As a person who has rarely worn skirts in the past, it surprises me that I have become a full-on skirt convert. Maybe it’s always been the type of skirt that has kept me from wearing them much. I’ve never been drawn to gathered, tiered skirts that have been popular over the years and are so easy to make. I always feel like I have too much fabric at my waist and never feel quite like myself in those styles. But this past spring, I strongly desired to design a skirt. I wanted it to be something I felt like myself in – a skirt for pants people, a versatile piece to be worn and styled in multiple ways.
And now, after months of work, many samples, and lots of skirt-wearing, I’m pleased to introduce you to the Lettie Skirt, a minimal-waste six-panel skirt. The Lettie Skirt is a midi-length six-panel skirt featuring a partial button placket with integrated buttonholes, an elastic back, and flat piping details. The skirt’s design creates a versatile, everyday staple with subtle details that elevate the garment.
The Lettie Skirt PDF pattern comes with three different pattern files – printable pattern layouts (print-at-home and copyshop/A0), dimensioned pattern layouts to draft directly to the fabric, and projector files – along with a detailed instruction booklet. There are 20 sizes, ranging from waist: 25”-58” (63.5-147.3cm) and hip: 33”-66” (83.8-167.6cm).
During the design development phase of the Lettie Skirt, I spent a lot of time looking at inspo photos on Pinterest. I was searching for a feeling – a vibe of a skirt and outfit – not necessarily an exact silhouette to put my spin on. I wanted something that was not overly feminine – again, a skirt for pants people. I wanted to feel the same ease I feel when wearing this skirt as I do when wearing my favorite pair of pants. I also knew I wanted the skirt to be something that could be worn just as easily with a tee shirt and tennis shoes as it could with a button-up and loafers.
After establishing a general idea for the zero-waste pattern layout, it became time to think about the details. And the Lettie Skirt is all about the details – flat piping, integrated buttonholes on the partial button placket, front pleats, and a front slit – all with clean interior finishes.
I’ve been drawn to the idea of integrated buttonholes for a long time. I love the idea that they are built into the garment. I knew that to include something like this in the skirt’s design, I would need elements that the integrated buttonholes could be sewn into. That is where the flat piping comes in. Not only does it provide texture and visual interest to the skirt, but it is an integral part of the buttonhole construction.
These buttonholes are the most complicated part of the construction process (video tutorial). I sewed many samples to determine the best way to integrate functioning buttonholes into the seamline. Every time I sew up a sample, I get a little thrill that the process actually works.
The Lettie Skirt is a slow and satisfying sewing project. The construction details and clean finished seams come together to make a beautifully finished garment. My samples have become wardrobe staples that can be styled in a multitude of ways. This summer that has entailed a tee shirt and tennis shoes, but with cooler weather approaching, I’m looking forward to exploring the new styling options.
I’m looking forward to seeing more Lettie Skirts out in the world. Use the hashtags #LettieSkirt and #GoldfinchLettieSkirt and tag me @goldfinchtextilestudio if you post to social media. If you have any questions about the Lettie Skirt, please don’t hesitate to reach out to me – emily@goldfinch.limited.
I’m thrilled to introduce my latest zero/minimal waste sewing pattern—the Pierce Shirt. This oversized button-up shirt nods to the classic button-up but features distinct details such as asymmetric pintucks, a deep curved hem, and a horizontal front yoke that set it apart and give the garment a modern feel. The interior seams are finished with run-and-flare seams and clean-finished seams to create a beautifully finished garment.
The pattern design utilizes zero-waste pattern drafting techniques and offers a wide range of sizes (21 to be exact!). The bust/chest measurements range from 30”-64” (76.2-162.6cm) and the hip measurements range from 32”-66” (81.3-167.6cm). While the pattern uses zero-waste drafting concepts, some sizes feature minimal waste to accommodate the extensive size range. Suggestions are included in the pattern for ways to use the minimal cutoffs produced. The pattern consists of a detailed instruction booklet and fully printable pattern layouts – print-at-home and Copyshop/A0 files are included, along with a projector file.
