Pattern Help- Lengthening A Circular Skirt – Full Circle

In a previous post I covered ‘Making The Most of Your Full Circle Skirt‘ and you may want to take a peep at that before or after reading this post.

I have been asked for some ‘pattern help’ and my reader wants to know how to lengthen a full circle skirt. It’s not as easy as it may first appear.

Full circle skirts take up a lot of fabric, so you may well be limited to the extra you can add to the hem, by the length and width of the fabric you have. It may be simpler to use a tailoring technique and mark on the extra length on your fabric with chalk after pinning the pattern down to get the most length you can. My blocks are made as long as I can make them for a 150 cm (59″) wide fabric, but what if you need a longer skirt?

The other way to gain more length, if your fabric is not wide enough is to have more seams, but this is not ideal for full circle skirts as you are using all the different grains of the fabric, warp, weft and bias and the skirt will hang differently at each one, this is covered in detail in the previous post mentioned above.

 

My block sheet is planned as above, the shape is designed to be cut twice on a fold, once for CB (Center Back) and once for CF (Center Front). This means 2 side seams, one containing a zip opening (preferably an invisible zip).

If you measure the block the side seam length is just under 60 cm (23 5/8″) and with the seam allowance you need to add and the allowance for the waist shaping then the skirt piece fits nicely onto 150 cm (59 1/16″) wide fabric folded in half.

Lengthening the full circle skirt

If you choose to lengthen the skirt, by measuring equally down from the hem at right angles and re drawing the hem curve – as you can see below the skirt now no longer fits on the 150 cm wide fabric when placed on the fold line!

Your only choice, if your fabric is not wide enough, is to then have a seam at CB and CF – not nice at all and the skirt would not hang well, so a longer skirt needs a much wider fabric and also will take up over 3 meters in length! It can be quite expensive to make!

As long as you know all this you can make a choice and look at some other options, buy fabric wider than 150 cm or look at the design of your skirt and place a yoke at the waist line to add length or perhaps a frill at the hem.

Its always useful to take your pattern section to the fabric shop with you and give it a try on the fabric of your choice.

I hope this has helped and saved some frustration!

Happy pattern cutting,

Nicola

 

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A Free Half Scale Dress Block! – As A Thank You!!

Thank You & some exciting Information about my upcoming course!

Thanks to all my blog subscribers that took the time to subscribed to my YouTube channel! I am now well over my target 100 subscribers – as a Thank You – I have uploaded a free half scale dress block and it’s in the subscribers bonus contents page for you! Plus some more exciting news below about my upcoming pattern cutting course in France.

Just a little note about scaled blocks – first

When you are practising your pattern cutting, or even developing a style, it’s sometimes useful to do your initial experimentation with half or quarter scale blocks!

This can save paper, however I do recommend using full scale blocks as much as you can – why you may ask?

Working in full scale helps you develop an ‘eye’ for proportion and scale, its amazing, as you become more proficient in pattern drafting, you develop a second sense and can tell immediately when something doesn’t quite measure up. This is a difficult skill to master if you always work in quarter or half scale.

However scaled block do have their place and are perfect for sketch books and experimentation.

I am pleased to announce (dates to be confirmed) that I can now offer a weeks intensive pattern cutting course in France, during September. The course will be limited to 3 or 4 people and will be fully catered. Plus each course member will receive a full set of my Modeliste Creative Colour Blocks! More details and pictures of the accommodation will be available on my courses and professional development page very soon. If you are interested in the course please get in touch!

Thanks again!

Nicola

 

 

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YouTube- Take a look at my videos!

I have been on YouTube about 6 months now and it’s been hard work to get my subscriber numbers up. I need the magic 100 subscribers to get my name on the end of my URL link, rather than a long string of random numbers! As you can see I am currently on 70 subscribers.

https://www.youtube.com/channel/UCfDAZ0PO96phtnK-rcyBiQw/videos?view_as=subscriber

If any of my lovely blog follower would like to subscribe to my YouTube channel too then I would be over the moon! Just click on the link above.

I am planning a number of short technique videos very shortly and subscribers will be automatically notified!

I already have a few useful videos so please take a look!

Happy Pattern Cutting & Sewing

Nicola

 

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Ease In Childrens’ Blocks and Patterns – How Much?

How much ease should I have in my childrens wear blocks?

This is a question that can throw up many answers and the answers can be vastly different, it all depends on where you look.

