodcast.com to find our show notes. They’re filled with links and pictures from this episode. And if you’d like to get in touch with us, leave us a message at 1-844-SEW-WHAT. That’s 1-844 739-9428. Or send us an email at [email protected]

Helen: Thanks to our amazing podcast team, Lisa Ruiz is our creative assistant. Jordan Moore of the PodCabin is our editor. And Margaret Wakelee is our transcriber. And thank you for listening. We’ll talk to you next week.

Caroline: Buh-bye.

Helen: Bye.

Podcast: Play in new window | Download | Embed

" onclick="javascript: this.select();" onfocus="javascript: this.select();" style="width: 70%;" readOnly>

In this episode, we’re getting inspired by vintage styles from the 1920s to the 1990s! We’re going to talk about the typical silhouettes, styles, and fabrics from each decade. We’ll also share media to watch to get inspired and indie patterns that have the decade’s vibe. So get in the time machine – we’re going window shopping!

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

Show Notes: 

Previous episodes mentioned:

1920s:

1930s:

1940s:

1950s:

1960s:

1970s:

1980s:

1990s:

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 and BF Patterns.

Helen: And I’m Helen, the designer behind Helen’s Closet Patterns and Cedar Quilt Co.

Caroline: We’re two sewing buds who love to sew, and it’s all we want to talk about.

Helen: In this episode, we’re getting inspired by vintage styles from the 1920s to the 1990s. We’re going to talk about the typical silhouettes, styles, and fabrics from each decade. We’ll also share media to watch and get inspired and indie patterns that have the decade’s vibe. So get in the time machine. We’re going window shopping.

Caroline: If you love to sew, this is your show.

Hello, Helen. Welcome to the past.

Helen: Hello. Is this how they talked in the past? Hello…

Caroline: Hello…

Helen: …madam.

Caroline: Obviously, just kidding. Even though this episode is coming out on Halloween, it is surprisingly not about costuming. We’ve already covered that.

Helen: It’s true.

Caroline: And it’s not about styling a full vintage outfit either. What we’re going to do today is get inspired by vintage fashions and talk about how to incorporate them into your modern wardrobe.

Helen: And if you are interested in full vintage styling, we have some previous episodes with amazing guests like Serena, Gertie, and more. So we’re going to leave that topic to the experts, but we’ll make sure to link our interviews with vintage and historical sewists in our show notes, so you can find them if that’s what you’re looking for.

Caroline: Yes, and looking through vintage clothing is a good way to find fresh silhouettes, details, and styling. I know it seems like the opposite of fresh, but fashion is cyclical. So for example, we are in a big sleeve era right now. And if you love big sleeves, you can find inspo from modern designers and ready to wear garments, but you could also seek out some Victoriana styles from the 70s and 80s, puff sleeves from the 30s, and even leg of mutton sleeves from the 1890s. And then you would have more source material to design something unique.

Helen: Ooh! It sounds delicious.

Caroline: Yes! I actually was feeling so inspired when we were reading through and prepping for this episode and all that, so I’m really excited to get into it today because it’s just so fun to go through the decades and think about all the different elements that we love, or maybe don’t love.

Helen: And they all have different things to offer, too. Like, I have my favourite general decade, but I would really be happy to pull elements from each and every one that we’re going to talk about today. There’s just so many fun things to play around with.

Caroline: Same. Yeah, I would totally pull elements from all these different decades. So I feel like we should get into it. But I actually want to know, Helen, what is your favourite style decade? I could guess, but I’m going to ask.

Helen: Yeah, this will shock no one. I love the 70s. I love the bold prints and the flowy voluminous blouses and dresses and high waisted jeans and warm shades of rusty red and olive green. And this fall, I actually really want to add some flares to my wardrobe. So I might make those Isle Jeans from Chalk and Notch because they look so cute. I really like all the darts along the waistline and those front patch pockets.

Caroline: Yes!

Helen: It’s just perfect.

Caroline: Fun. I’m totally on the same page as you. I love the 70s. You know I love a gathered, tiered, voluminous dress. Also, love a puff sleeve, love a high waisted jean. I’m totally on the same page. I’m also, kind of, into the 90s now. They’re definitely having a moment, and I’m really loving it. I love the, kind of, sort of, grunge look. I love the, like, 90s vintage-y prints and little dresses that you see…

Helen: Mm-hmm.

Caroline: …on shows like Friends. Super into the 90s now, so we’ll see, we’ll see if that pops up in my sewing anytime soon.

Helen: I mean, it is always a little disconcerting when the decade that you were a teenager during…

Caroline: Yeah.

Helen: …becomes in style again…

Caroline: Yes.

Helen: … and is now considered to be vintage, but…

Caroline: Yes.

Helen: …I am also loving it. There’s so much variety in the nineties. Like, it seems when you look at it, maybe a little on the boring side, but there’s lots of little nuances and lots of different styles. Like, you can go full grunge, kind of, like rocker punk rock. Or you could go super sweet and wear one of those…

Caroline: Mm-hmm.

Helen: …kind of, almost, like, Laura Ashley, like, dresses with the little tie backs. So cute. Yeah, there’s lots to choose from.

Caroline: I was thinking about this because I was like, I feel like I grew up in the 90s, but I was pretty young, like, I think I was age 2 to 12 in the 90s.

Helen: Yeah.

Caroline: So I feel like I didn’t get to fully, like, experience 90s style. I remember seeing my sister dress really 90s, but, like, I was so young that I didn’t really get to lean into that.

Helen: Yeah.

Caroline: So I’m actually, kind of, excited that it’s come back around because I feel like I can really embrace the more, like, adult 90s styles that I didn’t get to use.

Helen: Yeah. Now’s your chance. I mean, we, it’s true, we really were stuck in the aughties, which were not the most exciting fashion wise, but you know what? Give it some time because after a little bit of time goes by, you’d be surprised how exciting things seem.

Caroline: Okay. Listen though. I don’t know if you’ve been ready to wear shopping lately, but…

Helen: Oh, gosh. I know.

Caroline: …like, low waisted jeans, cargo pants…

Helen: Yeah.

Caroline: …like, the tops that, kind of, have elastics at the hip, like, so many things from…

Helen: Yeah.

Caroline: …our teenage years, like, the 2000s, are back already, and I’m not ready for it. I’m just not ready for it. I don’t want it.

