Pattern testers are an integral part of the pattern development process. I greatly appreciate that people are willing to lend me their time, skills, creativity, and feedback to help me make my patterns the best they can be. Not only is the testing process helpful for me to make sure the pattern works well on a range of bodies and in different fabrics, but it also helps you when you are trying to determine your size and fabric for your own Lettie Skirt.
Below, you will find each tester’s version, including sizing info, fabric used, and any modifications made to the pattern.
Bean selected her size based on her waist measurement. She made her version of the Lettie Skirt from chambray shirting. To fit the pattern layout on her fabric, she rotated it on the cross-grain.
Christina’s waist and hip measurements put her in two different sizes. When selecting her size, she chose the size between her waist and hip measurements. She used a lightweight cotton to make her Lettie Skirt.
Amanda selected her size based on her waist measurement. She used a mid-weight linen to make her skirt. Amanda modified the pattern layout to be able to fit within her selected fabric and she shortened the skirt by 5cm.
Alex’s measurements put her in between sizes, so she sized down and selected the size that was the closest match. She used viscose fabric to make her skirt and shortened the skirt to her preferred length.
Belinda’s measurements put her in two different sizes, and she chose the size in between. She used linen fabric for her skirt.
Rakhel | Waist: 30″ Hips:45″ | Size H
Rakhel’s waist and hip measurements were 5 sizes apart. She chose the size in the middle. Rakhel used 7oz cotton denim to make her skirt.
Thank you again to the testing team! I love seeing all the versions and all the ways the Lettie Skirt can be styled. If you have any questions when selecting your size, please don’t hesitate to reach out – emily@goldfinch.limited. I would love to see your version, too! If you post to IG remember to tag @goldfinchtextilestudio and use hashtags #LettieSkirt and #GoldfinchLettieSkirt.
Let’s get ready to make your Lettie Skirt! Beyond selecting your size, one of the first decisions you must make is what fabric you want to make your skirt out of. The Lettie Skirt is suitable for various fabric types, from light-weight viscose to mid-weight denim.
When selecting your fabric, one of the first things to consider is your experience with zero-waste pattern cutting. Stable fabrics with more structure, such as cotton, will be significantly easier to cut out than shifty fabrics like silk or rayon. The fabric’s weight and drape will also affect your skirt’s overall structure. Fabrics with more drape will create a more fluid, swishy skirt and fabrics with more structure will have more volume around your body and show the shape of the skirt.
Another thing to consider when selecting your fabric is directional print or nap. Due to the zero-waste pattern layout, the skirt panels are oriented in the upright and inverse positions. If you use a fabric with a directional print or nap, 3 of the skirt panels will be upside down.
I used Vanilla Herringbone Handloom Cotton from Loom and Stars for my final sample. This fabric is a dream to work with – easy to cut out and sew and is oh-so-soft. At only 43″ wide, I adjusted my pattern layout to fit (guidance is included in the instruction booklet for making these types of adjustments). The fabric is not 100% opaque, and depending on the light, the pockets can sometimes be seen, but it’s nothing a slip couldn’t fix. You may consider eliminating the pockets if your fabric is lightweight or not 100% opaque.
Another favorite of mine is Washed Hemp from Lyrical Fabrics. This fabric has both structure and drape, similar to linen. It makes for a great everyday skirt that can easily be dressed up if needed. This fabric is a little shifty so takes a little more consideration when cutting, but overall not too difficult.
My pattern testers used a variety of fabrics: linen, ikat, Tencel cotton, chambray, etc. Each one turned out beautifully!
Clockwise from top left: Mid-weight cotton, light-weight denim Tencel, 5 oz linen, ikat cotton, chambray shirting
Notions
After you select your fabric, you will need to gather your notions. The construction of the Lettie Skirt calls for a few materials you may not be familiar with or are not readily available at your local fabric store. The front waistband is interfaced with non-roll, non-fusible waistband interfacing, such as Ban-rol. This type of interfacing allows the waistband to move and bend with your body without collapsing, folding over, and wrinkling. The elastic in the back of the waistband is 1 1/2″ (3.8cm) wide, heavy, non-roll elastic. You want an elastic that will not fold over to the strain of being stretched. Finally, the partial button placket is finished with two different-sized buttons. The main part of the placket uses 1/2 “(12mm) buttons, and the waistband is secured with a 3/4 “-1” (19-25mm) button. These buttons can match, or a contrasting button could be used on the waistband.
Below, you will find additional information and resources on where to find these materials:
Interfacing:
If you can’t find Ban-rol (or non-roll, non-fusible mono-filament waistband stabilizer) at your local fabric store, it can be purchased online, in bulk, or by the yard. If you prefer not to use this type of interfacing, then un-stretched elastic can be used as a substitute.
Below you will find some online shops that sell Ban-rol. This is not an extensive list, just a starting point. If you purchase from a shop not listed, let me know as I would love to expand the list.
