A round-up of the most popular posts from the past 12 months

As this week is a time to celebrate the first birthday of In the Folds, I am also seeing it as a good time to reflect on all that I have done this year. It's been a very busy year, with a range of different projects and collaborations and a fair number of blog posts. I dived into my blog analytics today so that I could share the 10 most popular posts of this last year. 

---

I'd love to know what you would like to see on this blog in the next 12 months! Let me know in the comments or send me an email!

The Ruschutter - 20% off Birthday special

As I mentioned yesterday, In the Folds turns one this week!

The day I launched my business is also the day I launched The Ruschutter sewing pattern. Which means this beauty is also turning one this week!

To celebrate, I have decided to offer a 20% discount on the pattern. All you need to do is head to my Etsy shop and enter the coupon code 'BIRTHDAY20' at checkout.

The sale will last for a week (ending Friday October 14), so get in quick! 

Talking About: 1 year in business

I cannot believe today marks the day that exactly one year ago I launched In the Folds as well as The Rushcutter dress pattern. Part of me feels like no time has passed at all, while the other part feels like I have been steering this ship for ten years! I cannot believe how naively I took the plunge into starting my own business - and how much learning I have had to do this past year just to survive. I thought that a good way to wrap up the year would be a little reflective post about all that I have learned this first year, as a reminder to myself about how far I have come, and hopefully some tips for you if you are about to start this crazy journey too. 

1. Sometimes not having a clue is a great thing

Thank goodness for the blind faith of a beginner. It's so easy to jump blindly into something when you have absolutely no idea of what is involved. And this truly is a blessing. If I knew when I started what I know now about running a business (which is still not a great deal), I don't know if I would have been brave enough to do it at all. I see this trait in so many parts of life, sewing in particular. New sewers often jump right into projects far beyond their skills, because they have no way of judging what's involved and have no fear, or knowledge, of what could go wrong. I think this is fantastic, and something to really aspire to. I wish this was something we could control and bring into our lives more often, because fear really does stifle our potential. So see it as a bonus when you don't have a clue about something - it often will work in your favour. Step naively into the face of it, and take the challenges one by one as they come.

2. You can learn a lot from the internet

When I did start to lose my naivety and started realising the beast I was creating, I also learned that worrying about what you don't know is just pointless. Because basically there is going to be A LOT you don't know, and there's just no point dwelling on it or getting worked up about it. Soldier on and face each obstacle as it comes. It is incredible what you can teach yourself with the help of a good Google search (I learned how to draft patterns digitally by trawling the internet for blog posts and tutorials) or a podcast. If you break whatever is daunting you down into small steps, suddenly it looks much more manageable and achievable and then you can face each challenge one by one. 

3. Sometimes you're just not ready for the information

This leads me to the point that sometimes it's best not to know something. There's only so much brain real estate we have, and there's no point filling it with useless things that you may not need until a year down the track. For example, before I started In the Folds I did a small business course. The teacher harped on and on about marketing. I listened, but I just couldn't wrap my head around it. Of course I knew it was important, but it all just seemed too big and too daunting for me to think about. So I didn't. I chose to focus on more pressing issues. At the beginning the most important thing I had to do was learn how to make a great digital product (I have always been a pattern maker, but only knew how to draft patterns manually). There would have been no point spending hours working on marketing when I didn't even have a product to marker. Twelve months on, and now that I have mastered creating a PDF pattern, it's time to take the next step. I am finally realising what a huge impact marketing has on your business's success and I am ready to learn. I am ready to take it all in. I have been reading marketing books, and listening to marketing-related podcasts, and actually understanding them, and even enjoying them. Because I am ready for the information now. 

4. Having your own business can be very lonely, but that doesn't mean you have to do it alone

Photo care of Louisa Eagleton Photography

While I was still at university I did work experience with a local fashion designer. I went to her studio one or two days a week to help out with anything and everything she needed help with. Early on I was struck by what a lonely working life this designer led. She spent her days in the studio with no-one around but her dog, and me when I was there. At that moment I vowed I would never have my own business - it would be far too lonely for me. I need to be around people all the time. Or so I thought. Fast-forward seven years and here I am sitting at my desk writing this post. Totally alone. And extremely happy to be doing it. What I have learned is that although you may get lonely running your own business, it doesn't mean you have to do it alone. I choose to work in a shared studio space, so that I am surrounded by others. I choose to collaborate with businesses that believe in the same things that I believe in so I can bounce ideas around with other creatives. In the past twelve months, I have met more like-minded individuals than I had met in my entire life pre-business. I may not get to see these people every day, but when I do see them, they re-fuel my energy and inspiration in a way that sustains me in the lonely times. And then of course I have my friends and family, who have been absolute troopers throughout the journey so far. 

5. People generally want to help you

And this leads me to another major lesson I have learned. People generally want to help you. There is something about "the little guy" (or gal) who has said 'Stuff you normal job / normal lifestyle' that excites and inspires people. They may not want to take the leap themselves, but they will often want to be part of the journey. I find it really difficult asking for help, but what I am slowly learning to accept is that I cannot do it alone and people do actually want to help. There are always going to be times when I'm going to need to call in a favour. And that's okay. 

6. Starting a business forces you to look internally

The biggest surprise to me this year is how much having my own business has made me look internally. If you mentioned the term 'self-help' to me a year ago, I would have actually laughed in your face. I didn't understand it, I didn't get it, and didn't believe there was any need for it in my life. Then I started a business and realised that when you pour your heart and soul into something, it becomes part of you, and any cracks or strains in the business are often reflections of some part of you that needs to be looked at a little closer. Blocks in my business often relate to personal blocks I have. For example, when I started In the Folds I wasn't too worried about how many patterns sold. Money wasn't driving me. I thought this was a good thing, it meant I could be creative and free without thinking about money. Then I realised that it wasn't liberating to work like that. Having no money doesn't give you freedom, it limits you and your potential. I wasn't worrying about money, not because I had risen above to some higher plane where money wasn't an issue, but because I felt I didn't deserve it. This was a huge revelation to me and something I must continually think about and work on. I now work on different things internally, as I realise how these things manifest externally. It is a never ended process, but a very rewarding one. 

7. Creating a routine is really important

Photo care of Louisa Eagleton Photography

When I tell people I have my own business, they often remark about how great it must be 'being able to work whenever you like.' Any business owner will know that it's not like that at all. Having your own business encourages you to work ALL THE TIME - whether you like it or not. There is always a million things on the to-do list and only you to do it, so you just work and work and work and work. I definitely have work-aholic tendencies. I love to work. I have always enjoyed working, and working for myself has made me love work even more. I truly love what I do and it makes me feel incredibly happy and fulfilled. But that doesn't mean it is good for me to work all the time.

I do not want to be defined by what I do for a living. I want to be defined by my relationships with others, by what I give to the world, the stories I share, the places I go. This article from Womankind that I read recently resonated so much with me - and was a great reminder that I cannot let work absorb me, nor should anyone. This means trying to find some work-life balance.

I am definitely not going to pretend I have worked it out. I haven't. But I am getting better. And the main thing that has helped is the routine I have created for myself and my work. I try to work normal working hours. I get to work between 9am and 10am. I have lunch around 1pm, just like I would do if I worked in an office. I leave work around 6pm so that I can spend time with my partner or friends in the evenings. I work weekends when I have a deadline, but I try to refrain from  working so that I can spend time with my friends and family, and just relax and re-group. This work takes a huge mental toll on me, and I like to have the weekends to reflect and gear-up for the week ahead. I went to a great talk earlier this year and the speaker discussed the idea of our "Golden Hours." By this she meant the hours in the day where you do your best work. Realising that my "golden hours" are first thing in the morning and later in the afternoon / evening has been a great lesson. I now plan my days around these peak times. First thing in the morning I do my most important work, the things that have to be done, while I am full of energy and ready to go. After lunch, when I am feeling like crawling under my desk for a siesta, I try to do my favourite work. The work that I don't find challenging and I love to do no matter how exhausted I am - sewing and pattern making fall into this category. And then in the evening (if I have a deadline and need to work) I get back to the important stuff. 

8. Put everything into it - it's so much easier than only going halfway

I worked in London for two and a half years or so a couple of years ago. I moved there with the grand dreams of interning in the fashion industry and working out what I wanted to do with my life. I got there and realised that although it would be easy to find an internship, a paid one was almost impossible to come by, and if I wanted to eat I was going to have to find another job. After calling my parents and having a mini melt-down on the floor of a 12 bed dorm in a backpacker hostel I remembered that I had been tutoring kids for years back home, and maybe I could find some part-time nannying work. Fast forward a couple of weeks and there I was at the park with three gorgeous young children who were now my responsibility four afternoons a week. It was not ideal, but it would pay the bills and let me do what I wanted each morning (i.e. interning). A year or so later I started working on my first pattern making blog and although I loved my job as a nanny, I quickly realised how hard I was finding it to focus on the job at hand. All I could think about was working on my blog. Pushing a child on a swing, I would be thinking about the next tutorial I would write. Walking through the park with the stroller, I would be thinking about what I would sew next. Then I would finally have time to do all that I had been dreaming about and I was just too exhausted to do the work. Now that I work in my business full-time, I finally feel focussed. No longer do I catch myself (as often) day dreaming of the work I want to be doing, while eating dinner with my partner or while talking to my Mum on the phone. By being 100% in in my business it is no longer a chore to do the work. It has become a non-negotiable. I work every day. And then I rest on the weekends and evenings, and actually give my attention to the people around me that deserve it. Here is a great article that illustrates it really well. 

9. You just can't do it all

When I started In the Folds I just knew I had to do everything myself. I didn't have the budget to pay anyone for help, so I didn't even think about it. I learned how to do the things I didn't know how to do and just got on with it. Until I hit a road block. I wanted to change something on my website and I just couldn't. I trawled forum pages and blogs, trying to find the solution, wasting hours and hours and not coming up with an answer. I finally bit the bullet and decided to call an expert for help. His rates seemed astronomical at the time, but I knew I didn't have a choice. Then he did the job in no time at all and it was perfect. And suddenly I had no problem handing over my credit card details. I have learned that my time has value and can often be spent doing something far more useful than trawling the internet for a solution that may not exist. I am now learning that it is a good investment to outsource some of the work, even when my budget is very tight. I sent my last pattern for Peppermint Magazine to a pattern digitser and grader. I couldn't believe how much time and frustration that saved me. For future pattern releases I plan to hire someone to illustrate the instructions. I know that I can do all these tasks myself. But I also know that I could find someone that could do it better than I can, and I can carry on doing the things I couldn't outsource to anyone. 

10. Having a plan is great, but you've got to be flexible

When I did the small business course I mentioned earlier, we had to write a business plan. It was a tough exercise, but I found it so useful in getting my head around what I was setting out to do. I handed it in and then haven't looked at it since. How come? Things changed. I realised that I couldn't pump out the ten patterns in the first year like I had planned. Things took far longer than I thought they would. Things cost far moe than I had planned and I needed to take on an occasional freelance job just to get by. And that's okay. It is really difficult to make a plan when you have no idea of what processes you will use and how long they will take. There is no point sticking to a plan just because it's there. To me, business is about constantly pivoting and adapting to what's going on around you. I do plan to write that business plan again though. With a year's worth of experience under my belt, and finally a clue about who my "ideal customer" is, I think I am in a much better place to put pen to paper. But I will be flexible with that plan too.

11. Enjoy the process and celebrate the successes along the way

And the final lesson, and perhaps the most important. Celebrate the victories along the way - however small they are. Our definition of success is constantly changing, as we move the goal posts back each time we achieve something. So I am learning to celebrate the moments along the way. Like today when I'll be having a glass of champagne and giving myself a pat on the back and saying "Girl, you did it. You survived your first year in business."

---

YOU MAY ALSO LIKE:

How to: Draft an all-in-facing

In the last couple of weeks I have been showing you how to draft a simple summer tank top. Today I thought it would be a good time to show you how to finish the armholes and neckline. 

