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How to stop your knitted hem from flipping up.

August 12, 2016 thecraftsessions
Terrible photo but it's all I have. The hem flipping was extreme. It flared out like a penguin flipper in Mary Poppins.

Terrible photo but it's all I have. The hem flipping was extreme. It flared out like a penguin flipper in Mary Poppins.

This is a total bugger when it happens. You are knitting, or you've finished knitting, and you notice that you have the flip. So what to do? I have a couple of tricks that I thought you might like.

Let's start with why it happens.

The basic reason is a change in tension between the two types of knitting, whether this is a ribbed hem or a garter hem.

When you rib you end up with more fabric than when you knit stockinette. Think about the process of making a rib. In between each "rib" you need to switch from knitting to purling and each time you do that you move the yarn from the front to the back (or vice versa) before making the next stitch. That means you have a tiny sliver of "extra" yarn between each stitch (for k1p1 rib) or two stitches (for k2p2 rib). The tiny sliver of extra yarn means as you end up with more yarn and therefore more fabric than if you were to knit the stitches in stockinette. The extra fabric causes the rib to flare, and at the point at which you change from stockinette to rib it flips.

It is all about tension. Change the tension, cause a flip.

It can happen with other stitches like garter too. When you go from a garter hem to stockinette you change the tension in the fabric. (To fix a flipping garter hem I normally use one of the first two tricks below. Whereas to fix a flipping rib hem I might use any of the three.)

The flip is pretty much only a hemline thing, rather than a sleeve thing or a neckline thing. That is because on both a sleeve and a neckline you have the extra tension, created by the body position in reference to the sweater, that means that flipping isn't such an issue. The only exception I have really found is on a loose fitting sleeve. (In which case I use one of the first two tricks below.)

Anyhoo, the whole problem is annoying but really fixable provided you are willing to experiment and rip a row or two here and there.

How do you stop it.

I often combine more than one trick.

The main thing you need to do is to decrease the amount of fabric in your band. You can do this using Trick 1 and Trick 2. Both of these methods decreases the amount of yarn/fabric you have in the band thereby pulling it in a little and decreasing the hem's desire to flip.

Trick 3 is specifically for rib hems. It involves altering the tension at the change point by reducing the amount of fabric at the point of the flip by slipping the knit stitches of the rib.

This hem was tamed by simply changing engaging with Trick 2.

This hem was tamed by simply changing engaging with Trick 2.

Trick 1: Decrease the number of stitches

You decrease the number of stitches by doing a k2together every few stitches [k2tog kX] across the row on the last row of stockinette or the first row of rib ( for a top down sweater) or on the first row of stockinette (for a bottom up sweater). This is part art and part science.

There are no rules to exactly what the repeat should be. I vary my repeat from a [k2tog, k8] which was often the recommendation by Elizabeth Zimmerman right down to a [k2tog k3] for a straight sleeve. 

How do I figure it out? I often try something, see what it looks like, and rip it out if it isn't tight enough or is too tight. So get started by choosing a repeat in between and try it.

Rib Band: I often do [k2tog k8] when going into a rib band because the very nature of the rib is that it pulls inwards. Sometimes this still isn't enough to pull the band in when going to garter.

Garter Band: The last sweater I made was a Granny's Favourite (which has garter bands) and I did it on the sleeves and the hem. I think I did a [k2tog k3] for the sleeve which sounds like quite a big decrease but it actually worked very well. I may have made it [k2tog, k4] for the body....

Please note that it does not matter whether the repeat fits into the number of stitches you have on the needle. Just keep doing the repeat till you get to the end of the row.

Trick 2 - Decrease the needle size

This is often used in patterns for hat bands or sweater bands but I also often use it even if the pattern doesn't recommend it. For example often my finished Granny's Favourites end up with stretched out necks because of rough-and-ready small girl children. So I always knit the neck band on a 3.5mm or even a 3.25mm band to make it a little smaller. This example obviously isn't about a flip but it has the same principle in that we are trying to reduce the amount of fabric created for the band. I often also do it for bands at the bottom of sweaters.