Helen: I’m going to go buy a Juicy Couture tracksuit right now. I want…

Caroline: Yeah. The Adidas…

Helen: …it to be sequined. I want it.

Caroline: …the Adidas, like, pants that, like, rip away at the side.

Helen: Oh, yeah. Tearaways.

Caroline: Like, I feel like those are back, too. Like, I don’t know. Just, yeah.

Helen: Tearaways are great because when you want pants, you got them, and then, when you don’t want them, instantly removable.

Caroline: Yeah.

Helen: One strong tug, you’re good.

Caroline: Oh, my gosh. I don’t even want to think about it. I’m good. Let’s go back. Let’s take it back.

Helen: Yes.

Caroline: I’m not ready.

Helen: Before we start discussing each decade, we want to give you some ideas for incorporating vintage styles without going full vintage. This is all about creating a balance between vintage and modern.

Caroline: Yeah, if you have a vintage silhouette, you want to choose a more modern fabric. Like, if you want to make 50s style jeans, you can try using modern light wash denim instead of a period accurate dark wash. On the other hand, if you use a vintage fabric, you could choose a more modern pattern. A super frilly 80s floral is going to look really cool in a masculine button up.

Helen: And as sewists, this is such a superpower that we have because you don’t get to do this in the store, but we get to mix and match fabrics and patterns to create these really unique combinations that you just can’t get anywhere. And that’s so fun.

Caroline: It really is. And you can also look for fabrics and patterns that are already a balance between modern and vintage. A blue and white gingham is going to look more like full vintage. You can modernise it by choosing a gingham in rainbow colours or muted brown and black. Or you might love the look of a pointy notched collar, but think that the ones from the seventies are a bit much. So you could take a pattern with a notched collar and increase the pointiness just a little bit. And then you get the vibes without looking like you’re wearing a costume.

Helen: And styling can also really change up the look. So if you wore pleated trousers with a silk puffy sleeve blouse, you’ll look more vintage-y. But if you wore them with a knit turtleneck, you’re going to look a bit more modern and still have those Katherine Hepburn vibes.

Caroline: Yeah, I love the, like, mixing and matching of vintage look and modern. But some people love to just go full vintage…

Helen: Yeah.

Caroline: …and I think that’s cool, too.

Helen: It totally is. It’s such an amazing look. I love seeing it in person, especially. Mostly, I just get to see it online, but every once in a while you’ll see somebody out there in the world rocking a head to toe vintage outfit, and it is thrilling, like, truly.

Caroline: Yeah. Okay, let’s start talking about the decades. We’re going to kick it off with the roaring 20s. This was a decade of liberation and excess. Flappers were the height of cool. Corsets were out and bare knees were in. Women bobbed their hair and started wearing makeup in public. Suits became a bit looser and easier to wear than the super tailored styles of the last few decades.

Helen: And the main silhouette for the 1920s is the column. So lots of dress styles were meant to hang straight down the body, minimising curves for a more quote unquote boyish shape.

Caroline: And here are some elements that are often found in clothes from the 20s. The drop waist was everywhere. Skirts and belts were often placed way down on the hips, not really functional, just decorative. There were also shift dresses, which had no separate skirt pieces, and tabards, which were smock-like overdresses that fastened at the sides.

I wanted to call out that I feel like that style is definitely showing up in fashion now, where it’s, sort of, like, almost an apron style dress with the ties on the side. And I think it looks so cool and it can look super modern in, like, a linen fabric or something a little bit more unexpected. Love it.

Helen: So cute. Along with the dropped waist came super deep necklines. Most women wore a slip dress underneath, but some movie stars just went bare. And people also wore long necklaces, some draping almost to the waist. I’m totally picturing that, like, long pearl necklace with a knot in it…

Caroline: Love it.

Helen: …near the bottom. So cute.

Caroline: Skirt lengths were short, well shorter than before, and at the beginning of the decade, midi-length skirts were more common, and even that was, kind of, shocking. By the end of the decade it was normal to see knee length skirts out and about. Flappers liked to wear skirts that showed their knees, or at least showed a peak of them, and there was even a fad of painting designs on your knees or putting rouge on them.

Helen: I absolutely love this. We’re going to link it up in our show notes. There’s an article showcasing a lot of these knee paintings, and we need to bring this back, people. This is so cool. Like, you can paint anything you want on your knees. It’s great.

Caroline: I just love that people were like, oh, knee-length is short…

Helen: Oh, my knees.

Caroline: Oh, my goodness.

Helen: Yeah. Even an ankle. Very risqué.

Caroline: Yeah.

Helen: Sleeves during the twenties were usually slim or drapey. Sleeveless dresses were popular for evening wear.

Caroline: And sporty knitwear styles were popular. Knitting machines had become more widespread after World War I, so there were more knits on the market than ever. The typical sports sweater was long, boxy, and lightweight.

Helen: Suits in the 20s usually came in three pieces. You got your jacket, vest, or waistcoat, and pants. Pants were a bit on the baggy side, and the jackets were loose. And there was a lot of fun details on 1920s suits, like shapely collars, tie pins, and colourful fabrics.

Caroline: Speaking of fabrics, here are some fabrics associated with the twenties. Dresses made of sheer fabrics worn over slip dresses were super popular in the twenties. Burnout velvet, beaded mesh, or chiffon are good choices for evening styles. Most 20s clothes were meant to hang close to the body. So drapey fabrics are a good way to get that look. And for daytime, you want to look for cotton voile or embroidered mesh.

Helen: Jewel tones were also super popular, and most fabrics were solids. Embellishment was added with embroidery, applique, beading, or trim, and prints tended to be plaids or illustrated florals.

Caroline: And here’s some 1920s inspo for you. Miss Fisher’s Murder Mysteries is an Australian show with incredible costume design. Franny Fisher is an independent woman and private detective with a flair for fashion. This is a great show all around.

Helen: Oh, it’s so much fun to watch. A good one for having on in the background when you’re sewing actually.

Caroline: Mm, love it.

Helen: Peaky Blinders is another great show. Series two through five take place in the 20s, and there’s amazing menswear in the show. It almost makes me want to put on suspenders and a flat cap.

Caroline: Almost.

Helen: Almost.

Caroline: Downton Abbey. Oh, I love Downton Abbey. This show has won so many awards for its costumes. Series three through six of the show take place in the twenties, and they always make opportunities for the characters to wear amazing clothes.

