Category: Pattern Design

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Bias Shift Top Tester Showcase

I’m grateful for the warm welcome the Bias Shift Top has received. It’s been fantastic to see versions already made by sewists, and I particularly enjoy seeing everyone’s unique interpretations of the pattern.

While Instagram is a great place to share your projects, posts can sometimes get lost, and the hashtag feature doesn’t work as it used to for someone trying to research a pattern. Because of this, I like to gather all my testers’ makes into one dedicated blog post. My aim here is to highlight and showcase the amazing versions our pattern testers created, offering a helpful resource when you’re selecting a size or considering fabric choices for your own Bias Shift Top.

Without further ado and in no particular order, here are the tester versions of the Bias Shift Top:

Bean | Bust: 36″, Waist: 31″, Hips: 37″ | Size D

Bean made 3! versions of the Bias Shift Top during the testing period. Version 1 is made from a light-weight cotton stripe; Version 2: lightweight cotton seersuck stripe; Version 3: mid-weight 9 oz. cotton slub knit. Bean selected her size based on her bust measurement.

Katrina | Bust: 53″, Waist: 48″, Hips: 59″ | Size N

When selecting which size to make, Katrina split the difference between her bust (size M) and hips (size O). She used lighter mid-weight cotton fabric to make her version.

Angela | Bust: 44.75″, Waist: 42″, Hips: 50″ | Size I & J

Angela made two versions of the top during the testing period: Size I & J. She used handkerchief cotton shirting and quilting cotton.

Lora | Bust: 42″, Waist: 39″, Hips: 50″ | Size G

Lora made her Bias Shift Top out of a beautiful soft floral cotton. Her size selection correlated with her bust measurement.

Rebecca | Bust: 34.5″, Waist: 29″, Hips: 37.5″ | Size C

Rebecca made View 1 of the Bias Shift Top in embroidered cotton. Rebecca selected her size based on her bust measurement.

Stephanie | Bust: 40″, Waist: 35″, Hips: 39″ | Size F

Stephanie made two versions during the testing phase, using a blue linen blend (midweight) and a floral polyester charmeuse. Stephanie selected her size based on her bust measurement.

Rhythm | Bust: 34.5″, Waist: 27″, Hips: 35″ | Size C

Rhythm made the final version of her Bias Shift Top out of a hand-tied and dyed rayon fabric. Her size selection correlated with her bust measurement.

Elizabeth | Bust: 43″, Waist: 38″, Hips: 45″ | Size H

Elizabeth made two versions of the top during the testing phase. For the first one, Elizabeth used lace inserts (that highlight the faux raglan seams) to extend the width of her fabric. The second was made from cotton in a fun print. Elizabeth selected her size based on her bust measurement.

Christina | Bust: 44″, Waist: 39″, Hips: 49″ | Size H

Christina used a lightweight cotton lawn to make her Bias Shift Top. Christina used her bust measurement to select her size.

Jamie | Bust: 35.5″, Waist: 29.5″, Hips: 38.5″ | Size D

Jaime made her final test version out of black 100% cotton crinkle crepe. All of the top stitching was done by hand with heavier-weight thread, which really highlights the faux raglan seams. Jamie’s bust measurement is between sizes, so she sized up.

Ella | Bust: 38″, Waist: 32″, Hips: 40.5″ | Size E

Ella used a plain weave linen to make her Bias Shift Top and based her size selection on her bust measurement.

Erica | Bust: 32″, Waist: 25″, Hips: 35″ | Size B

Erica made her top out of a linen, ramie, cotton blend. Erica selected her size based on her bust measurement.

Joana | Bust: 87 cm, Waist: 72 cm, Hips: 93 cm | Size C

Joana’s Bias Shift Top is made from a light cotton-poly blend. Joana’s size correlates with her bust measurement.

Lorraine | Bust: 38″, Waist: 33″, Hips: 44″ | Size E

Lorriane made a couple of versions during the testing period. She used a drapey, thin, synthetic, and stiff quilting cotton. Lorriane’s bust measurement was between sizes so she sized up when selecting which size to make.

