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.design. 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.design 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!!
Liz Haywood recently released her latest pattern, the Petrea Dress and Blouse. Both views feature a Peter Pan collar with pin-tucks at the front and back, a button front, and a semi-circular back yoke. The fit is intended to be loose fitting and flare out from the tucks. The dress version is zero-waste, features inseam pockets, and the blouse version is low-waste and has patch pockets. I have been excited about this pattern ever since Liz began showing previews of it last year. The way in which she incorporated the curved collar into the zero-waste layout is so intriguing to me and the pin-tuck detail elevates the blouse without being too fussy or frilly.
I had the pleasure of sewing up the blouse version for myself. I made size 36 as my bust is 36″. The pattern recommends selecting your size based on your bust measurement and sizing up if you are in between sizes. I did make a few adjustments to the pattern based on my preferences and my fabric length.
I decided to shorten my version for a couple of reasons. The first reason is that I am 5’4″ tall so the finished length of 26 3/8″ was longer than I wanted for this particular garment. After drafting my length changes to trace paper I realized that the fabric that I intended to use was the exact length I needed once the blouse was shortened – it felt meant to be. I used Japanese Cotton Double Gauze in lavender from Stonemountain & Daughter Fabrics. This pattern is a great opportunity to use narrower-width fabric that is sometimes more difficult to use with zero-waste patterns.
The pattern offers two ways to transfer the pattern to your fabric, you can print the pattern pieces or draft them yourself directly to the fabric or to paper first. Liz does provide the templates for the curves and the tuck positions. I chose to draft my pattern on Swedish Tracing Paper first. The instructions walk you through this process and the only thing that I adjusted was the length. I shortened the given dimensions for the front and back pieces by 4″.
Once my size was transferred to tracing paper, I was able to layout my fabric as directed and cut out the pieces. I managed to make one cutting mistake at this point. I accidentally cut the back into two pieces instead of leaving the piece whole (I just sewed it back together with a small seam allowance). The instructions are clear, but I would definitely recommend reading through them a couple of times before cutting just to make sure you understand how to cut the pieces correctly.
I took my time while sewing up the blouse as there are a few steps that need a little extra attention. Pin-tucks are something that I have never sewn before and with Liz’s template, they were a breeze to mark and sew. I appreciate that the finished width was provided so you can check to make sure your piece is going to fit into the collar. Liz also provides tips for fixing your tucks if your pieces ended up not being the right width. I also enjoyed the process of sewing in the back yoke. I love how all the pieces come together to make a whole and the hand-sewn interior yoke looks so nice and clean.
Because I shortened the blouse, I decided against adding the pockets. I will save these rectangular cutoffs for a future project, although I did consider turning them into bias binding to finish the neckline. Once the blouse was finished I chose to add faux raglan seams as directed in the instructions to reduce the amount of fabric that the armholes. I made sure to first baste these seams to check their position before sewing them in. I’m glad I took the time to add these seams as they help the blouse lay better at my shoulders and add a cute design element to the blouse.
The Petrea Blouse was such a pleasure to sew. Slowing down and taking my time to make something a bit more intricate was a good change of pace. I love a zero/minimal waste pattern that is not obviously zero-waste. The details of the Petrea Dress and Blouse, from the pattern layout to the sewing construction, make for a fun and satisfying project and finished garment!
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.design. 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.
Every time I go through the testing phase of pattern design, I’m hopeful but also nervous about how the process will go. It can be a bit nerve-wracking having your work looked at for the first time after you have been staring at it for months. One of the points of pattern testing is having help finding any errors in the instructions and drafting but also seeing the finished garment through the eyes of other makers besides myself. I love seeing all the different types of fabric used, modifications made to suit one’s body & preferences, and overall interpretation of the design and how it is styled.
During the testing phase, it was discovered that the sleeves for view 1 were too short. You will notice that for some testers their long sleeves are a bit short but still wearable. Some testers took this as an opportunity to make a few mods to the sleeve finishes. The sleeve length has since been adjusted.