Helen: Literally incredible. Like, everything Edith wears, in particular, just floors me.

Caroline: Yeah.

Helen: Like, gorgeous. Okay, here are some patterns for those 20s silhouettes and details. The April Dress by Forget Me Not Patterns is an easy fit dress with grown-on sleeves, got that drop waist, and a gathered skirt. The skirt seam is a wavy line, which is such a cool detail. And if you wear it without the belt and choose a drapey fabric, it has great 20s vibes.

Caroline: The Belvedere Waistcoat by Thread Theory is a vest with nice tailoring details. The models are wearing flat caps with it, super Peaky Blinders. I also love the look of a waistcoat, just in general, and I feel like that’s another style that’s, kind of, coming back in, that, sort of, vest look just on its own, especially in womenswear. I really want to make one of those this fall.

Helen: Ooh.

Caroline: Yeah.

Helen: I feel like it would be a really fun project, too. Like, it’s got some details, so it wouldn’t be easy per se, but it’s on the smaller side. So I do think it would be really a fun one to work on.

Caroline: Yeah, like, a nice entry level tailoring project, too.

Helen: Yeah.

Caroline: Like if you don’t want to make a full blazer, make yourself a little waistcoat. Just get a little taste.

Helen: Yeah. So cute. The Kemper Top by Seamwork has some really great seam details The bodice has a yoke and three panels, and there are gathered peplums at the sides. In the sample, they used a solid white cotton for the main parts and then a nice white eyelet for the yoke and the peplums, it has a 20s vibe, but it’s modernised because it’s worn with jeans in these product photos. I think this is a really cute one.

Caroline: This is so cute. It’s so funny because Seamwork comes out with so many patterns. I often just don’t catch some of them and or, like, I’ll see it and then, I’ll forget that it exists.

Helen: Yeah.

Caroline: So, I bet you Seamwork has tons of patterns that would work if you’re sewing through the decades.

Helen: Oh, totally. Side note before we move on, when I was in my early twenties, very appropriate, I had a flapper dress, like, full-on black dress with the fringe tiers all the way down. And I wore that out every time I went clubbing…

Caroline: What?

Helen: …because it made me feel so glamorous, and it was so much fun to wear. But one time I was dancing and my, like, one of the, like, loops on the flapper thing got, like, so tangled on this guy’s vest or shirt or something, like, one of the buttons on his outfit, and it got so tangled up. I was literally stuck to him. Like, we weren’t even dancing together. We were just, like, it just happened. And it got totally stuck to him. And then he pulled out a lighter and was going to burn my dress to get out, like, and I was, like, absolutely not, but eventually, I think we just had to rip it or something. It was…

Caroline: Oh, my gosh.

Helen: …so awkward, but I loved that dress so much, and eventually, sadly, it didn’t fit me anymore, but I, kind of, wish I’d kept it then, maybe I could have refashioned it. So fun.

Caroline: I do love the flapper look. I’ve always wanted to go to, like, a 20s party…

Helen: Yeah.

Caroline: …so I could wear a flapper dress.

Helen: Wear, like, a little, like, band around your…

Caroline: Yes. Oh, my gosh. And do some, like, fun curls in the hair…

Helen: Yeah.

Caroline: …and, like…

Helen: Oh, I had like a short, well, actually I had a side shave. So half my head was, like, shaved and then, the other half was super short. So it, kind of, looked like a little 20s bob, and so it looked so good with the flapper dress. Like, it was such a cute look.

But you could totally make one of those dresses. Like, if you go to a fabric store you can often buy that fringe, and it’s just, like, it’s on a little trim. It’s quite expensive typically, but you can buy it and then, you just, kind of, wrap it around a dress like the Reynolds Dress or something like that where it’s got that, kind of, shape and just sew it on and boom flapper dress.

Caroline: So cute. Okay. Side note, again, though, this person who pulled out their lighter, like, jokes on them because that fringe was probably polyester, and it probably would have just, like, melted onto that.

Helen: It’s true.

Caroline: Right? Oh, my gosh. The things, like, 20 year olds do. Oh, my.

Helen: I know, and it was such a missed opportunity. Like, we could have had, like, a really great meet cute, but he blew it.

Caroline: Yeah. Oh, my gosh. Okay, let’s move on. The 1930s was a time of making do and mending, starting with the Great Depression and ending with World War II. Even though times were hard, the movie industry boomed. It was an affordable luxury where people could go to escape their troubles. And the costumes for 1930s movies were spectacular. There’s usually a line for “Gowns by” in the credits of 1930s movies.

Helen: Ooh, I love that. The silhouette of the 30s was elongated. If you look at fashion illustrations and pattern covers, the drawings of women are impossibly tall, even taller than now, so that was the big fashionable thing.

Caroline: And here are some style elements from the thirties. Hemlines went back down, midi length and tea length skirts were in style for day, and floor length was in style for evening.

Helen: Sleeves got more fun. Short puff sleeves and flouncy flutter sleeves were common.

Caroline: Bias cut dresses and skirts clung close to the body, giving that long, slim shape. Evening dresses were made of silk satin, often put together from diamond shaped pieces of fabric. The green dress from the movie Atonement is a good example. Day dresses were cut on the bias, too, but they were more likely to be made from a cotton print.

Helen: Oh, I love all this bias stuff. Incredible. Suits widened in the shoulders and lapels and double breasted jackets came into style. The idea was to have a wide chest curving into a slim waist.

Caroline: And in terms of fabrics, feed sack prints were popular in the 1930s. These are small-scale colourful florals. They’re called “feed sack” or “flower sack” prints because feed and flower companies would sell flour in colourful fabric bags that could be reused as fabric for clothing. They wanted to motivate customers to keep buying from their company, so that they could get enough of the same fabric to make a full dress. And for the customers, it was a way to get fabric while buying something they needed anyway. This is so cool.

Helen: It’s so cool. I love the resourcefulness and just the idea of, like, slowly gathering panel by panel enough fabric to make your dress. For evening dresses, satin and lamé were the standards. Shiny fabrics looked great on film, even in black and white. Lace also came back into fashion after practically disappearing during the twenties.

Caroline: And bright colours and pastels were popular in prints. For evening, jewel tones were still the thing.

Helen: Here’s some great sources of 1930s inspo. Agatha Christie’s Poirot is a series set from 1935 to 1939. It’s a wonderful murder mystery show, and the costumes are so perfectly 30s.

