Sewing Techniques

How to Sew in Shoulder Pads & Sleeve Head Roll Explained!

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A Guide To Shoulder Pads & Much More!

A Guide to Shoulder Pads!

Shoulder pads are a necessary part of jacket construction, but I often wonder how many sewers know the correct procedure for sewing in a shoulder pad – In this post I cover the basics and introduce you to ‘sleeve head roll’ – If you would like to join me on an advanced pattern cutting course (online) you will also learn how to adapt a pattern to allow for a shoulder pad – read on to learn more!

First A Note About Sleeve Head Roll

Before we look at shoulder pads in detail let’s take a look at sleeve head roll. Sleeve head roll is placed at the sleeve head to allow the fabric to ‘roll’ off the armhole at the shoulder and create a tailored, supported and smooth look. It forms a kind of platform and supports the sleeve head and avoids wrinkles.

Sleeve head roll should be hand sewn in before the shoulder pad is attached.

It is possible to make your own sleeve head roll or you can purchase ready made sleeve head roll as illustrated below.

Sewing In Sleeve Head Roll

Why Not Make Your Own Sleeve Head Roll With Wadding.

See my pattern shape download for shoulder pads and sleeve head roll suggested shapes – available as a free download on my advanced pattern cutting course.

Or read on to learn how to make your own pattern shape from your sleeve pattern piece.

To create your own pattern shape simply plan as shown on the finished sleeve pattern -note that the pattern should have seam allowance already included.

Sewing Shoulder Pads into a Jacket – General Guidelines

Tips

  • If you are using sleeve head roll, it should already be sewn in.
  • Pin the shoulder pads into the jacket first to check they are where you would like them to be. Your shoulder shape and personal preference will ultimately dictate the position – here are some guidelines
  • Shoulder pads should cover most of the shoulder – they can be set back from the neckline by up to 2.5 cm (1″).The pad should extend over the shoulder seam allowance by between 1 cm to 1.5 cm (3/8″ – 9/16″)
  • The shoulder pad should be positioned so that the back has an extra 1 – 1.5 cm (3/8″ – 9/16″) in length – measured from the shoulder seam.
  • Pin at the shoulder seam allowance first, leave loose everywhere else.
  • Place on the dress stand or body and pin the shoulder pad into position through the right side of the jacket fabric to make sure there are no wrinkles or pulls.
  • Push the sleeve and armhole seam allowance outwards to create a platform for extra structure.
  • At the armhole stitch through the shoulder pad and the jacket seam allowance and the sleeve head roll to secure first.
  • Secure at the neckline area in 3 places as shown.
  • Stitch mid way along the curved shoulder pad edge at front and back. Leave the shoulder pad as loose as you can in all other areas.
  • Use a couple of tailor tacks or hand stitches where the red marks are placed.
  • Note that the jacket should now be dry cleaned.
  • The jacket lining an now be attached

Types Of Shoulder Pads

There are 2 main types of shoulder pad

The Triangular Pad – this is the most common type of pad and is used to create structure and add sharpness to a jacket style. This type of pad is commonly used in tailored jacket styles.

The Rounded Pad – this type of pad is designed to create a rounder softer look and is commonly used in grown on sleeve styles such as kimono sleeves.

Shoulder pads come in a wide range of sizes and thickness and must be selected according to personal preference and the desired silhouette required. Below we will take a look at my go to shoulder pads and supplier links to the pads featured.

Constructed Shoulder Pads

Constructed Shoulder Pads are an essential tailoring supply if you are making jackets or coats.
This wadded shoulder pad is hand stitched together from layers of wadding and can be trimmed to size.
Available in white and grey
Constructed Shoulders Pad –Average Dimensions:
Length (longest side): 23 cm
Width at shoulder line: 12.5 cm
Thickness (at thickest section): 2.5 cm

Click the link here to find a supplier for this type of pad….Tailored Soft Felt Layered Pad

While you can make these pads yourself you can also purchase them ready made!
Join My Advanced Pattern Cutting Course to Learn How To Create These Pads Yourself!

Nude Foam Shoulder Pads

Foam Shoulder Pads are ideal for jacket and tailored blouse styles.

Suitable for use in jackets and coats when you only need a little lift and shape, and can be trimmed to size.

The foam provides a stiffer, more structured finish. These pads are designed so they can be covered with fabric

Additional Information:

Colour: Natural Foam – please note that the foam can discolour when exposed to the air – but you can cover them easily in a suitable fabric.