Trick 3 - Slip Stitches

This is a trick that works really well with a rib band. I generally use this one one where I am shifting from a rib band into stockinette - so bottom up sweaters. On the change row, rather than just knitting the whole row, I slip each of the knit stitches and then knit all the purl stitches. I have used this trick on both a k1p1 and a k2p2 rib band. The flip doesn't happen because you are changing the tension by making it tighter at the flip point with all the slipped stitches.

A non flipping hem. That I am happy with. Near enough is good enough and completionism rather than perfection. I adore this jumper.

A non flipping hem. That I am happy with. Near enough is good enough and completionism rather than perfection. I adore this jumper.

You can still see the tension change between the band and the body as it dips in. This could be the result of taking out too many stitches....?

You can still see the tension change between the band and the body as it dips in. This could be the result of taking out too many stitches....?

An Example - James III

James III is the sweater that inspired this post. I got to the end of knitting it and finished the band only to block it and realise that the flipping (which sometimes will block out!) was extreme. I ripped the band out, put the zillion stitches back on the needle and started again. I did a combination of Trick 1 and Trick 2. I changed my needle size from a 3.75mm to a 3.25mm on the first row of rib and also did a repeat of [k2tog, k1, p2, k2, p2] which means that I decreased one stitch every 9 which is roughly 10%. It isn't perfect but it is much much better.

I'm happy to answer questions if you have them? And would love to hear if you have any other tricks you use?

And if you don't then here is wishing you a hem-flip-free future.

Felicia x

In How To Tags knittingtipsandtricks, knitting
13 Comments

The Craft Sessions Simple Hat Pattern

January 22, 2016 thecraftsessions

I improvised this simple hat "pattern" many years ago and have made it many many times, and made many versions. I wanted to share with you my basic recipe, as this pattern suits everyone and fits a wide range of heads. My two favourite versions fit me, my three kids (who are between 5 and 10) and my fella.

It is hat knitting at it's absolute simplest and the awesome thing about it is that it looks great whether it is a bit tighter or a bit slouchier. Mine tend to slouch up over time, to the point where I need to give them a quick wash to get them back into shape. You can see my oldest and most stretched version in the picture below.

My oldest slouchiest version that I wear running which has a 3.5" ribbed section and is a smidge longer. It is made from Rowan Kid Classic on 5mm needles.

My oldest slouchiest version that I wear running which has a 3.5" ribbed section and is a smidge longer. It is made from Rowan Kid Classic on 5mm needles.

This hat is my go-to quick knit as it can be made in a night or two in front of the tele, or on a long car drive. A simple hat in a gorgeous yarn is the perfect gift, for yourself or someone you love.

One of my favourite things about it is the crown. I love an odd number of points in a crown decrease. It just feels a little more balanced.

Just be aware that this "pattern"* is really loose - not that the knitting is loose but rather that the pattern is really simple and easy to alter. For example I love the three inch rib but have been meaning to make one with a 3.5 or even 4 inch rib. It might rock.

So I've included two of my most knitted versions -  one with an 18 stitch recommended gauge and another with a 20 stitch gauge. And I'd love to see your versions so don't forget to hashtag your creations #tcssimplehat on instagram.

I purchased these two skeins at Purl Soho to give their yarn a trial. On the left is their Worsted and on the right is their beautiful Flax Down!

I purchased these two skeins at Purl Soho to give their yarn a trial. On the left is their Worsted and on the right is their beautiful Flax Down!

Your yarn choice will give you a totally different hat.

Thinner slouchier version: If I want a slouchier version I use a yarn with some kind of alpaca or silk content and use a say a DK yarn with the 20 stitch gauge.

Chunkier version: I use a a worsted or aran weight yarn that is 100 percent wool. I would use the 18 stitch gauge version.

I'll recommend some yarns for the different versions at the start of the pattern. But this hat was made for stash scrap knitting, and for pom poms if you are into them.

Edited to add: If you are a loose knitter when knitting rib you might want to consider going down a needle size to do your ribbing. I don't but you might. This is especially true if you are using a yarn that is not very elastic.
 

Verions #1 20 stitch gauge in Purl Soho Flax Down.

Verions #1 20 stitch gauge in Purl Soho Flax Down.