This pattern has been in the making for a long time. My first attempt at this design was over two years ago, and the goal was to design a shirt that could be casually thrown on over a t-shirt or tank when I got cold – something less than a cardigan or a jacket but light and still that provided warmth. The thrifted men’s linen button-ups that I used for this purpose were threadbare at the time, and I needed a replacement. I achieved that goal with my first attempt, but the pattern layout and sewing execution required a lot of development.
There have been many variations since and a lot of evolution on the “purpose” of the shirt, but the central concept of interlocking hem and sleeves has remained the same. As I began tweaking the design and making more samples, I grew to love wearing a button-up shirt on its own. I feel a sense of ease – a casual, put-together comfort – wearing this silhouette. And, yes, the shirt still works great as a light layer to keep warm in the evening.
At the beginning of the pattern’s development, I thought that grading and achieving a wide size range would be relatively simple. Oh, was I wrong. Just when I thought I had everything figured out, something else would come up. In the end, I’m so pleased with the final design. My samples have become closet staples, and I have more versions planned.
One thing that I love about this pattern and the pattern layout is how versatile it is. Different fabrics can create completely different looks—play with fabric weight and drape. For a more casual, everyday look, select cotton shirting or linen. If you want to make a more elevated garment, use a cupro or a silk/linen blend. You can also size down to make a slightly more fitted shirt.
Additionally, I have a few ideas for hacking the pattern that I would like to explore more in the coming months. The pattern layout and concept are pretty straightforward and once you understand how the pattern comes together you can also hack and adjust the pattern to create different pieces.
I want to thank my testing team for helping bring this pattern to life. When I say I couldn’t have done it without them, I mean it!! In the next week or so, I’m planning on sharing all of their excellent makes so you can get a glimpse, too. I know how helpful it is for me to see various versions when planning my projects, and I hope that it will benefit you. I also am planning a few video tutorials for some of the trickier bits of the sewing process. They will be posted to my YouTube channel when they are ready, and I will announce them on IG when they are ready.
Please let me know if you have any questions about anything – emily@goldfinch.limited
One thing I love about the Eddie Smock is that once you understand how all the pieces come together, you can adjust the layout and design to suit not only your available fabric but also your preferences. For this hack, I used View 1 (the long-sleeved, dress version) as the base and I modified the neckline from a scooped neck to a v-neck, adjusted the layout to shorten the sleeves, and replaced the side ties with an elastic back. I also shortened the dress to work better for my height (5’4″). The steps below will walk you through the process of making these modifications to your Eddie Smock. You will need the original Eddie Smock pattern to complete this hack, along with a piece of elastic that is about half to two-thirds the length of your waist.
For this hack, I used 3/4″ elastic to gather the back. I chose this width because that’s what I had on hand and I didn’t want to use a wide elastic. You can choose to use whatever width suits you. The placement of the elastic casing can also be adjusted. I was able to make the whole dress first (with the exception of finishing the hem) and then decide exactly where I wanted the elastic to go. Once the dress was finished, I was able to pin the elastic over different portions of the back panel to decide where I wanted my elastic gathering to be.
Process
After selecting my size (Size B), I began the process of making my desired changes by shortening the front/back and side panels and swapping out the long sleeves from View 1 with the short sleeves from View 3. I used Adobe Illustrator to do this, but you could draw the layout to scale on a sheet of paper or use Inkscape (a free vector drawing program). I first shortened the front and back panels to 42″ (taking 4″(10.2cm) from the length). Then, I adjusted the side panel length and hem width based on the instructions in the instruction booklet. If you don’t need to make any length adjustments, you can skip to swapping out your sleeves.
To shorten the sleeves, I simply used the sleeve measurements from View 3 instead of the measurements from View 1. This left me with a sizable gap in the pattern layout. I used this area to my advantage and placed the pocket piece under the sleeves. Due to the width of the sleeve, the pockets didn’t need to be pieced together as in the original layout. I decided to keep the original length of the pockets, but this length could be adjusted if you wanted to. Also, because I used the short sleeve option, the cuff pattern piece was eliminated.
For the final adjustment to the layout, I eliminated the side tie pattern piece and made the remaining portion of the layout the continuous bias binding. Note: A long, skinny piece of fabric will need to be used for the elastic casing. This could be a scrap piece of fabric or it could be incorporated into the layout. I didn’t add this piece to my pattern layout because I used a scrap piece leftover from squaring off the fabric used to make the dress.