There are generally two methods used to finish the armholes and neckline of a sleeveless top - you could finish them with bias binding (shown in the image above), or draft a facing. I use both variations and make my choice depending on the fabric I am using and the style of the top (or dress) I am making. 

Where to start

Drafting a facing is really easy, and only takes a couple of minutes. Take the pattern you would like to make a facing for - in this case I am using the sleeveless top pattern that I showed you how to draft in this tutorial. 

Consider how deep you would like your facing to be. When it comes to facings, I don't think there's anything worse than a really shallow facing that pops out of the neck or armhole at any opportunity it gets. For this reason, I always draft a nice wide facing.

On your front pattern piece, measure down the side seam the depth of your facing. I would suggest anywhere between 7-10cm (3-4in), but have a look at your ready-to-wear garments with facings, and get an idea of what you like (or don't like). Also mark a point on the centre front (this doesn't have to be exactly the same as the measurement on the side seam, just have a think about how far down you would like the facing to run at the centre front).

Draw the shape of the facing onto the pattern. You will want it to be a smooth curve so that the edge is easy to finish (with bias binding or overlocking). 

The section above the curved line is the facing piece.

Take a separate piece of pattern paper and trace off the facing piece.

Before removing the facing piece, mark a notch on the armhole (this will come in handy when you are sewing the facing to the body of the top). Using a tracing wheel, transfer the notch onto the top front. 

Mark a notch on the shoulder seam and side seam too. 

To complete the pattern piece, add the grainline and cutting instructions (cut 1 on fold). Repeat process to create the back facing, and you're done! 

When attaching the facing, make sure you understitch it to get a really nice clean and professional finish. 

---

You may also like:

How to : Draft a top with yoke

Recently I have been well and truly in summer sewing mode, as I have been working on another pattern for Peppermint magazine (see my first pattern for Peppermint here). As it's a quarterly publication, the next release will be in Spring, which makes me feel as though spring is just around the corner. And makes me very excited! I am not a winter person at all, so I have been very much enjoying pretending it's spring and using luscious linen to make the sample. 

So, to keep the dream alive, that it is actually spring (I know I shouldn't whinge as winter in Sydney is very mild) I thought I'd post a follow up post to the post I did a couple of weeks ago on drafting a summer top.

I thought a good place to start would be with a few simple adjustments you can make to your simple top pattern (or even an existing top pattern you have) to add a bit more interest, starting with adding a yoke. 

What is a yoke?

A yoke is a panel that is inserted in the top of a garment to add interest. For example, yokes are often used on the back shoulders of shirts, but can also be found on blouses, tops, skirts and trousers. 

Trace the pattern

To start, trace a copy of the pattern you would like to add a yoke too. I am using the simple sleeveless top pattern that I drafted from my basic bodice block. 

Style lines

Think about the shape of the yoke you would like to create, and draw the style line on the pattern. I have included a few examples, but there are countless options of what you could do. Be sure to bring the style line to a right angle at the centre front (more details about this can be found here). 

For the sake of the example, I decided to go with a simple straight yoke through the armhole.  Before going any further, put a notch on the style line. This will help match the two pieces back together once they become two separate pattern pieces. 

Cut along the style line (or trace each piece onto paper) to create two independent pattern pieces.

What next?

There are a number of things you could choose to do now. You could leave the pattern as is (just add seam allowance and pattern markings) for a simple tank with a yoke panel line (which you could choose to also repeat on the back pattern piece).

You could consider adding volume to the lower panel to create more of a trapeze silhouette. You can do this by cutting and spreading the pattern until you achieve the desired silhouette (look at this tutorial for more details about how to do this).

Or even consider adding a box pleat at the centre front (this is a personal favourite of mine).

Finish the pattern by adding seam allowance and cutting instructions.

---

You may also like:

Notes on adding seam allowance

One of the first tutorials I created for this site was about how to add seam allowance to a pattern. If you are going to draft your own patterns, this is really something you are going to need to know how to do (and it's also a greta place to start if you want to learn some basic pattern making principles). In today's tutorial, I'd like to expand on the basics a little. I'd suggest checking out the previous tutorial first if you are unsure how to add seam allowance, and then come back to this tutorial. 

I did work experience with a local fashion designer while I was at university. One day a week I would go to her studio and help out with whatever tasks she needed help with. I learned a lot about things like how to cut fabric, how to trace patterns etc. (which have all really come in handy), but I'd say the best lesson I learned was about marking seam allowances. I remember being asked to add seam allowance to a particularly strange shaped pattern and realising I didn't know what to do when the pattern came to a point at one side. The designer I was working for told me to think about how the piece needs to sit once the seam is sewn and pressed and that should help me work it out. This now seems very obvious, but at the time it was a real 'wow' moment. From that moment on I never struggled, and it is a way of doing seam allowances that I have brought into my patterns. Over time, I have learned this is not always the way it is done and users of my pattern always get really excited about it and see it as a nice little detail in the process, that helps you achieve a really beautiful and professional finish in your hand-made wares. So I thought I'd share it with you today!

An example

Here is an example of what I am talking about from the Rushcutter sewing pattern (as the old saying goes, a picture really is worth a thousand words). This is the pattern piece for the raglan sleeve, and you will notice that at the seam where the sleeve joins to the centre front panel the seam allowance comes to a strange looking point. 

The reason for this is that, after this seam is stitched and then pressed open, with the seam allowance cut like this, it will be able to sit flush with the edge of the sleeve. This will help you get a lovely clean finish when you attach the sleeve to the armhole of the dress. 

How to do it

Take the pattern you are adding seam allowance to. For the sake of the example, I have just used the front pattern piece from a sleeveless top pattern. (which I showed you how to make last week).

Start by adding seam allowance to the straight seams. I'd suggest between 1.2cm (1/2in) and 1.5cm (5/8in).

Add seam allowance to the curves. Curved seams require a slightly smaller than standard seam allowance (as this helps when you are sewing them) so I'd suggest 6mm - 1cm (1/8in - 3/8in). If you're not sure how to add seam allowance to curves, there is information about it in my previous tutorial on adding seam allowances. 

What I didn't go into in the last tutorial was what to do at intersection points. It's not a problem if your pattern piece is made up of straight seams on all sides, but if, like in the example, your pattern has a mixture of straight and curved seams, you will have to add one extra step to the process.

Focus on one particular area to start. I will start with the shoulder seam. Fold along the shoulder line. This is the original shoulder line, not the seam allowance line. By folding along the shoulder line you are able to see what will happen when the seam is stitched and pressed open (which is normally the case with shoulder seams).

Take a tracing wheel (or awl) and trace over the lines that indicate the seam allowance on either side of the shoulder seam (the armhole and the neckline) for approximately 2-3cm (1in).

Unfold the pattern and you will see that you have transferred the shaping to the shoulder seam. 

Use a ruler and pencil to join the dots created by the tracing wheel. 

You will see that when you fold back the seam allowance on the shoulder seam, it now sits flush with the armhole and neckline.

Next, we'll move onto the side seam.

Again, fold along the stitch line. 

Use a tracing wheel to trace along the armhole and hem line (the seam allowance line, not the stitch line) for approximately 2-3cm (1in). 

Unfold to see the lines that have been transferred to the side seam and mark with a ruler and pencil.

Repeat process form all pattern pieces, and that's it, you're done! 

---

You may also like:

How to : Draft a simple summer top

Summer is here for all of you lucky people in the northern hemisphere, and I thought it would be a great time to show you how to draft a quick and easy sleeveless summer top! You may wonder what I'm thinking, as most of you know I am based in Sydney, where it is currently quite chilly (well at least as chilly as it gets here), but I really wanted to start showing you how to turn your bodice block into a functional garment (as who really wants to wear a bodice block?) and I haven't shown you how to draft a sleeve yet, so sleeveless top it is!

This is a really simple tutorial and a great place to start if you are trying your hand at pattern drafting.

Where to start

Trace a copy of your front and back bodice blocks without seam allowance. Be sure to also mark both darts on each piece.

Relocate shoulder darts to the waist

Relocate the shoulder darts on the front and back bodices to the waist, using this method or this method. 

You won't actually be needing the darts in the waist, so you can redraw the hem with a smooth curve, removing the darts altogether. 

Trace the pattern

Trace the pattern pieces onto a separate piece of pattern paper, leaving enough space in between the pieces for alterations. 

LOWER THE ARMHOLE

It is likely that you will want to lower the armhole of your top for a more comfortable fit. The bodice block is designed to sit right under your arms, and I'd say for a summer top you will want a bit more breathing room. 

Decide how much you would like to lower the armhole by. Mark this distance on the side seam, measuring down from the armhole. Mark this point on both front and back patterns (this is your new underarm point). This is when it's great to have a toile (muslin) to refer to, so you can see exactly how low you want your armhole to be.

It is a good idea to reduce the length of the shoulder seam too. As it stands, it is a decent sized shoulder seam and for a summer top it is likely that you will want something a little slimmer. Remove some of the length from each side (the end close to the armhole and the end close to the neckline) to keep it balanced.

Work out how much you would like to remove from the shoulder and mark this distance on the shoulder seam, measuring in from the armhole. 

Create the new armholes by joining the points marked on the side seam and shoulder seam with a smooth curve. 

Cut along the new armhole line to remove excess from both front and back armholes (or trace off separate to create a new pattern).

LOWER THE NECKLINE

For the same reason I suggested lowering the armholes, I suggest also lowering the neckline. Use the same method used for the armholes. On the front shoulder seam, measure in from the neckline and mark the point where you want your new neckline to be. Mark the same distance on the back pattern piece. Also work out how much you would like to lower the neckline by and mark this point on the centre front and centre back. This doesn't need to be the same distance - you may want a low front (or even a low back).

Re-draw the front and back necklines by joining the points marked on the shoulder line and centre front/back with a smooth curve.

Cut along the new necklines to remove the excess from both front and back pattern pieces (or trace off separate pattern, with lower armhole).

Lengthen the pattern

At this stage, the pattern is still only waist length. If you'd like a cropped tank then you're done, but if you'd prefer some extra length then keep working your way through the tutorial.

The best way to lengthen a pattern is normally to slash the pattern horizontally and then add length through the middle of the pattern, so that the hemline stays intact and the silhouette of the garment doesn't change too drastically. In this case though, I'd suggest just adding length to the bottom of the pattern, as it is likely that you will need a bit of extra width around the hips. 

Work out how much you would like to add to the pattern, and extend the centre front, centre back and both side seams by this length. 

Join the lines with smooth curves to create the new front and back hemlines.

Remember to meet each side with right angles so that you get smooth lines when you sew the pattern together. For more on this, check out this tutorial on checking patterns. 

To complete the pattern, add seam allowance and pattern markings and you're done! 

You may also like:

Finished project : Winslow Culottes

A month or so ago, Helen from Helen's Closet put out a call for pattern testers for her upcoming pattern. I jumped at the chance as she had recently pattern tested for me and I wanted to return the favour, and (more selfishly) I wanted to force myself to sew something new for myself. These days I get very little free time to sew, as most of my sewing time is consumed by pattern development and sampling for upcoming releases. I do know though that I work very well under pressure, and a deadline is a great way for me to make time to do some (semi)selfish sewing.

We were given two weeks to test the pattern, and of course about three days before the deadline, I decided to start sewing my Winslows. Thankfully the pattern isn't made up of too many pages (and does include a copy shop version), so doesn't take to long to assemble, and it's a quick and straightforward sew. 

The details

'The Winslow Culottes are wide-legged pants designed for ultimate comfort and style.  This pattern is intended to be made at any length, from shorts to full length palazzo pants. The design features inseam pockets, an invisible zipper, a waistband, and inverted box pleats.  Make above-the-knee or midi-length culottes in tencel for a chic, professional look, shorts in cotton lawn for active adventures, or full pants in viscose poplin for comfortable weekend wear.' (Helen's Closet)

I decided to make view B (the knee-length version) as I wasn't too sure about the whole culottes thing and I thought this style was the least drastic, and therefore probably the most wearable for me and my lifestyle. Since it started getting cold in Sydney, I have been living in jeans, so I had been on the hunt for some different bottoms I could make, for days when I need something a little more formal (but still comfortable).

