I debated whether or not to include this post in this series, but I’m becoming more and more passionate about using a basic pattern to start with than anything else – something we’ll go over more in depth later on. Knowing about how patterns come to into being will help you understand why they don’t fit some people, most people, all people, whatever. I hope you’ll find this post revealing especially as refers to demystifying how patterns are made.
You might be surprised that not all sewing patterns start from what we know as a sloper (something like the fitting shell patterns from McCall’s, Butterick or Vogue). In fact, I nearly fell off my chair when I read this passage from Fashion Incubator (also, read this post and this post if you are interested in the process, especially if you’ve ever thought about creating your own sewing patterns):
“The real meaning of sloper is a pattern without seam allowance, regardless of what it’s for. Drafting a basic fitting shell (“sloper” to home sewers) is just a whole lot of work. In real life, there’s faster ways to get there. Beginners feel as though they have to earn their stripes by doing it the hard way, that they have to put a lot of work into drafting a basic fitting shell as tho it were a rite of passage or something. It’s amazing the work they put into it and what for? They still end up with a jizillion iteration cycles. Bummer.
Now, the way we do it is to buy or use something that is similar to what we want to do and we fit that. Then we use a basic body -a block or an existing pattern, the fit of which we already like- and transfer to that, whatever the distinctive features of the new style. Plus, we make our fit changes. This way our first prototype will come out looking pretty good. For example, let’s say we’re making a coat. We are not going to start with a basic fitting shell. We will start with a coat pattern that we already have, that looks closest to the style we want to develop. That’s much different than how they teach you in school where everybody starts with a basic fitting shell. Fitting shells are pretty close to useless when it comes to style development; doing that, one will end up making a lot more iterations than we do. In real life, you’d be hard pressed to find a basic fitting shell pattern in the plant of any manufacturer. Beginners go from a “sloper” to coat incrementally. That’s a lot of work. Start with a coat. Make the changes, including fit. Then, bingo, you’re there. If you want to make a blouse, start with a blouse. Develop a basic range of styles that fit you and use them over and over again.” [emphasis added]
Though Kathleen is talking about industry patterns to create garments in the ready-to-wear world, this gives you a taste of how sewing patterns – from any company, commercial or independent – are made. The number one question I’m asked when teaching is, “Why don’t sewing patterns fit me?” Let’s talk about what the pattern companies are fitting/drafting to – what/who are the models? What is the original sloper fitted to? The Big 4 fit to a dress form, or so I’ve read in many different places. Personally, I think that reveals a lot of things. Who is a dress form size and proportion? Dress forms are very helpful, but they are not real people. Still the pattern companies have to start from somewhere. The independent pattern companies? Who do they fit for? Usually, these small businesses fit their patterns to the creator of the company. For example, Tasia is the model for Sewaholic Patterns. She stated this in so many words right at the outset of her pattern company. She drafts for pear shapes and she is a pear shape and so its easier and more beneficial for her to start with something that fits her body type and create patterns from there. I think its really really important to approach fitting from this vantage point. Instead of always snatching up the latest and greatest pattern from the pattern companies, it can actually be really beneficial to just look at the latest designs and create them yourself from your own set of patterns that already fit! I realize that reinventing the wheel each time a new pattern comes out (meaning I actually have to fit that pattern) is just not something I care to waste my time doing – unless of course they fit you right out of the envelope or with very few alterations. “Develop a basic range of styles that fit you and use them over and over again.” The even better thing about this approach is you can take elements you like from a pattern that you have not fit and subtract things you don’t like. Let me give you an example.
Remember way back when I made this shirt dress. This dress has been in heavy rotation and was finally retired this year. I have worn this thing to death. I have loved this dress so much. It was awfully hard to fit, but in the end I did it and had a wonderfully fitting dress.