Not all elastic is created equal. When selecting elastic for your Lettie Skirt, you want to select a non-roll elastic that will retain its shape when stretched. This will make a big difference in the feel and look of the back waistband of your Lettie Skirt.
Below you will find some online shops that sell non-roll elastic. Again, this is not an extensive list, just a starting point.
If you have any questions about fabric selection or notions while planning your Lettie Skirt, please don’t hesitate to contact me – emily@goldfinch.limited.
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.
At the beginning of the design process for the Pierce Shirt, I planned to offer two views – a long-sleeve and a short-sleeve version. As the development progressed, it slowly became too much to handle two different pattern layouts, so I decided to drop the short-sleeve view and focus solely on the long-sleeved version. Now that the pattern has been released, I wanted to revisit the short-sleeve version and show you how to make one for yourself.
For this hack, we will work directly with the printed pattern pieces. You will adjust the sleeve length and manipulate the pattern layout to work better with the shortened sleeves. After you have developed your new pattern layout, you will be able to measure it to determine your fabric requirements.
Note that for this particular hack, the result is minimal waste, not zero waste, as the end pattern layout is not a complete rectangle. There may be other ways to approach this pattern hack, and I welcome you to play with the pattern layout to see what you can come up with. The pattern layout for the Pierce Shirt is quite versatile and can be used as a base for multiple designs.
Okay, let’s get started! The changes you will make to the pattern layout are relatively straightforward. If you have already made the long-sleeved version, you will understand how the pattern comes together, which will make hacking the pattern a bit easier—although this is not necessary.
Prep work:
Before we start the hacking, you will need to print the pattern layout of your selected size, assemble it, and cut it out as directed if you haven’t already. Once all the pieces are cut out, set aside the 7-COLLAR, 8-CUFF, 6-PATCH POCKETS, 9-BIAS-BINDING, and 10-OPTIONAL HANG LOOP pattern pieces. If you are making Size D-I, you will not need 11- OPTIONAL MENDING PATCH or TEST STRIP (the irregular pattern piece between the 1-BACK and 2-LOWER FRONT).
Step 1: Shorten 1-BACK and 2-LOWER FRONT sleeves
Take the 1-BACK and 2-LOWER FRONT pattern pieces and mark the point on the sleeves where the underarm curve ends (about 3″(7.6cm) away from the side seam edge). At this point, draw a new sleeve opening edge perpendicular to the straight edge of the sleeve, as shown below in red. Fold the excess sleeve length back and out of the way (or you can cut it off if you wish). This line is the new sleeve length of the BACK and LOWER FRONT pieces.
Once the sleeves are shortened on the 1-BACK and the 2-LOWER FRONT, you can position the pieces so they are butted up next to each other.
Step 2: Shorten 3-UPPER FRONT sleeve
To adjust the 3-UPPER FRONT, align the edge of the neckline openings on the 3-UPPER FRONT and 1-BACK, as shown below with the blue dashed line. To do this accurately, you can lay the 3-UPPER FRONT pattern piece on top of the 1-BACK piece. You can now mark the sleeve length of the 3-UPPER FRONT piece. It should match the sleeve length of the 1-BACK. The 2-LOWER FRONT piece should be 1.5″(3.8cm) wider than the 3-UPPER FRONT.
Step 3: Arrange updated pattern layout
Once the 3-UPPER FRONT sleeve length has been adjusted, you can position the angled sleeve edge against the angled sleeve edge of the 1-BACK piece. Make sure that the center front of the 3-UPPER FRONT is in line with the sleeve edge of the 1-BACK piece (as shown below). Now, you will find a place to put the remaining needed pattern pieces. I have eliminated the 8-CUFF piece, as we will not need it for this hack.
There are a couple of ways to lay out the remaining pieces. You can play with the pattern pieces directly on fabric (as shown below) or work on a large table or the floor to determine the required fabric for your updated layout. As you can see, the original pattern pieces don’t fit perfectly into the updated pattern layout.
The 6-PATCH POCKET, 9-BIAS BINDING, and 10-OPTIONAL HANG LOOP pattern pieces are flexible and can be adjusted to fit within the new pattern layout without much issue. The 7-COLLAR pieces must remain their original size to fit the garment once sewn. Although, the 7-COLLAR pieces can be cut as one, as shown below, but you must eliminate the 1/2″(1.3cm) seam allowance at the center of the piece.
The images below show the adjusted pattern pieces in the updated layouts. You can make new pattern pieces for the 6-PATCH POCKET, 9-BIAS BINDING, and 10-OPTIONAL HANG LOOP, or you can draft the edges directly to the fabric when cutting.
At this point, you will be able to determine your required amount of fabric by measuring the perimeter of the updated layout. Remember to multiply the length by 2. The first option will use a wider width of fabric but less length, and the second option will use less width but a longer length.