Size: 13mm lift – height

Dimensions (all sizes are approx. and will vary slightly due to the curve of the pad):

Length (when arched): 11cm

Length (when flat): 14cm

Width at shoulder line: 9cm

Thickness(at thickest section): 13mm (1.3cm)

This type of pad can be purchased here – Nude Foam Shoulder Pads Link

So Light – Perfect For a Blouse!

Foam Covered Jacket Pads

These Foam Covered Shoulder Pads are an essential tailoring supply if you are making jackets and coats.

Soft and finished nicely with nylon, and overlocked edges – they are extremely comfortable and keep their shape well!

Detailed Product Information:

Constructed Shoulders Pad – Dimensions:

Length (when arched): 15 cm

Length (when flat): 20 cm

Width (shoulder line) : 11.5 cm

Thickness (at thickest section): 2.5 cm (1 inch) – Note that the foam will compress slightly with the weight of the fabric in the garment.

This type of jacket pad can be purchased here – Foam Covered Jacket Pads Link

Why Not Join Me For a Course!

I have recently launched my coursed online, via teachable, you can find out all about my courses here on my blog page or simply email me at onitnotinit@mail.com for more information.

PDF pattern templates are available as well as many other useful templates and downloads as part of my Advanced Pattern Cutting Course!

Happy Pattern Cutting & Sewing!

Nicola

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design and pattern cutting, Pattern Cutting Techniques, Sewing Techniques

‘Easing’ a sleeve head into an armhole – professionally!

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This very important step is sadly one that is often rushed or even missed out completely by pattern makers and sewers, there is no doubt that it takes time and skill to insert a sleeve into an armhole and deal with the ease in the sleeve head correctly.

There is preparation involved and many commercial sewing pattern guidelines do not follow the correct methods, they adopt short cuts, to be fair to them it would be difficult to explain the whole process and it would simply take too long.

Most high street clothing manufacturers remove a large quantity of the ease from the sleeve head as it makes the sewing process much easier for the machinist in the factory, at the expense of good fit. Little or no ease in the sleeve head can make the sleeve hang badly and create drag lines at the top of the arm and bicep.

In this post I am going to focus on the best way to deal with the ease in the sleeve head, if you have read my earlier posts on sleeve head ease then you will be familiar with how to increase or decrease the ease in your sleeve pattern. I am going to show you my method of sewing a sleeve into an armhole and how I ease in the extra fabric we often have at the crown.

Getting to know your sleeve and armhole

The above image shows the front and back bodice laid on top of the sleeve block. The pink arrows show that the back armhole and back sleeve up to the double notch positions match perfectly, and they should, as there is no ease in this part of the sleeve. The blue arrow shows how the point onwards from the notches on the back bodice matches the back sleeve – note how the measurement of the back bodice doesn’t quite make it to the notch at the sleeve head.

If we travel from the green arrow on the front armhole and apply the same measurement to the sleeves again we see that the front sleeve and armhole match perfectly from the underarm seam up to the single front notch. The orange arrows show the measurement, taken from the front bodice, of the remaining armhole, and applied to the sleeve, again this measurement stops short of the notch at the top of the sleeve.

The area marked in yellow is our ‘EASE’ and this ease needs to be ‘eased’ in between the back armhole notches and the front armhole notch.

How easy this step is depends very much on the fabric you are using, in my example I used a calico, with very little softness, if I had used a wool with a loose weave then I would have found compressing the fabric much easier!

I am easing in the maximum quantity of ease, just over 6 cm.

2 Rows of stitching

Make 2 rows of stitching, a narrow distance apart, they should be just inside your seam allowance.

Gather by pulling the thread ends

Use the ends of the threads to pull in the fabric and compress the ease, you are aiming for a smooth line with no pleats or tucks, you can also use steam to help compress and shrink the fabric. This may take some time, but be patient and you will manage it. I have 6.2 cm ease in this example and I have manage to ease it all in between the notches.

When you are happy with the sleeve head, it is then time to pin the sleeve into the armhole, all the notches should match perfectly.

There is a saying in sewing ‘we never want a saggy bottom’ this will help you remember that any excess you have to ease in should always be at the top!

A tailors ham is the best tool for pressing and steaming the sleeve head.

