0:18

Welcome back to see Merck Radio where we

0:20

share practical ideas for building a creative process.

0:22

See you can so with intention. Enjoy Stay!

0:24

We have something extra special to share with

0:26

you. Back. In October we hosted an

0:28

event called Stitch Best. Nearly one hundred people

0:31

gather at Sea Merch Hq and we shared

0:33

an afternoon together. According a live podcast episode,

0:35

we hosted a pattern makers panel, we had

0:37

a sample sale with social hour and we

0:39

had crafts and it with a total blast

0:41

to meet so many of you. This.

0:43

Week we're gonna be sharing the pattern

0:46

maker panel discussion where we gathered six

0:48

local Portland pattern makers to discuss their

0:50

craft. I think you're going to love

0:52

hearing from these incredibly talented and pattern

0:55

makers with all different specialties. right?

0:58

So. We'll start with Robin.

1:02

Robin. Ives is or lead pattern maker

1:04

here at seem work. She study design

1:06

in York City but was drawn to the

1:08

precision and logic of pattern making. That's that's

1:10

Robin in a nutshell. With.

1:13

More than thirty years experience. She's worked

1:16

for Patagonia, Ugh, Joanne and Hani

1:18

Anderson. And a fun fact about Robin:

1:20

She's an avid knitter and she often

1:22

dies her own urine and I've never

1:25

felt taller. A.

1:28

Don't get used to it. You're sitting,

1:31

sir. and now she's a hooker. Erin

1:36

Eurlings as one of our pattern makers that seem

1:38

work as well. She. Studied

1:40

Apparel, designed it O S U, and spent

1:42

several years working for various women's wear brands

1:44

and New York City for moving back to

1:46

the Pacific Northwest to work at Children's Were

1:48

Brand Hand Anderson and at Nike. Fun!

1:51

Fact: While at Nike, she pattern

1:53

intricate silhouettes for Nfl teams. A.

1:57

very different for you doing as they work

2:00

Peggy Mead is the founder of So House

2:02

7, which is an indie pattern company here

2:04

in Portland. She studied apparel

2:06

design and got an internship at Patagonia right

2:08

out of school. With over

2:11

30 years of pattern making experience,

2:13

she's worked at Nike, Janssen, Tommy

2:15

Hilfiger, and Pendleton. Fun

2:17

fact, she designed a swimwear pattern for

2:19

Princess Diana. Becky

2:23

is the founder of Workhorse... I

2:29

was just gonna say I actually I didn't

2:31

design it. I

2:33

made fit adjustments so that it... I

2:37

didn't get to do it on her. They sent her measurements. We

2:42

appreciate your humility. Becky

2:46

is the founder of Workhorse Patterns and she

2:48

also brings you all the Portland Frogtails events.

2:54

She's on a mission to make our sewing

2:56

community a brighter place not only with her

2:58

designs and pattern making but also her talent

3:01

for hosting totally fabulous sewing parties that are

3:03

open to all. So fun fact, she's got

3:05

some fun in-person events planned for 2024 so

3:07

go follow Portland Frogtails if you don't already.

3:10

Ellie Lum is the founder of Clumb House,

3:12

a bag making shop and school here in

3:14

Portland. She founded a messenger bag company and

3:16

studied adult education before founding Clumb House in

3:19

2015. She strongly believes you don't

3:21

need a fancy sewing machine to make professional

3:23

heavy-duty bags at home. All you need is some

3:25

courage and the dash of creative grit. So

3:28

fun fact, Ellie used to be a

3:30

bike messenger before she founded her first

3:32

bag company. And Sharon Blair is a

3:34

fashion entrepreneur, designer, and writer. Sharon Blair

3:37

founded and directs Portland Fashion Institute, a

3:39

licensed and accredited career school that enables

3:41

students to become industry proficient in apparel

3:43

design, construction, and business. Sharon's

3:46

apparel life began in 1990 with a custom clothing

3:48

business and she has advanced degrees in

3:50

apparel design. Fun fact, Sharon

3:52

even studied couture sewing in Paris. So

4:00

that is our fabulous panel. I'm going to start

4:02

with some icebreakers. So we're going to have an

4:04

icebreaker for each of you. So

4:06

Sharon, let's start with you. You

4:08

have more than 50 years experience in fashion.

