F OR PE O PLE W HO LOVE TO S E W Pro Tips

to Match
Prints
p. 66

5 FASHION
TRENDS TO TRY
| PLUS |

FRENCH SEAMS
Make the Neatest Pockets

SHIRTDRESSES:
Forever Stylish

SEWING SUCCESS
for Full Figures

Springtime
pattern
options,
p. 24

The Season’s
COLORS, PATTERNS & FABRICS
 C E L E B R AT I N G 1 0 Y E A R S
ANNIVERSARY EDITION

REACH FOR THE SKYLINE

Janome is marking the 10th year of our Skyline Series with a stylish redesign of this popular sewing
and quilting machine. The contemporary slim head design, top-tier features, and renowned
reliability will elevate the professionalism of all your sewing and quilting projects.
Visit www.janome.com for more information or to locate your local dealer and experience it in person.

Model Model Model

S7AE S6AE S3AE

www.janome.com
© 2025 Janome
www.janome.com/products/machines/
skyline-ae/
®
CONTENTS
S P R I N G 2 0 2 5 | N U M B E R 2 2 9

FEATURES
30 Create Your
Spring Look
Relish a fresh take on color, fabric,
and shape this season
by Vanessa Nirode

38 Sew a Light-
As-Air Skirt
Join delicate fabric strips in
an improvised, pleated design
Adapted from Threads #98

44 A Quick Win for

Plus-Size Sewists
Steps to success for new—
and not-so-new—garment makers
by ChaCha N. Hudson

52 Shirtdress Style
An iconic garment with
enticing design options
by Pamela Howard

58 Tailored & Tied

Lengthen a blazer’s collar
and lapels for a unique look
coming and going
by Annika Geissberger

66 How to
Match Prints
You can handle fabrics with large
motifs confidently
By Elizabeth Vana Bryant

ON THE COVER:
For a detailed review of the
44 flowing sundress pattern by
Marfy and five more garment
sewing
successes patterns for spring, turn to p. 24.
CONTENTS
DEPARTMENTS

UP FRONT
6 Editor’s Note
8 Contributors
11 ThreadsMagazine.com
12 How Did They Sew That?
SWAGGER LAPEL, PART 2

20 Fabric Lab
CRISP TAFFETA

22 DIY Project
INSTANT EVENING SKIRT

24 Pattern Review

IN THE BACK
73 Essential Techniques
FRENCH-SEAM POCKET HOW-TO

Cover photo: Jack Deutsch. Stylist: Jessica Saal. Hair and makeup: Danielle Wilson. Styling credits: earrings—Natasha (NordstromRack.com),
78 Book Review
QUILTING EVERY SCRAP

81 Closures
SHADOW OF LACE

82 Advertiser index

83 Up Close
20
create with
taffeta

bracelet and necklace—stylist’s own, sandals—Schutz (NordstromRack.com)

TABLET EDITIONS
FREE TO SUBSCRIBERS
Threads’ digital editions
are searchable and full of
interactive extras. Download
the app at ThreadsMagazine.
com/apps. Access is free with
a print subscription or Threads
Insider online membership.
 EDITOR’S NOTE
®

Rewarding Work
Editor Carol J. Fresia

I s there a sewist anywhere who has not

experienced moments of frustration when
tackling a complex —or even an easy—proj-
Art Director
Managing Editor,
Stephanie Fagan
Jeannine Clegg
Production
ect? I suspect not. And that’s why it’s so grat-
Contributing Editors Susan Khalje
ifying when your efforts turn out a beautiful Kenneth D. King
garment, artful quilt, or other well-made Contributing Editors Louise Cutting
design. If sewing were always easy, I wonder Emeritae Judith Neukam

whether it would offer as much satisfaction. Administrative Assistant Jennifer Morris

There’s a sense of triumph in mastering a
challenging technique. Creating a perfect ThreadsMagazine.com
match in busy prints, as Elizabeth Vana Bryant shows (p. 66), is a puzzle Digital Content Steven Fleck
you can solve. New designer Annika Geissberger (p. 58) posed a tricky Production Consultant

patternmaking problem in her senior collection, and shares the Contributing Video Cari Delahanty
Producer
unique result. Pamela Howard, always a superb technician, reveals the
satisfaction of adding top-tier details to a classic shirtdress, for a
Threads: (ISSN: 0882-7370) is published quarterly
wardrobe staple you’ll treasure for years (p. 52). by the Home Group of Active Interest Media HoldCo,
Sometimes, though, you need more immediate gratification. ChaCha Inc. The known office of publication is at 2143 Grand
N. Hudson shares advice for getting a quick win, geared toward plus- Avenue, Des Moines, IA 50312. Periodicals postage
size sewists who are just starting out in garment sewing (p. 44). We’ve paid at Des Moines, IA, and additional mailing offices
also got two pattern-free skirt ideas that are easy to fit and sew. One is Subscription Rates: U.S., $29.95 for one year,
a Threads favorite, by Jennifer Stern-Hasemann (p. 38), brought back to $49.95 for two years, $69.95 for three years. Canada,
encourage your spring sewing. We’ll be occasionally revisiting some of $31.95 for one year, $58.95 for two years, $84.95 for
our classic articles in upcoming issues; if there’s anything you want to see three years (GST included, payable in U.S. funds).
Outside the U.S./Canada, $48.00 for one year, $84.00
again, please let us know. Your interest in Threads is our reward.
for two years, $120.00 for three years (payable in
U.S. funds).

Postmaster: Send all UAA to CFS (see DMM

707.4.12.5). Nonpostal and military facilities:
Carol J. Fresia, Editor Send address corrections to Threads, PO Box 259,
Lincolnshire, IL 60069–9831.

Canada Post: Return undeliverable Canadian

IN MEMORIAM addresses to Threads, c/o Worldwide Mailers, Inc.,
2835 Kew Drive, Windsor, ON N8T 3B7.

CLAIRE B. SHAEFFER Privacy Statement: Active Interest Media

Photos:(top) Jack Deutsch; (bottom) Michelle Hood.

| 1939–2025 | HoldCo, Inc. is committed to protecting your privacy.
For a full copy of your privacy statement, go to
Just as this issue was headed to the printer, www.aimmedia.com/privacy-policy.
we learned of the unexpected passing of
Printed in the USA
Claire B. Shaeffer. Claire was a long-time
contributor to the magazine and a respected
and sought-after teacher. She demonstrated a
love of couture fashion and set high standards
of construction that influenced many in the sewing
community. Her commitment to understanding and sharing
the best of haute couture will be remembered by all of us.
Go to ThreadsMagazine.com/2025/01/11/ShaefferTribute
to read remembrances of Claire and her contributions to WE’D LOVE TO HEAR FROM YOU
the sewing world. Send your letters to: Threads Letters,
2143 Grand Avenue, Des Moines, IA 50312
or via email th@threadsmagazine.com
 tŝůĚ'ŝŶŐĞƌ^ŽĨƚǁĂƌĞ
ĐĞůĞďƌĂƚĞƐϯϬLJĞĂƌƐ
ϭϵϵϱͲϮϬϮϱ
,Q:LOG*LQJHU6RIWZDUH
ZLOOFHOHEUDWHLWVWKDQQLYHUVDU\
%XWZHFRXOGQRWZDLWWR
VWDUWWKHFHOHEUDWLRQ

:LWKWKHUHOHDVHRIRXUYHUVLRQSURJUDPV
ZHORZHUHG$//SULFHVEDFNWR

6RFRPHFHOHEUDWHVDYHPRQH\
DQGVHZZLWKXV

From 3d digital body scan

to a physical
p y figure:
g

a copy, a ditto, of you

#definitelynotstandard
#everyoneisunique
#customdressform dittoform.com
 CONTRIBUTORS

What fitting adjustment was

a revelation to you?
ELIZABETH
Advertising Mary-Evelyn Dalton
BRYANT (“How Sales Manager
to Match Prints,”
p. 66) says, “My big- Advertising Cindi Phillips
gest fitting revela- Production Coordinator
tion came when I
learned to make Director, Matthew Ulland
Consumer Marketing
forward shoulder
alterations on bod- Senior Marketing Sara Decanali
Manager,
ices and sleeves. It’s
Customer Acquisition
such a subtle altera-
Marketing Manager Danielle Pendergast
tion, but it removes
annoying drag lines
Senior Manager, Heather Lee
on sleeves and
eLearning Projects
provides for movement and comfort.”
Email Operations Michael Hendrick
CHACHA N. Elizabeth teaches fitting and sewing, and she
HUDSON (“A Quick blogs at FitSewBeautiful.com.
Win for Plus-Size Sewists,”
p. 44) says, “Contouring the
center back of a bodice was
DI KENDALL
a game changer for me, (“French-Seam Senior VP, Content Rob Yagid
eliminating many drag lines Pocket How-to,”
in woven garments and p. 73) says, “I need
improving fit. While it’s cer- to shorten my

Photos: (Hudson) Marlayna Demond; (Bryant) Sandy M. Bryant; (Kendall and Howard) courtesy of the authors.
tainly not the reason for all garments from the
back drag lines, it resolved nape of my neck
many fitting issues for my to the waist, but
body and became essential not the front, as I Chairman & CEO Andrew W. Clurman
when drafting and fitting need the length
Chairman Emeritus Efrem Zimbalist III
my own slopers.” over my bust.”
ChaCha is a PhD can- Chief Operating O≤cer Brian Van Heuverswyn
Di says she
didate, fashion educator, loves teaching Chief Financial O≤cer Adam Smith
inclusive design researcher, and finds making Chief Revenue O≤cer Gary DeSanctis
and advocate for equity her entire wardrobe so satisfying because no one Senior VP, Marketing Erica Moynihan
in the fashion industry. else has her clothes. See some of her inspirations
VP, Marketing Amanda Phillips
ChaChaNKole.com. and projects @sewitwithdi.
VP, Circulation Paige Nordmeyer
VP, Sales Operations Christine Nilsen
PAMELA HOWARD (“Shirtdress Style,” p. 52) VP, Events Julie Zub
says, “For years, I could not figure out why there was VP, Digital Ashley MacDonald
excess fabric in my back bodices between my shoul- Product Development
ders and shoulder blades. I finally realized that it was VP, Strategy & Research Kristina Swindell
more to do with my erect posture—so I shortened the Director, Scott Roeder
pattern back length by 3/4 inch. I also add about Human Resources
3
/8 inch to the back neckline and back shoulder, to Director, Production Phil Graham
push the finished garment more forward. I do this on
Director, Retail Sales Susan A. Rose
all of my bodice patterns, and it really works.”
Pamela, an alterations expert, also teaches Director, Andrew Shattuck
Information Technology
advanced ladies’ garment construction. Find her
on Instagram @pamsclosetinc.

8 THREADS • SPRING 2025

 Quilting Innovation
& Variety

These Latest A.S.R. TM

are the Greatest

(Accurate Stitch Regulator)

Introducing the latest in sewing and quilting

innovation. The new eXcellence 792Pro and
eXcellence 782 are for quilters and sewists alike
who demand the very best. You deserve it...
reward yourself with something new from Elna.

PROFESSIONAL SEWING AND QUILTING YOUR CREATIVE POWERHOUSE

࠮Extra-large Sewing Space (13.7” to right of needle) ࠮Free Arm and Extra-large Sewing Space
࠮A.S.R.TM (Accurate Stitch Regulator) included (11.2” to right of needle)
࠮Maximum 1,300 SPM, adjustable ࠮A.S.R.TM (Accurate Stitch Regulator) included

࠮7” HD Color Touchscreen ࠮Maximum 1,060 SPM, adjustable

࠮5” HD Color Touchscreen
 HISTORIC AND FOLK
PATTERNS FROM
AROUND THE WORLD

Classic sewing patterns at:

www.folkwear.com
#112 Japanese Field Clothing

10 THREADS • SPRING 2025

 To contact us:
Threads
magazine.com
2143 Grand Avenue HOW-TO | PROJECTS & PATTERNS | INSPIRATION
Des Moines, IA 50312

Send an email:
th@threadsmagazine.com BONUS
Visit:
CONTENT
threadsmagazine.com
• Patterns Galore:
To submit an article proposal:
See options to create trend-
Write to Threads at the address above or ing styles for spring. Scan
Call: 800–309–9262 the QR code on p. 31 for
Email: th@threadsmagazine.com links to all the patterns in
“Create Your Spring Look.”
To subscribe or place an order:
Visit subscribe.threadsmagazine.com
or call: 866–288–4241 • Shirtdress Techniques:
8 a.m.–4:30 p.m. U.S. Central Time Mon.-Fri.; Expert Pamela Howard will
have you sewing a shirtdress
To get help with online member services:
Visit threadsmagazine.com/customerser-
this season, with her close
vice look at this iconic garment
in “Shirtdress Style,” p. 52.
To find answers to frequently Find more of her shirtdress
asked questions:
sewing advice in an exclusive
Visit threadsmagazine.com/
customerservice Web Extra.

To contact Threads customer service: • Jacket Refinement:

Email us at threads@omeda.com Learn how to hone the back- Sew a
neck fit on a dolman-style polished
To speak directly to a customer service
professional: jacket, similar to Kenneth D. shirtdress.
Call 866–288–4241 King’s creation in “Swagger
8 a.m.–4:30 p.m. U.S. Central Time Mon.-Fri. Lapel, Part 2,” p. 12.
To advertise in Threads:
Photo: Jack Deutsch. Stylist: Jessica Saal. Hair and makeup: Danielle Wilson.

Call 615–481–2595, or
email us at th@threadsmagazine.com

Mailing list:
We make a portion of our mailing list
available to reputable firms. If you TRAVEL WITH Join us on an exclusive trip
would prefer that we not include your to London in May 2025.
name, please visit:
Highlights of this tour are a
www.aimmedia.com/privacy-policy
glove-making master class
or call: 866–288–4241
with Riina Õun, workshop
8 a.m.–4:30 p.m. U.S. Central Time Mon.-Fri.
at Hand & Lock, and guided
• 2025 TOURS • tour of Savile Row. We’ll also
May 3 – May 10 visit specialty fabric shops—
Copyright 2025 by and enjoy afternoon tea at
Active Interest Media HoldCo, Inc., Fortnum & Mason.
Des Moines, IA. This publication may
not be reproduced, either in whole or FIND OUT MORE AT
part, in any form without written SHOP.THREADSMAGAZINE.COM.
permission from the publisher.

WWW.THREADSMAGAZINE.COM 11
 HOW DID THEY SEW THAT? BY KENNETH D. KING

SWAGGER
LAPEL
Replicate the collar and pocket combo
of a 1950s jacket

M
id-century jackets often had details
and silhouettes that still appeal to us
today. A case in point is this swing
jacket, with a wide lapel that folds back to
form pockets near the hem. In Threads #228
(Winter 2024), I demonstrated how to draft
this collar on a plain coat pattern. Here, I’ll
show you how to sew the lapel.
Although it looks like the lapel area below
the oversized “notch” is simply folded back and
secured in place with a button,
I’ve come up with a better
Swing Suit to Go way to form the pocket. My
If you’d like to try this style, approach eliminates much
but prefer not to draft your of the bulk near the lower
own pattern, you’ll find the
front corner. Given that
Folkwear Swing Suit pattern
the original jacket and my
(Folkwear.com) offers a close
sample are made from heavy
copy of the Roland Originals
design the author based his coating fabrics, reducing the
version on. Folkwear’s pattern number of thick layers yields
includes the set-in sleeves, back a sharper finish.
yoke and pleat, turned-up cuffs, If you have a tried-and-
and the tapered skirt of the true jacket pattern, you can
1950s ensemble, for a truly enhance it with this collar and
vintage effect. pocket detail. It’s as interest-
ing to make as it is to wear.

Contributing Editor Kenneth D. King is the author

of several books, including the 2023 bestseller Doll
Couture (The Taunton Press, an imprint of Abrams
Books, 2023).

Re-creating special vintage design elements, like this lapel/pocket

detail, is a gratifying exercise in style and construction.

12 THREADS • SPRING 2025

Construct the Lapel Pocket
The basic collar construction is like a classic shawl lapel, especially at the neckline and upper lapel section. Follow your favorite
methods for this area. The tricky part is the lapel’s lower corner, which creates the pocket. My approach reduces bulk there.

ADD THE FACING

1| Mark essential lines.

On the wrong side of
the facings and the FRONT FACING (WS) FRONT (WS)
jacket fronts, mark
Roll line
seamlines, hemline,
and matching points.
On the front, also mark
the roll line. On both
pieces, mark point X,
31/2 inches from the Seamline Seamline
lapel’s lower corner.
Note: I block-fused the
fabric, so the wrong
side is easy to see and
to mark.

31/2 inches 31/2 inches

X K
X J

2| Stabilize the roll line.