Once the pattern layout is finalized, you can make the necessary adjustments to the neckline template. After printing and cutting out the template for the front neckline, I took a piece of paper and placed the template in the top, right-hand corner. Then, I traced the template leaving me with a starting guide for adjusting the neckline. Next, you will want to determine how much you want to lower the neckline — 1/2″(1.3cm)-2″(5cm) depending on your preference. I chose to lower mine by 1.25″(3.2cm). Mark this point along the right-hand edge of your paper (the fold line edge of the template). Now, adjust the width of the neckline slightly — 1/2″(1.3cm)-1″(2.5cm). I widened mine by 1/2″(1.3cm). Again, mark this point.
After your height and width adjustments are made, you can change the neckline from a scooped neck to a v-neck. Begin by marking the edge of the button placket, 1.25″(3.2cm) over from the center of the neckline, and transfer over your new low point of the neckline to this edge. You don’t want to include the width of the button placket when re-drawing your neckline. To create the v-neck, you will connect this point to the new width point using a gentle curve. You can use a curved ruler to do this or if you don’t have a curved ruler, you can print one. Don’t just draw a straight line connecting the two points, as it will not look quite right on your body once sewn up.
Next, you will fold the paper on the button placket edge (at the 1.25″(3.2cm) point) and then fold it in again by 1/4″(0.6cm). This mimics how the button placket is created. Once folded, flip the paper over and trace the v-neckline. You will do this for both portions of the button placket (as shown below).
Finally, once the front neckline adjustments have been made, you will need to make the same width adjustment to the back neckline.
Sewing Steps
Now that all the pattern adjustments have been made, you can begin sewing your modified Eddie Smock. When sewing your garment you will follow the written instructions with a few minor changes to the process as follows below. I’ve noted when a step is skipped and when changes have been made to a particular step. If nothing is noted about a step, then proceed as written in the original directions.
To begin, follow the cutting steps as directed using your updated layout and use the new neckline template to trace your neckline to the front and back panels.
Skip Step 3
Step 4: If your pocket pattern piece was adjusted to eliminate the need to piece your pocket together, skip Step 4b.
Step 5: The image below shows how the new neckline and button placket will be pressed in place.
Step 6a: When making the neckline facing using the front neckline cutout, your piece will look different due to the v-neck adjustment. Instead of matching the wrong sides together, match the right sides together so that the box pleat will be on the wrong side instead of the right side.
Step 6b: When pressing the edge toward the wrong side, make sure the tip of the V is folded in to conceal any raw edges.
Step 6c: To determine how long to make the back pleat, measure down the length of the new neckline along the center of the back panel.
Step 6f: You may choose to adjust where the hang loop is positioned. In this case, I decided to place the hang loop at the neckline edge as shown below.
Step 8a-c: I chose to sew the panels together first and then finish them together. Since the side ties are not being used, you do not need to add the openings as directed in Step 8b.
Step 8d: Press the seam allowance toward the side seam. At this point, ONLY topstitch the seam allowances on the back panel. The front seam allowances will be topstitched at a later step.
Skip Step 10
Step 12: Follow the instructions for View 3 – the short-sleeve version.
Step 15: When finishing the neckline, I used the same instructions as given for the original neckline, but because of the angle of the neckline I made some adjustments at the button placket edge. The following is what worked for me, but it is not perfect. When pinning in place, I hung the bias binding over the edge slightly. Once sewn and pressed to the wrong side, the edge of the bias binding was very close to the edge of the button placket and I was able to continue as directed.
It may have been better to insert the bias binding using the traditional method so that you can align the angled edge with the edge of the button placket better than how I have done it. Play around with it a bit and see what works for you.
Step 16: Because the front panel seam allowances have not been topstitched yet, you will finish the hem after the elastic casing has been inserted.
Skip Step 18
How to add the elastic casing
The final step is to add the elastic casing. To begin, you will need to determine where you would like to insert the elastic casing. I chose to place mine at the same point where the side ties would have been inserted; starting and ending at the front panel/side panel side seam. By starting and ending at the seam, the seam allowance can be folded over the end of the casing and topstitched down to conceal the ends.