Below is a look at the testers’ makes. I have included all the testers’ measurements, the version made, and if they had any potential plans on how to use any remaining fabric from the project.
Ambrosia made View 1 out of a lightweight slubby cotton plaid. She made size C in the D-cup range and lengthened the dress by 3″. Ambrosia plans to wear the Eddie Smock not only as a dress but as a layering piece and a duster/light jacket. Due to the fabric width that she started with, she had very minimal fabric remaining and will probably use the scraps for stuffing.
Michele was my first test fitter. She was instrumental in helping me through the early phases of hashing out the B-Cup & D-Cup ranges. Michele made two versions and with each, she went “off-road” a bit to make the garment work for her. Here she made View 1 in the B-cup range (even though she is a D-cup) to see how much the garment would rise in the front. It did rise, but she is not bothered by this. Michele included plenty of personalized details throughout the smock by adding details to the pockets and the neck facing.
Christina made View 1, size C in the D-Cup range without any modifications. She used light-to-midweight cotton to make her version. Christina used bias binding to finish her sleeves since they ended up being a bit short for her. Her version shows how view 2 sleeves would look with view 1 body. Christina plans to wear her version as a dress, but also as a duster/layering piece. Christina made a Pearl Head Scarf by Spaghetti Western Sewing with her remaining fabric.
Rebecca used 5.3oz softened linen to make View 2. She didn’t make any modifications to the pattern layout. When deciding how wide to make her sleeve openings, Rebecca made sure they were wide enough that she could easily layer a long sleeve shirt under the tunic. Rebecca plans to use her remnant fabric to make a Thread & Sprout nature top and/or pillowcase.
Jess made View 1, size H in the D-cup range. She didn’t make any modifications to the pattern. Jess used a poly-viscose to make her dress. Her pockets ended up being a bit short so that was something that I was able to adjust in the final pattern layout. She had a long, thin piece of fabric remaining that she thought could be made into a variety of accessories – a hairband, scrunchies, hair ribbon, wrapped on chunky hoop earrings, etc.
Bean made two versions of view 3, each with a different sleeve length. She was able to play with the pattern layout and made adjustments to make a version with 3/4 sleeves and one with long sleeves. I love that she was able to take the concept of the pattern and tweak it to work for her preferences and the fabric that she had on hand. Bean had a great idea of making a removable collar with some of the remaining fabric.
Nele made View 3 out of a very flowy, lightweight fabric. She made size B in the B-cup range without any modifications. While the shifty fabric was a bit more difficult to cut out, the finished blouse is lovely. Nele had minimal fabric remaining as she had previously used some of the fabric and she was able to get the pattern layout in the remaining piece.
Frankie made View 1, Size C, in the B-cup range. They used yarned-dyed cotton to make their version. Frankie only made modifications to adjust the layout to accommodate the slightly smaller fabric width. Frankie plans to use the garment as a layering piece. They had remaining fabric from the total cut and have already made a Pearl Head Scarf by Spaghetti Western Sewing.
Jini Kai made View 2 out of lightweight linen. She made size E in the D-Cup range without any modifications. She chose to make her side ties from the remaining bias binding instead of using the provided pattern piece for the side ties. Jini Kai had minimal fabric remaining once the project was complete. She recommends making patchwork clothing with the scraps a la this patchwork clothing tutorial from Elbe Textiles.
Eowyn made View 1 in size B, B-cup range. She used a piece of thrifted yarn-dyed cotton plaid to make her dress. Due to the shorter sleeves during the time of testing, Eowyn decided to finish her sleeves with bias-binding ties. She also chose to position her patch pockets in the front of the dress instead of on the sides. Eowyn plans to use any remnant fabric for toy-making projects.
Erika made View 1 out of fine corduroy fabric. She made size A in the B-cup range. She adjusted the layout slightly by placing the side tie pattern piece in the horizontal direction because her fabric was only 43″ wide. Erika had 11.5″ of fabric remaining and she is considering making a fanny pack with it.