The Craft Sessions Simple Hat Pattern Version #1 - 20 stitch gauge

Gauge: 20 stitches per 4"/10cm

Fits: Heads from 20-23"/50-58cm - That said my partner's head is over 24" and it fits him too.

Finished Measurements:
Hat length from cast on to crown - 9.5"/24cm
Unstretched width 18"/45.5cm

Yarn Suggestions
Rowan Kid Classic or Purl Soho Flax Down for a thinner version. Or any 20 stitch gauge yarn with mainly woollen content. Shelter is nice. As is Quince's Owl. Or Berrocco's Ultra Alpaca.

The 20 Stitch Simple Pattern
Cast On

Cast on 96 stitches using a 4.5mm needle. Please note that you should use whatever needle size you need to get gauge given the yarn of your choice. Place a marker to mark the start of round and join to knit in the round.

Ribbing
Knit 22 rounds of [k2,p2] repeat or until ribbing measures 3"/7.5cm

Hat Body
Round 1: Repeat the brackets 2 times [Knit 48, M1] - 98 stitches total.
Round 2 onwards: Knit all stitches until the hat measures 6.5"/16.5cm from the cast on edge.

Crown shaping
Round 1: Repeat brackets until end of round [Knit 14, PM].
You should have 7 markers in total including the start of round.

Round 2: Repeat brackets until end of round [Knit until 2 stitches before marker, k2tog]
Round 3: Knit
Repeat Rounds 2 and 3 until there are 7 stitches between each marker - 7 times in total - 49 stitches remain.

Then repeat Round 2 until 7 stitches remain. Using a needle thread a few inches of yarn through the remaining 7 stitches.

And you have a hat!

Version #2 18 stitch gauge version in Purl Soho Worsted.

Version #2 18 stitch gauge version in Purl Soho Worsted.

The Craft Sessions Simple Hat Pattern Version 2 - 18 stitch gauge

Gauge: 18 stitches per 4"/10cm

Fits: Heads from 20-23"/50-58cm

Finished Measurements:
Hat length from cast on to crown - 9.5"/24cm
Unstretched width 19"/48cm

Yarn Suggestions
Purl Soho Worsted for a chunkier version. Or Rowan Felted Tweed Aran or any 18 stitch gauge yarn with mainly woolen content.

The 18 Stitch Simple Pattern
Cast On

Cast on 80 stitches using a 5mm needle. Please note that you should use whatever needle size you need to get gauge given the yarn of your choice. Place a marker to mark the start of round and join to knit in the round.

Ribbing
Knit 20 rounds of [k2,p2] repeat or until ribbing measures 3"/7.5cm

Hat Body
Round 1: Repeat the brackets 4 times [Knit 20, M1] - 84 stitches total.
Round 2 onwards: Knit all stitches until the hat measures 6.5"/16.5cm from the cast on edge.

Crown shaping
Round 1: Repeat brackets until end of round [Knit 12, PM].
You should have 7 markers in total including the start of round.

Round 2: Repeat brackets until end of round [Knit until 2 stitches before marker, k2tog]
Round 3: Knit
Repeat Rounds 2 and 3 until there are 6 stitches between each marker - 6 times in total - 42 stitches remain.

Then repeat Round 2 until 7 stitches remain. Using a needle thread a few inches of yarn through the remaining 7 stitches.

And you again have a hat!

Enjoy and feel free to ask questions. And don't forget that hastag #tcssimplehat. They will make me happy!

Felicia x


*Some people on instagram mentioned the similarity of my hats to the gorgeous Simple Hat by Hannah Fettig that you can find here - similarities that makes sense as there are only so many ways you can make a simple hat. I don't have Hannah's pattern nor have I ever seen it - and our versions are different. Different ribbing, different crown length and different crown shaping. Also my "pattern" has only one size in two gauges. I know from experience that Hannah's patterns are incredibly well thought-out and well written, and her simple hat has many sizes and I believe three gauges so please check it out if you are interested.

In How To
23 Comments

Waistboob and whatnot.

July 6, 2015 thecraftsessions
James I with noticably less waistboob.

James I with noticably less waistboob.

I was lucky enough to get to the wonderful Squam this year, and even luckier to do two great classes. The first was with Amy Herzog (Fit to Flatter) and the second with Bristol Ivy (Knitting Outside the Box). Things were learnt, and as with all good classes, they were not necessarily the things I expected to learn. 