On the jacket front,
apply fusible stay
3| Attach the facing.
As for a shawl collar,
sew the center-back
Back
neck seam
tape to the roll line. collar seam, then Center-back
the back-neck and collar seam
shoulder seams,
on the jacket and
facings. With right
sides together, Shoulder Back neck
sew the facing to seams facing
FRONT (WS)
the jacket along
the outer
edges; don’t Facing
seam
sew across
the lower
facing
ends.
FRONT FACING (WS) JACKET (WS)

Taped roll line

X X

J continued ▸ ▸ ▸

WWW.THREADSMAGAZINE.COM 13
HOW DID THEY SEW THAT? continued

4| Turn the work right side out. Press the seams, turn the
facing, and press the edges. Tailor-baste the facing edges
above the pocket.
6| Position the facing’s inner edge. Smooth the facing back
over the roll line, so the facing edge sits against the wrong
side of the body. Mark K where the facing edge intersects
the hem foldline.

Tailor basting

Roll line

Center-back LAPEL (RS)

neck

FRONT (RS)
Tailor
basting

Lower lapel edge

FRONT (WS)

FRONT FACING (RS)

Facing edge
FRONT (WS)

FRONT FACING
(RS)

5| Sew the lower lapel

edge. Turn the body
and facing right Facing
Lower
lapel
sides together again, seam edge FRONT (RS)
match Xs on the
body and facing, and
pin. Then sew from
X to the corner. Turn FRONT
the corner right side FACING FRONT (WS)
(WS) Pocket
Poc
Po
ockkket
oc ke
et
et
out and press. X lapel
lapel
sea
e m

14 THREADS • WINTER 2024

FINISH THE LOWER CORNER

1| Shape the inner corner. Mark a curved stitching

line from K to the roll line. Sew two rows of
stitching along this line, one directly on it, the
3| Mark the facing foldline. Fold the facing back into
position, matching the edge up with K. Mark where
the fabric folds at L.
other one 1/4 inch inside the curve.

FRONT (WS)

FRONT (WS) FRONT FACING (RS)

Roll line
K

Facing foldline

Curved
pocket
seam
L

K Fold the facing at L.

4| Sew the
bottom edge.
Fold the

2| Trim to reduce bulk. Along the curved stitching

line, trim through the excess close to the stitching
through both layers of the front. Then cut straight
facing right
sides together
on L, pin the
down to the hem facing end. This removes the bottom edge, FRONT (WS)
bottom few inches of the jacket front edge, and sew
between the pocket and the hem. from X to the
corner. Clip
the corner.

Bottom edge

L X
FRONT (WS)

Sew from X to L.
Curved
pocket
seam

K
continued ▸ ▸ ▸

web extra
Learn to refine the back neckline
fit of a dolman pattern, at
ThreadsMagazine.com.

WWW.THREADSMAGAZINE.COM 15
 Chalk

HOW DID THEY SEW THAT? continued

5| Press and trim. Press the seam allowances open, trim

the corner, and turn this corner right side out. This forms
the jacket’s lower front corner.
Add Finishing Touches
Visible machine stitches and hidden hand
stitches complete the pocket.

FRONT (WS)

Pocket
1| Mark the topstitching with
disappearing chalk. Mark the lines
1
/2 inch to 3/4 inch from the lapel edges,
from one hem edge up, around the
FRONT FACING (RS) collar, and back down to the hem. Then
fold the lapel away from the jacket and
topstitch with topstitching thread. Stitch
only through the lapel. Press to remove
Lower the chalk.
front
corner

Chalk

6| Sandwich layers under the facing. Slide the curved

pocket bottom and the end of the hem allowance under
the edge of the facing to hide them. Press the corner
and hem fold, then baste the hem.

Front
facing
cing
ing
g

POCKET Topstitching
mark
FRONT (WS)

Pocket curve

Hem allowance

FRONT (RS)
FRONT (WS)

FRONT
FACING Topstitching
(RS) POCKET

Topstitching

continued p.18

16 THREADS • SPRING 2025

HOW DID THEY SEW THAT? continued

Topstitching
outlines the
2| Baste the pockets. Lay the work flat, with the lapels
arranged smoothly on the jacket fronts. Baste across the
lower leg of the lapel notch’s V. Baste across the hem,
boldly scaled and up along the vertical edge for 3 inches.
lapel, while
hidden hand
stitches anchor
the pockets.
Fabric: wool coating,
FRONT (RS)
GorgeousFabrics. com.

Basting

Pocket
opening

POCKET

3 inches

Photos: (p. 12) Mike Yamin; (p. 18, lef) Jack Deutsch; (all others) Kenneth D. King. Stylist: Jessica Saal. Hair and makeup: Nancy Cialdella.
3| Hand-stitch to secure. From the jacket’s wrong side, sew
through the jacket and the lapel’s wrong side, to secure
the basted edges. Use a cross stitch, a backstitch, or what
is called a glover’s stitch. The goal is to anchor the pocket
portion of the lapel firmly to the jacket front, without any
hand stitches showing from the right side. Once this is
finished, turn the hem back into position, and blind-hem it.

FRONT (WS)

Anchor the pocket

from the inside with
hand stitches.
 YOUR
HEIRLOOM Atlanta, GA
Mar. 6-8, 2025
STARTS
HERE… Lakeland, FL
Mar. 13-15, 2025

Cleveland, OH
Apr. 3-5, 2025
1200 CEDAR PLACE,
SAND SPRINGS, OK 74063
Raleigh, NC
918.245.5998 May 1-3, 2025
DELICATESTITCHES.COM
SYLVIA@DELICATESTITCHES.COM Dallas, TX
July 31, Aug. 1-2, 2025

Classes Fredericksburg, VA
Sept. 25-27, 2025
g
Shoppin
Nashville, TN
Fashion Oct. 12-4, 2025

Demos Cincinnati, OH
Oct. 16-18, 2025

Novi, MI
Nov. 6-8, 2025
INSTAGRAM/DELICATESTITCHES
HOURS: BY APPOINTMENT

FACEBOOK/DELICATESTITCHES

sewingexpo.com
PHOTO BY CHRISTY GROOVER

WWW.THREADSMAGAZINE.COM 19
 FABRIC LAB BY CAROL J. FRESIA

Crisp Taffeta
A dramatic textile makes
any occasion fancy

W
hen you want to stand Double-faced taffeta
out at a special event, is lustrous on one
side and matte on
consider a garment made
the other.
from taffeta. This tightly woven, lightweight
fabric has a stiff hand and characteristic shimmer,
whether it’s woven from silk or, in modern times, from
fibers such as rayon, acetate, nylon, or polyester. It’s a
little slippery, but its firm hand and stable weave mean
you won’t encounter the distortion and stretching that
make drapey silks like charmeuse and crepe challenging Fabric
to sew.
Taffeta is a plain-weave fabric, available in solids,
Preparation
prints, plaids, and moirés. Especially beautiful are and Cutting
iridescent (also called changeable, changeant, or shot)
No preshrinking
taffetas, which are woven with different colored warp needed: Most taffetas
and weft yarns. These fabrics take on different hues are dry-clean only.
depending on the angle of view, creating subtle or bold
Layout: When
effects in garments or home decor items, such possible, used a double
as draperies. thickness, with-nap
This volume-creating textile is well suited for ball skirts layout. This is essential
or gowns with gathers or unpressed pleats, full sleeves, for patterned, moiré, or
and ruffles. With heavier taffetas, try structured designs iridescent taffetas.
with interesting style lines. If a garment is fitted, Weights, not pins:
underlining is a good idea to prevent strain on seams. Taffeta is easily damaged
by pins and needles, so
Taffeta is difficult, if not impossible, to ease. Consider
secure patterns in place
redesigning eased sleeve caps to include darts, pleats, with weights. If you need
or gathers. to use pins, choose fine
Should your social schedule not include any ones and keep them in
upcoming formal events, you can still enjoy taffeta in the seam allowance.
jackets, vests, tunics, and A-line skirts. Let this distinctive Sharp cutting tools: Shears
fabric make every day special. or rotary cutters are appropriate.

Carol J. Fresia is Threads' editor.

20 THREADS • FALL 2024

 Appropriate Notions Care Tips
Dry-clean only. To
Needles: Size 60/8, 70/10, or 80/12, universal or sharp/
maintain the fabric’s
microtex. Test, as fiber content and the fabric’s weave
sheen and texture,
affect how the needle performs.
send garments to a
Thread: Choose high-quality polyester or cotton thread trusted dry-cleaner.
in standard machine-sewing thickness. For extralight Machine-laundering
taffetas, a thinner thread may produce a flatter seam. creates a duller,
pebbled texture, which
Marking tools: Avoid wax-based markers, as they leave
may be desirable for
spots. Chalk, air- or heat-erasable markers, pencil, tailor’s
some garments.
tacks, and thread-tracing are all good options. Test first
Photos: (p. 21, left) Jack Deutsch; (all others) Mike Yamin. Stylist: Jessica Saal. Hair and makeup: Danielle Wilson. Swatches: (p. 20, top; p. 21) editor’s stash; (p. 20, bottom) MoodFabrics.com;

on a scrap. Avoid water spots.

Similarly, prevent
Interfacing: Choose sew-in types, such as silk organza
perspiration stains—
or self-fabric. Stiff netting can support skirts and
which could be
full sleeves.
permanent—by
installing dress shields.
Pad for storage. Hang
taffeta garments on
padded hangers, and
Sewing Advice stuff sleeves or other
Stitching: Set the machine for a straight stitch of areas to prevent them
1.75 mm to 2.5 mm. Loosen the tension slightly. from being crushed.

Presser foot: Install a straight-stitch foot and

Styling credits: earrings—A New Day (Target.com), top— I.N.C. International Concepts ( Macys.com), bracelet—stylist’s own.

single-hole throat plate, if your machine has one, to

support the fabric. Reduce the foot pressure.
Taut sewing: When machine-stitching, hold the
fabric taut in front of and behind the presser foot
to prevent puckered seams.
Hand basting: For control, and if you need to do
some fitting, baste with cotton or silk basting
thread. These are easy to remove without
stressing the taffeta, and don’t leave
imprints if you press over them.
When your garment’s
Rip with caution: Ripped seams can mar details call for volume
the fabric, so unstitch carefully. Gently rub and definition, taffeta
the fabric’s yarns back into place with your is an optimal choice.
thumbnail if needed.
Pattern: Vogue 8858
Low-profile seam finishes: Try hand- (discontinued). Fabric: polyester
taffeta, MoodFabrics.com.
worked whipstitches on exposed seam
allowances, but a better option is to line
the garment to protect the allowances.
Bulkier finishes are likely to create
impressions on the fabric’s right side.
Press lightly: Press from the wrong
side when possible, using a press
cloth. Press seams over a seam stick.
Prefer a dry iron, or try light steam.
Avoid creating unwanted creases, as
they can be difficult to remove.

WWW.THREADSMAGAZINE.COM 21
 DIY PROJECT R E A DS
TH

F
AV Instant

E
T
ORI

Evening Skirt
Wrap and knot this pattern-free design

I
f you’ve got a special event on Start with this formula to determine
the horizon and no time to sew, how much fabric you need:
don’t panic. And don’t head for Hip measurement + 1½ yards =
the store or a retail website. Total skirt yardage
Instead, take a length of luxurious There are options for finishing the
54-inch-wide taffeta to tie an evening cut fabric edges: a serged rolled hem; a
skirt. You’ll need just a little time to tiny hem made with a narrow hemmer
finish the edges, but there’s no cutting, foot; or a narrow, double-folded hem.
seaming, or fitting involved. If the selvage edges are attractive, you
You’ll have a finished rectangle of can leave them as is.
fabric that, when we show you how to For the fun part—draping, tying, and
tie it, will turn every head in the crowd. playing with the pareu: Try these basic
This is an elegant, version of the directions for tying the skirt. But feel
pareu (pronounced PAR-ay-oo), or free to experiment with draping the
sarong, traditionally made of light- pareu to find your own favorite style.
weight cotton and worn as a dress
or skirt. Today, it is often used as a Adapted from “Silk Taffeta Pareo,” by
bathing suit cover-up. Debra Blum and Moises Diaz, Threads #98.

1| Wrap the taffeta

around your
waist. Center
one long edge at
your back waist, FRONT
and draw the
short ends to the
front. Let the ends
drop, and grasp a
handful of fabric at
each side. Selvage

Selvages

Create an elegant
skirt with cascading
back by wrapping and
then tying luxe fabric
in place.

22 THREADS • SPRING 2025

 2| Knot. Tie the two
handfuls in a square
knot. Make sure
the fabric is snug
around your middle.

3| Drop your hands down 10 inches or to the fullest part of your

hips. Grab a handful of fabric in each hand about 15 inches in from
the fabric’s edge, then tie a second knot so the fabric is pulled
tightly over your hips.
Photos: (p. 22, left; p. 23, right) Jack Deutsch; (all others) Mike Yamin. Stylist: Jessica Saal. Hair and makeup: Danielle Wilson. Fabric: embroidered taffeta, editor’s stash.

4| Shift the pareu.

Slide it around
your body to BACK
position the
knots at center
back, where
they form
a cascade.
Alternatively,
you can position
the cascade off-
center in front,
over one hip.

The securely tied pareu creates a draped effect in

front. You can adjust the waistline height up or
down as desired.

WWW.THREADSMAGAZINE.COM 23
PATTERN REVIEW LOOK FOR THESE ICONS
ON THE PATTERN REVIEWS
TESTED AND SEWN BY THREADS ✚ Includes sizes 24 and up
● Fast and easy
▲ Challenging techniques

→
Downloadable pattern

Flowing Sundress ♦ Printed pattern

✱ Projectable pattern

→
MARFY 3107 ●
(Marfy.it/en/)

Skill level: This is a simple dress to sew with only one major seam. This pattern
line comes without step-by-step sewing instructions, seam and hem allowances,
and with just the essential markings. A beginner will need
to pause and think about how to approach the sewing.
All others will find it an easy project to tackle.
Size range and fitting: Sized European 42, 46, 50.
For busts 341/2 inches to 413/4 inches, waists 263/4 inches
to 34 inches and hips 361/4 inches to 431/2 inches. The
fit is forgiving, as it can be adjusted via the drawstring
Tested and sewn by under the bust.
Jenny Freedman,
Fabrics: Choose silks, rayons, cottons, laces, or other
Soquel, California.
drapey fabrics. Elevate the look with a luxurious fabric.
Pattern: Marfy 3107.
Keep in mind the fabric’s wrong side will show at the
Fabric: silk charmeuse,
GorgeousFabrics.com center-back cascade.
Style and sewing details: This zero-waste design is a
simple rectangular panel with a cutout for the V-neckline
plus the shoulder straps. It is a relaxed summer dress,
quick to make and effortless to wear, as it slips over the
head, and has no closure.
• The bust shaping is achieved with vertical darts along
the top edge, one on each side at 4 inches away from
straps/neckline area. The location is normally where
there would be a side seam.
• The width is controlled with a drawstring inserted into
a casing, diagonally just below the bust.
• The center-back seam is angled, sewn from the upper
back edge to within 15 inches from the bottom.
• The excess fabric beyond the seamline forms an
undulating wave of soft flounces down the center back.
• If it works better for your fabric, add a center-front
seam, as the seamstress did for the sample.
• Use this as a beach cover-up, luau attire, or as a
summery dress.
• Take it a step further and create it from a one-of-a-
kind, opulent lace—the pièce de résistance type. For
additional structure, use two layers or add a lining. The
benefit to the two layers is a self-lined cascade. Now
you have turned it into eveningwear or a special-occa-
sion garment. Your imagination is the limit.
• The pattern PDF is available only in tiles. Piecing is
required, but there are only 21 pages.

24 THREADS • SPRING 2025

Casual Jumpsuit

→
HELENS CLOSET: LOCKHART JUMPSUIT AND DRESS ✚
(HelensCloset.ca) Tested and sewn by
Michelle Loggins,
Skill level: Straightforward to sew, this pattern is a nice undertaking High Point, North
for a comfortable beginner. Carolina.
Size range and fitting: The jumpsuit and dress are drafted for a Pattern: Helen’s Closet
Lockhart Jumpsuit, wide
5-foot 6-inch person and come in two size ranges: sizes 0 thru 22 for straps. Fabric: lightweight
B-cup busts 31 inches to 48 inches, waists 24 inches to 40 inches and denim, GorgeousFabrics.com.
hips 33 inches to 50 inches; and 12 thru 34 for D-cup busts 40 inches
to 62 inches, waists 30 inches to 52 inches and hips 40 inches to 62
inches. The top is semifitted, but there’s
plenty of ease from the waist to hem.
Fabrics: Pick light- to medium-weight
woven fabrics with no stretch, such
as linen, chambray, light- to medium-
weight denim, poplin, cotton, or
cotton blend.
Style and sewing details: Choose
from a dress or jumpsuit in four lengths,
ranging from mini/shorts to knee, midi,
and full length.
• Select narrow or wide straps.
• The lined and fitted princess-seam
bodice hugs the body and flows into
an A-line skirt or wide-leg pants. Both
unlined bottoms have in-seam pock-
ets anchored to the waist seam.
• Front and back waist darts pro-
vide shaping. An invisible zipper
closes at the center back.
• The instructions are accurate,
with tips and fitting checkpoints
sprinkled throughout. Especially
helpful are the added notes and
suggestions that explain why
the steps are needed.
• The instructions for inserting the
zipper while aligning the waist
seams are precise and spot on.
• Before sewing the pocket, apply
seam tape or a strip of interfac-
ing to the seam allowance along
the pocket opening to prevent
stretching when sewing and
wearing the finished garment.