The Fabric

I used a mysterious fabric that I bought second hand form The Fabric Cave. It has lovely loose weave that gives it a beautiful texture, although I am not at all sure what the fibre content is. It definitely has a polyester component as it didn't want to press well (but is also good because it doesn't hold creases, which is a real plus when we're talking culottes). 

Techniques used

I used a couple of different techniques in my Winslows to make them more winter appropriate (the pattern is designed for lighter fabrics) finish. I added 5cm to the length and turned this up for the hem - this extra weight in the hem helps them sit nicely and also makes them less likely to blow around too much in the wind. 

I also bound the inside edge of the waistband and sewed it flat (rather than tucking it under) to minimise on bulk in the waist area. (Sorry about the shoddy photos. It is really hard to photograph black garments!)

The verdict

When I finished my culottes, I wasn't totally convinced that I'd wear them much, as they're quite different to my usual style. But I must say I've worn them five or six times since I made them! 

If I made them again I would think about changing the straight waistband to a shaped one (using this tutorial), but apart from that the fit is great. I know this is totally a matter of preference, but straight waistbands just never sit very well on my curves.  

This is a really straightforward sew, with fantastic instructions that guide you through the process. I really enjoyed testing for Helen, she was so supportive and positive throughout the whole process and was very open to feedback, which I thought was fantastic. She somehow managed to coordinate testing with over 40 testers, and then released the pattern in no time (I wish I could take a leaf out of her book!)

All in all, a great pattern. Head over to Helen's blog for more details and inspiration (she has made so many pairs!)

What are your thoughts on culottes? Are you still sitting on the fence, or have you been converted like me?

---

You may also like:

How to : Check and true sewing patterns

I got to the studio today, ready to write a blog post about checking curved seams as a follow up to last week's blog post on creating princess seams, when I realised that I'd actually done it a few months ago (high-five to past self for that one)! Thankfully I realised before I started. So I thought that instead, I'd take this opportunity to talk about checking and truing patterns

It is really important that you ALWAYS check that your patterns fit together correctly before going on ahead and cutting your fabric. It may seem a bit tedious checking each seam, but taking a few minutes to check your patterns at this stage can save you cutting out incorrect patterns and wasting precious time and fabric later on.

Checking patterns

Method one : Measure each seam

To check that your patterns fit together correctly, you need to check that each seam is the same length as the seam it will be sewn to. For example, in the case of the bodice block, we need to check that the side seams and shoulder seams are the same length. To do this, you can simply take a ruler or tape measure and measure each seam. 

Method two : Match pattern pieces and check seam length

The other way you can do this (which is the method I tend to use) is to match up the seams as if you were sewing them and check that they are the same length. This is very easy to do if your patterns don’t have seam allowance (in the case of a block), but if your pattern does have seam allowance, be sure to overlap the seam allowance so that ‘stitching line’ lays on top of ‘stitching line’ – rather than matching up seam allowances (this is when using slightly transparent pattern paper can be very handy!)

If seams are different lengths

If your seams happen to be different lengths, you will need to do a small alteration to get them the same length. You will need to add a little to one side of the pattern and remove a little from the other.

Measure the difference in length, by lining the two pieces up as if they were sewn, and then seeing how much excess there is at the end of the seam.

Take note of this measurement. 

Halve the measurement taken in the previous step and mark this point on the longer side, measuring from the end of the seam. For example, if the difference is 1cm, mark a point 5mm down from the end of the seam. You will need to reduce the length of the back side seam by 5mm and extend the front seam by 5mm - making them the same length. 

Tape some pattern paper to the side you will be adding to (in this case, the front armhole) and re-draw the armhole, passing through the point you marked in the previous step. You have now removed some length from the back side seam and added some to the front - making them the same length. 

If your seams are significantly different

Sometimes the excess is too much to use the previous method (I’d say if your seam is any more than 2cm out then use the following method). When this is the case, you need to distribute the excess either side of the seam – half on each end.

Place the seams together and find out the difference between the lengths of the two seams and rather than adding to/removing on just one side of the seam, distribute excess on both ends of the seam (in this case, for example, remove excess at both the armhole and hemline). 

Mark the midpoint of your excess on either side (in this example, at the 5mm point on either side) and redraw the neckline and armhole passing through these points, ensuring the line is smooth and eases nicely back into your original lines.

"Truing" PATTERNS

As well as checking that your seams are the same length, when checking patterns, you also need to "true" each seam. What this means is that you need to check that the lines meet smoothly and there are no sharp points or dips in the lines (unless that is the intention of the design).

True the side seams

For example, in the image above, you can see that the front and back side seams are the same length, but they do not meet as smoothly as they should at the armhole and hem. The armhole dips forward on the front pattern, creating an unbalanced shape, while the hem line lifts at the side seam, instead of remaining flat and smooth.

To correct this, attach some pattern paper to the area you will be adjusting and redraw the line.  You will see in the example above, a little extra was needed on the back armhole, as well as the front to get a nice smooth armhole curve. 

Use the same method to smooth out the hem line - adding enough to each side to get a smooth line. 

True the shoulder seam

To check the shoulder seam, lay your patterns flat and match up the seams as if you had just sewn them together and were now opening the seam to press it flat. Again, check that they are the same length and then check there is a smooth transition from the front to the back pattern piece. You will see in the example that the neckline is nice and smooth, but the armhole comes to a bit of a point at the shoulder seam.

To fix this, attach a little extra pattern paper to each pattern piece and redraw the curve, smoothly transitioning back into the original armhole curve.

Check that patterns are square

When a pattern is symmetrical always check both ends of the centre line (or "PLACE ON FOLD" line) meet the other seam at a right angle. This will prevent any strange lumps, bumps or points in your pattern piece. 

In the example shown, the neckline and hemline were not square to the centre front and when the pattern was cut on the fold, a peak was created in the neckline and a point in the hemline. 

To prevent this from happening, and to ensure a nice smooth neckline and hemline, before cutting the pattern on the fold, check that the curves meet the fold line at a right angle, using a set square. 

This way, when you cut the pattern on the fold, the neckline and hemline will remain nice and smooth.

I'd love to hear if you found this post useful!

---

You may also like:

New pattern : The Jersey Dress - in collaboration with Peppermint Magazine

I made a pattern for Peppermint Magazine! I am very excited about this as it is such a great magazine. I was planning to tell you what it's all about, but then I realised they probably do it much better themselves!

"Peppermint is an Australian eco fashion and lifestyle quarterly focused on style, sustainability and substance. Covering food, fashion, natural living, health and beauty, DIY, diversity, social entrepreneurs and more, it was created for the rapidly growing number of consumers who appreciate good design and creativity, but also care about social and environmental issues, positive media and things that matter."

They have a section on their website called 'Sewing School' where you can access a whole lot of great patterns, and now I have a pattern amongst them!

The pattern is a lovely snugly raglan sleeve jumper dress, with in-seam pockets, which is a really quick sew. It can be sewn with an overlocker or standard sewing machine (and the instructions include both methods) and could be tackled by a confident beginner. Best of all, it's free! You can download it directly from the Peppermint Magazine website. While you're there, you should also check out all the other great patterns that are available. 

Download the pattern now

How to: Create princess panels

Including panel lines in a design is a good way to eliminate darts, without losing the fitted shape of the garment. They are also a great way to add interest to a design. There are countless variations, and it is also a great way to include more than one fabric in your design if you would like (if you fancy a splash of contrast fabric like me). 

What are princess panels?

'Princess panels' are panels that are shaped around the bust, to create a nice fit (without the need for darts), but can also be an interesting design detail. 

Princess panels can cut through the pattern from the shoulder line to the waist, or they can cut through the pattern starting at the armhole and running down to the waist. I'll show you how to create both options, although they use basically the same method - and it's really up to you which you would prefer. If you are a beginner, I'd suggest drafting the version from the shoulder seams, as it can be easier to sew. The curve required to have princess panels coming from the armhole can be a little trickier to sew (but totally manageable if you've got some pins and patience). 

I will be using the basic bodice in the example, but you can create princess panels on any fitted top pattern with waist darts. 

Option #1 : Drafting princess panels from shoulder seam

1. Trace a copy of the pattern you will be adjusting.

2. Draw a straight line through the centre of both darts. 

3. You will be separating the pattern into two pieces, and eliminating the darts all together - creating a 'side panel' and 'centre front panel' that are sewn together to create the shaping over the bust.

4. Take a piece of pattern paper and trace the side panel piece. To avoid pointy breasts (and to make it easier to sew), you will need to change the rigid angles of the dart arms into a smooth curve along the panel line.

5. On another piece of paper, trace the second panel (centre front panel) once again smoothing out the angles of the dart arms to create a smooth curve. 

6. You now have two separate pattern pieces and no darts!

The next steps are to check that the curves on each piece are the same length (I'll do a post about how to do this next week), add seam allowance and pattern markings (you will need a grainline, cutting instructions, and notches along the curve). 

OPTION #2 : DRAFTING PRINCESS PANELS FROM armhole

If you would prefer to have the panel lines coming from the armhole of the bodice, you will need to start with a dart in the armhole. If your dart is located elsewhere (for example, in the shoulder like it was in the previous example) you will need to start by moving the dart to the armhole. 

1. Trace a copy of the pattern you will be adjusting. I will be using the basic bodice in the example (with darts transferred to armhole), but you can create princess panels on any fitted top pattern with waist darts. 

2. Draw straight lines through the centre of each dart. These lines will intersect at the bust point. 

3. Just like in the previous example, you will be separating the pattern into two pieces, and eliminating the darts all together - creating a 'side panel' and 'centre front panel.'

4. Take a piece of pattern paper and trace the side panel piece. Draw a line that follows the lower dart arm at the armhole, and gradually curves as it approaches the dart point (start curving the line a couple of centimetres back from the dart point). Continue the curved line so that it meets the outside arm of the waist dart and continue tracing along dart arm to the waist.

5. You will see that this new line has removed the sharp corner at the bust point.

6. Take another piece of pattern paper and trace the centre front panel, once again creating a smooth curve to replace the dart arms. This time the curve will be concave, rather than the convex curve of the side front panel. 

7. As you can see, to make this curve, a small amount will need to be added at the point of the curve. This will even out the amount that was removed from the side front panel (this small triangle has been relocated from one side to the other).

8. To complete the patterns, you will need to check that the curved seams fit together. You will also need to add notches to the curve (which you can find in the same tutorial) to help guide you when sewing the curved seams together (as curves like this can be very tricky to sew and notches can be your saviour!) and add seam allowance (I'd suggest 1cm or 12mm).

And that's it, you have princess panels!

---

You may also like:

Talking about : Pattern Testing

During the last couple of years there has been a lot of conversation, criticism and debate about the nature of pattern testing within the blogosphere. And I understand why. 

After reading this great piece by Sue (who happens to have recently tested a pattern for me) over at Sewin' Steady (as well as the comments that follow), I decided I wanted to get involved in the conversation in the hope that I can also encourage it to be discussed (and even questioned) in a positive and constructive way.

Pattern testing really is a difficult thing to talk about (I have drafted this blog post at least three times and I’m still not sure it conveys exactly how I feel about it.) as it is a murky area. 

What is pattern testing?

For those of you who are unfamiliar with pattern testing, this is how it works. The transaction normally goes something like this. Designer creates pattern. Designer puts a call out on blog and or social media asking for people to apply to test said pattern. Designer selects a group of testers. Designer sends pattern to pattern tester. Tester makes garment using pattern. Tester is paid in “kind" (usually a free pattern) for volunteering their time. Tester (generally) then reviews garment on their blog. Designer uses tester images to promote pattern. 

The main issues I have seen discussed surrounding pattern testing and the things I would like to talk about are:

1.  How are pattern testers selected?

2. Is pattern testing a means of actually testing a pattern, or is it a promotional tool?  

3. How do we encourage "real" feedback?

5. Is it unethical that testers are not compensated financially for their time / work?

1.  How are pattern testers selected?

I have seen this question come up a lot as there are many people out there who are applying to test over and over and never getting selected. I find this question quite difficult to answer as I don’t really have a proper strategy for selecting testers. Well at least, not yet. 