4:10

What's your favorite thing about working with people

4:12

who are interested in a career in the

4:14

fashion industry? I got to say that we

4:16

think that we've had 8,000 people come through

4:18

our door over the 12 years we've

4:21

been in business. I like to think that

4:23

people are the fuel, we're just the

4:25

fire. It's already in them

4:27

what they want to be. We

4:30

just are the spark to help them get there. And

4:32

isn't it great to be thinking about a

4:36

third of your life is going to be spent doing

4:38

something? Why not make it fun?

4:40

Why not make it creative? Why

4:42

not make it something that's close to your heart? And

4:45

when we see somebody who's

4:47

finally found that thing, the

4:50

light that comes on their eyes, it's

4:52

so rewarding to see that. That's the best

4:54

part. That's amazing. I feel the

4:56

same way. I think with work or

4:58

with hobbies, what you do for

5:00

your living or what you do just because

5:02

you're passionate about it. I feel

5:04

the same way. Peggy, the next one's for you. You

5:07

have 32 years in the industry at a bunch of

5:09

different brands. What's been the best part of switching from

5:11

ready to wear brands to home sewing for you? There's

5:15

a bunch of answers to that. The

5:18

first one is when

5:21

I work for a company, you always have to

5:23

keep in mind the cost of the garment.

5:26

And you can't do this. You can't do that because

5:28

it's too expensive. And when you're

5:30

doing home sewing, the sky's

5:33

the limit. You can make a pattern for

5:35

difficult things with

5:38

lots of embellishment or simple things, whatever

5:40

I choose. I don't have to worry

5:43

about the end cost of a

5:45

garment that's going to be sold. So

5:47

that's fun. But the other thing I really love

5:49

is that I actually correspond

5:51

with the customers,

5:54

which in the apparel industry,

5:56

you rarely do that. You're always trying to

5:58

figure out who your customer is. I

6:00

mean, we always would have, you

6:02

know, what do they call? Focus

6:06

groups, yes, yes. Focus groups and, you know, we

6:08

didn't get it right or, you know, you're just

6:10

guessing, stabbing in the dark, who's our customer now?

6:12

Or we've lost our customer. And I

6:15

actually, you know, on Instagram or through

6:17

emails, talk to customers and I see

6:19

what they're wearing and what

6:21

they want. And then, you know, I don't have to

6:23

be so specific. They can

6:26

take a pattern and make it their own, you know.

6:29

So, one pattern could appeal

6:31

to totally different

6:34

customers, you know. They could just use it

6:36

as their base. And so, I love seeing

6:38

that too, seeing the creative stuff that comes

6:40

out of what people do.

6:42

Anyway, sorry, I'm nervous. That

6:45

was an awesome answer. You don't sound nervous

6:47

at all. Becky, you're the pattern maker for

6:50

your company Workhorse Patterns, but you also run

6:52

Portland Frogtales. So, what's your favorite thing about

6:54

working with the sewing community in both of

6:56

those capacities? By nature, I am

6:59

a puzzle solver. I have

7:01

to, I have to solve for X. In

7:04

all your life, you solve for X. Everything's math

7:06

all the time, right? You're always, from the day

7:08

you'd learn to walk, you're solving for X. And

7:10

so, I love to reverse engineer things

7:13

and take things apart. And that includes

7:15

figuring out what makes you figure out

7:18

to be social. Sewing by nature is

7:20

a reclusive hobby. Or even if it's

7:22

your profession, if I'm grading a pattern,

7:25

I'm not going to talk to you while I'm grading a pattern. Can

7:27

you imagine how that would come out? It

7:31

wouldn't be pretty. But, and I

7:33

can't talk to you while I'm sewing. We have sewing

7:35

groups, but really, you're going to sew over your

7:37

finger if you don't, you know, pay attention to

7:40

what you're doing. So, the idea that every

7:42

time I throw a social

7:45

party, I'm trying

7:47

to figure out

7:49

what are the social prompts. Like,

7:51

we do a maker swap in February. And

7:54

then we, you know, do a charity.