Caroline: Fried Green Tomatoes is a movie about the power of community and love, and it’s set in the southern USA in the 1930s. There are so many great feed sack dresses in this show.

Helen: I actually haven’t watched this movie, but it’s been on my list for so long. So I really got to do it.

Caroline: Yeah.

Helen: The Durrells is another new show to me that I really want to see. It’s also known as The Durrells in Corfu. It’s a series about a British family who moved to the Greek island of Corfu in the 1930s. And it will definitely give you inspo for your summer sewing. It also just looks absolutely gorgeous. Like, the cinematography. It’s going to make me want to go to Greece, too.

Caroline: Yeah. Not a terrible thing.

Helen: Yeah.

Caroline: We all want to go to Greece. Okay, here are some patterns with 30s vibes. The Rozelle Slip by Peppermint Magazine is a great one to get that slinky look. It has wide straps, a deep v neck gathering under the bust, and a long bias skirt.

Helen: Bootstrap Fashion has a made to measure pattern for a double breasted jacket that looks very 1930s.

Caroline: Ooh, and the Jo Dress by Closet Core has that long slim 30s look with voluminous sleeves.

Helen: Ooh, yes, very elongating for sure. In the 1940s, fabric use was really tightened up. Many fabrics and fibres were needed for the war effort, so people had to economise fabric. Mending and refashioning ideas were featured in pamphlets and magazines, and people came up with some really amazing ideas.

Caroline: The fashionable silhouette was an upside down triangle, strong shoulders with a slimmer waist and hips.

Helen: Here are some of the styles that were typical for the 40s. Many sleeves had gathering at the sleeve cap to create volume in the shoulders, but were slimmer through the rest of the sleeve. Jackets and coats were often padded at the shoulders for that stronger look.

Caroline: And as women started working jobs that were typically reserved for men, menswear crossed over into womenswear. So boiler suits, overalls, and tailored skirt suits were popular.

Helen: Pants became way more common for women, too. Pleated, wide legged pants with a blouse was a great look.

Caroline: And suits became simpler to reduce the fabric used. Two-piece suits were more common than three-piece, and they skipped some of the extra details that were found in earlier suits.

Helen: And as far as fabric in the 1940s, darker, more neutral colours were common. Army green and khaki were popular. And for prints, there was plenty of plaid wools. Feed sack prints continued into the 1940s, though the prints did become more abstract than they were in the 30s. At the beginning of the decade, prints were small scale, but they got bigger in scale as time went on.

Caroline: Rayon was introduced in the 1940s, as well, and it was super popular. Silk was mostly unavailable for dressmaking during the war, so synthetic silk rayons were the next best thing.

Helen: As far as 1940s inspo, Bomb Girls is a Canadian show about women working in a munitions factory and it will really make you want to sew your own jumpsuit, guaranteed.

Caroline: A League of Their Own, both the 90s movie and the recent TV show, are great sources for 40s inspo. They’ve got swing dresses, casual outfits, and those amazing baseball uniforms.

Helen: Oh, I love the 90s A League of Their Own movie. I haven’t seen the TV show. I gotta check that out.

Caroline: Yeah, me neither.

Helen: His Girl Friday is a great movie from 1940. It’s a fast talking screwball comedy starring Cary Grant and Rosalind Russell. And Rosalind Russell wears the best suits.

Caroline: And here are some patterns with 40s vibes. The Blanca Flight Suit by Closet Core is great for that 40s workwear look. I have a Blanca flight suit, and I love it. It’s so good. Fits like a glove and just so fun to have that zip up at the front. Great nod to the 40s.

Helen: Yeah, this has been on my to sew list for, well, since it came out.

Caroline: Mm-hmm.

Helen: One day, one day. The Taika Blouse Dress by Named is inspired by 1940s tea dresses. It has a v neck gathering under the bust and lightly gathered sleeves.

Caroline: Ooh, I love that one, too. So cute. And the Genet Pants and Shorts by Deer and Doe are both perfectly 40s and timeless at the same time. They have a high waist, pleats, and a wide leg.

Helen: Okay, let’s move on to the fifties. 1950s styles had a lot more exuberance and a lot more fabric. In North America, and later in Britain, there was an economic upturn and an explosion of consumer goods. Womenswear had an ultra feminine touch, and Christian Dior’s new look dominated. In menswear, conformity ruled with lots of dark suits and white shirts, but that’s not to say that there weren’t rebels. The jeans and t-shirt look started in the 1950s.

Caroline: The popular silhouette was the hourglass, a prominent bust, nipped in waist, and full hips was the goal here.

Helen: Side note, I feel like when I started my sewing journey in 2015 or around there, this was the look. Like, everyone was sewing vintage style dresses from the 1950s with this ultra tucked in waist and then full skirt.

Caroline: It’s so true.

Helen: Don’t get me wrong, It was so fun, but ultimately, I feel like, as a whole, the sewing community realised that we weren’t going to be wearing that on the day-to-day.

Caroline: Definitely had, like, a good number of fit and flare dresses with the big gathered skirt and the fitted bodice and never wore them. Never wore them.

Helen: No, but so fun to wear, like, when you finish them, you put them on, you’re like this is everything.

Caroline: So twirly.

Helen: Yeah.

Caroline: Yeah.

Helen: Okay, so as we were saying, popular styles from the 1950s. Fit and flare dresses were everywhere. Those were the fitted bodices with the voluminous skirts, and even petticoats underneath for even more oomph. And cotton shirt dresses were common for daytime, and strapless ball gowns were in for evening. Hemlines tended to fall just below the knee, though evening wear could go to the floor.

Caroline: An alternative style was the wiggle dress. It has a fitted bodice with a pencil skirt.

Helen: Tight fitting pants, like cigarette pants and pedal pushers, were popular, and jeans started to come into fashion, especially for teens and young adults. Women’s jeans were high waisted with room through the legs, and men’s jeans were high waisted with more of a straight fit.

Caroline: Men’s suit jackets tended to have a deeper break line than in the 40s. That’s where their lapel meets in the middle, so the v shape in front is deeper.

Helen: As far as fabrics that really say 50s, novelty prints had a heyday back then. Large scale prints of fun things like fruit or palm trees decorated cotton fabrics.

Caroline: Ooh, I love that. And fruit fabrics? They’re still in.

Helen: Timeless.

Caroline: Timeless.

