You will need a few supplies: paper (you can use inexpensive banner paper from the office supply store, exam table paper, blank newsprint, or Swedish interfacing), ruler and/or yardstick, pencil, fine tip marker, paper scissors, pattern weights (I use large metal washers from the hardware store), pins (for printed patterns only), and a flat surface (in this case, a cutting mat).

Begin by ironing all the pieces on the lowest heat setting for your iron, without steam. If in doubt, test on a piece of paper first to make sure your iron won’t scorch the paper. You need to iron out any wrinkles or deep folds in the pattern pieces so they’ll lie flat. Just be careful not to tear the pieces.

Lay the paper on a flat surface. Arrange the pattern pieces on top with pattern weights atop to help straighten the pattern and keep it flat. If the piece has a straight edge (such as the one pictured with the center-front edge to be placed on folded fabric), you can lay that alongside the straight edge of the paper to reduce one more edge to trace.

Begin tracing around the edges of the pattern with the pencil. I tend to sketch around curves and uneven edges, and make dash marks every 8″-12″ along straight edges that I can fill in with a ruler after the pattern is removed.

Be sure to mark all the circles, notches and diamonds! When transferring a dart marking, I indicate those with small dots and connect them later with a ruler for a complete dart shape. If you’re tracing a printed pattern, I tend to pierce through the pattern and paper beneath with a pin to indicate a pattern marking. After the pattern is removed, I go back and add the mark with the pencil or marker.

Remove the pattern piece and fill in any spots with the ruler/yardstick. I also indicate all darts and grainlines at this point too.

Finally fill in the pattern information: company, number, size, piece and quantity to be cut with marker (if this is a final piece; if you’re using it to grade the pattern, you don’t need all the information). I also like to include notes on seam allowances, darts, hem depth, etc. on the pattern piece. Now you can cut the pattern out and start on the important thing: sewing!

(Otherwise titled: It Doesn’t Have to Be Expensive or Complicated)

I admit: I am most definitely not a notions junkie. Although I love the idea of tons of notions and tools to make my sewing easier, both budgetary constraints and storage issues tend to win out! I’m more of the mind that fancy stuff can be acquired over time and you can still produce beautiful projects with just the basics. I often get emails about what sort of tools are necessary for starting to sew, or what sewing machine I own. Surprisingly, I do not have a super-duper new machine; all of my sewing machines (with the exception of my serger) are hand-me-downs. I have a 1950s cabinet model Singer that was my grandmothers, my mom’s late 80/early 90s mechanical Singer (my “primary” machine) and my mother-in-law’s 1990s Kenmore. Since I don’t quilt or do machine embroidery, I find the older machines work just as well for me. Granted, I don’t have things like fancy automatic bobbin winding and my machines may be a bit loud compared to newer models, but they still work!

If you’re just starting to sew and on a budget, I’d highly recommend looking into getting an older machine, rather than a newer “budget friendly” model. Many of those lower end machines will not take as much of a beating as more expensive ones that have higher quality parts. Vintage machines, many of which are still in perfect working order, are usually quite reasonable and were made to last. I’ve seen ones at thrift stores–complete with their cases, attachments, and manuals–for under $40. (Check your city’s Craigslist, flea markets, yard sales, Ebay, or even just put out the call among friends and see if anyone has an old machine sitting in their garage you can have!) You will want to make sure that the machine is in working order (it may just need a tune up; check you local sewing shops for names of service shops that repair sewing machines), that the power cords are still in good condition, and that if it’s missing any attachments or the manual, you can locate those online (Ebay is great for attachments, while Google is fantastic for locating old sewing manuals that have been digitized). Also take into account the functions you will need (or think you will need if this is your first foray into sewing). Check to make sure the machine does the stitches you require (some older ones only do a straight stitch!), but also does it do buttonholes (or have a separate attachment for those)? How fast/slow does it go? Can you do blind hems on it? Will it be able to handle varying weights of fabric?

