#How to draft a sewing pattern

[anielskaaniela]

Babydoll Shoulder Straps: How to Draft and Sew

In this post, you’ll discover how to self draft and sew babydoll shoulder straps. Love what you see ? Support me by snagging some cool items from my shop! Every purchase helps me bring you more awesome content. Thank you! Shop Now Are you looking to add a delicate, custom touch to your sewing projects? Babydoll shoulder straps are a perfect addition to any garment, offering both style and…

[badassindistress]

Sometimes you gotta look back to see how much you've improved:

On the left is my first lacy on a whim petticoat, made in 2021. On the right the one I made this year.

Three years can make such a difference in creating the level of lacy floofiness I want in my life!

[scribefindegil]

indie clothing companies tell me what cup size your patterns are drafted for challenge

[gil-estel]

gotta wind a new bobbin

[alagaisia]

I do not consider myself experienced or educated enough to be qualified to give sewing advice in most circumstances. But you all have GOT to be sewing your pockets into the waistbands of your garments

Why do I always see pocket patterns that are that dumb little mirten shape. You know the one. Hang on.

(Not calling out anyone in particular, I don’t know the source of this, it was just the first image result).

You’re out here only anchoring your pockets to the side seam opening? On pants and skirts and everything??? What are you going to put in that pocket, paperclips? You can’t put anything substantial in this pocket. It will pull weirdly and mess up the whole line of the garment.

What you want here is a straight line up top, going the whole width of the pocket, and then coming down to meet that lower curve. (I would also lengthen the pocket bag, as a pockets enthusiast, but that’s not the point right now). Line that straight top line up with the top of the fabric when you’re pinning the pocket in place. Sew in the pocket as usual. Then, when you go to attach your waistband, treat the top opening of the pocket as just part of the same fabric as the front of your garment, and sew it in.

Put whatever you want in that pocket. That shit is not going anywhere. It’s not dragging the side of your skirt in weird directions or swinging around when you walk, because now it’s pulling all of its support from the waistband, which is much more stable. Also, the amount of bunching off to the side or turning inside out the pocket is capable of is now super minimized, because it has two sides that are sewn down flat instead of just one.

[tsubasaclones]

girl's ankle joint is broken and i can't really afford a replacement rn sooooooooo instead i wasted 2 hours on this instead of my homework. hashtag hospital gown fit

[unnaturalceilings]

Every year I know what I want to be for Halloween by like, August

And every year I wait til October to actually commit to making it

[kieraoonadiy]

My latest video is live!

Happy Pride Month!

[anielskaaniela]

Crotch Depth Drafting: Beginner's Guide to Perfect Fit

In this post, you will learn how to take measurements and draft perfect crotch depth in pants, jumpsuits and shorts . Drafting crotch depth is a crucial step in creating well-fitting pants, jumpsuits, overalls, rompers, or shorts. Understanding and accurately measuring crotch depth ensures comfort and proper garment fit, especially around the hips and thighs. This comprehensive guide will walk…

[lililasagna]

I made this blouse myself!!! And I looked so cute in it at uni today!!!

[technoxenoholic]

i am having such a nightmarish time of trying to get the sleeves in this pattern to fit properly... my arms are very long and thin and the widest part of them (below my actual fucking shoulder at least) is right at the elbow, especially when i bend my arm, which makes trying to find a solution that gives me enough room to bend my arm comfortably without making the elbows of the sleeves horribly baggy and ugly when my arms are resting in a neutral position... well, as i said, i am having a nightmarish time

[fellingclickproducts]

[number44newseries864962]

Need to rant for a minute because even though I have very much been enjoying the fruits of my efforts learning how to sew vintage style clothes, I just swapped out old fatphobia (nice plus size vintage clothes never making it to stores) for new fatphobia (trying to find patterns). Cause it doesn't end at what clothes you're able to buy already made.