The sleeve head should roll off the armhole at the top, as all the ease you compressed is released. As I am using a stiff calico the effect is not as beautiful as it would be if I were to use a wool fabric that compressed easily.

I hope this helps you with your sleeve sewing and improves the fit and appearance of your next sleeve!

Happy sewing and pattern making,

Nicola

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Current Projects, DSM Craft Projects, Free Downloads, Sewing Techniques

The Japanese Evening Bag Project- Detailed Making Instructions

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This months ‘DSM’ magazine features the ‘Japanese Bag’ project, inspired by my recent visit to Barcelona and a visit to the wonderful fabric shop called Nunoya, their web site can be found at www.nunoya.com . They will also ship fabric out to you. They stock the widest range of Japanese fabrics in Europe, what a great excuse for a weekend in Barcelona!

I was inspired to make a number of bags from this beautiful fabric, it is quite expensive but you only need a piece 55cm x 30cm for this bag!

Here is your free bag pattern and also a detailed making guide, and once the weather cools down here a little, I plan to make a video of the bag making process, as I am sure you will all love it!

Japanese Bag PDF Pattern

Sewing Instructions J-Bag

Please send me your bag photos and as always I am happy for you to make as many as you like and sell the items you make from my patterns, it’s only the patterns I like to protect.

Next months free pattern is for my most used pattern, I make myself this smock top all the time, with short sleeves, long sleeves, longer hems, it’s so versatile. Make sure you are subscribed and you won’t miss out. In fact I am just off to make one for a wedding I am going to in August!

Happy sewing!

Nicola

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Current Projects, Sewing Techniques

The Wide Headband Project- Free Pattern & Making Instructions!

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It’s that time of the month again where I release my free pattern and making guide to accompany my magazine article in the DSM, this month it’s the wide headband project.

Download your free pattern and detailed making guide here!

Wide Wrap Head Band-Pattern and Instructions

As always if you have any questions or comments then please get in touch.

Happy sewing,

Nicola

P.S.

Next month I will show you how to make this gorgeous Japanese bag and also where to buy beautiful Japanese fabrics.

 

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Current Projects, Free Downloads, Sewing Techniques

Free Wrap Around Head Band Pattern & Sew Along!

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Ever wondered what to do with all those scrap pieces you have?

Here is a video sew along for the ‘wrap around head band’ Ideal for those long thin scraps that are often left over from our sewing projects.

Headband sew along 1 Click to watch the video and download your free PDF pattern from the members only area once you have subscribed!

Keep watching as I am working on a wider version for long hair today.

And if you get the time – please subscribe to my YouTube channel!

Happy sewing,

Nicola x

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General Info, Sewing Techniques

Fusible Interfacing – A Guide To Getting The Best Results

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How to apply your fusible interfacing properly!

I use a lot of fusible interfacing. When I worked in the fashion industry I was lucky enough to have a fusing press, so that did all the work for me. However getting a good ‘fuse’ at home is more difficult.

My instructions here are based on trying to simulate the ‘fusing press’ process at home.

Firstly some of the heavier fusing I sell in my shop (the 1055HF) takes quite a bit of force to fuse it, a gentle ironing motion will not do the trick!

Here is the technical info supplied by the factory I use for the non woven fusible interfacing  labelled (1055HF) Stiff Heavy Fusing:

Composition: 100% polyester
Technical: chemical bonded
Coating: LDPE
Weight: Heavy clothing use
Width: 36″
Length: Any length required
Color: black, snow white
Hand feeling: hard, and crisp
Feature: fusible, adhesive, shrink-resistant, waterproof, hard to tear away.

Its also washable at 40 Degrees!

This type of fusing would be suitable for the following applications:

Non-woven fusible interfacing is suitable for inside waist bands for garments made from a medium to heavy weight fabric, clothing and jackets made for autumn and winter that are heavier in weight, embroidery backing, hats, bags etc. Its also great for a number of craft uses. Some people use it to make fabric box’s and apply 2 layers for a stiffer box.

For those new to fusible interfacing, the shiny side is the side that has the resin applied, you will soon know if you make a mistake with fusible interfacing as you then have to spend a long time picking it off your iron! Its worth taking the time to double check which is the sticky side. I speak from experience here.

Why Use Fusible Interfacing?

Interfacing is used on the “wrong” side of fabrics to make an area of a garment more rigid. Interfacing can be used to stiffen or add body and strength to your fabric.

