Fabric Archives

The Best Fabrics for Sewing Pajamas!

20 November 2023 by Heather Lou Leave a Comment

We recently launched the Fran Pajamas and now we just can't put on regular clothes! Once you've had PJs this comfy, it's hard to justify wearing anything else. In the spirit of "not wearing real clothes till spring" we've put together the ultimate PJ fabric guide to help you get your cozy on (and maybe sew your new travel suit, party gear, and business attire – if your top and bottom match you are basically wearing black tie and that's just facts).

Cozy Flannel

If you're looking for a cozy winter set of PJs there is nothing like flannel. Warm and soft, flannel gets better with every wear! Available in a variety of weights, we especially love double-faced or heftier weights for that "I'm basically wearing a weighted blanket" feeling in the winter.

SHOP FLANNELS

Sleek + Chic Prints

We love a chic and graphic print to create a Gucci inspired PJ set. Slip into these silky bad boys next time you want to feel RICH! Show up to the gallery opening in an all-over print PJ set and have everyone asking, "WHO IS THAT??" Not for the faint of heart. Prepare to be stopped in your tracks...

SHOP PRINTS

Fresh Florals

If soft florals are more your vibe try a pretty set like these poppy print ones. Scale can make a huge difference with prints; a small floral will give you that Liberty of London look, while a large-scale print will feel more modern and fashion-forward.

SHOP FLORALS

Menswear Inspired

For a traditional menswear-inspired PJ we look at cotton and shirting fabrics. More crisp fabrics will give your PJs a bit more structure as well as being more breathable. If you sleep hot, cotton is for you!

SHOP COTTONS

We've also created fabric kits for Fran using a lovely and fairly heft cotton shirting, get 'em while supplies last. We are still waiting on a long-delayed fabric shipment for our printed sample, but the kit for that set should be coming in January!

Tricks to Save Money on Fabric!

15 June 2023 by Amy

We always have to laugh when someone says they started sewing to save money. As anyone who has been sewing for a while knows, it's not exactly a cheap hobby. Quality fabric is expensive and when you are running low on said fabric it seems especially precious. Whether you don't have quite enough fabric for your next project, are trying to make the best use of scraps, or are trying to max out your fabric budget in general, here are some hot tips to squeeze the most juice out of your available yardage.

Efficient Cutting Tips

There are lots of ways to save on fabric when cutting out your project. Try these tips next time you find yourself short or are using a particularly precious textile.

The best way to save on fabric is to cut on a single layer. You get a much better yield since you can use every square inch. Don't forget to mirror pieces you need to cut two of!
If you're using a woven with a non-directional print you can generally rotate your pattern pieces 90 degrees when laying out your pattern. The long skinny pieces (like packets and drawstrings) can fit into awkward leftover space from pieces cut on the fold. Note that pieces cut on the cross grain may have a *touch* more stretch than pieces cut on the lengthwise grain.
Cut non-visible pieces like facings and pockets out of a different fabric – just be sure you use a fabric with a similar weight and drape (ie. don't use a viscose fabric to face a cotton poplin garment or vice versa).
We put a lot of time and thought into our cutting layouts but you might find we've been a little conservative. If you want to try Tetrising (that's a word right?) it another way you might just be able to make it work! And if it just won't fit...

Colour Blocking or Patchwork

Colour blocking or patchwork doesn't just have to be an emergency solution, but sometimes the greatest designs come from those make-it-work moments! From adding patch pockets in a contrast fabric to a fully patchworked jacket, combining different fabrics is a great way to make a garment from what may otherwise be waste.

Sienna Maker Jacket by Ali // Closet Core Patterns — Sienna Maker Jackets

Combining Fabrics

The most important thing to consider when combining fabrics is that they both have a similar weight and drape. If you're using denim, for example, choose another sturdy denim, twill or canvas to ensure the seams are equally balanced because, over time, seams will tear along the weaker fabric (trust me, I've lost a lot of quilts this way.)

Another thing to consider when combining fabrics is prints and palettes. Choose different small floral prints all in rayon for example, or linen solids in an ombre gradient. On this stash-busting quilted jacket below, Heather combined different black fabrics that all had a slightly different finish. The result is a subtle tone-on-tone effect that is chic rather than crafty. For this Veronik Robe, she combined two sections of the same border print cotton for a contrast effect. Mixing textures like she did with this Clare Coat with leather sleeves feels both elevated and intentional.

Try and use seam lines when planning out colour-blocking projects. You can download paper dolls of our patterns here if you want to print them out and play with colouring them in.

Faye Swimsuit Pattern - Bikini pattern — @stitchmaven

Blanca Flight Suit Round Up // Closet Core Patterns — @stitchmaven

If You're Thrifty - Cheap Fabric Ideas!

If you're like me, you'd rather save your pennies wherever you can! Thankfully there are tons of ways you can find and use inexpensive fabric that still feels luxurious.

Try thrifting tablecloths, curtains or sheets. These also make great candidates for all kinds of dyeing projects. Light discolouration can be easily covered with dye but keep in mind most stains will still show after a dye job since it gets darker as well. You can often find very fine cotton and linen with old tablecloths. Check out some of our dyeing tutorials for ideas!
Shop department and big box store sale sections for sales on cotton and linen sheets, curtains or duvet covers. If they have only a few seams they can be taken apart and used as yardage.
Remnant sections of fabric stores are a great place to find hidden gems. These little bits can be combined in a patchwork or colour-blocking project if you find yourself with only a small amount.
Transforming unworn clothes into new garments is not only a fun challenge but a great way to keep waste out of the landfill. Things like old men's wool pants and blazers can be taken apart and cut into new garments when the fabric is high quality but the style is dated. Same with dresses and gowns with a lot of volume that can be cut down to different silhouettes. Check out the Refashioners hashtag for more inspo on these types of projects.

Shibori Dyeing tutorial // Closet Core Patterns — Shibori Dyeing Techniques

Hope you are feeling inspired to try some of these easy ideas, did we miss anything? What are your tips for saving fabric? Tell us in the comments.

Tips for Sewing with Slippery Fabrics

22 March 2023 by Amy

Our new Sage skirt is beautiful in all kinds of fabrics, but we designed it to highlight beautiful flowy fabrics. While these have lovely movement and drape, they can also be more difficult to work with than stable friends like cotton and linen. We want to share some of our tips for sewing with slinky, silky, slippery, drapey, and (sometimes) tricky textiles. A few adjustments to your normal process will make your life a lot easier and ensure you don't get fed up with what is sure to be a special project. Starting from the beginning with the right approach will save you time and headaches in the future so let's dig in and tackle this beast together: slippery fabrics!

(pssst... We also wrote a blog post on sewing with velvet if you'd like tips on sewing with that particularly tricky beast!)

Tiered Gathered Silk Skirt | Handmade by Closet Core Patterns — A tiered silk skirt

Simone Slip Dress Pattern in silk charmeuse - Closet Core Patterns — A tiered silk skirt

Prepping Slippery Fabrics

Pre-washing your fabric is always recommended but especially for delicate and drapey ones. Some special fabrics like silk can be intimidating to wash, but unless it is a dry-clean-only situation, you might as well figure that out before you create a garment you're afraid to clean! If you're reluctant to wash in the machine, most things can be soaked in cool/warm water with a delicate soap like Woolite, gently squeezed damp in a towel and hung to dry. This will not only remove any chemicals left over from the manufacturing process but will also give your fabric a chance to shrink or relax (you want this to happen to your fabric before you turn it into a 3d garment so the sizing doesn't change on you after the fact). In our experience, nearly all fabrics can be washed in the machine on a gentle cycle. We're also proponents of gently tumble-drying low-lustre silks on low heat to remove wrinkles - the less preciously you treat it, the more likely you are to wear and love it!

After washing, always press your yardage using the recommended iron settings so you're cutting on a flat and smooth later. A silk organza or fine cotton pressing cloth can help prevent scorching or marking the fabric if it has a delicate surface.

Cutting Slippery Fabrics

Since slippery fabrics have a tendency to shift and move around while cutting, it's especially important to make sure you are cutting as accurately as possible. This ensures your pattern pieces aren't distorted or off grain. Here are our top tips for cutting slippery fabrics:

Check the selvedge of your fabric before you start. If it seems to be gathering or pulling on the fabric, cut it off with a rotary cutter so you have a nice flat canvas.
Next, find the grain line of the fabric. Drawing a thread is one of the most suitable techniques for loosely woven, soft or stretchy fabrics. Just cut a snip into the selvedge edge and pull one of the threads, which should make a line along the crosswise grain.
Use a cutting mat or a quilting ruler to line up your selvedge or grain in a straight line. This way you can make sure nothing is shifting off-grain while you're cutting.
For the most precision, especially with satin-faced fabrics that don't lay flat when folded, try cutting on a single layer rather than a double layer. Make sure you are mirroring any piece that needs to be cut twice! For pieces that are cut on the fold, trace the first side with chalk before flipping it along the center axis.
For particularly shifty fabrics, cover the cutting area with felt, cotton muslin, or fleece. Lay the fabric over the cutting area and pin the fabric directly to the underlayer to help prevent slippage. Finally, cut only through your fabric layer with shears.
Speaking of pins: to prevent your fabric from being marred, consider using silk pins, fork pins or clips.
Better yet, use a ton of pattern weights in lieu of pins to secure your fabric. Things you can use when you run out of pattern weights? Soup cans, hockey pucks, flat rocks, hardware, coffee cups, particularly lazy cats.
Never let the excess fabric hang off the edge of a table when cutting. The weight of the fabric will pull, stretch and skew the weave. To keep it from wrinkling you can roll it around a cardboard tube like wrapping paper, or support the excess fabric with an extra stool or chair next to your cutting table.
If your yardage is particularly shifty and unmanageable, try spraying your yardage with spray starch before cutting to help stabilize it. Make sure to test on a scrap of fabric first!
When cutting smaller pieces, block fusing is your friend. Rather than individually cutting each piece from fabric and interfacing separately, press a large piece of fusible to a section of your yardage first. Use this to cut out your (now interfaced) pattern pieces.

Let's get cutting!

Basting Options

Before you get to machine sewing, let's talk about basting and anchoring your pieces. Here are our tips:

Silk pins are ideal for holding together delicate layers and won't snag fabric. You can also try fork pins to reduce shifting. The more the merrier! Just make sure to pull them out as the seam goes under your presser foot!
Hand-basting your seams is a good way to ensure they won't slip around on you. Use a running stitch or a whip stitch to do this. We have a blog post on couture seam finishes for more ideas.
If you are finding you are getting wavy seams or things are shifting around, iron in fusible tape in the seam allowance only.
For layers that slip when together, insert a strip of tissue paper between your layers to give it some structure. Sew right over it and then pull it out when you're finished.

McCalls 7154 - Couture 1930's Evening Gown in 4 ply silk charmeuse // Handmade by Closet Core Patterns

Setting Up Your Machine for Delicate Fabrics

Now that you're ready to sew, here's what you need to know while at your machine.

A shorter stitch length is best. We recommend 10-15 stitches per inch, or stitches that are 1.5-2.5mm long. Try on a scrap first to find the ideal length.
The most important thing for tackling those tricky fabrics is SHARP needles. Choose one designed for delicate fabrics and change it out after about 8 hours of sewing. Always test your needle on a scrap to ensure it won't create snags or runs in your fabric.
If your layers are shifting and feeding unevenly under the needle, try lowering the pressure on the presser foot. Most machines will have a setting for this so consult your manual.
A walking foot can be a godsend with slippery fabrics. It acts as a top set of feed dogs to make sure both layers of fabric are feeding through at the same time and can help prevent wavy seams.
If your fabrics are sliding off your sewing table, cover the table with a towel to help keep it under control.
If your needle is pulling your fabric down into the machine plate (which tends to happen with very fine fabrics like chiffon), try covering the needle plate hole with a piece of scotch tape to "shrink" the hole size. Your machine may also come with different needle plate options with smaller openings - just keep in mind you may not be able to shift your needle width or sew zig-zag stitches with a smaller needle hole.
For all fine and drapey fabrics, french seams are generally the best seam finish. They are strong and best of all, totally enclose potentially fraying seams. Use them whenever possible!

Our New Pfaff Sewing Machines - Pfaff Performance Icon |Closet Core Patterns

And that's it! Do you have any tips for sewing with slippery fabrics?

Pin for later:

Fabric Inspo for the Nicks Blouse & Dress

21 October 2022 by Amy Leave a Comment

Our latest pattern, The Nicks Dress + Blouse, is inspired by none other than the Gold Dust Woman herself, Stevie Nicks. From her flowy boho dresses of the 70s to the sheer, more witchy vibes of the 80s we love her style. That said, you can do a lot with this pattern and if you're looking for a more modern take on boho, we have you covered. While we made many samples in various fabrics, we felt like we weren't totally finished showing you all the options for this release so without further ado, let's get planning!

All fabrics in this post come from our sister brand, Core Fabrics. Click on the image for the link to the exact product we're recommending!

FLOWER POWER

Fabric Inspo for the Nicks Dress & Blouse

We love the look of ditzy florals with the tiers of this dress but you can also use a larger-scale print for a bold effect! Generally speaking, the larger the print, the less you see the design lines while a smaller print tends to read more like a solid. Lightweight viscose, silk, or rayon prints will make your skirt and sleeves swingy and swooshy!

GRAPHIC & GROOVY

We love the look of the tunic-length view in something graphic and bold. We also love the idea of trying the gathered peplum in another print for a colour-blocked effect. Choose complimentary but contrasting prints from our collection of fun viscose prints!

EMERALD CITY

Nicks Dress Pattern | Blouse Pattern | Closet Core Patterns

We love the look of this dress in saturated solids too! Try a textured Tencel or linen-viscose. A sand-washed cupro feels like silk without the cost of silkworm labour.

SHEER MAGIC

If Stevie were wearing this pattern it would definitely be sheer. Make a softly translucent blouse or dress and pair it with a cami or slip dress (maybe our Simone?) to pay homage to the flowy and sheer boho dresses of the 70s that inspired this look.

WE LOVE LINEN!

The softness and breathability of linen is the perfect match for the blouse or dress view of Nicks. We love the drape of our Midweight Core Collection linen, and with lots of colours to choose from you will be able to find the perfect shade for your colour palette. You can also try our lightweight range of linen, or our nubby and cozy linen-viscose blend. On its own in the summer or layered up with boots and sweaters in colder weather, this is the kind of dress or blouse you will reach for again and again.

NOTIONS

Some views of Nicks call for elastic in the cuff and waistband. This 1/2" braided elastic is a perfect choice. And if you are making a view with button loops and little buttons we have all kinds of pretty ones in stock!

So which are you gonna try first??

Fabric & Styling Inspo for the Mitchell Trousers

13 October 2022 by Amy Leave a Comment

Our latest pattern, the Mitchell Trousers are inspired by the musical legend and style icon Joni Mitchell. Her trademark menswear looks and timeless elegance were what we were looking at for ideas when making our samples and so we have put together some fabric ideas to get you inspired as well! There are two views with these trousers, the tapered or wide leg and we tried a variety of weights and textures for the models' samples. The pattern calls for sturdy woven fabrics like light to midweight denim, twill and canvas, and midweight linen, cotton, and wool suiting. However, a softer effect can be achieved with midweight fabrics with drape, such as Tencel twill, wool crepe, or silk noil. Let's look at some options!

WOOLS & JACQUARDS

For our model Sheila, we used a beautiful deadstock Glen Plaid wool suiting. For a simple men's tailoring hack to lining a wool version, all you need to do is cut a second pants front in lining fabric (but only to the knee.) From there you would use pinking shears to trim the bottom of the lining piece, baste to your pants' front, and treat the whole thing as one from there on out. Easy!

TEXTURED COTTON

Judging by your response, the version of these trousers we made, in our Honey textured cotton, was the pair to beat! We sold out of pretty much every colour we had of the textured cotton but we just restocked them, so grab them before they go again!

COTTON CANVAS

Although we didn't end up making a pair for a model Heather made the tapered version in the marshmallow canvas above (more on that later) and they turned out great! If you are using heavier fabrics for Mitchell you could make the waist-facing and pocket facings out of something more lightweight to reduce bulk. Cotton or flannel is soft and easy to work with.

DENIM

For Mitchell, we recommend using very lightweight to medium-weight non-stretch denim. Sheila's pair in the darker denim is actually a shirting fabric and the cream pair (in recycled denim) for Trudy is 10.5 oz. Perfect for an architectural pleat like this one.

MID-WEIGHT TWILL

Our Japanese midweight cotton twill is the perfect fabric for a project like Mitchell. Heather made herself a pair in the army green and we are all green with envy (sorry). Crisp but with plenty of heft these would be great office wear that would last forever.

So? Which are you gonna try first? Tell us in the comments.

Fabric Suggestions for the Céline Bralette and Anaïs Undies

28 March 2022 by Amy Leave a Comment

Hi all, Amy here. Last week we had one of our biggest launches to date, our Chez Moi Collection: with four new patterns a course and kits and fabrics from Core Fabrics! The response has been overwhelming and we are so happy to have these things out in the world, after being worked on for over six months. Today we wanted to dig a little deeper into our offerings by focusing on the stars of the show: our new bralette and undies patterns. The heart of any lingerie collection has got to be the lingerie so we'll show you how these patterns can be made in a variety of fabrics and notions to get the most out of these designs.

CELINE BRALETTE

The Céline Bralette is a soft cup bralette with light support and a dart for shaping. Designed for everyday wear and casual lounging, create a wardrobe of unique bralettes by playing with fabric and construction combinations.

Unlike underwired bras that depend on non-stretch fabrics to create structure, this design relies on knit fabrics with good recovery to create comfortable, resilient support. Look for stretch fabrics that contain at least 5% spandex, lycra or elastane, and have a minimum of 50% stretch. The double layer fabric in the cups adds body and support while allowing for a clean neckline finish.