WWW.THREADSMAGAZINE.COM 25
pattern review c o n t i n u e d

Playful Two-Piece Set

ATELIER JUPE: BILLIE TOP & FINN SHORTS
✚ ● ♦

→
(AtelierJupe.com)

Skill level: Aside from interpreting the European

instructions, this is a quick, no-fuss project.
Size range and fitting: This ensemble is sized
European 34 thru 52, UK 6 thru 24. It is designed
for a 5-foot 6-inch person and fits busts 33 inches
to 501/2 inches, waists 263/4 inches to 44 inches and
hips 361/2 inches to 52 inches. Both pieces have a
loose-fitting silhouette. Based on size UK 12, the
top has approximately 5 inches of ease and the
shorts have 6 inches of ease.
Fabrics: These patterns are appropriate for light-
to medium-weight woven fabrics, including viscose,
rayon, cotton, Tencel, linen, and double gauze.
Jersey knit or French terry can also be used. Linen,
Tested and sewn by cotton, and denim work well for the shorts. Using
Jenny Freedman, the same fabric for the top and shorts will yield an
Soquel, California ensemble reminiscent of a romper.
Pattern: Atelier Jupe Billie Style and sewing details: This hip-length (23
Top & Finn Shorts, cuffed.
Fabric: (top) cotton jersey,
inches on size UK 12), V-neck T-shirt features cut-on
(shorts) linen blend, sleeves finished with a banded cuff. The casual pull-
GorgeousFabrics.com. on shorts are 17 inches long at the side seams, have
an elastic waist, front patch pockets, and optional
cuffs.
• The basic T-shirt design can be modified easily
for a different neckline shape, to create gathered
sleeves along the shoulder seamline, and so
forth.
• While the instructions are clear, the pattern uses
metric measurements and some European sew-
ing terminology. Sleeve bands are referred to as
sleeve trim, for example.
• Our tester found it easier to finish the neckline
before stitching the side seams.
• All seam allowances are finished before the
seams are sewn with overlock or zigzag stitching.
Alternatively, you can sew first and finish later.
• If not turning off the size layers, copy your size
from the pattern onto tissue paper for easier
handling.
• In addition to the provided sewing instructions,
there are online tutorials accompanied by a
photograph of each step, plus video tutorials
demonstrating creative pattern hacks.

26 THREADS • SPRING 2025

Modern Warm-up Suit
FOREST AND THREAD: IT TAKES TWO ✚ ✱

→
(ForestandThread.com)

Skill level: Sewing this ensemble is moderately time-consuming,

but not difficult if you follow the instructions carefully. The most
challenging part of the project is sewing the curved seams.
Size range and fitting: Sized XXS to 8X for busts 29
inches to 61 inches, waists 22 inches to 55 inches and
hips 33 inches to 66 inches. Available in two multisize
PDFs, the warm-up suit’s B-Block is for sizes XXS to 1X
and the D-block for sizes XXL to 8X. It is drafted for a 5-foot
8-inch person. The pieces are intentionally roomy.
Fabrics: Lightweight wovens weighing less than Tested and sewn
10 ounces per square yard are recommended. Knit fabrics by Jane Headley,
are also suitable, though you may want to size down the Wakefield, Rhode
pattern. Select plain woven fabric, twill, textured linen, Island.
cotton, viscose, or Tencel. Knit choices include French terry, Pattern: Forest and Thread
sweatshirt fleece, jersey cotton, bamboo, wool, or Tencel. It Takes Two. Fabric: Tencel
woven, GorgeousFabrics.com.
Style and sewing details: This two-piece warm-up
suit has a unique look with asymmetrical curved seams,
highlighted by contrast fabrics. The pull-on, elastic-waist pants echo
the design lines of the jacket. They have diagonal side seam pockets
and a straight-leg silhouette.
• The zip-front jacket has a standup collar, dropped shoulders, front
and back yokes, and diagonal front seams with oversized pockets.
• The hemline is cinched with drawstrings tied at the sides. Several
ideas are listed on what to use for unique drawstrings. The sleeve
hems are finished with 13/8-inch-wide elastic.
• The style lines result in many pattern pieces. Most sections are cut
on a single layer so be sure they are laid in the proper direction.
Keep the pattern pinned to the cut fabric until the piece is used.
• There are plenty of notches and match points for easy assembly.
• The sewing instructions read like a mini book. They are detailed,
showing illustrations for each step. There is even a comprehensive
section on sewing curved seams, needle and thread choice, seam
finishes, as well as sewing with knits.
• Our seamstress recommends that, when doing the curved piec-
ing, staystitch the straighter seam, clip it, and then, for accuracy,
sew with the staystitched seam on top.

WWW.THREADSMAGAZINE.COM 27
PATTERN REVIEW c o n t i n u e d

Faux-Wrap Dress
5 OUT OF 4: FELICITY WRAP TANK TOP AND DRESS
✚ ✱

→
(5outof4.com)

Skill level: This pattern is for the advanced beginner

comfortable sewing with knits. It is not a difficult project,
and the only issue may be deciphering on which side the
garment overlap ties.
Tested and sewn by Size range and fitting: The semifitted knit dress is
Pamela Howard, sized XXS to 5XL. It is for full busts 31 inches to 58 inches,
Newnan, Georgia. waists 25 inches to 54 inches and hips 33 inches to 61
Pattern: 5 Out of 4 Felicity inches. These garments are designed with negative ease,
wrap dress.. Fabric: Ecovera which is appropriate for this design. To help you select the
viscose/spandex knit,
EmmaOneSock.com.
appropriate size, instructions include body measurement
guidelines and finished garment measurements.
Fabrics: Suggested fabrics include light- to medium-
weight jersey knits with two-way or four-way stretch and
at least 25 percent horizontal stretch. Depending on
the desired fit, fabrics with a higher stretch may require
a smaller pattern size, while those with less crosswise
stretch may require a larger size.

28 THREADS • SPRING 2025

 Style and sewing details: This dress has a front Knit Top
overlay that attaches to the left seam, overlaps, and ties ITCH TO STITCH:
on the right. There are three length options: blouse, ALGARVE TOP
knee, and maxi. Five sleeve styles offered are: tank, flut-

→
✚ ●
ter, short, three-quarter, and full length. There are three (Itch-to-Stitch.com)
neckline styles: crew, scoop, and high or low back.
• You will find a separate dress front pattern piece for Skill level: This
those who need a full-bust adjustment. top is easy and is
sewn completely by
• The neckband is pinned at each quarter point. Begin
machine.
by aligning the center-front and center-back neck
points. However, the shoulder seams are not a match Size range and fit-
point. Refer to the illustrations for guidance to iden- ting: The loose-fitting
tify the appropriate shoulder area match points. pullover is tailored Tested and
for a 5-foot 6-inch sewn by Pamela
• The sewing instructions are interactive, featuring click-
person and comes in Howard, Newnan,
able links to guide the sewing process. They are clear
sizes 00 thru 40, for Georgia.
and concise, with a few minor exceptions. There is a
busts 31 inches to 63 inches, waist 251/2 inches to
six-page section with in-depth instructions that cover Pattern: Algarve Top.
541/4 inches, and hips 33 inches to 62 inches. Size Fabric: polyester eyelet
all aspects of printing the pattern, including trouble- 1
6 has 6 /2 inches of ease at the bust. To accom- knit, EmmaOneSock.com.
shooting potential issues.
modate various body shapes, two PDF patterns are
• The illustrations on p. 3 show the dress with a left-side included: sizes 00 thru 20 and 16 thru 40. Each PDF
tie, whereas the pattern indicates a right-side tie. provides a separate front pattern for regular and full-bust options.
• On p. 19, the illustration accompanying the step on Fabrics: Designed for drapey, lightweight knits that enable the front
hemming the dress front is reversed. The curved hem bodice gathers to fall gracefully. Use silk, rayon, viscose, bamboo jersey,
edge should be on the left. French terry, or ITY. Depending on fabric choice, it can be worn for
casual to more dressy occasions. Solids, prints, or a combination of
• Pay attention the seam and hem allowances as they
them work well.
vary throughout the garment.
• Pattern instructions suggest sewing the hems with a
Style and sewing details: The boatneck top has curved, self-lined
yokes that extend into short sleeves. The neckline and yoke curves
double needle. Our tester recommends hand basting
complement each other. The front bodice is gathered into the yoke,
the hems before finishing with the double needle.
while the back remains flat.
Lengthen the stitch to 3.0 mm to keep the fabric from
tunneling between the needles. • This versatile garment can be worn under a blazer, on its own, tucked
in or out. It’s a wardrobe staple you’ll reach for often.
• The pattern instructions say to hem the dress front,
back, and front overlay individually prior to assembly. • The body measurements and the finished garment measurements
If you prefer a continuous line of stitching, start at the charts make it easy to find your best fit.
upper left curve of the dress front, down to the right-
• Markings and match points are accurate, and matching seams are the
side seam; across the dress back and left-side seam,
same length. Illustrations are clear and easy to follow.
then up the overlap curve to the right-side tie.
• Be sure to read all the instructions carefully so that the front and back
Photos: Jack Deutsch. Illustrations: Steven Fleck.

yokes and facings are cut at the correct lengths according to the
illustrations.
• The yoke facings are cut 3/4 inch shorter on each end, to reduce bulk
when turning back the cut-on sleeve hem allowances.
Every pattern shown has been sewn and evalu-
ated. We keep a close watch on fashion trends • The pattern is color-coded to help in selecting the size needed. Alter-
and select patterns that reflect the latest looks. natively, deselect any layers that aren’t needed.
Each one is then sent to a skilled tester, who
sews it to assess the proportions, style, and pat-
tern instructions. —Compiled by Anna Mazur

WWW.THREADSMAGAZINE.COM 29
 Create your

Relish
sh a fresh
take on color,
fabric, and shape
thiss season

B Y VA N E S S A N I R O D E

30 THREADS • SPRING 2025

S pring always offers the chance of a fresh start, a time to learn something
new, embark on a journey, metaphorically or actually, or rejuvenate
beloved things. In the spirit of these aspirational goals and tasks, I talked
to the founders, creators, and teachers at some of the sewing and crafts-related
schools in New York City. I chose those operating in the Big Apple because that is
where I live, but there are countless others across the country, and likely one near
you. Spring is an excellent time to take a class, whether to develop a new skill or
take your knowledge to the next level. Or perhaps there is someone in your life who
wants to learn to sew. What better time than spring for them to begin—and for you
to encourage them to dive in?

FIND YOUR INSPIRATION

I spoke with several professionals about what they see trending for spring and sum-
mer 2025 and what their students are most interested in creating. I think trends
begin on the proverbial streets; that the styles and fashions that become truly
popular are those driven by “normal” people living their lives and striving to express
themselves in genuine ways—not by the large fashion houses. As Plato’s theory of
mimesis explains: Art imitates life.
Carolyn Heitmann, owner and curator at Brooklyn Craft Company, says her
favorite small brand is Big Bud Press (BigBudPress.com). All their designs are unisex,
ethically and sustainably manufactured, and made to last. On top of all that, they’re
just really fun. Think not-so-basic basics. “They are extremely thoughtful about both
quality and fit,” says Heitmann, “and accommodate body diversity in a way that you
don’t see from many other brands, even most small brands.”
“We here at Made are big fans of Iris Van Herpen,” says Rosemary Schwartz, admis-
sions coordinator at Made Institute (Made-Institute.com). “She has such an inno-
vative approach to fashion, merging technology with traditional craftsmanship to
create truly unique pieces.” Her intricate designs often draw inspiration from nature
and science, resulting in sculptural garments that blur the line between art and
wearable fashion. Additionally, her commitment to sustainability and exploration of
new materials resonates with a growing audience that values eco-conscious creativ-
ity. Schwartz calls her simply iconic.

PRIORITIZE QUALITY
No matter what you decide to make or learn this spring, remember that pieces with
impeccable fit and exceptional construction always stand the test of time. “Prioritiz-
ing craftsmanship is crucial,” says Schwartz, “it’s easy to spot items that are merely
trendy but poorly made.” She notes that investing in well-fitting essentials is always
worthwhile, especially when you’re able to create them yourself. Not only do you
end up with a quality-made garment, but you also have something no one else does
that you made with your own two hands. That is a special kind of joy all of us makers
aspire to. web extra
For an enhanced version
of this article, with links
Vanessa Nirode is a tailor for television and film, who also specializes in fashion reporting. to all patterns, visit
WeatherYourOwnStorm.com ThreadsMagazine.com.

WWW.THREADSMAGAZINE.COM 31
 Explore Contrasts
asts
Don’t be shy about introducing opposites
pposites within an outfit:
Contrast is one of the driving trends
nds of the upcoming season.

FABRICS
“Expect to see a rich array of textures
this season, from feathers and fringe
to everything in between,” says
Schwartz from Made Institute. All
kinds of sheer fabrics, including
knitted nets, chiffons, lace
weaves, and crochet, showed
up on the runways. Many of
them had a shimmering effect,
pearlescent or translucent.
Other fabrics include linen
and cotton blends; “faux solids,”
meaning monochromatic textiles
with texture, speckles, slubs with
visible weaving. Plus, there are lots
of florals—it is spring, after all. Textiles
with smocking, pleats, and waffling were
also popular in the runway shows; anything
that added texture and created surface interest.
Mix these with smoother fabrics, prints, patterns, or
with each other to find your preferred level of contrast.

COLORS
The palette for spring/summer
2025 includes pastels like crocus,
lime cream, and limpet shell (a light
blue) as well as brighter shades BRAN CROCUS LIME CREAM LIMPET SHELL
like orangeade, misted marigold,
white grapes (a warm light green),
and déjà vu blue. Neutral seasonal
hues range from antique white to
nearly black eclipse, with a grayish
moonbeam and slate blue (granite) WHITE DEJA VU BLUE KASHMIR MISTED
colors in between. A mid-brown GRAPES MARIGOLD
and dark red-brown add an earth-
toned option.
If you’re hesitant to go full-on
with the bright tones, try them as
accents with neutrals to brighten
your dressing as the days warm ORANGEADE COCOON ECLIPSE ANTIQUE
up. “The combination of soft hues, WHITE
like butter yellow and baby pink,
alongside bold colors, such as
vibrant reds, creates striking visual
contrasts,” says Schwartz.
RUM RAISIN MOONBEAM BLUE GRANITE

32
3 2 THREADS
T H REA
HRR EA
EADDS
S • S
SPRING
PR
P R
RIN
IN
N G 20
2025
2 0 25
25
Unconventional Hemlines
Unconventional skirt and hem silhouettes were a recurring theme in runway
shows, and I mean unconventional in all the ways you can think of: short in
front with trains in back, bubble hems, wired hems, and even tutus.

Schwartz says that detailed hemlines adorned with embroidery and shimmering
accents add sophistication to any garment. Many domestic sewing machines
come with an assortment of preprogrammed decorative stitches that can be the
perfect accent to a hem, especially when sewn with a contrasting thread color or
multiple thread colors.
“This elegant playfulness reflects a collective desire to embrace more classic
styles,” Schwartz says. Pair your unconventional bottom with a simple T-shirt for
yet another balance of contrasts.

PATTERNS TO TRY
✚ Aino Bubble Dress from ✚ McCall’s 8483: cropped peasant
RidhGoyalPatterns: sleeveless dress blouse with tiered, asymmetrical-hem
with full skirt gathered to create a skirt
bubble effect
Ruffled High-Low Skirt from You
✚ Annie Rock from Stokx Patterns: Make Patterns: full knit skirt with
easy-to-sew high-low skirt with length options
generous pockets
Simplicity 8579:18th-century
✚Ayla Woven Skirt from Style Arc: panniers, to extend the hip shape;
lantern-shaped, pull-on skirt for the more creative dresser
✚ Butterfly Bias Cut Dress from ✚ Sydney Designer Dress and
Copper Creek Patterns: elasticized Extension pack from Style Arc:
waistline, flutter sleeves, full high-low pullover shift dress with lantern
skirt for drapey wovens silhouette; bundle includes neckline
and sleeve variations
✚ Core T-shirt from Closet Core
Patterns: basic, slightly boxy tee, a Thyme Skirt from Pattern
free pattern Apothecary: beginner-friendly
pull-on skirt with asymmetrical hem
Delma Skirt from VikiSews: midi-
variations
length, high-low, bubble-hem skirt
Tosca Dress from The Sewing
Le 933 Handkerchief Dress from
Workshop: sleeveless dress with
DP Studio: knit turtleneck bodice
bubble hem, cowl neckline
with woven skirt with pointed hem
✚Tulpe Coat from OkiStyle: coat
✚ Magical Twirl Dress from Ellie
with fitted bodice and unique, tulip-
and Mac: mix-and-match pattern shaped skirt; available in larger sizes
with high-low circle skirt options on request
McCall’s 7615: full, ballerina-inspired Vogue 9252: Sleeveless fit-and-flare
tulle skirts in three lengths dress with graceful skirt sweep and
high-low hem

LOOK FOR THIS ICON ✚

Patterns with this symbol extend to sizes for The Sydney Designer Dress
bust measurements of 55 inches or more, from Style Arc has a slight
and hip measurements of 58 inches or more.
tulip silhouette that’s easy to
fit and wear. An additional
pattern bundle includes
various bodice and sleeve
styles, so you can make
many different versions.