Interfacings are essential in shirt collars and waistbands as they strengthen that area of the garment. Collars are usually fused on the under collar only.

You also need it in button stands to strengthen where the button hole and also the button is sewn, with the added advantage of having a nice clean sharp line at the center front of your shirt or blouse . It’s also common to add interfacing to the back of embroidery or any decorative stitching you do, this type of interfacing doesn’t have to be fusible though.

Its common to cut fusing pattern sections slightly smaller than the whole pattern piece as they can be quite bulky when fused to the seam allowance. It’s best to have them a few millimetres over the seam allowance so that they are caught in by the stitching, but don’t add too much bulk to the seam allowance.

Some coats and jackets can be fully fused, for example the whole pattern piece is fused as a block, this is only common with outerwear. The term for this technique is -block fusing-.

There is also a term called ‘elephants skin’ used in fusing, this is where the fusing partially fuses so you have areas that are not fused and this looks all bumpy and wrinkly on the surface of the fabric. You want to avoid elephants skin at all costs! Fusing can be removed if you make a mess, bu warming it up again and pulling it off – it’s worth a try if you’r not happy with the result. Of course you need to apply fresh fusing then.

How to get the best results – fusing at home

  • Always try a test piece first – it’s much safer than going directly to your garment or project!
  • The clothing factory will follow the instructions below – so lets take a look at how to translate them to home use

  • ■Manufacturers Fusing Condition:

    Temperature: 135-150℃
    Pressure: 1.5-3.5kg/cm2
    Time: 10-16 second

  • The temperature you need for a good fuse depends on the thickness of the fusing and your fabric, the above is a guideline.  A domestic iron commonly heats to a temperature of 180–220 °Celsius, depending on the fabric.
  • You do need to apply quite a bit of pressure when fusing – DO NOT USE AN IRONING MOTION– that will only drag the fabric and fusing.
  • This is my routine – I place the fusing to the wrong side of the fabric – sticky side down – I then use a fusing cloth ( a piece of cotton), this helps regulate the heat a little too, However I sometimes remove the cloth if I need a very strong bond and if I am using a very thick fusing.  I work from the center of the piece I am fusing, and move outwards, using the tip of the iron at first and then when I am confident that it’s all flat and in place – I press as hard as I can. Don’t be afraid to put your weight into it – to simulate the pressure you need to bond the fusing and the fabric together. I don’t use steam – there is an age old debate on this subject – some people do use steam and some don’t – I prefer not to. I let it all cool down for a few seconds and then I then press from the right side of the fabric with a cooler iron
  • As you can see from the guidelines above the fusing does take time, from 10 to 16 seconds. If you have already completed a test piece you can be sure that the conditions you are fusing under are correct. Having a test piece gives you the confidence to leave the iron in position, without worrying!

I also use a lot of  (1035HF), which is more of a medium fuse. It’s a good one for regular clothing use and ideal for blouses and skirts and trouser waistbands. The numbers are a universal code used by the clothing industry, however unless you are buying directly from the factory, you are unlikely to encounter them.

Generally fusing is referred to as either light weight, medium weight and heavy weight, with handles being soft or stiff or crisp or heavy. They are all subjective so an industry code is more accurate for clothing manufacturers.

Here is a handy chart with the full range of fusible interfacing weights and their industry codes if ever you go into mass production or become a clothing technologist!

Other Useful Products

A couple of other very useful products I have come across are worth a mention. If I am doing any delicate embroidery I use a film that dissolves in cold water. Its perfect for the delicate work I do on my lingerie samples.

 

 

 

 

 

 

 

 

 

 

■ Product Description:

Composition: PVA (Polyvinyl Alcohol)

Thickness: 25gsm-50gsm
Width: 40″
Length: As required
Color: translucent
Texture: embossed
Feature: good water-solubility, eco-friendly, no remnant left
Application: cold pva water soluble film is used for senior underwear, fashion clothing and lace embroidery backing.

This film dissolves very quickly in a few seconds when submerged in cold water, I love to use it. Its fairy expensive but a meter lasts a long time when you are doing delicate embroidery and its a good item to have in your sewing box!

100% Cotton Heavy Weight Woven Interfacing

I also find this 100% cotton woven interfacing is ideal for heavier craft projects – or costumes.