VIEW A:

Celine Bralette pattern | Bra pattern | Closet Core Patterns

This view features a mesh or lace insert along the neckline, a fold over elastic finish, uncovered plush-back underbust elastic and a curved back band with bra strap sliders in the front.

VIEW B:

This view is a more minimalist style, with a clean-finish neckline, underbust elastic wrapped in matching fabric, and adjustable straps with back sliders. The 14-32 range has a higher plunge and extra seam for a little more support.

SUGGESTED FABRICS

Cotton spandex, bamboo/rayon spandex blends, stretch modal, scuba, swim lycra, stretch lace and stretch mesh can be used for both the cups and the back band. Power mesh can be used for the back band if you'd like additional support.

• Note for lined cups: Since you will be doubling the cup fabric to use as a lining, choose light to mid-weight knit fabrics that will not create too much bulk when doubled, such as stretch mesh and lightweight stretch rayon, modal and cotton. If you would like to sew a lined cup with a thicker fabric, consider lining with a lighter weight knit like stretch mesh or lightweight jersey to reduce bulk.

• Note for back band: For light fabrics, we suggest doubling the back band fabric for maximum support. You can also line with mesh, use double layers of mesh, or substitute the fabric for power mesh.

ELASTICS FOR BRA-MAKING

In order to make the most comfortable bra, please shop for elastics designed specifically for bra making unless otherwise stated. Lingerie elastic has a plush back on one side to provide softness and comfort against the skin.

Bra strap elastic (1/2" (13mm) wide)- Often has a satin face on one side, and a plush back on the other. Should have a firm stretch with exceptional recovery. Can purchase wider styles for additional support, or narrower ones for smaller sizes.

Plush back elastic (3/8" (10mm) wide)- This style of elastic has a plush back and features one plain edge and one scalloped or picot edge. Choose simpler styles for a clean, minimalist bra, or more decorative styles for fun contrast.

Plush back band elastic (3/4" (19mm) wide)- Similar to above with a plush back. Most often found with a picot edge, but we prefer a clean edge on both sides if you can find it. Should be medium firm with excellent recovery.

Regular polyester elastic (3/4" (19mm) wide)- If you'd like to wrap the underbust elastic in matching fabric, you can substitute 3/4" (19mm) plush back elastic for regular polyester elastic. Look for a medium-firm elastic with excellent recovery.

Fold over elastic (FOE) (3/8" (10mm) wide)- Lightweight elastic with a crease down the middle so it can be folded in half and wrapped around fabric in clean edge. Often found with a shiny and matte side. If you are using on a view that calls for plush back elastic, you must remove 3/8" (10mm) seam allowance first!

NOTIONS

Both views of this bralette require a few other bra making supplies. You will need: two o-rings for the straps, two bra sliders and one double or triple hook and eye closure.

KITS!

To try and make this as easy as we can for you, Core Fabrics is carrying a few different options of fabric kits to accompany this release. They are in very limited quantities (so don't wait!) and have the option to include the patterns or not if you want to source everything in one click! There are seven beautiful colours of organic cotton and tencel blend jersey. The most luxurious fabric to have on your most delicate bits!

THE ANAÏS UNDIES

Style, comfort and coverage in one tidy package, the Anais Undies are a versatile pattern designed to create a wardrobe of underwear you'll be delighted to wear all day long.

VIEW A:

Anais Undies | Underwear pattern / panty pattern | Closet Core Patterns

This view is a panelled brief with no side seam and good cheek coverage. Perfect for colour blocking or mixing and matching fabrics, it can be made in a high-rise or low-rise bikini style. View A can be made using a variety of fabrics but we suggest sticking to light-mid weight knits for this style. You can use the same fabric for front, side and back, or have fun with fabric or colour mixing. We especially love stretch mesh or stretch lace along the side panel for a bit of peekaboo skin.

VIEW B:

is a slightly cheekier style designed to eliminate visible panty lines by doubling the back in mesh to create a highly comfortable and seamless effect. Both views can be made with fold over or plush back elastic. There are high and low rise options for this view as well. Due to the seamless design of View B, the back panel must be made with stretch mesh, although you can use any of our suggested fabrics for the front panel. If you'd like to make an all mesh version, cut a double layer of mesh for the front if you'd like more coverage, a single layer for less coverage.

SUGGESTED FABRICS

Look for stretch fabrics with excellent recovery. They should contain at least 5% spandex, lycra or elastane, and have a minimum of 50% stretch. We suggest: cotton spandex, bamboo/ rayon spandex blends, stretch modal, swim lycra, stretch lace and stretch mesh. For breathability and comfort, use cotton, bamboo/rayon or modal spandex or jersey for the crotch gusset.

ELASTICS FOR MAKING UNDERWEAR

Fold-over elastic (FOE) (1/4" or 6mm wide)- We suggest FOE with a finished width of 1/4"/6mm (1/2" when open) but you can also use 3/8"/10mm.

Plush back elastic (3/8" or 10mm wide)- Plush back elastic requires a seam allowance while fold-over elastic does not. To make it easier to substitute fold over or plush back elastic regardless of view, we have drafted both views for either style of elastic. When printing and assembling your pattern, ensure you are using the correct pattern pieces for your choice of elastic.

LEARN TO SEW LINGERIE

If you are feeling a little overwhelmed or are new to lingerie sewing our course is a great place to start! In it, Heather walks you through all the tips and tricks for beginners and guides you through sewing both the bralette and undies. The patterns are included along with a bunch of resources for fit, fabric and even how to dye your own notions for truly custom lingerie!

So that's it! Are you feeling ready to make some lingerie?

Understanding Knit Fabrics

8 April 2021 by Amy Leave a Comment

Hi all. Amy here. Our latest mini collection of patterns is designed for knits, and the Mile End Sweatshirt and Plateau Joggers can be made with a variety of fabrics with a minimum of 15% crosswise stretch; we prefer the structure of beefier knits like sweatshirt fleece, french terry, ponte and double knits. For joggers, you can also use medium to heavyweight jersey knits, but because of the details and proportions of the sweatshirt, we think it looks better using those more structured, thicker knits.

In this post, we thought it might be fun to get a bit educational about knits, since they are often viewed with some trepidation, especially by newer sewists. There are a lot of terms used when describing these fabrics, so hopefully, this will help you source your knit fabrics with confidence!

UNDERSTANDING KNITS

First, let's talk about the structure of knits. Knit fabrics are naturally stretchy due to the way they are produced. Unlike wovens, which are woven together using stable weft and warp threads, knit fabrics are actually knit together. That construction creates a natural "mechanical" stretch.

JERSEY

Jersey is a stretchy woven fabric that gets its name from the place in the Channel Islands of the UK where it was originally knit from wool. Today jersey is most likely knit from cotton and synthetic fibres and is the fabric most consumed in the textile industry in things like t-shirts, underwear and other RTW staples. The mechanical stretch is often helped by the use of spandex or lycra which also provides fibre stretch. It can be very drapey and depending on the fibre used, varies in both quality and price.

SOURCE IT HERE: Organic Cotton Jersey Knit, Organic Cotton + Tencel Stretch Knit Jersey, Silk Jersey

USE IT FOR: T-shirts, dresses, kids' clothes, leggings, body suits, and underwear.

INTERLOCK

Interlock knits are a variation of rib-knit construction with an identical look on both sides. The fabric will have the appearance of little Vs on both sides of the fabric and this allows it to drape and stretch very easily on the body. It is both soft, firm and absorbent, making it perfect for activewear. The fabrics have great stretch and good recovery.

SOURCE IT HERE: Organic Cotton Bamboo Interlock Knit

USE IT FOR: T-shirts, leggings, and shorts.

RIB KNITS

Rib knits use both a knit stitch and a purl stitch when being knit together giving this fabric the appearance of being cabled or having ribs. It has a lot of sideways and crossway stretch making it ideal for cuffs and collar bands that need both stretch and recovery. You can usually find a matching (or contrasting!) fabric to trim your garment.

SOURCE IT HERE: Organic Cotton Baby Rib Knit, Tencel Modal Rib Knit, 2x2 Baby Rib

USE IT FOR: Cuffs, neckbands, turtlenecks.

Fabric Suggestions for the Montreal Collection // Closet Core Patterns

FLEECE

Fleece is a soft, cozy fabric with a smooth side as well as a napped, fuzzy side. It can be made from a variety of natural and manmade fibres and was originally produced to mimic animal fleece (think goat or sheep) but these days there are tons of different types of fleece available and it can be used in many different ways. Fleece fabrics are warm and very comfortable to wear and are economical too. Fleece's weight is measured in gms per square meter/yard to determine the thickness of the fabric. Look for descriptions like grams per square meter or ounces per square yard. 300 - 400 grams per square meter and 10 – 14 oz per square yard are considered heavy-weight winter fleece. Summer weight fleece will range from 220-280 grams per square meter or 7-10 oz. per square yard.

SOURCE IT HERE: Bamboo Cotton Stretch Fleece

USE FOR: Sweatsuits!

POLAR FLEECE

Traditionally made from polyester, polar fleece fabrics come in different thicknesses: micro, 100, 200, and 300, with 300 being the thickest and least flexible. It is hydrophobic, holding less than 1% of its weight in water. It retains much of its insulating quality even when wet. It can also be made out of recycled polyethylene terephthalate (PET) bottles or even recycled fleece. It is napped on both sides making it look fuzzy all over.

USE FOR: Sweatsuits, outerwear.

FRENCH TERRY

French terry is a fabric similar to jersey with loops on one side and smooth fabric on the other. It is a mid-weight knit, heavier than a typical t-shirt but not as heavy as regular fleece. It is moisture-wicking and keeps you cool making it perfect for spring/ summer weight sweats and activewear.

USE IT FOR: Sweats, shorts, dresses.

PURL KNIT

Double-faced, reversible fabric produced by intermeshed rows of knit and purl stitches, which appear as loops in the crosswise direction. Sometimes called “Links-Links,” from the German word links (“left”), since the knitting machine’s mechanism always moves to the left. Usually heavy and bulky; stretches in both directions. Cut edges do not curl.

SOURCE IT HERE: Cotton Sweater Knit

USE IT FOR: Sweaters, jackets.

DOUBLE KNITS

Made with two sets of yarns, this double-constructed fabric has fine ribs running lengthwise on both sides. Usually looks the same on the fabric’s face and reverse, making it reversible. Fancy double knits may have novelty stitches on the fabric’s face and fine ribs on the reverse. Heavy, firm; usually has almost no stretch in either direction. Good shape retention; cut edges don’t curl.

USE IT FOR: Jackets, outerwear, oversized tops.

PONTE

Ponte is a thick, double-knit fabric design produced on double jersey knitting machines. It is one of the firm, stable structures of knits with a subtle sheen. This fabric is heavier and thicker than a regular jersey. As with most of the other double-knit designs, Ponte is reversible. The fabric is also known as ''Ponte di Roma."

SOURCE IT HERE: Viscose Ponte Knit

USE IT FOR: Jackets, and structured sweatshirts with plenty of ease.

Now go forth and make all the cozy clothes!

Get Pink! How to Dye Clothing & Fabric with Avocados

9 November 2020 by Heather Lou Leave a Comment

In the last post in our dyeing series, we covered the basics of natural dyeing. Today we are going to share a more specific tutorial on dyeing with an ingredient you likely throw in the compost bin without a second thought: avocado skins and stones! Avocado dyeing is not only a super accessible dye project, but it creates some beautiful shades of pink. Let's get into it!

The reason avocados make such a rich dye source is the abundance of tannins in the skins and stones, the same molecules that make black tea stains linger. One or two avocado stones won't cut it; you'll need to collect sufficient quantities in order to get decent results (more on this below!) Regardless, it's such a great example of the magic of natural dyeing; who would ever think that a green avocado skin would make such a pretty millennial pink?! Read on to get started with avocado dyeing.

Dyeing fabric & Clothing wth avocados // Easy Natural Dyeing tutorial // Closet Core Patterns

Avocado Dyeing Supplies

Avocado skins and/or stones. Both will dye fabric; experiment and see what you prefer. A good rule of thumb is a weight of 3:1. You'll need 3x the amount of skins/stones to fabric (2:1 will provide lighter results). An average avo stone weighs just under 50 grams. Accordingly, for 100 grams of fabric you'll need about 6 stones. For a 2.5yd length of fabric, you'll need minimum 25-30 stones depending on weight.
Fabric or clothing, natural fibers only! Protein fibers like silk and wool will create deeper colours than cotton and linen.
A stainless steel pot big enough to hold your fabric (it needs to be able to circulate freely). This should be a dedicated pot for dyeing, not something you are also using for cooking.
A set of tongs and a spoon to stir your pot (again, used exclusively for dyeing)
A thermometer - It's important you bring your water to specific temperatures, so get a thermometer you can use just for dyeing. My favourite is the instant-read Thermapro.
A heat source. Your stove, most likely.
Digital kitchen scale to measure your dyestuff and fabric.
A protective sheet to avoid staining your counters, and an apron to protect your clothes.
Mordant! I have seen a lot of questionable advice online for using things like soy milk and vinegar as a mordant. Neither of these is an actual mordant, and as such is not a molecule that will help you create deep, saturated and most importantly, colourfast and lasting results. If you're going to all this trouble please source some alum! You can use alum potassium sulfate (the same ingredient used in crystal deodorant) or aluminum acetate (for cellulose fibers only, available at most grocery stores in the spice section, used for pickling). Either of these will help create longlasting and saturated colours.

Now... where does one get all this avo waste without making themselves sick on guacamole?! While this is always my first instinct, my advice is simply to start saving skins and stones every time you use avocados. Give them a good scrub to remove the green flesh, and then store them in a ziploc bag in your freezer. Alternatively, make friends with the folks at your local sushi, Mexican or poke spot and ask them to hang on to their avocado refuse for you. Lucky for me, my pal runs a poke restaurant around the corner from my house, so I can hit him up for those sweet, sweet stones whenever I need them.

THE DYEING STEPS

1. Weigh your fabric and figure out how many skins and stones you need.

2. Scour (aka wash) your fabric or clothing. This is always the first step in a dyeing project. You want to make sure you're removing not just chemical sizing, but also any skin oil residue to ensure even dye penetration. I cover scouring in more depth in this post, but if you don't have any soda ash at your disposal, using a mild detergent in the washing machine is the next best thing. If you've become a dye nut like me, pick up some synthrapol detergent - it's the best for preparing fabric for dyeing.

3. Mordant your fabric. The ratio here is about 10% of mordant to fabric, (ie. 10 grams of mordant : 100 grams of fabric). Or less precisely, for every 100g of fabric, 1 tbsp of alum. In a large bucket or your dye pot, mix the alum with hot water, add your fabric and let soak for 1-2 hours. Then, gently squeeze out the excess mordant (you can reuse your mordant bath) and rinse before moving to the next step.

4. Make your avocado dye! Add your skins and/or stones to the pot (remember to really scrub those stones and skins - leaving flesh on muddies the colours) and cover with enough water to allow your goods to move freely around. Keep in mind that the more water you use, the more diluted the dye will be. Gently bring this up to a simmer, and hold at a simmer for least an hour and a half. It's important not to bring this to a hard boil, or you risk muddy colours. You can also let this steep overnight for even deeper colour.

5. Strain out the solid materials.

6. Add your fabric to the pot. Bring back to a simmer and hold there for at least 30 min. Let soak for 1-2 hours or overnight.

7. Remove your good from the dyebath and gently squeeze out the excess dye. I give it a rinse in the sink before washing. Again, use mild dish soap or some synthrapol.

FAQ

Can I do shibori or tie dye with avocado dye?

Absolutely! For one of my experiments, I tied up a linen dress with string to get a bit of a stripe pattern (more details on this in our indigo shibori post). In order to get crisp contrast, you need to do this when the fabric is dry, so scour, mordant and rinse your fabric first. Let it air dry and then fold or wrap the dry fabric as desired before adding to the dye pot.

Why do I get such different results every tinme?

Since we are using natural materials, it's really difficult to standardize. So many things can affect the depth of dye, from the pH level of your water to the tannins available in the avos... This is part of the fun and experimentation!

Help! I'm getting super muddy or muted colours!

First, make sure you really scrub all the little green bits off. I use a scrub brush and warm water rand really get in there. Second, it could be an issue with your water. If you feel like going full lab scientist, test the pH. The more alkaline, the better the result. If the water is too acidic, you can try and neutralize it with a bit of baking soda. Alternatively, use distilled water only.

Do I really need mordant?

Listen, live your life! If you can't source alum, go ahead and dye anyway. Tannins do hold on pretty well (ie. me and every tea stain ever) but over time and with washing, your fabric will fade. You are certainly welcome to try soy milk as a mordant if you feel like experimenting!

Why did I get such different hues when I dyed different fabrics?

Protein fibers like wool and silk absorb dye more deeply than cellulose fibers like cotton, linen, hemp and rayon. Try diluting the dye a bit with water for lighter shades on protein fibers, and try letting your cellulose fibers soak for longer.

There you go friends! I hope this encourages you to start hoarding avocado stones like little DIY squirrels. Any questions for me or hot tips about avocado dyeing?

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Natural Dyeing 101 - How to Use Natural Dyes!

22 October 2020 by Heather Lou Leave a Comment

We've covered some dyeing basics in the first post in this series, and now we are going to start digging a bit deeper into the finer points of natural dyeing, something that has grown increasingly popular in the last few years. Whether it's fashion designers using natural dyes exclusively for their collections, quilters creating hand-dyed masterpieces using plants from their garden (#goals), or sewists and makers turning to natural dyes to customize the fabric and materials they create with, natural dyes are having a MAJOR MOMENT.