Aside from a sewing machine, there are a myriad of other tools that are out there for sewing. Some are more necessary than others, and a lot of these are based on personal preference. Here is my list of tools that I can’t live without, followed by an “optional” list:

The following is the list of items that aren’t completely necessary, but still fall into the basics and things-that-make-your-life-easier categories. If you start sewing without these, the sewing gods won’t curse you, but they are worth considering investing in over time!

I am sure I have inadvertently left some tools off this list, and of course there are the sewing gadgets I don’t have or use that others may love! So if you sew, what is your favorite sewing tool? Up next: print and web resources to get you started!

Click here for part one of this series: guide to sewing: my background.

I’m so excited to finally being posting this series; it’s something I’ve been knocking around in my head for awhile and resulted in writing countless draft versions, but never being quite sure how I wanted to organize it! I get at least a couple emails every week asking for advice or help with sewing. So many gals are curious about learning to sew, what my background on sewing is, and how to get started; I knew this was the perfect topic to blog about! Every week for the next three weeks, I’ll be posting an installment of this series. I’ll be going over resources, tools, favorite books, inspiration and my sewing background. Whether you’re itching to start sewing for the first time or someone more experienced and just enjoy reading anything about sewing (that would be me!), I hope you enjoy these posts…

[ some past projects (l to r): costume based on J.W. Waterhouse's painting of "Ophelia", black voile summer dress, 1830s style day gown. ]

Sewing Memories, Philosophy & Inspiration

I’ve been sewing (or wanting to sew!) for as long as I can remember; as a child I used to raid Mom’s scrap bag to sew garments for my Barbies (all of a very Victorian nature; I continually check a book from the library on drafting Victorian style clothes for dolls…). She used to sew quite a bit herself, and made many cute outfits for my sister and I! It wasn’t until I was older, around 10, that she allowed me to use her sewing machine and showed me the basics using a little book on sewing for kids. I made a few, small projects, and then moved onto clothes–my real interest in the sewing world.

[ drafting a skirt sloper back in 2006. ]

I also dabbled a lot with pattern drafting, even as a child. We would make weekly trips to the public library, and I would raid their sewing books, many of which were books from the 1970s hippie, diy movement. They had such a carefree, you-can-make-this! attitude that engaged my young imagination and I started figuring out how to draft patterns from my dolls and myself. I continued just dabbling in sewing and drafting until I was a teenager. Around that time I stumbled on Jennie Chancey’s Sense and Sensibilty pattern line, and was enchanted that there were other women interested in old-fashioned styles and actually making and wearing them. I became quite active on the forums and made friends with many of the historic costumers (including my dear friend Jenny Rose). I learned a lot from these ladies, and started doing my own costumes and learning the value of researching your projects.

During my last “semester” of high school (I was schooled at home, so we didn’t really follow the normal school year or grade system), I had the opportunity to intern with Jennie Chancey for a month. I went to stay with her, and helped around the house and with the children in exchange for her teaching me some of the tricks of the trade. I learned quite a bit about drafting, sewing and designing clothes from Jennie; we spent many, many hours talking about fashion and the resurgence of the retro look (this was in 2003, right around the time the “vintage” resurgence were starting to make a big splash on the runways again). Jennie shared with me many of her antique and vintage sewing books, as well as her incredible vintage pattern collection! (I credit her with really starting the “pattern collector” bug in me!) She was one of the first people outside of my family to encourage me to start a sewing business. A dream that I have kept close to my heart over the years (and am working towards finally making a reality)!

[ my sewing space, March 2007. ]

Since then, I have continued to work on my skills, take a few classes at a local sewing store (mostly on seam finishes and inserting zippers!), and read a lot. I’ve read books on everything from overviews of fashion history, to sewing manuals (yes, I have read The Vogue Book of Sewing cover to cover; no joke), to dry textbooks on drafting and pattern manipulation. In that respect, I am very much self taught and my sewing skills have developed in a very organic manner over time. The books I remember reading on sewing during my childhood really encouraged the idea of “just doing it” if you had a true passion for the craft. In my eyes, there is no right or wrong way, and every project has the potential to teach you something!