Catherine | Bust: 40″, Waist: 36″, Hips: 47″ | Size G

Catherine used a washed rayon for her Bias Shift Top. The fabric is very soft and drapey.

Pippa | Bust: 99 cm, Waist: 87 cm, Hips: 107 cm | Size F

Pippa made her version out of a viscose twill fabric. Pippa’s bust measurement put her between sizes, so she sized up.

Grace | Bust: 48″, Waist: 44″, Hips: 50″ | Size J

Grace used a lightweight linen to make her Bias Shift Top. Grace selected her size based on her bust measurement.

Kelly | Bust: 46″, Waist: 37″, Hips: 44″ | Size I

Kelly used a woven Lyocell fabric to make her test version. Kelly selected her size based on her bust measurement.

Christina | Bust: 39″, Waist: 44″, Hips: 49″ | Size I

Christina sized up based on her waist and hip measurements. She made two versions during the testing period. The one shown below was made from a stretch chiffon.

Evonne | Bust: 34.5″, Waist: 31″, Hips: 38″ | Size C

Evonne selected her size based on her bust measurement. She used a cotton sateen fabric for her test version. Evonne added a pleat detail at the sleeve openings to reduce the sleeve width (this issue has since been addressed).

Amanda | Bust: 118 cm, Waist: 103 cm, Hips: 128 cm | Size I

Amanda made her Bias Shift Top out of a viscose linen blend. Amanda selected her size based on her bust measurement.

Jude | Bust: 100 cm, Waist: 95 cm, Hips: 110 cm | Size blended H & I

Jude selected her size based on her shoulder measurements. Jude graded between a Size H and I (directions to do this are included in the instructions). She used 100% cotton fabric to make her top.

Hayley | Bust: 38″, Waist: 32″, Hips: 44″ | Size E

Hayley used a cotton lawn to make her Bias Shift Top. Hayley selected her size based on her bust measurement.

Libby | Bust: 33″, Waist: 31″, Hips: 40″ | Size D

Libby was between sizes and chose to size down. She made her top from lightweight linen.

Grace | Bust: 46″, Waist: 40″, Hips: 47″ | Size G

Grace sized down when making her Bias Shift Top. She used an 85% viscose, 15% linen woven fabric.

Stephanie | Bust: 99 cm, Waist: 85 cm, Hips: 113 cm | Size blended F & G

Stephanie graded from Size F to a Size G Hip according to the instructions given. She used a Nani Iro double cotton gauze fabric for her version.

Kerry | Bust: 38″, Waist: 29″, Hips: 40″ | Size E

Kerry used a medium-weight linen to make her Bias Shift Top. Kerry based her size selection on her bust measurement.

Rosa | Bust: 39″, Waist: 44″, Hips: 54″ | Size K

Rosa made View 1 out of cotton fabric. Rosa’s bust measurement put her between sizes, so she sized up.

Shirley | Bust: 32.5″, Waist: 26″, Hips: 36.5″ | Size B

Shirley selected her size based on her bust measurement and made her version out of cotton.

Thank you again to my amazing group of testers! The pattern-making process would not be complete without them, and I’m so appreciative of everyone’s willingness to share their time and creativity with me.

If you have any questions about size selection or fabric when making your Bias Shift Top, don’t hesitate to reach out to me – emily@goldfinch.design.

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Introducing the Bias Shift Top


The Bias Shift Top is designed to be an easy-wearing, everyday top. It is a uniquely constructed, minimal-waste design that transforms a single square of fabric into a beautifully draping bias-cut top. The pattern offers two distinct views for effortless everyday wear: View 1 features a cinched front waist for a defined silhouette, while View 2 provides a classic, simple style. 

Bias Shift Top PDF Pattern

This pattern has been in the making for a long time. I’ve always been fascinated by bias-cut garments, especially skirts. Still, I often avoided making them because they typically require a large amount of fabric and generate a surprising amount of waste.