Step 4: Sew
Now that you have the new pattern layout, you can continue as directed in the pattern instructions. For my version, I finished the sleeves with bias binding. I used the French bias binding method, which is the same process used at the hem of the shirt. I also adjusted the position of my patch pocket by aligning the top edge of the pocket with the seam of the upper front.
That’s it! If you have any questions regarding this hack or the original pattern, don’t hesitate to reach out – emily@goldfinch.limited. I look forward to seeing more short-sleeved Pierce Shirts out in the world.
I had an amazing group of testers for the Pierce Shirt. Everyone’s feedback was thorough and well thought out. I am grateful for their hard work and willingness to help me bring this pattern to life. It’s always a bit nerve-wracking to begin the testing phase after you have spent months working on a pattern. My anxious brain is thinking – Do the instructions make sense? What if the shirt doesn’t fit everyone? Will the testers like it? etc. It’s such a relief when testers start to finish and I can see firsthand that things are coming together.
Below you will find each of the tester’s versions of the Pierce Shirt, along with sizing & fabric info and if any modifications were made to the pattern. Please note, that a few changes were made to the pattern after testing, such as the shape and width of the patch pocket, along with the depth of the back inverted pleat and neckline facing.
Before we get into everyone’s makes, I wanted to send a special thank you to Surge Fabric for collaborating with me on this testing phase. A few testers used fabric purchased through Surge and I also have a pattern hack planned in the next few weeks using their fabric. I’m looking forward to working with the chambray that I have lined up for that project – stay tuned!
Emily’s measurements put her between a size D and E, but she chose to size down to a C for a closer-fitting garment. She used a linen blend to make her Pierce Shirt and she stitched her pintucks together adding an extra textural element to her shirt.
Ros selected her size based on her bust/chest measurement. She used a cotton twill fabric to make her Pierce Shirt and she needed to adjust the pattern layout to work with the fabric width.
Bean made her Pierce Shirt out of lightweight woven cotton from the Warp and Weft collection by Alexia Abegg. In regards to size selection Bean said, “I went with B because I wanted a closer fit, and with 10″ of ease at bust/hip, as well as the armhole opening of almost 16″, I thought this size would be just right. I also knew that a shorter sleeve would be better for me too, so sizing down seemed better for not than having to shorten the sleeve.” She also adjusted the pattern layout to accommodate the narrower width of her fabric. To do so she had to shorten the length of the shirt by 2″.
Cynthia sized down one size. She modified the pattern layout to shorten the sleeves by 2″. She also lengthened the back by 2″ and raised the side split by 1″. Cynthia used thrifted table linens to construct her color-blocked Pierce Shirt.
Mel selected her size based on her bust/chest measurements. She used a washed rayon to make her Pierce Shirt. She didn’t make any changes to the pattern layout.
Jules made their Pierce Shirt out of 100% undyed linen. They sized down to allow for approximately 8-10″ of positive ease which is their preferred amount of ease in a garment. The sleeve length was shortened by about 1″ to accommodate fabric width.
Hayley sized her size based on her bust/chest measurement. She used cotton chambray to make her Pierce Shirt and she didn’t make any changes to the pattern layout.
Jo | Bust/Chest: 46″ Waist: 48″ Hips: 56″ | Size L
Jo selected her size based on her bust/chest measurement and made her shirt out of soft, drapey linen. She reduced the width of the pattern layout to work with her fabric width – from 54″ to 52″.
Erika chose to make one size down from the size that correlated with her bust/chest measurement as she wanted a little less ease. She used a light-weight linen to make her shirt and didn’t make any changes to the pattern layout.
Maggie selected her size based on her bust/chest measurement. She used a thrifted, 100% cotton duvet cover to make her Pierce Shirt and didn’t make any modifications to the pattern layout.
Kayla | Bust/Chest: 35″ Waist: 29″ High Hip: 38″ Full Hip 43″ | Size G
Kayla’s measurements put her in various sizes (size F for the bust/chest and size I for the hip). She made G – one size up from her bust/chest. She used Luxor Heavy Linen Slub from Surge Fabric. Kayla didn’t make any changes to the pattern layout.
Rebecca’s bust/chest measurement fell between a Size D and a Size E so she sized down to a Size D. She used Limerick 3.5oz linen from Surge Fabric to make her shirt. She also used a contrasting bias binding to finish her neckline and hem.
Toni | Bust/Chest: 38″ Waist: 32″ Hips: 42″ | Size H
Toni selected her size based on her bust/chest measurement. She didn’t make any changes to the pattern layout and she used Robert Kaufman Lisbon brushed Melange (100% cotton) in gray from Surge Fabric.
Fred selected his size based on his bust/chest measurement and didn’t make any changes to the pattern layout. Fred used a medium-weight linen/cotton shirting to construct his Pierce Shirt. He also used a contrasting bias binding to finish the neckline and the hem.