Then I saw the release of Colette’s Hawthorn this year. In the back of my mind I thought, “Hmmmm…I could recreate this style with my own pattern (that already fits!!!) by simply changing the neckline treatment.” No, my pattern is not the same as Colette’s but my pattern fits me and has many elements that I prefer to the Hawthorn. For those of you that are interested, I actually picked up the Colette Hawthorn and tried to fit it. For me its not worth it. There were so many things that needed fixing that in the end, it would be easier to draft my own version of the neckline using my own well fitting pattern than try to get this pattern to fit me the way I want. Additionally I could subtract the things I didn’t totally love, like the collar treatment and the absence of the sewn-on button placket for my own pattern. See how that works?
Now, what I’m not trying to do here is bag on sewing patterns. Sewing patterns are wonderful because drafting your own slopers from scratch can be a huge ordeal. I’ve done it and it is a big deal and really, I didn’t get any better results than I did when I just fit a fairly basic sewing pattern. There are exceptions – straight skirt, leggings, a t-shirt maybe, but seriously, fitting and a well drafted pattern go hand in hand. Just because you draft a pattern, to your measurements, does not mean it will fit you – ask me how I know…. This all feeds back into that same idea – “Develop a basic range of styles that fit you and use them over and over again.” What needs to be clearly understood here is that you don’t have to purchase a new sewing pattern every time you want to sew a different style. Look at the patterns that you have in your stash with similar lines/shapes, that you’ve made, that you’ve already done the fittings for and manipulate those, add in new details and such.
I know this post is getting long, but I also want to give you another idea for starting with something that fits you better than a sewing pattern ever could. A rub-off. Getting a pattern from a pre-existing garment. Remember when I did this little knit cardigan? Remember when I made this jacket? Both were rub-offs. I utilize Steffani Lincecum’s book for how to do this and I do it a lot. She also has a Craftsy class on this topic. So does Kenneth King – he uses a different method, but achieves the same end in his Jean-ius class. He also shows you how to do it in this Pattern Review class. There are many ways to do a rub-off, so don’t think that there’s only one right way. The key is, if you have a dress, skirt, blouse, jacket, etc., etc., that you bought from so-and-so and you love it and you wear it to death and it fits you just the way you want it to fit you, then get a pattern from it, asap. You will have eliminated a ton of work for yourself. If you end up purchasing Steffani’s book, it also gives you ways to change the pattern. Yes! You can create a whole wardrobe of tops from your favorite blouse. This book has completely changed the way I look at sewing patterns and fitting. I love it that much!
Alright, I’ve given you a lot to chew on here. What do you think? Does it surprise you how sewing patterns are made? Did you ever think that you could play designer instead of letting the pattern companies do it for you?
After my class at Sewing Summit, I’ve been receiving numerous requests from the ladies who attended to publish the material I presented there, here. So to catch y’all up to speed, I did a lecture style class on fit and gave some advice on how to go about the fitting process with some ideas for resources and I demonstrated a few of my favorite alterations and adjustments. I feel that the number one reason people end up never sewing again, is fit. Fitting is frustrating. Oh my gosh, it is so frustrating! What I’ve also found is that while you can get the best fit by sewing for yourself, most times this is the result of a lot of hard work. Personally, I also find (lots to find out with fit!) that ready to wear clothing actually does fit me better than just trying to recreate the look with a sewing pattern. This also usually depends on the sewing pattern in question and the particular style/garment I’m after, but goodness gracious, it can be difficult.
I think the process of fitting a garment can not only be frustrating, but intimidating. Where do I start? What is the best course of action? Do I always have to make a muslin? When I make a muslin, what do I look for? Do I make more than one muslin? What is a muslin? How do I know that what I am looking at needs to be altered and at what point do I reach crazy, and jump off that train so as not to overfit?