Helen: Maybe more of a summer thing, typically, but I love a pineapple on a shirt.

Caroline: Oh, my gosh. I love a fruit print. I’ve seen a bunch of them recently, and I want to design a fruit print.

Helen: What, you’re hoarding the fruit prints, Caroline? Drop the fruit.

Caroline: I know. Just look, watch this space in the spring. We’ll see what we can get.

Helen: Yeah.

Caroline: Pastels were popular for spring and summer, as well, moving into neutrals and jewel tones in the fall and winter.

Helen: Crinoline gave those petticoats a lot of body, and other fabrics that created lots of volumes were taffeta and tulle.

Caroline: And dark wash denim was pretty much the only wash you could get and faded jeans were not in style yet.

Helen: Well, they didn’t have time. They hadn’t faded yet.

Caroline: Yeah.

Helen: This was just only the beginning.

Caroline: Yeah.

Helen: As far as 50s inspo for you, the first couple seasons of The Marvelous Mrs. Maisel are set in the late 50s. It’s about a former housewife who becomes a stand up comedian, and she wears such amazing costumes. The Fold Line even did a “Find That Pattern” video about it, and we’ll link that up in our show notes. I love this show so much.

Caroline: This is one of those shows that everybody recommends, and I still have not watched.

Helen: Oh, Caroline. You’re in for a treat

Caroline: Do you think this is a good one to watch while I’m sewing or do I have to pay attention, like, fully?

Helen: I think it’s worth sitting down and paying attention to it because of the amazing costuming, and it’s just so fun to watch. Like, I don’t think you’re gonna want to look away.

Caroline: Okay. Cool. I’ll add it to the list again.

Helen: This next one I think you could watch while you’re sewing though.

Caroline: Yes. I Love Lucy still stands up today. It’s hilarious. Lucy and Ethel are always wearing cute shirt dresses.

Helen: As far as patterns with those 50s vibes, there are a bunch of Charm Patterns that are inspired by the 50s, but we’ll mention just a couple here. And, for those who don’t know, Gertie is the designer behind Charm Patterns, and she really, like, lives this lifestyle, so this is the place to go.

The Betty Dress has both fit and flare and wiggle styles. It has a cummerbund that cinches in the middle, for that nipped-in shape. And there’s an optional giant bow for the back. And then the Marilyn Jeans are high waisted with a retro yoke and optional contrast cuffs. And they are so cute.

Caroline: I feel like wiggle dress and Gertie are, like, synonymous for me.

Helen: Oh, yeah. I made the wiggle dress from, I think it was her first book that she published, again, like, back in 2016, and I absolutely loved it. It was so much fun to wear. We’ll have to post some photos because we did take some for the blog. Sadly, again, no longer fits but, you know, c’est la vie.

Caroline: The memory is there.

Helen: The memory is there.

Caroline: Yeah, luckily you had a blog, and you were able to document it.

Helen: It’s true. It was worth it.

Caroline: And finally the Sorrel Dress by Jennifer Lauren Handmade. This one is a shirt dress with a pointed fold over collar, grown-on sleeves, and open ended darts for a crisp look.

Helen: I love the vintage details that Jennifer Lauren Handmade always includes in their patterns. Just so many pretty things to look at.

Caroline: Yeah. All right, it’s time for a break.

Love to Sew is made possible by listeners like you. We are so grateful for the support of our amazing patrons and subscribers. If you love Love to Sew and you want to help support the pod, we have a new option for you.

Helen: You can now become a paid subscriber on Apple Podcasts. Subscribers get access to our monthly bonus episodes, and it’s so convenient. If you already use Apple Podcasts, the episodes are right there in your feed.

Caroline: So what are the bonus episodes? Well, we do a chatty catch-up on what’s been happening in our lives, share about the realities of running a small business, discuss new indie pattern releases, and talk about what we’re sewing right now.

Many of our subscribers say these fun bonus episodes are their favourite. And if you subscribe, you get access to the full back catalogue. That’s over 75 hours of Love to Sew. We also do a mini episode that deep dives into a specific topic. We get to discuss so many fun sewing techniques and answer specific subscriber questions about sewing.

Helen: And we are still on Patreon. If you subscribe over there, you can get access to the bonus episodes, behind the scenes photos, and a special 15% off discount code at our super fan patron tier. That discount applies at Helen’s Closet, Cedar Quilt Co., Blackbird Fabrics, and BF Patterns. If you shop with us regularly, it basically pays for itself. Head to patreon.com/LoveToSew to see all the perks and options.

Caroline: If you’d like to try out Patreon or Apple podcast subscriptions and check out our bonus content, you can sign up for a free seven-day trial. And, of course, you can help support the show by listening just like you are right now.

You can also leave a review. Reviews really help our show get discovered by new listeners. We know that financial support isn’t always possible. And we want you to know that we love you for listening.

Helen: Go to patreon.com/LoveToSew or visit our show’s page in the Apple podcast app to become a paid subscriber. Thank you to all our listeners, patrons, and subscribers. You’re the best.

And we are back with more decades. We’re gonna jump into the 60s. The 60s saw the rise of subcultures like mods and hippies. The ideal of the 50s was sophisticated. The ideal of the 60s was cool. Fashion was full of youthful, rebellious spirit.

Helen: The silhouette of the 60s was even closer to the body than in the 50s, making a more columnar or triangle shape.

Caroline: Yeah, this is getting into the eras that I am a big fan of.

Helen: Yes.

Caroline: I do love the 60s. So here are some popular styles from the 60s. Mini skirts were super in. Some were incredibly short, even by today’s standards, and often mini skirts and mini shift dresses flared out at the hem, making that elongated triangle silhouette.

Helen: With the rise of those hemlines came a new crop of hosiery: tights. Tights were released in fun colours and prints, and some people even matched their dress, tights, and shoes all in the same colour.

Caroline: Empire waists were another style that made a columnar silhouette. They were often paired with long bell sleeves or bishop sleeves. The 1968 Romeo and Juliet movie probably had something to do with that trend.

Helen: Ooh! Suits were slim cut with slim details, including lapels and ties. Towards the end of the decade, more psychedelic and colourful styles started appearing.

Caroline: Women’s suits often had a pencil skirt or sheath dress with a matching cropped jacket. Tippi Hendren’s outfits in The Birds are a good example of this style.