When it was time to test my first pattern, the Rushcutter, I didn’t have a website for In the Folds (only my old site Em Makes Patterns) or and Instagram account, so I decided to put a call out for testers in my previous site as well as a few Facebook groups. I was blown away by the response. I received around 120 applications in the first day. I was most surprised by this response because I was essentially a nobody. I had not released a pattern before, and had no online presence, yet so many people were willing to test a pattern for me when there was no guarantee that the pieces would even fit together. I was so touched by the generosity of all these women that I wrote an email to every single one of them thanking them for applying.

I was then stumped by the question of how to choose who I would ask to test the pattern. I started by putting all the applications into a spreadsheet and then going through and making sure I had at least two testers to select from for for each size. The dress can be made in two different styles and I had asked for preferences in the application, so I used this as a way to select testers. If only one person who wore a size C wanted to make view B, then that is who I selected. I then removed the testers who identified as beginners. I did this because  the Ruschutter is not designed for beginners and I did not want anyone to feel out of their depth. Testing is supposed to be fun, and I didn't want to leave people feeling upset or frustrated because it was too challenging. I also didn’t want to select all the advanced makers who applied as I really wanted to know how a diverse group of makers would feel about the pattern. 

I knew that I would not be doing a shoot for the Rushcutter at the time, so I also aimed to choose people who I knew would take a clear photo of the front and back so that I could include it in the product listing (I worked this out by looking at people's blogs or the photos they sent through Flickr, dropbox or on Facebok pages). I wasn't looking for over the top shots, just photos that clearly highlighted the garment details. 

I felt much calmer when it was time to test my second pattern. For one, I’d done it all before and had a good idea of what to expect. I also had a number of women who I had established a relationship with the first time around that I knew would jump on board again. This is something I have seen / read criticism about on a few blogs. I know many people have mentioned a bit of a “clique” when it comes to testing - feeling as though often the same people are chosen over and over to test patterns. I do understand that, but speaking from experience, I also know I felt much more comfortable asking people who had by this point become friends to help me out by volunteering their time, rather than asking a whole lot of new people to donate their time to my project. By establishing and then building an ongoing relationship I feel it is much easier to return the favour eventually, which I hope I can find a way to do with as many of my testers as possible. In saying this though, I did ask if people had tested before in the application so I could ensure I introduced some new testers into the pool and could also give them a chance. Roughly one third of the women who tested my latest pattern had not tested before and about half who tested the Ruschutter.

This time my selection method was slightly different. I decided to choose people, when possible, that had purchased the Rushcutter. I want testers who are going to enjoy making my patterns, who are actually going to wear the dress they make with the pattern. I don’t want the dress to end up in a wardrobe and never looked at again. By selecting women who had purchased the Ruchcutter, I felt that they already identified with my design aesthetic, my brand resonated with them and they were likely to enjoy making and wearing the Acton too. I also saw it as a way to thank them for supporting me and my little but growing brand.

I am still not sure of the best way to select testers and will be working on this each time I test a pattern, but for the moment I am learning as I go. 

2. Is pattern testing a means of actually testing a pattern, or is it a promotional tool?

This is a difficult question and I am obviously not in a position to answer this for everyone. But I am in a position to answer for myself and I think it is important that I do so. 

The reason I test patterns, with help of volunteers from the sewing community, is most definitely to see that the pattern works in its entirety. Marketing does not come into the equation. I don’t insist on testers having blogs to apply to test, nor are they expected to write a review of the pattern after its released. The decision whether or not to review the pattern is totally up to them. 

The reason I test a pattern is because I want to be sure that my pattern is an excellent product. When I send out a pattern for testing I ensure it is a darn good product before it even arrives in a testers inbox.

When I send it out I am sure of many things - I am sure the pieces fit together (because I check each piece from each size), I am sure it prints well (because I print the pattern at home and make sure that it does), I am sure that the techniques used are the best choices (because I make around ten toiles of a given design before I even start the grading process), I am sure it is graded correctly and I am sure that the instructions are clear and written well (because I spend a huge amount of time making sure that they are). It is really important for me to be sure of these things because I do not want to send out a pattern that is a flop, whether it is in a ‘testing period’ or not. I do not want people to waste their precious time, paper, ink and fabric to create a garment that just cannot be worn because of an error on my end.

Although I am sure of a lot when I send a pattern out, I still want to see a group of very different people approach the same pattern and see if it sheds light on anything that can be improved. Testing provides me with an opportunity to see a dress made in every size I offer (although I could go and make a dress in every single size, I would struggle to find ft models of all the sizes in my range) by women who have varied levels of skills. I am an advanced level sewist and can often underestimate how difficult a process is. Having testers of all different skills helps me with this immensely. No matter how much I scrutinise a pattern, there are simply things that I do not see. Beginners notice things that the more advanced sewers don’t see and vice-versa.

As well using testers of different size, shape and sewing skill, I also use testers from all over the world. This helps greatly and ensures that people can access the things they need to make the pattern in their area. For example, when I tested the Rushcutter I simply converted the button measurements from centimetres to inches, as I assumed this was how it was done. One of my testers highlighted that buttons of the size I specified could only be purchased in specialty shops in the US. I knew it was important that I changed it so it would be no trouble for those sewing the pattern. It is also important to check that all the testers also understand the terminology used in the pattern. For example, I used the word “drill hole” a number of times in my most recent pattern and one of my testers (thank you Erin) pointed out that this was not a term she knew. I then decided to put it in the glossary of terms. These are the type of things I would not be able to work out myself and what I am very thankful for my testers for. These things ensure that users of my product have a great experience using the pattern when it gets released. There is no frustrating moment when they realise they cannot find the button they need or have to scour the internet to fond the meaning of a term I use. 

So in short, for me the point of testing a pattern by asking people from the community is to confirm that I have created a good product, to iron out any creases and to see how a wide range of women approach the pattern. I do not rely on my testers for reviews. After the Rushcutter was released, I contacted people directly and asked if they would like a free pattern in exchange for a review. In this case it is important that the reviewer highlight that they have not paid for the pattern.

3. How do you encourage "real" feedback?

I ask testers to be as open and honest with their feedback as possible, specifically asking what they didn’t like about the pattern in the feedback form. I believe this is the best way to extract constructive feedback from people (because generally people are nice and don’t want to say ‘nasty’ things). I would definitely prefer to hear what’s wrong with the pattern before it’s released, when I am still in position to fix it, rather than afterwards what it would be very difficult (as well as awkward and embarrassing) to call it back. I occasionally see designers releasing “new and revised” editions of patterns. I really don’t want to go down this road. Updating and refreshing instructions or format is one thing, but changing the actual pattern pieces? All the creases should really be ironed out before the first pattern is sold.

4. When a pattern is reviewed after testing, is it expected that it has to be positive?

I think its fantastic when testers choose to review a pattern after it’s release. When testing for me, testers are under no obligation to write about the pattern, nor are they under any obligation to give it a positive review. I think honest reviews are what keep things interesting and are often what sell patterns.

I do appreciate that it is often very difficult to say anything negative about a pattern that you know the designer has spent a huge amount of time working on it. Indie pattern companies are not faceless. In most cases we know exactly who is behind the design, how hard they worked on it (and even sometimes what they had for dinner! Thank you Instagram.) This is a harder one to tackle as no matter how many times you encourage people to be open and honest with their review, it is a difficult thing to do. In a sea of generally positive reviews, it is always difficult to be the one to point out the flaws. It is also difficult to feel as though you may upset the designer. 

I did not do a blog tour when I released the Rushcutter, but have been toying with the idea for my next release. But thinking about the nature of reviews and how it sits with testing, has made me think that it may not be the right things to do. Would by encouraging people to take part in a blog tour make them feel as though they had no choice but to give the pattern a good review? Or is it a good way to say thank you to the testers, as surely a few people in the testing pool are hoping to get more traffic to their site by testing. And here I am going around in circles. What do you think about this?

And onto the last question in this piece. 

5. Is it unethical that testers are not compensated financially for their time / work?

I have read a few posts about this that pretty much accuse designers of exploiting people to get their patterns tested. I hate reading stuff like this as it really is so far from the truth (well at least it is for me and the way I do things) and it makes me feel very sad. It gives no credit to the incredible relationships that are formed during the testing process, the fun that people have and all that is learned (by both designer and tester) during the testing period. I guess what I am saying is that it gives no credit to the sisterhood that exists in our incredible community.

Choosing to test a pattern is a choice. Women (and maybe in some cases men) nominate themselves and volunteer their time and their skills to get involved in the process for a million and one reasons. They may want to see how it works, "meet" other makers, contribute to the community, learn something new, have a deadline, restore their "sew-jo" and the list goes on… I have tested a pattern before. Do you know why? Because I knew I wanted to start an independent pattern company at some stage and I knew I could learn from the testing process. And I did. I learned lots! And receiving a free pattern was just a bonus at the end. 

This does not mean that I think it's good that testers are generally not paid. I, as much as any other designer out there, would love to be able to pay people to test my patterns. But at the moment I am not in a position to do so. I am pretty sure that most pattern designers are not rolling in cash. I know I’m definitely not! I work one part-time and two casual jobs just to support myself while I run this little business. I would love to be in a position to pay each and every one of my testers. They have incredible skills that I truly value. But at this stage in the game it would be physically impossible. Does that mean I will never pay my testers? Definitely not. As my business expands (hopefully) and generates more income (hopefully), I would love to be sharing the pie around with the people who have helped me get established in the first place. But at this stage the only way I can compensate my testers is with a free pattern and a whole lot of kindness.

There are many ways we can make someone feel appreciated and respected without a financial transaction taking place. And of course, when there is a way I can return the favour, I jump at it with open arms. I am currently testing the Winslow Culottes for Helen from Helen’s Closet. I was so excited when she put a call out for testers. I realised it was a chance to return the favour after she had tested a pattern for me recently. When Andreia contacted me and asked if I would be a sponsor for this years London Sew Social I was happy to donate free patterns for all the attendees, as a way to say thank you to her. My lovely friend Kate, who I share a studio space with, tested for me and I am currently trying to pay her back with tea and treats! That is obviously not all the people who have tested for me, but I will try and repay the favour whenever there is an opportunity to do so. I hope that by building an ongoing relationship with the generous people who have tested for me, I will one day be able to find a way.

Going forward, and having had these issues swirling around my head all week, I have started thinking that maybe I need to work on being more outward about my desire to return the favour and rather than waiting for an opportunity to repay I should be actually asking my testers what I can do in return, what they like in exchange for their time and feedback? So that's some food for thought. 

I think that it is very important, that as a designer going into the testing process, we remember that testers are doing us a huge favour, and it is not the other way around. I know that without the collective community that are willing to put their hands up to test a pattern, so many patterns just would not exist. The incredible and diverse range of patterns that we are now lucky enough to have choice of would just not exist without this system. As a designer, I feel completely indebted to all the women who have been involved in testing for me so far, and who test for the independent pattern community in general. If you are a designer and are going into the testing period, go in with this mindset.

---

Your thoughts

I’d love to know your thoughts about pattern testing. Why do you do it and what do you thinkcould make it better? OR maybe you're a designer who has worked out a better system than me?

---

Further reading:

• On Pattern Testing - Closet Case Files
• On Pattern testing, indie reviews, and a constructive approach - Cashmerette
• Sewing pattern testing vs. scientific peer review - Allspice Abounds
• Thoughts on pattern "testing" - Sewin' Steady

---

You may also like:

How to : Move a dart (using the 'Pivot' technique)

Last week I showed you how to relocate a dart using the 'Cut and Spread Technique.' As the title suggests, this technique involves cutting your pattern piece to move the dart (and can also be used to add fullness to a pattern).