Beth chose to make View 1 out of heavier-weight linen. She sewed a size D in the B-Cup range. She changed the length to accommodate her height and also moved the pockets up to better work for her. Beth is going to wear the dress for a bit and decide if she wants to shorten the ties some and/or add more buttons.
Amanda made View 3 out of cotton shirting. She made size E in the D-Cup range. She didn’t make any adjustments to the pattern layout. Amanda decided to leave off the buttons for now and use the blouse as a layering piece. I also love how she styled the blouse by crossing over the front panels and tucking them in. Amanda plans on incorporating the small amount of remaining fabric into a patchwork project that she is currently working on.
Laurie used a heavier-weight mystery fabric from their stash to make View 1. They chose to make size D in the D-Cup range. Laurie’s measurements put them directly between two sizes in the bust. They chose to size down and in the end, they think that sizing up may be the better option, especially in a heavier fabric. Laurie plans to use this Eddie Smock as a duster. With the small amount of remaining fabric, they thought adding a ruffle or collar to the smock would be a good option.
Jeanne chose to make View 2 out of cotton lawn. She made size D in the B-cup range. Jeanne adjusted the length of the overall smock (shortened by 4″) and the length of the sleeves by 2″. Due to her length adjustments, she was able to make her pockets out of one piece instead of piecing two together. She also positioned her patch pockets in the front of the tunic inside of the sides.
Chris made View 1 in size C, B-cup range. She chose a cotton/linen blend with a fairly loose weave. She adjusted the overall length and the sleeve length to accommodate her height, but the sleeves still end up being a bit short for her. Her sleeves ended up being 3/4 length with bias bound placket and edge. Chris will use the remaining fabric for pocket facings, etc.
Andrea reused an old linen bedsheet to make her version of the Eddie Smock. She sewed her version in a size D using the B-Cup range. Andrea used 3/4 length sleeves and chose to leave them un-gathered. Andrea experimented with different ways to tie her smock.
Lucy used lightweight denim to make View 2 of the Eddie Smock. She sewed a size D in the B-cup range, with 4″ of length to accommodate her height. Lucy plans to wear the smock as a utility type of garment and she chose to include visible topstitching to enhance this look. She had about a 4″ wide strip of fabric remaining and she plans on using it for patchwork projects.
Dani made View 2, size E in the D-cup range. She used a cotton bedsheet as a toile and plans to use it as a painting smock and she plans on adding 4 large buttons to close it over her clothes while painting, etc. Dani didn’t make any adjustments to the pattern layout. Dani is considering making a denim version for gardening with extra pockets. She plans on making more continuous bias binding with her remaining fabric.
I hope seeing all the testers’ versions is helpful when you are planning your own version. While the Eddie Smock is not intended to be an overly fit garment, it is helpful to review the finished garment measurements and make adjustments as needed. Please don’t hesitate to reach out to me via email if you have questions about selecting your size – emily@goldfinch.design.
Once again, thank you to all my amazing testers! Going back through all the photos has me feeling so grateful for everyone who is so willing to help make sewing patterns better.
I’m thrilled to introduce you to my latest zero/minimal waste PDF sewing pattern – the Eddie Smock. The Eddie Smock is a garment that can be worn in many ways; from a fashionable, everyday piece to a functional, utility garment. It is an effortless garment staple with a loose-fitting, A-line silhouette that can be worn fully buttoned or easily layered over other garments to complete an outfit. The Eddie Smock is designed using zero-waste pattern-cutting techniques and features modular pattern pieces that come together to create a whole. The pattern is drafted directly to the fabric using the provided pattern layouts as a guide.
The Eddie Smock was inspired by the classic artist smock. It is a practical garment, that is comfortable, flexible, and functional. The smock is a canvas for the expression of the individual sewist that provides freedom of movement and everyday practicality. You may choose to wear your smock as a fashionable dress or use the tunic as a gardening smock – there is a multitude of ways to wear the Eddie Smock.