Helen: I like this idea of head to toe matching jacket, dress, tights, shoes, like, full, like, dress like a crayon vibes. So cute! As far as 60s fabrics, graphic pop prints came into style, large scale florals, and psychedelic paisleys felt fresh after the more traditional styles from the 50s.

Caroline: Yeah, those psychedelic paisleys are another one that has come back around many times over.

Helen: Oh, definitely.

Caroline: Yeah.

Helen: Yes.

Caroline: Mod styles were usually made of solid fabrics. They often used blocks of contrasting colours to make things interesting. Black and white was really popular as well. And boucle fabric in bright colours was popular for women’s suiting. Think Jackie Kennedy.

Helen: There was also a trend of space age fabrics and fashion, like clear vinyl, shiny silver, and big circular sequins. Google Paco Rabanne and André Courrèges for some amazing inspo.

Caroline: And here are some shows with 60s inspo. The Queen’s Gambit is such a fun watch, and the costumes are a big part of that. It’s a limited series about a chess prodigy, her rise to the top of the game, and the troubles that come with it. And it’s more fun than it sounds. The Fold Line did a “Find That Pattern” video for this one. Also, like, thanks, The Fold Line. Those videos are so fun. I love it.

Helen: Yeah, they are so fun. Okay. We can’t skip over Mad Men. This is another show that has amazing costumes, and if you watch the whole series, you get to see the evolution of fashion over the whole decade since it starts in 1960 and ends in 1970. One of my favourite shows of all time.

Caroline: Me, too. Oh, love Mad Men. That finale just, oh…

Helen Perfect.

Caroline: …so good.

Helen: Right? Rarely do people nail a finale. Like, of a series, you know?

Caroline: Yeah, it was the best. Flawless. Flawless! Here are some patterns with 60s vibes. The V&A Museum has a free Mary Quant-inspired mini dress pattern designed by Alice Co. Patterns. Mary Quant was a British designer who was super influential in 60s fashion, and this pattern has a bunch of options for different necklines, sleeves, and pockets, too. Unfortunately, it isn’t as size inclusive as patterns we usually share. It goes up to a 49 inch bust, but since the pattern pieces and instructions are free, it could be a great reference.

Helen: Yeah, and I think this style of dress is a really fun sew, especially for a more beginner sewist. It’s definitely something that you can tackle, and it’s so cute. The Peony Dress by Fabric Godmother is a really cute shift dress with elbow length sleeves. There are optional ruffles at the ends of the sleeves, and it comes in mini or long hem lengths. I think this would make an amazing special occasion dress.

Caroline: And Helen, your March Top and Dress has late 60s hippie vibes. Make it long by adding another tier to the skirt. I’ve done that. Or make the top version and wear it with bell bottoms. How cute would that be?

Helen: Ooh.

Caroline: Oh, my gosh.

Helen: Gosh. I need to finish my Isle Jeans so I can do this look.

Caroline: Yes. Yes. Yes.

Helen: I’m wearing a March dress right now. So good.

Caroline: Oh, my gosh. Yes, and that’s one with a added tier, as well, right?

Helen: Yes, yes.

Caroline: Hack.

Helen: So good. Okay, Caroline, it’s time for our favourite decade!

Caroline: I’m ready.

Helen: I’m ready! In the 70s, the back to the land movement inspired earthiness, folksiness, and warmth in fashion. Later in the decade, disco introduced a new level of sparkle and shine.

Caroline: The silhouette of the 70s was an even longer triangle than in the 60s. There was also more volume in the shoulders and sleeves to balance out the volume at the hems.

Helen: Some popular styles from the 1970s include bell bottoms. These were the standard pant style. Whether they were high waisted or hip huggers, you needed a flare coming down from the knees. And there were even bell bottom suits. Bell bottoms for everyone. And you know what? Sam has recently been asking me about a pair of bell bottoms for him. And I’m into it.

Caroline: Okay, I’m sorry, Sam would rock a bell bottom.

Helen: Right?

Caroline: I want to see this. Oh, my gosh. Do it, Helen.

Helen: But is there a pattern out there? I might have to, like, I might have to do some hacking, or maybe I could buy something off the market now that bell bottoms are so popular.

Caroline: Yeah. It’s possible. Peasant dresses, smock tops, and prairie dresses were popular. Hemlines were long. Floor length dresses were worn even in the daytime. Gunne Sax made prairie dresses with small scale floral prints, cotton lace, satin ribbons, and lots of ruffles.

Helen: When Diane von Furstenberg started making wrap dresses in stretchy jersey print fabrics, the style absolutely took off. People lost their minds. They were chic and comfy at the same time. It was revolutionary.

Caroline: And men’s suit lapels got wider and pointier, and so did collars. The leisure suit was a more fashion forward take on the traditional men’s suiting. Oh, my gosh. We’re getting into the eras where, like, I have pictures of my parents wearing these kinds of clothes. And that, like, pointy collar, wide lapel suit moment. My dad rocked that…

Helen: I can totally picture that.

Caroline: …and I don’t know if it’s coming back, but I love seeing the old photos.

Helen: Maybe not to quite the degree that it was in the 70s, but I do think that there are pointier collars out there on the market. And it’s an easy thing to do, like we said at the top of the show, to make that change to a collar if you want to try it out.

Caroline: Totally.

Helen: I love it. As far as 70s fabrics, the typical colour palette of the 70s was warm. You got your golds, oranges, browns and avocado greens. Everything feels cosy and earthy.

Caroline: Oh, Helen, these are our colours.

Helen: I know.

Caroline: I love it. Polyester went from a more niche fabric to a mainstay of fashion. Many people loved that it was affordable, came in vivid colours, and resisted wrinkles.

Helen: Yeah, they just weren’t aware of how sweaty you got yet.

Caroline: Yeah.

Helen: Like, it was new and exciting. Worn in denim was the ideal, and jeans didn’t come pre-worn so you had to wash and wear them to get the perfect jeans for yourself. You had to do the work.

Caroline: Ooh, another one, corduroy was a popular fabric for casual pants and suits. They loved texture and cosiness in the 70s. Oh, my gosh. The 70s is our era. Corduroy, Helen, come on.

Helen: Yes, it’s true that the cosiness factor I think is what really cinches it, like, just all the warm and fuzzies. Now for some 70s inspo, Daisy Jones and the Six is a show about a rock band in the 70s. It’s loosely inspired by Fleetwood Mac, so you know the costumes are going to be good.