It's easy to see why. Many of us start sewing because we don't want to participate in the toxic nature of the fast fashion industry, and few elements of fashion are literally as toxic as the dyeing process (I highly suggest reading these articles from Fashion Revolution and Vogue Australia to learn more about the impact industrial dyeing has on the environment). While natural dyes in and of themselves are gentle to the earth, it is important to note that they do require mordants to set (more on this in a moment). From my research, using alum or tannic mordants are quite safe; it is the tin or copper mordants used industrially that may pose a danger when used in large quantities. Using alum or other gentle mordants, it is perfectly safe to dispose of dye vats down the drain, but be mindful if you have a septic system. It's important to maintain the proper pH in a septic tank, so you'll either want to dilute your exhausted dye baths with water, or neutralize the pH with an acid before disposal.

Napkins dyed with indigo, Quebracho red and cutch.

As I mentioned in my introductory post, I LOVE the colours you can achieve using natural dyes. So far I've experimented with five extracts, and there is a tonal depth and richness to them that would be tricky to recreate with a commercial dye. Used straight up, it's possible to get deep reds, rich yellow, vibrant indigo, soft greens, pinks and earthy neutrals; more advanced dyers can experiment with mixing, overdyeing and using various mordants to get even more shade variants (I was blown away by the palette of colours Kristine and Adrienne were able to create in their latest book - highly suggest picking it up if you'd like to see just what is possible with natural dyes!)

Example of shade variations achieved in Journeys in Natural Dyeing

Since you are dependent on dyes that naturally occur, you may never get the truly endless tones achievable with commercial dyes, but the quality of colour possible with natural dyes is so seductive I don't think you'll mind!

SOURCING NATURAL DYES

A selection of natural dye extracts available from Maiwa

While you can get started right away using easily accessible ingredients from your grocery store or garden, there are also a variety of commercially prepared natural dyes you can purchase in powder or liquid form. Here are a few sources:

Maiwa in Canada. The widest array of natural dye extracts I've found.
A Verb For Keeping Warm supplies a variety of natural dyes and kits - I like that you can buy in smaller quantities.
Botanical Colors have a wider variety of colour and supplies.
Wild Colours in the UK
Couleur Grance in France

Powder and liquid dye from A Verb for Keeping Warm and Botanical Colors

Most shops will include sample photos to illustrate how dye will react to various fibers. Personally, I love cutch (shades of earthy terra cotta), madder (deep, vibrant red), indigo and weld (a deep Closet Core yellow). If you're purchasing extracts, I suggest starting with a sampling of dyes that speak to you; you can build a pretty extensive range of shades by mixing a few basic colours.

Colours achieved with Quebracho red, cutch and madder

That said, one of my favorite things about getting started with natural dyeing is that you don't need to look very far for ingredients, whether you're foraging from the garden, your pantry or the grocery store. You will likely be surprised what can be used as a dye, from plants, roots, bark and nuts, to more unorthodox items like mushrooms and lichens.

Time for a disclaimer; I've seen lots of tutorials online claiming you can use all sorts of random foods to dye your clothes. What they often fail to mention is colorfastness; just because beets stain fabric doesn't mean that stain will survive exposure to UV rays or your washing machine. Regardless of whether you use commercially available natural dyes or something from your garden, you MUST scour and mordant before applying if you want your dye to last. Even with proper preparation, some dyes are naturally more colorfast than others, and as you experiment you'll discover which last longer over time.

Natural Dyes You Can Find at the Grocery Store or in Your Garden

Onions skins (yellow skins create gold, red skins are more pink/brown)
Pomegranate skins (golden yellow)
Avocado skins and seeds (warm pink and terracottas)
Rhubarb roots (earthy yellow)
Walnut shells (earthy browns)
Hibiscus flowers/tea (bright pink)
Marigold flowers (bright yellow)
Eucalyptus (earthy yellow brown and green)
Black tea (warm ochres, cream, brown)
Turmeric (warm gold)
Red cabbage (pink to purple tones)
Beets (purpley red)
Rosemary (soft greens)

DYEING TOOL KIT

Whether you are dipping your toe into dyeing for the first time, or have become so obsessed with dyeing you have non-stop fantasies about creating a "wet" studio and growing an organic dye garden (Um, just me then?) you will need to gather supplies for a dyeing tool kit. Most of these supplies you may already have laying around the house; otherwise a visit to your local dollar store should fill in the gaps.

Natural Dyeing Tools & Supplies

A stainless steel pot big enough to hold your fabric (they need to be able to circulate freely). This should be a dedicated pot for dyeing, not something you are also using for cooking (because *safety*). A variety of pots is helpful - I have a small pot I use for small batches, and a big stock pot that can fit a few yards of fabric.
Plastic buckets. Helpful for storing wet fabric, mordanting and rinsing. I use the big ones you can get from Home Depot.
A notebook/journal. I stressed this in my last post, but it's SUPER important to track all your steps with each project, both to recreate results and form a deeper understanding of how various dyes, mordants and ratios work.
Measuring spoons and cups. Again, these should be exclusively for dyeing - don't use your baking stuff!
Mixing spoons and sticks to stir your cauldron like a good witch.
Tongs to move goods around.
Rubber gloves and a mask to protect your skin and lungs (you should always wear a mask when you're handling dye powders!) Thankfully there is no shortage of masks in our homes these days.
Thermometer - It's important you bring your water to specific temperatures, so get a thermometer you can use just for dyeing. My favourite is the instant-read Thermapro.
Timer (I use my phone).
Heat source. More than likely you'll be using your stove, but in my wet studio fantasy, I have a fancy hot plate.
Digital kitchen scale - you'll be creating your dye recipes based on the dry weight of the fabric you'll be dyeing. It needs to be able to measure small quantities like ounces and grams, so your bathroom scale won't cut it.
Cheese cloth is helpful for straining dye extracts and making mordant bundles (if you'll be creating a wheat germ bath, for example).
Protective sheets for your work surface - I use a garbage bag to make sure I'm not accidentally getting dye on my butcher block counters.
Dye, either extracts or whole dyestuffs.
Mordant - alum potassium sulfate or aluminum acetate (cellulose only).
Soda ash, for use in the scouring process.

THE DYEING PROCESS

The dyeing process can be quite complicated; people write volumes of books on the subject, and there is a tremendous amount of variation that you can expect based on dye source, water quality and hardness, temperature and fiber source. It would be impossible to cover everything in one blog post, but I can provide a few basic guidelines to help you get started. Below I cover the main steps in brief. For more detail, I highly suggest checking out Maiwai's free guide to natural dyeing or The Modern Natural Dyer; both are great resources although each has their own guidelines and preferences. Experiment and see what you like best!

The following is a basic order of dyeing operations. Please keep in mind, this process does not apply to indigo, which has its own unique process we hope to cover in the future.

1. PREPARE

Before you start dyeing, measure your fabric while dry so you know what dye to water ratio you'll need in order to prepare your goods. Once your goods are weighed and you've recorded the number, soak the fabric in water until it's thoroughly wet before moving to the next step.

2. SCOUR

As you know, most new fabrics are coated with chemicals called "sizing". This needs to be removed before you can start dyeing. Even if you've prewashed or pretreated your clothing or fabric, you still need to scour your goods to ensure there is no other residue that may affect the dye from penetrating evenly. Scouring protein (silk & wool) and cellulose (cotton, linen, rayon, hemp) fibers differ, but in general you want to mix the scouring agent with enough water to cover your fabric. Protein fibers can be scoured with dishwashing detergent, while cellulose should be scoured with soda ash (also known as washing soda). A general ratio is 5g of soda ash for every 100g of cellulose fabric, or 1/2 tsp of dishwashing soap for every 500g of protein fabric. Over a half hour, bring the water to 180 F, ensuring it doesn't do a hard boil. For the next half hour stir every ten minutes or so, and then let the water cool.

3. MORDANT

Once the fabric has been scoured, it must be soaked in a fixative solution to help anchor the dye molecule to the fabric. This step should never be skipped. Generally the mordant is metallic salt; alum or Alum Potassium Sulfate is the most commonly used for protein and cellulose, and it's the safest to use at home (if you need convincing, alum is the same ingredient used in those crystal deodorants, which is the only deodorant I use!) You can also use aluminum acetate on cellulose fibers only. Sometimes you'll see advice to use tannins (like tea) or soya milk, but they are not true mordants, and for best results should be used in conjunction with alum for the best, most colourfast and reliable results.

To mordant cellulose fibers, add enough hot water in your bucket to cover the goods. For every 100g of fabric, add 1 tbsp of alum and mix well. Add the fabric and let soak for at least 2 hours. Then, gently squeeze out the excess mordant (you can reuse your mordant bath) and rinse before moving to the next step (failing to rinse results in super streaky colours, as I discovered on some precious vintage napkins, wahhhh!)

In The Modern Natural Dyer, Kristine also recommends a second soak in baths of chalk or wheat bran. This step removes excess mordant and helps shift colours in different directions. I like using wheat bran since it's readily available, and make a little bundle with cheesecloth to prevent the particles from getting all over my fabric. More info can be found here.

4. DYE

The fun part begins! I'd like to quote from Maiwa's guide here because they explain the ephemeral-ness of natural dyeing so well:

"Before beginning, keep in mind that dyes are not like paints: dyes combine with fibers to give character and personality, depth and texture. They do not produce a uniform, even, shade. It is these variations that give an added dimension and excitement to natural dyes. Like fine wines that change with the years to reflect the weather of the seasons, the conditions of the soil, and the tastes of the vintner; dyes will give slightly different shade each time they are used."

The ratio for dye to water will differ depending on the type of dye you're using, and whether it's whole or an extract. We can't cover each dye here, so do your research and/or consult the directions provided by your supplier. The dye will be mixed with water before adding your goods. The pot will be brought up to temperature (185F for silk, 195F for wool and 200F for cotton) and then held at that temperature for 1 to 2 hours depending on dye. The fabric should be gently turned and mixed every 20-30 minutes. Deeper colours can sometimes be achieved by letting the dye soak overnight.

5. WASH

Once you've dyed your fabric or garment, it's time to wash it and remove any lingering dye. Since some dyes need time to set, it's best to wash them without soap the first time. Give them a few weeks to set or cure, and then you can wash with a mild soap.

Phew! As you can see, natural dyeing is a rich and complex subject. I hope this gives you a good overall picture of the natural dyeing process. Speaking from experience, it's a delightful practice, filled with experimentation and discovery, and one that adds a richness to sewing. I love the idea of taking a raw, undyed piece of fabric and transforming it into a garment, from colour concept to final construction. So exciting!

Next week, I want to share an easy natural dyeing project you can do at home, so start making a lot of guacamole and saving your avo pits because we'll be creating the perfect millennial pink with avocados!!

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Fabric Suggestions for the Elodie Wrap Dress

25 August 2020 by Amy Leave a Comment

Hello! Amy here. Last week we debuted our latest pattern, the Elodie Wrap Dress. The response has been really lovely. So many of you seemed excited to get started on this project and since it is a really beautiful canvas for some special fabric, I was looking forward to putting together this post! Elodie is a super versatile dress and more than almost any other pattern we've ever released, it is truly transformed by the fabric you choose. With the short length with the short sleeve, you can add big patch pockets and it is a very casual, everyday kind of wrap dress. Make it midi or maxi long with the elbow-length sleeve and you can create the most luxurious of gowns. In order to get your wheels turning about the options for Elodie, I have put together this fabric sampler (which I tried to pull from independent fabric stores that are part of our resource list), so you can get started on your version!

LINEN

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What do I say about linen that we haven't already said? Timeless, classic, hardwearing and beautiful, linen is always a great choice. It can take you from the hottest summer to the deepest winter since it is warm when it's cold and breathes when it's hot out. I love how it looks wrinkled and it seems to get better the more you wash it. It might not be cheap, but it will last forever. In terms of this dress, this is a great option for the optional patch pockets since they will hold their shape and not drag the skirt down. You could use a very lightweight washer linen all the way to a heavier weave, which would give the shorter skirt a cute silhouette.

VISCOSE

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Viscose is a great option for all the views of Elodie. The long sleeve looks especially great in something with a bit of heft to the drape and the twirly skirt is lovely in something swishy and light. There are so many different varieties it's tough to choose just one, which is probably why you should make more than one...just sayin'.

COTTON

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Is there anything more summery than a cute sundress in a crisp cotton? I love the short/short version of this dress in some pretty shirting fabric and that bandana print absolutely screams to be made into a dress for a picnic. I personally want to make a beach/pool cover-up version of this dress in something like that chair print to wear as a summer robe over a bathing suit. So easy to throw on and it can double as a towel!

RAYON

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There are so many cute rayon prints in fabric stores right now! It seems like designers are working overtime to crank out gorgeous textiles begging to be added to my stash. While this dress looks super pretty in simple solids, it also makes a great canvas for a fun print! I love the idea of wearing some of these earthier toned dresses over a black turtleneck with tights and boots in the fall. I think this dress will transition well to other seasons.

OTHER

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Whether it be a crepe, charmeuse or even an embroidered cotton, if you're making Elodie for a special occasion you can justify splurging on some special fabric! This is where the designer in you can take the reigns! The simple design lines of this dress work with so many different textiles so feel free to let your mind wander when it comes to options. I think this will be a dress that can serve a lot of functions in your wardrobe, so don't be afraid to experiment!

Fabric Suggestions for the Blanca Flightsuit

20 May 2020 by Amy Leave a Comment

Our Blanca Flight Suit launched last week and we couldn't be more thrilled. We have shared a tester round-up here, a round-up of some RTW inspiration here and we did a fitting post here but now it's time to share some of our suggestions for fabric that works well with this pattern. This design calls for a sturdy woven with no stretch but you could definitely try some things I haven't included below. Heather's versions in denim and linen have really different looks so the fabric you choose can really impact the design of your finished garment.

psssstt... This post is a few years old so many of the fabrics we provide below may no longer be available. We have a number of high-quality, curated fabrics and all the supplies you need for Blanca available at Core Fabrics (our sister brand) so you may want to take a look there first!

CANVAS & DUCK

Fabric Suggestions for the Blanca Flightsuit // Closet Core Patterns — 1 //2 //3 //4 //5 // 6 // 7 // 8 // 9

A bottom weight canvas is the most obvious choice for the Blanca Flight Suit. It doesn't have to be in predictable army green, however. Made up in a sunny gold or a soft lavender you can really up the fashion factor and downplay the utility.

DENIM

Heather's denim version with white topstitching had a 70's vibe. And Blanca's white version is so cool and futuristic it looks destined for NASA. Other colours of denim could be cute for spring and when fall rolls around I'll be making up a heavyweight white denim version to wear over turtlenecks.

LINEN

We got so many lovely comments on Heather's breezy linen version in chartreuse. Made up with the short sleeves, Blanca is totally ready for spring and summer and we can't wait to see some playsuit hacks where she gets made into shorts!

TWILLS (TENCEL TOO)

Amy made a Tencel version of Blanca that will be coming to the blog soon. Most of these are straight cotton twill but a heavy silk or Tencel (while a bit trickier to sew) makes this jumpsuit dressy enough for heels. We can't wait to see all the versions of Blanca and how you make her your own!

What are you going to sew Blanca out of??

Fabric and Supplies for the Sienna Maker Jacket

17 October 2019 by Amy Leave a Comment

In case you missed it, our sewalong for our Sienna Maker Jacket is now live! We have a few additional posts we'll be sharing in the coming weeks, but if you need help with any particular step now, we have you covered.

Today we want to talk about fabric and supplies for Sienna. We've had a lot of questions about fabric in particular, so hopefully, this will help you source what you're looking for!

SUPPLIES

Depending on what view you're making for Sienna, you may or may not need to pick up a few supplies. Here's what we recommend:

Topstitching thread. This is optional since you're welcome to use regular polyester thread, but you may want to consider if you want a subtle or high contrast look for your topstitching. No topstitching thread on hand? Try using a triple stitch for a nice beefy stitch.
D rings - 1.5" wide for View A & B. We have some of these in our shop, but if you'd like to skip D-rings, you can also leave them off when you're sewing the D ring strap and simply use it as a fabric loop to wrap your belt through.
A buttonhole chisel would be helpful to open up the belt vent, but you can also use small, sharp scissors.
Point turner for turning out your collar
Marking tool
Non-stretch fusible interfacing. Anything medium weight will work. We prefer the weft variety (the same kind we stock in our Jasika blazer kit). You'll need 1 - 1.5 yds depending on what view you're making.
Pocket lining (not shown). If you're making sleeves with pockets, you'll need about a 1/4" yard.
Buttons - View C only. Depending on whether you're doing the sleeve pocket, you'll need 9 buttons that are 5/8"-3/4" wide.
Snap button - optional if you'd like to add a little snap at the top of the collar to close the jacket.
Point presser - totally optional but this tool is super handy for getting nicely pressed corners around tight spots on the lapel and collar.
Bias tape is optional if you'l like to add a contrasting finish to your seams.
Twill tape or ribbon if you'd like to add a hanging hook loop to your jacket. We also like to make these from scratch by folding and stitching a light piece of fabric into a long rectangle.

FABRIC

We recommend durable woven fabrics for Sienna such as denim, twill, canvas and heavyweight linen since you want something that has a bit of structure and will hold it's shape. We've had a few questions about using wool. Our advice is to use something with a smooth face so it won't stick to your clothes (anything with texture may cling to your shirt). We will be sharing a blog post on adding a lining to your jacket, so if you'd like to use something like melton, we suggest waiting for that post so you can add a lining.

DENIMS/ CORDUROYS

Fabric Suggestions // Sienna Maker Jacket // Closet Core Patterns — 1 // 2 // 3 // 4 // 5 // 6 // 7 // 8 // 9

Denim is the perfect choice for Sienna, and luckily there are more and more great denims becoming available all the time! Corduroy is also an option; our advice is to choose something with a fine wale since it's much easier to sew with.