I finally bought a Friday Pattern Company pattern the other day, and man it made the bare minimum feel like I was being spoiled. The sizes go up to 7X (that's XL, XXL, 1X, 2X, etc, so there's 9 sizes above L) they had a thin and a fat model on the cover! Usually I'm barely lucky enough to get an XL, and I'm just expected to guess how it's going to look on my body. The majority of their patterns have two differently sized models on the covers, and all of them have that full range of patterns inside.

It is so hard to find good plus size patterns, even if they're available, many companies just scale up their mediums and I can't guarantee they're actually sized correctly for a different shape. As good as Friday is, them and other modern indie pattern companies aren't easy to find.

Okay well what if I went another step deeper, what if I forgo patterns all together and decide to be completely independent and draft things myself?

Then I'll need a plus size dress form. I got lucky and found one at an antique mall for 50$ but these are incredibly rare and more expensive than smaller ones. I'll need to learn how to draft patterns, something that was taught to me on a XS form by my college and nearly every tutorial out there. Drafting close fitting clothes for fat bodies is a completely different skillset, because all that extra fat is much squishier and shifts more. Measuring yourself correctly and getting the shape you're looking for is far more important. Before I even got there I'd need to sketch out what I wanted to make, right? Well the patterning book my family got me only shows you how to draw tall, skinny people. A beginner would have to look up their own drawing references and tutorials because what what supposed to be a super accessible beginner's guide to fashion has decided their body isn't normal enough for the baseline tutorial.

We're expected to be the ones who put in the extra effort. Digging to find the pattern companies that fit our shape and actually prove they can, paying extra in shipping or driving farther to pick them up. Having to search specifically for plus size tutorials for drafting and sketching. It's always treated like it's not part of the beginner's experience to be working with a fat body, that's just going to make people more frustrated and lost and less likely to pursue something they're excited about! Especially if it's in response to already being frustrated about the lack of clothing options.

We need a little positivity to this post so to end on a high note, here's me modeling the blazer I just finished with a shirt I made a couple years ago!

Being able to finally wear clothes I really feel like me in has been an amazing confidence boost. It's not fair that there's so many roadblocks in the way for someone who looks like me who just wants to wear things they enjoy.

[openphrase123]

also here's something. i don't knock anyone for leaning in this direction but isabeau specifically says he wants to be a fashion designer, which is a different subset of skills and traits than a sewist or seamstress or tailor.

and Yes this is a period of time where i don't think you can run and buy your own clothes at a tj maxx or whatever. mirabelle says euphrasie had to teach her how to sew her own clothes when she first came to the House, this is an era where 90% of the clothes you wear are made by you or a close family member/friend. or are like. things you got from a neighbor because they grew out of it (wool and linen and cotton were even MORE expensive in eras where mass fabric production was not available yet)

and Yes you need to know how to sew and construct outfits if you're a fashion designer. but my part time job in college often had me cut muslin and fabric for the fashion design students (INSANE conversations i had talking shop with those kids) and in general, if you're a fashion designer, your job is to make like. One of something. the proof of concept. or if you're famous enough you sit in your little office and make a lot of drawings and then pay junior designers to make the proof of concept for you

in Fantasy Past Times, isabeau is not doing this though. but do you know what he IS doing, most likely?

he's making home pattern drafting books. so that people can make his designs in their own home. these are books that are full of tables where you take your own measurements and use them to calculate what pattern you need to draw to make the jacket as per the instructions that are also in the book

which is all math. by the way. pattern drafting is all math. you have to be a huge nerd to do pattern drafting.

[clusterfrock]

Black & Gold 1870s Natural Form Dress

Quite possibly my most sparkly dress to date! I had plans to attend a Victorian weekend at the end of February, which included a Saturday night ball. Having precisely zero ballgowns, and wanting to go 1870s natural form for the event I started digging around for inspiration and fabrics.

I ended up staring at a gold and white dress from The Age of Innocence film, and in my head it slowly transformed into a gold and black gown. I purchased a length of African George fabric, which is similar to sari fabric and has an embroidered hem, and a silk chiffon shot with a metallic pinstripe, and used some black taffeta and plain black satin from the stash to help supplement.

I started with a fairly simple skirt pattern from Peterson’s Magazine. This skirt comes from the 1877 edition of Peterson’s Magazine.