Caroline: Oh, that’s another one I need to watch.

Helen: Oh, it’s so good. Yeah, I think you’d like that one.

Caroline: The Brady Bunch is a fun watch these days, especially if you’re looking at what they’re wearing.

Helen: Classic. Some patterns with 70s vibes. If you want that wrap dress Diane von Furstenberg style, the Appleton Dress from Cashmerette is a great jersey wrap dress. It doesn’t feel super 70s as it is, but you could turn up the retro-ness by adding a cool print or maybe changing some of the details a little bit. Be pretty straightforward. Definitely giving that jersey wrap dress vibe.

Caroline: Yeah, totally. And the Jude Flare Jeans by Closet Core are the perfect 70s bell bottoms. They have such a great balance between the fit at the top and the flare at the hems. And Helen, like you mentioned, the Isle Jeans from…

Helen: Yes!

Caroline: …Chalk and Notch are another great option if you want a flare.

Helen: There’s also the Cressida Dress by Made for Mermaids. It really has that Gunne Saks peasant style, especially if you colour block the corset top with contrasting floral fabrics.

Caroline: So cool. Alright, we’re getting into the 80s. In this era, fashion turned up the volume. Bigger was better, and nothing was over the top.

Helen: I do have a soft spot for the 80s, too. There’s a lot of fashion from the 80s that makes me cringe a little bit. Like, it’s just so out there, but that’s the beauty of it. Like, people were just going for it. Like, wearing the craziest stuff as, like, everyday clothes. It’s so much fun. And then there’s, like, people over here doing that. And then there’s people on the other side, just wearing, like, full on beige suits and, like, working on Wall Street, like, such a weird juxtaposition.

Caroline: I can get behind, like, the 80s dancewear.

Helen: Yes.

Caroline: You know…

Helen: Exactly. The fun stuff.

Caroline: …like, give me the leggings and the leg warmers. Give me the, like, leotards.

Helen: Yeah.

Caroline: Give me the track jackets in the bright colours. Like, I could do that. I could do it.

Helen: What about the full hair and the, like, turquoise eye makeup?

Caroline: Oh, yeah. I’m, I’m into the perms and the, like…

Helen: Yes!

Caroline: …sweatbands. And oh, my gosh. There’s just so much good stuff.

Helen: Okay, so the silhouette was an inverted triangle, really strong shoulders with that nipped-in waist. Some typical styles were shoulder pads in everything. Blazers and jackets had those thick shoulder pads, of course, but we also saw them on blouses and t-shirts.

I was actually watching a movie last night with Sam. It was a horror movie called Prince of Darkness, and one of the characters was wearing just a pullover sweater, but it had shoulder, shoulder pads in it. Like, it was so funny because it looked so awkward, like, kind of, like, she was wearing a football uniform. Like, it was bizarre. But yeah, I think it was 1987 that it came out, so…

Caroline: Love it.

Helen: …makes sense.

Caroline: Puffy sleeves were another strong shoulder style, and they were at their most voluminous since the turn of the century.

Helen: Victorian inspired details were all over. Lace, pintucks, pie crust collars, skirts with yokes, bead encrusted tops and jackets were popular for evening wear.

Caroline: Pants were usually high waisted, bell bottoms were out, legs were straight or tapered, and more casual or youthful styles included ringer tees, you know those t-shirts with contrast bands around the neck and sleeve hems. That’s another thing that’s definitely come back around. And dolphin shorts, those short shorts with contrast binding going around the hems and up the sides.

Helen: Love that. Men’s suits also got bigger and looser fitting with those strong wide shoulders.

Caroline: And here are some fabrics from the 80s. Victorian inspired florals in soft colours were popular for Laura Ashley style dresses and skirts.

Helen: On the other hand, neon came in for a more sporty or streetwear look.

Caroline: A popular evening style was a velvet bodice with taffeta sleeves and skirt. Taffeta is great for volume, so it was an 80s staple.

Helen: And acid wash denim was a look, just bleached denim that has a mottled light wash. Basically, denim just came out in the 50s and just got lighter and lighter and lighter.

Caroline: I’m loving that. Okay, here are a couple of sources of 80s inspo. Stranger Things is a really fun and, kind of, scary sci-fi show starring a group of kids in the 80s. It’s so fun and nostalgic even if you don’t remember the 80s yourself.

Helen: Love Stranger Things. Heathers is a dark comedy from 1988, and its costumes are iconic. The Heathers are a group of mean girls who wear colourful boxy blazers with skirts. They take on a new friend, played by Winona Ryder, and things get pretty dark. It’s a great clash of the super feminine 80s look with the 80s punk and goth looks. Winona Ryder’s in both of these things I just realised.

Caroline: Oh, yeah. True!

Helen: She’s a, like, 80s queen for sure.

Caroline: Just gonna say 80s queen energy, I love it.

Helen: Yes.

Caroline: And here are some patterns with 80s vibes. The Bakerloo Dress by Nina Lee has that super girly 80s look. It has a giant collar with ruffles going around it, a gathered skirt, and puffy sleeves.

Helen: We have to mention The Heather Blazer by Friday Pattern Co. It’s clearly inspired by the movie Heathers. One of the samples is even a plaid set with a matching skirt. So cute.

Caroline: I will forever be obsessed with that outfit from that photo shoot on Friday Pattern Co.

Helen: Yes!

Caroline: Like, oh my gosh, so good. For a sporty summer camp look, pair the Rio Ringer by True Bias with the Sports Shorts by Friday Pattern Co.

Helen: Okay, Caroline, we were born now.

Caroline: Yeah.

Helen: We can reflect on our own memories of the next decade, and that’s it.

Caroline: Okay, so the 90s. The 90s pulled back from the excess of the 80s. I think the pendulum went so far in one direction, so it had to swing way back the other way. Styles like minimalism and grunge were all about going back to basics.

Helen: Yeah, the silhouette of the 90s was still that column silhouette, but with a bit of a looser, goosier fit.

Caroline: Loosey goosey. I do love that. Here are some styles from the 90s. Sleeves lost all their volume. They either fit closely to the arm or they were just gone altogether. Sleeveless tops and dresses were super common.

Helen: The grunge music scene made flannel shirts popular for all genders. Jeans, a tee, and a flannel shirt was the uniform of the 90s, and is still my uniform to this day.