You see, I have been making things for a long time, and with that has come some confidence that I know what I’m doing. Confidence is a useful thing in making – and it’s been hard won with a lot of practice - so I’m a little attached to it and glad I have it. However, after doing Amy’s class, I’ve realised that that same confidence has lead me to be a little closed-minded.

I went to the Fit to Flatter class  - which was all about how to get your knitted garments to fit properly – with the belief that I already knew how to get sweaters to fit. I had a fair bit of sweater knitting experience up my sleeve (Ha!) and I’ve even written a few (great :)) posts in the past about fit like “How to choose the perfect sweater pattern” and “Getting bottom up sweaters to fit beautifully”. And they are still really useful and relevant, but ……well you get the picture. I’d heard Amy was a great teacher so I was really interested in going, but I really did think I knew most of it.

How wrong I was!!

There were many parts of the Fit to Flatter class that were total genius like “How to swatch”. I mean, if you had of asked me before the class about swatching and whether I could do it, I would have almost chuckled in a dismissive way. “Of course” I would have answered. Turns out that I only kinda knew…..

And there was another 10 of those moments scattered through the class.

Some of these lightbulb moments I think I understood intuitively, but I didn’t understand the reasons behind the decisions I was making. And because this is hard to explain without giving you an example, I’m going to give you an example.

Let’s talk about waist-boob.

What is waist-boob I hear you ask? I’m sure there is a definition on Wikipedia or something, but a simple definition is where your boobs look like they are part of your waist rather than your chest. The class lead me to understand waistboob in a whole new way – a way that already has changed how I make.  Amy covered how and when waistboob occurs for different body types and then how to avoid it.

Let’s look at a specific example, shall we? I’ve always loved the Brooklyn Tweed sweater Stasis – and it’s the kind of love that is lasting and true. It’s been in my queue forever and I have the yarn in stash ready to go. I haven’t made it though – and during the class I started thinking about why. So I went to Ravelry to have a look.

Many of the Stasis projects on Ravelry, while beautiful, clearly demonstrate waistboob. The pattern looks sensational on a hanger but on a person => waistboob. Even the gorgeous Brooklyn Tweed model has waistboob in one of the pictures. And I think that was one of the reasons I’ve been avoiding knitting it.  It doesn’t look great on that many people. 

Amy explained the reason why* – it has to do with where the colourwork finishes. You need to have the colourwork finish somewhere closer to the nipple line, if you have a particular bust size AND high neck like Stasis does, in order to avoid waistboob. Changing the position of where the colourwork starts would elevate your boobs to join your neck region. How ace is that!

James II with the higher neckline and more noticeable waistboob. I've searched for a better picture but can't find you one tonight to show you how this effect is amplified in version II - hopefully you can see it. In the case of this sweater it is b…

James II with the higher neckline and more noticeable waistboob. I've searched for a better picture but can't find you one tonight to show you how this effect is amplified in version II - hopefully you can see it. In the case of this sweater it is because of the neckline.

Amy’s class talked swatching, shape, ease, darts, how to choose a size, how to take your measurements and proportions of sweaters, in a different way to what I knew. And it has given me tools to fix what is unflattering.  Amy told me why I don’t like the things I don’t like – intuition is one thing but there is real joy in understanding my friends.

Then there were the many things in the class that I was convinced I didn’t need due to the style of sweaters I like (which are different to Amy’s – many of her sweater patterns are quite fitted) – but by the end of it I was totally convinced would work for me in various patterns (like back darts).

I was one of the lucky ones I think as it turns out that I was kind-of on track already. Many of the sweaters I’ve made already follow her fit rules. In the past that was based on intuition of what looked best on me. Now it will be based on some understanding which makes me truly thrilled.

Now you are probably wondering why I’m telling you about a class for a retreat, that has already happened, that you can’t take? Well you can!! The point of the post was to suggest that you try either her book Knit to Flatter or her online Craftsy class Knit to Flatter. She also has a HEAP of great info on her blog that will keep you happy with a cup of tea for a good long while.