7:56

We have you bring things for Rose

7:58

Haven, but really. The whole thing

8:01

is just a social prompt. I

8:03

put up clothes that you made. You come

8:05

and take somebody else's clothes and swap with

8:07

yours, but you talk to the person next

8:09

to you. The whole thing is

8:11

a big old rouge. I fooled all of

8:14

you that came. You

8:17

thought you were coming to a MakerSwap?

8:19

No. You were coming to speed dating. But

8:24

for a friend. So it's a

8:26

total high for me. I'm super

8:28

addicted to seeing you later on

8:30

Instagram or somebody telling me, yeah,

8:32

we're on the pedal-palooza bike ride

8:34

for so many bikes with somebody

8:36

I met during the MakerSwap. That

8:38

to me, that's better

8:40

than sex, baby. And

8:44

so it's the same with the pattern. My

8:48

friend Mary, wherever she is, she's like, I

8:50

figured out the burrito method because of your

8:52

instructions. Do you know what that feels like?

8:55

I've got to figure out something else that I can make you learn.

8:58

So that, to me, is all completely selfish. It

9:00

has nothing to do with you. I say it's

9:03

community, but it's really

9:05

about me because when I see that

9:07

you get a thrill out of it, it gives

9:09

me a thrill. Isn't that amazing? And something that's

9:11

so needed in this day

9:13

and age where I think a lot of people feel

9:16

that sense of loneliness and isolation. My husband

9:18

just came back from advertising week, and he

9:20

was sending me photos. Advertising week is like

9:22

fashion week, but for advertisers. And he's sending

9:24

me pictures of this. This is like a

9:27

multi-million dollar event with mucky mucks from whatever.

9:29

And everyone's on their phone during

9:32

the networking, right? And

9:35

then they complain about not enough networking

9:37

opportunities. So again, make

9:39

the social prompt. It's funny that my little

9:41

tiny event that makes me no money

9:45

is more successful socially at networking than

9:47

this multi-million dollar event in New York

9:50

that's a week long. So

9:52

I feel like, yes, it's more

9:54

difficult now that we're all separated by social media,

9:56

and we look at each other, all the good

9:58

stuff, and then we compare. which is a thief

10:00

of joy, when instead we can meet

10:02

each other in person and they force you to

10:05

socialize, which is why there are never enough tables

10:07

to sit at, so

10:09

that you have to walk around and talk to each

10:11

other. A

10:15

little inside baseball there. Alright,

10:20

Erin, you also worked at several brands before

10:22

coming to Seamwork. What's been your favorite thing

10:24

about making the career switch from ready to

10:27

wear to home sewing? I think it's been

10:29

super rewarding to see all of the creations

10:31

that everyone's made and posted in the community.

10:35

When you work in ready to wear, you don't

10:37

necessarily get to see your stuff walking around in

10:39

front of you and see

10:42

it in the wild and it's

10:44

so rewarding to see everyone's creative

10:46

takes on patterns

10:48

that I've had my hands on. And

10:51

Robin, you have nearly

10:53

three decades of pattern making experience, including almost seven

10:56

years here with us at Seamwork. What's

10:58

been your favorite thing about making a career switch from ready to

11:00

wear home sewing patterns? Making sewing

11:02

patterns is so, so, so, so,

11:04

so much more creative than ready

11:06

to wear. It's

11:09

really easy to get pigeonholes

11:11

into a niche of whatever

11:14

your department in whatever your company's niche

11:16

is, you know, so like for a

11:18

few years at Patagonia I made base

11:20

layer. I cannot convey to you

11:22

how boring making base layer is.