I spent a proportion of my career as a freelance grader, grading child patterns, I must admit it’s not my favourite area of pattern cutting, however it is an interesting one.

I am going to look at this topic as a grader and pattern block drafter and not as a designer, so I will only be focusing on functional ease, others refer to this as ‘wearing’ ease. This is the ease incorporated into the basic block, in order for the child to breath, move, bend, and play! It’s the extra above the body measurement according the size chart you used.

I was taught as a student that the elderly and the young need more ease. That’s quite a broad statement and having done a trawl of the literature out there, it appears that there are no set guidelines. Not unusual in the fashion & clothing industry.

The most predominant view out there, is to use the same quantity of ease as an adults block. I would like to look a little closer at what that means. It means that if you are using a block with the equivalent ease of an adults block, for a child block, then the % ease in the child block would be very high. However manufacturers love lots of ease in children’s patterns, as the looser they are the more children then fit and the more sales they make – in theory!

The most commonly used book for beginners drafting for children blocks is Winifred Aldrich’s book, its well set out and the instructions are clear, however she does allow quite a lot of ease in her blocks, I don’t have her book but I believe its about 12 cm in her younger child blocks.

My own blocks have less, about half that at the waist, as I use a dart to control the ease and I use a varying 9 cm at the chest, for my age 2 – 8 sets.

I like to always calculate and show the ease I have added to my blocks, on each pattern sheet.

You can see above that when I compare my own blocks to the latest sizing survey available that I have a stable amount of ease at the waist for the younger sizes and an increased amount after age 4. The dart in my blocks should be used after age 4 to reduce the waist measurement and it’s also then possible to increase the dart intake at the waist and reduce the ease in that way, if you need to.

I tend to ignore the dart in the younger sizes myself, but it can always be used if you need it.

The predominant area of growth for a young child is also height, so the grade for height is also quite large in children’s blocks. An average increase per size would be 6 cm up to age 8.

I have been asked by one of my customers how she can reduce the quantity of ease in a child block. To do this properly you need to understand how blocks are graded and also how much certain areas grow as the age increases.

Lets look at some grading increments –

In fact what are grading increments? – They are the quantity a body and therefore a block increases or decreases between sizes (according to a size chart). In the case of childrens wear, this means between ages.

The grade and therefore the size difference between each age for a shoulder is between 3 to 5 mm. This is quite a large grade compared to an adult lady where the grade can be 2 or 3 mm. I tend to grade at the lower end of this. But this does show you that any small changes you make at the shoulder do affect the size as there is only a small difference between each size here.

A neckline for example would be graded, that is increases or decreased, by around   7 to 10 mm per size step, between the ages of 2 to 9. At the waist the grade can vary from 10 mm to 20 mm, where as at the abdomen and the hips and chest it’s 20 mm so you can see that grading for a child blocks is quite complex. This may explain the amount of ease added into many blocks as it also allows for the huge difference in sizes from one 4 year old to another 4 year old.

Younger children still have an abdominal protrusion ‘ a little tummy’ that they begin to loose after 9 or so. Children are classed as the same in terms of pattern drafting up to the age of 8 or 9. After age 9 boys and girls begin to ‘grow’ differently and their blocks are no longer unisex, they then need separate blocks drafting for boys and girls.

I have separated my blocks set as follows:

Age Birth to 18 months / 2 years

Age 2 to 8/9

Age 9 to 15 ( this is my teen range)

I have woven blocks in all these ranges and stretch blocks in most. You can find them all in my shops.

If I wanted to reduce the quantity of ease in a block I would do this in very small quantities around the block, no more than 2 – 3 mm in each area.

The above plan could also be used to increase the quantity of ease in the block, so instead of taking out quantities at these areas you slash and open out the required amount, but then you are really adding design ease and this can be done as part of your pattern drafting.

It’s important to remember that blocks are only a starting point, particularly with children’s wear.

A size or age is only a label attached to the block. If you are starting a small design business the key is to do your market research, buy children’s clothes in the main high street retailers, measure them and see how they relate to the size charts supplied by that retailer. Collect as many size charts as you can and compare then and then develop your own size chart for your company. Stick to that size chart for all your patterns. Your customers will be confident that your clothing range is consistent and the size they select will fit their child.