A couple of years ago, after seeing Liz Haywood create a bias tube, I began experimenting with a similar concept. I took some linen from my stash to make my own version. I can’t remember the exact dimensions of the fabric, but it was probably around 1.5 yards of 57″ wide fabric. At the time, I didn’t have a full grasp of the math required to determine the size of the bias tube that would result from my piece of fabric – I was winging it. However, I was able to cut a sleeveless dress out of the resulting bias tube.

Playing with this concept got me very excited about the possibilities of bias-cut garments made from a bias tube. This led me to try and figure out how to mathematically determine the length and width of the bias tube, based on various starting fabric measurements. Lots of mini-paper models and spreadsheets later, I was able to determine the fabric dimensions needed to create bias tubes suitable for multiple garment sizes.

The Bias Shift Top is the result of this exploration. I’ve been craving simple, foundational pieces that are still interesting to create. This pattern is straightforward and complex at the same time, resulting in a beautiful, easy-wear garment. It’s also a relatively quick make that features clean finished seams throughout, but if you prefer to use different finishing methods than those instructed, you are welcome to do so.

The construction process is divided into three phases: Constructing the bias tube, cutting out the pattern pieces from the bias tube, and garment construction. There are three options for cutting out the pattern pieces: drafting directly to the fabric, using full-scale printable pattern pieces (available for print-at-home and A0/Copyshop), and using projector files. If you are finding it difficult to wrap your head around the construction process of the bias tube, creating a mini-paper model can be helpful (you can find directions for making one in the Instruction Booklet).

Once you understand how the bias tube comes together, you can start experimenting with the concept. Piecing different fabrics together to make your Base Square, modifying the side seams to create an A-line version, and experimenting with various fabric types – there are many ways to explore the Bias Shift Top.

Bias Shift Top PDF Pattern

I look forward to showcasing the amazing version that my testers created. I had a fantastic group of testers who helped bring this pattern to the finish line – thank you!! I will be highlighting their makes in a blog post soon. And I’m excited to see more Bias Shift Tops out in the world. Use the hashtags #BiasShiftTop and #GoldfinchBiasShiftTop and tag me @goldfinchtextilestudio if you post to social media. If you have any questions about the Bias Shift Top, please don’t hesitate to reach out to me – emily@goldfinch.design.

Happy Making!

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Beyond the Scraps: Why I Design and Sew with Zero-Waste Patterns

The fashion industry’s staggering waste problem is a major concern, with textiles contributing significantly to overflowing landfills. The sheer volume of textile waste generated can feel overwhelming. While recognizing that individual sewing practices represent a very small fraction of this overall issue, many sewists, myself included, are drawn to zero-waste sewing as a tangible way to make a positive impact. It’s a way to feel more connected to the materials I use and to create with intention. But beyond the environmental aspect, there are so many other reasons why I choose to design and sew with zero-waste and minimal-waste patterns.

Zero-waste patterns from left to right: Pierce Shirt, Lettie Skirt, Eddie Smock

What is Zero-Waste Pattern Drafting?

Zero-waste pattern drafting and cutting considers fabric waste and fabric consumption from the beginning stages of the design process, with the goal of eliminating as much textile waste from the project as possible. The pattern pieces are interlocking, so less fabric is used and wasted. While achieving true zero-waste (accounting for thread ends, seam allowances, etc.) is nearly impossible, these techniques significantly reduce waste.

Zero-waste pattern layout of a button-up tunic

It’s important to understand that reducing waste in sewing can take many forms. Even with traditional patterns, careful layout (like “pattern Tetris”) and creative scrap utilization (for kids’ clothes, pocket linings, bias binding, patchwork, stuffing, etc.) are valuable practices.

However, zero-waste pattern drafting takes the guesswork out of efficient fabric use. The pattern is designed from the outset to minimize waste, eliminating the need to puzzle pieces together. Any remaining fabric is typically in easy-to-use rectangular shapes.