11:26

Except the one-piece catsuit with bump flap

11:28

I made. That one was pretty fun. Yeah,

11:35

so it's just like at Seamwork I get

11:37

to do everything. I get to do coats and

11:39

dresses and gender-neutral things and

11:42

you just, it's so much

11:44

more fun knowing that every month I

11:46

get to start something completely different. But

11:49

even more than that, it's like there are

11:51

so many more opportunities to learn more about

11:53

pattern making. Years ago I managed

11:55

the team at Patagonia and I was tasked

11:58

with looking for class or

12:00

training they could take, and I couldn't find anything

12:02

out there. Anything that could

12:04

teach us what we're learning by

12:06

just doing it. And I don't

12:09

think there's any company I've ever worked

12:11

for that I learned more than I know

12:13

at Seamworks, because I just get

12:15

to do it every single day. It's

12:18

really, it's a dream. It's a dream

12:20

job. And

12:22

then also, getting to see you guys and

12:24

talk to you guys every day in the

12:27

community, and now meet in person, it's just

12:29

like Erin said, you don't get that in

12:32

Ready to Wear, and you feel really isolated

12:34

from what you're doing. And

12:37

now it's like, oh, there's an Aims glass. There's

12:39

an Emma top on Emma. You

12:43

know, it's just, it's so much fun.