Dorina used her bust/chest measurement to select the size for her Pierce Shirt. She used Japanese cotton shirting that is roughly 80gsm in weight. Dorina adjusted the length to accommodate for height difference (she is 5’3”). Also, she omitted the pocket and used the pieces to create sleeve straps and used the neckline cut-out to reinforce the bottom corner hems at the back.
Lee-Ann selected her size based on her bust/chest measurements and didn’t make any changes to the pattern layout. She used a lightweight polyester to make her Pierce Shirt.
Mandy used her bust/chest measurement to select her size. She used cotton poplin fabric to make her Pierce Shirt. She used narrower fabric than the pattern called for, so she cut the largest pieces out first on one strip and then prioritized the collar and cuffs, etc.
Kerry sized down by one size when making her Pierce Shirt. She used a lightweight cotton and adjusted the pattern layout to accommodate her fabric width.
Jessica | Bust/Chest: | Size B
Jessica chose to size down by two sizes to achieve her desired amount of ease in the garment. She used a lightweight linen/cotton fabric to make her Pierce Shirt. The only pattern adjustment that she made was the change length of the sleeves.
Aria sized down when selecting her size. She used the finished garment measurements as a guide to determine how much ease she wanted in her Pierce Shirt. She used a woven cotton fabric to construct her shirt and changed the length of the sleeves.
Marlies selected her size based on her bust/chest measurement. She used lightweight cotton to make her Pierce Shirt and didn’t make any adjustments to the pattern layout.
Clotilde chose to size down when selecting her size. She used a ready-to-wear shirt that she liked the fit of and compared those measurements to the finished garment measurements to help with size selection. Clotilde used a very lightweight cotton fabric to make her Pierce Shirt.
Courtney | Bust/Chest: 47″ Waist: 40″ Hips: 45″ | Size K
Courtney sized down by one size because they prefer a closer fit. Courtney used a cotton bedsheet to make their Pierce Shirt and didn’t make any adjustments to the pattern layout.
Cristina selected her size based on her bust/chest measurement and didn’t make any changes to the pattern layout. She used lightweight linen fabric to make her Pierce Shirt.
Antje selected her size based on her bust measurements and she didn’t make any adjustments to the pattern layout.
As you can see, this testing group knocked it out of the park. I’m blown away by their hard work and dedication to testing the Pierce Shirt. Thank you!
I hope seeing everyone’s versions is helpful. When I am thinking about a new sewing project, I like to be able to look at other sewists finished garments (I do the same if it’s a knitting project). Seeing the garment on different bodies, in various fabrics, and different sizes, helps me figure out the direction that I want to go when making my version. If you have any questions when selecting your size or fabric, please don’t hesitate to email me any questions – emily@goldfinch.limited
I look forward to seeing more Pierce Shirts out in the world!
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
Today I’m pleased to bring to you a guest post from Bean of @sewsoybean. Bean was a tester for the Eddie Smock and she made a few beautiful versions during and after the testing process. She also made a knit cardigan hack that just blew my mind. I asked Bean if she would be willing to write up a blog post about the process of hacking the Eddie Smock into a cardigan and I’m thrilled she was willing to do so. I’m planning on making myself a version in the next few of weeks. Continue reading below to learn how to make your own. If you don’t already have the Eddie Smock Pattern, you can find it here.
Eddie Smock Sweater Hack
As cool fall breezes begin to whisper in my ear of the colder temperatures to come, they seem to usher into my sewing plans ideas for cozy garments, perfect for hunkering down or even bundling up to head out. Cue the knit Eddie Smock Sweater hack! Straightforward and simple modifications to Goldfinch Textile Studio’s pattern and design yield a unique wardrobe staple that you can throw on for any occasion.
– Stable knit fabric for the body, 8-14 oz. per square yard: cotton slub, french terry, sweater knits
– Cotton/elastic ribbing fabric for the neckline and cuffs: ¼ yard cut of 50-60 inch wide should be sufficient; see note below if you’re shopping for your stash ***
– For neckline ribbing: (80% of finished neckline + .75) x 3 inches
– For cuff ribbing: (Wrist circumference + desired cuff ease) x 6 inches
– Needle for sewing knits (I like Schmetz Stretch 75/11 as an all purpose needle for knits)
– Ball point pins
– Pre-made single fold bias tape (purchased or made from your stash)
– Matching thread for topstitching
– Snaps or buttons (optional–this hack is lovely as an open cardigan too)
– Tailor’s clapper (optional–for getting a better press on bulky fabrics)
– Tailor’s chalk or marking tool and long ruler to transfer pattern to fabric
*** Your ribbing should be 80% of your finished neckline measurement. You can measure your paper pattern pieces to mathematically determine finished neckline length before constructing your garment. Add the curved edge of back and front necklines pattern pieces and multiply by 2 as they are cut on the fold. Subtract 4.5 inches (2 inches for shoulder seam allowances, and 2.5 for placket construction). Find 80% of that quantity and add .75 inches for tapered neckline construction. EXAMPLE: Back neckline curve 5.75 inches, front neckline curve 8. (13.75 x 2 = 27.5; 27.5 – 4.5 = 23; .80 x 23= 18.4; 18.4+.75= 19.15 inches). Neckline ribbing cut: 19 x 3 inches.