WWW.THREADSMAGAZINE.COM 33
Sport-Luxe & Oversized Silhouettes
These trends are all about unlikely pairings and generous proportions. Think bike shorts and track jackets with
something like a sequin dress. Or a pair of loose-fitting joggers with a minidress and feathers-and-fringe-
embellished cropped jacket. Or a rugby shirt with a sleek pencil skirt, Dr. Martens (shoes), and a silk scarf.
Kristine Frailing, fashion designer, sewing instructor, and founder and
creative director at the New York Sewing Center, says it’s not uncommon
for certain trends to stick around for a couple seasons. Wide-leg pants
persist, as do oversized silhouettes in general, including baggy blazers.
She also loves loose-fitting joggers, which are beginner-friendly.
Consider tailoring the leg ever so slightly or transforming it into a huge
wide leg. “They’re just such an easy project that can look so elevated on
so many different body shapes,” she says.

PATTERNS TO TRY
✚ Anything But Basic Women’s ✚ Frida Skirt and Sally Sweater
Tee from Copper Creek Patterns: from Juliana Martejevs: classic
set-in sleeves, neckline and midi-length jeans skirt and raglan-
sleeve-length options in a free, sleeve sweatshirt, available in
downloadable pattern custom sizes.
Aster Tee from Pattern Le 308 High-waisted Trousers
Apothecary: raglan-sleeve T-shirt from DP Studio: Hollywood-waist
trousers with side ties, wide legs
✚ The Basic Sweatpants from
Juliana Martejevs: with elastic ✚ The Olivia Coat from Juliana
waistband and ribbed cuffs. Martejevs: chore-style jacket in
Available in made-to-measure size two lengths; available in custom
sizing
✚ Bert Knit Top and Ernie Knit
Pant from Style Arc: Classic ✚ Plus CJP Wide Leg Pants from
sweatpants with oversized polo- CJ Patterns: pull-on style for
style sweatshirt drapey knits or wovens
✚ Betty and Bob Bundle from Rumi Pants from VikiSews: loose-
Style Arc: Woven tunic and fitting pants with drawstring waist,
balloon-shaped pants slash and patch pockets

✚ Bike shorts from Sew Simplicity 8697: oversized blazer

Anastasia: Beginner-friendly, with collar variations
downloadable pattern ✚ ZW Block Pants from Brigitta
Boyfriend Jacket plus shell from Helmersson Zero Waste
CJ Patterns: shawl-collar jacket for Patterns: cropped, wide-leg pants
knits or wovens with elastic waist

✚ Elliot Sweater and Tee from ZW Workwear Jacket from

Helen’s Closet Patterns: easy- Brigitta Helmersson Zero Waste
fitting raglan tops Patterns: boxy, unisex chore
jacket
Faythe Pants from VikiSews:
straight pants with elastic
waistband and hems, intended for
nonstretch fabrics

The traditional jeans skirt looks chic when given a pencil skirt outline,
and paired with a favorite, generously sized sweatshirt (The Sally Sweater
and Frida Skirt from Juliana Martejevs). The pieces may be casual, but the
overall look is sharp and intentional.
Skants, Skorts, &
Creative Combinations
Dresses and skirts over pants and shorts constitute a trend that goes hand in hand
with unconventional hemlines found in many of this season’s runway shows.

I feel happily validated with this trend as I’ve been wearing dresses over pants since my
teenage years, when it definitely wasn’t trendy. My look was always considered “weird”
by my peers. I still dress in this manner: It’s practical and offers opportunities for unique
styling. Complement skorts and skants (skirt-pants) with cropped blouses.

PATTERNS TO TRY
1910s Split Cycling Skirt from ✚ Romey Gathered Dress and Top
Reconstructing History Patterns: from Sew House 7: empire-waist
long, full, pleated, culotte-style skirt dress with gathered skirt; can be
shortened for a top
✚ Ashley Skort from 5 out of 4: high-
low wrap skirt, four lengths, over shorts Rowen Dress from Pattern
Apothecary: dress with elastic
Belize shorts and skort from Itch
waistline, tie front opening, in mini and
to Stitch: shorts with skirtlike overlay
midi lengths
options
✚ Saguaro Set from Friday Pattern
✚ Bernadette Skirt from + Friday
Co.: pullover cropped top can be
Pattern Co.: pleated skirt, mini or
worn with low V-neck in front or back;
midi; layer the short version over pants
paired with wide-leg, pull-on pants.
Clara Wrap Top from Green Style:
✚ Saturday Skirt Set from Friday
surplice bodice with wrapped midriff
Pattern Co.: cropped blouse with front
✚ Eddy Pants from Green Style: knit tie with full A-line skirt
split-leg pants with undershorts
Simplicity 1370: shorts, skorts, and
Flare Maxi Dress from Pattern skirts with various hem shapes.
Couture: tent dress with ruffle neckline
Simplicity 9114: cami and trousers,
and hem details
with tiered shirtdress to wear as a
Halter top and Copenhagen skirt duster
from Puff and Pencil: low-waisted ✚ Tie Dress from Sewing Therapy:
wrap skirt, ideal to layer over pants; pullover dress with ties for multiple
halter top with fitted midriff styling options
✚ Know Me 2013: knit sleeveless or Top Madrid from OkiStyle: sleeveless
short-sleeve cropped tops, straight blouse with peplum
skirt with side-front slit
Vogue 1702: wide-leg pants with long
✚ Lauren Trousers from Lore Piar: skirt overlay, for a dressy, couture look
classic trouser with an easy front welt
pocket; hack to wider or narrow leg Vogue 9278: flared slip dress with
narrow straps
Meg Dress and Pants from Sew
Tina Givens: sleeveless tunic with ✚ Wickham Shorts/Skort from
asymmetrical hem, cropped pants Cashmerette Club: shorts, skirt,
or skort
Pant Billy from OkiStyle: tapered
trouser with flounce along front waist
and upper side seam.

OkiStyle’s Billy pants offer a unique take on the

layered look, and can be interpreted as upscale
cargo pants or evening trousers. Keep the top
half of the ensemble simple, with a cropped tank
shaped by princess seams (Know Me 2013).

WWW.THREADSMAGAZINE.COM 35
Layered Sheers
Boudoir lace and layered sheers combine with a touch of
boho chic, crochet details, and capes. Most any garment can
embrace this trend if you construct it in a sheer fabric. Look for
materials that have some texture, and don’t be afraid to layer
different fabrics.

Back in my teenage days, I layered multiple sheer slips and dresses.

I love that this is now a fashion trend. Think about using a sheer
floral under a lace with a gauze solid over both. Play around with
different hem lengths and proportions to create a unique look.

PATTERNS TO TRY
Carmencita Maxi Dress from Lace Cover-up from Ambitious
PatternCosPatterns: above- Elle Patterns: tie-front duster
the-knee raglan dress with full coat, ideal for lace fabric
sleeves and generous swing

Photos: Mike Yamin. Illustrations: Steven Fleck. Fabric swatches: MoodFabrics.com. Color swatches: courtesy of Pantone Color Institute.
Lace Duster from Pattern
silhouette
Couture: heirloom-detailed tie-
Culottes Jumpsuit from front long duster
Ambitious Elle Patterns:
✚ Nansu Dress from Lore Piar:
full-leg jumpsuit with sheer
voluminous dress with sleeve,
leg panel
length, and ruffle options
Eleonora Dress from Silver
✚ Nullabor Cami and Dress
Sage Patterns: peasant-style
from Muna and Broad: straight-
dress with short sleeves and
or bias-grain slip dress
elastic waistline
Sheer lace camisole from
✚ Josephine Dress and Top
Transformations by Tracy: cami
from Caramiya Maui: baby-doll
with sheer midriff panel
silhouette tiered dress
Sheer Maxi Dress from
Kara Cape Dress from Pattern
Ambitious Elle Patterns:
Couture: close-fitting minidress
sleeveless, long A-line dress
with open back and cape-like
sleeves ✚ Simone Slip Dress and
✚ Kingsley Bias Cut Dress and Camisole from Closet Core
Cami from Style Arc: V-neck Patterns: classic bias-cut slip
slip dress with unusual dart Vogue 2071: loose jacket with
configuration shaped hem and tie front, by
Know Me 2026: knit tank dress Júlio César
paired with sheer shirtdress ✚ Wilder Gown from Friday
✚ Know Me 2072: maxi dress Pattern Company: raglan-
with low neckline in front and sleeve dress/top with gathered
back and ruffled hem; try in neckline and several tier options
eyelet lace

Although you can layer almost any garments, this tank-and-shirtdress

ensemble (Know Me 2026) is a perfect pairing. Plan the pieces to coordinate,
then try them out with other items in your wardrobe.
Shirtdresses & Just Patterns’ Freja Vest
Masculine-Inspired Looks and Tatjana Trousers
provide a streamlined
A tailored shirtdress or button-up oxford never goes
version of the vest and
out of style. This spring, both are all about the stripes.
pants look. A longer,
Consider wearing a shirtdress with a pair of pants incorporating shaped waistcoat
the skirt-over-pants trend. On the runways, this trend sported takes on the role of a
a multitude of stripes within a single outfit: for example, a wide-striped jacket over straight-leg
tunic over pinstriped linen pants. The trouser-plus-waistcoat look trousers, neither too
continues, with proportions abbreviated or exaggerated to suit the narrow nor too wide.
wearer’s taste.
If you’re a beginner and looking for a simple tunic pattern, Heitmann
suggests the Stevie Dress from Tilly and the Buttons. Make it in a
cotton stripe or a linen-cotton blend. “Tilly’s instructions are very
thorough and include photos, so I know that if a student decides to
make another dress after class, they’ll be able to jog their memory
of the workshop and follow the pattern with ease,” Heitman says.

PATTERNS TO TRY
Amarena Dress from Liesl and Co.: pullover, V-neck
shift dress with collar and pocket variations
✚ Anais Woven Dress from Style Arc: raglan-sleeve
button-front dress with shirttail hem
Cropped Waistcoat and Flared Pants from Pattern
Couture: short vest with low V-neck, and close-fitting
bell-bottom pants
✚ The Dress Bundle from Juliana Martejevs: includes
six styles, such as a slip dress, A-line princess seam
design, and a straight-cut shirtdress
✚ Freja Vest and Tatjana Trousers from Just Patterns:
low-hip-length contoured vest and classic trousers
Know Me 2031: sleeveless or short-sleeve shirtdress
with multigored skirt
✚ Lenox Shirtdress from Cashmerette: short-sleeve
dress with princess seams; A-line or gathered skirt
✚ McCall’s 8385: raglan-sleeve dress with princess
seams; gathered side panel option
Simplicity 8014: shirtdress variations, with or without
waist seam
✚ Stevie Tunic from Tilly and the Buttons: straight top
or dress with cut-on sleeves
✚ Summer Birdy Dress from Stokx Patterns: princess-
line, button-front dress with flutter sleeves

WWW.THREADSMAGAZINE.COM 37
 R E A DS
TH

F
AV
SEW A

E
T
ORI

LIGHT-AS-AIR
SKIRT Join delicate fabric strips
in an improvised, pleated design

BY JENNIFER STERN-HASEMANN

D
esigning patterns is a passion of mine, and I enjoy
working out the intricacies of fit and construction.
Sometimes, though, I crave a quick, less detailed proj-
ect. One of my favorites is this strip-pieced, no-pattern skirt.
For instant sewing gratification and a speedy fashion boost,
you’ll find it fits the bill perfectly.
The skirt is made of four to six lightweight, drapey fabrics cut
into strips and pieced into a new fabric. This pieced fabric is
casually pleated and fused to an internal yoke made of iron-on
interfacing. Free-motion-quilting further secures the pleats to
the yoke. The only fitting involved is in the yoke, which is simply
a ring darted to your body size.

CHOOSE A FINISHED OR UNFINISHED VERSION

Textiles such as chiffon, georgette, voile, lawn, and charmeuse
are ideal for this design. I like to work with several coordinat-
ing prints and/or solids. It's important to test how the fabrics
behave when sewn together, as the look depends on a certain
amount of flow. Avoid stiff materials like organza and crisp cot-
tons and linens.
You can assemble the skirt in several ways, for different
effects. I’ve made skirts that are deliberately unfinished, with
softly fraying seams, hems, and waistlines. If you prefer a more
polished style, you can add a waistband, or bind or face the
waistline, and hem the skirt conventionally.
Because the skirt's look changes dramatically depending on
the fabrics and finishes you use, I think you’ll find this style
more versatile than you might guess. Give it a try and see
how you can make it work for you.

Adapted from “Design a Chic, Flowing Skirt with Fabric Strips,” by

Jennifer Stern-Hasemann, Threads #120, Aug./Sept. 2005.

If you can cut and sew a straight line, you can make
this skirt. Its swing and flare come from the carefree
way it’s pleated, not from complicated sewing.
Calculate the Strip Count
Advance planning ensures you have enough strips to pleat onto the yoke.
Skimpy pleats won’t deliver the floaty motion this skirt promises.

DO THE MATH
Example:
First determine how much strip-pieced fabric you need
for the skirt. Multiply your hip measurement by a pleating Hips = 42 inches
factor of 3.5, then add 20 inches of ease. Note: For all hip (42 inches x 3.5) +
measurements, round up to the next full inch. 20 inches =
167 inches pieced
fabric

PLAN THE STRIP WIDTHS

Although you can make the strips any width you like, an assortment of strip widths from
2 inches to 5 inches yields a pleasing effect.
A simple chart helps you plan the number and width of strips to cut from each fabric.
The chart below was used to plan the skirt on p. 38, in which six fabrics were cut into strips
for a total of 167 inches. But adjust your chart for the number of fabrics and strip widths you
want, based on the total number of inches you calculated for your hip size.
Remember, the figures in the chart represent finished strip widths; you must add seam
allowances to those widths when cutting the fabrics. I add two 1/2-inch-wide seam allowances,
so I cut each strip 1 inch wider than the desired finished width.

STRIP WIDTH WITHOUT SEAM ALLOWANCES*

2 inches 3 inches 4 inches 5 inches Inches per fabric
Fabric 1 7 strips = 6 strips = 44 inches
14 inches 30 inches

Fabric 2 11 strips = 33 inches

33 inches

Fabric 3 7 strips = 28 inches

28 inches

Fabric 4 7 strips = 14 inches

14 inches

Fabric 5 5 strips = 3 strips = 30 inches

15 inches 15 inches

Fabric 6 6 strips = 18 inches

18 inches

*Add two 1/2-inch-wide seam allowances to each strip when cutting.

167 inches total

WWW.THREADSMAGAZINE.COM 39
Piece the Fabrics tip
Experiment with stripe patterns and stitching styles to achieve a look you like. HIGHLIGHT A FAVORITE
FABRIC. If you want one fabric
to dominate the skirt, use it for the
CUT STRIPS widest strips as well as for some of
Cut or tear fabric strips of various widths following the chart you made. If you want a perfectly the narrower ones.
regular stripe pattern, arrange the strips in sequence. Tip: I prefer a random arrangement. The
only strips I place carefully are the most dominant ones, which are usually the widest strips.

PICK A SEAM STYLE

Choose your seam to match the fabric and look you want, and sew the strips together to form a striped fabric. Seam options
include a machine-sewn straight stitch, a three-thread serged seam, and a rolled-hem serged seam. Make some test seams
to see how they affect the hang of the fabric. A straight stitch is usually more supple, while a serged seam can give pleats a
crisply defined edge. A rolled-hem seam is less wiry if you use a longer-than-normal stitch length; test a length of 2.0 mm. Be
sure to adjust the serger’s differential feed to avoid puckered or wavy seams.

40 THREADS • SPRING 2025

Fit the Innerr Yokee
A shaped strip of fusible
e interfacingg supports the skirt’s upper section and holds the pleats in
place with its adhesive. Choose an interfacing color that most closely matches the color value of
your fabrics. A soft, weft-insertion
ft-insertion v
variety is flexible and comfortable to wear.

START WITH A RECTANGLE

TANGLE
Cut a rectangle of
fusible interfacing
to fit your hips.
Make the length
equal to your hip
circumference,
plus 4 inches of
ease, and two
1
/2-inch-wide seam
allowances. The
width equals the
distance from your
waist to the fullest
part of your hip (7 to 9 inches
ches works for
f most figures). Example: If your
hips measure 42 inches, cut a yoke that’s
that’s 47 inches by 7 to 9 inches.