If you would prefer not to cut into your pattern (because it is a master copy, or you want to just experiment before finalising anything) it is a good idea to use the 'pivot' technique to move a dart. The outcome is exactly the same, it's just a different way of achieving it. I use both techniques in practice and it totally depends on what I am doing as to which one I choose to use. 

Tools

To perform this techniques you will need your original pattern (the basic bodice, for example), a seperate piece of pattern paper, a stiletto (also known as an awl) and a pencil.

Choose the new dart position

Have a think about where you would like to move your dart/s to. In the image above you can see some suggestions about where you could move the darts to on the front basic bodice. 

For the point of the exercise I have chosen to move the shoulder dart to the armhole but you can use this process to move either dart anywhere. 

Mark the new dart position

1. Draw a line where you would like your new dart to be placed. The dart point will need to be at the same point as the original dart.

2. Place the pattern onto a piece of pattern paper and hold in place with a pattern weight. Focus on the dart you are moving (which in this case is the shoulder dart) and the dart arm closest to the centre front - this is the point where you will start tracing around the pattern. I have labeled the dart arms 'Dart Arm #1' and 'Dart Arm #2' to help with the explanation. 

Trace the original pattern

3. Start tracing around the pattern piece from 'Dart Arm # 2' - going down the neckline, centre front, along the waistline, up the side seam and then around the armhole until you reach the new dart location. Stop tracing here. 

As the waist dart is staying where it is, remember to mark the dart point and notches so that when you remove the pattern you are tracing, you can redraw the waist dart in its original position.

4. Now it is time to pivot the pattern to remove the shoulder dart and create a dart at the armhole. Take your stiletto (or a pin or sharp pencil if you don't have one) and insert the point into the point of the shoulder dart. Remember this is not the drill hole (as the drill hole is marked 1-1.5cm from the dart point), but the point itself. In the next step you will be closing out the shoulder dart by rotating 'Dart Arm #1' towards 'Dart Arm #2.' 

Pivot the pattern

5. Remove the weight from the pattern. With the point of the stiletto securely in the drill hole, rotate (or pivot) the pattern so that 'Dart Arm #1' now lines up with the point where you started tracing the pattern in Step 3 (where 'Dart Arm #2' was originally), being careful to hold the piece of pattern paper that you are tracing onto securely in place. 

6. Place the weight back on the pattern and trace the remainder of the pattern, starting at the point where your new dart is marked and continuing to 'Dart Arm #1.'

Complete your new dart

7. Remove the pattern piece you were tracing and re-draw the waist dart (or any design features that you have transferred from the original pattern).

8. Complete the new dart by joining the opening in the armhole to the dart point with a straight line. 

Add markings + cutting instructions

9. Complete the pattern by adding shaping to the new dart, adding pattern markings (in this case notches and the grainline) and cutting instructions as well as seam allowance.

And that's it. Now you have two techniques for moving darts in your repertoire!

---

You may also like:

How to : Move a dart (using the 'Cut + Spread' technique)

Hello, hello! This poor little blog has been very quiet lately, with me being very busy testing my new pattern and working on a couple of freelance jobs. But today is the day that I finally get back into the blogging routine (well that's the plan, at least). As I have so many tutorials to share with you and it's about time that I get going again!

In my last post, I showed you how to draft a bodice block to your own measurements, and today I'd like to show you how to relocate the darts, using the 'Cut and Spread technique.'

I would suggest making a toile of your bodice block before making any adjustments to your pattern. You can use this guide to making a toile, if you are not sure where to start. It's important that you get the fit right before you start making adjustments to your pattern. 

Choose the new dart position

Have a think about where you would like to move your dart/s to. In the image above you can see some suggestions about where you could move them to on the front bodice. 

Move the dart

Trace a copy of your bodice block pattern (it is always good to leave your original pattern as a master copy) without seam allowance. 

1. Draw a line where you would like your new dart to be placed. The dart point will need to be at the same point as the original dart.

2. Cut along the new dart line and one of the dart arms (the one closest to the new dart) from the edge of the pattern towards the dart point. Don't cut all the way to the dart point - leave a small 1-2mm "hinge" to keep the two pieces together. 

3. You will now be able to move the shoulder section of the pattern, using the small hinge you created in Step 2. 

4. Close out the original dart by aligning the cut dart arm with the other dart arm from the original dart arm. In the example, you will see that by closing the shoulder dart you have opened a new dart in the armhole. Use tape to close the dart permanently. 

To complete the pattern you will need to add shaping to the dart, add a drill hole 1.2cm - 1.5cm from the tip of the dart and then add seam allowance. And voila. You moved a dart!

There is another way of moving darts - which is called the 'pivot technique,' that I will show you next time.

Until then, happy drafting (and sewing)!

---

You may also like: 

Would you like to pattern test for In the Folds?

I am FINALLY ready to test my next pattern! Are you interested in testing the pattern for me?  

What is the pattern?

I don't want to say too much about the pattern, but I can say it is a dress, with two variations. It's aimed at advanced beginners and beyond - so you'll need to have a few solid projects under your belt.

When will testing take place?

If you are selected to test the pattern I will send you the pattern by Friday April 15th, and I will need feedback (including photos of the finished garment) by Friday April 29.

If you applied to test The Rushcutter (through my previous website (Em Makes Patterns), I still have your details on file, so there is no need to apply again.

Want to know more?

If you would like to know more about pattern testing, or would like to apply, click here. 

Talking about: Getting Started

Lately I have been thinking a lot about how to get a business started. I have a couple of friends who are just starting out on their small business journeys, or are just in the pondering phase, and it has got me thinking about the kind of advice I can offer them. 

I am obviously no business guru. This is all very very new to me, as I myself, have only been officially in business for about six months (I also had a little warm up period three months before I officially launched my business). But I know, there are a few things I am very grateful that I thought to do (or was told to do) at the very beginning, and there are also many things that I have learned in the last six months, which I wish I had thought about in the beginning!

So I thought I'd share a few things with you, just in case you are thinking about taking the plunge too!

 1. Research is key

When I started researching for my business, I didn’t even know that’s what I was doing. Long before starting In the Folds, I had  stumbled upon the online sewing community (which I somehow had remained oblivious to until about three years ago) and was just completely blown away by how many people were sewing. 

I became a blog addict, following every blog I could (thanks to Bloglovin’) and soaking up all the amazing sewing goodness I could find. I hadn’t bought a sewing pattern for years (as I had learned how to draft patterns at university, and didn’t really feel the need to buy patterns), but suddenly indie patterns became very appealing. I wanted to know what all the hype was about. I bought a few patterns and gave them a whirl. I saw the incredible detail that was put into the instructions, the beauty of the packaging and the online support that was available. I suddenly understood the excitement.

And at this point, a seed was planted in my mind. What was stopping me jumping on board and producing patterns too?

This is when I realised how much research I had already done. I had been looking at sewing blogs daily by this point, so I already had a really good understanding of who was making patterns and the types of garments that were already on offer. I started taking note of what designers seemed to be the most popular, and what people liked about their patterns. I read countless blog posts about indie patterns and reviews of garments sewn with particular patterns, getting a good idea of what people expected from their pattern and what they did and didn't like.

I put my hand up to test a pattern, knowing that it would be a good way to learn how to go about testing a pattern, when I eventually got to that point. At this point I had no idea how the process worked, but by getting involved and doing it, I quickly learned the things I liked about pattern testing, as well as the things I didn’t like - and how I could iron out these creases when I was the one getting people to test my pattern. 

When I finally launched my business in October last year, I knew the world I was going into. Oh boy, there was still a tonne to learn, but my research had put me in good stead to know what to expect and to envisage (some of) the obstacles that were likely to come my way. There is an amazing group of women who made the indie pattern scene what it is today, and I think it would be crazy not to listen to them and learn from them. 

When my business started, my research did not stop. I am still constantly researching ways I could do things better, how to be more productive, more efficient and how to create a better product. I set time aside regularly to just sit down and absorb what I can. I continue to read blogs (although a wider range of blogs appeal to me now), search for interesting articles online, and listen to tonnes of podcasts (which is a great way to keep learning while you work on something else), as I think it is just so important to keep my finger on the pulse and always be questioning how things are done, and how things could improve. Once upon a time (albeit very recently) you needed to get a business degree to learn the ins and outs of starting a business, now you can find everything you need online. It is incredible. 

2. Just do it already

This is a piece of advice I have come across a lot (thank you Nike), but it does ring very true to me. After stumbling upon the online sewing community, I was busting to start a blog, but it took me months to finally do it. I didn’t know where to start, what people would think and if there were already too many blogs out there. I questioned whether there was anything new I could contribute to the conversation. I am so thankful that I pushed myself to just get the ball rolling and hit publish on that very first blog post. 

The only way to find out what's going to happen, is to go for it. The cliche of ‘you’ll never know until you try’ is just so true. Just starting a blog gave me a chance to work out how to put a tutorial together and work on my writing style. It gave me a chance to find and develop my voice. It gave me the confidence to realise that I was adding something new to the conversation, and that people were interested. Although I look back on some of my first tutorials and cringe, I know it was so important in the development of my style, and I had to work through that awkward stage, to get to where I am now (which is still continually growing and improving).

I think this quote from Ira Glass really sums this stage up very well:

In short, your work may (is likely to be) a little bit crap at first. But you won’t know that till you try, and you won’t be able to get it looking better if you don’t just put it out there and start ironing out the creases, developing your style, working on your process, and getting feedback from those around you. It can be scary at first, you wonder what people will say, what people will think, but all you can do is be brave and put it out there. Just do it. 

I recently watched this TED talk by Reshma Saujani about the importance of women being brave instead of being perfect, and it really struck a chord with me. And this blog post by Heather Lou form Closet Case Files, is also another great read about just biting the bullet and doing it (just in case you need a little more of a shove).

3. Practice makes perfect

No-one goes into business knowing how to do everything. No matter what they tell you. I went into my business with a lot of knowledge and skills related to my business - I have a degree in Fashion and Textiles, I knew how to create a website, I knew how to put a tutorial together, I knew I could write well. 

But that was far from the skills and knowledge I needed - I didn’t have a clue about marketing and advertising (and still don’t know much), I had no idea about book keeping for a business, and I also didn’t know all the ins and outs of drafting and grading a pattern digitally. But I didn’t let these things turn me off.

There is always going to be things we don’t know how to do (I still hit these obstacles daily), but the internet is an insane resource. We are so lucky to live at a time when finding the answer to a question is as simple as typing it into a Google search, or reaching out to a friend on Facebook or Instagram. 

One thing I found really liberating was to accept that there were things I did not know how to do, but I also knew I didn't need them right away. So I decided to file them away in a corner of my brain, labelled as 'work it out later.' By compartmentalising the tasks at hand, I could focus on what needed to be done, and learned, in the present, with the understanding that I could cope with the other things in the future. For example, when I decided to start my business, I had no idea how to grade a pattern digitally. Although I knew it was an important thing for me to learn how to do (and was crucial to me being able to launch my first product), I also knew I didn’t need that skill on the first day I started my business. There was still A LOT I had to do before I got to the point that I would need to digitise my pattern (I had to design the pattern, make up countless samples until it was just right, scan in the paper patter and build a website to house said pattern) and there was no point wasting mental real estate on it. 

When it was finally time to grade the pattern, that’s when I faced it. I started experimenting. I read everything I possibly could get my hands on on the topic. I knew how to use Adobe Illustrator, but had never tried to draft a pattern with it. I was learning from scratch. I practiced, I tried out different techniques, and I made mistakes. Lots of them. I trawled the internet for information and took snippets from many different sources, until I found a process that worked for me. My process wasn’t perfect, but nor did it need to be. It did the trick, and I knew that the next time I did it, I would be faster and more efficient.

3. Find your people

Finding your people is so important to the success of your business. I did a short small business course before I started In the Folds, and there was a lot of talk about our ‘ideal customer.’ At the time it seemed like a very abstract concept to me. I didn’t know what my ideal customer liked, didn’t like, what she did for work, what she did in her spare time (apart from sew, obviously!). None of it. I didn’t even know how I could find this information. 