Picking out your fabric
What I love about the Eddie Smock pattern is its panel pattern pieces, allowing you to optimize a single piece of yardage, or even better yet, utilize narrow strips of knit yardage that are leftover from past projects. If you’re like me, when you sew with knits you may end up with long narrow pieces of fabric at the edges of your fabric after cutting out your project. While these leftovers can be challenging to reorient and use in other knit patterns that require the cross grain stretch of the fabric, because the Eddie is designed for wovens, the degree of stretch of the fabric is of little consequence when considering placement of the pattern pieces for cutting. That being said, don’t be afraid to think of how you can place your panels and pattern pieces to maximize the fabric already in your stash. I never would have thought I could complete an entire cardigan sweater from these green leftovers, but the beautiful result is a testament to how incredible this pattern can be as a knit scrap buster.
Notice how my sleeve pieces have the striations of the fabric running horizontally, but in the body panels they run vertically. In many knits you may notice these sorts of directional textures, and again, don’t be afraid to play around with placement of the pattern pieces in order to make use of fabric you already have. I recommend more stable, and not extremely fluid or drapey knits. Cotton slubs, light to medium weight french terry, or even some sweater knits that are not too bulky would be perfect. For my green version, I used a 9 oz. cotton slub sweater knit, and the camel version is sewn in a 12 oz. french terry. The sweater knit is slightly more fluid and drapey, and the french terry resulted in a more structured jacket-like cardigan.
Considerations for sewing with knits
Some knits can be prone to stretching out as you sew, so decreasing your presser foot tension for all seams is recommended. I lowered my presser foot tension to -3 for all seams and had very minimal rippling of fabric. It can also be helpful to increase your stitch length for bulkier knits. Throughout the construction process I used a regular straight stitch, which the exception of the cuffs and the neckband where I used a lightning bolt stitch.
Use some of your fabric scraps from squaring up your fabric to test out your stitching before you get started. If you do have some stretching or rippling while constructing your garment, be sure to give your seams a good blast of steam at the iron which should bring them right back into shape. Do this between each step of the construction process over each new area that you have sewn.
Cutting out your pattern pieces
Once you’ve decided on your fabric, you will need to cut out the body panels, side panels, and sleeve pieces of the pattern view that you have chosen. For my versions, I have based my pattern layout on View 3, but adjusted the length of the body and side panels to accommodate my available fabric. Since View 3 is the short sleeved version of the pattern, I have used the long sleeve pieces from View 1. You may consider drawing out your layout on a piece of paper to map out any changes that need to be made before cutting.
For this camel version, I decided to rotate my pattern pieces so the fold of the fabric is along the top of the panels and the selvedge edges are at the hem. This means that the stretch of the fabric runs vertically, and not horizontally as it usually would in a knit garment requiring stretch. Again, this is not a problem with Eddie. Also, this placement means that the width of my fabric dictates the length of my finished garment.
Cut the garment pieces according to the pattern, omitting the woven cuff pieces and the bias binding rectangle. We will be using rib knit fabric for a neckline and sleeve cuffs and pre-made (purchased or made from your stash) bias binding. You can choose to incorporate the pattern’s pocket pieces into your cutting layout if you would like too. For my camel version, I used the entire piece of 56 inch wide fabric in my cutting layout and was left with a 16” x 20” square after cutting the sleeves pieces to length that I could potentially use for adding patch pockets to the front, or save for a future project or mending.
Sewing your Eddie Smock Cardigan Sweater
Using the above tips above for working with knits, construct the garment per the pattern instructions, except for the following steps:
Back panel pleat and neckline facing (starting on page 20)
Step 6a (pattern instructions page 20)
When attaching the back neckline facing, the pattern calls for a pleat in the facing piece. I personally love this design detail, and have included it in both my versions. However, it can be quite bulky depending on your fabric choice. To omit this for a bulky knit, follow the instructions already written into the pattern on page 20 for removing ¾ inch along the curve of the neckline facing.
Step 6b (pattern instructions page 22)
The pattern calls for folding your back neckline facing under ¼ inch (.6 cm). With my stable french terry, I was able to fold under and finish the facing as written.
With my green version, I opted to finish the facing edge on the serger to reduce bulk. Keep in mind that if you go this route, you will want to either trim your facing down the ¼ inch (.6 cm) before serging, or adjust your topstitching about ⅜ inch in from the serged edge so your stitching line crosses right where the pleat on the back begins.