My sewing has varied over the years. I started out making clothes for myself, veered off into historic costumes for most of my teen years, and then back to the various facets of sewing “every day” clothes for myself. I have definitely taken a turn back towards the costume side of things with my interest in vintage patterns and styles of the 1930s through 1950s. For me, sewing offers not only a pleasant hobby, the ability to get the style and fit I want, but also allows me to cater to my more theatrical sensibilities in dress. Looking back on my experiences at sewing, I often wonder where it will take me next!

[ a page from my inspiration notebook, March 2008. ]

I believe encouraging everyone who expresses an interest in sewing to jump in with both feet; total immersion learning if you will! Even if you take a sewing class, make sure you branch out as you feel ready. Want to try making something more complicated than a pillow case or tote bag at first? Surround yourself with lots of resources (and maybe a helping hand!) and just go! Sewing is not brain surgery and I firmly believe should not be treated as such. Although I have a deep respect for the tradition of sewing and time-honored techniques, nothing delights me more than to see a curious person strike out on their own to try an idea or technique that excites them. There is no one way to learn how to sew, and even many sewing techniques have multiple ways of achieving the same end, so finding a way that makes the best sense to you is easy.

[ technical sketches and a draft-in-progress; july 2008. ]

Keeping my inspiration banks filled is a huge part of my sewing as well; even though most of the time it’s a rather passive activity that involves books or my computer. Being inspired by past eras, fashion designers, and photos helps give me new ideas and new techniques to try! I keep a notebook handy, and give myself downtime in the evenings if I want to just browse my massive “inspiration” folder on my computer. You never know where your next sewing idea will come from! One of my favorite sources is inspiration from other bloggers; the rich and varied things that come through Google Reader never fail to make me sit up and look at something in a new light!

If you sew, how did you start out? What are your favorite sources of inspiration for sewing projects? I’ll share some of mine in the later installments… Next week: my list of recommended sewing tools.

This post has been months in the making, but to those who were anticipating this tutorial, I hope it was worth the wait! For now I’m just posting all the steps here, but plan on formatting it nicely in a .pdf (so you can print the instructions out and keep them handy!) later, when I have a bit more time.

We all have them lurking in the back of our closets: those cardigan sweaters that we bought because they were “practical” or were 100% wool and on sale for a great price. But they languish because they don’t fit in the most flattering manner; the worst offenders are the large, boxy type cardigans. But you don’t need to banish these from your wardrobe anymore! Refashioning a cardigan into something more flattering on you is easy and only requires some simple sewing supplies and know-how, a small dose of patience and about one afternoon.

I started refashioning and embellishing my cardigans a few years ago when I wanted to recreate the high end looks that I saw in catalogs with the cardigans I had or found at thrift shops. Although much of my learning was trial by error, I have stumbled across a few good resources. My favorite is “The Yestermorrow Clothes Book” by Diana Funaro, published in 1976 (check Amazon and Alibris for second hand copies). It shows a smattering of ways to refashion all styles of sweaters, and I highly recommend finding a copy if you’re looking to explore other sweater refashioning options.

This tutorial is quite easy; I think even a determined beginner seamstress could easily do this. I have developed these techniques from several years of adjusting and altering my own cardigans, but this is by no means the zenith of cardigan refashioning. I encourage you to tweak and modify these steps and methods as you go along to suit your needs.

Supplies

- a cardigan sweater (medium to light knits are the easiest to work with)

- sewing machine with a zig zag stitch

– a iron with an appropriate setting for your cardigan’s fiber content

- pins

- sewing shears

- thread to match your cardigan

– marking chalk (or another marking tool that will show up on the cardigan knit)

1. First determine areas of the cardigan you want to refashion (img. 1). Do the sides need to be taken in to nip more at the waist? What about the length? Do you want the sleeves at a more flattering bracelet or elbow length? I will show you how to achieve all three easily.

2. Button the cardigan up most of the way and turn it inside out. Slip it over your head and button the remaining buttons. (Even if you do not intend to wear it buttoned, it improves the accuracy of marking the new seams.) Determine where you want the new waist to hit (the seam between the body knit and the waist ribbing), and mark it with a pin at the center front, each side, and center back (you may need an extra, helping hand for this!), and one or two between these points if needed (img. 2). Make sure they appear even on you. Carefully remove the cardigan. (Note: for this tutorial I am shortening the cardigan so the waist seam hits at my waistline, and the ribbing sits at the upper hip.)

