Wisdom From 2 Pattern Testers | Episode 82

Summary

**Threads Magazine Podcast: "Sewing With Threads"

Episode 82: "Wisdom From 2 Pattern Testers"
Release Date: October 1, 2024**

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Introduction

In Episode 82 of the Threads Magazine Podcast: "Sewing With Threads", host Janine Clegg engages with two seasoned pattern testers, Joanna Marmore and Tommasa Jimenez, to delve into the intricacies of pattern testing, sewing techniques, and the evolving landscape of sewing patterns. This episode offers rich insights for sewing enthusiasts, whether they're beginners or experienced sewists.

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Guest Introductions

Janine Clegg kicks off the episode by introducing the guests:

• Tommasa Jimenez (00:54): Based in northern New Jersey, Tommasa has been a Threads pattern tester since 2011. She began sewing in the early 1970s using Big Four patterns and advanced her skills in the early 2000s at the Fashion Institute of Technology in New York City. Tommasa is also a brand ambassador for Minerva Fabrics and contributes to the popular Instagram account SewOver50, which boasts over 52,000 followers.

• Joanna Marmore (00:54): Hailing from British Columbia, Canada, Joanna has been testing patterns for Threads since 2003. Her sewing journey began with doll clothes and progressed to creating graduation and wedding dresses during her teenage years. Joanna gained valuable experience working part-time in a department store's fabric department, where she sewed display garments for fashion shows (02:13).

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The Importance of Pattern Testing

Janine highlights the critical role of pattern testers in ensuring garment quality for Threads readers (04:24). She emphasizes that pattern testers follow specific guidelines and complete evaluation questionnaires to provide accurate pattern descriptions.

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Tips for Effective Pattern Testing

Joanna Marmore (05:39) advises sewists to use fabrics that closely resemble the recommended materials when testing patterns:

"If you're testing something, try to get a fabric that's as close to what you want the finished product to be made of."

For example, testing a silk satin pattern on a similar weight fabric helps in assessing the garment's fit and drape accurately.

Tommasa Jimenez (06:35) emphasizes the importance of meticulous pattern evaluation:

"I always look at the line drawing and compare it to the pattern itself. Sometimes there are discrepancies between the illustrations and instructions."

She advises checking seam alignments, instructions clarity, and ensuring that illustrations match the written guidelines.

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Understanding Sewing Terminology: Walking the Seams

Janine inquires about "walking the seams," prompting Tommasa to explain (07:40):

"You walk the seams by placing the pattern pieces together and ensuring that the seam lines match in length and shape."

This technique ensures that pieces like pant legs or sleeves align correctly, preventing fit issues in the final garment.

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Insights from Years of Pattern Testing

Joanna Marmore (08:58) shares her journey of learning to sew through Vogue patterns, highlighting how designer patterns introduce unique techniques:

"I realized, oh, there's more than one really good way to do something."

She recounts a pivotal moment with a designer jacket collar that showcased an unconventional construction method, broadening her sewing perspective (10:08).

Tommasa Jimenez (12:30) discusses the inevitability of errors in patterns:

"Everybody makes mistakes. Indie patterns may have errors or missing information that the Big Four handle meticulously."

She shares an anecdote about a flawed red silk halter top pattern that led to customer dissatisfaction due to technical oversights (14:26).

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Resources for Overcoming Pattern Testing Challenges

When faced with problematic patterns, Tommasa recommends Vogue Sewing as a comprehensive resource (16:38):

"Vogue Sewing is very thorough and helpful."

Joanna (17:06) complements this by suggesting referential testing:

"I'll refer back to another pattern to see how similar features were constructed."

This approach helps in identifying and rectifying discrepancies or oversights in pattern instructions.

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Defining a Good Pattern

Tommasa (18:41) outlines her criteria for a good pattern:

"Design should be on-trend and functional, with thorough instructions that even beginners can follow."

Joanna (19:37) adds that a good pattern maintains garment shape while allowing for a comfortable fit:

"A well-designed pattern will still give you shape while it's being loose."

She emphasizes the importance of details like darts and seam allowances in ensuring a flattering and structured fit.

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Evolving Trends and Inclusivity in Patterns

The guests discuss the shift towards more inclusive and varied patterns:

Joanna (35:15) appreciates the move towards inclusive sizing:

"There's more style for plus-size women, and that's a really great trend."

Tommasa (33:03) notes the rise of PDF patterns, expanded size ranges, and increased representation in models:

"Online tutorials and more mature sewists being represented are positive changes, though there's still progress to be made."

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Favorite Pattern Makers and Fabrics

Joanna (24:04) praises Murphy Patterns, an Italian company known for their detailed and designer-like patterns, and Sewing Workshop for casual designs.

Tommasa (26:15) favors Burda Style for its trendy designs and comprehensive magazines, despite the complexity of their pattern sheets.

When it comes to fabrics, both guests express their preferences:

• Tommasa (29:49): Prefers wools, cottons, and silks.
• Joanna (29:56): Enjoys linen, cotton, and linen-cotton blends, particularly appreciating their softness and ease of use.

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Personal Projects and Future Plans

Tommasa (31:24) shares her interest in quilting, specifically a quilted jacket with a clean finish, inspired by a Berta Style magazine feature.

Joanna (32:50) mentions her ongoing projects with timeless patterns and plans to remake over 30-year-old designs using linen fabrics.

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Conclusion

Janine wraps up the episode by expressing gratitude towards Joanna and Tommasa for their invaluable contributions and insights:

"We are very grateful for all the work that you do for us and I think our readers and our audience appreciate it as well."

Listeners are encouraged to engage with the podcast by sending comments, questions, and suggestions to threadsmagazine.com and to subscribe on their preferred platforms.

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Notable Quotes

• Joanna Marmore (00:02:13):
  "So when we started trying on outfits, I said to the coordinator, I said, well, why don't you let me sew an outfit and then I'll be the commentator."

• Tommasa Jimenez (06:35):
  "I always look at the line drawing and compare it to the pattern itself."

• Joanna Marmore (08:58):
  "I learned to sew from Vogue patterns. My attitude always was, oh, a human being did this, so I can do it."

• Tommassa Jimenez (12:30):
  "Everybody makes mistakes. When you're testing a pattern, you look for those mistakes."

• Joanna Marmore (19:37):
  "A well-designed pattern will still give you shape while it's being loose."

• Tommasa Jimenez (26:15):
  "Burda Style... they're very good about giving you guidelines and posts."

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Key Takeaways

• Pattern Testing Essentials: Use appropriate fabrics, meticulously follow instructions, and compare patterns with illustrations to ensure accuracy.

• Learning Resources: Vogue Sewing serves as an excellent guide for both beginners and experienced sewists.

• Quality Patterns: Good patterns balance trendiness with functionality, provide clear instructions, and maintain garment structure without being overly loose or sloppy.

• Evolving Industry Trends: Increased inclusivity, expanded size ranges, and diverse representations are shaping modern patterns, though there's room for improvement.

• Personal Growth: Long-term pattern testing enhances sewing skills, fosters creativity, and deepens understanding of garment construction.

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This episode serves as a treasure trove of knowledge for sewing enthusiasts, highlighting the meticulous work of pattern testers and offering practical advice to enhance sewing projects.

Transcript

[Janine Clegg]

Check out our newly available Threads classic course, the Couture Skirt, with longtime Threads contributor and Chanel expert Claire Schaeffer. In this course, Claire teaches you to sew your own faux wrap skirt, one of the most popular Chanel designs. It's comfortable and easy to wear. Right now, you'll get 35% off the couture skirt course when you use code PODCAST35. Go to threadsmagazine.com coutureskirt to sign up. Hello and welcome to Sewing with Threads, the monthly podcast with the folks at Threads magazine. I'm your host, Janine Clegg, and today I'm joined by two of our pattern testers, Joanna Marmore and Tommasa Jimenez. Welcome, Tomasza. And welcome, Joanna.

[Joanna Marmore]

Hi.

[Tommasa Jimenez]

Hi. Thanks for having us.

[Janine Clegg]

Allow me to introduce both of you. Tommasa is based in northern New Jersey and has been a pattern tester for Threads since 2011. She began sewing in the early 1970s and she used the Big Four patterns and fast forward to the early 2000s, and that's when she decided to take classes at the Fashion Institute of Technology in New York City. She earned certifications in ladies tailoring, couture techniques, and draping techniques. She also took classes in ladies pattern making. Tommasa has contributed as one of the editors with the popular Instagram Sewover50 account, which has more than 52,000 followers. Joanna, who hails from Canada's British Columbia, has been testing patterns for threads since 2003. That's more than two decades. Thank you. She's been sewing as long as she can remember, starting with doll clothes. In the seventh grade, she graduated to sewing some of her own clothes. And by grade 12, her sewing included many graduation dresses for friends and then wedding dresses. My goodness. Joanna, could you tell us about that sewing related job you had as a teen? You mentioned to me earlier, there was.

[Joanna Marmore]

A department store that had a fantastic fabric department and I was working part time at the store in another department and they were having, they had a teen council and we were putting on a fashion show. So when we started trying on outfits, I said to the coordinator, I said, well, why don't you let me sew an outfit and then I'll be the, the commentator. And they thought that was a great idea. And from there I started sewing display garments for the fabric department and I did that for many, many years.

[Janine Clegg]

Oh, wow, that's great. Well, you certainly gained a lot of experience and certainly made you ready to be a pattern tester. I wonder, Tommasa, you said that you also are a brand ambassador. Would you like to.

[Tommasa Jimenez]

Yes, I'm a brand ambassador for Minerva Fabrics. They're a fabric store based in the uk. Every month, they send a call out asking for volunteers to test one of their fabrics. So you select a fabric and they send it to you, and then you make whatever you want. So it's a nice deal. And it's very relaxed. They're very relaxed. The minimum requirement is that you do this for them once a year at least, and everything else is up to you. And they give you two months to do something with the fabric and then post an article on their website.

[Janine Clegg]

Okay. And now, how did you learn how to sew? What got you into sewing to start with?

[Tommasa Jimenez]

Well, back in the early 1970s, when we still had door to door salesmen, my father bought a sewing machine for my mom, and I was fascinated by the sewing machine, and so I wanted to learn how to use it. So that's how I learned how to sew. My mom taught me.

[Janine Clegg]

That's great, that. Yes. The door to door salesmen. We haven't seen those in a while, but I remember them. Yes.

[Joanna Marmore]

Yeah.

[Janine Clegg]

Well, at Threads, each pattern tester is required to follow a set of guidelines for making a test garment. And they must fill out a pattern evaluation questionnaire. And this helps as we compile the pattern descriptions you see in the magazine. And this is what Tommasa and Johanna do, and we are always so grateful. They're kind of the heroes behind the scenes. They don't get a lot of exposure, but the garments that they test, it's so helpful for all of our threads readers to find find out more about the garments. And we are the testers do all of that work. So I want to just dive in a little bit and talk to you a little bit more, because both of you have been doing this pattern testing for us for a really long time. So maybe you can guide us a little bit more. If someone wants to test a pattern, how should they start and what should they look for? Because we're constantly telling ourselves, our folks, that, you know, testing a pattern is so important before you make the final garment. So maybe you can shed some light and give them a little few tips on that. Go ahead, Joanna.

[Joanna Marmore]

I advise people, if you're testing something, try to get a fabric that's as close to what you want the finished product to be to be made of. So if you're want to do something out of a silk satin, then test it on a lining fabric. And if you're doing a jacket.

[Janine Clegg]

Out.

[Joanna Marmore]

Of A wool, maybe test it on an unbleached cotton. So get something that's got a similar weight and texture. Because if you just use lining to test for a jacket, you're never going to know how it's going to sit properly.

[Janine Clegg]

You don't have that thickness for sure and you don't have the texture of the wool. So, yes, that's helpful. Tommaso, do you have any thoughts on what folks, when they want to test a pattern, how they should start or what they should look for?

[Tommasa Jimenez]

I always look at the line drawing and compare it to the pattern itself. I've had situations where the line drawing will indicate no darts. And then when you go to the pattern, there are darts. So sometimes there's discrepancies. So keep an eye out for that. You want to make sure that the seams match. You want to walk the seams, make sure they match, make sure the notches match. The instructions should be thorough and easy to follow, and the illustrations should match the instructions. I've had situations where that didn't happen or the illustration will look like you were supposed to do something and you're looking at the instructions and it's like, wait, that's not what the illustration shows. So sometimes there are little discrepancies like that.

[Janine Clegg]

And both of you have been very good about pointing that out. When an illustration does not go with the instructions, and that does happen sometimes. Now, can you explain to folks who are not familiar, when you say walk the seams, what do you mean by that?

[Tommasa Jimenez]

Well, let's say you have a pant leg, the front and the back. You take the pattern and you put the pattern where the two seams are. You put one on top of the other and you just make sure that the lines are the same length. For example, since those seams are going to be sewn together, are they the same shape? Is there some discrepancy there? So that's for the out seam. For the inseam. With pants, it could be a little different because built in the back leg is sometimes a little shorter, so you could stretch it when you sew. Sew and steam it, because that helps with movement of the garment. So that's designed in. So if that doesn't match, that's why.

[Janine Clegg]

Right. Also on sleeves, sometimes this sleeve cap area, you know, that whole seam is a little bit longer than the arm side, so that there's a little bit more ease that can be built in for better movement, Right?

[Tommasa Jimenez]

Definitely.

[Janine Clegg]

Okay, I have a broader question for you, and we can go a Lot of different places with this. But what. Because you have both been testing patterns for so long, and I think you probably test patterns for other folks and you can let us know. What have you learned from testing patterns over the years, Johanna?

[Joanna Marmore]

I learned to sew from Vogue patterns. My attitude always was, oh, a human being did this, so I can do it. And when I was sewing grad dresses in high school, they were all Vogue designer patterns because, I mean, somebody did it, so why can't I? And what I learned with the designer patterns, each designer sews things together in a specific way that's not in the traditional. Learn to sew in high school ways. So you learn a lot of different techniques that you wouldn't normally. Either you wouldn't normally think of or you wouldn't normally be aware of. So that, yeah, I would say patterns taught me to sew.

[Janine Clegg]

Can you give me an example of a technique that you had learned from one of these designer patterns that may have been a light bulb moment for you or was something that you had not learned through your traditional, what, home EC class? I guess in high school, it was.

[Joanna Marmore]

A, it was a designer jacket. I, I don't remember if it was Oscar de la Ronte or Calvin Klein, but the way we. You normally do it, you put the, the collar on the facing. You put the collar on the jacket, and then you sew around and you do a little pivot, pivoting. And, and the way this jacket was done is the collar was all sewn together, and the part that attached to the collar standard, the jacket was left open, and then the shoulder seams were sewn together. And then you sewed the collar in one piece onto it. And it was the first time I realized, oh, there's more than one really good way to do something. And that's when I really started studying the patterns and being very meticulous about doing it the way the pattern said. And that's. I learned a lot from that. But it was that one collar that was my light bulb moment.

[Janine Clegg]

Oh, wow. Very interesting. Yeah, it sounds almost like an industry method of doing, of attaching it. But, yes, designers often come up with wonderful ways of constructing the garment that you hadn't thought of originally.

[Joanna Marmore]

Well, what I had been told is that when Vogue buys a design, when they have a designer pattern, they've actually purchased designer garment, got permission to make the patterns from it, so they actually take the garments apart and use the construction techniques that that particular design house used. And that's why they're. That's why they Fit. So different pattern companies have a sloper that they design their their different outfits from. But when you get the designer patterns, they don't go from a sloper. They go from the original designer garment and then grade it from there. So that's why the fits. If you've got a favorite pattern company and you love the way it fits you, it's because they've used a particular sloper. And then there's other ones that might not work as well because their sloper is different, which they grade all their patterns from, right?

[Janine Clegg]

Yes, that's right. Well, Tommasa, do you have any bit of advice on what you've learned from testing patterns or any observations?

[Tommasa Jimenez]

Yes, what I've learned is that everybody makes mistakes. And the indie patterns, I find that there are errors there. They may have information missing or markings that aren't there that you're used to seeing in the big four. The big four are excellent with their pattern markings. They always have the center front seam and the apex is marked. But a lot of people complain of too much ease and I think that's correct. They have generous amounts of ease, which I sometimes feel is not necessary. And Ready to Wear has its share of mistakes. I work for a clothing manufacturer and many years ago they had this beautiful red silk top. It was a halter top. And I don't know how this happened, but there was a mistake and I guess in the pattern drafting software. I don't know if it was a copy paste error in the technical design department. I don't know what happened, but size four and over, you couldn't get your head through the opening of the garment and it was a comedy of errors because the technical designer didn't catch it. The software didn't alert to the error, the quality control department didn't find it, factory didn't catch on to it. And then it ended, ended up on the floor and the customers are like, we can't fit our heads through these garments. So it had to be pulled. Unfortunately, the company lost some money there. But lesson learned. I don't know how that happened, but obviously mistakes were made. So yeah, everybody makes mistakes. So when you're testing a pattern, you look for those mistakes. And when you're sewing with a pattern, sometimes it's not you.

[Janine Clegg]

Yeah, isn't that funny? Because a lot of times you're sewing a pattern and you keep looking over the instructions, looking at the illustrations back and forth, back and forth, thinking, what have I done wrong? And it may not be you, as you point out.

[Tommasa Jimenez]

Yeah, I recently Did a pattern test where they had me do a well pocket. And it was the most unusual way of doing well pockets. And I knew that this was going to result in a poorly constructed well pocket. But those were the instructions, so I followed them and it was so strange. Usually with a welt pocket, you apply a strip of interfacing and then you sew around. You know, you sew a box around and then you cut and do the V clips on the ends. This, they wanted you to cut first and then sew around. And that was not good. No, no. Plus, they never recommended that you interface the section. And this was one. A big four pattern, so.

[Janine Clegg]

Wow.

[Tommasa Jimenez]

Yeah. Not good.

[Janine Clegg]

So having that sewing experience under your belt certainly prepared you for dealing with that.

[Tommasa Jimenez]

Definitely.

[Janine Clegg]

And if you have. If you run into a problem with a pattern, and I don't know you, because both of you have so much experience, you probably don't even have to refer to other things at this point. But if. Maybe in the beginning when you were first testing patterns and you ran into a problem, was there ever a book or even a person that you would consult to find out what is the right way to do this? Because this sure doesn't sound right to me. As in the case of the well pocket, for example, maybe you didn't know. Oh, well, this doesn't sound right with the cutting. But what should I do cutting first instead of interfacing and stitching, what would you. Who do you check check with? Or what book would you refer to? Do you have a recommendation for folks who are just starting out and don't know a lot about sewing?

[Tommasa Jimenez]

I like the Vogue Sewing. I don't know what the official name of the book is, but Vogue Sewing.

[Janine Clegg]

Yes.

[Tommasa Jimenez]

Yeah.

[Janine Clegg]

Yes.

[Tommasa Jimenez]

That's a very. Yeah, they're very thorough.

[Janine Clegg]

Right. And they have a lot of instructions on how to do some very. Do basic and even more complicated things. Yes.

[Tommasa Jimenez]

Yes.

[Janine Clegg]

Great choice. Yes. Joanna, do you have a book or a person that you consult?

[Joanna Marmore]

Well, I would. When I'm doing the. The pattern testing for threads, I try and figure out whoever wrote the instructions what they were trying to get at. Because sometimes they've just. They put things in the wrong order or they've overlooked something, and I'll often rep. Refer back to another pattern. Oh, I made that. That had this feature. And how was that done?

[Janine Clegg]

And it doesn't necessarily have to be the same pattern company. It's just a similar feature in the garment.

[Joanna Marmore]

Yeah. If I remember a certain way of doing a placket and I'm doing A pattern. And I'm thinking, I don't think this is going to work. It's not going to lay flat. I'll go back and look. This is how they did it. And sometimes it's just a small thing, like Tommasa said, you know, they didn't put interfacing in and it could have been just something that was overlooked, you know. Oh, well, just. Or they've got instructions in the wrong order. So often I'll go back and refer to an old pattern.

[Janine Clegg]

Right, good idea. So what makes a good pattern? I think we've kind of touched on that when it comes to design, when it comes to the instructions, and finally when it comes to the fit. And Tommasa, you talked about this already a little bit, but maybe we can dive in a little bit deeper on that. What for both of you, what makes. Makes it a good pattern?

[Tommasa Jimenez]

For me, design is very subjective, but I would like something that's both on trend and functional, for example, that you could get in and out of easily, that there's thought put into how you're going to move into the garment, and the garment, I mean, and instructions, they need to be thorough and detailed. Good enough that someone who's a newbie could follow them and fit. Again, it depends on the design. Some designs are, you know, close fitting, others are loose fitting. So you want a design, you want the pattern to be a good reflection of what the designer had in mind.

[Janine Clegg]

Okay. Yeah. Joanna, what do you think?

[Joanna Marmore]

And I think the other thing is when a pattern has a loose, is a loose fit. There's a big difference between loose and sloppy. And a well designed pattern will still give you shape while it's being loose. I have a pair of pants that are big, the legs are really wide and it comes above the ankles. And I, I thought, oh, I'm just going to try it. I think they look really cool. The front of it was a flat waistband. The back was elasticized. I put it on. It fits so well from the waist and hips and then the rest of it is quite loose. So it's got a very loose, casual feeling, but it still fits properly. And I think to me that makes a huge difference in. When I choose a pattern like those kind of details, I don't. You don't want something that's. And if you have something that's fitted, and you know, if it's going to be fitted, it probably needs a lot more than just side seams and bust darts. It probably needs a center seam and princess seams. If something's Quite fitted. So that's the kind of thing I would look for to see how much sewing detail there is.

[Janine Clegg]

Okay. And do you think that patterns today are generally more loose fitting and less emphasis is placed on the fitting in particular areas of the body? If you have a loose fitting garment, it does still need to be fitted in a. In certain areas of the body. Correct. And so are you finding that the patterns that you've been reviewing of late don't have that? That's a tough one.

[Joanna Marmore]

Yeah, it's. The last one I did was a French pattern from a French company, and parts of it were fitted like a shirt. And the back was all pleated. Like There was about 14 or 16 pleats in the back. So the back was very loose and it had shirt sleeves. But the top was fitted, but it still had that, the loose look. And I think sometimes the indie patterns and the big four, everything's simplified. So if you're making a top, a lot of them don't have any darts anymore. So if you're bigger, busted and there's no darts and you're wearing a top, you can look like you're wearing a maternity top. Whereas if it's got darts and there's a way of cutting it and have a top be loose, but it doesn't look. It still enhances your shape.

[Janine Clegg]

Yes. Tomas, what do you think?

[Tommasa Jimenez]

Well, for fitted garments, I've noticed that, like Joanna said, that for fitted garments as well, there are less darts. I've noticed that a lot of companies no longer use the shoulder darts on the back, which is very helpful in providing shape for the back. They don't use elbow darts, which gives a nice hang to the sleeve and things like that. So I find that. I don't know why those things are missing. Maybe it's shortcuts and trying to save money, but they do improve the fit of the garment. When you have those types of fitting.

[Janine Clegg]

Darts, and, you know, a lot of people today are, you know, their shoulders are more forward. We spend a lot of time in front of our desks bending over and working that way. And when you get older, your posture, you know, comes down a little bit. So the shoulder darts are really a very nice feature to have and almost essential for some garments. But yeah, you're right, we don't see those as much anymore. I guess that's some of what's missing from patterns today. I wonder, do you have a favorite pattern maker? And if so, who is it or what? What company is it and why? Joanna, you. I think you had mentioned One previously.

[Joanna Marmore]

I was exposed to Murphy Patterns. They're an Italian pattern company doing pattern testing. I hadn't tried them before. They come in this fantastic oil skin, parchment and they're single size. They have no seam allowances, so you can do your own seam allowance. And they're, they're like brain candy when you work with them because they just give you a drawing to work of the finished garment. But the design details, the fitting on them is unbelievable. Like when you make something from a morphe pattern, you look like you got an Italian designer pattern. So for me, they're like brain candy. And yeah, I like the patterns that make me think a little bit and let me add details. So the other pattern company that I make more casual things from is the Sewing Workshop and I've enjoyed doing those.

[Janine Clegg]

Now with the morphe patterns, they don't come with instructions on how to assemble, they just come with the pattern pieces, right?

[Joanna Marmore]

Yeah, just pattern pieces. And they're, they're lovely to work with, but you do need to, you do need to be able to sew, right? You, you have to be familiar.

[Janine Clegg]

And you've tested a few of those for us. I remember a coat and I was there a dress in there also?

[Joanna Marmore]

Yeah, I think I've done three different Murphy. Three, maybe four different Murphys. And one of them, the pattern that was tested was too small for me, so I went and bought larger size.

[Janine Clegg]

I liked it so much. Okay, I was going to ask you, you both that question. If you've ever made a pattern based on one that you tested for us because you loved it so much.

[Joanna Marmore]

And I've made, I've gotten patterns like, I look through it every issue and I see what ones have been tested. I'm thinking, oh, I wish I could have tested that. Well, I guess I'll just have to make it.

[Janine Clegg]

There you go. Well, Tommaso, do you have a favorite pattern maker?

[Tommasa Jimenez]

Yes, it's Burda Style magazine. I like them because, you know, you're looking through the magazine, you see all these great styles and you have the patterns right there at your fingertips. Now they have to be, they give you the pattern sheets in there, but it's like a maze. I don't know if I'm sure you know what they look like, but there's lines going here, there and everywhere. So you just have to figure out which one is the shape that is your pattern. But they're very good about giving you guidelines and posts. And the lines are all color coded. They too come are drafted with no seam. Allowances, so you must add them. And the instructions are a little sparse at times or many times. So you have to know how to sew. It's not for the. For the newbie, although they do have publication for, you know, newbies and more simple designs to get your feet wet with Burda. But I do like that they're on trend. And then I also draft some of my own patterns. Sometimes I'll look at a pattern and I have to decide whether it's more work to draft it or use the pattern and then make 50 million adjustments. So, yeah, right.

[Janine Clegg]

To fit you right, every pattern needs to be adjusted to the individual. That's true. I think sometimes people think they can just take the pattern tissue out of the envelope or print it out the PDF and make it as is. Every body is unique and so everyone needs to make even minor adjustments or tweaks to the pattern that they've purchased. So you're right. So you are not intimidated by the overlay of multi patterns on the Burda style pattern sheets. And they find it difficult to follow even though the lines are multicolored to help you distinguish. But I think if it's something that you get used to, you've tried a few times, it's not an issue. I've done it a few times myself. I don't have a problem with it. You just really just have to follow the colors and be careful, take your time. I mean, sewing's not a rush. It shouldn't be a rush anyway.

[Tommasa Jimenez]

No. I look at it as finding buried treasure.

[Janine Clegg]

Oh, I love that.

[Tommasa Jimenez]

Yeah.

[Janine Clegg]

Oh, that's wonderful.

[Joanna Marmore]

Just commenting on Burda patterns, a lot of. A lot of the people who sew now are not just sewing for themselves, but they're sewing for their grandkids and their kids. And yes, I found the Burda patterns were really good for doing it for younger kids. I've got. My grandkids are between 5 and. Well, the ones I sew far between 5 and 12. And I usually go to Berta for those. They. They fit nicely in the shoulder. Like they just. They're just a nice fit for kids.

[Janine Clegg]

Yeah. Oh, great advice. Yes. Do you, either of you have a favorite fabric that you like to sew? I know that when you're testing patterns, you know, it's just up. You try to choose a fabric that is a. Is similar to what is recommended. But do you, if you're making something for yourself, do you have a favorite fabric?

[Tommasa Jimenez]

I like. I like wools, I like cottons.

[Janine Clegg]

They're beautiful to work With. Yes.

[Tommasa Jimenez]

Cotton, silk is a nice fabric.

[Joanna Marmore]

Right now, it's linen. Linen, cotton, yeah. Silk, cotton, some cottons, but mostly it's linen.

[Janine Clegg]

Right now, as you're working with it, do you have any challenges with those fabrics?

[Joanna Marmore]

Not really. Especially if you get the linen cotton blends. They're a little bit softer, and you just have to be careful if. How loose the weave is, you know, then you have to finish the seam. Be really careful with finishing the seams, depending on the garment. But yeah. And if it's knits, I often just buy the garments, like T shirts and casual pants. I. Most of the sewing I do is a really fun stuff.

[Janine Clegg]

Yes. Well, we had a pattern tested recently, and knits were recommended. And so we purchased a Ponte knit, and there were a lot of tucks in this dress, and it was the wrong weight. It just didn't work out. And the pattern tester let us know that, yeah, that was not a good choice for that because it was a little bit bulky, and I had to agree. You know, you just. Sometimes you just pick the wrong fabric. You know, it happens.

[Tommasa Jimenez]

Happens to everybody.

[Janine Clegg]

That's right. Well, that's why testing is always so important.

[Tommasa Jimenez]

Exactly.

[Janine Clegg]

If you had a choice of what pattern to test at this point, is there one that you see on the market that you're like, oh, yeah, I want to. I want to try that one out. Is there one that you have your eye on? I know, Tommasa, you said that you like styles that are on trend and functional and comfortable to wear. Trends change all the time. I'm wondering if there's a style that you've seen recently. They're like, oh, yes, I'd like to give that a shot.

[Tommasa Jimenez]

Well, right now I'm working on a quilted jacket. I saw it on the COVID of one of the Berta style magazines, and I like that it's clean finish. A lot of times you see quilted jackets that have binding along the edge like a quilt would, but this does. This one does not. It's clean, finished. So I want to work on that next. So I'm looking forward to that if I ever have the time. It's been a busy time for me right now.

[Janine Clegg]

I hear you. Yes, that. That sounds wonderful. Let us know how that turns out.

[Joanna Marmore]

Yeah, I'm remaking a pattern, and I have a few patterns that are, like, over 30 years old that every few years I make again, and they're kind of timeless. And there's one I have the linen for that I plan on making in the next Month or so.

[Janine Clegg]

Ah, the tried and true patterns. We. We all have those, and, yeah, we appreciate those. That's good. So let me ask you both, how have patterns changed over the years? Kamalza?

[Tommasa Jimenez]

There's been a proliferation of PDF patterns, and there are expanded size ranges, which is good. And something that exists now that didn't when I started sewing was online tutorials for the patterns, which is also very helpful. And also there's more representation in the models, and I like that, but they're not 100%, because right now I'm part of the Sew Over 50 community, which is a website started by Judith and Sandy. Their mission with this account is to bring visibility to sewists that are over 50. Because it seems like we sew many of the patterns. We give lots of free advertisement on the account to many pattern companies, but a lot of mature sewists are not on their grids, and they don't use the mature sewist as the model. So we're, you know, I think the account. Judith and Sandy and everyone else that works on that account have done a great job moving the needle a little bit, because you can. You're starting to see more mature sewists represented, but still a little ways to go.

[Janine Clegg]

That's right. Yes. Thank you for that. That's very true. And many of the seists who do wonderful work are just not recognized. And so it is nice to see that Instagram account and your contributions to it as well.

[Tommasa Jimenez]

Well, I just contribute as needed. If they need me, they'll ask me. But there's a group of editors. They're all workhorses, and they do a wonderful job with this account. And it's a lot of work. A lot.

[Janine Clegg]

Yes. Joanna, have you seen changes in the pattern companies, the patterns of today?

[Joanna Marmore]

Yeah, I. One of my favorite companies to work with has always been Vogue, and I find a lot of their stuff is. Outrageous is the wrong word, but they're kind of over the top. Oh. I'm thinking back of outfits I did that were not typical, but they weren't way out there. There were. I. Issey Miyake, like, he. I sewed with him for many, many years, and his patterns and they had just really cool details on them that made them not quite the same as ready to wear, like, just, you know, more fun details. But I'm finding now the stuff is either really simple or kind of out there. Like, it's not. Maybe it's just my personal taste. The other thing is, especially with the independent companies, there are some that are they look like they're devoted to plus size women and I really appreciate that because for years it's been or if you're plus size you get a moomoo and now they there's more style for plus size women and I think that's, I think that's a really great trend.

[Janine Clegg]

Yes, there seems to be more of an effort for inclusivity and even as Tommaso was just talking about with the so over 50 Instagram account, I think yes, there is more of an effort overall to be more inclusive and we are grateful for that. Both of you, thank you for chatting today. Really appreciated your comments and it was wonderful to shed some light on our pattern testers. We are very grateful for all the work that you do for us and I think our readers and our audience appreciate it as well.

[Tommasa Jimenez]

You're so very welcome. Thank you.

[Joanna Marmore]

Thank you for having us.

[Janine Clegg]

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 th at threadsmagazine. Com and please like comment and subscribe wherever you are listening. Until next time, keep on sewing with threads.