Step 6f (pattern instructions page 23)
The Eddie Smock has this great little hang loop feature that I avoided including on my green version due to bulk; however, I figured out a work around for my french terry version that is simple and lovely. Construct the hang tag as written in the pattern and instead of folding raw ends under by ⅜ inch when attaching to the facing, simply lay it flat and use a wide yet short length zig zag to completely cover the raw edge. On my machine, the appliqué stitch worked wonderfully here.
After fully constructing your garment body per the pattern instructions, it’s time to finish the sleeves and neckline—sweater style!
Gathered sleeve with ribbed cuffs
Follow the instructions on page 30 for View 1 to gather the sleeves. I started and stopped my basting stitches at the underarm seam where the two sleeve panels meet. Be sure not to overlap the gathering stitches.
Cut your matching ribbing for the cuff to your desired width by 6 inches tall. I like a tighter cuff so I usually add 1 inch to the circumference of my wrist which is 6 inches. My rib cuffs on this version were 7 inches wide by 6 inches tall. A snugger cuff is my personal preference, and I feel like it creates a dramatic pouf that I’m really like on a sweater sleeve. A cuff with more ease will have less pouf. Fold your cuff rectangle in half widthwise and sew the 6 inch edge, right sides together, with ⅜ inch seam allowance. Press the seam open. Next, fold your cuff wrong sides together lengthwise and press. It should now resemble the finished cuff.
With the sleeve inside out, slip the cuff inside so the right side of the cuff and the right side of the sleeve are together. Align the cuff seam and the underarm seam of the sleeve. Adjust your gathering so the sleeve circumference is flush with the cuff circumference. Pin in place. With the presser foot inside the sleeve cuff, sew the cuff to the sleeve with ½ inch seam allowance making sure you do not sew over the basting stitches. Remove the basting stitching. Finish the seam allowance with a serger or zigzag stitch and press the seam allowance away from the cuff towards the sleeve. Repeat with the second sleeve.
Tapered Ribbed Knit Neckline
Measure the finished neckline with a fluid measuring tape, taking care to not stretch the neckline. Then cut a rectangle of ribbing that is 80% of that value plus ¾ inch, by 3 inches. My finished neckline was 23 inches, I cut a rectangle of ribbing 19 x 3 inches. (.80 x 23 = 18.4; 18.4+.75= 19.15)
Press the 3 inch edge of the rectangle in half wrong sides together so you have a ribbing piece that is now 1.5 inches wide by your specific length. Fold neckline ribbing half lengthwise and place a pin at the center. Fold the side edges in to meet at the center point and place a pin at each fold. You now have your neckline ribbing quartered.
To find the quarter points of the neckline, place the center point of the front neckline where the two front plackets meet directly on top of the center back neckline, and line up the neckline curve. Place two pins where the neckline folds in half (yellow pins). When you let the neckline fall naturally at the shoulder seam you will see that those pins fall a bit to the front of the shoulders.
Align the pinned center point of the ribbing with the center back of the neckline, at the pleat seam on the back panel; then align neckline ribbing quarter pins with the two yellow pins, or quarter marks of the neckline. Gently stretch ribbing so it lays flush against the sweater neckline and finish pinning ribbing between the second and third quarters.
For the quarter of the ribbing that aligns with the front plackets, mark a ⅜ inch seam allowance down from the neckline on both sides of the placket edge, and ⅜ inch in from the end of the ribbing strip along the folded edge. Align these two marks. There will be ⅜ inch of ribbing that will overhang the front placket on both sides. This will get folded down and secured when you topstitch the finished neckline. Continue pinning the rest of the ribbing to the front neckline, again only stretching the ribbing, not the sweater’s neckline. You will have a triangular portion of the raw edge of the ribbing that will not align with the raw edge of the neckline. This will create the tapered ribbed neckline finish. (See video below for more info on inserting the neckline.)
Sew the ribbing to the neckline from the wrong side of the garment so that you can follow the raw edge of the sweater neckline with your presser foot, not the raw edge of the ribbing, which will not align with the sweater neckline the whole way. Once the ribbing is attached, you can trim the excess triangle of the neckline ribbing.
Where the ribbing attaches at the back neckline facing, there will be substantial bulk, especially if you’ve included the neckline facing pleat like I did. Grade the seam allowance, trimming down some of those layers to reduce bulk. Then, finish the seam allowance and press away from the neckline and towards the body of the sweater. From the right side of the garment, topstitch ⅜ inch away from the neckline seam, catching the neckline seam allowance below.
Hem Sweater
The only thing you have left to do is hem your Eddie Smock Sweater. On my green version I used bias binding from my stash in quilting cotton weight fabric. I followed the French Bias Binding method as outlined in the pattern on page 35, Step 15. I do think the double layer of the quilting cotton provides a bit more structure than the garment fabric, making the hem bow out a bit. For the camel french terry version, I opted for a pre-made single fold bias tape which functioned as more of a narrow facing to finish the hem. This was a much softer finish and doesn’t affect the drape of the fabric at the hem. Both options produce lovely results, it will just depend on the look you are going for and the type of fabric and bias you use.