HEAVYWEIGHT LINEN

Sienna looks lovely in linen! We used a heavier-weight upholstery weight herringbone linen for our cream sample and it holds up really well. Just be sure to choose something with heft; anything lightweight won't give you enough structure.

CANVAS / OILCLOTH / DUCK

Our favourite fabric in the studio right now, canvas has the perfect amount of structure for Sienna and gives it that workwear vibe (it also ages beautifully!) One of our testers made her Sienna in an old paint covered dropcloth and it worked a treat. You might want to try a waxed canvas as well, but keep in mind it can be tricky to press and will be very structured so it might work best for the cropped view. Our favourite canvas is the Big Sur line from Robert Kaufman. It comes in lots of colours and is the perfect weight.

TWILL

Twill is another great choice for Sienna! We haven't made any using stretch twill but provided it's not super stretchy (2% elastic max!) it should work. Another studio favourite, Robert Kaufman Ventana Twill has the right weight (avoid the Kobe line - it's too lightweight for this pattern).

What fabric are you going to use for your Sienna?

Fabric Suggestions for the Rome Collection

9 July 2019 by Amy Leave a Comment

Hiya! Amy here. One of the most fun tasks we encountered when we were putting together the samples for the Rome Collection was thinking about fabric. We worked with three different fabric sources to put together the capsule wardrobe of dreams and we got to do it twice, since we had two models! We used mainly solid linens from We Are the Fabric Store as well as Blackbird Fabrics for maximum mix and match ability. The only prints we used were the Moonstone Collection from Atelier Brunette. Here is the blog post we wrote introducing the collection if you want to see more on our specific sample making fabrics. When putting together this fabric swatch round-up I thought I would get out of our comfort zone (linen, linen, linen) and pull out some other ideas of what might work for this collection of patterns. I included the technical drawings of the patterns so you can see what I'm referring to, also to get your wheels turning. Warning: fabric shopping may ensue.

TENCEL/SILKS

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For the most part these silks and tencels will work for everything in the collection. View C (with patch pockets) of the skirt was not so cute in these drapey weights, however. The top, dress, shorts and pants would all work in these breezy wovens. The wide legged cropped pants would be so lovely and glamorous for a summer evening in a printed silk like the top left above. I would love to see that marbled silk on the big lantern sleeve of the blouse. And what if you wore that with the shorts made up in a nubby, jewel tone silk dupioni like the one up there?? SOMEONE INVITE ME TO A WEDDING!

FIORE SKIRT

RAYONS

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I love rayon challis so much. Mainly for the colours and prints that can be achieved. The Cielo dress with the big sleeve is such a great canvas for any of these fun patterns. Or the top with short sleeves is a pretty use for a bit of something special you've been hoarding. What's summer dressing without some loud beachy prints to pull on for a BBQ? Again, the only thing I would avoid making in these is the View C of the skirt. Everything else would be a dream in these.

PIETRA PANTS & SHORTS

LINENS

It's no secret that linen was the "other" inspiration for this collection. Any traveller will tell you, the first packing revelation after having a "capsule wardrobe" is having that capsule wardrobe in linen. It's somehow both warm and cool, if it's a muddy colour it won't show ANYTHING, it gets better the more wrinkled it gets and it lasts forever. Everything in the collection looks good in light weight to medium weights. We also made the asymmetrical skirt and pants in a heavy weight and they were lovely. Choose your own adventure!

DENIM/CHAMBRAY/TWILL

I just realized I have turned this blog post into my own personal mood board for this collection. I saw someone made the Pietra shorts in a white denim or twill and I can't stop thinking about them! You don't want anything too thick since the back elastic will get bunchy and stiff, but I think this one above would work well. I also want to make the tapered pants in an olive or army twill. I think those would go into fall perfectly and get a ton of wear. How cute would the button front skirt be in this dark denim? And the embroidered chambrays would make the cutest shift dress...oh geez. I gotta get sewing!

CIELO TOP & DRESS

COTTONS

Nothing says summer like crisp cottons! Seersucker shorts! Eyelet tops! Ikat shorts! I want to make everything in these fabrics above and then shove it in a suitcase and head to a cottage. Who's with me?! What are you planning on making from the Rome Collection?

Sourcing Interfacing and Supplies for the Jasika Blazer

13 March 2019 by Heather Lou Leave a Comment

This week we're talking provisions for your Jasika Blazer, and after discussing fabric, it's time to move on to interfacing and supplies! This part might feel intimidating if you've never done any kind of tailoring before, but I promise everything is relatively easy to source.

First up, interfacing! Because Jasika is designed for speed tailoring methods, we'll be using fusible interfacings to build up the structure and shape of our jackets. The main benefit of this is obviously speed (hence the name!) Traditionally tailored jackets create structure with many layers of sew-in interfacing and tons of hand stitching, and while I have nothing but respect for these methods (I bow down to all bespoke tailors) it makes for a much more laborious and time-consuming project. If you get the taste for tailoring, learning those techniques would definitely be the next stage in your sewing journey. Here's what we'll be using instead.

INTERFACING & SUPPLIES

The Jasika blazer calls for three types of interfacing, all of which *should* be available at a well-stocked fabric store. If not, we'll include lots of online sources in this post, or you can purchase one of our speed tailoring kits that includes all the interfacings you'll need in addition to sleeveheads, shoulder pads and twill tape.

Weft Interfacing: This is knit like interfacing with threads running throughout that is stable on crosswise and lengthwise grain but stretches on the bias. It gives the drape/suppleness of a knit interfacing with more stability. It is what you will use for interfacing the body of the coat. It generally comes in white or black.
Knit Interfacing: Drapeable, soft, lightweight. This is used on the lapel facing and top collar and the flexibility lets it drape nicely over collar and lapel break. It should stretch on crosswise grain (4way stretch works well too). I'm not too fussy about what you use here as long as it is stretchy and flexible.
Horsehair Canvas: This type of interfacing is traditionally made from the mane of horses (no horses are hurt!) but you can also find synthetic varieties. It is firm and supple interfacing we'll be using to create stability at the front shoulder. You only need a very small amount, about 1/4 yard.
Cotton Twill Tape/Stay tape: This will be used to stabilize a few key seams and help us create a beautiful roll line at the lapel. Look for it in widths of 1/4" to 3/8". It should be preshrunk by soaking in warm water and pressed until dry. Similar to this. If you can't find you can try subbing in for cotton ribbon.
Shoulder pads: These are necessary to create the proper shape and structure at the shoulder. We are suggesting pads with a thickness of 1/4" - 3/8" thick, but you can also use 1/2" if that is all you can find. Just note you *may* need to adjust the pitch or angle of the shoulder for a thicker pad. I prefer this professional style of shoulder pad (felt layered with batting and the kind we include in our kit) but these foam pads will also work. Please note you can also use our free shoulder pad pattern to make your own (pattern coming in a week or so, but it is included in our course now).
Sleeveheads: These are critical - they help cushion the armscye seam and create a lovely shape at the shoulder. They can be hard to find commercially, so in a pinch use a 2" strip of lambswool or cotton quilt batting cut on the bias. Or use our free pattern to make one yourself (again pattern coming soon!) Sleeveheads are available on Amazon here.
Lapel button: 1 x 3/4" (19mm). You can use a button with holes or a shank, your choice.
Clear button: This will be used to protect your jacket on the other side of the lapel when you sew on your button.
Two 1 x 15" strips of lightweight cutton or muslin (not shown). These will be used to reinforce the corners of your welt pockets.
Sleeve buttons (optional): 6 x 5/8" (16mm). These are merely decorative so feel free to skip them if you want.
Leather or suede elbow patches (optional): We have pre-cut elbow patches available in our shop or you can cut your own using the included pattern piece. If you use real or faux leather, you should use a leather needle to sew to the sleeve. You can find tips on sewing with leather here.
Polyester thread: High quality only please! I recommend Gutermann or Mettler brands.
Topstitching thread (optional): If you want to add a topstitched detail to your lapel, you can use topstitching thread or just use two spools to thread your needle twice.
Silk thread: For basting and temporary construction, similar to this. This is very smooth thread that does not leave marks on fabric but regular poly thread can be used in a pinch.

TOOLS NEEDED

To get good results tailoring, you need a few key tools. Most of these you probably also have, but you should definitely think about investing in a tailor's ham, seam roll and clapper or point presser if you don't already have it in your toolkit. I promise these are tools you will use again and again!

Sewing machine: The average domestic sewing machine is all you need to sew a tailored blazer - no serger necessary!
Quality iron with good steam: I recommend the Rowenta Focus or a gravity feed like the Silver Star.
Dressmaking shears or rotary cutter: I like these scissors and this rotary cutter.
Pinking shears: These are very important! They will help soften the line of interfacing on partially interfaced pieces so it doesn't show on the right side of the fabric. Something like this.
Pattern weights or pins if you prefer to pin your pattern to fabric. These flat head pins are my favourite because they are easy to pull out while you're sewing.
Sewing machine needles: Choose an appropriate weight for your fabric (I generally go with a 80/12 or 90/14 needle). You should have a finer needle like a 60/8 or 70/10 for your lining. If you are sewing leather elbow patches, you may want to use a leather needle.
Marking tool like a Chaco liner or Tailor's chalk.
Point turner: to help turn the lapel and collar like this.
Hand sewing needles and a thimble: I like these Japanese needles. Running your thread through this wax and then pressing it between paper towels to remove excess wax helps prevent thread snarls. This leather thimble is the best.
Wood clapper for crisp seams or an all in one clapper/point presser for pressing open the small seams around the collar and lapel. This is a vital tool; it is hard to get truly professional looking seams without using a wood clapper to help flatten and "lock" seams in place.
Tailor's ham and seam roll. You can probably get by with just a tailor's ham but I find the seam roll invaluable for pressing open seams without the seam making an impression on the right side of the fabric.
Press cloth: I prefer using silk organza because I can see through, but lightweight cotton or linen also works. You can find inexpensive silk organza at Dharma Trading Company.

INTERFACING & TAILORING SUPPLY SOURCES

Again, our kits include all the interfacing & supplies you need, but you can also find it at the following online stores. I had trouble finding European shops but if you know of more European tailoring supply sources please let me know!

Fashion Sewing Supply (US)- high quality, industry level interfacings.
Black & Sons (US)- amazing tailoring supply resource! Everything you need in one place
Vogue Fabrics (US)- various interfacings
Charles Zarit (US) - interfacing, shoulder pads and general tailoring supplies
Tessuti (Aus) - interfacing, shoulder pads and sleeveheads
Tailor Mouse (UK) - all the tailoring supplies you can imagine!
Minerva Crafts (UK)
English Couture Company (UK) - Interfacing, shoulder pads, fabric
The Lining Company (UK) - Lining fabrics, tailoring supplies
Folhoffer (Germany) - variety of interfacings & tailoring supplies
ACTK Interlinings (Netherlands) - interfacing, interlining, sleeveheads

So that's it! Later this week we'll be covering fitting and making a muslin. Any questions about tools and supplies?

Sourcing Fabric for Your Jasika Blazer

12 March 2019 by Heather Lou Leave a Comment

This week for our #blazerofglory challenge we're focusing on gathering fabrics, supplies and making a muslin. To help you on your way, we'll be sharing posts this week on all three of these subjects, starting with today's post on sourcing fabric for your Jasika Blazer.

Choosing the right fabric for this project is probably the most important decision you'll make. Since blazers can be styled and worn SO many ways (as we showed in our styling post) I think it's worth the time to think about what you want out of your jacket. Do you want something for a fancy event? Something professional for work? A casual blazer you can throw on top of jeans? A bright or patterned statement piece? This can help narrow down what type of fabric you want to look for.

Before I break down the best fabrics to work with (and where to get them!) I want to take a minute to really stress how important it is to follow our fabric guidelines. We suggest medium to heavyweight suitings or lightweight coatings with surface texture such as wool melton, wool flannel, crepe and tweed, or velvet, medium-heavy weight cotton, seersucker and linen. When you think "suit" you probably visualize a very finely woven suiting fabric like wool gabardine and this is NOT suggested. Here's why: these types of very fine suitings have a very flat, smooth surface which makes it very difficult to properly fuse with a home iron. In an industrial setting they these use special fusing machines that precisely calibrate pressure, heat and steam to permanently interface the fabric. In my experience, it can be very tricky to do this at home with an iron. The more finely milled suitings have a tendency to bubble. In and of itself this isn't a catastrophe, but since these fabrics are so fine you can clearly see the bubbling. If a tweed or melton bubbles slightly, you won't see it on the right side of the fabric (it doesn't necessarily compromise the structure of the jacket, but it is rather unsightly when it's visible). If you're unsure about your fabric, I highly suggest fusing a sample piece and then try to press it with steam once it's cooled to see if any bubbling occurs, and to test the steadfastness of the fusible. If it very easily pulls away you may have trouble down the line.

I'll also say that those lovely Italian suitings don't always suit women's curves as well as something with a little more give and flexibility, and they are a little trickier to work with, especially setting in the sleeve. My first blazer was made with a very fine gabardine as a test and it ended up bubbling and I couldn't finish it. I just want you to have the best experience possible, so unless you have a tailor in your city who can industrially fuse your pieces for you (a service I can have done at M&M Textiles here in Montreal), stick to the suggested fabrics! They are much friendlier for first-time tailors.

In case you need a visual aid, here is ane example of a lightweight wool gabardine I would avoid at all costs. Hopefully it gives you a sense of how smooth and fine the weave is.

SUGGESTED FABRICS

Wool: Choose medium to heavyweight suitings or lightweight coatings with surface texture such as wool melton, wool flannel, crepe and tweed. There are SO many gorgeous fabrics in this category so feel free to go wild! We suggest lightweight coatings and I think this is worth a try. Many coatings I encounter feel too lightweight for a Montreal winter, but would make a super cozy blazer. What you want to avoid is anything too thick or beefy. Since we're doing a lot of fine, detail sewing, you want something that won't be too bulky or tricky to work with when it's time to sew those welt pockets and collars.

Many suitings have a small amount of stretch. I've never used these to make a Jasika but I think they can work as well -- if that's your intention I would make a muslin with a fabric with similar stretch. A comment on weight: fabric is weighed by grams per meter and some fabric shops will list the GSM. For a wool jacket I would not go any lighter than 210 GSM. You may see suiting fabrics with numbers attached, ie Super 120. That refers to the thinness of the fiber used when weaving it rather than the weight. If you want to nerd out over that, there is a good blog post explaining that here.

Here are some examples of solid wools I think could work well.

one // two // three // four // five // six // seven // eight // nine

Looking for something a little more graphic? Try a wool check, plaid or print.

Cotton: Crisp cottons with body will work well for this pattern. Think seersucker, twills, brocades etc. I am dying to make a cotton jacquard Jasika at some point, and cottons will work better for warm weather.

Linen: Choose a medium to heavy-weight linen. Anything too lightweight will not have the necessary body. These make the loveliest blazers for spring and summer if you don't mind a slightly rumpled look.

Silk: There are many gorgeous silk suitings out there all though they tend to be pricer. They are often blended with wool if that is a concern.

Here are some lovely suitings in the linen, cotton and silk family:

Velvet: Nothing is more glam than a velvet blazer but they are quite tricky to sew with. I recommend finding a cotton velvet with a low pile, almost an upholstery weight. This is what we used for our velvet sample and it took the fusible well. Note that anything with a deep pile will be hard to interface since the velvet will show the mark of the iron. Try interfacing a sample with low pressure on a towel underneath the velvet to protect the nap to test.

Synthetic suitings: There are lots of synthetic suitings on the market. Choose something with a bit of surface texture so it will adhere with the fusible. Protect your fabric with a press cloth at every stage since synthetics show heat marks from the iron quite easily.

Here are some examples of poly and synthetic fiber suitings appropriate for our pattern:

FABRIC SOURCES

Most well-stocked fabric shops will carry fabrics appropriate for this pattern. The following list is not exhaustive (see our online fabric store post for that!) but these particular stores stood out to us because of the variety they offer. Here in Montreal I love M&M Textiles (a tailoring specific shop with TONS of fabric and supplies) and Goodman Textiles (they have an enormous room in the back with hundreds of bolts of wool).

FABRIC SOURCES - NORTH AMERICA

Mood - tons of wool & linen - ordering swatches is a good idea if you want to check the weight or test fusible.
Black and Sons - Wide variety of tailoring fabrics, supplies & tools
Fabrics & Fabrics - suitings, tweed, linen
Sultans Fine Fabrics (Canada) - tons of suitings!
Britex - lots of wools and bembergs
Fabric Mart - wide variety
Michael Levine - wide variety of many types of fiber
B&J Fabric - incredible selection, lots of silk and linen blends in addition to all the wool, $$$
F&F Fabrics - lots of wool and high end tweeds
Elliot Berman - lots of high end wools, some unusual options
Hart's Fabric - good selection of wools & cotton
Style Maker Fabrics - lots of options, including checks and non-wool alternatives
Stone Mountain & Daughter - great selection of melton, crepe and rayon bemberg
Emma One Sock - lots of designer fabrics & wool
Fabric.com - good source for linen and synthetic suitings
Denver Fabric - wide variety
Vogue Fabrics - wide variety

INTERNATIONAL FABRIC SOURCES

MyFabrics.co.uk (UK) - wide variety
Dugbale Bros & Co (UK) - incredible selection of wools, supplier to Saville Row. You need to set up an account but I'm not sure about minimum orders.
Ditto Fabric (UK) - lots of wool and designer fabrics
Fabric Dreams (UK) - lots of wool options
Joel and Sons Fabrics (UK) - gorgeous haute couture and designer fabrics
Truro Fabrics (UK) - wide variety of quality fabrics
MacCulloch & Wallis (UK) - high end fabrics and tailoring supplies
M. Recht (AUS) - great source for shoulder pads!
Tessuti (AUS) - lovely, wide selection. They also stock interfacing.
Dress Fabrics (Ireland) - curated selection with wool, linen & cotton options
Fabworks (UK) - tons of wool fabrics!
The Fabric Store (NZ) - amazing selection of linens and specialty fabrics, curated selection of wools

** Feel free to let us know of any other online shops with great tailoring fabrics!

LINING FABRICS

In addition to your body fabric, you'll want to source a nice lining. My personal preference is for rayon bemberg (breathable and it comes in tons of colours) or something a bit more luxe like silk charmeuse. You're welcome to use synthetic fibers, but note that they don't breathe as well and I find, particularly in the case of acetates, that they shred and tear more easily. You can also use smooth, fine cottons like voile or batiste, ideal for a summer weight linen or cotton blazer.