Once the placement has been determined, you will measure how long your casing needs to be by measuring from one endpoint to the other. For mine, the length was 36″(91.4cm). Next, determine the width of the casing. Take the width of your elastic and add 1″(2.5cm). My elastic was 3/4″(1.9cm) wide so I cut my casing 1.75″(4.4cm) wide by 36″(91.4cm) long. Then, press each long raw edge toward the wrong side, by 3/8″(1 cm).
To attach the casing, begin by marking a straight guideline from one endpoint to the other. To do so, I first marked the point where each side tie opening would have been, 16.5″(41.9 cm) down from the shoulder edge as shown in the instructions. Then, to find the point at the center back, I measured from the first points I marked (16.5″(41.9 cm) down from the shoulder) down to the hemline. I used this distance to measure up from the hem at the center back. Then I was able to connect all the points to have a straight guideline. With the guideline established, I pinned the casing in place and topstitched along both the top and bottom edge of the casing, leaving both ends open.
Now that the casing has been inserted, you will need to determine the length of the elastic. I didn’t want mine to be too tight, so I just measured on my waist, at about the point where the side ties would be inserted, from side to side. I marked the elastic at this point but didn’t cut it yet. Then, using a safety pin, I inserted the elastic into the casing. Once the elastic was in the casing, I pinned each end and tried it on. At this point, I decided to tighten it up just a bit. You will be able to play with it to determine just how gathered you want the back to be.
Once I was happy with the length, I cut the elastic, making sure it was still pinned in place. Then, I folded the seam allowance over the ends and topstitched it in place. This secured the ends of the elastic. Finally, I didn’t want my elastic to twist in the casing, so I also stitched it down at a couple of points on the back.
Lastly, I finished the hem as directed and was done!
If you have any questions about these modifications, please don’t hesitate to reach out to me via email – emily@goldfinch.limited. I would love to see any Eddie Smocks that you make – please share using the tags #EddieSmock and #GoldfinchEddieSmock – make sure to also tag @goldfinchtextilestudio.
I’m thrilled to introduce the Jones Trousers. These pants have become a staple in my wardrobe since I nailed the design. The pants are designed using zero-waste cutting techniques, leading to an unconventional pattern layout that is fun to sew! Over the past six months, it has been a challenge to tweak the design to include 19 sizes, ranging from 33″(83.8cm) hip to 72″(182.9cm).
I have been searching for my “perfect” pants for a while. I knew what I didn’t like about the ones I already owned and ideas about what my ideal pair should be, but I couldn’t quite seem to find them. A few sewing patterns came close, but there was always a little something missing, something that stopped me from spending my time making them.
My goal when designing these trousers was to create an elevated basic – comfy, everyday pants – that would fill a hole in my wardrobe. I wanted pants that not everyone had. A pair of pants with a little something extra without being over the top. Ease, movement, functionality, and style were key elements that I wished to incorporate. I wanted to feel comfortable bending over, sitting on the floor, going on a walk, or going out to dinner. There were also design elements that I wanted wanted to include, e.g. fitting at the natural waist, with plenty of ease throughout the hips and inverted box pleats to add a bit of drama. Finally, I challenged myself to bring all my ideal details into a zero-waste layout. With these thoughts in mind, I began looking at inspiration in ready-to-wear pants (check out this Pinterest board) and started the design process.
Six months, lots of research and samples later, the Jones Trousers are now a garment you can make. I’m pleased with how these pants have evolved. I can’t believe that I checked all my boxes and I now have pants I can wear effortlessly. I feel good when I wear them, and I can look fancy or casual, funky or professional.
Fabric selection plays a vital role in the final look of the Jones Trousers. A drapey, lightweight fabric (e.g. Tencel Twill – 6oz.) will flow down the waist and around the hips. Because the material has a more fluid drape, the pants will fit closer to the body, and the amount of ease designed into the pants is not as evident. A heavier weight fabric with more structure (e.g. brushed denim – 9oz.) will highlight the shape of the pants more clearly. The ease is more evident because the fabric sits away from your body. A pant made of mid to heavy-weight linen (e.g. 6-7oz) will fall somewhere in the middle.
Size H – Tencel Twill – 6 oz.Size H – Linen – 7 oz.Size H – Brushed Bull Denim – 9 oz.