Then I found Instagram. [This is not to say that Instagram will work for everyone. Your ideal customer may hangout elsewhere, they may not even be present online (although I think that is doubtful if you are taking the time to read this post), but this is just an example of working out where your ideal customers spends their time.]

Unfortunately, this was a lesson that took me a while to work out. And this is one of those lessons I wish I learned before starting my business. 

There was a three month period between my official first day of business and the day I launched my website and my first pattern (the Rushcutter). I had my head down designing my first pattern, putting it through testing, and getting my website up and running, and I had very little contact with the outside world (particularly with the outside online world). A girlfriend kindly offered to help me get some social media up and running (see point number 5 for the importance of calling on favours), as it was something I had been neglecting, and for some reason just couldn’t seem to face. She suggested I get on Instagram, as it would be a great place for me to be in touch with people who may be interested in my website or even my products. I told her it was fine, I already had an Instagram account from my previous blog (with a whole 34 posts and 226 followers) and I could just carry on with that. 

Thankfully, my dear friend knew far more than I did about the power of social media. She created an account and said she’d just have a play around with the kinds of posts she thought would work for my brand. I quickly realised the power of Instagram, as well as what all that fuss was about… Apparently sewists love Instagram (myself included). Due to the generosity of my friend, I quickly learned the kinds of posts I should be publishing, how hashtags worked, and how to use Instagram to chat to like-minded people. I quickly connected with hundreds of amazing women (and maybe a few men) who loved sewing as much as me, and wanted to see photos of all the things I was working on. Suddenly I felt part of a community. A community that is incredibly supportive and inspiring - which is worth its weight in gold, when you are knee deep in a business that you run on your own. 

Although I have now found my people, I do think it would have made launching my business and my first product much easier if I already had an online presence back then. Not only because I think I would have had customers from the get go, but also because of the huge amount of support and encouragement I get from my online friends (and some have even become offline friends now too). So, if I was going to go back and do it all over again (which I obviously can’t do, but I am writing this in the hope that it helps someone like you), I would have opened an Instagram account the moment I knew I was starting a business, and built some hype (and some friendships) in the months before my launch.

4. Plans are much better than lists

This is another one that took me a little while to learn. If you asked me a year ago which camp I was in - To-do lists or plans - I would have proudly said that I was a to-do list addict. Fortunately, in time, I learned that to-do lists just don’t cut it. I find a to-do list a really good place to start, if my mind is overflowing with information, but it really is just the first step.

I use a to-do list as a way to just clear my mind and get everything down on paper, but then I use a schedule to allocate time for each thing on that to do list. It has made me become much more realistic about what I should get (and can get) done in a day, and also allowed me to overcome that disappointing feeling at the end of the day when I haven't managed to cross off the 332 (and possibly 82 hours of work) off my To-do list, because now I don't have those crazy lists that were setting me up for disaster before I even began. If you’d like to know more about how I manage my time, take a look at this post where I go into a bit more detail.

5. Ask for help

I am notoriously bad at asking for help. I always worry that people are too busy doing their own things, and asking for help will be too big of an ask.

What I learned when I started In the Folds, was that people really do want to help. People are inspired by those who are going out on their own, and even if they don’t want to, or can’t do it themselves, often they will still want to be part of that journey.

When I told my friends and family that I was starting a business, I was surprised and heartened by the number of people who came forward to offer their time and expertise. One beautiful friend offered to get started on my branding, while another (who I mentioned earlier) got on with my social media. Help in these two areas (which were two areas I had very little confidence in my ability to do well) was just what I needed. I quickly learned that with a bit of a push and some encouragement, I did know what I wanted, and I also did have the skill to handle it, once they had got the ball rolling for me. 

So this is the moment when I say, TAKE THE HELP! Be gracious, be humble, be very very thankful, but just take the help. Who knows when you will be able to return the favour, but you can always find a way. And don’t be surprised by the people who come forward to say they’d like to help. You can find wisdom in weird and wonderful places. A friend of mine who is a computer coder offered to look over my pattern digitisation process, to see if he could streamline it at all. He showed me a shortcut that literally saved me hours! 

6. Start book keeping from the very beginning

This one is a boring one, but a very important one! Book keeping is something I neglected until about six weeks ago. Yep, seriously. It was something I just kept putting off. And putting off. And putting off. There always seemed to be something more important to be doing. But when I finally decided to bite the bullet, after a friend told me about the success she was having getting her taxes sorted on Freshbooks. I quickly realised it was nowhere near as bad as I thought it would be. Yes, I have spent far more money than I have made, but at least now I know exactly how much. And I also know where my money is going. And now I have a process.

I would suggest working out a book keeping system as soon as you can - particularly when you are right at the beginning. As this is something that can grow with you if its done right, and you will spend less time rummaging through your handbag looking for receipts!

7. Be authentically you 

Being authentically me is something I find so important in my business journey, and something I am always thinking about and continuously working on. In my offline life, I am outgoing and positive (well at least I try to be) and this is something that I wanted to shine through in my business. I know some people have their online persona, which is intentionally quite different from their offline self - and I think this can work very well. But for me, I wanted to be as much myself online as I am offline. Starting my first blog gave me a chance to develop my voice and see how it was received. The chatty way I write online, is just the way I speak offline, and people seem to respond very well to it. 

As well as being genuine and authentic, I think being as open and honest as possible is a really good thing in business. When I think about the blogs I love reading the most, they are definitely the ones where I get a realisitic idea of the life the blogger or maker lives. I love when people acknowledge that their business journey has been hard, and that their lives are not always as shiny as their Instagram feeds. It makes me feel normal, and that I may too be on the right track. 

I am not here to say it is easy being open on the internet. It is definitely not. And this is also an area I have not explored as much as I would like, but I know it is the way forward for me and my business. I have learned so much from others who have opened their lives and their businesses for me to see, and I want to be a part of the movement for more transparency in business (if you would like to know more about why I think it is important to be transparent then have a look here). 

8. Reach out

Reaching out is possibly the thing I have found the most difficult in these first months in business. I find it very hard to compose an email to a complete stranger, but I am learning that it is so crucial to success. I am also learning that people are generally nice, and will reply to you. As I said earlier, just like friends and family wanting to get involved in the amazing journey of going off on your own, even strangers get inspired to come along for the ride too!

Inspired by someone in your industry? Write them an email and tell them! They just might get back to you and say that they love what you are doing too.

I studied fashion design in an environment that I felt was was very cliquey. People kept their ideas to themselves. What I love most about the online sewing community is that it is the complete opposite to that. Designers are not competing with each other. We are working together to make our community better and greater. Because in the end, this is the most beneficial to all of us right? 

For example, I contacted Beth from Sew DIY late last year, asking if she’d be interested in reviewing the Rushcutter for me. She suggested a pattern swap. We sewed each others patterns and then blogged about it. Not only was it fun, but we both broadened our audiences, and sold some patterns too! And I made a new friend through the process. 

9. Save some money

Exactly one year ago, I moved back to my home in Sydney after spending almost three years in the UK. While I was living in London, I had really started thinking about the possibility of starting my own business in Australia, but it always seemed like quite a far fetched idea. When I moved back to Australia though, I realised it was the perfect time to do it. I didn’t have a job, and no strong desire to go and work in the mainstream fashion industry.

I was lucky enough to be in a position that I didn't need to pay rent, and I had the opportunity to apply for a government funded program to help get new enterprises get off the ground. I also had a bit of money in the bank. Not a lot, by any stretch, but enough that I could invest in a few things I needed to get me going.

Although I knew I was going to have to do all the work required to get my business off the ground, as I didn’t have the money to employ anyone, I was relieved to have enough money in the bank to get some professional help when I needed it. After days of playing with my Squarespace theme, I just could not get it to do what I wanted it to. Having some money in the bank meant that I could contact a freelancer who could do it for me. Although it was pricey, it did save me from days and days searching through Squarespace forums, for an answer that may have not even been there.

This is the moment where I say that if you are thinking about starting a business, save some money! Having the ability to get professional help when you need it, is priceless. Although I have learned so much by trying to do everything on my own, it would have really relieved some of the stress, if I could have outsourced more of the work. If you are thinking about quitting that job to get started on your own business, try and hold on and save some money first. It will really make your life easier in the long run if you have some money behind you. I listened to a great podcast recently, which happened to be an interview with a very good friend of mine, where she says exactly the same thing. If you are thinking of taking the journey, have a listen, Caitlin has some great tips!

10. Diversify

If like me, you are not really in a position to hold onto a job and save some money before taking the plunge, there are still lots of options. Diversify. Accept (and even celebrate) that you can make many from many different places. Get a part-time job - I work one day a week as a nanny, so that I know I will be able to afford to at least eat each week. It also forces me to get out of the studio every Friday and get some fresh air and to focus on something that isn't my business (try thinking about work when you are chasing a three year old around the park). I am always surprised by how many great ideas I come up with when I finally leave my desk and focus on something totally different.

You could also consider getting some freelance work.  As you know, I am a pattern maker. Although I love most to make patterns for myself, and all of you lovely people, sometimes I take on a freelance pattern making job. It is a great way to bring in some bucks, as well as develop my skills. Win win I say!

There is probably another million things I could have included in this post, but these are the things that I have found to be the most important at this early stage of starting a business.

Other resources

There are tonnes of resources out there, to get you started on your small business journey, but here are a few of my favourites:

• Start Up podcast
• Food Blogger Pro podcast
• Sarah Starrs
• The Business Bakery
• Elle & Company
• The Nectar Collective

---

Are you on a similar journey to me? Is there a piece of advice you have about going into business?

A round-up of Rushcutters

When I decided to start a business creating sewing patterns, I never in a million years could have imagined what it would feel like to see people actually using the pattern I made to make a garment. Back then it was a very distant concept, one that I had no way of visualising. Even when I put the pattern through testing, I couldn't imagine what it was going to be like to see women of all different shapes and sizes, styles and tastes, sew up one of my dresses. I sat around nervously waiting for the feedback. I had spent so much time perfecting the pattern, and I was so nervous there would be something I had somehow not thought of or missed. 

When the first image arrived in my inbox (image care of Sweet Red Poppy), I squealed in delight. Someone had actually used my pattern to make a dress that fit them!  

(Images : In a Manner of Sewing / Right : Pigeon Wishes)

I couldn't believe how different each dress looked, and how each tester had really made the dress their own. 

Now, six months on, more photos have been popping up and I thought I'd share them with you, as an ode to all the incredible women who have sewn my pattern!

The Indie Sew Spring Collection

As you may have seen, the Rushcutter was included in the Indie Sew Spring Collection, which meant some amazing bloggers made the Rushcutter as part of the release.

(Image: Indiesew)

Allie, from Indiesew, made the most beautiful Rushcutter for the collection lookbook. I just love how she used the reverse of the fabric as a contrast feature on the pockets and centre front panel. 

Fleurine from Sew Marie Fleur

(Image: Sew Marie Fluer)

Fleurine was one of the bloggers who chose to sew the Rushcutter as part of the blog tour. She made the sleeveless version (View B) and made the yoke in a contrasting fabric, which really is a beautiful touch. 

(Image: Sew Marie Fluer)

I was just so blown away by her photographs. She bravely went out in the cold to get these incredible shots (she lives in northern Norway). That's true dedication to sewing, right?

Beth from Sew DIY

(Images: Sew DIY)

Although Beth was part of the Indiesew blog tour (because her lovely Lou Box Top was also part of the collection), she didn't make the Ruscutter, as she had already made it a few weeks earlier. Late last year, Beth and I decided it would be fun to do a little pattern swap. I made her Lou Box top (which I'm wearing right now as I type), and she made this beautiful Rushcutter. 

Kate from Sewing with Kate

(Images: Sewing with Kate)

I am lucky enough to call the lovely Kate, from Sewing with Kate, a close friend. We met on Instagram, and then realised we were lucky enough to live very close to one another! She made this beautiful long sleeved Rushcutter from a second hand fabric find, which I just love. 