So I’ve decided to take you through the process that I go through when I’m looking at sewing a new sewing pattern plus we’re going to have some awesome discussions on different fitting related subjects. I’ll be showing you how to adjust a sewing pattern from a list of measurements – that you’ll take yourself – and from there how to create a proper muslin, what you’re looking and feeling for, my favorite fitting books for looking at your muslin to see what’s wrong and how to fix it and how it is possible to go through this process by yourself and fit yourself without a fitting buddy. A sewing/fitting buddy is awesome, but if you’re anything like me, and you’re fitting yourself at 11pm at night, its not like you can just call up your bestest fitting friend and tell them to get over here and help you out. Fitting is also a process. A long process when you have a fitted garment and sometimes you don’t get all the kinks out of the pattern until you’ve made it up a few times.
I’m really really excited to show you some of my tricks and I received permission to publish one of my favorite fitting tutorials here – one that came as a complete revelation to me and one that I’m pretty sure you’ll love too. Also, all the tutorials and posts for this series here on my blog are mostly finished – meaning they are practically ready to post any day! Yes! That’s means that I’ll be giving you bites every few days and you won’t have to wait and I won’t be a liar and well, you know how that goes.
To make matters even better, this is all going to lead back into my Pattern Play series that I kind of, sort of started at the beginning of this year. I’m actually getting kind of passionate about how hard it can be to fit a single pattern and then filling your closet with versions of that pattern – easy peasy changes to create a completely different look from one pattern.
So, look for fitting posts up and coming. I hope you’ll find my process not only informative, but also easy to follow and get a feel for. Fitting is not necessarily easy, but if you tackle it all one garment at a time, you will get the hang of it. It’s about practice and training. Kind of like running a marathon or playing a musical instrument – before your big debut, you have to have built up to it.
What do you think about fitting? Is it frustrating for you? What’s the most overwhelming part of the process?
Having not tried any of Steph’s Cake patterns as yet, several months ago there was a call for pattern testers and so I signed up. I thought it would be a good chance to try one of her pattern offerings and see what I thought. Having seen so many amazing versions of her patterns out there, they seemed really accessible. And I feel that knitwear is definitely something that needs to be beefed up in the pattern industry. The Big 4 have completely wacky knitwear patterns and I don’t mean the designs either. The drafting is basically the same as their woven patterns and I know this because every single time I use one of their patterns designed for knitwear, I have to go down 2 sizes to get even close to the right fit. So weird. So, I feel there is a serious hole in this branch of sewing and something that I definitely support.
This is the latest, Red Velvet, put out by Cake. The versions I’ve seen are really lovely and they really flatter many people. The sizing process is easy to grasp and wonderfully customizable. Its truly genius. This dress will work in many different knit fabrics and its really versatile not being too overly dressy or too casual. Very much like the Tiramisu, it has a wonderful shape.
Right out of the envelope or should I say printer (if you get the PDF version), this pattern has a few things that you should be aware of. Starting from the top, the bodice pieces are a tad on the short side. They cut off right in the middle of my breast. This was something that I actually checked before making up my first muslin and had to add 2 inches! Not really a huge deal, but something you should definitely check before you make it up. Additionally, after my first mock up, I ended up adding another two inches to the bodice piece – resulting in four inches total. The original styling, with the midriff seam right under the bust is something I always have problems with. I really do feel that it makes me look pregnant and so I usually always lengthen things like this. Definitely a personal preference and something I don’t feel confident that I pull off very well. Having that midriff more around my natural waist area feels much more….me. To make up for the fact that I added 4 inches to the bodice, I took out an inch at the midriff. Proportionally, I think it does my figure much more justice.
Surprisingly enough, after adding so much length to the bodice, I didn’t have to add anything to the skirt section. Well except pockets! ha! The pattern itself comes with a train ticket pocket with invisible zipper. Though I’m sure those pocket styles have their place, I definitely wanted something different. So I drafted on my own using Casey’s pocket tutorial. Note that my pockets aren’t shaped with scallops like the ones in her tutorial, but instead just curved side pockets. These are my favorite types of pockets and I do, usually, add them to any dress or skirt that make. Sorry, not sorry!