ADD DARTS
Find the difference betweeneen the lengt th of
length
the rectangle and your waist.
aist. For eachh inch
of difference, make a dartt with a 1-inc
1-inch
ch
take-up at the yoke’s upper tapering
per edge, tap pering
to nothing 1/2 inch from thehe lower edg ge;
edge;
space the darts evenly across
ross the yoke.
yoke.
Example: If the yoke is 47 7 inches long g and
your waist measures 32 inches,
nches, you’ll need
fifteen 1/2-inch darts (each
h dart takes o out 1
inch of fabric).
Try on the darted yoke to o make sure
ea. If
it fits your waist-to-hip area.
the yoke is tight, release darts as
needed; if it’s loose, deepen
pen or
increase the number of darts.
arts.

tip NO-SHOW YOKE:

KE: Choose
an interfacing color that most
closely matches the color value off
your fabrics: dark for
or dark fabrics,,
white or ecru for light
ht colors.

Jennifer Stern-Hasemann n fits a

yoke on her model. The fitting
itting darts
are spaced evenly aroundd the yoke.
Pleat, Fuse, and Stitch
Assembling the skirt is more an art than a science. You can work flat, as described, or on a dress form if you have one.

1| Quarter-mark the yoke and the skirt fabric. The short ends of
the yoke will be the zipper opening; the other markings represent
center front, the right side, and center back. Lay the yoke,
4| Quilt the layers together. Sew through all
layers of skirt fabric and interfacing to hold the
pleats in place. Using straight or decorative
adhesive-side up, on an ironing board, and match the quarter- stitches, and any thread you like, stitch across
sections of the fabric to the yoke. the yoke in several passes. This stitching can
be in parallel or free-form rows (including
crisscrosses and wavy lines), but be sure to
cover the entire yoke so that all the pleats on
the yoke section are firmly anchored.

Photo: (p. 38) Jack Deutsch; all others, Joseph Kugielsky. Stylist: Jessica Saal. Hair and makeup: (p. 38) Sylvia Pichler; (p. 43) Danielle Wilson; (all others) Dawn Louise.
2| Pleat the fabric to the yoke and pin it in place, working on
the first quarter of the skirt. Keep the waistline edges of the
yoke and the skirt fabric aligned, and pin directly into the ironing
board. The pleats don’t have to be of equal width, and you can
decide whether to show or conceal the seams.

Styling credits: (p. 43) earrings—Anne Klein (NordstromRack.com), sandals—Dolce Vita (NordstromRack.com), bracelet—stylist’s own.
5| Add a closure. Try on the pleated skirt,
placing the open seam at one side or center
back. Pin the seam to fit, then interface the
top 9 inches for a zipper opening. Using your
preferred method, insert an invisible zipper
and complete the side seam.

3| Fuse the pleats

to the interfacing
yoke. Remove the
pins as you press.
Before you move
this section, check
that all the pleats
are adequately
attached to the
yoke. If not, pin
them temporarily to
the yoke. Pleat and
fuse the remaining
skirt sections, one
by one.

42 THREADS • SPRING 2025

Select a Finish
Hemmed with a waistband or purposely left undone—
the final touches are up to you.

WAISTLINE
Opt for a fringy, unsewn look, or neaten it up with
a waistline facing, band, or binding. You can also
topstitch a ribbon band to the skirt’s right side,
leaving tie ends to form a bow.

Rolled-hem seams
keep extra floaty
silk chiffon fabrics
from a flyway
look. An attached
ribbon stabilizes the
waistline.
Fabric: editor’s stash.

LINING
If you line the skirt, the lining can be simply sewn in
with a row or two of stitching (for an unfinished style)
or anchored by a waistband or binding.

HEM
Stitch the hem or leave it raggedy for fanciful
texture and movement. If you like a tattered hem,
shorten every other strip 1 to 2 inches before
sewing the strips together. For a neat hem, trim
the edge evenly, then roll-hem it with the serger,
or blind-hem it by hand or machine.

Rolled hem Unfinished hem

 A QUICK WIN
FOR PLUS-SIZE
SEWISTS
44 THREADS • SPRING 2025
 Steps to success for
new—and not-so-new—
garment makers

BY CHACHA N. HUDSON

F
or anyone who loves the idea of
sewing their own clothes but has
been let down by projects that
don’t fit or turn out quite right, take heart.
This article is for you. We’ve all spent
hours, or even days, working on a gar-
ment, only to find it isn’t wearable. The
challenge can be even greater for plus-size
sewists, as many commercial patterns are
not size inclusive. It’s frustrating, demoral-
izing, and can make you want to give up
on sewing altogether. But I’m here with a
solution that will move you forward.
I’ll show you how to find that quick win,
using sewing patterns that are beginner-
friendly, forgiving, and almost guaranteed
to leave you with a garment you love. We’ll
talk about how to take accurate body mea-
surements, how to choose the right sewing
pattern to minimize fit issues, and why
you should always make a prototype
before cutting into a favorite fabric. I’ll
also share my experiences working with
three simple and stylish designs—each of
ChaCha N. Hudson specializes which could easily be the basis of a ward-
in size-inclusive design, and robe you’ll love sewing and wearing. Let’s
shares insights for skipping get started.
straight to wearable, stylish
sewn garments. ChaCha N. Hudson is completing her PhD in
Apparel, Merchandising, and Design at Iowa
State University. She is the featured instructor
in the Threads online course Fundamentals of
Fashion Draping.

WWW.THREADSMAGAZINE.COM 45
Find Your Size
It’s essential to start with accurate body measurements.

PATTERNS VS. READY-TO-WEAR

Most people don’t know their exact measurements and often rely on the clothing sizes they are
accustomed to buying from stores. However, most sewing patterns sizes are entirely different from ready-to-wear clothing.
For example, I compared a popular ready-to-wear brand’s size 20W and a sewing pattern size 20. The ready-to-
wear brand’s size was 4 inches to 5 inches larger than the pattern at each body location. This is why taking accurate
measurements is crucial to achieving a good fit.

MEASURING METHOD
To get the most accurate results, use a soft, flexible tape
measure. My design and teaching focus is on inclusive design ign
and sizing, so I always recommend purchasing a measuring g
tape that’s at least 120 inches long; the standard is 60 inches.
es.
Wear the undergarments you plan to wear with your
finished garment when you’re taking measurements.
Alternatively, wear form-fitting garments, like a unitard
or tights and a tank top, to avoid adding bulk that might
skew the measurements. Record your measurements.
Compare your measurements to the pattern’s size chart. If
you are between sizes, don’t worry. You can blend sizes or
make smallall adjustments to achieve the perfect fit.

BUST:
Wrap the tape
measure around
the fullest part
of your bust,
keeping it level
across your back.

HIPS:
Measure
around the
widest part
of your hips,
keeping the
tape level.

WAIST:
Measure around
ound d the
th smallest
ll t
part of your torso, your
natural waist.
t. If you’re
unsure, bend d to one side and
find the natural
ural indentation
or look in the
e mirror to
determine thehe narrowest
part of your waist.

46 THREADS • SPRING 2025

Choose the Right Pattern and Suitable Fabric
Pairing a pattern with its ideal textile can make the process and result of a garment-sewing
project feel like magic.

A wide-leg trouser,
STYLE PLUS SIMPLICITY trapeze-style dress,
Avoid garments with zippers, buttons, and knit maxi are
or snaps for now. Those closures can versatile— and ideal
be tackled later, but for a first project, beginner projects.
go for something simple and satisfying
that boosts your confidence and
leaves you ready for more.
Any one of three patterns
on the following pages
is a suitable place for a
beginner to start—and all
are versatile and modern
enough to appeal to
experienced sewists, too.

STRETCH, DRAPE, AND FIBER CONTENT

When choosing fabric for these patterns, consider stretch and drape.
I’ve featured two patterns for knits, a maxi dress and wide-legged pants.
Both designs use the fabric’s stretch for a forgiving fit and comfort.
There’s also a flared dress that calls for woven fabrics with body, from
linen to denim. Choose fabric with a softer drape, such as crepe or
challis, if you’d like a less full silhouette.
Additionally, think about fiber content. For example, cotton knits are
breathable and comfortable, but they may not drape as well as polyester
blends or rayon, which offer smoother finishes. Polyester or spandex
blends provide more elasticity and resilience, making them great for
patterns requiring stretch knits.
Finally, if you’re a novice sewist, stitch some sample seams in the fabric
of your choice to see how it feels to work with it. Some knits are unstable
and slithery and may require more control than you’re ready to take on
in an early project. Test seam finishes, gathers, or any other details to
ensure they work well with your fabric choice.

Sew a few test seams on A prototype garment helps you assess a

your chosen fabrics. pattern's fit. ChaCha learned she needed to
shorten her maxi dress by several inches.

WWW.THREADSMAGAZINE.COM 47
Take a Practice Run
un
n
Before you cut into that beautiful fabric
riic you’ve
been saving, let’s talk about prototyping.
inng.

MAKE A MUSLIN
Always make a muslin, or test garment,
first. It’s essential to ensuring a good fit.
A muslin enables you to work out any fitt
issues before committing to your final
fabric. You can use inexpensive fabric
that’s similar to your final choice, or makekee
a wearable muslin that you can tweak and ndd
wear later. I prefer the second option.
When fitting your muslin for the
recommended patterns, you’ll likely
only need minor adjustments, if any. For
example, you may want to add darts for
more shaping or adjust the length to suitt
your height. Shortening or lengthening
is an easy fix using the lengthen/shorten n
lines on the pattern. The goal is to fine-
tune the muslin to ensure your final
garment looks and fits exactly the way
you want.

Length was an issue in the

pants design, and ChaCha had
to adjust her test garment to
suit her petite height. The A-line
dress was just right.

PLAN YOUR PACING

Pacing your project is key to
enjoyment. Break it into manageable
steps: cutting, sewing, fitting, and
taking breaks as needed. Sewing
rewards patience, so focus on one
task at a time to avoid mistakes and to
build confidence. The process is just as
important as the final result.

48 THREADS • SPRING 2025

Versatile Maxi Dress
This design is almost as simple to make as a T-shirt, but it offers a lot more
mor style impact. The pattern is size-inclusive,
up to bust of 66 inches and hips of 70 inches.

P
PATTERN PRO
PROJECT
Signature Maxi Dress
S DET
DETAILS
(ChaChaNKole.com)
(C
ChaChaNKole.com) Fabr choice: With a
Fabric
This knit maxi is a favorite among
T g wide sweep, this pattern
s
sewists of all skill levels. This requires 60-inch-wide
requi
p
pattern’s beauty lies in its fabric. Lightweight knits
fabric
s
simplicity: only three ITY (interlock twist
like IT
p
pattern pieces, if you yarn knit) or DTY (drawn
s
skip the neckband. textured yarn knit)
textu
It's
It
t's quick to sew. ensure the garment’s
ensu
flow and movement. I
used stretch mesh.
adjustments: I am 5
Fit ad
feet, 2 inches tall, and
shortened the pattern
short
by 3 inches to wear with
flats. I left the sleeves
long because I like the
The final dress
T
scrunched effect at
scrun
iss made in
the wwrists. However,
e
embroidered sheer
you ccan customize the
m
mesh, with white Measure from shoulder to wrist if you
sleeve
sleev length if you
s
scuba double-knit need to adjust the sleeve length.
prefer a smoother style.
prefe
lining
liining cut using
Measure from the top
Meas
t front and back
the
your shoulder to your wrist, with your elbow slightly
of yo
p
patterns.
bent.
bent Mark the desired length on the sleeve pattern,
FFabrics: Jomar Stores,
maintaining a 1-inch-wide hem allowance.
main
P
Philadelphia,
P
Pennsylvania.
Sewing
Sewi techniques: On a regular sewing machine,
use a narrow zigzag for seams with some give, making
sure the needle is centered. Alternatively, a four-thread
serged seam works well with stretch knits. This is a good
serge
starter
start project for those who haven’t used a serger.

TAKEAWAYS
TAK
This is a single-size, printed
pattern, so there’s no pattern
patte
assembly needed. Because it’s
asse
not a multisize pattern, choose
your size carefully, based on
your measurements. Each
size includes a range of about
inches, and the required
3 inc
stretch-knit fabric is forgiving.
stret
Don’t mistake the pattern’s
Don
simplicity for lack of versatility. You can make it with or
simp
without a split, add style lines, or alter the length to create an
witho
A-line dress or a shirt. It works beautifully in lightweight and
A-lin
medium-weight fabrics, and the sleeves can be as dramatic
med
understated as you like.
or un

WWW.THREADSMAGAZINE.COM 49
 Wide-Leg Pants
Wid
S
Season after season, wide-legged trousers appear on runways and in
s
stores. They’re comfortable, elegant, and work in any season. The pattern
I used extends to size 30, for hips to 583/4 inches.

PATTERN
PATT
W
Walk Boldly Wide Leg Pants, high-waist variation with curved front
B
pockets (PatternEmporium.com)
pocket
I can’t say enough good things about this pattern. It presents few sewing
challenges, and is a wardrobe staple. What’s more, the pattern includes
challen
several pocket options, ranging from simple to intermediate construction.
severa

PROJECT DETAILS
PROJ
FFabric choice: Designed for knits with 30
ppercent horizontal stretch, and 20 percent
percen
vertical stretch. If your fabric has no or minimal
vvertica
vertical stretch, you’ll want at least 50
vvertica
ppercent horizontal stretch. Be mindful of
percen
fabric weight; thinner fabrics may allow
tthe fab
pocket outlines to show through.
tthe po
M choice was a modal/poly/spandex
My cho
bblend. I found I needed more
ffabric tthan was listed to cut the
wwaistband. Buy extra yardage
waistba
iif you nneed to match a print
o plaid. You’ll need 11/2-inch-
or plaid
w
wide e
elastic for the waistband;
w
wrap it snugly around your
waist,
w then
t add 3/4 inch for seam

Photos: Marlayna Demond. Styling credits: garments and accessories—author's own. Hair and makeup: ChaCha N. Hudson.
aallowan
allowances.
F adjustments:
Fit adj For my petite
h
height, I cut the pattern on the “short”
l
line, then
th removed 2 additional inches at
the
t hem.
hem For a snugger fit in the center
back,
b I sized down for my final pair.
Sewing
S techniques: This design can be
sewn
s effectively
e on a serger. If you’re
including
iincludi the faux-fly front, interface that
area
a for
fo a clean, pressed look. Pattern
Emporium
EEmpor offers helpful videos to guide
you
y through
thr the construction process.

TAKEAWAYS
TAKE
T
W si
With six variations, this pattern is a
good cchoice for skill-building. The
wide, e
w elasticized waistband is an easy
and cocomfortable treatment with a
A firm but stretchy knit, wide elastic tailored look. There’s a choice of mid-
waistband, faux-fly front, and pockets or hhigh-rise
h versions. The pattern is
give the impression of tailored downloadable and includes A4, A0/
trousers—but with user-friendly print-shop size, and projector files. If
construction. you’re after a speedy, cute pair of pants,
Fabric: Joann stores. you can opt to skip the faux fly front and
pockets. That’s a quick win for sure.

50 THREADS • SPRING 2025

Trapeze-Silhouette
apeze-Silhouette Dress
Playful
ul and elegant, this design changes moods depending on your fabric choice. It fits busts
to 60
0 inches and hips to 62 inches.

PATTERN
TERN A flared dress in a bold color
c
Allison
on Tent Dress (JréeDesireé.com) is just right for dining and
an
dancing, or simply for looking
lo
ee-length dress with ruffled sleeves and
A knee-length
and feeling good any dayday.
ay.
hem makes a statement. The design changes
Fabric: polyester taffeta, Joann sto
stores.
res.
dramatically
atically with your choice of fabric.

PROJECT
OJECT DETAILS
Fabric ic choice: The design is
intended
ded for wovens, and the
silhouette
uette depends on the
fabric’s
c’s drape. I chose taffeta,
which h delivers volume and a
beautiful
tiful sheen. The size I
made e called for 54-inch-
wide fabric. However,
when n I made my prototype,
I found
nd that 60-inch-wide
fabricc would have been a better
fit forr the wide front and back
pieces.
es. I cut the fabric on the cross-
grain to accommodate those pieces.
Fit adjustments:
djustments: I made no changes
and am happy with the fit. Length
adjustments
stments would be simple, so this
design
gn lends itself to being transformed
into a flowy shirt or a maxi dress.
Sewingng techniques: Be sure to join the
long ruffle pattern’s two pieces and cut as
one. Staystitch the necklines to prevent
stretching
ching during fitting and sewing. If you
plan to shorten the dress to make a top,
raise the side-seam pocket placement
notches,
hes, as they are positioned low.
The most time-consuming part of this
project
ct is gathering and attaching
the ruffles.
uffles.

TAKEAWAYS
EAWAYS
With the right accessories, this dress
looks magnificent, belted or unbelted. It’s
uncomplicated,
mplicated, and if you get stuck, there are
step-by-step
by-step videos on YouTube to guide you.
The pintucks at the front shoulders can be
changed
ged to gathers, and the hem and sleeve
ruffless can be omitted or replaced with trim,
fabric bands, or a simple topstitched hem.