12:45

Yeah. And Ellie, you've always had

12:48

a teaching focus. You went

12:50

from co-founding custom messenger bag company to studying

12:52

adult education, and you combine the two to

12:54

find your bag making shop and school. So

12:57

what's your favorite thing about teaching sewing to so many

12:59

people? You know, listening to all the

13:01

answers here, I'm like, yes, yes, yes. It's

13:05

the empowerment, right? It's that

13:07

aha moment that you

13:10

see people get. And I also think

13:12

that it's about opening doors and

13:15

more for our belief system and what

13:17

we think we're capable of than actually

13:19

the skills. Because, yeah, you know, I

13:21

can teach you how to sew a

13:23

zipper in a bag. But

13:25

to teach you to take that

13:28

and know that you can take that

13:30

technique and try a bunch

13:32

of stuff and have the courage to

13:34

actually mess up on it and

13:37

be playful and sort of explore

13:40

and know it's not going to be right,

13:42

but that that's okay and it doesn't mean

13:44

that you're not good. Like, I think it's

13:46

that aspect too. And I end up teaching

13:48

a lot of women, and so there's this,

13:52

you know, cultural thing that we have

13:54

to overcome too in our confidence in

13:57

what we can do. you

14:00

can have that aha moment and you can be like, yes,

14:02

I did it. What else can you

14:04

do? All about building confidence. It's

14:06

really interesting. I feel like a lot of the answers that we've

14:08

heard today are really about how sewing is

14:11

a vehicle for something that's much larger. So

14:14

Peggy, you kind of touched on this. You

14:16

have your hands in the entire process from

14:18

designing the pattern to marketing it to customer

14:20

service, the whole nine yards. So can you

14:22

tell me briefly about the process of making

14:25

a pattern for the home sewing market and

14:27

what that's like for you? I'm gonna try

14:29

to make it brief. I

14:32

start out with the design

14:34

and I'm not, I

14:37

don't always stick to the design. Once

14:39

I make it, I might decide

14:42

that I'm gonna do something else to

14:44

it or this doesn't really look that good or

14:46

that might be difficult. Maybe I need to think

14:49

it through more in the beginning

14:51

but I do kind of like to just

14:53

tweak things as I go. Once it's

14:55

ready, I grade it. Now

14:58

I've been sending it out for grading. I used to do

15:00

all the grading myself but send it

15:02

out for grading and I'll grade it up to a size

15:04

24 even though the

15:06

standard sizes don't go up there. I

15:08

take that size 24 and I refit it on my size

15:10

24 mannequin and

15:14

then make those adjustments. I have to keep

15:17

sewing up the garments, making tweaks and

15:19

then have that one graded up and down

15:22

for the other size range. Then

15:24

write instructions. Put

15:27

that pattern into Illustrator and

15:29

make up all the markings,

15:32

change the line weights, all the stuff

15:35

you see when it's all polished. And

15:37

then it goes through pattern testing. I

15:42

end up making quite a few changes usually

15:44

after pattern testing. Not major fitting things, just

15:47

little things but people will catch errors. I

15:49

do have the instructions approved

15:51

but the pattern testers catch

15:53

so much. It's really great. And

15:57

then, have a field test.

16:00

a photo shoot and edit

16:03

the photos, put the

16:05

photos online, make a newsletter,

16:07

make an Instagram post, make

16:10

an ad, make

16:12

a blog post and a tutorial. There's a lot

16:14

and I get, you know,

16:17

and that's on top of customer

16:19

service and Instagram and

16:22

stock management and shipping and yeah,

16:24

it's overwhelming sometimes. I do have

16:27

a little help but it's

16:29

a lot. It's a lot and that's

16:31

why I only get one or two patterns out

16:33

of here. Yeah,

16:36

it takes a while. Do you

16:38

feel like there are advantages to kind of

16:40

controlling that entire process? Because you mentioned before

16:43

customer service and how you actually get

16:45

to see the people and the

16:47

patterns, you know, so how I was

16:49

wondering if you feel like there's benefits

16:52

to doing everything yourself. Yeah,

16:55

well yes and no but yeah,

16:57

there are. Yeah, I can quickly

16:59

change things and, you know, I'm

17:01

talking with the customers. People will

17:03

email me if they find an

17:06

error or ask me why I did something the way

17:08

I did it and sometimes, like, why

17:10

did I do it that way? Maybe I should have

17:12

done it a different way or there's a, you know,

17:14

a good reason why I did and I explain it

17:16

to them and then but, you know, when

17:18

I hear enough back from people

17:21

too, then it kind of informs how

17:23

I design something similar to that

17:25

again. Oh, well, people had trouble with this

17:27

or they really don't like linings or

17:29

they do like linings or whatever it is, you know,

17:31

I'll keep that in my mind and

17:34

so it's really nice to have all that information

17:36

dealing with the community. I don't

17:38

know if that answered the question. Yeah, absolutely.

17:40

Anybody else have any thoughts about this? We do

17:44

that same thing but I got to tell

17:46

you that the

17:48

big four, which is now basically the big

17:50

two, they don't have what you

17:52

and I are talking about here,

17:55

that interaction. I would say English

17:57

is a funny method of communication

17:59

because because you're trying

18:01

to explain things but the English

18:03

words just don't quite connect. But being

18:05

able to have a conversation with

18:08

whoever's using it helps improve you

18:10

in how you're showing

18:13

people how to do it. Plus the

18:15

fact that you have that interaction so

18:17

people, I mean you can't really learn

18:19

from the YouTubes or from a book.

18:22

It's that human interaction that really makes

18:24

that connection. So what you're doing is

18:26

just exactly right. Maybe only doing

18:28

two but quality versus quantity,

18:30

baby. Yeah,

18:33

Ellie, I was wondering actually how you

18:35

feel about that with, do you feel

18:37

like there's distinct advantages to teaching in

18:39

person versus, Sharon mentioned like YouTube books

18:42

or just people teaching themselves through instructions?

18:45

You know, yes, for sewing, there

18:48

is advantages to learning in person

18:50

because it's so hard to explain

18:53

and see. When I

18:55

was teaching pre-COVID, I was teaching

18:57

eight classes a month, but

18:59

I could hear, I wouldn't even have to see what

19:01

everyone's doing. I could hear it on the machine

19:03

or I could hear and I could be like,

19:06

oh, over there, this

19:08

and that, and it's like, I teach

19:10

online now, which

19:12

is just different, but I can reach people from

19:14

all over the world. So

19:17

I think there's pros and cons of each. And

19:20

then of course there's retreats now where people can

19:22

travel and they can learn from me when

19:24

I go teach at festivals and stuff.