Since I was technically testing this pattern, and the pattern line, I did make a muslin in a solid blue double knit. I had hoped that I could possibly still wear the blue knit but found that I had too many problems with it so sacked it and started afresh. I was planning to use another solid double knit, but realized that the muslin – double knit – ended up being too bulky and stable for this style. Instead, I went and grabbed up some yardage of this floral knit jersey. People, I rarely buy floral prints like this, but for some reason, this one really really appealed to me. For those of you living here in SLC, Utah, this fabric is from Nutall’s (the one in Murray) and if you don’t know, this store has like a billion bolts of knits. Seriously. Its the most amazing knit collection I have ever seen. So if you dig the knit – get over to Nuttall’s and get some before its all gone. Ha! This fabric is definitely not something that I usually go for, but the colorway really struck me as something from my 80s childhood and I just knew I would love it. It’s a poly/cotton/nylon blend, not my favorite, but it works great for this dress. Its lighter weight than a double knit, falling into the light to medium weight knit category. The colorway will go perfect into fall I think, with oxblood tights, boots and a cardi.
Overall, I’m pleased with how the dress turned out. Really not a hard make. You can click on over to the Cake site to see what other alterations I made and such. And I think that’s it! Have you tried any of Steph’s patterns? Thoughts? They are rather brilliant and I’m digging this dress. And…. what do y’all think of this floral print?
Mahahaha! And you thought I wasn’t going to finish this series just like everything else I’ve been doing lately, huh? Well friends, you were wrong! Ha! I am determined to finish talking to you about plaids this week. Ok, okayyyy, it might spill over into next week, but then after that, I’ll have conquered plaid and given you tips and secrets for how to do it yourself. Today I’ll be covering how to prep your pattern pieces for cutting out your plaid jacket. Ok, remember way back in this post when I talked about visualizing T-shapes in the three main pattern pieces? Remember that those three main pattern pieces are: Jacket Front, Jacket Back and Upper Sleeve? Yes, yes those are the main players here and I really really really do feel that if you focus on these three pieces, you’ll make life so much easier on yourself. I’ve read so many books and such that talk about plaids and its usually just a one page stint that says something like – “match the plaids at the seamlines.” That’s it? That’s all you have to tell me about planning a plaid? Its frustrating to say the least. So hopefully throughout this looooong series, you’ve felt like plaids are not insurmountable, but fairly conquerable. Anyway, back to those three main pattern pieces….
You’re going to be creating those t-shapes. This directly builds on the previous lesson, so you’re also going to need to remember/know approximately where to place your dominant stripes. Remember that horizontally they go across the upper bust/upper back and vertically you can choose to have them coming down the bust/shoulder blade line or down your center front and back. Let’s gander at the Jacket Front first. First you need to find the bust point. Usually on pattern pieces from the Big 4, they’ll include that info on the pattern. Its almost looks like a bulls eye. However, if you’re working with a pattern that did not include this info – shame on the pattern by the way – then let’s figure out where that is.
You’ll need to get two measurements from your body. First measure from your shoulder point (the part where the sleeve connects to the bodice) to your bust point. Then measure from your center front over to your bust point. Now you’ll mark the intersection of these two points on the pattern. First measure down from the shoulder point, diagonally to approximately where your bust point is. From there find the center front – again should be clearly marked on your pattern, but if not its usually the edge of the buttons, or zipper or closure. Measure over to your bust point. Mark the intersection and now you know where your bust point falls.
This info is important because your first vertical plaid line is going to fall right over the bust. Now if you’ve opted to use the Center Front for your vertical dominant stripe, then follow the same direction, but do it over the Center Front of the pattern. To mark the vertical line, you’re going to use the grainline as the reference point. Simply mark a line that is parallel to the grainline over the bust point.