Caroline: Mm-hmm. Jeans were looser than in the 80s with a straight leg. Towards the end of the decade, bootcut or flare jeans came back in. I feel like this flare was slightly different though than the 70s flare. Often when I think about flare, I think, is it a 70s or a 90s flare? And personally, I do love a 90s flare. Pretty fun.

Helen: Yeah, I mean, they’re both great. The 70s is more of a, like, full on look because it was so exaggerated. the 90s flare is just a little nod, you know? Tee dresses were popular, inspired by 40s vintage pieces you could still find in thrift stores back then. And they were made of drapey fabrics like rayon and often had those princess seams, short sleeves, and that tie or lace to cinch it at the back waist. I am such a sucker for these.

Caroline: Yeah, and it’s so funny that, like, in the 90s we’re seeing that 40s look coming back around…

Helen: Yeah.

Caroline: …and it’s sort of a new take on it a little bit, a little bit more of a grungy take. But I do love that 90s vintage-y tea dress look, it’s one of my faves. After the Wall Street fixation of the 80s, in the 90s it was no longer cool to wear a suit. The suits that were still around were loose fitting with wide lapels and pleated pants.

Helen: Streetwear, on the other hand, was everywhere in the 90s. Biker shorts, oversized t-shirts, cool sneakers, and big windbreakers were everywhere.

Caroline: I have to say I’m really into the, like, 90s dad look right now, and I’m trying to convince Shea to get some, like, wider leg jeans and, like, crewneck sweaters, like, ball caps, like, I really want him to step into his, like, 90s dad era.

Helen: I can see it.

Caroline: I think it’s so hot.

Helen: Cute. What about the windbreaker though?

Caroline: Oh, and the windbreaker. Yes. Oh, my gosh. I gotta work on it. I’m gonna work on it. I’ll keep you guys posted.

Helen: Don’t you wish you’d kept your windbreakers from when you were that age?

Caroline: Oh, absolutely.

Helen: Like, I had so many good ones.

Caroline: Oh, my gosh. The colours were so good. There was still a little bit of that 80s inspo coming into the 90s with the windbreakers. I love it. Okay, so in terms of 90s fabrics to look out for, prints got a lot simpler for the most part. Minimalist fashion featured only neutral solids, but dark or muted small scale florals were popular for dresses.

Helen: Streetwear had more pops of colour, usually one or two bright colours paired with a neutral, black, or white.

Caroline: 90s fabrics were drapey. Pointelle knits were common in baby tees, and rayon crinkle fabrics were common in blouses and dresses.

Helen: Denim had to be worn in, and this was actually the first era when pre-distressed jeans were available to buy because that grunge look was so popular.

Caroline: Ooh. So cool. I do love the, like, 90s mom jean look. I feel like that’s the kind of jeans I always want to wear. There is some great 90s inspo out there. The Fresh Prince of Bel-Air is such a funny show, and it’s, like, a 90s time capsule. It’s worth watching for Hilary’s outfits alone.

Helen: Oh, so true. Friends had six seasons during the 90s, and it was super influential on fashion. Plus, it’s just fun to watch.

Caroline: My So-Called Life is a great drama about a teenage girl in the suburbs. It’s realistic, so it’s a good way to get a peek into how regular people dressed.

Helen: As far as some patterns with 90s vibes, I feel like we’re spoiled. There’s so many to choose from.

Caroline: Yeah.

Helen: The Shelby Dress and Romper by True Bias is an adorable short sleeve button front tee dress with that. I think there’s a lace up back or maybe they did a hack for that.

Caroline: Mm-hmm.

Helen: It’s so, so cute. And the romper view is very 90s too.

Caroline: Yes. The Zuri Windbreaker by Petite Stitchery has some fantastic colour blocking that is so nineties. We need to bring windbreakers back. Dig into your closets. Find your old windbreaker Yeah. But it’s such a great light jacket and the wind doesn’t stand a damn chance.

Helen: Break that wind. The Sicily Slip Dress by Sewing Patterns by Masin has a great minimalist slip dress style with that cowl neck. Caroline, I know you’ve made this one…

Caroline: Mm-hmm.

Helen: …and you love it, right?

Caroline: Yeah, and I feel like it would be so cute in, like, a little 90s floral.

Helen: Yeah!

Caroline: The Brooks Jeans by Helen’s Closet. Who’s that?

Helen: Who’s that? Never heard of that.

Caroline: Who’s that? Um, but yes, you really nailed it with the Brooks Jeans. They really have that high waisted straight leg 90s look. Put on a white tee and all of a sudden you’re Cindy Crawford.

Helen: Oh, thank you. Yes, I absolutely love them. Okay, obviously, there are so many amazing styles in every decade that can inspire us today, and it’s, kind of, like, a fun Project Runway challenge or something. Like, “your decade is the 60s,” and you have to make an outfit to wear to a barbecue or “your decade is the 20s,” and you have to make a dress to wear to a wedding. Just really makes me want to get designing. You know?

Caroline: Me, too. And I have about a dozen shows on my to watch list now, so I’m ready. Let’s, let’s get to sewing.

Helen: Let’s do this.

Caroline: That’s it for today’s episode of Love to Sew. You can find me, Caroline, at Blackbird Fabrics and BF Patterns and Helen at Helen’s Closet Patterns and Cedar Quilt Co. We’re recording in beautiful, but rainy, British Columbia, Canada.

Helen: You can support Love to Sew and get access to bonus content by subscribing on Patreon or Apple Podcasts. You even get access to the back catalogue of bonus episodes. That’s over 75 hours of Love to Sew. Go to patreon.com/LoveToSew or check out our podcast page on Apple podcasts for more info.

Caroline: You can head to LoveToSewPodcast.com to find our show notes. They’re filled with links and pictures from this episode. And if you’d like to get in touch with us, please, please leave us a message at 1-844-SEW-WHAT. That’s 1-844-739-9428. Or you can send us an email, or even a voice memo, at [email protected].

Helen: Thanks to our incredible podcast team. Lisa Ruiz is our creative assistant. Jordan Moore of the Pod Cabin is our editor. Margaret Wakelee is our transcriber. And thank you for listening. We’ll talk to you next week.

Caroline: Buh-bye!

Helen: Bye.

Podcast: Play in new window | Download | Embed

" onclick="javascript: this.select();" onfocus="javascript: this.select();" style="width: 70%;" readOnly>