Rayon bemberg is wonderful but can be a bit tricky to work with. There are some great suggestions for working with it here, but my biggest piece of advice is to use a very small needle (ie. 60/8 or 70/10) to avoid pulled threads. It can be tricky to ease (especially around the sleeve cap) so I always hand basted my sleeves in place first to reduce puckers. A walking foot definitely helps, and cutting it with a rotary cutter rather than using pins and scissors is also suggested.

So that's it for my fabric suggestions today. All this fabric research has me hungry to make a dozen more blazers. Let us know what fabric you'll be using for your Jasika or any questions you might have!

The Ultimate List of Online Fabric Stores in 2022!

21 February 2019 by Amy Leave a Comment

There once was a time when you had to truck it down to your local brick and mortar or big-box fabric store to stock up on textiles for your beautiful sewing projects but no more! There has never been a better time to shop for fabrics online, and we've happily assembled this list of online fabric stores so you can browse from the comfort of your own home.

This list is organized by country and state/region if it has a physical store. We have only included stores that have an online shop since it seems unfair to show you fabric you can't have in your hot little hands in at least a couple weeks, and while there are sooooooo many adorable quilting shops all over this continent, for the sake of sanity we only included shops that carry garment fabric. And of course, we can't help but mention our sister brand fabric store, Core Fabrics! Based in Canada and shipping internationally (we use USPS to ship super fast to US customers), CF carries a wide range of ethically and sustainably sourced fabrics in modern prints, colours, and finishes.

Without further ado, grab a hot beverage, snuggle in, and get ready to swoon. All we ask is that if you have a little secret spot where you find your gems, please share in the comments.

Online= O Physical= P

CANADIAN FABRIC STORES

Core Fabrics- Your one-stop shop for high quality, sustainable garment fabrics - our sister brand! (Quebec, O)

Spool of Thread- Scuba! prints, cottons for quilting (British Columbia, O/P)

Blackbird Fabrics- Kits, denim, large selection (British Columbia, O)

Sitka Fabrics- Sweatshirt fabrics, cottons, fleece (British Columbia, O)

Fridays Off- Essex linen, cute prints, scrap packs (O)

Fabrications Ottawa- Notions, patterns, organic fabrics (Ontario, O/P)

Mulberry & MacNab- Chambray, double gauze, small but pretty selection (O)

The Fabric Snob- Bamboo, performance fabrics, machines (Manitoba, O/P)

Thread Count Fabrics- Linen, faux fur, jersey (Manitoba, O/P)

Water Tower Textiles- French terry, poly fleece, sweater knits (Ontario, O/P)

The Workroom - Notions, tools, yarn (Ontario, O/P)

Fabric Crush- Jerseys, notions, twills (Ontario, O/P)

Sultan's Fine Fabrics- Suiting, coating, dressmaking (Ontario, O/P)

Mimifabrics- Denim, swimwear, bolt ends (Ontario, O)

L'Oiseau Fabrics- Stretch corduroy, outerwear fabrics, knits (O)

Needlework- Designer fabrics, organized by theme for quilting (Ontario, O/P)

Earth Indigo- Sustainable, specialty batiks, hand dyed (Ontario, O)

Spool and Spindle- Lace, large selection, denim (Ontario, O/P)

Weave & Woven- Huge quilting cotton selection, apparel (Ontario, O)

Club Tissus - Large selection of quilting cottons, apparel and upholstery (Quebec, O/P)

Couture et Compagnie- Knits, prints, fashion fabric, French only (Quebec, O/P)

Simplifi Fabric Inc.- Organic, bio, alternative sustainable (US and Canadian shop, O)

Fabric Fabric- Giant selection, sales, costume fabrics (O)

Matchpoint Fabric- Deadstock, vintage, sustainable (O)

Fringe Fabrics- Notions, knits, tools (O)

Patch Halifax- Waxed outerwear fabrics, wool (Nova Scotia, O/P)

Five Arrows- Denim, fine fabrics, modern (Prince Edward Island, O/P)

Bibs and Boots Fabric- Privately owned knit fabric store, offering mostly euro knits and custom knits (Saskatchewan, O)

US Fabric Stores

Emma One Sock- Designer fabrics, sales, denim (O)

APC Fabrics- Sustainable apparel fabrics, bamboo, Tencel and Modal. (O)

Loom and Stars- Handwoven, hand dyed fabrics imported ethically from India. (O)

Hell Gate Fabrics- Small collection of wax prints, soy fabrics, knits (O)

House of Mamiwata- African print textiles (O)

Stylish Fabric- Neoprene, novelty fabrics, large selection (O)

Sugared Sage Fabrics- American milled cotton! (O)

Fabrics Store- Linen, linen, linen (O)

Fabric Mart- Designer fabrics, clearance, huge selection (O)

Gather Here- Yarn, tools, and craft fabrics (O/P)

Fashion Fabrics Club- Warehouse, bridal, by the bolt (O)

Organic Cotton Plus- Hemp, organic silk, cottons (duh) (O)

La Mercerie- Interesting selection of knits, wovens and yarns (O)

Boho Fabrics- Stretch, scuba, sales (O)

Surge Fabric Shop- Scuba, ponte, quilted knit (O)

Imagine Gnats- Swimwear, denim, sweater knits (O)

So Sew English Fabrics- Remnants, bundle deals, knits (O)

Navya Fabric- Indian block print cottons (O)

Style Maker Fabrics- Boucle, suede, denim (O)

Marcy Tilton Designer Fabrics- Denim, Japanese shirting, embroidered (O)

Pendleton Woolen Mill Store- Largest selection of Pendleton wool (O)

D&H Fabrics- Rib knits, coatings, remnants (O)

Threadbare Fabrics- Denim, kits, knits (O)

Michael Levine Fabrics- African cottons, active wear, bridal (CA, O/P)

Fishman's Fabrics- Suitings, leather, stretch wool (IL, O/P)

Britex Fabric- Designer, silk satins, stretch wool (CA, O/P)

Stonemountain and Daughter Fabrics- Well organized linen, silk, wool (CA, O/P)

Fabricworm- Cute kids fabrics, flannel, fleece (CA, O/P)

Hart's Fabric- Silk, Tencel, Ikat, tulle (CA, O/P)

Promenade Fine Fabrics- Silk, wool, designer (LA, O/P)

Gorgeous Fabrics- Wool, linen, double knits (O)

Finch Fabrics- Fashion wovens, end of bolt, designer knits (CA, O/P)

B. Black and Sons- Suiting, wool, tartans (CA, O/P)

Drygoods Design- Curated selection of designer modern fabrics (WA, O/P)

Stitches Seattle- Corduroy, cottons, rib knits (WA, O/P)

District Fabric- Rayons, silks, wool (WA, O/P)

L'Etoffe Fabrics- Organics, knits, stretch twill (OR, O/P)

Bolt Fabric Boutique- Shirting, cottons, Japanese imports (OR, O/P)

Fiddlehead Artisan Supply- Silk Dupioni, velvet, Liberty prints (ME, O/P)

Fancy Tiger Crafts- Fabrics, notions, kits, yarn (CO, O/P)

The Confident Stitch- Wool, rayon, linen (MT, O/P)

Brooklyn Craft Company- Denim, prints, notions (NY, O/P)

B&J Fabric - high end options, designer wools (NY, O/P)

F&F Fabrics - lots of wool and high end tweeds (NY, O/P)

Vogue Fabrics- Costuming, seasonal swatch catalogue, designer fabrics (IL, O/P)

Denver Fabrics- Huge selection, discount section, dance wear (O)

Elliot Berman - lots of high end wools, some unusual options (NY, O/P)

Mendel Goldberg Fabrics- Couture, brocade, lace (NY, O/P)

Mood Fabrics- Everything, it's Mood. (NY, O/P)

Oak Fabrics- Kits, French Terry, coating (IL, O/P)

Loom Exquisite Textiles- Huge selection, faux fur, oilcloth/outdoor fabrics (PA, O/P by appt.)

Lakes Makerie- Flannel, chambray, denim (MN, O/P)

Bolt and Spool- Fur, linen, vintage toweling (OH, O/P)

Craft South- Towelling, oil cloth, beautiful print selection (TN, O/P)

TopStitch Lounge- Laminated, block prints, wool suiting (GA, O/P)

Measure Fabrics- Sweater knits, dyeable, silks (GA, O/P)

AUSTRALIA

Maai Design- Prints, linen, haberdashery (New South Wales, O)

Pitt Trading- Linen, bra making supplies, notions (O)

House of Cloth -Prints, yarns, machines (Victoria, O/P)

Crossgrain Fabrics- Linens, cottons, special prints (O)

Tessuti Fabrics- Wool, silk, linen, huge selection (Several Locations, O/P)

Woven Stories- Ethically sources global textiles, Ikat, Shibori (Perth, O/ P, Limited times)

The Drapery- Beautiful linens, cottons high quality (South Adelaide, O/P)

Potter & Co- Linens, cottons, cupro (Perth, O/P)

Fibresmith- Japanese textiles, yarn, patterns (Victoria, O/P)

BELGIUM

Atelier Moondust- Fabrics, patterns, sale section (Brussels, O/P)

CTC Textile- Yarn, craft supplies, notions, fabric (O)

Fairy Tailors- Jersey, wool, quilting fabrics (Tervuren, O/P)

DENMARK

MeterMeter- Tencel, sustainable fabrics, cashmere (Aarhus, O/P)

FRANCE

Cousette- Large selection, Liberty prints (O)

Pretty Mercerie- Huge selection, French only (O)

JAPAN

Miss Matatabi- Beautifully curated selection of Japanese fabrics, Nani Iro (O)

NEW ZEALAND

Miss Maude Fabric- Denim, silks, organics (O)

Drapers Fabrics- Selvage denim, Merino wool, knits (Aukland, O/P)

The Fabric Store- Linens, Merino wool, specialty prints (Several locations, O/P)

SWITZERLAND

Tissu & Co- Careful selection of printed jersey, viscose and dressmaking fabrics (O)

UK

Cotton Reel Studio- Barkcloth, denim kits, corduroy (O)

Backstitch- Denim, sweat shirting, suiting (Cambridge, O/P)

Like Sew Amazing- Peachskin, wool, remnants (Bristol, O/P)

Sew Me Sunshine- Denim, cupro, jersey (O)

The Cloth House- Linen, wool, silk (London, O/P)

FabWorks- Suiting, jersey, shirting (West Yorkshire, O/P)

Sister Mintaka- Tencel, well curated, modern (O)

On Trend Fabrics- Chiffon, georgette, coating (O)

Sew Over It- Rayon, stretch cotton, chiffon (London, O/P)

Guthrie and Ghani- Prints, patterns, notions (Birmingham, O/P)

Libby's Fabric- Rip stop, tartans, oil cloth (O)

The Splendid Stitch- Viscose, suiting, tartans made in England (O)

The Fabric Godmother- Ramie, Sequins, Scuba (O)

Ray Stitch- Huge selection of wools, trims, buttons (London, O/P)

Merchant and Mills- Linens, wool and denim (East Sussex, O/P)

Bloomsbury Square Fabrics- Wool, cottons, fancies (O)

Faberwood- Curated designer fabrics, organic, prints (O)

The Eternal Maker- Essex linen, notions, yarn (Chichester, O/P)

Just Sew- Crushed velvet, suitings, boiled wool (Cumbria, O/P)

Stone Fabrics- Wool, boucle, silk (Devon, O/P)

So, what do you think? Is your favourite source on the list? If not, please share below! We promise not to buy all the linen (maybe.)

Tips for Sewing with Velvet: How to Sew Velvet Tutorial

4 December 2018 by Amy Leave a Comment

Hi there! Amy here, just popping in to talk about the joys of velvet. As George Costanza admitted, "I would drape myself in velvet if it were socially acceptable." Me too George, me too. Velvet is so luxurious and glamourous and feels so good to wear. It also reflects light in beautiful ways, so even a simple garment sewn with it looks incredibly rich and expensive. That said, velvet can be a finicky beast, so we've rounded up our hard-learned lessons about how to sew velvet (see Heather's crushed velvet gown and silk velvet Amy Jumpsuit for inspo!) May this make all your adventures sewing with velvet an absolute breeze!

CHOOSING A PATTERN

The most important consideration when sewing with velvet is the pattern you'll be using. Here are our tips!

Choosing a Beginner Friendly Pattern for Velvet

If this is your first time working with velvet, go simple. Skip things with complicated seams, numerous darts or heavy facings or seams.
Avoid anything with topstitching! Buttonholes especially can be tricky to sew. Invisible zips and loops & hooks are the best choice for closures.
Look for designs that drape - this will give you the most bang for your buck in terms of highlighting the beauty of the fabric. That said, a more structured cotton velvet like the one we used for our Jasika "evening" blazer are also beautiful.
Make sure to consider the nap! Running it down the garment will give you better wear, but running it up looks richer and more saturated colour-wise. Either way, make sure all your pieces are cut in the same direction.

CUTTING, MARKING AND INTERFACING VELVET

It is crucial you cut velvet in one layer because velvet can be so shifty. If there are any pieces you are supposed to cut on the fold, trace it onto paper and mirror it as I did above. You can use tissue paper under the fabric on top of your mat to move the pieces around more easily. It also makes clean up easier since velvet sheds! Speaking of shedding, having a little vacuum handy to clean up your space is a great help.

Trace the pattern or make your markings on the wrong side of the fabric. Use disappearing fabric ink; chalk can leave marks if pressed too hard. Better yet, tailor's tacks are excellent since they mark both sides of the fabric- be sure to use a sharp needle and silk thread. When cutting, use a nice sharp rotary cutter. Since velvet is so shifty its best to avoid using scissors to minimize the amount it moves around. Finally, try to use sew-in interfacing (silk organza is ideal). If you must use fusible interfacing, use another piece of velvet or a velvet board underneath your fabric pieces when you are applying it because again, shifty.

AVOID VELVET CREEPING

Creeping (as the saying goes) is not stalking your ex on facebook (news to me!) It instead refers to what happens when two fabrics do not stay even under the presser foot and start sliding apart. Save yourself time with the seam ripper by hand basting first. It takes a bit of extra effort but trust me: it's worth it. A few sources suggested spray adhesive but we haven't had luck with this. Heather tried this on her seam allowances while protecting her fabric with a piece of paper but the glue spit out all gummy and nearly gave her a heart attack. Wonder tape, on the other hand, worked WONDERS. Put it right in the seam allowance and sew just next to it. Bonus sewing guide! You can also use vertical pins with sharps pointing toward the machine so you can pull them out at the last second.

TIPS FOR SEWING WITH VELVET

When it's time to get sewing, here are our top tips:

Use universal or sharp machine needles (sizes 70/10 or 80/12)
Use silk thread is for basting, and switch to a fine polyester thread for the final seams (silk is not very strong)
Always, ALWAYS test before you go to sew your garment with scraps. You may find you need to make adjustments, and it's better to discover that before you mangle your cut pattern pieces.
If you're able to adjust/reduce the presser foot tension, this will avoid smooshing the nap and leaving marks.
Use a walking foot, Teflon foot, or roller foot (test for marking) to help the layers slide evenly under the foot.
Hold the fabric taut as you sew and "marry the nap" by first proposing marriage (JUST KIDDING); rub the velvet layers together to combine them and keep them from, you guessed it, creepin'.
Put the velvet side down when sewing to another fabric.
Stitch in the direction of the nap where possible.
Try finishing raw seams with serging or a zig zag stitch for a finish that won’t add bulk to your seams. Avoid french seams since they are bulky and very tricky to sew.

PRESSING VELVET

Be sure to trim and grade your seams to make them less bulky. When pressing, only use steam on the fron. Don't touch the iron to the right side of the fabric if you can possibly avoid it since it will crush the nap. If you must press open seams, these velvet boards are great. They are small and kinda pricey so we would only suggest tool this for true velvet lovers (also be careful when moving your velvet around - it has a tendency to get caught on the little needles!) You can also press when needed by wrapping your ironing board or pressing aid in upholstery velvet (mohair is recommended) or a dense towel.

HEMMING VELVET

Before you get started, hang the garment on your dress form to relax for 24hrs before hemming. We recommend a single-fold, blind-stitched hem sewn by hand (as shown above) for the most least bulky finish. You can see we serged the hem first to reduce fraying.

STRETCH VELVET TIPS

If you're sewing with stretch velvet, we have a few additional tips for you!

Use ballpoint needles and a stretch stitch or zig zag stitch on your machine.
If you are sewing stretch velvet using your serger, adjust your differential feed to ensure your stitch stretches adequately.
Your stitching should allow for the same amount of stretch as the fabric itself.

So there you have it. Have I scared you? I hope not. Please let us know if you have any other hot tips! We are all ears.

Fabric Suggestions for the Fiona Sundress

10 July 2018 by Amy Leave a Comment

Hola! Today we're going to share some fabric options for the Fiona Sundress. Luckily there are lots of choices for this pattern; depending on the effect you want, you can use anything from a sturdy shirting to a heavier fabric like denim or corduroy. To help you on your way, we've chosen lovely fabrics in a few categories.