One of the funnest parts of designing using zero-waste pattern cutting techniques is trying to figure out the little details that can really elevate a garment. For these pants that includes the unique shaped zipper fly, the button loop and eliminates the need to sew a button hole, interior cell phone pocket, and the leg gusset.
My pattern testers did an amazing job of bringing the Jones Trousers to life. They helped bring this pattern to the level that it is at now, pushing me to make it the best possible. I will be sharing their versions over the next few weeks, both on Instagram and the blog.
I’m looking forward to seeing everyones versions of the Jones Trousers. Use the tags #goldfinchjonestrousers #jonestrousers and @goldfinchtextilestudio to share your makes. I love seeing people’s different versions of the pattern. If you have any questions about the pattern please don’t hesitate to reach out to me at emily@goldfinch.limited. Thank you for your support!
I try to make some kind of Christmas gift for my family every year. Some years the gifts are more elaborate than others. Sometimes I have an idea well before Christmas, other years it feels more last minute. I’m sure if you have made handmade gifts you know this feeling well. And even though the official gift-giving season is over, for now, I thought I would talk a bit about the gifts that I made this year because really any time of year can be a time to give a handmade gift to a family member, a friend, or even yourself. Luckily, this year I managed to not only have an idea, but I had “plenty” of time to get it done. I say “plenty” because I did have lots of time to get the gifts done, but I still felt a bit of pressure – such is the nature of working in Santa’s workshop.
When Helen’s Closet released their pattern for the Sam Apron (free when you signup for their newsletter), I was hooked. For years I’ve been telling myself that I need to make myself a full apron – I had been sporadically wearing a half waist apron – and this was the perfect opportunity to finally get it done. I thought it would make the perfect gift for my family members as many are great home chefs and/or work in workshops where an apron would be readily used.
After reviewing the fabric requirements, I ordered some heavyweight linen hoping that I would be able to adjust the pattern to work with the width and yardage that I purchased. Since I was making aprons for a variety of people – different heights and sizes – I knew I needed to figure out a way that I could adjust the pattern so I won’t have a bunch of random pieces of leftover fabric. When I ordered the fabric I did not have a full plan yet, I was just hoping that I would be able to figure something out easily.
The pattern provides you with very helpful guidance on selecting a size. Because I was making these for people who were not standing in front of me, I needed to make some guesses. When selecting the sizes, I also wanted to take into account my fabric length and width so I would be able to maximize my fabric. Fortunately, I was able to divide the sizes of 6 individuals into 3 apron widths, i.e. 2 aprons at 31″ wide, 2 aprons at 33″ wise and 2 at 36″ wide. For the length, I decided to make them all the same by dividing the fabric width of 57″ in half and cutting the aprons out on the cross-grain. This allowed me to get 2 aprons for each width that I needed. This also meant that the aprons ended up being a bit short.
To solve this problem, I dug into my linen scrap collection with the idea of adding scrappy patchwork at the bottom of the aprons to make up for the missing length. Past me must have been planning for this because I found some already pieced-together linen that happened to be just about the sizes I needed. Needless to say, I was very excited about this find. It ended up being a huge time saver! I just sewed these patchwork strips at the bottom of the aprons and made the lengths different based on everyone’s height. This solved my length issue perfectly.
The next decision was to decide how to use the bib cutouts. I knew that I wanted to incorporate them into the apron somehow. For a bit, I thought of using them to lengthen the aprons, but that wasn’t going to work. Then I started playing around with various pocket ideas. The original pattern comes with ample pockets and I wanted to make sure the ones I made did too. In the end, I made a patch pocket out of the cutouts. I sewed the cutouts right-sides together, leaving a small opening so I could turn them right-side out. Once turned out and pressed, I had a nice lined patch pocket made for the apron offcuts. I sewed down the top edge and added a little indigo tag to each pocket.
I used more scrap linen for the top pocket and the towel loop – which by the way is an amazing addition to any apron! I also made it easier on myself and used twill tape for both the cutout finishing edge and the straps. I would have been able to piece enough scrap linen together to make the straps, but that would have increased my time spent by a lot.