Finally, I’m pretty sure you guys know this already, but just in case – I wanted to be clear that this blog is totally unsponsored and I am not getting any kickback from anything. I just tell you about stuff I’ve loved, and think you might too. I got so much out of this class that I think I might be a little bit in love with her for how she has changed my knitting. 

Felicia x

*Amy wasn’t specifically talking about Stasis.

 

In Best Of, How To
19 Comments

Simple Sewing 101 - Part 5 - The Mashup.

June 3, 2015 thecraftsessions

 

So I forgot to post yesterday. Blame the time zone thing or the fact I'm on holiday. My apologies!

So let's get to it. Many of my pattern alterations are mashups. I like the top of one pattern but the hemline of another. Or the neckline of one and the shoulder of another. Because I'm not a pattern drafter, I generally leave that stuff up to those that are, and so I pinch the bits I like from different patterns.

Where do I do the alteration?

I often create the pattern for the mashup while drafting the pattern onto the interfacing - by this I mean that I trace the parts of the mashup onto my pattern interfacing to create a new mashup pattern. Generally I use patterns that I have already previously made but I also sometimes just use my measurements (we talked about this in Simple Sewing 101 - Part 4).

For example for today's pattern I would trace the neckline and shoulder line of the Hemlock, and the hemline of the Wiksten Tank along with an altered side seam, onto my interfacing . The reason for doing this is that when I come back to use the pattern the next time I can recreate it exactly. 

That is not what I did here. Partly because I was being lazy. But it turns out this was a brilliant move on my part, in terms of this "tutorial", in that it means when we are looking at the photos we can clearly see what's what.

Which bits do I not fiddle with?

Generally I don't fiddle with the fit of the shoulders if a garment has sleeves. Getting the fit of a shoulder right is a super tricky thing and not something I know how to mess with. And getting the fit of the shoulder right is the one of the keys to a good looking top.

I will alter a neckline, a side seam, the amount of fabric something has in the back of a neck, the width of the straps of a tank, and hemlines. I love to alter hemlines.  And necklines - practically all of my Scouts have altered necklines. 

Woven Hemlock Tee/Wiksten Tank MASHUPS

So here is the mashup. Super simple but it has resulted in two of my favourite, most wearable tops. Simple to make, joyful to wear. Can't beat that.

The Hemlock Tee pattern is the paper pattern. The Wiksten Tank pattern is the pattern on interfacing.

The difference between a woven Hemlock and this mashup pattern is simply that I used the hemline of the Wiksten Tank as my hemline. As the tank hemline is about three cm wider at the bottom than the Hemlock then the new pattern has more of a swing shape to it. This is made easy by the fact the Hemlock actually has no armhole to contend with (the pattern side is just straight) so I simply cut a the side seam line from the outside shoulder edge to the hemline edge. 

The other thing that I needed to do with this pattern in order to get a good fit is to alter the sleeve ever so slightly. This pattern is written for knit fabrics which have a lot of stretch and as such the sleeves are meant to be fitted. In the check version above I cut the sleeves on the bias which gave them stretch as woven fabrics often have stretch inherent in the bias of the fabric. In the floral version I needed to cut the sleeves with a little more width so they didn't make the arms stiff. I describe how I did that below also.

This whole thing is best described in pictures so here goes. 

Step 1. In this picture you can see the Hemlock pattern (ignore the markings on the paper - I used scrap paper) which is the paper pattern, and laying on top you can see the Wiksten Tank pattern which is the interfacing one. The interfacing one is scrunched up on top of the paper one to give you an idea of my plan.

I measured from the shoulder seam next to the neck, down to the hemline using the measurements I know I like for the length of a top. I made sure to include my seam allowances - 1/2" for the shoulder and then 5/8" for the hemline - into this length. I got this right this time but often I will get it approximately (making it a little longer rather than shorter) and adjust while I am making it.

Step 2. The first cut I made was the neckline of the Hemlock Tee. The pattern piece was held on the fold. My scissors need sharpening which is why the cut is jaggedy.

FelicaSemple-3.jpg

Step 3. I then cut the shoulder seam line to the corner. I don't muck with the shoulder line!

Step 4. I then cut the hemline of the Wiksten Tank pattern piece knowing the right position to put it in as measured in Step 1. 