3. Working with the cardigan inside out, measure down 1/2” to 3/4” from each pin, and mark. This will be you new cutting line. At the ribbing, measure up from the top edge of the ribbing the same amount you did at the top and mark (creating a seam allowance) (img. 4). This will be the ribbing cutting line. Cut along both these lines carefully, using long, straight strokes with the shears (img. 5). Discard or set aside the excess material cut from the cardigan. Note: if there are buttons that will fall within or near the seam allowance, remove them (at least for now). They can be replaced at the end.

4. With right sides together, ribbing side facing up, pin together the cut edges (img. 7). At your sewing machine, set the stitch to a medium length and a shallow (barely) zig zag. Sew the pinned seam, being careful to follow along the top edge of the ribbing and not stretching the knit as you go (img. 8). Fasten the ends securely by backstitching (knotting is not recommended, as it has a tendency to “pop out” of knit material).

5. Set the stitch to a wider zig zag and run along the outer edge of the seam to finish. Trim if necessary (img. 9). Press lightly (set the iron to an appropriate heat setting for the knit fabric).

6. Try the cardigan on again as you did in step 2. Analyze how you would like it to fit at the side seams along the body and sleeves. We will be taking this in at one time. Carefully pinch off an even amount at each side, tapering as needed from a wider point (such as the bustline) to a smaller one (the waist). Continue the pin line through the underarm and sleeve seam as necessary, working a smooth and shallow curve through the armhole seam (img. 10). Carefully remove the cardigan. Note: If you find it too difficult to accurately pin both sides, pin on side and remove the cardigan. Using a ruler, measure the same amount taken in on the pinned side and repeat on the other (not pinned) side seam. Slip the cardigan back on and check for fit. Adjust as necessary.

7. Working with the cardigan inside out, mark the pin line carefully; this will become your stitching line. Pin the front and back layers together securely with pins along this stitching line (img. 12). Using your sewing machine set at a medium stitch length and shallow zig zag, sew along the stitching lines on each side, taking care not to stretch the material, and fastening the ends securely. Trim the seam to 1/2”; with a wider zig zag stitch, stitch along this edge to finish it (img. 13). Lightly press.

8. Try the cardigan on again (as in step 2 and 6); we will be shortening the sleeve length now. Determine the new length for the sleeves; I opted for 3/4 sleeves on my cardigan. Mark this line on each sleeve with pins (img. 14); carefully remove the cardigan.

9. Working with the cardigan inside out, carefully mark this pin line. Measure down 1/2” to 3/4” and mark; this will be your cutting line. At the sleeve ribbing, measure up the same seam allowance you marked for the sleeve body, and mark; this is the ribbing cutting line. Cut along both lines and discard the excess material (img. 15). Right sides together, ribbing facing you, pin together the edges. You may need to ease in the excess sleeve body material. You can either do this with pins or run a line of basting stitches in the seam allowance to gather up the excess.

10. With the sewing machine stitch set to a medium length and shallow zig ziag, carefully stitch the sleeve together using the seam allowance you determined earlier (img. 16). Finish the edges as before with a wider zig zag and trim if necessary. Lightly press. Repeat for other sleeve. Note about sleeve alterations: This method assumes that the sleeve will be shortened to the elbow or a place below. Unless the cuff ribbing is really stretchy (or the sleeves really big), I do not recommend shortening the sleeves to any length above the elbow, as this could result in an unpleasantly tight cuff around the upper arm.

11. Press all seams as follows: waistline seam down, side seams back, sleeve seam down (towards ribbing cuff). Turn cardigan right side out and lightly steam. You may also want to lightly tack down the seams at the waist/ribbing by hand with a few stitches (img. 18). This will prevent the seam from rolling outward.