LINENS

one // two // three // four // five // six // seven // eight // nine

Linen is a great choice for this pattern! It will keep you cool on hot days, and has enough structure to highlight the crisp lines of Fiona. I suggest something in the mid to heavy weight range; a lightweight handkerchief linen is simply too flimsy for this garment.

PRINTS

one // two // three // four // five // six // seven // eight // nine

So far all of the Fionas we've made in the studio have been solid, but our testers made some gorgeous print versions and it's definitely something worth considering!

DENIM/ TWILL

one // two // three // four // five // six // seven // eight // nine

This dress is ideal in a sturdy denim or twill (most of the inspiration we shared for this pattern were made from denim). If it's a thicker denim, the shorter skirts might be a better choice; I fear the midi would look too stiff in anything too heavy. Since denim and twill tend to be thicker, I also suggest using a lightweight cotton fabric for your band facing (and possibly the straps) to help reduce bulk.

SHIRTING

one // two // three // four // five // six // seven // eight // nine

Based on the success of a few of our testers, we discovered Fiona also works in structured cotton shirtings (which means quilting cottons are also a go!) I would choose something with a bit of body (a lightweight lawn might not be your best bet), but chambrays, Oxford and poplin are all excellent options.

STRETCH WOVENS

one // two // three // four // five // six // seven // eight // nine

This pattern was drafted for non-stretch wovens, but a few of our testers used stretch wovens with great success. Please note the fit may be affected due to the stretch in the fabric; you may find you need to take it in slightly to fit closer to the body.

What fabric are you using to make your own Fiona?

Fabric Options | Kelly Anorak Sewalong

10 January 2018 by Heather Lou Leave a Comment

Today I want to talk fabric for your Kelly Anorak. There are lots of options, so it's really up to you to decide what kind of jacket you want. Something soft and cottony that will get nicely broken in over time? Something waterproof and sporty? Something structured and a little more stiff like a waxed cotton? I've gone ahead and done a little legwork for you already; here are some great options.

Psssttt... we compiled this list many years ago so most of the above fabrics may no longer be available. Our sister brand Core Fabrics carries a ton of fabrics that will work perfectly for Kelly, so we suggest stopping there first!

COTTON TWILL

Cotton twill is the obvious choice for this pattern and it's affordable and easy to source. The biggest consideration is getting something with a decent heft. I ordered a zillion samples when we were developing Kelly, and I think Robert Kaufman makes a twill with the right weight for this pattern. The line is called Ventana and they have over 60 colours on fabric.com; above are some of my favourite colours. Isn't that olive green perfect? Twill is soft and will get broken in like a great pair of jeans over time. If you want something waterproof, you can also try waxing it with a coat of Otter Wax.

SPECIALTY FABRICS

kelly-anorak_-twill-goretex-and-performance-coat-fabric — one - stretch cotton twill // two - gold linen // three - rayon lycra twill // four - double sided cotton twill // five - brushed nylon twill // six - rayon nylon twill // seven - waxed cotton // eight - mercerized cotton twill // nine - stretch linen twill

Cotton twill isn't the only fabric to consider. I'm intrigued by the rayon and nylon lycra blends at Style Maker Fabrics, and Mood also has some interesting fabrics in stock right now. Take note of that peach twill in the second row above - it's double faced with a teal colour on the other side. Wouldn't that little pop of colour contrast be glorious in an unlined jacket?

You may want to consider a stretch twill as well. They generally have a little more structure because of the lycra content, but they will definitely make for a very comfy jacket. I'm also planning on making one in linen for a light spring coat next year.

GORETEX, RIPSTOP & PERFORMANCE FABRIC

goretex-and-performance-fabrics — one - waterproof breathable fabric// two - goretex // three - waterproof twill // four - waterproof breathable fabric // five - goretex // six - goretex // seven - organic cotton ripstop // eight - organic cotton ripstop // nine - organic cotton ripstop

If you want something a little sportier and able to withstand the elements, there are lots of options out there. Rocky Woods has a huge selection of performance fabrics, and I've also included a few organic cotton ripstops from fabric.com. If you are planning on making a raincoat, be sure to pick up some seam sealant as well, otherwise water will be able to permeate your stitch line.

If you're unsure, I always recommend ordering swatches first. This is particularly helpful with waterproof fabrics since you can test how water reacts to them before you buy.

What fabric are you planning to use for your Kelly?

Read the next post in our Kelly Sewalong series. Get the pattern here.

Stretch Woven Fabric Options for the Sasha Trousers

17 November 2017 by Heather Lou 14 Comments

Today I want to talk fabric options for our latest pattern, the Sasha Trousers. This pattern was designed for stretch woven fabric; think stretch denim, cotton sateen, and twill, and stretch suitings like gabardine. I even think Sasha would work well with a nice beefy ponte; as long as your fabric stretches at least 20% along the cross-grain, you should be good to go.

To test if your fabric has enough stretch, use this fast method. Lay the cut edge of your fabric against a ruler and measure 10" from the selvage. Now pull this 10" section of fabric; if it stretches to at least 12", it should be stretchy enough. If you're buying online, look for fabrics with lycra; I suggest 2% or more. If your fabric doesn't stretch quite as much as I suggest, it could still work provided your pants have a slightly looser fit. In that case, I suggest either adding a 1/2" seam allowance to your side seam to play with, or grading to a larger size from the waist down.

Although I don't normally sew with a lot of polyester, there are some great stretch poly fabrics out there; one of my fabric suppliers here in Montreal always carries a few colors in something they call "Prada twill". It's not a term I've seen used in fabric shops, but it's something I'm sure you've encountered in rtw pants and casual blazers; it's very stretchy with great recovery and is a perfect choice for a stretch trouser like Sasha (I think it's probably an in-trade name for the type of fabric Prada used for their iconic black trousers). If you do happen upon some of this fabric, you may notice the stretch runs in the same direction of the grainline; make sure you re-orient your pieces so that the stretch spans the width of the body rather than the length of the legs.

In my sample-making for Sasha and Ginger, I've noticed stretch wovens can vary widely in terms of fit. Two fabrics with the same stretch percentage can have very different effects depending on the weight, drapiness, and fiber content. All this to say, no matter how confident you are with the fit of your Sashas (or Gingers for that matter) it's critical to always baste the side seams and try on your pants before finalizing your seam finishes. I've made a few new pairs of Gingers this year, all in the same size, and almost every pair fits a little bit differently. Baste, baste, baste! Each pair may need a few small adjustments at the side seams to get the desired fit, especially through the leg.

To take some of the guesswork out of the process for you, I've rounded up some appropriate fabrics below. If you're shopping online, try using the following search terms: stretch woven, stretch suiting, stretch twill. If you're lucky the fabric store will also categorize fabrics by use, so look for bottom or pants weight fabrics that have some lycra content.

STRETCH TWILL

Stretch twills are ideal for Sasha. A twill is a fabric with a diagonal weave and can be made from wool, cotton, poly, even tencel and viscose. Look for something medium weigh; if it's too light, you may find it doesn't have enough heft to stand up to the rigors of pants.

STRETCH SUITINGS

The term "stretch suiting" can be a bit confusing, since these fabrics can be used for much more than making suits. Many of those Victoria Beckham and "Galaxy" bodycon dresses from the last decade are made from stretch suiting. You'll find lots of fibers falling under the banner of "stretch suiting"; Mood is a great resource for this type of fabric.

PATTERNS

Don't feel compelled to make Sasha in a solid! For some dramatic and fun "party pants", prints are the way to go. I found a heap of great options at Tessuti, but I'm sure you could also score at your local fabric shop; I'm always stumbling on beautiful stretch prints in my travels.

What fabric are you hoping to use for Sasha? Any fabric questions for me while we're on the subject?

Fabric Options for the Charlie Caftan Pattern

4 July 2017 by Heather Lou 9 Comments

Hey there! Today I want to talk fabric for our new Charlie Caftan Pattern. Thankfully you have a lot of options to choose from. The shorter versions (particularly the pleated view) hold up well with fabrics with a little body and substance. I love the mini in medium weight linen, double gauze and cottons like chambray and voile. I think the maxi looks best with a little drape and swish, so I recommend soft, fluid fabrics like silk (chiffon, charmeuse, noil or crepe will work), rayon challis and tencel. Cotton and linen can work as well, but I would try to stick to lighter-weight options so the skirt doesn't feel too stiff.

I had a lot of fun choosing fabrics for our samples. In the end I managed to use our studio stash for almost everything (that almost never happens!) but I did spend a lot of time online looking for viable options. In keeping with with the styling suggestions I made last week, here are some favourites.

MINIMALIST NEUTRALS

BOLD SOLIDS

DRAMATIC PRINTS

What are you planning to use to make your Charlie?

Choosing Shirtmaking Fabric | Kalle Sewalong

10 May 2017 by Heather Lou 5 Comments

The first step with any great sewing project is choosing the perfect fabric. Thankfully our Kalle Shirt & Shirtdress works with a wide variety of woven fabrics. I've experimented with everything from 100% cotton shirting to super drapey, lightweight fabrics like rayon challis and tencel twill; both types work very well depending on the effect you're after.

For a crisp, architectural shirt or shirtdress, stick with classic shirting fabrics: think poplin, chambray, oxford, lawn, broadcloth. If you're after something softer and drapier, I recommend rayon challis, tencel, silk, double gauze and voile.

pssstttt... We wrote this fabric round-up a few years ago so most options below will no longer be available. Thankfully we have a perfectly curated selection of fabrics for Kalle available at our sister brand Core Fabrics (along with supplies like sustainable buttons and interfacing) so we suggest shopping there first for all your shirtmaking needs!

CLASSIC SHIRTINGS

I really, really love classic shirting fabrics. They remind me of all the thrifted men's shirts I have in my closet. The quality and style varies quite widely; some fabrics will be very dense and finely woven (like Egyptian pima cotton), while others will have a looser, more visible weave, like chambray or oxford. Shirtings with a bit of stretch are also appropriate for this pattern; in my experience white RTW shirts made from a cotton/spandex blend tend to be less transparent. If you find a good source for a beefy white shirting let me know; I find many of them a little too see through.

STRIPES AND CHECKS

Striped and checked shirting fabrics // Kalle Shirt+Dress Sewalong // Closet Core Patterns — one. two. three. four. five. six. seven. eight. nine.

Stripes and checks provide another classic option for your Kalle shirt or shirtdress. I like a very traditional striped cotton, but softer, handpainted stripes can feel a little softer and organic. Buffalo plaids are bold, while checks can be subtle or eye-catching depending on the contrast and scale.

LINEN, TENCEL & RAYON

Tencel, linen & viscose fabrics // Kalle Shirt+Dress Sewalong // Closet Core Patterns — one. two. three. four. five. six. seven. eight. nine.

I love all the options we have for natural fibers these days. Linen is a great standby (especially for the summer heat) but tencel and rayon (also known as viscose) are great alternatives. While manufactured, the later two are made from organic material like cellulose (basically wood pulp) and bamboo which accounts for their breathability. Tencel, rayon and linen are probably the fabrics I sew the most with lately, and I especially love the drapiness of tencel and rayon for Kalle; our green sample is made from tencel twill.

PRINTS

Printed shirting fabrics // Kalle Shirt+Dress Sewalong // Closet Core Patterns — one. two. three. four. five. six. seven. eight. nine.

As we discussed earlier this week in our Styling and Inspiration post, you can make a striking Kalle with a bold print. I'm especially fond of that Matisse/Scandinavian inspired print an the digital rose print in the top row.

ADDITIONAL SUPPLIES

You'll need a few additional supplies before you get started. Have a lightweight fusible interfacing on hand (to stabilize the collar area), as well as some polyester thread. You'll also need 1/2" buttons for the placket. The cropped shirt requires 5, the tunic 8, the dress 9, and the popover placket 4. Otherwise you'll need a fresh universal needle and an iron. A tailors ham will help you press some of the curvy areas, and a wood clapper is always a nice pressing tool for getting crisp seams.

Back on Friday with a post on sizing and pattern modifications!

See all posts in our Kalle Sewalong series. Get the pattern here.

Knit Fabric Options for the Ebony Tee

26 January 2017 by Heather Lou 1 Comment

One of my favourite things about making clothing (either for myself or for shop samples) is obsessing over fabric. I've started creating physical inspiration boards for each new pattern, and at any given time there are dozens of swatches pinned to each one as I narrow down what we're going to use for the final shoot.

At the time we made our final Ebony samples, I was still convinced it was ideally made up in lighter weight, drapey knits, so that's mostly what we used. However, over the last few months I've discovered it works in a variety of weights; scuba and double knit are a particular favourite for something a little more sculptural and dramatic.

Here are some beautiful fabric options I think would work really well

for the Ebony Tee Pattern.

DRAPEY KNITS

Ebony Tee Fabric Options // Drapey Fabric options // Closet Core Patterns — one - merino jersey // two - tissue weight rayon// three - french terry // four - stretch velvet // five - rayon jersey // six - stretch velvet // seven -hatchi sweater knit // eight - rayon jersey // nine - rayon jersey

Soft, fluid knits work like a charm for Ebony and give maximum swish; think lightweight sweater knits, and modal and rayon jerseys, as opposed to cotton spandex or thick interlock knits.

PRINTED KNITS

Ebony Tee Fabric Options // Print Drapey Fabric options // Closet Core Patterns — one - rayon stripe // two - shibori bamboo // three - burn out jersey // four - striped merino // five - ity // six - shibori bamboo // seven - rayon jersey // eight - rayon spandex // nine - rayon jersey

You might want to consider a bold print or classic stripe for your Ebony, since the pattern drape provides a great canvas. I'm especially crazy about shibori prints right now, and am totally in love with this raglan Ebony by Style Maker Fabrics.

SCUBA & DOUBLE KNITS

Ebony Tee Fabric Options // Scuba and Double Knit Fabric options // Closet Core Patterns — one - double face pique // two - jacquard double knit // three - double faced stripe // four - marble scuba // five - silver lama scuba // six - floral scuba // seven - lace scuba // eight - graphic scuba // nine - graphic scuba

As I've mentioned, this pattern looks pretty great sewn up in a more structured fabric like scuba and double knits; they have heft and volume and look modern and sculptural. It's a great evening look.

What fabric are you planning to make your Ebony with?

How to Sew Leather and Faux Leather

16 December 2016 by Heather Lou 11 Comments

If you caught my post earlier this week, you may have spotted my Clare Coat with leather sleeves (aka the coat of my dreams), and as promised, today I am going to share some tips on how to sew leather and faux leather. Spoiler alert: it's totally possible on a regular sewing machine.

WHERE TO PURCHASE LEATHER

I have a wonderful supplier here in Montreal (Cuir Boilard if you're local) but there are a number of places online as well. The one important thing to note is that real leather is sold by the hide, and is mostly priced by the square foot rather than by the meter or yard. There are many different weights of leather, but for most garment sewing I don't think you'll want to exceed 2 oz; anything heavier than that is probably better for bags and accessories.

If you're squeamish about buying new leather for ethical reasons, you might want to consider recycling it from thrifted leather jackets and skirts. I have a few pieces i've been hoarding for just this reason!

Online sources:

TOOLS FOR SEWING LEATHER

If you'd like to experiment with simply adding leather accents like I did, or if you want to go whole hog (um, literally) and sew a complete garment in leather like a bag or purse, it's important to equip yourself with a few key tools and supplies.

Most important is probably a pack of leather needles. While you may have decent results with a sharp microtex needle, leather needles are specifically designed to puncture leather and faux leather without tearing the hide. They shouldn't be used on regular fabric because they have a slight cutting point, and they should be changed frequently to avoid skipped stitches.

Since leather will cling to a regular needle plate, you'll have better success using a teflon foot or a regular walking foot. Alternatively, I've had good success by just putting a piece of frosted Scotch tape on the bottom of my regular foot, which helps it glide across the leather.

Depending on how you'd like to finish your seams, you may also need an adhesive and roller to flatten and secure your seams (more on that below!)

TIPS FOR SEWING LEATHER

Practice on scrap before you start to find which stitch length and thread works best for your project before starting on your final pieces.
The most important thing to keep in mind is that you do not want to put unnecessary holes in your leather. This means no pins! Use wonder clips, bulldog clips, or hairpins instead to hold your seams together.

Be mindful that if you make a mistake and need to rip out your stitches, you can't sew over the same spot since you will be weakening the seam with additional holes.
You cannot backstitch with leather! When you are done your stitch line, pull your thread to the back and hand knot it to secure your stitching line.
I found leather could be gently pressed using low heat, no steam and a press cloth.
Leather can and should be interfaced around areas where it can stretch out (specifically around the back, front and shoulders of coats). I used higher heat , a touch of steam and my pressing cloth when I added interfacing and it worked a treat. I would suggest a fusible weft interfacing rather than a traditional non-woven one to maintain the leather's drape.
For bulky areas like seam intersections, a hump jumper will make it much easier to sew even seams without skipped stitches.
Use durable polyester thread; topstitching thread can make pretty, pronounced stitches but you may also what to experiment with upholstery thread.

CUTTING LEATHER

Leather doesn't have traditional grainlines like fabric, so you are not necessarily required to honour the grainlines indicated on your pattern pieces. However, it does have a nap which may be more pronounced on things like suede. I used a very finely grained lambskin so cut my pieces out pretty willy nilly (I also didn't have a lot of hides to play with) but be conscious of that nap if you're cutting anything with a strong texture.
Make sure you thoroughly inspect your hide before laying out your pieces to identify any flaws or weaknesses in the leather. You can stabilize weaker areas with interfacing if there is simply no way to avoid them.