The initial draft was fine, but it seemed a bit slim over my very voluminous petticoat, so I compared the two patterns and ended up adding a few more inches to the center front and center back in order to fluff up the body of the skirt.

Once I was happy with the pattern, I cut the fashion skirt out of black taffeta, and the lining out of silver taffeta. Since I was flatlining the skirt, they would be treated as one layer while I worked.

I wanted to work out how the fan pleats worked in the back of the skirt, so I assembled the back panels first and futzed around with the pleats until I was able to make them work.

Then I went back and worked on the front of the skirt. I assembled the two front skirt panels, but left the skirt back on its own for the time being since it would be easier to embellish the front and back separately before sewing them together.

Before I began embellishing the front of the skirt, I added a 6-inch wide hem facing, which I stiffened with a layer of tarlatan. I wanted this so the ruffles at the hem would get a bit of support.

Then I moved on to making the ruffles for the front of the skirt. The plan was for one ruffle in black taffeta, edged with gold ribbon, and a wider ruffle of the metallic chiffon, also edged with ribbon.

The taffeta ruffle was first. The strips were cut, assembled, and hemmed, and then a 1/4-inch wide gold ribbon was stitched down along one edge.

Once all the pleats were in place, the strip was sewn onto the front of the skirt, and I moved on to making the chiffon ruffle. Because the chiffon was so slippery, I decided to give the entire length of fabric a light starch bath before even cutting anything out. It gave the fabric a bit more of a crisp hand, and kept the chiffon from creeping all over the place while I tried to work with it.

From there, it was basically the same process as before, except with way more spraying and pressing and pinning. The chiffon was very springy and didn’t want to hold a crisp pleat, and the ruffle was several inches wider than my pleating board, which required more steps to get the top and bottom edges to press cleanly. Eventually, though, I was able to get some nice, crisp, flat pleats into the chiffon.

Finally, I could start on the apron front. I cut a wide piece of my George fabric and draped it over the front of the skirt. I played with the positioning of some pleats to just give it a little bit of volume toward the bottom, and stitched those in place by hand once I was happy with how they looked. Then I cut two panels of the embroidered selvedge and used them as hip pieces that would frame the front panel.

Then it was time to return to the back of the skirt. The back panel finally got its hem facing, and then I started on the ruffles. The plan here was for two of the ribbon-edge taffeta ruffles, with a pouf of the embroidered satin up top, opening up in a fan that would end at the top edge of the hem pleats. So, more taffeta ruffles were made. Since the train is quite long, this ate up quite a bit of fabric!

To make the embroidered section of the skirt fan, I used the Peterson’s skirt pattern again, but I flipped it so the straight edge was against the finished hem of the fabric, and the curved edge was at the top. I also folded the pattern so that it was a good foot shorter, so it would lay right at the top of the ruffles and not obscure them.

I was a little stumped on what to do for the top half of the skirt back for a while. I didn’t have a lot of my embroidered satin left, and what I did have was in long, narrow cuts. I decided to make use of the remaining scalloped edge, and cut two 35-inch long pieces, which I pinned to the side-back seams and then pleated into a rounded shape. I had one 28-inch length piece left, which had no embroidered edges, so I placed that panel in the middle to give some additional fullness to the bustle pouf. It all turned out to be just enough fabric to make the back pouf, and I was very pleased with how it ended up looking.

At this point everything was just pinned together, so the next step was actually to carefully stitch this entire concoction together, which I did mostly by hand. Last but not least was to install a placket and waistband. Instead of going into the center back like I usually do, I put the placket/skirt opening on one of the side seams so it wouldn’t interfere with the bustle pouf in the back. The top edge of the back pouf extends a couple of inches over the placket and attaches with a snap, completely hiding the skirt opening.