The Eddie Smock comes in 3 views – dress, tunic, and blouse. There are 10 sizes ranging from bust/chest: 30”-70” (76.2-178cm) and hips: 32”-72” (81.3-183cm). The pattern is drafted for both B-Cup and D-Cup for all sizes. The pattern is designed to be sewn with light to mid-weight woven fabrics with no stretch; such as linen, cotton (poplin, lawn, gauze, chambray), silk noil, rayon or viscose, Tencel, mid-weight twill or light denim or canvas, etc (3-7oz/square yard | 102-238 GSM).
All views of the Eddie Smock feature slightly dropped shoulders, a button front, an inverted back pleat detail, and a bias-bound shirttail hem. View 1 is dress length with long, gathered sleeves with a button cuff, side tie detail to cinch at the waist or tie in the back, and patch pockets at the sides. View 2 is tunic length with ¾ length, gathered sleeve with a visible bias-bound edge, side tie detail to cinch at the waist or tie in the back, and patch pockets at the sides. View 3 is a blouse with short sleeves.
At some points throughout the design and development of this pattern, it felt as if the pattern had a mind of its own. The design began as a dress, but early in the development phase, I made a sample to test out a different neckline using of a piece of fabric that was shorter than the required length and so became View 2. Upon discovering that I liked the tunic length, I set out to add a blouse version. Due to the zero-waste pattern layout, each view has a different sleeve treatment. The components of each view/layout can be mixed and matched with a bit of creative planning. I plan on digging deeper into these potential adjustments in the near future.
Another design element that evolved over the course of the design process was the B-Cup and D-Cup size ranges. I knew I wanted to offer these options, but with a zero-waste layout, I wasn’t sure of the best way to go about it. I spent a lot of time researching and thinking about the different options. I asked myself “Could darts be added? How?” and “Was the idea even necessary with the amount of bust/chest ease?” In the end, I determined that I could keep the shoulder the same dimension for the B-Cup and D-Cup and change the bust ease to allow for a curvier fit of the D-Cup range. To do so, I needed to change the angle of the side panel. All of this is to say that, this project involved a lot more math than I expected. It was a fun challenge, but I’m so happy to be past that point.
I would like to thank my pattern testers for all their help in bringing the Eddie Smock pattern to the next level. Every time I go through the testing phase of pattern development, I’m blown away by the testers’ willingness to commit their time and energy to help me work out any issues the pattern may have. I’m looking forward to sharing their versions over the next few weeks, both on Instagram and the blog.
I have filmed a sew-along that I am in the process of editing. I will let you know once it’s up on my YouTube channel. I’m also looking forward to exploring a few hacks/modifications that I have been thinking about.
I’m looking forward to seeing everyone’s versions of the Eddie Smock. Use the tags #GoldfinchEddieSmock #EddieSmock 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.design. Thank you for your support!
Hello, Hello! It has been a bit of a whirlwind with the release of the Jones Trousers. I have been blown away by the response to the pattern! I wanted to take a moment and highlight the pattern tester makes. I am beyond grateful for the time and effort that everyone put into testing this pattern, as it was essential to making this pattern the best that it can be. It’s also important for you to be able to see the pants on a variety of bodies and see what kind/if any modifications were made to achieve the desired fit.
Michele selected her size based on her hip measurement. Due to the difference at the waist, she put in additional back darts to help bring in the waist. Her pants are made from heavy-weight linen (7oz). Michele noted how confident she felt while wearing them!
Alexis chose her size based on her waist measurement. She made her pair out of a light-weight corduroy (which does require a bit of preplanning before cutting). She eliminated the belt loops and back pockets.
Alyx chose to size down and make Size A based on the finished garment measurements. She used a denim cotton twill to make her trousers. She eliminated the back pockets and cuffs.