This just shows you the cuts made so far. The neckline, the shoulder seam and the hem.

This just shows you the cuts made so far. The neckline, the shoulder seam and the hem.

FelicaSemple-6.jpg

Step 5. Holding the outer shoulder seam point in place, I pivot my pattern piece so that it creates a straight line between where the Wiksten Tank hemline outer edge is. I create a straight line as I am effectively following the style of the Hemlock Tee pattern here because it is where I am getting my shoulder line from. 

Note: If this pattern had an armhole I would cut the armhole out first and then pivot from the bottom of the armhole. What I did for this mashup creates a top with more swing AND more fabric in the chest area. If I didn't want the chest area to change I would figure out where on the side seam line the shoulder finished (problem around the letter P in POCKET on the pattern above) and pivot from that point. 

This photo shows the front of the top cut out.

This photo shows the front of the top cut out.

Step 6. Now to cut out the back. First we need to get the length right by laying out our pattern pieces. The curve on the back hem of the Wiksten Tank is slightly different to the front, so the first thing I did was to lay the back piece of the tank down on the fabric. I then added the front piece that I had already cut out and sat it on top. This gave me the length of the side seam by matching the hem outer corners (in the top right of the photo). Mark the shoulder outer corner. You can see in the photos that the scissor tips are showing you where that is.

Step 7. The outer shoulder corner is now marked with a pin.

Step 8. Cut out the Wiksten Tank hemline before removing the pattern piece. Note the pin in place for the outer shoulder (near the tip of the scissors).

Step 9. Lay the Hemlock Tee Back pattern with the pattern edge on the fold and the outer shoulder edge meeting the pin.

Step 10. Cut out the neckline and shoulder line. Tilting the pattern piece as you did in Step 5 and finish cutting out the pattern back.

Step 11. To add width to the sleeves is simple with this pattern as there is no armhole to contend with. Instead I simply moved the pattern piece away from the fold about 1cm. Next time I would only move it about 0.5cm as these sleeves are a little sloppy. 

 

A couple of companies that love a mashup/alteration are Made By Rae (who is about to come out with a great simple shirt pattern called Beatrix which is similar to the Scout), Colette, Grainline and By Hand London. They have a gazillion amazing tutorials on each of their websites - using their own patterns but there is a load of good things to learn on each site regardless of whether you are using their patterns or not. I particularly love the mashups by By Hand London - it's like their patterns were made for it. 

Next up in the series we will cover my two super simple favourite alterations. They are super dodgy but I use them on practically everything I make.  

Felicia x

In Simple Sewing 101, How To
11 Comments

Simple Sewing 101 - Part 4 - Pre-Alterations

May 29, 2015 thecraftsessions
In the post next Tuesday I'm going to describe how I made this woven Hemlock/Wiksten Tank mashup.

In the post next Tuesday I'm going to describe how I made this woven Hemlock/Wiksten Tank mashup.

I'm so excited to have seen your tops popping up on instagram - thanks for pinging me with your successes! Makes me glad I got around to posting this little series. If you feel like being inspired yourself then go have a look at the hastag #simplesewing101. 

Many of you have been asking about alterations and there is quite a bit to say - so much so that I got stuck writing this as it felt too massive. And I really wanted to have good pictures for you and I haven't had time to take them. So I've finally decided to bite the bullet, use what I've got, and split it up into some more managable pieces. I just saw that I actually started to write this post two months ago so apologies for the wait.  

I'm wanted to start with the woven Hemlock alteration I do as that was the first top in the list and go from there. But I found there were a few things to say first. The mashup will be posted on Tuesday. 

As I've mentioned before (but really want to stress again) these are not proper dressmaking or drafting alterations. However this type of alteration fits into the spirit of Simple Sewing 101 - the idea that you can make beautiful wearable garments with very few skills. And complicated isn't necessarily best. 

 

Pattern drafting material

I draw all my patterns up on light interfacing that has no stick on either side. I call it Vilene but I think that is a brand name. I just ask my local sewing store for interfacing for drafting. I often get something slightly different each time but that is totally fine. I purchase about 10m at a time and get them to put it on a roll. It lasts me a year-ish. And is super inexpensive. 

