Category: Slow Fashion

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Guest Post: Eddie Smock Sweater Hack

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.

What you’ll need: 

– Eddie Smock PDF Pattern

– 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!  

Eddie Smock PDF Sewing Pattern

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.

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Introducing the Lynn Vest

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.

Lynn Vest PDF Pattern – 15% off until Sept. 17th

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

Lynn Vest PDF Pattern
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Jones Trousers Shorts Hack

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.

Jones Trousers PDF Sewing Pattern

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!!

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Eddie Smock Hack #1: How to make View 1 with a V-neck, short sleeves, and elastic back

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.

Eddie Smock PDF Sewing Pattern

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).

This image has an empty alt attribute; its file name is PXL_20230320_131527499.PORTRAIT-1-861x1024.jpg

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.

Happy making!

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Eddie Smock Tester Makes

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: Chest/Bust – 40″, Hips- 41″, Height – 5’9″ | View 1, Size C, D-CUp | @ambrosiakramer

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: Chest/Bust – 47.5″, Hips – 55″, Height – 5’2″ | View 1, Size E, B-Cup | @handmadelife.knit.sew

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: Chest/Bust – 40″, Hips – 47″, Height – 5’9” | View 1, Size C, D-Cup | @ccmadethat

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: Chest/Bust – 34″, Hips – 37″, Height – 5’3″ | View 2, Size B, B-Cup | @rebeccacreechcreates

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: Chest/Bust – 58”, Hips – 62”, Height – 5’6″ | View 1, Size H, D-Cup | @jessicarosesews

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: Chest/Bust – 35.5″, Hips – 36.5″, Height – 5’5″ | View 3, Size B, B-Cup | @sewsoybean

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: Chest/Bust – 34.5″, Hips – 39″, Height – 5’7″ | View 3, Size B, B-Cup | @cornelia_np

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: Upper bust – 36.5″, Full bust – 34″, Waist – 33″, Hip – 43″, Height – 5’7” | View 1, Size C, B-Cup | @gaseous.gay

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: Chest/Bust – 48″, Hips – 49″ | View 2, Size E, D-Cup | @jini.kai

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: Chest/Bust – 34″, Hips – 36″, Height – 5’5″ | View 1, Size B, B-Cup | @mr.and.mrs.rat

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: Chest/Bust – 32″, Hips – 34″, Height – 5’6 | View 1, Size A, B-Cup | @ricky_sews

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: Chest/Bust – 48″, Hips – 49″ | View 1, Size D, B-Cup | @bettiegee

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: Chest/Bust – 50″, Hips – 49″, Height – 5’5” | View 3, Size E, D-Cup | @Mandabe4r

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: Chest/Bust – 49″, Hips – 52″, Height – 5’5″ | View 1, Size D, D-Cup | @Serendipitystation

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: Chest/Bust – 37″, Hips 50″, Height – 5’2.5″ | View 2, Size D, B-Cup | @prairie_sewn

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: Chest/Bust – 38.5″, Hips – 44.5″ | View 1, Size C, B-Cup | @cnielsenns

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 | View 1, Size D, B- Cup | @andreawedley

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: Chest/Bust – 40″, Hips – 44″, Height – 6’1″ | View 2, Size D, B-Cup | @Lucyjobeeh

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: Chest/Bust – 49.5″, Hips 50″, Height – 5’4″ | View 2, Size E, D-Cup | @maviecreative

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.

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Introducing the Eddie Smock

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.

Eddie Smock PDF Sewing Pattern

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.

Eddie Smock PDF Sewing Pattern

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!

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Jones Trousers Tester Makes

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.

Jones Trousers PDF Pattern

Here is a look at everyone’s makes and sizes:

Michele: Waist – 40″ Hip: 54″ | Size made: M | @handmadelife.knit.sew

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: Waist – 30″ Hip – 42″ | Size made: F | @helloalexisbailey

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: Waist – 26” Hip – 35” | Size made: A | @enderallsews

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: Waist – 59.5” Hip – 59.5” | Size made: P | @cotton_and_seed_handmade

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: Waist – 54″ Hip – 67″ | Size made: Q | @hedgewitchmakes

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: Waist – 29”, Hip – 37” | Size made: E | @rebeccacreechcreates

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: Waist – 36″, Hip – 40″ | Size made G | @tijerashomesewn

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: Waist – 30″ Hip – 40″ | Size made: G | @thepetitepearsews

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: Waist – 48″ Hip – 62″ | Size made: P | @jessicarosesews

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.