19:29

I think it kind of goes back

19:31

to the sewing being like solitary versus

19:33

community. And then it's

19:35

so hard, right? It's not an

19:37

easy skill, it's so vast. So

19:39

the amount of concentration, you're so

19:41

interacting with yourself, even

19:44

when you're in a community environment,

19:46

you know that as a teacher, the

19:49

softer skills of can you do

19:51

it, confidence, making friends

19:53

with your seam ripper, that's transcendent

19:56

in person or online. You

20:00

know, Sharon, how

20:02

is designing for ready to wear different from

20:05

home sewing patterns since you have experience

20:07

with both? I pray to God

20:09

that people are learning from using

20:12

independent patterns as opposed

20:15

to the big four because let's

20:17

face it, they're mostly based

20:19

on dress forms. You

20:21

know, they've got this consistent sizing and I'm

20:24

sorry, maybe I was a dress form size

20:26

when I was a teenager but I

20:28

am not anywhere gravity happens.

20:33

So that's the difference between, you're

20:35

asking about home sewing versus ready to wear.

20:38

I think there are, I want

20:41

to think back to people

20:44

are thinking they should be perfect right at

20:47

the get go and one,

20:49

several things that you learn from ready

20:51

to wear is that they

20:53

have their own standards based on who

20:56

the consumer is and you

20:58

may not feel that you have that

21:00

right off the bat. Well then, taking

21:03

a couple of classes like

21:06

sewing and learning how to sew, how they

21:09

do it in ready to wear

21:11

as opposed to maybe what you learn from

21:14

your grandma, like don't use pins when

21:16

you're sewing and that sort of thing. Different

21:19

kind of seam allowances so you're not having to

21:21

waste time with trimming and grading and notching and

21:23

clipping and all that kind of waste of time.

21:27

But also how to then

21:29

move on to pattern making

21:32

so that you can, you

21:35

can invade the exterior of that

21:38

pattern and make it your own

21:40

as we do when we're thinking about

21:43

our consumer, our customer in

21:45

that ready to wear category. I

21:47

like to think a lot about how ready

21:50

is, well we all know who Picasso

21:52

is, right? Mr. Cubism. But

21:54

you know he started off with still lifes. Yeah,

21:58

there you go and then he went into the blue period. and cubism.

22:00

So that's you too. You're going

22:02

to learn the rules of

22:04

how things are made and then you're

22:07

going to break those rules. You're

22:09

going to go into that interior

22:12

of that pattern and

22:14

make it your own because you are

22:17

your own customer for that

22:19

ready to wear garment.

22:22

That ready to wear is you. Your

22:24

personal fits me. I love

22:27

this thing. I'm going to wear it for a lifetime.

22:30

That's the difference for me. Yeah. Erin or

22:32

Robin, do you have anything you wanted to add

22:34

to that? I just, I'll

22:36

answer. The difference between working ready

22:39

to wear to home towing.

22:43

I think for me it's really

22:45

awesome and like a huge learning

22:47

opportunity to be working so closely

22:49

with our sample sewer, Aretta and

22:51

our technical illustrator, Gina,

22:55

because they give feedback that I could

22:57

figure that out on my own too

22:59

if I was sewing it up, but

23:01

their feedback is invaluable and that's something

23:03

that working in ready to wear, you

23:06

don't necessarily have that direct contact with

23:08

the person who's actually sewing the garment.

23:10

The factory is often wanting to

23:12

use as least amount of fabric

23:15

as possible and the

23:17

cheapest construction technique. They're all

23:19

about profit and efficiency and

23:22

so working with

23:24

home sewing, I feel like you get a much more

23:27

quality product and I just feel so much more

23:29

connected to it as a pattern maker.