WWW.THREADSMAGAZINE.COM 51
 hirtdress
TYLE An iconic garment with enticing
design options

B Y PA M E L A H O W A R D

I
n the early 20th century, the blouse—or shirtwaist—
was tucked into a skirt and buttoned down the back.
As women began to go out of the home to work, these
garments were made for easier wear. Most ladies didn’t have
a maid to assist them, so buttons were placed down the
blouse front, making it more convenient to dress without
help. The result: a feminized version of a menswear shirt.
In the United States, mass manufacturing of these gar-
ments allowed many women to look like their upper-crust
counterparts. A headline in the June 15, 1938 issue of Vogue
declared “The Shirt-Waist Dress—an American Institution,
Est. 1893.”
For most of my life, I have been fascinated with making
tailored garments and shirts. Making shirtdresses was a
natural progression for me. I have made many shirts and
shirtdresses in different fabrics.
There are so many shirtdress patterns to choose from, with
many features that enable you to make it your own. Let’s
take a closer look at shirtdress details and which you can
add or subtract for totally varied looks.

Tailoring expert Pamela Howard is the owner of Pamela’s Closet and is

a frequent Threads contributor.

The shirtdress offers a multitude of

styles. Your choice of fabric and details
can make this garment appropriate for
casual to semiformal settings.
Pattern: New Look 6449, modified. Fabric: (dress) linen,
Joann stores; (lining) cotton batik, author’s stash.

52 THREADS • SPRING 2025

Pattern Details
Shirtdress patterns offer many options.
I’ll share some personal favorites.
I look for classic designs with separate
collars and collar bands, and folded or
attached front button plackets.
I love back yokes,
okes, although you
will see many shirtdress patterns
without them. They seem to
anchor the dressess at the shoulders
and neck. Plus,, they feel more
comfortable. My preference is
to line the yoke e with the same or
a lighter weight ht fabric if the dress
fabric is heavy..
A slightly forward
rward shoulder seam
works well, too. o. Many of us have
developed a more forward posture due
to our occupations
tions or age, so that feature
has advantages es for a better fit.

A denim shirtdress
can be your go-to
garment, especially
during seasonal
changes.
Pattern: Simplicity 8014.
Fabric: stretch denim,
EmmaOneSock.com.

A back yoke adds structure that helps the shirtdress

sit securely at the neck and shoulders.

web extra
For a list of shirtdress patterns
and more professional
techniques for sewing them,
go to ThreadsMagazine.com.
COLLAR
The collar can have many shapes and sizes. You will be able
to find patterns with various collar styles.
• Classic, with a separate collar band
• Classic collar and collar band combination
• Mandarin collars (just use the collar band)
Classic collar with
• Camp shirt styles that fold back and form a small lapel. separate collar band

SLEEVES
Some shirtdress patterns offer
multiple sleeve styles and lengths,
so you can select the one that
works best for you. A different
sleeve makes the design
look totally different the
next time you make it.
If you desire more
movement or ease in the
shoulder/upper arm area,
try a raglan or dolman
sleeve style.
I like a classic long sleeve,
which has a tower placket
or continuous lap placket,
sleeve pleats, and
attached button cuffs.

Above left: The long-

sleeve brown denim
shirtdress has a
continuous lap placket,
sleeve pleats, and a
button cuff.
Below left: This sleeve’s
tower placket is cut on
the bias, adding interest
to a plaid shirtdress.

Topstitched flap pockets

at the bust level and a
self-belt that adds waist
shaping are among your
design options when
constructing a shirtdress.

54 THREADS • SPRING 2025

 Fitting
To get your best fit, take into account the design, your
measurements, and how the test garment looks and feels.

CHOOSE A STYLE
You’ll surely find a pattern to complement your body type
and personal style from the wide selection. Some feature a
straight silhouette with varying amounts of ease from the
bust, waist, and hips to the hem. Others have a separate
bodice attached at a waistline seam to the straight, pleated,
A-line, or fuller skirt. Those with princess seams give you
more opportunities to fit the dress.
The amount of ease in your shirtdress is a personal choice
based on your comfort level and chosen dress style.

TAKE
MEASUREMENTS
Shirtdress patterns that
have a waistline seam
require that you measure
from the base of the
neck to back waist, to
make sure the length
is correct for you. The Front
dress front should be waist
measured, as well as length
any bust adjustments.
Making a muslin of
A side-seam pocket the bodice part of the
can be lined with a shirtdress may be all
lightweight fabric, such you need, if below the
as cotton, to reduce bulk. waist is not your issue. If
there are other concerns,
making a muslin of the
complete shirtdress
POCKETS AND BELT may be needed. Muslin
Pockets sewn into the costs a lot less than your
side seams are a common desired dress fabric.
option for a shirtdress.
As with the yoke, you
may line it and the side
Back
seam pockets and any waist
pocket flaps with a length
lightweight fabric.
This reduces bulk.
Also consider pockets
at the bust level,
topstitched onto
the shirtdress. Some
styles have pocket MAKE A TEST GARMENT
flaps above the Making a muslin is not what most of us want to do, but I
Cotton believe in making them to find out how the garment will
patch pockets,
pocket
as shown on the lining fit and to make the necessary adjustments before cutting
denim dress at left. into precious fashion fabrics. Many patterns list the
In addition, you can finished garment. This helps you decide which size works
make a matching belt to tie around your waist. for you. Remember that pattern size is different from
Many shirtdress patterns include that. ready-to-wear garment sizing.

WWW.THREADSMAGAZINE.COM 55
Fabric and Thread Choices
Menswear shirting fabrics are ideal, but there are many more to choose from.

BEYOND SHIRTING THREAD

I like using denim, chambray, linen, cotton (quilting cottons All-purpose polyester
work well, too). Fancier types for a dressy look can be more thread is generally
challenging, including silk or polyester shantung, dupioni, silk used, as well as cotton
broadcloth, charmeuse, and crepe de Chine. thread on natural
You can also use matte jersey or ponte knits. Some shirtdress fabrics. I generally
patterns specifically call for knit fabrics, such as BurdaStyle #110 set my machine to a
June 2024. 2.5-mm stitch length
for construction and
lengthen to 3.0 mm
for topstitching. Try

Photos: (pp. 52–53; p. 54, top left; p. 55, top left) Jack Deutsch; (p. 56, bottom right; p. 57, bottom left) Pamela Howard; all others, Mike Yamin. Stylist: Jessica Saal. Hair and makeup: Danielle Wilson.
topstitching thread if

Styling credits (p. 52, 55) earrings—A New Day (Target.com), bracelets—Stylist’s own, top— Blue Tassel (Anthropologie.com), jeans—Zara.com, shoes—Steve Madden (NordstromRack.com);
you want to highlight
the topstitched areas.
Remember to use a
topstitching needle
with a larger eye for the heavier thread to pass
through. Do a test sample to see if you want to
Silk crepe de Chine Polyester crepe Silk charmeuse
lengthen the stitch for the topstitched areas.

(p. 53–54) earrings—A New Day (Target.com), scarf—Madewell.com, belt—Kate Spade (NordstromRack.com), shoes—Born (NordstromRack.com).
Construction Guidance
Incorporate some of these construction and finishing details into Stabilize the buttonhole
your shirtdress for greater comfort and a professional look. areas with fusible inter-
facing pieces, then fold
the folded front band
again, over the pieces.
STABILIZE KEY AREAS
Most guide sheets give instructions for interfacing the full length of the
front bands, to stabilize them and the buttonholes. I have found that
SHIRTDRESS
many fusible interfacings shrink and shorten the front bands, so that the FRONT (WS)
finished dress shows strain and pulls up.
My solution is to cut little rectangles of fusible interfacing to be pressed
onto each buttonhole placement mark. Make sure they are longer F
Front band,
than each buttonhole. The front bands that are folded twice serve as folded once
fo
self-fabric interfacing, so no additional interfacing goes there. Plus, the
finished dress front band should end up being the correct length.
Other areas to stabilize: shoulders (on patterns without a shoulder
yoke), side
seam pocket
placements, Fusible
b interfacing
upper collar, collar
band’s visible
side, and cuffs’
visible side. If Fusible Fusible
interfacing interfacing
you are making
a shirtdress with
a waistline seam,
stabilize it to keep SHIRTDRESS
BACK (WS)
it from stretching.
I use fusible
stay tapes from
Stabilize the shoulder seamlines
SewKeyesE. with fusible interfacing strips.

56 THREADS • SPRING 2025

BUTTONHOLES AND BUTTON
PLACEMENT
Patterns usually have buttonhole markings,
but you may need to move them. There is
usually a buttonhole in the collar band, and
then several down the front band, spaced
2½ inches to 3 inches apart. But you can
adjust them as needed.

Reorient the buttonhole. An important spot SHIRTDRESS

for a buttonhole is at the bust level, since the FRONT
garment has more stress there. Try placing PATTERN
that buttonhole horizontally, as a vertical but-
tonhole makes the button easily slip out as
your body moves. You can also use a horizon-
tal buttonhole at the hip level, if needed. Buttonhole
nho
hol
holle
o
placement
ent
Create some nonworking buttonholes. If marks
ks
ks
you don’t want working buttonholes from
below the hip to above the last button on the
front band, you can create faux buttonholes Horizontal
with buttons sewn in place there, and working buttonhole
buttonholes above. You would just stitch the
front band closed in that area, and step into
the dress to make it more convenient to wear.
Remember, it’s your garment; you can do what
you want, to make it function well for you. Left: The pattern provides buttonhole markings down the front, but you can adjust them to your
preference. Right: The finished dress’s horizontal buttonhole at bust level adds security.

CLEAN, DURABLE FINISHES

Flat-felled seams give
Neaten the seam
the denim shirtdress allowances. The
a polished look. denim shirtdress
features
flat-felled seam
finishes throughout.
You may choose
to serge-finish the
seams, as well as Serged Serged, turned,
a combination of Flat-felled and pressed and stitched
serged and turned seam (WS) seam (WS) seam (WS)
seams.
Match the hem to the dress style. Any of these choices or a
combination works well. The shirtdress can have a shirttail hem or a
deeper one if you prefer. If your style has a curved hemline, you will
have more control in the curved areas with a 5/8-inch- to 3/4-inch-wide
hem allowance. For straight or fuller styles, you can have a 11/4-inch
or deeper hem allowance. The top edge is turned under 1/4 inch and
pressed. The remaining 1 inch will be the hem depth, as on the denim
dress. If your dress is serge-finished, you can serge the hem’s top edge
and turn it up. Your shirtdress, your choice.

WWW.THREADSMAGAZINE.COM 57
 TAILORED
TIED
Lengthen a blazer’s collar and lapels for a unique look coming and going

BY ANNIKA GEISSBERGER

I
designed this blazer lars of the 1970s, along with
as part of my senior a sharp peak lapel. They
collection, with a lapel led me to consider how to
and collar that extend to take the collar and lapel
form straps that cross over one step further. Plus, I
each other in the back and wanted the concept of
tie. Including a detail in the ties crossing as a cohesive
collection that I had never silhouette detail through-
seen before was an out my collection. I knew I
important goal. I knew could find a way to include
there would be a care- it in my blazer. I started
fully fitted blazer in the to play around through
collection because I love sketching and, after lots of
tailoring and the detailed redesigning, came up with
construction that goes my final concept.
into it.
I included an exagger- DRAFTING THE BLAZER
aated hip detail using an Designer Annika Geissberger I drafted the blazer using
added side panel, set in a slopers and adjusted the
proper two-piece sleeve, and shifted the pattern to pattern to include a front, back, and side panel. I
make it double-breasted. However, the lure of doing used the added side panel to exaggerate the blazer’s
something with the collar and lapel was most hip area. The exaggerated hip created an aesthetically
exciting to me. pleasing point where the ties could land.
I’ll show how you can add ties to a new or favorite
FOCUS ON THE COLLAR AND LAPELS notched collar blazer pattern to create a similar look.
I looked into ways that collars and lapels had been
Annika Geissberger, a 2024 graduate of the fashion program
manipulated in the past and found that so much had at Marist University in New York, now works in the fashion
been explored. I enjoy the pointed and extended col- industry in New York City. Follow her @annika.may.designs.

58 THREADS • SPRING 2025

 Preparation
To draft the extended crossing
collar and lapel, first design your
own notched collar blazer pattern
or start with a commercial pattern
you are comfortable with. There
are many pattern options avail-
able. Here are six.
• Eteri Blazer from Viki Sews
• Vogue 2056 Jacket (and skirt)
• Charlotte Emma Patterns
Barberry Jacket
• Cotton Blazer 107 from
Burda Style 04/20
• Jasika Blazer from Closet
Core Patterns
• Butterick 6862

Straps that wrap around a

beautiful blazer and tie in back
have their starting point at the
lapels and notched collar.
Pattern: author’s design. Fabric: linen suiting.

WWW.THREADSMAGAZINE.COM 59
Patternwork
Start with a basic notched collar/lapel pattern, with no seam allowances,
and alter the lapel before moving on to the collar changes. Note: When
drafting the extended lapel and collar, clearly mark the notch point, 2 inches
a key reference spot.

ALTER THE LAPEL

6| Manipulate the lapel extension.
Pin tiny pleats on the lapel

1| Widen the lapel. First determine the

roll line on the blazer front pattern.
Then, from the notch point, measure
extension’s inner edge to create
a curve that follows the body and
lands at the tie point. (This is where
outward 2 inches and place a mark. Extended the lapel and collar extensions meet
lapel, and tie in the back of the blazer.)
outer edge
Create the curve only to the tie
point, leaving the remaining lapel

2| Establish the outer lapel edge. Draw a

slightly curved line from the break point
to the end of the 2-inch mark.
extension straight so that it
falls nicely.
My finished ties end past the
blazer’s hem; the extension pattern
measures 43 inches from the notch
point. You can lengthen or shorten

3| Lengthen the line. With a

straightedge, extend the lapel’s outer
edge up from the 2-inch mark.
Curved
extended
lapel
the extension to your preference.

43 inches

4| Add a second line. Align the straightedge

with the notch point and extend a line the
same length and parallel to the outside line.
7| Revise the pattern. Lay the
original pattern atop a fresh sheet
of pattern paper. Then place the
half-muslin flat on the original
This creates a 2-inch-wide extension from the pattern. Leave the lapel extension
lapel, which you’ll drape over the shoulder pleats pinned and release any
Pleats
and down the back of the blazer. pinned or stitched darts on the
blazer front. Secure the half muslin
in place with pattern weights once
it lines up with the paper pattern.

5| Determine the lapel extension

length. Pin or baste a half-muslin, or
test garment, of the blazer and put
it on a dress form or yourself, laying
the extension over the shoulder. See
where the extension would look best
tied and mark this point. For me, this 2 inches
8| Trace the curved extension. With
a tracing wheel, mark the curved
lapel extension onto the pattern
was at the blazer’s natural waistline. Notch point paper. Then trace it in pencil
Note: The lapel extension will look following a fashion curve to blend
awkward over the shoulder because Roll line and smooth the new curved line
it is not yet curved. into the original lapel.
Now add seam and hem
allowances.

tip
BE PATIENT. Understand that this
process may take a few tries to shape
Break
point a pleasing curved extension that flows
over the shoulder and follows the
blazer’s contour.
BLAZER FRONT
PATTERN

60 THREADS • SPRING 2025

DRAFT THE COLLAR

1| Check and extend the collar width. Be sure the

collar measures at least 2 inches wide from where it
would meet the blazer notch point, excluding seam
allowances. You probably need to adjust the collar’s
outside edge, tapering the width toward the collar’s
center back.

2| Add the extension. Following the collar’s natural

outside curve, extend it in a straightening line. Then
draw a second line from the notch point that is the
same length and parallel to the first line. This creates a
2-inch-wide collar extension. My extension is 35 inches
long from the notch point.

3| Determine the collar extension length. Make

another half-muslin and put it on a dress form or
yourself. This time, it will include the extended
collar and lapel. Position the collar extension
under the lapel and guide it around the side of
the body just under the armhole to meet the
lapel extension in the back at the tie point.

4| Manipulate the
collar extension.
Add small pleats on
Tiny pinned
pleats

the collar extension’s

outer edge to create
a curve that follows
the body and lands at
the tie point.

5| Pin carefully. The collar curve will require lots of

pins near the notch point to get the right direction
and enable the collar and lapel extensions to lie
6| Copy the curve. Trace the collar extension to
the pattern as you did for the lapel extension
in “Alter the lapel.” Add seam allowances.
flat on top of one another. Be sure to angle and
pin the collar extension outward, away from the
blazer front roll line. This prevents the collar and
lapel from wrinkling. 7| Make the undercollar pattern. Trace the
altered collar pattern and transfer all markings.

Collar extension
Collar extension

Outer edge

35 inches
35 inches
2 inches
COLLAR PATTERN

Notch point Notch point

Neck seamline

WWW.THREADSMAGAZINE.COM 61
 21/8 inches Construction
Cut the blazer following the adjusted pattern pieces.