Instagram

(Image: @asamariaborg)

(Image: @eclare71)

Do you follow me on Instagram? If you do, you may have seen a few of these Rushcutters. But I thought I'd share them again, because they are just so lovely!

(Image: @fruitvore)

(Image: @thefoldline)

---

Over to you

Have you made a Rushcutter? I would just love to see it! You can tag your photos on Instagram with the hashtag #therushcutter or send me an email if you're not Instagram. 

How to : Draft a bodice block

After weeks and weeks (or was it months?) it is time to move on from the Skirt Series, and up to our upper halves! And also for me to get back to blogging. It has been at the top of my To-do list for weeks and weeks, but somehow I've managed to ignore it and find other things to occupy my time (for further reading on why to-do lists don't work, check out this post).

So, without any more rambling from me, it is time to draft a bodice block! 

The bodice block

A basic bodice block is a great starting point for most patterns involving your top half – it can be used to make tops and dresses, and paired with a sleeve block can be used to make shirts, blazers, jackets and coats. Many patterns evolve from this block. So if you are ready to start making your own patterns, then a bodice block to your specific measurements is a great place to start (although, if you want something a little easier, I would suggest starting with the skirt block).

This tutorial has been adapted from this great "how to" on BurdaStyle.com, which was taken from Winifred Aldrich's Metric Pattern Cutting for Women's Wear (5th ed. Blackwell Publishing: Oxford, 2008, pp 215). I changed the order in places and added more measurements, to hopefully create a better fitting bodice and an easier to follow tutorial.

So, even if you are an absolute beginner, with the right measurements, the right tools and a little patience, you will have a great fitting bodice block in no time!

A little note

I originally posted this tutorial a couple of years ago, on my previous blog, Em Makes Patterns. If you saw it there, do not fret. This tutorial is the same. I've just updated the aesthetics of the tutorial. So there is no need to do it all over again!

One thing I did realise though, after posting this, is that this tutorial will only work for you if you have a smallish bust cup size. It hadn't occurred to me that this would be an issue (as I am very small busted), until a woman contacted me to say that her bodice toile had turned out much too short, and we worked out that it was due to her large bust size. So, if you have a bust size any bigger than a C or D cup, I would suggest using this tutorial to draft the basic shape of your block and then doing a full bust adjustment to get the right cup size.

---

Update September 2021

Thank you so much for all the enthusiasm for this blog post. It has been my most popular blog post of all time! After 5 years of answering questions, I no longer have capacity to answer individual questions regarding bodice drafting. The comments have now been switched off and I will no longer be able to get back to emails regarding this blog post. I’d suggest reading through the comments if you have a question, as it is likely I have answered a question similar to yours over the years. You can also See the post : Drafting the bodice block - Questions + Answers.

Update 2020

When I created this blog post in 2016, I had no idea that was going to become the most popular blog post on my website!

I have received a number of questions lately about the tutorial and I thought it could be a good idea to publish some of these questions and answers as an opportunity to help you on your own learning journey.

I will update the post as I receive more questions, so that hopefully, if you have a question, you will find a relevant answer here and can keep on going with your draft!

See the post : Drafting the bodice block - Questions + Answers

---

Measurements

The measurements you will need for this project are:

Waist measurement

Your waist is the bit in between your rib cage and your hips. It is often the most narrow point of your torso.

This measurement is one you will need all the time. To find it, simply wrap the tape measure around your waist, ensuring that the tape measure remains level all the way around (horizontal to the floor at both front and back).

Do not suck in your tummy like I accidentally did in this photo! You want to be as natural as possible, so that your clothes fit well. Make sure the tape isn't too loose, or isn't pulling you in either!

You could also tie a piece of elastic around your waist to get the right position and then measure.

Bust measurement

For your bust measurement, find the fullest point of your breasts and take a horizontal measurement from there.

Ensure the tape measure remains horizontal as it wraps around your back, for an accurate measurement (this is when measuring yourself in front of a mirror helps). 

Please note: if your bust cup size is more than a C or D cup (for more info on working out your bust cup size look here), you will likely be better of making the draft as if you have a B cup bust and then doing a Full bust Adjustment.

Armscye depth

The armscye depth is the measurement I initially found the most tricky to get my head around. For one, I am quite certain I had never heard this term until I started reading sewing blogs (I don't think it was mentioned once in the four years I studied fashion design), but since then, it seems to pop up all the time (always the way, right?) It also seems that there are many different ways people suggest to find it. 

When I first drafted my bodice block, I placed three fingers under my arm and then measured down from my last finger to my waist. I don't really know what the direct correlation is between this measurement and the armscye depth, but apparently, due to the ratio of the body, these two measurements are the same.

The more obvious way of finding this distance is to measure down from the nape of the neck to the (imaginary) horizontal line that runs across your back, between the bottom of your armholes.

Nape of the neck to waist

This measurement is a little tricky to take on your own. Start at the nape of your neck and measure vertically down to your waist. 

The easiest way to do this is to toe a piece of elastic around your waist and have someone measure down from the nape of your neck to the elastic on your waist.

Nape of the neck to Bust line

Again, the easiest way to take this measurement will be to tie a piece of elastic around your bust and have someone measure down from the nape of your neck to the elastic.

Neck circumference

To take your neck measurement, wrap the tape measure around the base of your neck, making sure it is not too tight.

Shoulder length

To measure the length of your shoulder, first find the peak of your shoulder (this is the bony bit before your shoulder becomes your upper arm). Now measure between the base of your neck and the peak of your shoulder.

Back width

Your back width is the horizontal measurement of your back, from the bottom of a standard armhole, across to the other armhole.

Shoulder to bust measurement

For the shoulder to bust measurement, hold the tape measure in the middle of your shoulder (approximately where your bra strap sits) and measure down to bust point, following the curve of your breast.

Bust point to point

Knowing the distance between bust points (I like to call this measurement "the nip to nip") can help when adding bust darts or drawing panels that you would like to cut through the bust (princess panels, for example).

Simply take the horizontal distance between your breasts.

Tools

You will need a large sheet of paper (approximately 1m x 0.5m), a sharp pencil or pacer, a long ruler, and french curve or Patternmaster (or a plate if you don't have a french curve). An eraser will also come in handy!

Okay... Let's go!

Drafting the block

---

CONSTRUCT THE CENTRE BACK

With a large piece of pattern paper mark a point A close to the top left corner (always leave some space around the starting point when drafting patterns). From this point, draw a vertical line down the left hand side of the paper that is the length of the nape of neck to waist measurement. Mark the end point as B. This line will become the CENTRE BACK seam of the block and the grainline of your back pattern piece.

Extend line AB by 1.5cm (1/2") from A, and label new endpoint as C. This extra 1.5cm (1/2") allows for back neck shaping. Label AB as CENTRE BACK (CB).

CONSTRUCT the bustline

Next, we will indicate our BUST LINE (the horizontal line that runs through both the front and back of the pattern at bust level). Take the nape of neck to bustline measurement. Then, measuring from point A, mark this length as point D on line AB. 

Square out from point D with a line that is half of your bust measurement (only half bust is required as we are making the pattern on the half – i.e. the front will be cut on the fold, and a pair of the back will be cut) plus ease. For the example I decided to add 5cm (2") ease to the bust. Remember to halve the amount of ease, before adding it to your half bust measurement,

Label end point of this line as E. Mark this line as BUST LINE.

CONSTRUCT THE WASITLINE

Square out from point B,  drawing a line the same length as your bust line. Mark endpoint as F. Label this line WAIST LINE.

CONSTRUCT THE CENTRE FRONT

Square up from F (passing through E), the length of the CENTRE BACK (including the extension), and mark the end end point as G. Label FG as the CENTRE FRONT (CF). This will also be the grainline of your front pattern piece.

Join G to C with a straight line. 

Mark the armscye

Take the armscye depth measurement and add 0.5cm (1/4"). Measuring from point A down towards point B, mark this distance on CENTRE BACK. Label this point as H. 

Square out from H and extend the line until it intersects the CENTRE FRONT line. Mark the intersection point as I.

Construct the back neckline

Take your neck measurement and divide it by 5. Measuring from point C, mark this measurement on line CJ. Label this point as point J. 

Join points A and J with a shallow curve  – this curve is the back neckline.

---

*Tip

When working with curved lines, always check that they come to a right angle when they meet a straight seam (for example, the centre front, centre back or side seam). By doing this, you ensure that you will get a nice smooth curve when you cut a pair of a particular piece, or cut it on the fold. 

---

Construct the front neckline

Take your neck measurement, divide it by 5 and then subtract 0.5cm (1/4"). Mark this measurement on line GC (measuring from point G) as point K.

On the CENTRE FRONT (GF) mark a point the same length as CJ down from point G (neck circumference divided by 5). Mark the point as L.
 

Join K to L with a deep curve – this is the front neckline. As we did with the back neckline, check that the curve of the neckline meets the centre front at a right angle (so that you will get a nice smooth neckline when you cut the piece on the fold).

Drafting the BACK SHOULDER SEAM

Take your armscye depth measurement and divide it by 5 and then subtract 0.5cm (1/4"). Mark this distance, measuring down from A on the CENTRE BACK as point N.

Square out from point N. This is just a guideline, so does not have to be a specific length.

Take your shoulder length measurement and add 1.5cm (1/2") (this is the allowance for the shoulder dart). With this length in mind (or written down if you have a bad memory like me), use a ruler to pivot from point J until your measurement passes through the perpendicular line drawn from N. Draw a straight line to create your shoulder line. Label the endpoint as O.

Drafting the back shoulder dart

Mark the  midpoint of the back shoulder seam (line JO) (i.e. the distance halfway between J and O) as point P.

Mark a point 15cm (6") down from point A, on the CENTRE BACK line, and square out from this point. Once again, this is only a guideline, so does not need to be a specific length.

From point P, draw a guideline parallel to CENTRE BACK, extending down until it passes through the perpendicular line that you marked in the previous step.

From where these lines intersect, mark a point 3cm (1 1/4") towards the CENTRE BACK and label as point Q. Q will become the point of the back shoulder dart.

Mark a point 1.5cm (1/2") from P on the back shoulder seam (line JO), towards O. Label this point as point R. 

Join P to Q to create the first dart arm, and point R to Q to create the second dart arm. 

---

Download The Little Book of Seam Finishes

Would you like to make clothes that are as beautiful on the inside as they are on the outside?

Sign-up to the newsletter to stay in the loop to receive inspiring content that will help you become a more confident maker. And get started with a free e-book!

---

Mark the bust point

Move your attention to you BUST LINE (line ED). Take your bust point to point measurement and divide it by 2 (as we are working on the half) and add 0.5cm (1/4") (allocated ease). Take note of this measurement. From point E, on the bustline, mark a point, the distance you just found from point E. Mark this point as your BUST POINT.

Draw a vertical line, parallel to the centre front and centre back, passing through the bust point, intersecting all your horizontal guidelines. This line is the VERTICAL BUST LINE. Where it intersects CG label as point R and point S where it intersects the WAISTLINE (BF). 

Draft the front shoulder dart

Mark a point 0.5cm (1/4") up from L on the CENTRE FRONT (line GF) and square out from this point. Again, this is just a guideline, so it doesn't have to be a specific length. 

This is one of the equations taken from the BurdaStyle tutorial that is very handy (I am not sure if I would have been able to work this out without this guidance!)

Add or subtract 0.6 cm (1/4") to 7cm (2 3/4") for each 4cm (1 1/2") bust increment above or below 88cm (34 1/2"). For bigger busts you will need a larger dart (add to 7cm), and for a smaller bust you will need a small dart (therefore subtract from 7cm). 

For example, my bust measurement is 84cm (33"), which is 4cm (1 1/2") below 88cm (34 1/2"), therefore I need to subtract 0.6cm (1/4") from 7cm (2 3/4"), leaving a dart width of 6.4cm (2 1/2"). 

Take dart width measurement and mark this distance from K as point T.

Move down to the BUST POINT and mark a point 1cm (3/8") above it on line RS (vertical bust line) as point U. This will be the point of your dart. The reason why we lift the dart point a little above the bust point is that if the dart point was right at bust point you would be left with Madonna style pointed breasts! 