In the end, I am very pleased with the outcome and so are the recipients. I even remember to wear mine while cooking – mostly! I would highly recommend the Sam Apron pattern – for yourself or as a gift. I enjoyed the process of taking a pattern and reimagining it as a zero-waste pattern. This one was simple and easy to do and I look forward to challenging myself more this year with this kind of work. I hope to share more of this in the coming months. If you have done the same, I would love to hear about it!
I’m thrilled to introduce you to the Simone Overalls. They are a versatile and effortless everyday overall that can be worn tied in a variety of ways. The Simone Overalls come in 7 size ranges – up to a 74″ (188cm) hip – along with the option to self-draft based on your own specific measurements. The pattern creates minimal fabric waste and the pattern pieces are drawn directly onto the fabric – no need to print, cut, and tape the main pattern. The only pattern pieces that need to be printed are the bib cutouts. The pattern includes a Self-Drafting Guide that walks you through making the pattern pieces for your specific measurements – no matter what size you are. The Self-Drafting Guide and fit guidelines can be used in conjunction with the given size ranges to make fit adjustments easily.
I must admit that when I started designing the Simone Overalls, I had not worn overalls for probably 25 years. After seeing them pop up more and more, I was intrigued by the concept and wanted to give them a try. I decided to take a stab at designing my own pair with the goal of being zero-waste. I knew I wanted something that was flexible, easy to wear, and worked on a wide range of body types.
While I didn’t reach a fully zero-waste design, I feel that I achieved my other design goals. The Simone Overalls are comfortable and allow for lots of movement. The ability to tie the overalls in numerous ways lends to additional creativity when getting dressed. They work well with a variety of fabric types and weights; from drapey linen to more structured cotton twill or lighter weight denim. In the end, the pattern is minimal waste, with the potential to be zero-waste depending on your size and fabric layout. Any remaining fabric will be a very useable offcut.
The design is based on the wearer’s hip measurement and the waist ties bring everything in at the waist. The ties can be tied in multiple ways, giving the wearer a lot of versatility. The shoulder straps are also adjustable allowing the overalls to be worn looser or closer to the body depending on the desired look. This adjustability allows the Simone Overalls to be worn with various tops underneath and allows the garment flexibility for potential body changes. One tester noted that they would make great maternity wear. I appreciate their ability to loosen if I don’t feel like wearing anything tight around my waist, but I can change the way the overalls are tied to make a new look and feel when I want.
I had an amazing group of testers who gave me excellent feedback on the pattern. It is incredibly helpful to have other sewists make your pattern; not only do they check the fit and double-check for errors, but it also helps to have people who work and think differently than I do review the process and steps. Sometimes things make sense to me, but might not to other people so it is very informative to receive the tester’s feedback. It was wonderful to work with them and I have loved seeing all of their versions.
In addition to the PDF pattern, I also started a Youtube channel. As of now, I have a demonstration video that shows all the different ways that the Simone Overalls can be tied at the waist. There are also the first couple of videos up for the Simone Overall sew-along. You can currently find videos on How To Insert the Leg Gusset Parts 1&2. I hope to have the remaining videos up shortly so be sure to check back if you want to follow along.
Simone Overalls Tie Options
I hope you enjoy sewing and wearing the Simone Overalls as much as I have. I’m looking forward to seeing more versions out in the world. Tag @goldfinch.limited and #simoneoveralls on Instagram if you make them or send me a photo – I love to see your makes! Also, if you have any questions about the pattern or design please don’t hesitate to reach out – emily@goldfinch.limited. Enjoy!
Over the past couple of years I have collected a vast amount of scrap fabric; both from my own personal sewing and from small, sustainable clothing brands. I have big dreams for many of these bits, but I haven’t been putting the attention I need into using them. They are taking up space in our little house and I want to start actively using them, not just dreaming about the possibilities. When I originally began collecting these fabric scraps and cutoffs, my goal was to make various products to sell in my shop and at craft markets. Due to many factors, I have not been participating in markets and decided to shift the focus of my work. So now I have a ton of scraps and a long list of personal projects I want to work on.
At first, I had hoped to come up with some new and interesting ideas to use the scraps, but through my research, I have found tutorial after tutorial on how to make scrunchies and zipper pouches; nothing too new or exciting. I decided that I would like to approach my scrap projects from a different angle; not a tutorial, but more inspiration to get your scraps out and make something useful. My goal is to work on a scrap project at least once a month and document it. I’m excited about putting some direct focus into using these scraps as there some items I’m really looking forward to making.