Cut your pieces on a single layer. I prefer a rotary cutter but you can also trace your piece on the wrong side with a marking tool and then cut it out with scissors (remember, NO PINS!)
Mark all notches on the wrong side of the hide.

Leather is more stable in the center of the hide, less so around the borders, so you may want to group the most important parts along the middle of the hide (you can read more about this on the Fashion Incubator blog).

SEAM FINISHES FOR LEATHER

There are a few options for finishing your seams. Since there is no chance of them fraying, you don't need to worry about serging or pinking, but you do want to create nice, flat seams.

OPTION 1

Sew your seam and press open with your fingers or using low heat and a press cloth with your iron. Then secure each seam with a row of topstitching on either side of the center seam. You can then trim the seams to reduce bulk. This treatment also works if you have a dart in your leather, as you can see below.

This is what it looked like on the wrong side:

OPTION 2

For a cleaner finish, you can use adhesive to glue the seam flat and open. There are leather adhesives available like this one, or you can use contact cement for a very strong seal, or rubber cement for a more temporary one. You apply it the seam (sometimes both sides depending on the glue you're using), and then flatten the seam with a roller like this one. Use the glue sparingly since it will spread out out from the seam once you've pressed it flat.

When I made my leather Clare, I used a combination of option 1 and 2, since once the sleeve was sewn closed I couldn't topstitch along the entire length of the second sleeve seam.

In the end, leather truly isn't that difficult to sew. I actually loved working with it and have a few fun projects percolating in my brain for the pieces I've been collecting overthe last few months. A little prep and consideration before you get started will do most of the work for you.

Any leather sewing tips you'd like to share?

Indigo Shibori Dyeing Techniques

28 September 2016 by Heather Lou 14 Comments

This week my craft practice took a dive off the deep end... into a big vat of indigo dye. I've been wanting to dip my toe into the world of natural indigo shibori dyeing for a long time, and my friend Michelle and I finally got our acts together and spent a busy day at her farm in Vermont folding, twisting, tying, dunking and oxidizing like a couple of maniacs.

If this is something you've been wanting to do, please believe me: IT IS SO. MUCH. FUN. It's not as hard as you might think to get set up, and the DIY gratification levels are off the chart. You'll feel equal parts mad scientist, creative genius and dye boss.

Shibori is a Japanese method of resist dying which goes back hundreds of years. Traditionally done with indigo, you can apply the same techniques for use with other fiber reactive dyes, but in my opinion, dying with real indigo is MAGICAL. When mixed with water it is almost a clear green - it's only when the dye is oxidized by contact with air does it turn the deep blue we associate with indigo

Shibori Dyeing Supplies

Indigo dying kit (we used this one which includes all the components you need and will dye around 15 yards of fabric)
5 gallon plastic bucket
Dust mask
Rubber gloves
Mixing stick
A hose or sink to rinse out the dye
Rack or clothesline
Elastics
String
Other tools to create resist impressions like popsicle sticks, pieces of wood and bulldog clips
Natural fabric like linen, silk, hemp or cotton

Dharma Trading is my favourite source for dyeable fabrics. The prices are excellent and I've been happy with the quality. I tried a few substrates in this experiment. I thought the 6.8 oz linen was too coarse at first, but after washing and drying it has a beautiful, soft drape. I also got a yard of the cotton interlock to make baby outfits with, and a few yards of this lovely rayon modal jersey. All took the dye very well as you'll see below.

DYEING PROCESS

To get started, mix the dye outside according to the instructions while wearing a dust mask for safety. Let it sit completely covered for about 30 minutes (you want to keep the air away from the dye since it will speed up oxidization). When it's ready it creates this sort of bubbly floaty thing, so naturally we started calling it The Mother like it was a jar of kombucha. You can scoop it out while you're dyeing the fabric but we just pushed it to the side.

You'll want to have everything ready to go when the dye is done mothering itself, so you may want to prep your fabric before your prepare the dye. I'll cover some of the folding techniques and our results below.

To dye your fabric, place it in the dye bath so it is completely submerged, and gently agitate it and squeeze out any air bubbles. You'll want to leave it in for 1-2 minutes. When it comes out of the dye it will be a vivid green; cackle like an evil scientist as it slowly darkens to blue with exposure to air. At this point you want the fabric as exposed to air as possible in order to fully oxidize, so use an old drying rack or whatever you have lying around that you don't mind turning blue.

The fabric will need at least 20 minutes to oxidize, but you can also let it sit out overnight. You can dye your fabric more than once to get an even deeper indigo shade, so I suggest doing a trial run first to ensure you're okay with the colour. We only submerged our fabric once each time, and some of them did not turn out as deep as I would have liked.

After the 20 minutes is up, rinse the fabric while it's still folded in cold running water until it turns clear. We used a few buckets and a hose to do this outside (if you're doing this inside, I suggest using a stainless steel or utility sink so you don't stain your porcelain). Afterwards you can wash it in your machine to rinse out any existing dye.

SHIBORI FOLDING TECHNIQUES

There are a number of different folding and tying techniques in the shibori tradition. The goal is to expose some areas to the dye while protecting others, and depending on the technique you use the results range from organic free-for-alls to more linear rectangle and triangle motifs. I highly suggest picking up a copy of the book Tie Dye for design inspiration. I experimented with a few styles and these are my results.

TRIANGLES

In order to get this linear design, you'll need to accordion fold your fabric into one long strip, and then accordion it into a triangle shape so it looks like a fat piece of Greek spanakopita. You'll need to secure it all together with popsicle sticks or elastics - how you secure it will effect the design. The piece on top was secured with just two popsicle sticks, and the one on the bottom was done with lots of elastics.

STRIPES

This is my personal favourite method. To get a striped effect on your fabric, accordion fold it as evenly as possible. A tight fold will create more close together stripes. Then wrap the entire thing in twine. Experiment with tying the string closer and farther apart, but just be sure to tie it tightly so the impressions carry all the way through the fabric. You can also angle the fabric as you fold it to create diagonal lines like on the tshirt above.

CIRCLES

This is the style that makes me remember being a grimy little 13 year old hippie, but I think the results can be cool and modern in a deep blue (no Dead Head colour explosions please!) To get these jellyfish like impressions, I gathered a corner of the fabric and twisted it tightly before securing into place with lots of elastics.

GALAXY PRINT

This turned out to be one of my favourite results since it looks like space (also because I got to repurpose some old and stained Everlane tees). To achieve it, I scrunched up the fabric tightly and randomly, made a small tight ball and then wrapped the entire thing in elastics. I love how weird and organic this one is.

Overall I dyed 4 yards of linen, 3 yards of rayon modal, 1 yard of cotton jersey and 2 tshirts. Michelle dyed 4 yards of linen, a few tshirts, two pillowcases and a huge duvet cover. Not too shabby for a $9 box of dye! We had an awesome time and are already planning our next dying event.

Have you tried indigo or shibori dying yet? Any great tips to share?

Sourcing Swimsuit and Fabric Notions

29 June 2016 by Heather Lou 22 Comments

Howdy everyone! Today I am going to help you track down all the various bits and bobs for your Sophie Swimsuit pattern. I cover all of this in much greater detail in the Sewing Your Dream Swimsuit workshop, but thought it would be helpful to share my favourite resources for swimsuit fabric and supplies on the blog.

(Sidenote: we still have a handful of Sophie Swimsuit kits in the shop but I believe they will be sold out by the end of the week if you'd like to skip gathering everything yourself since we won't be restocking until next year).

SWIMSUIT FABRIC SOURCES

Most swimsuit fabrics are a mix of nylon and spandex; the nylon is durable and dries quickly while the spandex provides stretch. You may find it labelled in fabric shops as lycra, spandex, athletic fabric or dance fabric. You can occasionally find polyester blends labelled for swimwear but I've never used it myself so can't speak to its quality. Some nylon/spandex fabrics are specifically designed for swimming applications and are designated as UV and fade resistant but I see these very rarely. I've never had problems using most of the random printed lycras that have crossed my path.

The following shops have a swimsuit fabric selection; please let us know in the comments if there any additional resources I've missed (especially internationally!)

SWIMWEAR LINING

Swimsuit lining is really important to extend the life of your swimsuit, in addition to providing a little extra modesty. The most common kind is 100% nylon with 4 way stretch. I use nude for everything but you can occasionally find it in black as well. It should be available at many of the above sources; if not I can vouch for the quality from Fabric Depot Co., Sew Sassy and Bra-maker's Supply.

In addition to swimsuit lining, you'll need a little bit of bra lining to stabilize the bridge between cup; look for "bra lining" or "15 denier" when you're shopping. You may also want to add a firm powernet/powermesh to the center front of the swimsuit for a little tummy tucking action; both bra lining and powermesh can be found at any of the bra-making supply sources I've listed.

BRA CUP SUPPLIES

To save yourself some grief, I would get all of the supplies you'll need to make your underwired foam cup from the same vendor. You'll need bra foam, bra lining, underwires and channelling, plus S-hooks for the bikini straps and bikini band; all of this is available from Fabric Depot Co., Sew Sassy and Bra-maker's Supply. I really like the regular length underwires and channelling from Bra-maker's Supply.

You can also find bra-making supplies through the following sources:

ELASTIC

It is really important to use the right elastic when sewing swimwear. The typical white polyester stuff you may have used in other garments will not stand up to the demands of salt water and chlorine. The most commonly available swimwear elastic is labelled as such (see an example here), and is a natural beige colour made from cotton and neoprene. I prefer natural rubber elastic since it has a thinner profile and is a little easier to sew in, but either will work. The Sophie pattern requires elastic that is 3/8" wide, although if you can find 1/2" wide elastic it is a a little more supportive for the underband. Both types of swim elastic should be available at the above shops, and you can find swimwear elastic in any well stocked sewing shop.

ADDITIONAL MATERIALS

Steretch needles specifically designed for lycra like these (important to avoid skipped stitches)
Chaco pen or other marking tool
Wooly Nylon thread (optional but creates a softer, stretchier seam when you're serging)
Walking foot (optional but such a greta tool to get even seams when you're sewing slippery swim lycra!)

That about wraps it up... Hopefully this helps some of you source what you need to tackle the swimsuit of your dreams! Any questions or comments?

Coat Making Supplies & Tailoring Interfacing // Clare Coat Sewalong

26 November 2015 by Heather Lou 33 Comments

In addition to the coating fabrics and lining we discussed yesterday, you'll need to gather a few additional supplies to make your Clare Coat. I'm hoping most of this will be available at your local shop, but I'm also providing as many online resources as possible.

INTERFACING

While Clare doesn't demand the kind of elabourate interfacing applications of more tailored jackets (think roll lines, pad stitching etc) it is imperative that you stabilize key areas, especially around the shoulders, seams and hems. Interfacing adds a little body to your fabric, and prevents fabric from stretching over time. Do not skip this step!

WEFT INTERFACING

Weft fusible is my preferred interfacing for Clare; it is a classic tailor's supply, and adds fluid drape and structure to coating fabrics. If you are making Clare with a fabric that can't be pressed (I'm thinking about velvet or faux fur) you may also substitute it for sew-in fabric interfacing. It is woven, not the solid sheets you might be used to, and has a little stretch or give to it, but not quite so much as interfacing designed specifically for knits. It generally comes in wide widths, but I also include quantities for the narrower 20" kind if that's what you're using. Unless you're sewing a very light coloured fabric, black should be fine; I find it is more commonly available. You should be able to find this in the interfacing section of your fabric store.

If you're lucky, your fabric will come pre-interfaced. This is generally more common with end lots from manufacturers, but it will save you some prep time. If your fabric is not as beefy as you'd like, you can also block fuse all of your fabric to add a little body everywhere. Both of my Clare samples are completely interfaced and it creates a nice crisp coat, especially with wools.

Online sources: I've heard great things about the Pro-Weft at Fashion Sewing Supplies. You can also get the Pellon brand at Fabric.com. Also: Vogue Fabrics.

HORSEHAIR CANVAS

If you're making View A, I also suggest you pick up a 1/2" yard of horsehair interfacing. In a pinch you can use a sturdy fabric like regular cotton canvas, but horsehair provides strong but flexible structure to your collar. You can buy sew-in or fusible. I used regular sew-in but I think the fusible would be a better choice if you're not going to pad-stitch it into place.

Online Sources: Fashion sewing supply, Fabric.com, Nancy's Notions

TWILL STAY TAPE

You'll also need to pick up around 3 yards of cotton twill stay tape. We'll be sewing this along our raglan and collar seams to prevent them from stretching out. You should be able to find it at your local fabric store by the yard, but you can also buy it in readymade packs like this.

INTERLINING

Is it colder than a withering glare from Judy Dench where you live? Consider adding a layer of interlining for warmth. Not to be confused with underlining (which means adding a layer of fabric for additional structure/body), interlining simply means sewing a double layer of something like cotton flannel or lambswool to your body fabric. You would cut all of your main pieces (sleeves, front, back and sides) from the same pattern pieces, baste them together and then treat the whole thing as one layer. For even more warmth, you can use something like 3M thinsulate, which is what commercial manufacturers often use in wool coats. Rather than sewing it to your fashion fabric, you baste it to your lining pieces to help reduce bulk. You can get it at Vogue Fabrics. I think Seattle Fabrics carries it as well but their website is a little confusing; you may have to call and ask.

CLOSURES

Depending on what version of Clare you make, you'll need to source either zippers or button closures. I've called for zippers that are 30-32" long in length; you should be able to find them at your local big box sewing store, or anywhere that has a decent selection of notions. Just make sure you get the separating kind; I custom ordered a Riri zipper, sewed it into an early sample and realized it didn't open at the bottom. Major bummer.

You can also trim your zippers if you find one you like that is too long. My main piece of advice is to go with a metal zipper if you can find them; they look better exposed and are less likely to melt on you during the pressing stage. If you want to splurge, I absolutely LOVE fancy schmancy Riri zippers. You can get them in any length, in every colour of the rainbow, along with gold, silver, bronze or rose coloured teeth, and your chance of zipper pulls. The only place I know of to get them is Pacific Trimming; make sure you specify the 6mm teeth. You can try Zipperstop for YKK zippers; they have a huge selection and will trim your zipper to the correct length. Wawak also has a decent selection of zippers in multiple colors, but you'll need to trim them yourself.

If you're making View B, you'll need buttons or concealed snaps. Again, I got my giant snap buttons from Pacific Trimming - they take some time to sew in but I love them.

ADDITIONAL COAT MAKING SUPPLIES

The key to coat-making is thorough pressing; it's worth it to spring for a tailor's ham or seam roll if you can afford it since you'll end up using it all the time anyway (you can always DIY them following this tutorial on Tilly & the Buttons). Finally, a sharp pair of shears or a rotary cutter, matching thread and a marking pen, and a clapper for those crisps seams I was raving about yesterday (any piece of hardwood will do the trick).

And that's it! Tomorrow I'll be covering some common alterations, and we'll get started on constructed on Monday. Questions? I'll answer below!

Wool Coating Fabric (and Wool Alternatives) // Clare Coat Sewalong

25 November 2015 by Heather Lou 24 Comments

Today we're going to walk through the fabric & lining options for your Clare Coat. I'll follow up tomorrow with a post on additional supplies so you don't feel overwhelmed. Clare can be made with a variety of fabrics, and while I'm partial to wool, I'll also be covering wool alternatives down below.

WOOL COATING FABRIC

The best thing about making coats, besides the whole "I made a gorgeous thing that prevents me from dying of exposure" thing is getting to work with wool. I. LOVE. WOOL. As I've said in the past, it basically purrs when you apply heat and steam; it wants to become things. Sheep are basically like, "Yo, humans. You're welcome." It's naturally insulative, water resistant, breathable, wrinkle resistant, easy to sew and shape, and finally, it takes dye incredibly well, so you can drape your bod in the most beautifully saturated colours.

Because Clare doesn't have a lot of internal structure, it's important that your fabric have enough body to create a clean, crisp silhouette. I highly suggest working with medium and heavy weight wools only; suiting weight is too drapey for this pattern. I learned this the hard way when I feel in love with a lightweight melton; even when I interlined it with cotton flannel it failed to have the body I was after and hung a little limply in the sleeves and across the back.

Most fabric stores will have a wool coating section. Wool can come from sheep (merino & shetland), alpaca, goats (mohair & cashmere), rabbits (angora) and even camel. If you're allergic to wool, try experimenting with a sample of a wool alternative to see if you have the same reaction.

TYPES OF WOOL COATING

Felt - wool fibers that have been been wet, heated, agitated and compressed so that it creates a strong, dense fabric. Felt can be deceptive; the really thick stuff feels like it would almost be too thick to be wearable, but fear not. It totally softens up with steam and handling.
Melton - tight, densely woven wool cloth that is felted and brushed on one side to create a "fulled" texture.
Boiled Wool - made from a woven wool fabric that is washed in hot water, shrunk and then felted to create a very dense, water resistant fabric.
Tweed - rough, open weave of fabric in plain weave, twill or herringbone style.
Boucle - soft, textured, loosely woven wool fabric

All of the above fabric will be appropriate for Clare, but keep in mind that looser weaves like boucle may require more aggressive interfacing then what I have called for in the pattern in order to give it the body it requires.