BLAZER AND UNDERCOLLAR

CREATE 1| Interface as
needed. Apply
interfacing to the
FRONT FACING front facing and
AND COLLAR the blazer front. Interfacing
Interfacing
PATTERNS At the front facing
extension, taper

1| Make the front facing

pattern. Base it on the
blazer front pattern
the interfacing
at an angle to
blend it into the
that was altered on extension. Also Notch point Notch point
p. 60 by tracing the interface the
lapel edge and curved bottom half of the
lapel extension. Trace 2 undercollar. BLAZER FRONT
FRONT FACING
inches of the shoulder Notch
seam, 6 inches along point

2|
the hem, and connect Mark the notch
those lines to create points. Use
the inner facing edge. your preferred
method—thread
tracing, tailor’s
chalk, or a water/
heat/air-soluble
pen—to mark the
2 inches

2| Shift the extension notch point on all

pieces, as this is
seamline. Add
1
where they meet.
/16 inch to each
These points are
long edge of the
placed based on
facing extension,
the commercial pattern’s mark.
tapering it to meet
the break point
Notch
and notch point. point
This fine adjustment Interfacing
ensures that the
Roll
seam falls slightly to line UNDERCOLLAR
the underside, and Notch point Notch point
the lapel appears
seamless. FRONT
FACING
PATTERN

3| Shift the collar

seamline. On the
Inner
facing
Break
point
3| Assemble the blazer. Sew all darts, sew the blazer’s front,
side, and back panels together. This includes the extended
lapels, which are part of the front piece. Press the darts
collar only, add edge and trim and grade seam allowances.
1
/16 inch to each
side of the

4|
extensions and Pin and sew the undercollar. Pin the extended undercollar,
outside collar edge, matching the back centers, the outer neckline notches, and
tapering to nothing the notch points. Then sew the undercollar in place, back-
at the notch point. tacking at the notch point.

6 inches

62 THREADS • SPRING 2025

COLLAR, FRONT AND BACK NECK FACINGS

BACK
NECK

1|
Join the facings. Attach FACING
the back neck facing to the (WS)
Shoulder seam
front facing at the small
shoulder seam and press
the seam allowances open. Extended
You can also construct a full lapel
lining now or wait to attach LAPEL
it later. Notch point EXTENSION

FRONT FACING (WS)

2| Pin and sew the collar

extension. With right
sides together, align and
pin the extended collar
to the joined facings, COLLAR (WS)
back-tacking at the COLLAR
notch points. EXTENSION
FRONT FACING
(WS)

FRONT FACING
(WS)
Notch point

3| Pin the facings to the

blazer. With right sides
together, pin the facing/ WS
Lapel/facing extension,
pinned
collar to the blazer/
undercollar, matching
notches. Pin all the way
up the lapel and collar
extensions, keeping
in mind the extra
1
/16 inch on each side of
the facing, which will be Collar/undercollar
important when turning extension, pinned
the garment inside out.
Also align and pin in
place the marked notch
points on the facing
and blazer body. Pin the lengthened facings to the lengthened lapels, and the lengthened collar to the lengthened undercollar.

WWW.THREADSMAGAZINE.COM 63
4| Sew the garment.
Stitch around the
garment’s pinned 6| Close up the unsewn section. Hand-baste the 4-inch
section at the notch. Stitching this section by hand helps
edge, leaving ensure the notch points align.
2 inches unsewn
on either side
of the marked
notch points.
LAPEL
COLLAR

5|
Hand basting
Trim the seam
allowances. Grade all
curved sewn sections,
except the unsewn
area in Step 4.
Notch point FRONT
Extended
lapel,

Photos: (pp. 58–59, 61, 65) courtesy of Annika Geissberger; (p. 63, top right) Jack Deutsch; (all others) Mike Yamin. Illustrations: Steven Fleck. Stylist: (p. 63) Jessica Saal.
sewn

7| Reinforce the hand basting. Machine-sew the

hand-basted section, being sure to pivot at the
notch point. Then trim and grade this section.
Trim the turning point closely at the junction.

Styling credits: (p. 59) skirt and (p. 65) pants—designed and sewn by Annika Geissberger; (p. 63) earrings—Ettika(NordstromRack.com).
COLLAR
Machine stitching

FRONT
Notch point
Notch point
Extended
collar,
sewn

8| Press. Turn the garment right side out, including

the long extensions, and carefully press
everything. Remember to press the 1/16-inch
extension added earlier to the front facing so
the seams favor the underside and are not visible
from the blazer’s visible areas.

BACK Press the seams to

FRONT the underside of
FACING each extension.
FRONT SIDE PANEL

LAPEL EXTENSION

64 THREADS • SPRING 2025

 I used the added
side panel to
exaggerate the
blazer’s hip area.
The exaggerated
hip created an
aesthetically pleasing
point where the ties
could land.
—Annika Geissberger

The long straps start at

the lapels and notched
collar, travel over the
shoulders and under the
arms, creating back ties
that flutter as you move.

WWW.THREADSMAGAZINE.COM 65
 HOW TO

MATCH You can handle fabrics with

large motifs confidently

PRINTS B Y E L I Z A B E T H VA N A B R YA N T
A great match

M
makes the most y family is passionate about large, funky
of a favorite prints. My son, who is a pilot and aeronauti-
print fabric.
cal engineer, enjoys shirts constructed from
Pattern: Butterick 6841.
Fabric: linen, Joel & flight-themed fabrics, while my husband, a college pro-
Sons, London.
fessor who teaches microbiology and physiology, likes
his shirts with microbes and viruses. Even my niece gets
into the “Ms. Frizzle” look, with music-themed dresses
for her elementary music classes’ concerts.
All these garments involve fabrics with large prints.
However, large prints pose a number of challenges to
garment sewists. You want to place motifs in the most
advantageous way and, more importantly, you don’t
want to break any of the fun elements into unreadable
fragments. I’ll answer common questions about pattern-
matching and show you foolproof ways to create the
perfect garment with your large-scale print fabric.
Why do we bother to match prints at all? Matched pat-
terns provide the viewer with a cohesive image. Matched
patterns tame large prints that would overwhelm the
viewer if they were left unmatched. Carefully matched
motifs also showcase the sewist’s skill and
provide a quality contrast to mismatched
ready-to-wear fashion. However,
whether or not you match your
Realistic Inspiration
prints depends on a number of
Keep your eyes open for inspirational
factors. I’ll show you how the
ways to manipulate prints. Save images
of print placements that intrigue you.
fabric, the garment design,
Above all, don’t get frustrated if your the garment size, and your
prints don’t match the way runway budget can affect your abil-
and red-carpet examples do. High- ity and willingness to make
end designers often work with fabric that perfect match.
manufacturers and embellishment
artists to create custom prints and Palmer/Pletsch certified instruc-
designs for each garment. tor Elizabeth Vana Bryant teaches
and blogs about garment fitting and
construction. FitSewBeautiful.com
Study the Fabric
Identify the fabric’s major motifs, its repeat, and its direction. Then
keep all of these in mind to purchase adequate yardage and to come
up with the best layout for your chosen pattern. Horizontal repeat
H att

MOTIFS DIRECTION
These are repeated elements A directional print is not the same
in the fabric design, such as the upside down as it is right side up.
gathering of three lilies with Note the stems of the three lilies motif
dark leaves under them. all point in the same direction. If you
are using a directional print, you will
THREE LILIES MOTIF need to orient all the pieces in the
same direction, following a “with nap”
layout. Examine your fabric carefully:
Sometimes a fabric doesn’t appear
directional until you’ve cut and sewn it.

INVERTED PRINT
ORIGINAL
OR
ORI
ORIIG
R GIIIN
GIN ALL PRINT
NA PRI
PR
RIIN
R NT
T

REPEAT
The fabric’s repeat is the distance between where a collection of
motifs begins and where the same collection begins again. Repeats
occur horizontally and vertically. Mark and measure the repeats to get
an idea of how much fabric you need for a satisfactory layout.
Note: I recommend working in centimeters because the math is
easier and because most yardage manufacturing is calculated in
metric. Centimeters will be more accurate than fractions of an inch Vertical
when measuring the repeats. repeat
epe
epea
eat
att
a

Create a table to keep track of multiple repeat distances.

FABRIC REPEAT DISTANCES

No. of Repeats Horizontal repeat Vertical repeat
1x 48 cm 36 cm
2x 96 cm 72 cm
3x 144 cm 108 cm
4x 192 cm 144 cm

WWW.THREADSMAGAZINE.COM 67
 Assess and Plan for Success
Before you begin, adjust your expectations of a perfect match at all seams.

THREE STRATEGIES with the back yoke, but that’s often unnecessary. Similarly,
there is no point in matching the fabric on the yoke facing,
For fabric with large repeats, the overall cost—including
undercollar, or collar stand pieces, as these are unseen.
waste—of the yardage needed to match motifs may be
prohibitive. Moreover, you will not be able to match all seams Big-picture matching
if you aren’t the exact size whose finished garment widths and Don't match specific motifs at the seams; instead, you may
lengths are evenly divisible by the chosen fabric’s vertical and choose to continue the same horizontal plane or motif
horizontal repeats. This leaves you with three choices: alignment. This often occurs at the garment’s side seams.
Though the side seam is not easily visible, the motifs will be
Selective matching
level around the body. This is important for prints with a strong
Match only the seams with the most visual impact. Usually,
horizontal element.
these are the center front, center back, and any obvious
details in those areas—e.g. front button placket and pockets. I Purposeful mismatching
frequently place small pieces like the collars, yokes, and (short) If you have a tiny “ditsy” print or a relatively irregular animal
sleeves on the cross-grain. This highlights design details which skin print, you may choose to avoid matching altogether. As
would otherwise be camouflaged by the print. a wise teacher once said, “If you aren’t going to match, then
Small, curved pieces like collars are often not worth the mismatch boldly, without apology. The garment shouldn’t look
trouble to match. The sample shirt's collar turndown matches like you tried to match and failed.”

FRONT BACK Col

Co
Collar turndown
C

Fr n placket
Front
Fro
Patch pocket Patch
Pa
Patc pocket Bac
Back
Ba k yoke seam

Focus your matching efforts on a garment's most visible areas. Here, the author matched the front placket and pockets. In back, she made
a perfect match along the yoke's bottom seam and—as a special touch—she cut the collar so major motifs carry over to the yoke.

68 THREADS • SPRING 2025

 Prepare the Pattern
Matching is easier if you cut the fabric in a single layer using a full pattern
GARMENT DESIGN CHOICE set. It’s nearly impossible to align motifs accurately on folded fabric.
Some sewing

1|
patterns are Draw seamlines on all the pattern pieces. The motifs’ overlap
easier to match at each seamline is critical to matching, so you need to know
than others. For where the seamline falls on every piece.
example, straight
seams are relatively
easy to match.
Curved seams and
seams cut on a bias
2| Trace the pattern. Either trace
onto tissue or create a full
muslin. Transfer all the pattern
grain “chevron” information to the newly
when they are created pieces, including the
matched. This can seamlines. These marks will
look fantastic on become your reference points
a plaid skirt, but for pattern matching and
odd when motifs fitting. Pieces marked “cut on RIGHT FRONT LEFT FRONT
morph or end up fold” should be doubled.
in odd positions
when worn.
I chose Butterick
6841, a classic
button-front LEFT SLEEVE
shirt with a collar
stand, back yoke, and chest pocket
options. This style of collar and placket
is better than a convertible collar with
turned-back lapels, where the cut-on
facing may be visually distracting.

RIGHT SLEEVE

YARDAGE REQUIREMENTS
Make all fitting
Purchase extra fabric to match a large adjustments first,
print and to maneuver the motifs into then trace the altered
visually pleasing placement on the body. pieces to create a
How much extra fabric you need depends complete pattern.
upon the length of the print's repeat and YOKE
its direction.
For the blouse shown, Butterick
suggests 11/2 yards of 60-inch-wide fabric
for a size Small shirt; I used 23/4 yards.
I calculated the yardage based on the
length of the major pattern pieces and
the fabric’s lengthwise repeat: 1 yard for
the fronts, another yard for the backs and YOKE FACING
yokes. I placed the yokes on the grain to
match them at the back yoke seam, and
the short sleeves on the cross-grain. The
fabric's vertical repeat is 14 inches, so the
total is 23/4 yards. This gave me enough
additional fabric to maneuver the pieces

3|
to match the print.
Fit the pattern. Make all the fitting alterations at this stage, so almost
none are required once your print fabric has been cut. If you are sewing
for a body that is particularly asymmetrical, you may have to choose
between matching the print and creating drag lines in the final garment.

WWW.THREADSMAGAZINE.COM 69
 Solve the Layout Puzzle
Pattern companies’ layout schemes are designed to maximize efficiency and to be cut on the fold. Instead
of following the suggested layout, place pieces where they match. When possible, leave plenty of space
around the pattern pieces for wide seam allowances—you may need the wiggle room.

1|
Place the largest, most visible, pieces first. Spread out the fabric in a single layer with the right side up. Lay
the front pieces in the center or wherever the motifs are positioned as you prefer. Look through the pattern
tissue to confirm the placement. Space the center-front seamlines apart by the button band’s width: This way,
the print will be continuous across the center front.

Horizontal repeat
distance
nce
ce

Button placket

RIGHT FRONT LEFT FRONT

Button placket

2|
Prepare the
button band
pattern. This piece
3| Find the match location.
Measure horizontally from the
motif at the match point on
needs to bridge the front piece to the same
the front panels, motif at the next repeat. Use
with the motifs the tracings on the band
matching across pattern to align the match
the left and right point precisely. I measured
RIGHT FRONT BUTTON BAND LEFT FRONT
sides. Lay the band from the left front seamline at
pattern atop the the notch to the notch on the
left front, matching left front band seamline (see
marks for accurate above). Since these pieces
Seamlines
alignment. Trace a are parallel on the fabric, my
dominant pattern. measurement needed to be
48 cm, the horizontal repeat
Traced motif
of the fabric.

70 THREADS • SPRING 2025

 UNDERCOLLAR

4| Place the pocket pieces. Lay the

pocket patterns atop the fronts and
trace the dominant motifs. Then LEFT RIGHT
measure from the front pattern pocket SLEEVE SLEEVE
marking across by a factor of the
horizontal repeat to find a suitable
place to lay out the pocket. YOKE

Traced motif

YOKE FACING

POCKET

BACK RIGHT
POCKET

FFRO
FR
RO
RONT
NT

If a piece cannot be placed in the

same horizontal line, measure vertically
to the next repeat. Your table of repeat
distances guides you here. When you LEFT
find a spot where the pocket pattern fits, POCKET
align it following the traced motifs.

5| Complete the layout. Place the back

pattern, then match the yoke’s bottom
seamline with the back’s upper seamline. It
is not essential to match the side seams, but
you may want to keep the dominant dark
leaf motifs at the same level on the fronts
and backs for visual continuity. You can put
RIGHT LEFT
the sleeves and collar stands on the cross- FRONT FRONT
grain and match the upper collar to the
yoke, as I did.

But
But
utt
tto placket
Button kett
Button placket
The final layout reveals the
spacing and alignments needed
UPPER COLLAR
to match motifs. Sometimes it's
worth sacrificing efficiency for a
perfect match.

WWW.THREADSMAGAZINE.COM 71
Cut and Baste for Accuracy
When constructing the garment, you’ll match seamlines rather than the raw edges. Marking carefully is essential.

1| Leave a wide seam allowance. Cut each piece with at least a 1-inch-wide allowance or more when possible.
This enables you to make small adjustments to ensure perfect matching across seamlines.

2| Transfer seamlines.
Trace them onto the
fabric’s wrong side using
wax tracing paper and a
COLLAR (RS)
tracing wheel, or any other
method that is suitable for Thread-traced seamlines
es
es
the fabric. Thread-trace
these lines so you can see
the seamlines clearly on
the right side.

Photos: (p. 68; p. 72, right) Jack Deutsch; (p. 69) Elizabeth Vana Bryant; (all others) Mike Yamin. Illustrations: Steven Fleck. Stylist: Jessica Saal. Hair and makeup: Danielle Wilson.
COLLAR STAND (WS) Thread-traced
seamlines

3| Baste seams before machine

sewing. I use a slipstitch, working
from the fabric’s right side. First,
4| Machine-sew the seams.
Unfold the upper layer so
the pieces are right sides
press one seam allowance under together; it will “hinge”
along the thread-traced seamline. along the slip basting
With right sides up, lay this section line. Then sew along the
along the adjacent garment section, seamline by machine. To

Styling credits: earrings—A New Day (Target.com), bracelets—stylist’s own, pants—Tommy Hilfiger (Macys.com).
aligning the seamlines. Adjust the maintain the matching,
upper layer until you’ve achieved engage a dual-feed
a perfect match in the motifs, then function, if your
slipstitch the fold to the lower layer. machine has one,
or install a walking
(even-feed) foot.
Slipstitches
pst
pstitc
stitc
tch Do the same for
any edge- or
topstitching.