The reason you want to draft on this stuff (rather than say paper) is that it is more easily manipulatable. You can fold up the bottom, fold to take out width, etc, without having to redraft the pattern or dealing with the stiffness that is paper. Once I've stuck my pattern pieces together (if it is a pdf) then I draft off the pattern onto the interfacing. It might seem like an unnecessary step but will save you time if you make the pattern more than once. You can fiddle around with your alterations on the vilene before you cut it.
 

The interfacing is what you see in this picture. Remember to write the pattern name, size, piece name, and then cutting instructions. AND any alterations you have made. I then keep these pieces in A4 envelopes. 

The interfacing is what you see in this picture. Remember to write the pattern name, size, piece name, and then cutting instructions. AND any alterations you have made. I then keep these pieces in A4 envelopes. 


Make a Muslin ;)

Look I am totally lazy about this - my muslins are always wearable rather than just muslins. Each time I make a pattern for the first time I do so out of a less precious fabric. I then use the result a. as a garment, and b. as a learning tool.
 

Use your existing clothing to figure out your measurements

Measure similar tops you have in the wardrobe. Measure the width of the bust, the width of the hem, the height of the armhole, the width of the hip of a tunic (if you are looking to make something like a dress Tova or Wiksten Tank), or even the depth of a neckline that makes you happy. Write these measurements down and refine them each time you make a garment. I know for example that I need at least 4 inches of ease at the hip of the Tova or Tank or anything that goes over my behind so they don't stick to my bum in that super middle-aged nana kinda way. 

Another useful measurement is to take length. I use this measurement all the time for both sewing and knitting. I measure from the shoulder point next to the neck down to the bottom of favourite tops, tunics, frocks. For skirts I measure from my natural waist to the hem length I like. Again these measurements are taken from my existing clothing. This saves time, fiddling around and fabric as you have a better idea of whether you need to adjust the pattern before you make your muslin. 

The important thing is that you write them down. I think I will remember and never ever do. These measurements will become more useful in time as you have more practice and make more things.

And remember your seam allowance. In many patterns it is 1/2", whereas in others it is 1cm. You need to make sure that your pattern has the width/length you want PLUS the seam allowance. I have screwed this up so many times it has become automatic. One thing I have learnt from much experience is never redraft at night. Unless you have some kind of freaky brain most people are too tired at night to for the logic required to redraft. And no wine.
 

Redraft 

Use your the measurements you took from your existing clothing, and then your muslin, to figure out what you want to change.

Is your Wiksten Tank flashing too much boob for your liking - then redraw it so that the neckline is higher. Is the hem too high at the front and low at the back - then redraw them. Don't like the width of the straps - make them thinner. You can do it. Easy peasy…..

The key to the redraft is the intersection with an edge - generally you need to make sure you intersect the pattern edge at a perpendicular 90degrees. Say you redraft the neckline of the Wiksten Tank you need to extend the centre line up towards the shoulder and then redraw it an inch or two higher making sure you intersect the fold line at 90degrees. If you don't do this you will end up with a point or a chunk out of the fabric. *

Before you redraft, note the angle at which the pattern intersects the centreline or shoulder line and choose the same angle. 

The only thing I would say is that you will make mistakes. Mistakes are OK - expect them and don't worry when you do. I make them regularly and each time I learn. I have been known to throw something half made in the scrap bin. Perfect the pattern using cheaper less precious fabrics first and then make it up in the special stuff. 

You can do this for hemlines, necklines, armholes (of tanks), sleeve widths, sleeve lengths. There are good tutorials about. Check out Grainline, By Hand London and Colette as good starting points. 
 

Tuesday's post will be the woven Hemlock/Wiksten tank mashup post.

 

Felicia x

* I'm not sure I'm explaining this well so please ask questions if I've confused you.

In Simple Sewing 101, How To
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Welcome! I'm Felicia - creator of The Craft Sessions and Soul Craft Festival.

This blog aims to celebrate the connection between hand-making and our well-being.
These posts aim to foster a love of hand-making and discuss the ways domestic handcrafts elevate our everyday.

I love the contributions you make to this space via your comments and learn so much from each and every one. x

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