WOOL FABRIC TIPS

As I mentioned, wool absolutely loves heat and steam. It is frankly delightful to press your first wool seam open and see how it responds to the iron! Here are some things to keep in mind when working with wool:

Pre-treating and shrinking wool fabric is a must. You can try to shrink on your ironing board with loads of steam, but I'm lazy and either throw my yardage in the dryer with a couple of damp towels, or bring it to the drycleaner to be block steamed on those big steaming tables they have.
Press, don't iron. Use an up and down motion with your iron as opposed to a back and forth one so you're not stretching your wool out of shape. Try and let your wool cool a little before manipulating it; its very easy to stretch and distort when its hot and damp.
Use a pressing cloth made from light cotton or silk organza (you can also use a light piece of wool!) A press cloth with help prevent marks from appearing on your wool.
Use a seam roll and/or a tailors ham. If you've been putting off buying these tools, now is the time. They really make an extraordinary difference in the final garment, especially when it come sto those curved raglan shoulders! A seam roll will create a rounded surface to press on, so you don't see the lines of the seam imprinted in your fabric.
If you do get wool "bruising" even after using a press cloth and seam roll (which is what happened on my big squishy felt camel sample, the sensitive beast), lightly steam the area, spritz with water and let dry naturally so the fibers can stand back up again. This is a hot tip from my tailoring guru Maimu.
Use a wood clapper for the crispest, most beautiful pressed seams ever.
Over pressed "shiny" areas can be brought back to life with a solution of 2 teaspoons of vinegar in one cup of water. Apply to fabric with a spray bottle and then press gently beneath a pressing cloth.

WOOL FABRIC SUGGESTIONS

Clare-Coat-Sewaong_Wool-Coating-fabrics-2 — one two three // four five six // seven eight nine

Clare-Coat-Sewaong_Wool-Coating-fabrics — one two three // four five six // seven eight ninefive

My favourite sources for coating are Mood, Emma One Sock, Britex (not cheap but oh the beauty!), and Blackbird Fabrics (and she's having a coating sale till Friday- enter COATLOVE at checkout for 15% off).

WOOL ALTERNATIVES

one two three // four five six // seven eight nine // ten eleven twelve

Of course, you do not need to use wool for your Clare Coat! Some of you may be allergic, live in warmer climates, or like the pattern's namesake, avoid wool for ethical reasons. Whatever the case, you can use any medium to heavy weight woven for this pattern. Use a synthetic wool alternative if you can find it, or try a sturdy twill, denim or canvas. I'm especially fond of brocades for a fancier evening coat, and I've also been longing to see Clare made up in a beautiful upholstery fabric.

LINING

A beautiful pop of colour inside a jacket feels so special, especially if it's a high quality fabric like silk or rayon bemberg. Do not deface your beautiful coat with a cheap acetate lining; it will be shredded in no time.

If you're in a colder climate, I highly encourage you to seek out kasha; it is a flannel backed satin that adds a little extra warmth to your outerwear. It's available here at Vogue fabrics and Sawyer Brook (Canadians can find some on Fabricville.com). You may also find it referred to as "Sunback"; B & J fabrics has lots of colours in stock here. If you do live in a city hard hit during the winter, I'm sure you can find it locally at whoever has the best selection of coating. In Montreal, I suggest Tonitex; they have lots of affordable wool (some even block fused!) and a whole wall of kasha lining. Please let me know in the comments if there are any online sources for kasha I am missing.

I'll be back tomorrow with information on the interfacing and various doodads you need to make your Clare. Let me know if you have any questions in the comments below!

Fabric Files: The Sallie Jumpsuit Pattern

30 June 2015 by Heather Lou 2 Comments

one, two, three, four, five, six, seven, eight

One of the nice things about the Sallie Jumpsuit & Maxi dress pattern is that it works with a wide variety of light to medium weight knits. As long as it has a nice drape and a decent amount of crosswise stretch, you should be good to go. Here are some pretty options from around the interweb.

SALLIE JUMPSUIT PATTERN FABRIC2 — one, two, three, four,five,six, two, eight, nine

Fabric Choices for the Carolyn Pajamas

11 February 2015 by Heather Lou 25 Comments

Hola amigas! This week I shared some Ryan Gosling approved pajama styling inspiration. Today I'm going deep into the trenches to find some sweet fabrics for your Carolyn Pajamas. From flannel to silk, you're covered.

SWEET SILK

If you go the silk route, your Carolyns will be decidedly fancy. Balking at the cost? Silk pajamas don't sell for less than $400 and can go as high as $1000. You're technically saving money and investing in comfort. Also? Treat yo' self.

Carolyn Pajama Fabric3 — Sources: 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12.

PLAIDS & CHECKS

These fabrics can go from "cozy winter chalet" to "preppy Nantucket beach rental". Choose your own adventure!

plaid and check fabric — Sources: 1. 2. 3. 4. 5. 6. 7. 8. 9.

NOVELTY FLANNELS

For a more casual "I'm not getting off the couch until I finish I finish all 5 seasons of the Good Wife" (aka every night of the week for me), a fun print in a cozy flannel is pretty much the best. Also, I found YUMMY SUSHI FLANNEL. Buffy fans, rejoice.

Carolyn Pajama Fabric1 — Sources: 1. 2. 3. 4. 5. 6. 7. 8. 9.

LIGHTWEIGHT RAYON & COTTON

Silky, soft and super breathable, Carolyns made from any of these would be amazing for warmer climates and spring and summer nights.

Carolyn Pajama Fabric4 — Sources: 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12.

Understanding and Buying Denim Fabric | Ginger Jeans Sewalong

3 November 2014 by Heather Lou 54 Comments

I truly believe jeans get an unfair rep for being "scary" to make. The reality is, if you can sew a straight line, you can make jeans. You don't need a fancy machine or years of experience and chances are you already have a lot of what you need to get started. In this post, we'll be covering a bit of jeans history before we jump into where to source denim for sewing your own Ginger Jeans.

Jeans History

Jeans have a fascinating origin. They were invented by Levi Strauss during the California Gold Rush in the 19th century. He was an entrepreneurial genius - he saw the need for durable, rugged work wear that could withstand the rigors of gold mining, and developed most of the typical details we equate with jeans; metal rivets, functional pockets, durable topstitching and bar tacks at areas that see a lot of stress. The first jeans were made from a cotton canvas called "serge de Nîmes" which Strauss imported from France and dyed a deep indigo (de Nîmes = denim, get it?)

Even after the Gold Rush ended, jeans remained a part of the American lexicon - they became the uniform of cowboys and working men, a symbol of sweat and hard work. It wasn't until the 1950's that jeans came to signify something else; with the advent of youth culture and rock and roll, jeans became rebellious. Wearing a pair was a way to subvert the conformity expected at the time. It was the fashion choice of beatniks, punks, musicians and later, hippies and feminists.

Over time, jeans have become an irrevocable part of American fashion. I would argue that they may be the most iconic stylistic innovation to ever emerge from the US, and they are now worn every day by every imaginable sector of society. They are no longer a symbol of non-conformity, but they are still one of the most functional and stylish articles of clothing we can choose to put on in the morning.

In the late 70's, a designer named Peter Golding started blending denim with lycra. Adding stretch to denim made it possible to create a much tighter, more body conscious fit, and his innovation sparked a revolution in denim that eventually led to jeggings, which is a boon or a bane depending on your point of view. Most women's jeans now include some degree of lycra, which is what we'll be looking for when sourcing fabric for our Ginger Jeans.

Stretch Denim for Ginger

You can make your Gingers from any stretch woven fabric - if it contains lycra it will work, although a higher percentage of lycra means you will likely have to go down a size. I am going to focus on actual denim since it's become a bit of an obsession of mine over the past few months.

Any stretch denim will work for this pattern. Two percent lycra is the ideal ratio. One percent will work as well, although they may not have quite as much give. I've also made pairs with upwards of 10% lycra, although I had to go down a size or two in the hips and legs. You're looking for denim that has approximately 15-20% crosswise stretch - if it has more or less you will likely be modifying the sizing. Although most of us generally dislike polyester, seeing it in denim is actually not a bad thing. It helps prevent it from stretching out too much with wear.

Here's the thing about denim; it stretches out. It just does. It's in the nature of the twill weave to relax over time. You can get around it a little by sourcing really high quality denim which will stretch less, but no pair of jeans, no matter what it's made of, will look exactly the same 12 hours after you started wearing them. If you want a super snug fit, make a size smaller. The waistband should be snug without creating crazy muffin top, and the legs should fit very close to the skin. These will relax over the day into a more natural fit. The Ginger Jeans run on the generous side to accommodate as many bodies and types of denim available, but going down a size is suggested if you want to minimize stretching.

When sourcing your denim, some retailers will list the weight of denim. I suggest using 7-12 oz denim for your Gingers. Lighter, drapier denims should only be used for the skinny leg version - you want something with a little more heft if you are making the stovepipe leg. Anything over 12oz may be too thick for this pattern - since the cut is so closefitting, you want to be able to move around!

Whatever you use, if it's your first time making the pattern I highly suggest making a muslin. Ordering a few extra yards for this purpose is wise.

Understanding Denim Weave

Traditional fabric is woven using a 1x1 ratio, which means there is one weft for every warp thread. Denim twill uses a 2x1 or 3x1 ratio, which means there are more warp threads for every weft thread (generally the 3x1 is for denim above 10.5oz ). The weave is staggered to create the diagonal pattern you probably equate with denim.

The most common weave is Right Hand Twill. This creates a diagonal pattern that starts in the bottom left and moves up to the top right. Less common is Left Hand Twill, where the diagonal starts in the bottom right and moves up to the top left of the fabric.

If you come upon a denim that doesn't have this diagonal pattern, it is called broken twill. The diagonal threads alternate to create a zig zag pattern. Why is this important? Broken twill was developed to prevent leg twist. While there are ways to cut your pieces to minimize this phenomenon with traditional denim, a broken twill will not twist around your leg since it doesn't have the mechanical weave pulling it in any one particular direction.

Occasionally you may come across the term "slub" denim. This means that the warp thread is not an even thickness throughout, and creates a textured finish in the denim.

Most commercially available denim comes undistressed - if you want to add some dimension to your jeans you'll have to do it yourself. I'll be covering this in the sewalong!

Sourcing Denim Fabric

The best quality denim in the world comes from Japan, Italy, and Turkey. Most American mills are now closed with the vast majority of denim being produced overseas. Unfortunately, most fabric stores don't list the source but smaller retailers may be able to tell you where their denim comes from. If you can't identify where it comes from, I wouldn't lose too much sleep over it. Try to find something that has decent recovery and you should be okay. If you can get your hands on the denim in person, try tugging and pulling on it. If it more or less springs back to it's original shape, it means the recovery is good. Cheaper quality denim is likely to bag out at the knee and may stretch with wear. If this is what you're working with, you may want to go down a size in anticipation.

Where to Buy Denim Fabric

Our sister brand Core Fabrics always has a wide variety of denim fabrics in stock. I personally hand-pick each denim we carry based on quality and the mill that produced it so you can always count on excellent quality from us.

Caring For Denim

You definitely want to pre-wash your denim before you cut out your pieces. You want to remove the chemical sizing and soften up the fabric - it's often quite stiff off the roll. If you plan on putting your finished jeans in the dryer, you should dry your denim to pre-shrink them as much as possible BUT.... keep in mind that heat is the enemy of lycra. If you want your jeans to last as long as possible, you should air dry them whenever possible.

Wash the raw denim with a cup of vinegar to prevent bleeding. You should also add vinegar to each wash for your completed pairs. And ix-nay on the fabric softener - it's really hard on the lycra. If you want to preserve the dye, try not to wash them too frequently and when you do, turn them inside out. I try to get at least 4 wears out of my jeans before washing them. If you want to be really hardcore about it, you can throw them in the freezer whenever they get stinky.

Finally, I read an interview with a Levi's designer who said she put baby oil on her legs every time she wore her jeans. It apparently gives them a sheen over time - something to try!

If you’d like more help sewing professional-looking jeans, consider taking our online video class. The Sew Your Dream Jeans Workshop will give you the tools and techniques to design, sew, and wear your very own custom pair of jeans with confidence.

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Nettie Sewalong Pt 1 - Fabric

5 May 2014 by Heather Lou 23 Comments

Hi folks! I hope you had a wonderful weekend. Today I want to talk in depth about fabric choices for the Nettie Bodysuit & Dress. Since it's a lot of ground to cover, I will post tomorrow about additional materials you may want to gather. I won't be starting the sewalong for a few weeks so everyone has time to gather their materials.

Some of you may be unfamiliar with sewing with knits. They can seem intimidating at first, especially given the misconception that you need a serger. You don't! Knit garments can be easily made on a regular machine as long as you can do a zig zag stitch. Since knits make up so much of our daily wardrobe, its worthwhile to embrace sewing with them, a highly manageable goal once you understand a few basics.

The Nettie pattern is probably unique from a pattern making perspective if you haven't sewn with a lot of close-fitting knits before. It has negative ease, which means the final garment will be smaller than your body measurements. In order for this pattern to work, it has to cling to your body. If it is not tight enough, your shoulders will be constantly falling down, especially with the scoop neck, low back variation. The downside of this is if you don't choose a fabric with enough stretch, it will be too tight. This isn't often an issue with most patterns, since generous ease is usually included. I think it is important to mention now that if you are in-between sizes or are concerned that your fabric may not be stretchy enough, go up a size or 2! Technically I'm a size 10 on top and a 12 on bottom, but most of my samples were made with a straight 12 and fit fine. The forgiving nature of knits makes grading between sizes often irrelevant - it's better to err on the side of caution and take it in later if you need to!

There are five elements that you will need to consider when choosing your Nettie fabric: fabric composition & recovery, fabric weight, direction of stretch, and stretch percentage. This may seem a little overwhelming but I will break down what all this information means. Any decent online purveyer will include most of this information in the fabric description so it should not be difficult to find the perfect fabric for your Nettie!

FABRIC COMPOSITION

Knit fabric differs from traditional fabric in that is actually "knitted" together as opposed to woven. Knit fabrics get their stretch from the physical construction of the fibers, and can be made from any material, such as silk, wool or cotton. That said, not all knit fabrics are created equal. For Nettie, you need a knit that has an elastic component blended with the base fiber.

My ideal fabric for the Nettie Bodysuit, and what I used as a basis to draft it, is a cotton-lycra blend (lycra and spandex are used interchangeably in fabric descriptions). The critical component is the lycra; my pattern testers and I had success with rayon-lycra, bamboo-lycra, and straight up lycra (otherwise known as swimsuit fabric).

The ratio of lycra to cotton/bamboo etc. will determine how well it stretches and "recovers". The more lyrca, the more it will want to return to its original size after being stretched. An ideal ratio is 5-10% lycra, although it can be made with less (my blue floral Nettie had 2% lycra - I let out the seams a little to compensate for any lack of stretch). You want a fabric that recovers from being stretched - if it doesn't, it will get stretched out and baggy over time.

For the Nettie dress, lycra is not a requirement since vertical stretch is not required. Ponte and other 2-way stretch fabrics work well, provided the stretch percentage is adequate (more on that below!)

FABRIC WEIGHT

The weight of your fabric will determine the way Nettie fits and clings. Medium to heavy weight knits will act almost like spanx, sucking everything in and molding to your curves. Lighter weight fabrics work as well, but if your fabric is very drapey, you will be more likely to see to see bra straps through the thinness of the material.

2-WAY vs. 4-WAY STRETCH

Of critical importance when choosing a fabric for Nettie, is determining whether or not it is a 2-way or 4-way stretch. 4-way stretches both horizontally and vertically, which is muy importante for the bodysuit. If your fabric doesn't stretch along both axis, your bodysuit may be uncomfortable or too short in the torso.

2-way stretch fabric, such as ponte or cotton jersey (what is traditionally used to make t-shirts) can be used for the dress, provided they stretch enough on the horizontal axis.

This is easy to determine when you are shopping in real life, as you can stretch the fabric in both directions. When shopping online, do not buy anything that does not explicitly state that the fabric is 4-way stretch if you are making the bodysuit!

STRETCH PERCENTAGE

Stretch percentage refers to the amount your fabric stretches in proportion to the fabric when laying flat. I specify a fabric with at least 50% horizontal stretch, which means the fabric should stretch by at least half its length.

To illustrate this concept, I cut 6 inch squares of the fabrics I used for some of my sample Netties to show you what kind of stretch percentage they had. Folding the swatch in half, I stretched it as far as it would go and measured it to see what it's percentage was.

Cotton lycra - 55% stretcb — Cotton lycra - 55% stretch

In my experience, super-stretchy fabric (above 70%) tends to be lighter weight and looser fitting. The short sleeved striped Nettie I made is not tight at all - the fabric was almost drapey and very forgiving. The medium weight knits tended to be around 50-60% stretch and fit much tighter.

Not all online stores provide stretch percentage. When in doubt, look at the ratio of lycra. Anything over 5% is going to give you a good stretch percentage!

Now that we've gone over what you need to look for, here's the fun part.

ONLINE SOURCES

My absolute favourite source for Nettie fabrics is Girl Charlee. I looked all around the web and they have the BEST prints out there and the prices are fantastic. If anyone ends up buying from there for the first time, please use this referral link. For every order I get a $5 credit, which I would like to use for giveaways & prizes in the future.

Here are some current finds:

Screen Shot 2014-05-04 at 4.18.36 PM — Nettie looks great in stripes. I like the alternating wide and thin lines here. Girl Charlee has lots of great stripes!

Screen Shot 2014-05-04 at 4.21.14 PM — Floral Netties are feminine and sweet. I love the contrast of the red flowers and black background.

Girl Charlee fabric for Nettie pattern — Make an edgier Nettie with a cool geometric print!

Spandex World has a good range of prints and every solid colour you can imagine. This check print is particularly appealing:

Fabric.com has quite a lot as well. They have some nice stripes which can be hard to find.

Other sources:

Spandex House
Designer Alley Fabrics
Marcy Tilton

In the UK/Europe:

Minerva Crafts
Guthrie & Ghani
Textile express
Tissu Fabrics
Showtime Fabrics
Calico Laine

Australia

Glitter & Dance

Anyone else have any other resources? I'll add them to the list!

Hopefully this helps you understand how to make great fabric choices for your Nettie. It's more specific than you're probably used to, but picking the perfect knit will ensure your dress or bodysuit fits perfectly. I'll be back tomorrow with a post on other notions or tools you may need!