My first project is a water bottle carrier. While taking a walk one evening, my partner mentioned that he had seen a water bottle carrier at the co-op made from parachute fabric. I instantly thought that I should make one for our walks. I am notorious for forgetting water when we head out on a walk. Sometimes we take a wagon to carry extra stuff, but many times we head out on a quick walk to the lake and we don’t want to bring the wagon along. And more often than not, I end up carrying my 3-year-old home on my shoulders so having to carry a water bottle also is something I just never want to do.
I received some upcycled cotton canvas from Summer at Tiger Owl and I have been hoarding it waiting for the right project. This water bottle carrier seemed like the perfect place to use some of it because it’s sturdy and I love the little speckles of color throughout the neutral canvas. I decided to make a simple, lined box bottom bag to the dimensions of the water bottle we use most. I added a pocket on the exterior just in case I don’t have pockets in my clothes that day and an adjustable strap.
I’m very pleased with the end product. It is so easy to throw this carrier over my shoulder and head outside. While I haven’t used it a ton yet, it seems like it will be easier for me to remember to bring along and much easier to adventure when I have both hands at the ready.
I’m looking forward to working my way through my scrap project list. This water bottle carrier was a nice challenge and distraction from the pattern that I am currently working on. I hope that making some dedicated time for personal, fun projects will give me some time to clear my brain and a chance to be extra creative. Do you have any scrap projects you are working on or dreaming about? I would love to hear about them!
When my friend Jamie (@reclaimedcraft) asked if I was interested in some fabric cutoffs from her time working at Elizabeth Suzann, I jumped at the chance. I have a never-ending supply of fabric scraps, but the opportunity to use high-quality fabric is hard for me to turn down. I have a couple of idea swimming through my head of what I will be doing with these scraps, but my first desire was to create a patchy, cropped Lawrence Top.
Upon opening the boxes of scraps, I was immediately drawn to the olive linen. I had visions of a monochromatic top with a few pops of contrast. The navy linen was the perfect pairing with the olive. I began by sorting and ironing out the scraps. The next step was to straighten all the edges. In the past, I have tried to work the various curves and diagonal cuts into the finished whole cloth, but for this project, I wanted to work with only the straight lines. I now have a pile of smaller cutoffs, but I have a few ideas running through my head about what to do with those.
Once the fabric had been prepped, the fun part could begin. Based on the amount of scraps I had, I decided to make some changes to a few elements of the design. First, I used a large inverted box pleat on the back panel instead of smaller pleats or gathers. When working with all the seams of the patchwork, it can sometimes be a little tricky to get the fabric to drape well so I wanted to eliminate a bunch of pleats/gathers that might interfere with how the fabric hangs. I also decided to anchor the pleat 1″ down from the yoke to create a more dramatic effect.
For the front panels, I decided to make them the same width as the yoke and eliminate the pleats/gather all together. There is still plenty of ease for me, but if I had been making the tunic version I probably would have stuck to the original dimensions. The only other change that I made to the pattern was using snaps instead of buttons. I really like that clean finish of the button band. Once you have an understanding of how the pieces come together, it is easy to make adjustments that work for your body and the fabric you have.
The process of piecing the fabric together is simple but does take some time. Once I got into a rhythm, it went pretty quickly. I find that it is helpful to layout some fabric pieces and have a general idea of how one section might go together. For example, if I know I need to have a finished piece of 12″ X 22″, I will see what pieces I have that fit within those dimensions and see how they layout. I attempt to have a bit of a game plan before I get sewing.
To begin the patchwork, I first sew my fabric pieces together and trim any excess fabric. I then finish the raw edge with a zigzag stitch. Next, press the seam to one side and topstitch the seam in place. I continue on like this, building the piece of fabric to the desired dimensions. Once I have the size I need, I treat it just like a pattern piece and sew everything together.
Working through this process is time-consuming, but also very rewarding. This top was created from waste and it feels good to be able to make something fun and beautiful with these leftovers. By using the Lawrence Top pattern as a guide, I hope to make more patchwork tops – maybe something with more color/pattern mixing.