Join K and T to U with straight lines to create the front shoulder dart.

Drafting front shoulder seam

Take your shoulder length measurement and, with this length in mind, and using your ruler, pivot from point T until your measurement passes through the perpendicular line drawn from above point L. Draw a straight line - creating your front shoulder line. Mark the endpoint as point V.

Please note: it's not a problem if your shoulder lines overlap - just keep working through the tutorial. When you get to the end you will be tracing a copy so that you have separate front and back bodice pieces and can add seam allowance.

Drafting the armhole

On line HI mark a point that is the length of half of your back measurement plus 0.5cm (1/4”) (allocated ease), from H. Label point as W.

Square up from point W until the line intersects the perpendicular line drawn from N. Mark the intersection point as X.

Find the midpoint of line XW. Mark as point Z.

Take the distance from the CENTRE FRONT to BUST POINT (i.e length from E to BP or half bust apex to apex measurement plus 0.5cm) and mark this distance on line HI, measuring from the dart arm closest to CENTRE back. Mark point as A1.

Square up from point A1 so that the line intersects the front shoulder seam (line VT).

Take the armscye depth measurement and divide it by five. Mark this length on the line just drawn from A1, as point A2.

Find the midpoint of the line between W and A1 and mark as A3. Square down from this point so that the line intersects waistline (line BF). Mark intersection point as A4. 

Draw diagonal lines (lines drawn at a 45 degree angle) inwards from points W and A1. From W the line needs to be 2.5cm long (1") (mark endpoint as B1), and from A1 1.5cm long (1/2") (mark endpoint as B2). These diagonal lines will help in the next step, when we are at the stage of drawing in the curve of the armhole.

Join O to Z to B1 to A3 to B2 to A2 to T with straight lines.

creating darts

At this point, the waist measurement is the same as the bust measurement. For a lot of us, our bust measurement is larger than our waist measurement. To remove this excess width from the waist and to create a well fitting block you will add waist darts (one in the back waist and one in the front waist – remember this is on the half so when you make your block there will be two in the back, and two in the front. We will also slightly taper the side seam, which we will also treat as a dart at this stage).

To work out how much width you will need to remove with your darts, take your waist measurement and add 2cm (7/8”) ease. Subtract this measurement from your bust measurement and divide your answer by 2.

Divide this number by three, so that it can be distributed evenly throughout back dart, front dart and side seam.

DRAFT THE BACK WAIST DART

To mark the placement of the back waist dart, find the midpoint of line HV and label as C1. Square down from this point so that line intersects the WAIST LINE (BF). Mark the point of intersection as point C2. This will become the centre of your back dart.

Distribute the dart width evenly either side of C2 and join endpoints to C1 to create dart arms. 

Draft the side seam

For simplicity, at this stage, treat the side seam (line A3-A4) as a dart at this point. Distribute one third of the dart width to the back of the bodice and two-thirds to front of the bodice, either side of A2. Join the endpoints to A3 to create the front and back side seams. 

Draft the front waist dart

Distribute dart width evenly either side of S and join the endpoints to a point 1cm (3/8") down from BP to create dart arms. 

Balance the waistline

At this point the waistline of the pattern is straight. But as the front of our bodice must pass over the fullest part of our chest (our bust), we need to add a little extra length to our CENTRE FRONT, to prevent this part of the waistline from riding up when the bodice is made.  

Mark a point 0.5cm (1/4") to 1.5cm (1/2") down from point F as point C1.

(0.5cm (1/4") for small bust / 1cm (3/8") for medium bust / 1.5cm (1/2") for large bust)

 Join point B to point C1.

Trace the pattern

With a second piece of pattern paper, trace off the back pattern piece – being sure to include all important details (i.e. bust line and darts). 

Leaving a space between the pieces, trace the front pattern piece.

Add seam allowance to the pattern

To finish, add shaping to the darts (following this tutorial) and then add seam allowance to the pattern. As it is a bodice block, I find that it is handy to have it available without seam allowance (as when you are making alterations or adjusting a pattern it is far easier to do so without seam allowance), but as you will need to make a toile to see how it fits, add seam allowance to the seams that will be sewn - the side seams, centre back and shoulder seams. The other seams - the neckline, armholes and waistline - can be left without seam allowance so that you can get a true indication of what it will look like without having to finish these seams or add a facing etc. I went for 1.5cm (1/2") seam allowance on the shoulders and side seams, and 2cm (7/8") on the centre back. For more details on adding seam allowance, you can take a look at this tutorial. 

Add pattern markings and cutting instructions

Add pattern markings to the pattern – being sure to mark drill holes (I always mark my drill holes 1 - 1.5cm (3/8" - 1/2") above the dart point and notches.

And voila! There you have a basic bodice block to your very own measurements!

Sew it up (in calico or something similar you may have hiding in your sewing box), see how it fits and then you are ready to start getting creative making your own patterns!

---

Have a question about this tutorial?

Please check out these Frequently Asked Questions about the tutorial before getting in touch. I do love hearing from you, but you are likely to find your answer faster than we are able to get back to you.

---

Did you enjoy this tutorial?

It is our vision to empower you to make a wardrobe that you will wear, love and cherish - long into the future.

If this tutorial has helped you, it would be greatly appreciated if you could give thanks with a small donation. This will help us to continue to create content like this tutorial and continue offering it for free - so it can be accessed by all.

We greatly appreciate your support!

---

You may also like:

The Indiesew Blog Tour

If you read my last post or are following me on Instagram, you will know that The Rushcutter is part of the Indiesew Spring Collection (yay!).  

As part of the fun and festivities, there's a blog tour going on, which is really exciting. When Allie first mentioned this, I was a little apprehensive. Free time for sewing has been scarce lately, and I wasn't sure if I would be biting off more than I could chew, if I put my hand up to be involved. But then I remembered that I work wonders with a deadline (hello very late nights, lots of stress, and not washing my hair for three days), and although it could end up being a little stressful, it would be a good excuse to make a couple of things that could fill some holes in my wardrobe. And the collection is beautiful right? So it would be crazy not to get involved!

Which brings me to the fact that today is the day that I get to share what I made from the collection. 

The Sanibel Dress and Romper from Hey June

Sanibel by Hey June

Description form Indiesew: When you're looking for a comfortable, yet flattering garment the Sanibel sewing pattern by Hey June fits the bill. This dress or romper features a cinched elastic waist with drawstring closure. The full button placket and two collar options make this a great project for the intermediate sewist. Sew your Sanibel in a lightweight denim and pair it with clogs and a floppy hat for a great spring look.

If you have been following along with me for a while (particularly in my early days of blogging, when I was still over at Em Makes Patterns), you may know that I find it very difficult to make a pattern straight out of the envelope. It is basically impossible. I have the best of intentions when I get the pattern, and then suddenly, like a tidal wave hitting me, I get the urge to hack the pattern into something I can call my own. So before going on, I want to apologise  to Adrianna from Hey June Handmade. Your pattern is absolutely beautiful and so very versatile, but my crazy urge to cut and spread and add and take away took over and now my Sanibel looks nothing like a Sanibel, (although I just love it all the same, and I hope you do too!). 

the pattern

Before I did hack up this pattern, I did take the time to have a proper look over it, in its original form, and also go through the instruction booklet pretty thoroughly, and I can definitely say this is a great pattern. It is well drafted, the instructions are clear and thorough, and it has loads of options to play with. I am even starting to think about making a shirt, by taking just the upper section of the romper and lengthening it.

Another thing that I loved about both patterns that I made from the Spring Collection collection, is that they came with copyshop versions, that I could take to a print shop and get printed on A0 sized sheets. Although it is adds a little extra cost, to me it's definitely worth the time saved. 

THE HACK

So here it is. Although, as you can see, my dress looks nothing like the original, it didn't actually that much effort to alter the original pattern to create the pattern I ended up using. 

What I did:

• joined the skirt pattern to the shirt pattern leaving out the waist tie and casing
• increased the width of the dress slightly, at the side seam
• added a pleat to the centre back, using this method
• removed some of the width from the capped sleeve at the shoulder
• created my own placket, and added pleats to the centre front
• left off the collar and instead bound the neckline with bias binding
• and added in-seam pockets (of course)

Fabric

This fabric is a bit of a mystery, as I bought it from The Fabric Cave (a brilliant shop in Sydney where you can find the most incredible range of pre-loved fabric) but after a lot of fondling and a little bit of a burn test, I have come to the conclusion that I think it is a silk linen blend (not bad for an op shop, I must say). I really do get a lot of joy out of using second hand fabric, and the fact that sometimes, when ironed, I get a waft of that charity shop scent, is just part of it's charm (or at least that's what I keep telling myself).

Construction

As I altered the pattern so much, there was not much use for the instructions (although I did use them for sewing in the capped sleeves). I decided to go with french seams, because I just love them, and they really make me feel like my clothing is in another league of quality. I needed to overlock around the placket though.

I used the in-seam pocket pattern from The Rushcutter, that you can learn how to draft (or even just download) right here, and then I used this method to finish the pockets with french seams. 

I used a lightweight iron on interfacing on the placket to add some structure, before finishing the neckline and hem with bias binding, using this method and this method. 

Final thoughts

I just love this dress. It is exactly the kind of thing I love wearing at the moment - cool, breezy and very easy to wear. It can be dressed up or down, and goes just as well with my sneakers (which I spend 90% of my time in) as it does with dressier shoes. It is just the kind of thing my wardrobe has been begging for since I started working for myself (things I can just throw on and then run, yet still look somewhat put together) and I am very tempted to make myself another one quicksmart. 

Florence Kimono by Sew Caroline

Florence Kimono by Sew Caroline

The second pattern I decided to make was the Florence Kimono, by Sew Caroline.

Description from Indiesew: The perfect spring kimono has arrived! The Florence Kimono sewing pattern by Sew Caroline is a relaxed-fit kimono with 3/4 sleeves and three different hem lengths. Add lace trim to the sleeves and hem for a pop of visual interest. Sew your Florence Kimono in a flowing rayon challis and pair it with a knit tank top, skinny jeans, and heels for a night on the town.

The Pattern

The pattern is a nice easy one that you can smash out in a couple of hours. It consists of three pieces - the front, the back and the sleeve, so cutting was nice and speedy - so I was sat at my machine in now time. As I said earlier, the pattern includes an A0 version, which is much appreciated as the pattern pieces are quite big, due to the over-sized nature of this silhouette. 

Fabric

Like my 'Sanibel,' I used a pre-loved fabric I found at The Fabric Cave. Once again, I wasn't sure of the fibre content, but due to its handle and the way it presses, I would say it's a viscose rayon. I am in two minds about the print (which may or may not be because my boyfriend described it as a "grandma print") but I guess time can only tell.

The hack

I was much tamer with Florence than I was with poor Sanibel. The only change I made was to add a pleat in the centre back seam, which I made using this method (I am clearly going through a pleat stage).

Construction

The instructions ask for french seams, which was definitely the right choice for my fabric. For the opening, the pattern suggests using bias binding to finish the edge, and I decided not to bother, and just sewed a thin double folded hem, using this method (the same finish I used for the actual hem).

Final thoughts

This was a really quick project, which was a very satisfying sew!

---

The collection

As you can see, I didn't quite get through the whole Spring /collection (although I did make a Lou Box earlier this year), but I can definitely say it's a great little collection, and definitely a great place to start if you are thinking about sewing yourself a capsule wardrobe this spring. For more details or to purchase the collection, head over to Indiesew.

The blog tour

I really hope you are enjoying the Indiesew Spring Collection Blog Tour as much as I am. IF you've missed it, here are the previous posts in the series:

Feb 24: Sew Mariefleur

Feb 25: Dandelion Drift

Feb 26: Right Sides Together

Feb 29: Sewbon

March 1: Sew DIY

And here is what's still to come:

March 3: Sew Caroline

March 4: Baste + Gather

March 5: Ada Spragg

---

You may also like: