← Threads Magazine Podcast: "Sewing With Threads"
Threads Magazine Podcast: "Sewing With Threads"
Folkwear, Patterns From Around the World, with Molly Hamilton | Episode 96
00:36:46
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- [00:00]
A
We've just released a must try elearning course titled Fitting youg Hanger with the late Cynthia Guffey. You'll benefit from Cynthia's in depth explanation of how to fit your shoulders and upper back on tops, dresses and jackets. Once you've mastered this area, other fit issues will fall into place easily. Plus, garments will feel comfortable and look fabulous. You get nearly four hours of instruction on measuring your body than adjusting a variety of pattern types to accommodate your unique posture. To sign up and to find other on demand learning opportunities, go to courses.threadsmagazine.com. Hello and welcome to Sewing with Threads, the monthly podcast from Threads magazine. I'm your host, Jeanine Clegg, and today I'm joined by Molly Hamilton of Folkwear, the pattern company. Welcome, Molly.
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B
Thank you so much. Great to be here.
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A
Allow me to introduce you to our audience. Molly owns and operates Folkwear, which offers more than 100 historic and folk sewing patterns for sale. And Molly also runs the Green Pepper, a pattern company for outdoor clothing and gear. And both businesses are based in Asheville, North Carolina. Molly is the mother of four and somehow manages to run the businesses and make time to sew clothing for herself from the patterns. As you can see from the many images on the websites folkwear.com and the greenpepper.com you must have a master's degree in time management. Molly.
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B
It's a challenge for sure.
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A
Well, I'm sure it is. So you can tell us a little bit about it today. Let's focus on the folkwear patterns, if that's all right.
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B
Absolutely.
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A
All right. So can you describe to folks who are unfamiliar with the collection how it's different from the Big four patterns, for example, and, and what you've been working on lately?
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B
Sure. So folkwear started almost 50 years ago in California by three women who didn't see what they wanted in the Big four pattern companies. They were sort of hippies, I would say, but also just really into beautiful handmade folk clothing from around the world. They traveled, they saw beautiful clothes, they wanted to make things like that. And so they, they came back California and started their own pattern company to create the patterns that they wanted to wear. They ventured also into historic clothing. And you know, we're, we're, we're one of the first independent sewing pattern companies that wasn't one of the Big four and really focused a more niche in folk clothing from around the world and historic clothing. So a lot of detail. The garments, you know, all our patterns are based on original and authentic garments. There's a lot of detail in the instructions on how to do the embroidery or the embellishments that are traditional with those folk clothing or the historic clothing.
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A
How did you acquire these vintage garments? How do they come to you?
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B
Well, so I've owned folkwear for the last eight years, and before that it was. It's been woman owned pretty much its entire life. And so the women who have run the company have come across those garments. Either customers or friends have brought those garments to them to say, you know, hey, I found this amazing garment. I think you should make a pattern from it. Or, you know, they found them in their travels or around in the places where they were either going shopping or finding, like, the antique, really antique type shopping. But a lot of them were brought to us from customers or friends.
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A
Well, I understand that you've said that your goal is to digitize the entire pattern collection that you have. So what does that entail? And did you have to hire a staff to do that?
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B
I didn't hire anybody extra, but we have been working on this for a long time. When I took over Folkware, there were very few of our patterns that were actually in digital files. So most of our patterns were on vellum or plates for printing. And shortly after I took over the company, those vellums and plates were becoming so old that they were disintegrating. So we were, you know, we had to do it by necessity in some places, in some cases, because we didn't have anything, you know, that could be used for actually printing the pattern again because everything was so old and disintegrating. So, yeah, we. We have to take the original paper pattern. We'll scan that pattern. We'll take the scan and then from there, digitize it. We'll make sure the grading is still correct. And in some cases, we have graded up those patterns. So when Taunton Press owned folkwear for a little While in the 80s, they released some patterns that went up to size 14 or 16, which is really our grade. It's about our size medium, which is fairly small. So we wanted to make the patterns accessible to people in larger sizes as well, because those were just really, really small sizes. So. So we. We scan them, we digitize, we regrade, and then we have to get all of the instructions also either changed and digitized. So that means retyping instructions, scanning illustrations, creating new illustrations, creating new layouts. It's a lot of work. And then not only do we want the digital patterns so that we can easily print patterns when we need to, but we wanted to provide PDF patterns because that's a market and a lot of people are using PDF patterns. It's so much easier if you don't want to ship patterns, or if you're international and you want to have a pattern, or if you need to get a pattern right away. PDF pattern is a great option. And now we have projector files, so we're going to projector files too, and creating a lot of our patterns into projector files as well. So all of those, you know, are reasons that we digitize the patterns. And I also felt it was really important that folkware, you know, we have so many incredible patterns from around the world and historic patterns that I thought it was really important that we have a digital record of these, whether we publish them or not. It was important to have these in perpetuity for future generations.
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A
Well, that's wonderful. It's almost museum quality to be able to do that. So you were just talking about the PDF and the print formats. You have it both ways. I understand on your site you can request a printout of a PDF version if you only are making available a PDF. How much does that cost a customer? And does it come on big paper?
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B
Yes. So having a sewing pattern company is a lot of really being a publisher. We, I mean, you all threads know a lot about this too. But as a pattern company is really a publishing company, so we have to navigate all the changes with who can print for us, where the paper's coming from, what we're doing with it. So we only have a few patterns right now that are PDF only, and mostly those are embroidery patterns. We have one 1920s flapper dress, which is a really simple kind of fun dress, so we can print those for people. But going even further back, we've had to change our printing of our patterns. So if we print our folkwear patterns, we print through simplicity. Right now, it used to be McCall's, and their minimums are a thousand patterns at a time. So our catalog is over 100 patterns, and we have patterns that sell really well. And we have some patterns that don't sell sell very quickly, like, for instance, our child Scottish kilt. If I printed a thousand of those, it would take us 15 to 20 years to sell them. So I can't, as a business person, have that much inventory. So I decided, because we had such a large pattern collection and PDF patterns were a thing, and a lot of people don't provide a paper pattern as well as a PDF. So I thought, well, let me just offer the service of printing PDF patterns. So I invested in a large format printer and a folding machine. And so we now publish, we print our own patterns, a lot of our own patterns. We still print some of our ones that sell a lot from simplicity, but we print in house a lot of our patterns and we offer that service to anybody who wants to or needs a PDF pattern printed. The cost is $8 per file. And then after three files we lower that to $6 a file and it, you know, printing again, as you would know, it depends on how large files are. So you know, it can cost a lot of money for printing on a lot of paper or if you're just printing. I think we have some of our green pepper patterns print on, you know, a foot of paper. So that's really cheap. Right. Whereas folkware patterns are usually much larger and car cost a bit more to print.
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A
Well, that is a whole nother side of the business is that expensive to operate? I mean, how is it. No, how is it helpful to you?
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B
It's definitely cost effective. I mean, we're, we're able to print our patterns. We print on 18 pound semi translucent paper. So it's a bit of a less expensive paper. And again, you know, for people who are sewing, you're, they're used to that really fine tissue on a, in a sewing pattern or you know, some patterns come with a, almost a 20 pound bond paper. So ours is somewhere in between that. It's a little bit, A little bit. It's definitely lighter weight than a bond and much heavier weight than a tissue. But yeah, we're, we've, it's, it's working for us and it's working really well. And I really am glad that we're still able to provide print patterns because there is a large demand still for print patterns. And you know, even ones that, you know, we, we don't sell a large volume of, it is really nice to be able to offer those to anyone. And for instance, you know, our Navajo blouse pattern is mostly sewn by Navajo women and a lot of the women in the Navajo Nation in the area don't always have access to print shops or even reliable Internet source. So if you're only offering a PDF pattern, they're unable to use that pattern if they want to. So it's just. Or it makes it much more difficult for them to. So we like to be able to still offer the, the printed pattern.
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A
Yes, that's, that is a great service. We hear from lots of folks in our audience who prefer the, the paper pattern. That's what they're Used to, that's, they've used it for many years. And so even, even jumping to PDF, never mind projectable patterns, is, is difficult for some folks. Hey, I'm used to paper patterns too. I like the paper patterns.
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B
I prefer paper patterns as well. But if it's just only available as a PDF, I'll make it work.
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A
Right. Okay. Well, good. That's a great service. Thank you. So you talked about having an arrangement before you bought your printer to have things printed through Simplicity. And I think a lot of indie people, pattern companies, probably had a similar arrangement to have them printed through. You know, you had an arrangement with the big four to get things done and now the big four have been sold and there is a new owner. I'm wondering. And of course a lot of the retail location chain, Joanne Closed, who provided a lot of those printed patterns. So there's been a lot of changes lately in the pattern world. Has that had much of an impact on you, your business?
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B
I would say it definitely has had an impact on us. I think that, you know, this, this industry is quite small really. You know, a lot of us know each other and work with the same companies. You know, we sold a lot through joann's actually for folkwear patterns. So when they went out of business, that was unfortunate for us that we lost a pretty good wholesale customer and, you know, didn't get our last bills paid. So that was unfortunate. And McCall's or Simplicity now, they've been printing sewing patterns for folkwear for, I don't know, 30 years probably. And so we've had a relationship with them for a long time. They've gone through some changes when they were sold to DG Americas and they shut down their plant, their printing plant in Kansas. And that was, that did affect us that, that, that was really the motivation to start printing our own patterns. But we are very glad that we still get to work with Simplicity for printing in their facility in, I think it's Illinois. Yeah. Yes. Right.
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A
Okay. All right. I didn't, I didn't realize that you are still, still have that arrangement even though you do print out PDF patterns. Okay, got it. So what are your top selling patterns?
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B
Our top selling patterns are. Our Japanese patterns are very popular. So the Japanese kimono, the Japanese Happy and haori, those are definitely in the top 10 every year. We also have a Japanese hakama and kataginu, Those are quite popular. And what's another one? Yeah, the Japanese field clothing. So that's a hippari and munpai pants and a padded Jacket. So those are really popular. We also a really simple, we have a couple simple patterns. So the, the old Mexico dress or shirt, always very popular. And then we came out with a basics line which was just very basic sort of thing, foundational garments for folk garments. And the, the pinafore dress is really popular in that one. This Scottish kilt is always Austrian dirndl has become more and more popular over the years. So partly, you know, it's a really great Oktoberfest or sort of fall festival and Ren Faire garment, but it also makes a fabulous everyday dress. And I think a lot of people are finding that to be the case and enjoying having a pattern to go both directions.
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A
So do you think, do you notice that certain patterns are trending based on current fashion trends? Do you think those ones that you just mentioned, that list has to do with where we are in the fashion world?
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B
You know, I don't think our patterns in general trend heavily with fashion. The folkwear patterns are just classic and you know, they've been around for so long that it's, it's hard to see large trends. Now occasionally we'll see if a play is being done. So a lot of our patterns are used by costumers and theater and movie productions and you will, you know, say, oh, they're doing a period, period dramas are in this year, Edwardian things. So and we do see pickups with like Downton Abbey was and still is very popular. A lot of Edwardian fashion. A lot of our Edwardian patterns get used and bought for everything from recreation of the Downton Abbey stuff to just that that look is so beautiful that there's a vintage feel that people want to continue to wear in their daily lives as well. So in Western wares, really popular lately as well. And so we, you know, over the last five years I've seen the western wear pattern have more interest and the sales pick up a little on that one too.
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A
So. So the patterns really aren't meant just for creating costumes. You know, I, you know, I was perusing your site and I noticed that folks post in the gallery or you have blog posts from folks you know, showing that, you know, that fabric choices and slight pattern adjustments help them create garments that work in their present day wardrobes. Can you think of any examples that struck you as particularly successful in achieving that that, you know, folks wrote in or shared with you their creations?
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B
Oh, gosh, yes. I mean, so many of our patterns are really great for creating a, you know, especially vintage patterns, creating a vintage look or a costume. But Also can be made to wear every day.
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A
Yeah, I was looking, I noticed someone took the traveling suit and the countryside frock coat and just went to town on it. She chose some interesting fabrics, contrasting fabrics, and put them together and wow, it was very modern looking.
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B
Well, and we also have a lot of people who use our patterns as art to wear. So there's some just amazing things that I see people make. So for instance, our Tibetan panel coat, that is a traditional garment from the Tibet region. And so it could be made with hand woven fabric. We have instructions on how to do that in the pattern and. But we see it made with, you know, quilted modern, like modern quilting, the whole, the whole panel coat. So it's really a long vest is, you know, I've seen it made with these incredible quilting patterns. Modern quilting. I've seen it made with. We have some ecot fabric that looks a little bit more folky, but is just a definitely a more modern look to it and could be worn every day and things like the Gibson Girl blouse. So a blouse from the early 1900s, late 1800s can be made with all the lace insertion and the lace collar and the lace cuffs. But I've made it with a silk rayon blend and it looks very modern. I wear it to work all the time.
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A
You just brought up what I find really interesting, what distinguishes your patterns, I think from some other pattern makers in that you include in the patterns instructions for embroidery designs, instructions for lace insertion and, you know, more details about how to do some of the very fine work that you would find in these, these garments, the original garments, you know, and you mentioned the Gibson Girl blouse that has the lace insertion. Then you, you know, have pintuck how to. For the Gibson Girl blouse too. And then I, you know, I think of the English smock that you've got and the, the knitted and crocheted garments that you include as well. I mean, that's like. Yeah, I think of the cameos that you have. One knitted and one crocheted garment in addition to the sewn camisoles.
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B
Yes.
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A
And then, yeah, the embroidery motifs, I think of the Gaza dress and the Syrian dress.
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B
Yeah.
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A
And the Afghan dress.
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B
Yeah. Romanian blouse. Yes. We. It's a really special thing about the folkwear patterns is that so much of that information is included in the pattern, how to do the traditional handwork or the original handwork that would have been on the garment. So just like you said, all those embroidery patterns and embroidery instructions, the lace insertion instructions and the patterns, you know, even on the Austrian dirndl, we have a whole section on all the traditional ruching that could be made and applied to the. The. The dress. So, yeah, it's a. It's a definitely unique and really wonderful thing about folkware patterns that I deeply appreciate.
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A
Now, the embroidery designs, you know, that's mostly hand sewing. Can you talk to me a little bit about who. Who puts that together for you? Is that different from the person who, you know, has the pattern, has drafted the pattern for you?
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B
Yeah, that's a good question. So in the past, when folkware first started, one of the women. So it was three women. One had drafting and design background, one had illustration and could do instructions, and the other was really into the handwork. And that was Alexandra Hart. She wrote a book. She was really into the handwork, and she studied the handwork, learned how to do it all, and then wrote the instructions about it. So that sort of tradition continued on, really having someone who deeply knew how to do the handwork and what. What, you know, what were the traditional colors and a lot of it, you know, we got information from the people who, you know, if it was a different culture from the people who in that culture for how to, you know, how to do it, what the. What. What would be typical for the historic things? Again, that was people who knew how to do the handwork and what the tradition was. So sometimes we were relying on historians and sometimes the garments themselves, just studying what was done and how it was done. When I. We put out a traditional Norwegian folk costume earlier this year, and for that one, I did rely on a woman who does folk embroidery to come up with a pattern for the front for stook part of that, as well as a few designs for the embroidery on the vest.
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A
Well, can anyone wear these patterns, or do you need to be of the cultural. Of the culture that a particular pattern draws from? Because many of these are, you know, they're not just vintage. They come from particular culture.
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B
Right. You know, we fashion and clothing is shared across the world, and in general, we draw from other cultures for the clothes that we wear. And so we feel that these patterns are meant for anyone. But I will say, a lot of our folk patterns from different cultures are sometimes mostly used by that culture. So I mentioned the Navajo blouse. It's mostly Navajo women who use that pattern and are Korean Hanbok. It's a lot of Korean women who use that pattern either to make their own or to have one tailored for them or people who are going to Korean festivals or celebrations. So, yes, they're for everyone. And they are in general, you know, very. There's a background to them. So all these patterns also. A lot of our patterns also, especially the folk patterns, have a history, and we write that in the pattern. Where did this pattern come from? Who wore it, why, when, where? And so that all is important.
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A
So what would your response be to those who view folkwear patterns as a form of appropriation rather than appreciation, as you are describing?
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B
You know, I don't think many people see them as appropriation. We strive constantly and we are constantly looking at what we're doing to. To make sure that it is appreciation. A lot of our patterns are made in collaboration with people from the culture of Hawaiian mumu. We worked with a fashion designer of Hawaiian descent in Hawaii to make sure that what we were doing and putting out was correct. And she wrote a history for us, and it was really beautiful and a great collaboration. So I think that is important that we keep remembering that and keep going back to, you know, what. What it is. And I will say that it evolves over time. You know, folkwear years and years ago had a Seminole jacket and skirt. Absolutely stunning, Beautiful, beautiful pattern. But I chose not to put that it was out of print before I came in. And it's. We've. We've had people ask for us to put it back into print, but I'm not going to be doing it anytime soon because it is a garment that Seminole people are very reluctant to have other people outside of their culture wear it. So. And it's very identifiable to that culture. And, you know, it's just something that we navigate and continue to navigate.
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A
All right, do you have any new patterns that you're considering introducing?
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B
Yes, we have a. I'm working on right now a Norwegian folk like work shirt, a brista roll. And we are. Have been working on it. It's been very, very slow. But a guayabera shirt, so that's more of like a Cuban Caribbean shirt. And we have a few patterns that we'll be bringing back into print. So some historic patterns, an Algerian suit which was in. In print many years ago. So we will. We have some things that we're, you know, still folkware patterns that have been out of print that we're trying to, you know, get. Get back into print again.
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A
Oh, I'm sure a lot of fans will be happy to hear that. That's wonderful. So keep us posted on the timing on that.
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B
Absolutely.
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A
So quite a few. And I want to just ask you a couple technical questions about the patterns because There are quite a few patterns that have square armholes and. And many of them have gussets. And wondering, are these garment designs harder to fit but easier to sew than those with curved armholes?
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B
Yeah, that's a good question. So, I mean, by square armholes, it's. It's a traditional type of construction that is more based on the folk tradition. So when, if you were, you know, growing your own fiber, whether it was wool or linen, and then you're making it into yarn or threads and then weaving that fabric, you weren't going to cut a circle out of your handmade cloth to make a fitted armhole. So you generally kept the shapes of these folk garments our rectangular, occasionally triangular or square, so that very little fabric was wasted. I think they fit really well, and I don't think they're difficult to fit. I think it makes garments easier to fit because they're not fitted. They're not supposed to be fitted. There's no darts. There's. Or very few darts. There may be some gathers at the neckline or at the sleeves or at the shoulders, but I think they're really easy to fit and I think they're pretty easy to sew. That said, they're not your. If you're used to sewing a traditional western pattern, it's not the same. And it takes a little bit of thinking about how it goes together. It comes together a little more simply. But it is. Since we're not used to sewing with gussets, it can be a little confusing at the very first, but I think it's easy.
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A
The gusset ones, I'm thinking of the French cheesemaker smock, the Turkish coat. The Croatian shirt.
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B
Yes.
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A
The Navajo blouse that you mentioned earlier.
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B
Yeah.
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A
Siberian parka. Yeah.
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B
And even the. The sorels. The pants, there's a crotch gusset. They make them really easy to fit. It makes the pants really easy and comfortable. All these garments are really comfortable and easy to wear and fit. They're just not fitted, so. Right. They're not a lot of loose fitting. They're not meant to be. That's right, yeah.
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A
Yeah. Some of them are even voluminous, which is nice if you. So do you offer any specific recommendations for fitting when it comes to some of the more tailored garments, like the princess slip or the fit and flare 50s dress or the Bolivian milkmaid's jacket?
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B
We haven't done a whole lot of tutorials on fitting. We do have some tutorials on, like, how to make something larger that's a little more simple. Yeah. With the. The Princess slip has those very long princess seams. You know, there's so much good information out for fitting a full bust or small bust adjustments that we just were focusing on all our other patterns. But we do have some information on, on how to increase and, and uh, for instance, the Austrian dirndl in the pattern there is a whole fitting guide because that one does have to be fitted quite well at the bodice in order for it to work. And that, that pattern has a, a pretty detailed how to fit the, the dirndl to yourself from the pattern without having to do too many muslins. So it's a.
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A
And I think a lot of people get, get a lot of information during your sew alongs. You know, you. Yeah, and you have information about extra tips on sewing gussets which we were just talking about.
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B
So.
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A
Yeah, so those are all, those are all helpful.
- [30:15]
B
Yeah.
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A
So you've made many of the patterns into garments for yourself that you wear. Was there one that surprised you?
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B
Oh, one that surprised me. Not particularly. I, you know, sometimes I'm not quite sure. I guess the one that surprised me a bit was I made the 202 Victorian shirt into a dress and it was not something I would have thought about doing. I saw another customer of ours had done it and I thought that looks really cute. And so when I did it I was really surprised at how much I liked it. That was the first one of our sort of shirt patterns that I made into a dress, but it wasn't the last. So I love that, I love that shirt. It, I made it into a dress. I wear it with boots. It's really a fun, fun dress to wear. I've made the Croatian shirt into a dress. I'm wearing that now and I've made a couple other ones. Yeah, the, the Black Forest smock I also made into a dress. So it's. They're, they're. I think that was sort of what was surprising was thinking about the patterns a little bit differently. You know, we had a customer who brought in the borough cocoon coat that she had made and I never would have thought of how she, she had made it as a lingerie jacket. So it was this beautiful, lightweight, flowy, you know, just you could like a robe. It was a robe, but it was luxurious and gorgeous and I wouldn't have thought to have done that. So I love sort of thinking about how the patterns are used in different ways and that is sometimes surprising. Yeah.
- [31:48]
A
Yes, it is. Well, you know, and I, and I was looking at the patterns and the most unusual one that I found, and then I discovered later that you probably agree with this is the big sky riding skirt. Can you describe that to folks? Because I think that's a very interesting pattern.
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B
Yeah, so it's a. It's also called a split skirt. So it is actually pants or culottes. So wide leg pants. And there are two buttons down the front, so one on the left side and one on the right side. And there is a fabric panel in the front. So when it's buttoned on the right side, it is pants. And you can wear them to go bike riding or ride horses, which was how they were originally worn. Or you can undo the button flap on the right side and button it on the left side and it looks like a skirt. So from the front it is a skirt. And there's a very deep box pleat in the back. So you really can't tell that it's a skirt from the back or pants from the back either. So it looks like a skirt. But if you button it on the right side, it does look like pants. And it is. It's open. So it's called a split skirt. It was worn in the late 1800s by women. You can see it in the movie Colette. She rides a bicycle wearing that same skirt. But it's a lot of fun. I made my own from it, that pattern. And I love them.
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A
Yeah, I want to try it myself. I love it. Very unusual and very chic.
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B
Very good looking.
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A
Yeah, absolutely. So going back to your goals and where, where you're headed, can you talk a little bit about what you're most proud of having accomplished last year? This year, 2025, we're talking in 2025. And then where, where you're headed in 2026.
- [33:39]
B
Sure. So this, this last year, I feel proud that we've put out the Norwegian folk costume that was a bunade that was in works for a long time. You know, we've been working on bringing more patterns back into print. I really love our. We have a little fabric collection. So I. We sell fabrics for fabrics that I feel go really well with folkware patterns. So that's a lot of fun. And we. We've just started opening up our studio for open studio. So we're inviting local people or visitors to come in and visit us twice a month, First Fridays and the third Saturday of the month. And that's been a lot of fun. I love interacting with customers and visitors. So, you know, all of those things we've. In Asheville, we've recovering from this terrible hurricane last year and flooding. And so my business was literally 100 yards from the flood that devastated our river Arts district. So, you know, recovering from that has been a big effort as well. And I'm glad that we're still here and going and are able to have the community come together again.
- [34:54]
A
Well, you, you introduced notions and fabric as well. I see on your site that you're not just a pattern company anymore. So in addition to having your space where you're inviting people in, you, you also have this additional retail.
- [35:10]
B
Yes, yes. That's been a lot of fun. And yeah. And for next year, we, you know, 2026, we are celebrating Folkware's 50th anniversary. So we have a lot of fun things planned for next year. We are going to, you know, have giveaways. We're bringing back some really fun patterns in the folkwear history. We are going, yeah, we'll be doing a lot of little fun things all year long and I'm looking forward to that.
- [35:38]
A
Oh, yay. That's awesome. Oh, well, that seems like a good note to end on. We've run out of time, but. Oh, I'm so looking forward to that. And I'll just say happy anniversary a little early.
- [35:50]
B
Thank you. Thank you.
- [35:52]
A
Oh, thanks, Molly, for joining us.
- [35:54]
B
Thank you.
- [35:55]
A
To see a full line of folkwear patterns and you everyone should really go check it out. And to read Molly's blog posts about sewing tips and her sew alongs and to see her fabrics and notions, go to folkwear.com you can find show notes for this episode@threadsmagazine.com as well as links to previous episodes. We'll be back with another Sewing with Threads episode soon. Thank you to our guests for joining us and thanks to all of you for listening. Please remember to send your comments, questions and suggestions to thhreadsmagazine.com and please like comment and subscribe wherever you are listening. Until next time, keep on Sewing with Threads.