Thank you again, Jamie, for taking the time to save the scraps, sort them and send them my way. If you have any questions about this process or the pattern please don’t hesitate to email me – emily@goldfinch.limited. If you try this process or any other hacks, I would love to see your final top. Email me photos or post on Instagram using #zwlawrencetop and #goldfinchlimited.
Lately I’ve been intrigued by the idea of painting with natural dyes. My hope and vision is to use natural color to create unique painted fabric using upcycled cloth. I’ve tried working with iron water as color modifier to paint patterns on naturally dyed fabric, but I have not been very successful. The patterns and colors tend to bleed together too much when washed.
After some initial research in Natural Color by Sasha Duerr, I decided to go ahead and give it a try. Promagrenate skin dye was up first. I simmered the skins on and off for a day. After straining the liquid from the pulp, I reduced the liquid dye by simmering it again for about an hour. Then I added guar gum to thicken up the paint. I also wanted to change up the color so I added iron to half of the paint.
My pomegranate paint was much more orangey, coral color then I thought it would be. I was expecting it to be much more yellow. Once I started painting, I was pleasantly surprised by how the paint turned bright yellow on the fabric. The fabric was mordanted in aluminum acetate. Watching the color change as a reaction to the mordanted fabric gave me a first hand look at how the mordant effects the dye.
Once washed, the iron paint bleed slightly into the original yellow paint, but the integrity of the design stayed. I also splattered lemon juice on some the fabric. The lemon juice acted as bleach on the natural dye so I was left with an interesting effect on the fabric.
To continue with my experiments, I made paint with avocado pits and tea bags. I used the same technique to make the paint as I did with the pomegranate paint. The avocado dye turned out a very pale coral, pink. In the past I have gotten much deeper pinks from avocado pits so I was surprised by the lack of depth to this dye.
Once washed, the color was altered by the iron. I was pleased by the outcome because it darkened the avocado paint.
As I continue to explore this type of textile art, I have been thinking about other effects the dye could have on the fabric. I wonder if different watercolor techniques that work on paper would work on fabric? What about color mixing? Or combining different dying techniques like shibori and painting? Using different color modifiers besides iron? The possibilities do seem endless as there are lots of questions and ways to play with natural color.
It has been said that the textile industry is the second largest polluter in the world, second only to the oil industry. Fast fashion and the desire for “on trend” clothing has doubled the production of clothing over that last 20 years. Many times an article of clothing is worn only 3 or 4 times before it is discarded. The average American consumes 82 pounds of textiles per year and the EPA estimates that textile waste takes up approximately 5% of landfill space. This is discouraging when 95% of textiles can be recycled for other uses; either through second-hand stores or in some new form (pillow stuffing, rags, carpet padding, etc)
There is a huge environmental impact for a single t-shirt. The amount of water used to produce one t-shirt is equivalent to filling 22 bathtubs. That’s a whole lot of water when you realize how much clothing goes unused. Above, you can see just a few of the statistics associated with textile waste. This is only the tip of the iceberg when looking at the problems with the fashion and textile industry.
Thrifted shirts, cut into pieces to be used for future projects
I have thought a lot about this over the last few months as I have begun trying to create a small business of handmade goods. My focus is to be very intentional about the materials that I use and the products that I make. Through the use of reclaimed materials, I am able to focus on the handmade craft and not the fact that I’m adding one more thing to the over-saturated textile market. With a little bit of creativity and time so much can be found at the thrift store. My goal is to create things that don’t look as if they have been made out of used clothes; transforming the materials into something new and different. My hope is that the end product will be used more and have a longer life than the original piece.
Zippers from thrifted pants
I will not be able to source everything I want to make with materials from the thrift store. When I buy something new I want to try and be responsible about knowing as much as I can about the materials I am purchasing. Is it a 100% natural fiber? Where was it produced and/or grown? How do they treat/pay their employees? I won’t be able to answer all of those questions every time, but making informed choices is a step in the right direction. There are many small companies with a mission to provide quality materials that need support. Through the use of reclaimed materials and responsible brands, I hope to have a small, positive impact on the textile industry and the environment.
Zipper pouches made from upcycled cotton shirts and zippers