I had been working on the skirt every spare moment hoping to give myself plenty of time to work on the bodice, but I still ended up in a time crunch, with only two weeks before the event to put something together. I decided that I wasn’t going to drape my own pattern, since that would require multiple fittings to get it just right, and instead decided to use Truly Victorian’s TV416, and just make a plain black satin bodice straight from the package. I did one mockup to adjust for size, since I know from experience that their patterns are always very wide in the shoulders and long in the waist on me, and then I dove in and began cutting out my final bodice.

I didn’t have any of the embroidered satin left which I could have finagled to give me plain bodice pieces, but I did have a bolt of black satin in my stash, so that’s what I ended up using. The two black colors are not quite a match, but luckily they’re close enough that it’s not super noticeable.

Even though it was a quick and plain bodice, I still wanted to construct and finish it well. There’s boning on the front darts, and I finished the top and bottom edges with a piped facing. I didn’t want to spend time making separate piping, so I sewed one edge of the facing in, placed some yarn between the facing and the seam allowance, and then stitched in the ditch to create the piping. And it worked well! Then I turned under the raw edge of the facing and hand-stitched it to the lining.

I did the bulk of the work on the bodice in the week leading up to the event, but, as is tradition, I was working on it at the last minute in the hotel room. I had to attach all the hooks for the closure and make all the thread bars, and I was sewing right up until about 10 minutes before we had to get ready and go!

But the dress was a success! I wore it to dinner and to the ball, where it performed beautifully while dancing.

[scribefindegil]

Do you sew? Do you have boobs? Do your tops never seem to fit correctly despite following all the instructions on the pattern? THIS IS NOT YOUR FAULT! Sewing patterns usually just tell you to match your full bust measurement to their sizing chart, but this isn't enough information to tell you if the garment will actually fit.

Here's the problem. Imagine three people who all have a 40-inch bust measurement. But one of them is completely flat-chested, one of them is very well-endowed, and the third has the mythical "average" figure that the pattern was designed for. Despite having the same circumference, their torsos are completely different sizes and shapes! So while our lucky "average" sewist can cut out the pattern as written and have it fit, that same size is going to be much too tight in the shoulders for the flat-chested person and much too loose in the shoulders for the buxom one.

And that sucks, because an adjustment to add or remove fullness from the bust is much easier to do than trying to re-size the shoulders and torso. Instead of starting off with the pattern size that matches your bust measurement, it's a lot better if you can start off with the size that fits your shoulders. But almost no patterns tell you how to figure this out!

What you need is to match the high bust measurement. Here's an image (from "Ahead of the Curve: Learn to Fit and Sew Amazing Clothes For Your Curves" by Jenny Rushmore, a GREAT book for learning to fit garments, especially if you're bigger) on how to measure high bust vs full bust.

The difference, in inches, between the full bust measure and the high bust measure is your sewing cup size. (usually not the same as your bra cup size, which is the difference between the full bust measure and the underbust measure. yes, it's confusing. sorry)

So how to use this to figure out what size to cut out from your pattern? If you're using a Big Four sewing pattern, those are all drafted for a B sewing cup, so the high bust for any given size will be two inches less than the given (full) bust measurement. Choose the size that matches your high bust. Then compare the full bust measurement to yours. If it matches, great! If it's smaller or larger, you will have to do either a full bust adjustment or small bust adjustment. They seem scary because they're slash-and-spread adjustments, but if you find a good tutorial they're not that hard. You can also just make a mockup in the pattern size that matches your high bust and either add or remove fabric in the bust area until it behaves.

What if you're not using a Big Four pattern? Well, if you're lucky you'll find a pattern you like from a company that simply provides the high bust measurement as well as the full bust in their chart. A few places, like Cashmerette, actually include multiple cup sizes in their patterns so you don't need to do any math to get a good fit. Otherwise, if the company tells you what cup size they're drafted with, you can figure out the high bust from the full bust: A cup is one inch difference, B is two, C is three etc.

If the pattern company doesn't tell you anything except the full bust measurement, scold them about it. If you have to guess, smaller sizes will most likely be drafted with a B cup. There's a little more variation in plus sizes. Regardless, if you're making a mockup try to get the shoulders and neck fitting properly before you worry too much about the bust.

Now go forth and sew things that actually fit your body!