UPPER LAYER
Show off your
sewing skill
with a well-
LOWER LAYER
matched print.
Folded
edge

tip
BASTE UNEVENLY. For pieces to o which you will
cing, use uneven
subsequently apply fusible interfacing,
basting (alternating short and long
g stitches), so it’s
easier to remove the basting later.
r.

72 THREADS • SPRING 2025

 BY DI KENDALL ESSENTIAL TECHNIQUES

What’s better than a

low-profile pocket? A
pocket with all seams
enclosed for a perfectly
clean finish.

French-Seam Pocket
How-to
The neatest way to enclose raw edges

P
ockets—most of us can’t cope without them. interior, this technique is worth trying.
They come in many variations, and often form I developed my method for French seam pockets when
an important part of a garment’s overall design. I was making Vogue 1561, a now-discontinued Zandra
However, some garments have an uncluttered style. In Rhodes jacket design. I was aware that the added pockets
those cases, in-seam pockets are functional without being might distort the side seam of this flowing design. My
a distraction. solution was to design a pocket with a squared off top,
When I’m adding an in-seam pocket in a garment made with its upper corner anchored to the jacket’s yoke by a
from sheer or delicate fabric, I like to use French seams. length of ribbon. Even with my phone inside it, the pocket
They’re strong and encase the cut edges, which is espe- didn’t sag. Evaluate the pockets in your pattern to see if
cially good for translucent fabrics, where the seam finish you could improve them with some reshaping, resizing,
can show through to the garment’s right side. Incorporat- or a similar anchor.
ing an in-seam pocket into a French seam isn’t immedi-
ately straightforward, but it can be done. I’ll show you Di Kendall has an extensive background in dressmaking, pattern
how. For those of you who appreciate a beautiful garment cutting, and tailoring. Find inspiration from her @sewitwithdi.

WWW.THREADSMAGAZINE.COM 73
ESSENTIAL TECHNIOUES continued

Start with the Front Piece

Applying the pocket front establishes the pocket’s opening edge, so accurate stitching, cutting, and pressing are important.

1| Prepare the pattern

pieces. Follow your
pattern for the
FRONT (WS)
3| Trim and clip. Trim the seam allowances
to 1/4 inch and snip diagonally into the
corners, ending close to the stitching.
garment sections and
pockets: Each finished Pocket
pocket requires a front opening
and back pocket bag. marks Pocket FRONT (RS)
On the wrong side of opening
all pieces, mark the marks
pocket opening’s top
and bottom. Reinforce
the garment front’s POCKET FRONT (WS) POCKET FRONT (WS)
opening edge by
fusing a length of bias
edge tape, centered
Fusible tape
along the seamline on Pocket opening edge
the wrong side. Extend
the tape past the
Clip.
opening by 3/8 inch on
each end. Side seam

2| Attach the
front pocket
bag. With
4| Press and understitch. Extend the pocket
piece away from the garment and press.
Then stitch close to the opening seam,
right sides through the pocket bag and the seam
together FRONT (RS) allowances.
and pocket
opening
marks
matched, pin Understitching
one pocket POCKET FRONT (WS)
bag piece to
the garment
front. With a
Pocket opening seam
short stitch
length, begin
sewing at the
cut edge, at
Photos: Mike Yamin.

one pocket Understitching

end. Stitch
from the POCKET FRONT (RS) FRONT (RS)
edge to the
stitching line,
stop with the
needle down,
pivot the work, and sew along the pocket
opening. At the opposite end, leave the needle
down, pivot, and stitch to the cut edge.

74 THREADS • SPRING 2025

 Add the Pocket Back
A little fiddling makes for a nice result when you join the pocket back to
its corresponding front—and you want that seam to be flat and smooth.

5| Position the pocket back. Fold it back

against the garment, with wrong sides
together. Gently pull the fabric at the
1| Sew the
first pocket
seam. Lay the
corners to make right angles. Snip a little remaining pocket
more if needed to achieve a sharp angle. bag piece, with FRONT (RS)
wrong sides
together, atop
the pocket front.
Sew around the POCKET BACK (RS)
curved edge,
with a 1/4-inch-
FRONT (WS) wide seam
allowance. Pocket seam,
first pass

POCKET FRONT (RS)

Shape the corners

for a sharp angle.
2| Prep the French
seam. Turn the
pocket inside out,
Pocket edge

so the right sides

are together. With
your thumbs and
forefingers, shift
the seam to the
pocket edge. POCKET (WS)
Finger-press, then
pin and hand-
baste 1/4 inch FRONT (RS)
from the edge.
Press with an iron.

tip

3|
POCKET IMPROV. If your pattern Sew the second
doesn’t have pockets, borrow a pocket seam.
pattern from a design that does, Sew around the
or draw your own. Mark the pocket back with a FRONT (WS)
pocket opening on the garment’s 3
/8-inch-wide seam
seam 2 inches below the waistline. allowance. Remove
Draw the pocket pattern so it the basting and
extends 1 inch above and below then press.
the opening. If your garment has POCKET BACK (WS)
a waistline seam, try a pocket with
a horizontal upper edge that you Pocket seam,
can secure to the waistline seam second pass
for added support.

WWW.THREADSMAGAZINE.COM 75
ESSENTIAL TECHNIOUES continued

Complete the Garment Seam

With the pocket attached along the garment front edge, you’re ready to join SOLUTIONS
the garment front and back. FOR SHEERS
What do you do if you want

1| Sew the first in-seam pockets in a

translucent fabric? There
stitching BACK (RS) FRONT (RS) are options.
pass. Place
the garment LINED GARMENTS: If the
front and back garment is lined, make the
with wrong pockets from the lining fabric,
1 with a strip of the outer
sides together, /4-inch
seam garment added as a facing
aligning cut
along the pocket opening.
edges and
pocket opening UNLINED GARMENTS:
Pocket bag
marks, as well Try silk organza, which makes
(beneath)
a strong pocket. Be sure to test
as any other
colors over the garment you
notches. Sew
plan to wear the piece with.
with a 1/4-inch- You may want to match the
wide seam underlying garment rather
allowance. Side seam than the sheer garment itself.
Press the seam
allowances open.

2| Prepare the second stitching line. Turn the

garment pieces with right sides together,
and press, with the seamline on the edge.
4| Press to finish. Open the work, then press the pocket toward
the garment front and the seam allowances toward the back.

Pin and hand-baste the seam, keeping the

pocket bag free along the pocket opening. FRONT (WS) BACK (WS)
With removable marking, mark the pocket
opening corners.

3| Complete the stitching. With a 3/8-inch-

wide seam allowance, sew the seam, passing
through the pocket opening corners, but
without catching the pocket bag where it’s
attached to the garment front. Press.
Pocket
back
(WS)
FRONT (WS)

Press the seam allowances

toward the back.

Side seam
Pocket back
(WS)

FRONT (RS)

Pocket back
(RS)
The finished
pocket is tidy, and
Side seam,
nearly hidden in
second pass
the side seam.

76 THREADS • SPRING 2025

 Your Source for
Fashion Fabric
Shop local, independently owned fabric stores
offering designer silk, wool, rayon, cotton,
polyester, knit, 40 denier nylon tricot, lycra &
lace and providing expert customer service.

Fabrications Let’s Sew

Tune in for expert tips and Richland, Michigan Evansville, Indiana
inspiring sewing stories. (Kalamazoo area) (I-69, Exit9, West)
269-629-0305 812-471-7945
ThreadsMagazine.com/podcast FabricationsOnline.com LetsSew.com

Mulberry Silks
Ginny’s Fine Fabrics
& Fine Fabrics
and Support Group
Carrboro, North Carolina
Rochester, Minnesota
(Chapel Hill area)
507-285-9134
919-942-7455
Facebook.com/GinnysFineFabrics
MulberrySilks.net

Haberman Fabrics Silk Road Textiles

Clawson, Michigan Cincinnati, Ohio
248-541-0010 513-541-3700
HabermanFabrics.com SilkRoadCincinnati.com

Makes a
great gift!

Sew your
own work of
art with this
complete guide
to quilted
jackets.
Order now from
fitforartpatterns.com

WWW.THREADSMAGAZINE.COM 77
 BOOK REVIEW BY CAROL J. FRESIA

Quilting Every Scrap

Amplify the beauty of your remnants in patchwork

F
ollowing a quilting pattern is an easy way to guarantee a specific out-
come. But if you are an outside-the-box maker by temperament, you
may find this approach stifling. Three recent books focus on creative
ways to patch together fabrics, resulting in one-of-a-kind projects. From using
stash fabrics to trying ad-lib design methods, they encourage you to make each
pieced item an original work of art that expresses your aesthetic.

Patchwork Luxe:
Quilts from Neckties,
Kimonos & Sari Silks
by Julia McLeod (C&T 2024)

Committed sewists can rarely resist

a beautiful textile, hence they find
themselves with curated collections of
gorgeous silks, both vintage and modern.
Julia McLeod urges readers to pull out
their stashes and turn them into lovely
quilts and accessories. She provides tips
on sourcing and prepping silks, including
dismantling neckties and adding support
and stability to lightweight textiles.
Working with small and/or limited
amounts of delicate fabrics calls for
special techniques. The author discusses
fusible interfacings to strengthen fragile silks, Highlight your most
and provides detailed explanations of crazy treasured fabrics in
piecing, foundation piecing on fabric, and splendid quilts and
assorted appliqué techniques. Fussy cutting home accessories.
(cutting out specific motifs from a printed
or patterned fabric) is also promoted as
an effective way to take advantage of the
intricate prints often found on silk scarves,
ties, and garments. In addition to the projects
presented in the book (with templates in the
back), there’s a gallery of pieces by the author,
which serve as an invitation to create your own
luxurious quilted masterpiece.

78 THREADS • SPRING 2025

 Modern Improv Quilting: Bring your own creative

Be the Boss of vision to making the quilt

of your dreams.
Your Design
by Laura Veenema (Stash Books, 2024)

When you’re ready to really take creative control, look

to Laura Veenema’s book for guidance. She admits
finding quilt patterns daunting to follow correctly and
has, therefore, developed a freer, more personal way
to craft pleasing designs that can never be “wrong.”
Perhaps counterintuitively, the book includes a number
of projects, all delightful and worth making just as they
are shown; in addition to quilts, there are several bags.
Veenema also offers plenty of advice for how to do your own
thing, with a good grasp of design principles. She talks about
color, shape, scale, and balance, all of which contribute to a
great-looking finished piece. Fundamental piecing and quilting
techniques are explained, too, so this is a good starting point
in quilting. The author’s aesthetic is mostly colorful and bold,
but she includes some more neutral examples to show that
you can improvise whatever works best for your style.

Zero Waste Quilting

by Patty Murphy (C&T, 2024)

Patty Murphy addresses the common issue of

having piles of fabrics, and no plan for using them
up. Her book offers smart strategies for organizingg
a quilting stash so you can use it effectively—and,
in the process, take a step toward minimizing
waste. The book is organized around four
full-size quilt projects, followed by 34 smaller
projects that can be made from the scraps (with
additional materials needed in some cases). If
you follow the sequence in each chapter, you’ll
end up with little or no waste—and a number of
coordinating, useful, and beautiful items.
The smaller projects range from napkins, place
mats, and assorted bags and totes to needle
books, pincushions, and towels. Murphy begins
with basic information on creating blocks and
includes full-scale templates at the back of
the book. New quilters will find this a fun skill-
building opportunity, and experienced (read:
Photos: Mike Yamin.

those with full stashes) will enjoy putting their

fabrics to use. Note: Although Murphy specifies
Embrace sustainability by
colors and fabrics, you can substitute whatever
making multiple projects that
you have on hand, to create your own designs.
use up every inch of fabric.

WWW.THREADSMAGAZINE.COM 79
 ONLINE COURSES
with Kenneth D. King

BUNDLE FOR THE

LOWEST PRICE! Sign Up Today!
ThreadsMagazine.com
Smart Couture Collection 1 /kennethbundle
Smart Sewing Order • Smart Tailoring

80 THREADS • SPRING 2025

 BY CAROL J. FRESIA CLOSURES

Shadow of Lace
T
he picture at right looks
like a photograph of a
white lace glove, carefully
placed on a sky-blue background.
This image is, instead, a record
of technological evolution, in
photography and textiles.
Created in the mid-1840s
by French inventor Hippolyte
Bayard, the picture was made
through the cyanotype process: A
sheet of writing paper was coated
with iron salts, dried, and then
the glove was laid on top. When
exposed to the sun for a few
minutes, the paper turned blue
everywhere except beneath the
glove’s fine threads, producing a
Photos: Hippolyte Bayard, courtesy of the J. Paul Getty Museum, Department of Photographs.

perfect blueprint image.

Gloves of this sort were
worn frequently, not just by the
wealthy. They were typically
knitted in silk or fine cotton. The
technology for machine-knitting
lace and net was only a few
decades old at the time this was
image made, and had been con-
troversial when workers believed
it might eliminate their jobs.
Although we see this as a white
glove, black lace mitts appear
more often than white in portrait
photographs of the time. It’s
possible the original was a stylish
black glove, of which only a pale
impression remains.

A single layer
of a machine-
knit lace
glove leaves
a delicate but
lasting trace.

WWW.THREADSMAGAZINE.COM 81
 SEWING CORNER & MARKETPLACE

39 Years
of projects, tips & techniques
to make you a better sewer

Knit Patterns for the Hard To Fit

Creative ideas to sew EMMA SEABROOKE
with knits & making 305-664-3319
trims on a serger. Shop Online!
sales@emmaseabrooke.com emmaseabrooke.com
The 2024 Threads Magazine Archive is now
available on USB or by digital download.

Sew Heirloom
Timeless Sewing for the Modern World
Get 228 fully searchable issues of
Threads magazine in one place.

Embroidery Designs, Classes, Available only at Shop.ThreadsMagazine.com

Books, Fabric, and Kits
www.sewtimeless.com
© 2024 Active Interest Media

ADVERTISER INDEX
ADVERTISER WEBSITE PAGE ADVERTISER WEBSITE PAGE

Association of Sewing International Bra Sewing Bee brabuilders.com 10

& Design Professionals sewingprofessionals.com 80
Janome America, Inc. janome.com 2, 9
Bernina Of America bernina.com 83
Lama Sewing Kits, Inc lamasewingkits.com 82
Briton Leap, Inc. embrilliance.com 5
Let’s Sew letssew.com 77
C&T Publishing ctpub.com 19
Clover Mfg. Co. Ltd. clover-mfg.com 17 Mulberry Silks & Fine Fabrics mulberrysilks.net 77

Delicate Stitches By Sylvia delicatestitches.com 19 Original Sewing And

Quilt Expo sewexpo.com 19
Diamond Needle Corp diamondneedle.com 10
Dittoform Michigan LLC dittoform.com 7 Sew Dynamic Fabrics sewdynamic.com 77

eQuilter.com equilter.com 10 Sew Timeless sewtimeless.com 82

Schmetz Needles schmetzneedles.com 10 SewKeysE emmaseabrooke.com 82
Eye of the Beholder Silk Road Textiles silkroadcincinnati.com 77
Quilt Design eobquiltdesign.com 82
Smocking Arts Guild
Fabrications fabricationsonline.com 77
of America smocking.org 77
Fit For Art Patterns fitforartpatterns.com 77
Sun Yorkos Enterprise
Folkwear folkwear.com 10
USA, Inc sye.com 7
Ginny’s Fine Fabrics and
Supports Group facebook.com/ginnysfinefabrics 77 Simplicity Patterns simplicity.com 80

Haberman Fabrics habermanfabrics.com 77 University of Sewing universityofsewing.com 80

Havel’s, Inc havelssewing.com 7 Wild Ginger Software Inc wildginger.com 7

82 THREADS • SPRING 2025

UP CLOSE
modern interpretation of a double-

A breasted blazer makes us yearn for

spring, with its flower embellish-
ments and integrated straps that tie and
flutter in back.

Envisioned and sewn in 2024 by budding

designer Annika Geissberger, the fitted
jacket is reminiscent of Christian Dior’s
iconic “New Look” from 1947, with its
prominent shoulders, padded hips,
and nipped-in waist.
The blazer's floral motif, including
the three-dimensional flower embel-
lishments change color in the sun-
light, due to the photochromic
dyes applied to the fabrics from
which the flowers are cut.
The unusual straps emerge
from the lapel and collar notch,
drape over the shoulder, and
wrap under the arm before
tying and trailing in back. Find out
how to create these ties on p. 58.

Photos: (runway) Daniel Parker Photography;

(inset) courtesy of Annika Geissberger
Source: Annika Geissberger
Text: Jeannine Clegg
The NEW BERNINA 990
Experience world-class sewing, embroidery & quilting!
FEATURING

• Enormous 14” to the right of the needle

• Biggest 10” centrally located screen
• Built-in camera & placement scanner
• Largest embroidery field at 16” x 12” - stitch a full 12” x 12” square
• Built-in BERNINA Stitch Regulator (BISR)

Learn More!