Optional Closures
I think the Eddie Smock Sweater is perfect with no closures and left flowy and open in the front as in my green cardigan style version, but the copper snaps on my tan french terry iteration give it a sweater jacket feel that I cannot wait to style this fall. If you would like to add snaps or buttons and buttonholes, you can do so now at your preferred spacing. Either way you can’t go wrong with this garment. It is a workhorse piece that you’d never know you needed until it’s in your closet and you catch yourself reaching for it again and again. Enjoy!
Thank you, Bean! I’m looking forward to diving in and making my own Eddie Smock Cardigan Sweater. If you make your own version we would love to see it! Share on IG with the hashtag #EddieSmockSweaterHack and be sure to tag @sewsoybean and @goldfinchtextilestudio.
I’m thrilled to announce the independent release of the Lynn Vest. The Lynn Vest originally appeared in issue 6 of Tauko Magazine. The theme of this issue is “What Artists Wear”. When designing the vest, the artist that I had in mind was my late father-in-law, Lynn. He may not have called himself an artist, but he certainly was in his own right. He was a carpenter who built many of his family’s homes, and my husband designed the last house that Lynn built. Being in the home feels like a culmination of many years of hard work and learning.
This lifelong dedication to one’s craft influenced the design of the Lynn Vest. It is a modern take on workwear clothing – practical and functional. The modular, zero-waste design lends itself to the straightforward style of workwear clothing while allowing the maker to add personal touches to let themselves shine through their handwork.
The Lynn Vest is a functional garment that may be considered “masculine” in form, but the design pushes those boundaries – it is a vest for everyone. It can also become a symbol of the makers’ handwork, just as paint covers painter’s clothes – a symbol of their work. A sewist is an artist who can wear their art and work, but it may not be evident to an outsider that the wearer had a hand in making their clothes. The sewist is showing their craft by adding hand-stitching to the Lynn Vest. The hand-stitching is evidence that their hands directly had a play in making the garment. The maker could also use scraps to create an improv or planned quilted piece that can show the maker’s personality.
The Lynn Vest is a fully reversible layering piece with a roomy fit and an open front. The zero-waste design uses all the required fabric for the main body and lining. Due to the modular design, the vest can be easily sized up, down, or lengthened, and the design accommodates every BODY. The vest includes deep armholes, multiple pockets, and hand-stitched details.
The construction begins by first sewing smaller pattern pieces together to create whole, conventional vest pattern pieces and then sewing the complete garment. By using special steps, the garment is entirely reversible. Optional hand-stitched details complete the garment. The Lynn Vest is highly adaptable. For example, adjust the length or size down for a more fitted vest to suit your preference.
The Lynn Vest is boxy, with the hem hitting at the high hip. The vest is a layering piece. The deep armholes and ease allow the vest to be worn over sweaters or loose-fitting tops, but it works equally well over T-shirts and dresses. When selecting your size, it is recommended to use your bust/chest measurement as your guide.
For the samples shown, I sewed a Size B that has been shortened (the denim sample is 21″ long, and the purple piece is 22″ long). My measurements are 36″ bust/34″ waist/42″ hips, and I am 5’4″ tall. My measurements put my bust in Size B and my hips in Size C. Since the vest is open, I’m not as concerned about my hip measurement and instead selected based on my bust measurement as recommended. This allows for a better fit in the shoulder and chest area while still leaving room at the hips. A thorough fit guide is included in the pattern instructions and walks you through how to make potential adjustments to the zero-waste layout so you can achieve your desired fit.
I’m looking forward to seeing how everyone decides to make their own Lynn Vest. The modular pattern layout is well-suited for letting your creativity run. I’m not a quilter, but I imagine a quilt block inserted into the back panel. Or a color-blocked version made from fabric remnants from your stash. You may want something subtle on one side but playful on the other. A few hack and modification ideas are included in the pattern to get you thinking about all the possibilities.
The Lynn Vest is on sale for 15%off from now until September 17th (midnight CST). If you have any questions about the pattern, please don’t hesitate to reach out to me – emily@goldfinch.limited. Thank you to everyone for all your support! I’m looking forward to seeing more Lynn Vests out in the world. #GoldfinchLynnVest and #LynnVest
Since the release of the Jones Trouser last spring, I have been thinking of a way to modify the pattern into shorts. The main roadblock to shortening the trousers into shorts was the leg gusset. The leg gusset is an integral part of the crotch curve length, and simply shortening the leg and gusset portion of the pattern layout would result in shorts that do not fit properly. I wasn’t sure how to rectify this issue while still maintaining a zero/minimal waste layout.