23:31

Ellie, back to you. So you're

23:34

a champion of just how empowering

23:36

the skill set is. So

23:38

what drew you to bag making as a

23:40

way to teach people how to sew? Well,

23:42

like I used to run a bag company.

23:45

I was a bike messenger in the late

23:48

90s and early 2000s when I was a

23:50

teenager and in my early 20s in Philadelphia

23:52

and we made bags for

23:55

all like East Coast, right? So we would ride our

23:57

bikes even in the snow and and

24:01

through all the weather and

24:03

everything. So there really wasn't

24:05

product that was built for

24:07

those conditions. So we would

24:09

have to repair, we weren't making a ton of money

24:11

either. So we would have to repair our bags.

24:14

And I, my mom taught me how to sew

24:16

when I was six, how to hand sew and

24:18

I grew up hand sewing. And

24:20

so it was natural to be able to

24:22

help my friends fix their bags. And

24:27

through running that company, it was a

24:29

custom company, custom bag company. So we

24:31

made everything in house. So

24:33

I ran a small batch manufacturing

24:35

studio in Portland, or sorry, in

24:37

Philly, and also in San Francisco,

24:39

where I was from and I

24:42

had moved back to after I lived in Philly and

24:44

also in Seattle. So I

24:47

had a lot of years

24:49

of manufacturing in house and

24:52

teaching people how to sew an industrial

24:54

machine and trying to run

24:56

a sustainable company through

24:58

the late 90s, early 2000s, mid 2000s,

25:03

when the artisanal revival

25:05

movement wasn't fully going.

25:10

And we were running into

25:12

a lot of issues with

25:14

how to source more

25:16

sustainably and how social

25:19

responsibility. So anyways,

25:21

bags was part of being in the

25:23

messenger culture and then I got just

25:26

really into teaching because I was teaching

25:28

all the stitchers that came to work

25:30

for me because sewing manufacturing

25:32

isn't a skill set that is common

25:34

in the US. So I

25:37

would hire stitchers like you that knew

25:39

how to sew really well. And

25:41

then I'd bring them into manufacturing and I

25:43

would teach them how to make bags. And

25:46

a lot of them started their own bag company. So

25:49

they would use my studio. We had

25:52

a big warehouse space with a ton

25:54

of industrial walking foot machines, mostly console,

25:57

206 RB5s for any of you that are industrial stitchers.

26:00

And I would let

26:02

them use the machines after

26:04

hours to sew bags for

26:06

their companies. I was like,

26:09

well, this is more fun than

26:11

trying to, you know, hit the

26:14

mark with cost of production and

26:17

all the other stuff. So then I went to

26:19

school for adult learning theory

26:22

and started Clumhouse. So the bags part was like,

26:24

that's what I already knew how to do because

26:26

I'd been doing it for 15 years. And

26:29

then the teaching part came from that.

26:33

But I used to make clothes when

26:35

I was young, I would make my Barbie

26:37

clothes and, you know, all that stuff that

26:39

bags just became. I

26:41

think the more like industrial heavy duty

26:43

stuff, you know, like I really like

26:45

using a hammer in the sewing shop,

26:48

using industrial, like using tools that you

26:50

wouldn't normally find in the sewing studio

26:52

is like cool to me. And I

26:54

like showing people that. So

26:56

I just like the more like

26:58

rugged, rough aspects of bag making

27:00

and how it crosses the line

27:02

into like, you know, woodworking

27:04

or leatherworking. Like it really becomes this

27:07

more like maker sphere. Yeah,

27:11

and so that's just the route that ended

27:13

up going, you know, but like with sewing

27:15

too, like there's so many, there's

27:18

so many avenues to specialize in. Like you

27:20

could be like an advanced bag maker, but

27:23

like a beginner garment stitcher, you

27:25

know? Do you ask someone like you ever try to like level

27:28

your patterns and you're like, oh, this is a beginner

27:30

pattern. It's like, well, it's a beginner pattern if you're

27:32

this. Yeah, but it's

27:34

an advanced pattern if you're this and it's like

27:36

kind of, you know, when you go. You can

27:38

quote the try to go to garment. Yeah, quote

27:40

the garment. Yeah, it's kind of funny. Yeah, it's

27:42

such a fast, anyways, long answer, but. What

27:45

excited you about teaching? Because you

27:47

mentioned, you felt like that was more

27:49

fun. Yeah, it's more fun because people,

27:51

well, for one, people could make a

27:53

living off the skill that I taught.