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Introducing the Jones Trousers

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).

Jones Trousers PDF Sewing Pattern

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.

Jones Trousers PDF Sewing Pattern

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!

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Simone Overalls: Minimal Waste PDF Sewing Pattern

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.

Buy Simone Overalls Pattern

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.

Here are some of my testers showing off their Simone Overalls. Thank you again testers!! Check them out on Instagram to see more of their amazing work – top row (left to right): @slowsewed, @sarah_seams, @handmademandy, @pockifish – middle row (left to right): @Mogglemakes, @threadandsprout, – bottom row (left to right): @madebyloobles, @tijerashomesewn, @queen_ambrosia_, @jess.sews.stuff

Buy Simone Overalls Pattern

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!

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Xanthea Zero Waste T-Shirt

Liz Hayward from The Craft of Clothes recently released a zero-waste t-shirt pattern – the Xanthea Top. Liz proposed a pattern swap with our latest patterns, as t-shirts and overalls are a perfect combo. I’m not quite done with the Simone Overalls pattern, but I’m looking forward to styling the Xanthea Top with my finished overalls and seeing Liz’s version of both together. It was also perfect timing, as I have been wanting to make some basics for myself and tees were first on my list.

The Xanthea Top is very versatile, as it is designed to be used with knit or woven fabrics and it is drafted up to a 70″ bust. The top has a fun, unique construction, and a slightly boxy fit. The final top hangs on the bias so it has a nice drape. It also has options for short sleeves or long sleeves. Liz provides a printable mockup of the top so you can fully understand the construction before you get started.

Short-sleeved version with neckline for knit fabric
Long Sleeve version with neckline for woven fabric

I decided I wanted to play with and highlight the unique design lines created on the front of the top. It has been a while since I made a handstitched garment so I was excited to jump in again with the Xanthea top. My goal was to use mock flat-felled seams for the body and finish the neckline with a more stretchable stitch. I made a few minor changes to the overall design; including using the woven neckline for the knit version, omitting the sleeves, and taking out a bit at the shoulders.

I made a size 10 based on my body measurements and I’m very happy with the fit. I also made a version out of woven fabric in the same size and while it does fit, I think I may size up for future versions made with woven fabric as it does pull a bit in the shoulder area when I cross my arms. I’m not sure if this is because of my fabric choice or the size, but I will experiment with that further.

The original pattern does not have shoulder seams, but I decided to slightly modify my top by taking out 1.5″ | 3.8cm from the top of the shoulders. To do this, I constructed the top as directed until I got to the step to cut out the neckline. I traced my desired neckline on the fabric and then I measured down 1.5″ | 3.8cm at the side fold (there is no side seam). I made a diagonal cut from this point up to the neckline. I was left with a triangle cutout that I used to create a facing around the armholes.

Shoulder cutout removed and used as facing for armholes

I also chose to use the woven neckline for the top because I wanted a lower neckline. When I cut out the pattern, I cut an additional 1″ |2.5cm strip the same length as the required square. I used this strip as the binding around the neckline. I did have a little bit of this strip remaining and I used this to help finish the facing at the armholes. I used the neckline cutout as a back facing and I really like the detail on the back of the shirt.

The last thing that I changed was to eliminate the sleeves for my knit version because the boxy fit creates cute little cap-like sleeves. As I said above, I used the excess that was cut off the shoulders as the facing for the sleeves. Because there are no shoulder seams, the excess triangle that I cut from the shoulders needed to be cut open so that I could stitch it to the arm opening. I matched the center of this elongated polygon with the top shoulder seam, right sides together, and stitched it to the arm opening. I finished the facing by turning it to the wrong side and stitching around the perimeter of the armhole and along the diagonal edges of the shoulder cutout. I wish I had gotten better pictures of this process because it is a bit hard to describe, but the video I recorded while doing it was blurry – oh well. I am really pleased with how this detail turned out and how it compliments the original design lines of the top.

As the weather cools, I’m looking forward to making more versions of the Xanthea Top. I have plans for a woven version with slightly puffy sleeves and I also like Liz’s idea of making it a sweatshirt with a hood. This is definitely a pattern that I will be coming back to often. Please let me know if you have any questions about my mods.