To find the horizontal plaid line, you need to know where your high bust falls. Measure down from your shoulder point to your high bust (I mark my high bust with an elastic tied around the area) and then cut that measurement in half. The horizontal line should fall about in about the middle of the armhole. So to mark your pattern, simply measure down the half distance from your shoulder point to your high bust and mark a line that is perfectly perpendicular to your vertical plaid line. I love love love my 1/8″ gridded ruler for this job – probably my most used sewing tool. Don’t have one, get one! Yes!
Moving onto the Jacket Back. You’re going to use the Jacket Front as your reference. Match the shoulder seams and mark the vertical plaid line. To get the horizontal line, lay your pattern pieces side by side, with shoulder tips level and mark the horizontal line from the front in approximately the same place.
From there, extend the vertical and horizontal lines across the pattern in reference to the grainline. The vertical plaid line should be perfectly parallel to the grainline and the horizontal plaid line perfectly perpendicular to the the grainline.
Upper sleeve is the same deal, with a minor exception. Its very possible the the plaid will not match at the back sleeve and in that case it is more important to match the front plaids. To get your horizontal plaid from the Jacket Front, you need to walk the seam lines. To walk walk seamlines, simply put the pattern pieces on top of each other like you’re going to sew it. Start at the shoulder tip and walk the seamline from the tip of the sleeve to the horizontal plaid mark on the jacket front. Then you’ll need to add about half of the sleeve cap ease. To find out how much sleeve cap ease you have, you need to measure the armhole and then measure your sleeve (both the upper and under) where it connects to the armhole at the seamline. The sleeve will have a larger number and you subtract the armhole measurement from this and voila! you have how much sleeve cap ease is in the sleeve. Divide that number by 2 and relocate the horizontal plaid mark for the sleeve.
Then, of course, mark the vertical and horizontal lines in your upper sleeve pattern. I like to put the dominant plaid down the center of the sleeve or at the shoulder tip. Again, the horizontal plaid line is perpendicular to the grainline and the vertical plaid line is parallel to the grainline.
The other pieces will be cut based off of these three main pieces. I’ll go over that in much more detail in the next post.
I do hope this is clear. If it ain’t, speak up! Also, do yourself a HUGE favor and reduce the sleeve cap ease on the sleeve piece on any of the Big 4 sewing patterns (sometimes other pattern companies have too much ease too, just check) by following either Casey’s tutorial or Jessica’s or Sallie’s. I like to have 1.5″ sleeve cap ease in jackets. You might like a little more or a little less. Usually there’s something like 2 – 2.5″ of sleeve cap ease in Big 4 patterns, sometimes more. Makes it impossible to put the sleeve in and they end up being uncomfortable and if reduced it also gives you a fighting chance with the plaid match-up. And please, don’t get me started on the “zero sleeve cap ease” thing because I actually don’t think that sleeve cap ease is a myth. I’ve tried so many times to get rid of all the sleeve cap ease in a set-in sleeve and have yet to succeed at not having crazy drag lines up and down my arm. Instead, I slowly drive myself insane thinking its something that I can accomplish. While I do believe that it could be/can be/has been achieved (like many things in sewing) you really have to know what you’re doing to achieve that and additionally, Kathleen recently linked to a 400+ page dissertation on this subject. Yup. Basically you have to be a brilliant pattern drafter to achieve zero sleeve cap ease. I don’t know about you, but I have better things to do, especially when having 1.5″ of sleeve cap ease works for me and my sanity. Additionally, I remembered this sage advice from Sallieoh when she tried to achieve the same thing:
“don’t get caught up in chasing the mythological sleeve. its not worth it and you’ll end up trying to prove something to yourself, which is, in the end, pointless. just make a sleeve that works and move on with your damn life!
Yes. Just make the sleeve that works for you. If you have achieved perfect zero sleeve cap ease, this is awesome. If you haven’t, this is awesome too! OK, rant over. Go ye forth and get ready to cut your plaid, which is up next! Yay!
For all the Plaid Jacket Chronicles posts, click here.