■ Product Description:

Composition: 100% cotton
Coating: HDPE
Width: 44″
Length: As required
Weight: 150g-200g
Density: 20*21/60*60
Color: white
Hand feeling:  hard
Characteristics: excellent fusing effect, better peeling strength and washability, Ideal if you want cotton interfacing for a cotton project.
Application: cotton heavy fusible interfacing is applicable to work shirts, uniforms, hats, stiffer cuffs, waistband, placket, purse, bag and so on. In fact anywhere where you need a garment part to be extra stiff.

It takes a little more fusing than the non woven interfacing we looked at above –

■ Fusing Conditions:

Temperature: 165℃-175℃ – not a problem if you are fusing to cotton as it can take the heat!
Time: 18-22 sec – so give it some time.
Pressure: 2-4 kg/c㎡ – so lean in hard if you are fusing this at home!

This product is ideal for costumes and collars if you want them to stand up! Again its quite costly but its cotton and you really don’t need to use too much for a collar or a cuff.

I worked as a costume designer once and I used this fusing all the time, I love it!

Whatever the fusing you use its well worth taking the time to fuse it properly to the chosen area, It can make such a difference to how professional your garment or project looks.

I hope this has helped and if you have any questions or comments then please let me know.

Happy fusing!

Nicola

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Sewing Techniques

HOW TO USE RIGILENE POLYESTER BONING – Properly!

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How To Place To The Body & Sew

In this modern world we have the luxury of being able to buy polyester boning, it’s easy to sew into your garment if you follow the guidelines below.

Boning is specially created to give shape and support to corsets and other strapless garments that need help with support. This product is ideal for evening wear, theatrical costumes and even swim wear, and so many other craft uses.

This type of boning is extremely light weight and it’s possible to sew it into position straight onto the garment or the lining. I try and send all corset customers this guide so I thought I would pop the information on my blog.

Here is my guide to boning!

This boning is designed to be sewn to either the fabric seam allowance or the lining seam allowance; I generally prefer to sew to the lining. Of course you can also insert it into a channel if you want to.

It is important that you attach the boning so that the curve of the boning is going away from the body, a little confusing I know but hopefully the pictures below will help!

 Firstly The Wrong Way

When the boning is sewn to the corset you do not want it to form a bubble away from the body as shown here. Therefore position it so that the curve of the ridgeline forms a C shape when placed to the body, as shown below, this will allow the boning to mould to the body.

 

 

 The correct way!

Cut the boning so that it will finish approx. 6 mm away from the upper and lower seams to prevent an unsightly bulge. So If you have a 1 cm seam allowance the boning will end 6 mm below that.

When sewing the boning to the seam allowance, place equally each side of the flat seam allowance (you should have already pressed this open and flat) stitch on the very edge of the boning going all the way through the lining and the seam allowance. Place cotton or wadded end caps at each end of the boning to prevent it from fraying the garment.

 

My corset boning packs come with small plastic end caps which are idea, if you don’t have these then use small fabric pieces to cover the ends, it’s also advisable to curve the ends of the boning pieces with your scissors as they can be quite sharp and pointy and can then poke through your garment in time.

I love making corsets and they are not as difficult as you imagine, so why not give it a try! This product goes perfectly with my corset pattern block pack, also available in my Etsy shop as a PDF or a printed pattern sheet.

Happy sewing

Nicola x

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Sewing the “hippy” Smock Top Pattern.

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Making the ‘Hippy Style Smock’

The Smock Top project is one of my favourite patterns, I make it all the time for myself. It’s also one of my mums favourites, she adapts it to make long dresses, shapes the hem, she has even made it as a loose jacket by cutting the front top as an open shape and adding an extra facing. The pattern sleeves are long, but I will show you how they can be easily shortened. Its also lovely as a dress, I will show you how to lengthen the top too!

Here is a run through of the sewing process and also some ideas for adapting the pattern. The pattern can be purchased on Etsy and has a very detailed sew along and also some pattern adaptation ideas.

Click this link to find the pattern on Etsy

The pattern is designed so that the back smock piece is cut as 2 separate pieces with a seam down the center back, this saves fabric, however if you have wide enough fabric and want to take the extra time, then it worth cutting the back smock and the back facing on a fold line. If you choose to cut them on a fold line, then don’t forget to remove the 1 cm (3/8″) seam allowance from the center back of the pattern, or just overlap the 1 cm over the fold when you cut out.