Tracy made a toile out of a bedsheet to test the fit. She found that the pants were very comfortable, but the pocket openings were too small. I was able to address this issue for the final pattern.
Cindy: Waist – 27″ Hip – 37″ | Size made: D | @the_sew_sew
Cindy’s waist was a size C and hips were a size E so she made size D. She was able to modify the waist easily and the hip ease made it great to size down. She took 1″ in on the waist through back darts and side seams. Cindy made her pair out of 6 oz. denim.
Morgan chose to make a Size Q based on her hip measurement. Due to the difference between her hip and waist measurements, she made the side seams curve inwards and also made the back darts wider. Her version is made from a heavyweight cotton blend.
Erika: Waist – 25″, Hip – 34″ | Size made: A | @eruthd
Erika made a Size A and chose her size based on her waist measurement. She found that she still had plenty of ease at the hips when using the waist measurement to select a size.
Rebecca’s measured exactly in Size E. She made her version out of ventana twill and did not make any modifications to this pair.
Andrea: Waist – 35.8″/91 cm, Hip – 41.7″/106 cm | Size made: H | @andreawedley
Andrea’s measurements put her in two sizes – I for the waist and H for the waist. She chose to make a straight size H and due to the elastic back she was able to make that size work well for her. She made her final pair out of a linen-viscose mix.
Kathe measures across 3 sizes. After discussing the options, she decided to make a pair based on her hip size and make adjustments to the waist. She did eliminate the back darts to accommodate the difference at the waist. Her pair is made from a lightweight denim cotton.
Mandy: Waist – 37”, Hip – 49” | Size made: K | @handmademandy
Mandy’s measurements put her across a couple of sizes. She chose to sew Size K which is closest to her hip size. She made no modifications to Size K and made the pants out of linen.
Jessica: Waist – 27″ Hip – 35″ | Size made: C | @jess.sews.stuff
Jessica’s measurements put her right at a Size C. She added 1″ to the front and back rise and removed 1″ from the front and back pant leg. She considered her seated hip measurement and expected range of motion when choosing a size and looked at the finished measurement chart to compare.
Amanda: Waist – 39.4″/100 cm Hip – 49.7″/126cm | Size made: K | @queen_ambrosia_
Amanda’s measurements put her between a Size K and Size L . After playing around with the traced pattern pieces she decided on a K. She used a drapey eucalyptus/linen/cotton blend.
Lenzy’s waist and hip fell into two different sizes. She selected a size based off of her hip measurement and adjusted the waist by increasing the darts and pleats, and the side seam allowance from the hip to waist. She also shorted the legs to accommodate her height. Her version is made from slub linen.
Jess made a Size P based off of her hip measurement. For her next pair she plans on grading the waist so there is less excess fabric in the back.
Laila: Waist – 42.9″/109cm Hip – 53.4″/137cm | Size made: M | @La.ila.creates
Laila made a Size M based off of her hip measurement. To adjust for the waist difference, she made the back darts each .75″/2cm wider (but kept the length the same) and tapered the center back seam to .75″/2cm at the waist.
Carolyn: Waist – 30” Hip – 34.5” | Size made: B | @Carolynchen403
After making a toile, Carolyn noted some adjustments that she wanted to make. She made leg gusset smaller and made front pleat a little smaller to accommodate for a larger waist measurement my larger waist. She also took in more at center back to work better with her body.
Hopefully seeing all the different sizes is helpful for you when picking a size for your Jones Trousers. You can see that the pattern is pretty forgiving in terms of fit. You may select your size based on your hip or waist measurement or in between. Be sure to refer to the finished garment measurements when selecting a size to be sure you are happy with the amount of ease.
Once again, thank you to all my amazing testers! Going back through all the photos has me feeling so grateful for everyone who is so willing to help making sewing patterns better. If you have any questions about selecting a size please don’t hesitate to reach out to me: emily@goldfinch.design.
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.design. 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.design 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.design. Enjoy!