I had been putting off thinking about this issue as it felt like something I couldn’t solve, and I was having difficulty seeing how I could lay out the pattern differently. Now that summer has arrived, I realized that I had a hole in my wardrobe for a nice pair of shorts – I only had elastic waist shorts that I throw on for everyday wear. I wanted a pair of pleated, wide-hem shorts to wear casually or dressed up. A pair of Jones Trousers shorts would fill this hole perfectly, and with a little nudge from fellow sewists (@sewsoybean and @la.ila.creates, who both made Jones Trousers Shorts this spring), I was able to finally focus on coming up with a solution. And to my surprise, it was not nearly as difficult as I had let myself believe!
I started by staring at the pattern layout on my computer, and this got me nowhere but frustrated. So I dug out my paper pattern and started messing around with the pieces – moving and shifting each piece around. Through this process, I realized that the angle of the pockets matches the angle on the leg gusset, and these pieces could be nested together by flipping the leg gusset in the opposite direction than I had initially laid it out.
By nesting the leg gusset between the pockets pattern pieces, I could shorten the leg gusset significantly, allowing the legs to be shortened by the same amount. When I began this process, I was not committed to a specific inseam length as I wanted to be flexible in how I modified the layout. So I decided to use my pocket length as the inseam length (10” in this case). I planned to adjust the shorts’ length once I sewed them, as I wanted to include a wide-hem.
How to Adjust the Pattern Layout
Pattern Details: Size H made with Hemp Summercloth dyed with Rit Dye.
Fabric size required for Size H: 37″ wide by 62″ long
First, determine how long you would like your inseam. You can start with the length of the pockets as your inseam length, as I have done, or can start with a shorter inseam (the leg gusset will still be placed between the pockets and there will be a small excess of fabric).
Now, mark this inseam length on the leg pattern pieces. You can either trace a shortened version of the original pattern piece or fold the pattern piece back and out of the way. You can also straighten the outer leg seam at this point if your leg piece is long enough to still include the angle.
Once the necessary pattern adjustments to the inseam length have been made, then the remaining pattern pieces can be adjusted to work with the adjusted leg length. I eliminated the cuff piece and moved the fly pieces to fit within empty spots in the layout. There is a remaining rectangle that could potentially be used as patch/cargo pockets or for another project. Also, depending on the length of your belt loop piece, you may need to cut additional belt loops from the remaining rectangle. Note: If you are making Size I-S, you will make the same changes, but you will replace the cuff piece with the pocket extension piece.
Pattern Piece Cutting
After the pattern layout is fully adjusted, the pattern pieces can be laid out on the fabric and cut out. The pockets and the leg gussets should be placed on the fold. When cutting out the pattern pieces, DON’T cut the fold on the pockets. You will need to cut the fold on the leg gusset since the orientation of the leg gusset has changed. The leg gusset will be sewn back together in the proper orientation. For the remaining pieces, the process of cutting is the same as for the original pattern.
Sewing Process
Now that all the pieces are cut out and ready, the sewing can begin. First, you will need to sew the leg gusset piece together with a flat felled seam or a faux flat felled seam. After sewing the leg gusset together, you can then proceed as directed in the sewing instructions.
After the shorts are fully constructed, you will need to hem the shorts. I tried on my shorts and played around with how long I wanted the inseam to be. I decided on an inseam length of 7″. Due to the slight angle in the leg gusset, I was unable to simply turn up the hem and sew because the hem would not lay flat. At this point, I could have cut off the excess length, but since I wanted a wide hem, I needed to find a solution. After a bit of research and thinking about my finishing option, I decided to open the inseams as you would if you were shortening tapered pants.
To do this, I unpicked the inseam seams to about 1/2″ shorter than my desired hem width. I used a 2″ hem with an additional 1/2″ turned under to conceal the raw edge so I unpicked 2″ of the inseam. The wide hem could then be spread apart so that it would lay flat. To finish the seams, I pressed the raw edge toward the wrong side by 1/2″ and then again by 2″ and pinned the hem in place. Then, I folded and pressed the seam allowance of the split inseam toward the wrong side and pinned them flat. If you know from the beginning how wide you would like your inseam to be, you could stop your inseam seam at the appropriate point.
Once the hem is pinned, you can edgestitch the hem in place. When you reach the gaps at the inseam, just continue sewing so that it looks like a continuous seam from the outside. Then, finish the splits by hand-stitching each edge down. I used a blind hem stitch so that it would not be visible from the right side.
After the hem is finished you can give your shorts a final press and you’re done! I’m very pleased with my finished Jones Trouser Shorts and I will definitely be getting lots of wear out of them this summer. Please let me know if you have any questions about the process for hacking the pattern – email emily@goldfinch.limited or reach out on IG @goldfinchtextilestudio. I look forward to seeing more Jones Trousers Shorts in the world. Be sure to tag me on IG if you post your version. I love seeing your makes!!
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.