I was lucky enough to be able to scan lots of children of all ages in a body scanner as part of a research project I took part in, I can confidently say that all children are different, an age 3 child can be vastly different in their measurements from the next age 3 child, and this goes some way to explaining the ‘extra’ ease allowed in children’s blocks.

I would welcome any comments and discussion on this topic.

As a pattern cutter and grader, I draft all my own blocks using my own methods, if you read my post on drafting a skirt block to your own measurements, you will see that the ease you add to a block is really a matter that’s up for discussion, you can decide what is right for you and your customer.

I would suggest starting with adding a moderate quantity of ease to blocks, for example between 7 – 10mm at the major girth measurements and then adding or subtracting from this in small quantities around the block. It’s tempting to take a huge wedge out of the middle of the block but this would unbalance the block and result in fit problems.

Happy drafting and pattern making,

Nicola

 

 

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Free Wrap Around Head Band Pattern & Sew Along!

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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Fusible Interfacing – A Guide To Getting The Best Results

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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HOW TO USE RIGILENE POLYESTER BONING – Properly!

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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Pattern Help – Recreating a Vintage Dress Pattern

I have had a question from one of my readers regarding a dress style.

The best way to develop a dress is by using a dress block, you would think that you could just place a skirt and a bodice together and that would be it – unfortunately its not as simple as that. There are a few adjustments you need to make to join a skirt to a bodice to get a good fit, and you need a little pattern cutting knowledge for that. I plan to do a post on just the subject very soon.

But for now, lets suppose you are in a rush and you have a bodice block and a skirt block, my best advice would be to first of all follow my post on lengthening the bodice below the hip line and that will give you a basic dress block, suitable for some, but not all styles.

Lets take the example above, this is the style my reader wants and she only has a bodice block, but now she has followed the blog post and created a basic dress from the bodice.

 

 

The style lines can be followed through to the back dress and an identical quantity of fullness should be added to the back skirt – remember to cut the skirt on the bias grain with a seam at the center front.

I hope this helps and if anyone else has any pattern cutting puzzles then please let me know.

Happy pattern making

Nicola x

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The Japanese Bunka Bodice Block – How to work with it – Pattern Magic!

I was given my first copy of the Pattern Magic book shortly after it was published. It was written all in Japanese, there was no English translation at the time! Luckily I had a Japanese student and she kindly translated the drafting instructions for me. I don’t think the latest English translations of the book have the drafting instructions. The books do come with copies of the blocks, however.

Being Welsh and a little more ‘curvy’ than the blocks supplied, that are designed for beautiful Japanese ladies, I began the task of drafting the Bunka blocks using the drafting instructions in the original Japanese version. but to my own size charts.

I have developed a range of styles from these blocks and I love them, they are slightly different to regular bodice blocks in that they have extra suppression at the side body. This gives you the option of using the darts to make the bodice into fitted styles or cleverly ignoring the darts so that you have a straighter side seam. If you use the darts as they are, it also has the effect of spreading the suppression more evenly around the body. Not so great if you have a large bust though.

I have never been asked any questions about how to move or use the darts on these block, surprisingly. I imagine those customers that use the blocks are developing the gorgeous styles in the bunka book and therefore would just follow their instructions. Or they can work it out for themselves. Its not difficult but I thought I would show how the darts can be moved to make the blocks appear as regular blocks and the methods I use.

Firstly for me I need the suppression, that is darts, at the bust as I need as large a bump as I can throw out at the bust. I re assign the side dart to the bust dart by simply measuring the side dart and placing half that quantity either side of the bust dart.

If you have a smaller more athletic bust and you want a flatter but fitted look, then the side dart can be closed out for more shaping and the original bust dart remains the same as illustrated here.

Or if you are using the alternative block I developed with the dart at the shoulder, you will need to connect the apex of the dart to the armhole, as illustrated below, and then cut along this line, as illustrated and fold out the dart for the more fitted style. This method is also suitable for the side back dart.

 If you want to take a look at the blocks I drafted in my Etsy shop they are here.

I also have a lovely Japanese Draped Dress that I developed from this block in my shop.

I have also developed a kimono style bodice block to save you time!

I have a large collection of Japanese pattern cutting books, so keep posted as I will certainly be looking at this topic again in my blog.

If anyone out there is using these blocks I would love to hear what you do with them!

If you are a keen pattern cutter you can’t help but be inspired by these beautiful books, so take a look at Pattern Magic!

Nicola x

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