12. Now here is where the fun begins: you basically have a custom fit, blank cardigan now. You can leave it plain (as I did for this one; I have several embellished red cardigans already), or jazz it up a bit! Simply replacing the buttons is a start, but what about adding a little lace or fabric collar? Eyelet to the front edges? A row of faux award ribbons and medals at the upper chest? Ruffled lace along the neckline and cuffs? Using a bit of the leftover material cut from the cardigan body to create some gathered flowers? The possibilities are endless!

[ sporting my "new", custom fit cardigan! ]

This post has been prompted by the many emails I’ve received on the topic of sewing with vintage patterns. Where do I start? How do I use a vintage pattern? What about sizing? Any tips? I really appreciate that people ask me–vintage sewing patterns are something I love working with and enjoy sharing that magic with others. I thought it would be nice to compile my tips and resources all in one post. It’s not that I don’t like the emails (I do!!!), but who wants to wait for me to get back to them? hehe!

Vintage patterns can come off as intimidating to not only those new to sewing, but seasoned dressmakers as well. The instructions look like a foreign language, there are so many steps, and the pattern pieces sometimes don’t even have any markings! I started sewing with vintage patterns about 7 years ago. I didn’t really know what I was doing (and it can be argued I still don’t. lol!), so my learning process has been through a lot of trial and error. I hope these tips will be helpful to those thinking about trying a vintage pattern. Please remember though that my primary area of “pattern expertise” is the 1930s through 1950s; I haven’t worked with many patterns prior to the 30s, and post 1960s patterns are usually similar enough to modern patterns not to warrant discussion.

A warning: this post started innocently with a handful of tips and quickly ballooned into a novel. So, it’s a bit long. However, if you’re brave enough I hope it proves helpful!

Trace all your pattern pieces. Some people don’t bother, but it’s helpful to have traced the pattern pieces (complete with all the notches, dots and other markings) onto a sturdy paper. This allows you to not only tweak a “master pattern” to your fitting needs, but also preserves the fragile original. I use inexpensive banner paper (about $5/roll) from the office supply store. Some dressmakers use non-fusible interfacing, tracing paper or Swedish Interfacing. Many patterns from the decades prior to the 1950s are unprinted as well, which means that unlike our modern patterns, there are no markings on them beyond cut out notches and holes for dots. You have to learn to decipher them a bit (this is where the piece schematic on the instruction sheet/layout guide is invaluable!), and tracing them and marking all these things in a more visual way helps loads.

Have a good sewing reference book handy. My favorite is a 1970s edition of The Vogue Book of Sewing I picked up second hand. Vintage patterns tend to be a bit more detail oriented and complex, not only in construction but technique, and some aspects can be a bit vague (I am in the midst of sewing a 1940s skirt, and the instructions stated to “insert slide fastener (zipper) by enclosed instructions”, leaving no clue about how to do it in the body of the instruction pamphlet. Although I know how to put a zipper in, it’s these little things that aren’t always spelled out.). It’s best to have a thorough manual to look things up when you have a question, or want to find out if there is a better/faster way to do something.

Pay attention to the pattern markings. On average, modern patterns do not usually have as many markings (though I think this is due in large part to being printed, unlike earlier patterns which relied on a series of large and small dots to map out details and grainlines), so it’s tempting sometimes to skip over these when starting out. Don’t! Take the time to mark things after you cut them out, before you sew.

FIT! I cannot stress this enough! Sizing varies greatly in vintage patterns: a 1930s size 12 is not the same as a modern 12 (it’s usually the equivalent of a modern size 2!). Proportion is also something to consider: many vintage patterns (particularly those pre-1960s) account for how foundation garments shaped women into the “ideal” figure of a particular decade. In 30s patterns I find the hips are usually very slim, since the silhouette was more sleek and smooth through the torso/hip area. In the 50s, many patterns are huge in the bodice area, or the darts are placed to create a very high, pointy bustline (which would work with a 50s bullet bra, but not a modern one). You need to learn to catch these things early on and adjust them before cutting out your muslin (or fashion fabric). Trust me: it saves a lot of head scratching and frustration!