 

The first step is to sew the center back seams (If you didn’t choose to cut them on a fold), both on the main smock, and the back smock facing.

You will also need to apply a light to medium weight fusible interfacing to the facing pieces (back and front), this will give them body and help them lie flatter inside the top.

When applying fusing to a fabric piece, remember its not like ironing, its more like pressing.

With sticky side down (that’s the shiny side) placed to the wrong side of the fabric, PRESS the iron and put a bit of your weight behind it, this will help the fusing process. Fusings are developed for a high heat setting and the resin needs to melt and stick. Don’t burn the fabric though, its always wise to do a test piece. Don’t use an ironing motion and don’t use steam and all will be well!

Now you have whole back pieces, and whole front pieces, so its time to join them all together.

Sew the shoulder seams and the side seams on the main top and do the same for the facing. Press the seams and neaten the edges using your normal method (zig zag or overlocker / serger)

 

The facing can now be applied to the neck line, Before you do this you need to neaten the edge of the facing at its hem edge. I love to apply bias binding to my facings, if you would like to have a go, see my blog post –

Making and applying your own bias binding!

Applying the facing to the neckline is the trickiest part of this process, its worth taking a little time to prepare the pattern pieces and it will help greatly if you mark the seam allowance with a fabric pen at the neckline.

It’s difficult to see where the point of the V is, so marking the seam allowance lets you stop at the V point, with your needle down in the fabric, and allows you to pivot the work, so that you can continue sewing.

Once you have sewn the facing to the main top at the neckline edge, the facing can be turned through. Before you do this you will need to clip in to the seam allowance and also the V to allow the seam allowance to open up. Cut to just within a couple of millimetres of the stitching. This will allow the facing to be pressed flat when turned through.

Now give the neckline a good press and move onto the sleeves.

I plan to make a detailed blog post on setting in a sleeve, there are a number of tips I want to share, so please keep a look out for this, its hard to picture clearly when photographing a garment!

Sew the sleeve underarm seam, I have shortened the sleeves for this top, as I want it as a summer top. I will show you how to do this later in the post, it’s not as simple as just drawing a straight line across if you want the sleeve to look straight on the body.

 

Here is a photo of one I made with long sleeves, just to give you an idea of the sleeve shape and how nicely it hangs.

OK, let’s sew the sleeves into the armholes. I start by pinning the underarm seams together (right sides together). I then travel around the armhole pinning and matching the notches. There is a little bit of ease in the sleeve head on this pattern. This means the sleeve head is larger than the armhole and needs to be eased in. This can be done by compressing the sleeve fabric as you sew. As this is such a loose fitting style then you can also make the extra into a few little pleats at the shoulder seam and this looks quite nice.

Now press and neaten the raw seam allowance edges together.

All that remains is to finish the hems, a machine stitched hem is fine for this style. Press the hems up by 1 cm and stitch into position. If you don’t have a way to neaten the raw edges, then the hems can be stitched as a double hem, but make sure you only take a small hem if you are doing this.

I love a pattern that I can use again and again, I love to make this style slightly longer as a loose summer dress. It’s also great as a cover up on the beach!

Above you can see the top has been made as a dress in a lovely soft cotton!

Some ideas for adapting the pattern!

A shorter sleeve.

Measure down from each underarm the quantity you require, for example 5 cm (2″).
Draw a line straight across and mark a point on the center of the line.

Drop this point by 1.5 cm (1/2″) and draw in a curved line as shown.

A straight line would look as though it went upwards when the sleeve is on the body.

Trace off the new sleeve, transferring the notches from the original pattern.

Making a longer smock or a dress.

Extend a line from the center back and the center front by the amount you wish to lengthen the top.

Measure down at right angles from various points along the hem line by the same amount.

Make the corners all 90 degrees for a couple of centimetres (3/4 inch).

Draw in the new, slightly curved hem line.

If you have any questions or comments, as always, please let me know.

Happy sewing and pattern cutting!

Nicola x

 

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General Info, Pattern Cutting Techniques, Sewing Techniques

Fabric Width Conversion Chart –

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Have you ever picked up a pattern and noted the amount of fabric you need for a particular width, only to find that the fabric you love is a different width. There is nothing worse than buying too little fabric for the design you want to make.

Below is a handy conversion chart that will give you some idea of the fabric you require in different widths. print a copy and keep it in your bag!

Hope this helps!

Happy Sewing,

Nicola x

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