My Approach to Zero and Minimal-Waste:

Pattern designers’ definition of zero-waste varies, with many designs being based on the full width of a standard bolt of fabric. Within in my designs, the “required fabric” is the amount needed to create your selected size, not the entire width of the fabric. This process allows for a more comprehensive size range in my designs while reducing fabric consumption and waste. In most cases, you will have a few remaining rectangles of fabric after cutting out your pattern. These pieces can be saved and easily used for future projects, mending, color-blocked garments, patchwork, or quilts.

For me, prioritizing a wider size range and creating wearable garments is more important than rigidly adhering to using the entire fabric width. A garment that doesn’t fit or isn’t worn ultimately creates more waste. My goal is to always use less fabric than traditional patterns require.

Left: Jones Trousers shorts pattern hack pinned to the fabric and ready to cut out. Right: Jones Trouser shorts.

Why Do I Design Zero-Waste Patterns:

Beyond reducing my environmental impact, I’m drawn to zero-waste design for several key reasons: drafting directly to the fabric (no printing required), cost savings, reduction of fabric scraps, and the challenge of trying to figure out different ways to design a garment.

Drafting Directly to the Fabric: For me, drafting the pattern directly to the fabric is a huge benefit of zero-waste sewing patterns. Not having to print and assemble a pattern saves me a lot of time and resources. I can get to sewing faster because I’m not messing with piecing a PDF pattern together or tracing a pattern from a copyshop print. But, I know for many this feels like an overwhelming task because they are not familiar with the process or their brains don’t think in the same way that mine does. For this reason, I like to provide a printable version of the pattern layout when possible, and depending on the complexity of the design, printing the pattern layout is required.

Cost Savings: It’s a common misconception that zero-waste patterns require more fabric and therefore cost more. While some designers may work that way, my goal is to reduce fabric usage. Zero-waste pattern drafting prioritizes efficient fabric utilization, often requiring less fabric overall, especially for simpler designs. This is a major advantage, particularly when using expensive fabrics. Unlike traditional patterns with often generous fabric requirements (leaving you with excess even with efficient layouts), zero-waste patterns eliminate fabric guesswork.

Scrap Reduction: While there is no true zero-waste practice, the reduction of random scraps is a huge benefit for me. The majority of my fabric remnants and scraps are rectangles or squares. This makes them easier to store and easier to use for future projects. Fabric remnants and scraps can become a heavy burden to the maker. You need to have a place to keep them, you need to have time to sort and use them. If you don’t want to keep them, you have to figure out what to do with them – do you find someone who wants to use them, donate them to a school, recycle them, etc. All of this takes time and mental energy. Not having to engage in this is a huge benefit for me. While I still have scraps from seam trimming and thread ends, my overall scrap accumulation is much less when I use zero-waste patterns as compared to sewing a traditional pattern – even when I lay the pattern out efficiently.

Left: Scraps that remain from sewing a zero-waste top
Right: The off-cut from the original width of fabric

Creative Thinking: Zero-waste pattern cutting requires a different way of thinking about garment construction. It encourages creative problem-solving and can push you to learn new techniques and explore innovative design solutions. It’s a excellent way to stretch your sewing skills and expand your creative horizons. This process is a big bonus for me. I love the challenge of thinking about how something could come together in a different way. Introducing people to new ways of thinking about how a garment can come together is very rewarding.

Zero-waste Sewing Patterns

My hope is that zero-waste patterns become a valuable tool in your sewing practice, enhancing your skills and creativity, rather than replacing your existing sewing practice. By exploring this alternative approach, you’ll expand your knowledge and skill set, gaining valuable insights that can be applied to all aspects of your sewing. While “zero-waste” may represent an ideal rather than a perfect reality, its core principles offer substantial benefits for both the environment and the sewist. From resource and cost efficiency to fostering creativity and easier scrap management, embracing minimal-waste and zero-waste patterns is a rewarding way to approach sewing.