If a pattern is something that is comprised of many pieces, cut on the bias, looks tricky, or just gives me the heebie jeebies about fit, I make a mock up or “muslin” of at least the bodice first (I can usually fudge my way through the skirt in a dress). I keep a bolt of plain, unbleached muslin on hand for this, but any inexpensive fabric (or something recycled–like old sheets) works. If your pattern calls for a “specialty” fabric, be sure to make a muslin in a less expensive version of that fabric, since material weight and drape does affect fit greatly. Oh, and for things like slacks, boned bodices, etc., I always make a muslin. These garments vary quite a bit from decade to decade!

A subcategory of fit that should be mentioned: often you fall head over heels for a pattern that isn’t quite your size, and presents you with the conundrum about making it up. It’s quite possible to have your cake and eat it too in this instance though! Pattern grading is an invaluable skill to have when working with vintage patterns, and is actually rather easy to master. Some resources on pattern grading:

Instructions should be at least studied. Admittedly I don’t always follow the instructions; it depends on the project and how complicated the design is. However, at least reading over the instruction sheet before embarking on the project–even if you don’t intend on following it to the letter–will give you some vital clues to using a vintage pattern. For instance: many times seam allowances on vintage patterns differ quite a bit from modern ones: sometimes the main seams are 1/2″ and the side seams are 3/4″ in the same pattern! Another example would be side seams: some vintage patterns do not have you sew the side seams until the skirt and bodice are attached; in some instances this makes certain steps easier than sewing those side seams before the skirt and bodice are sewn at the waist.

Basting is your friend. Many older pattern instructions indicate this throughout the pamphlet, and it’s a great way to test fit as you go too. Although it can be a bit of a pain, it’s easier to rip out basting than smaller stitches!

Pay attention to fabric specifications. Many times (but I won’t say 100% always), what makes a successful garment sewn from a vintage pattern is the fabric you choose. While some styles (like blouses, shirtwaist dresses, casual skirts, etc.) can be done in quilt weight cottons, not every design is suited to this medium weight material. Take a look at the pattern’s specifications for fabrics: are they drapey and fluid, heavy weight, stiff, or light and diaphanous? Many fabrics available decades ago are no longer manufactured, or very hard to find. However, there are what I like to call the “basics” readily available: silk chiffon, crepe (rayon, wool and silk being the most popular), gabardine (of various fibers), cotton voile and lawn, wool gauze, tweed, etc. Some may not be available at your local “big box” fabric stores, but will require hunting down from online retailers. In the end though, a little detective work is worth it!

Pick out patterns that you know will flatter you when you start out. Having an intuitive sense of what is going to look good in the end really helps with the process of using vintage patterns. When I started out, I made the mistake of trying patterns that I thought would look good on me, but in reality I should have known that they weren’t the most flattering styles. The results were less than happy: I didn’t like sewing with vintage patterns because I thought they were “dumpy” and I just didn’t fit into them. It was until a few tries that I started to catch on to not only fit (which is tied up in this), but also styles that looked good on me. Studying your figure shape and determining what will look best on you is key. But even if you pick a decade that isn’t your “best” (for me, it’s the 30s), you can learn to fit things in such a way as to make them tailored to your figure needs.

Start simple. If you’re just starting out with vintage patterns, begin with something simple. It doesn’t have to be boring, but skip the more complex bias evening gowns, fishtail skirts, suits, and swimwear patterns that are so tempting. Opt for styles that are relatively easy to get through, but allow you to get a handle on working with vintage patterns: simple a-line skirts, classic blouses, shirtwaist dresses (there is a plethora of styles in this category!), simple sundresses, etc.

There are many places to find vintage patterns: thrift shops, antique stores, flea markets–even yard sales have been known to cough a few up every-once-in-awhile. But for most people (including me), spending their days hunting for an elusive sewing pattern just doesn’t fit into their days. The internet boasts a wide array of vintage patterns for sale at every price point: Ebay and Etsy are my favorite spots for a bit of virtual hunting (A Dress A Day also has advertised links to shops along the sidebar). If there is a certain style you can’t find (or afford; there are “popular” pattern styles that command rather large sums), the alternative are modern reprints of the vintage pattern. Here are a few I know of:

Do you have any tips for sewing with, or sources for finding vintage patterns? Please share!