27:55

So bags are making

27:58

and selling handmade bags. I don't

28:00

know as much about the garment world for

28:03

this, but in bag making, it's pretty common

28:05

for bag makers to start their own businesses

28:07

selling their bags. I

28:10

don't know if that's as common in garment, you

28:12

know, but in bag making. I think it pays

28:14

you with accessories because they're seasonless. Yeah,

28:16

and so. That's a great, that's a great one. You

28:18

don't have to grade them, you know. There's,

28:21

so yeah, that aspect

28:23

of sewing, so the

28:26

entrepreneurial connection,

28:28

and my experience with that, and

28:30

you know, it just really felt

28:32

like that was the most robust

28:35

place I could serve. It

28:37

empowers people in a different way if they can

28:40

start their own bag company from

28:42

what you teach them. Yeah, and so now I'm

28:44

teaching bag design. I actually have a free bag

28:46

design challenge next week if anyone's interested in bag

28:48

design online, but yeah,

28:50

so looking at, I really

28:53

like that holistic picture, you know, but

28:55

yeah, I mean, just empowering people and

28:57

just people having a moment

28:59

to be like, I can do this.

29:01

We call it growing the fabric of

29:03

goodwill. Yeah. Yeah, but it's

29:05

like what you were saying, like, I

29:07

mean, it's like we're building this whole

29:09

creative universe here, and Portland's such a

29:12

great place. We have so many creatives

29:14

here, so many fabric stores. Thank you,

29:16

Jesus. So, I mean, it is, I

29:18

just love listening to you, Ellie, because

29:23

it's just, I think touching on something as akin

29:26

to all of us here, that

29:28

we just love doing these things

29:30

ourselves, but we love bringing along

29:32

friends, making new friends, building that

29:34

spark. I know you had it

29:37

in you, now here you go. I see

29:39

so much hatred and anger out in

29:41

the world, and I'm thinking, they could

29:43

take that energy and do something positive,

29:45

like go to Clumhouse and make a

29:47

bag. Yeah. Well, it's

29:49

funny, you know, we're talking about ready to wear

29:52

into the big difference, you know, and it's like,

29:54

it's a whole different goal. Like

29:56

there's make it, you know, like

29:58

efficiency and like mass production. And the

30:01

people that are buying ready to wear,

30:03

they're not trying to interact with their

30:05

creativity and build a skill. I

30:07

mean, in the end product, you end up with a shorter

30:10

pair of pants or dress. Like the end product is there,

30:12

you get to wear it. But the

30:14

difference of how you get there, it's like

30:16

a totally different goal, to

30:19

spend our time making stuff

30:21

that we wear. There's so

30:23

much there. I see

30:25

it more appreciation. Exactly, like

30:28

the labor involved and

30:30

whatever. So yeah,

30:32

time is the most precious resource. And to

30:34

spend your time doing this, like

30:38

obviously that's more important than if you're just gonna

30:40

go by, I think not that everyone

30:42

has the combination. The retail

30:44

therapy high is nothing compared

30:47

to the I made this high. I

30:50

don't even shop any marks of fabric. Just

30:54

a fabric shop. Pouring.

31:02

So Becky, the next question is for you. Sharon,

31:05

you were touching on Portland and

31:07

the community that we have here. So

31:09

between your work with the FrogTails and

31:11

running your own pattern company, you're

31:13

at this really interesting intersection with the

31:15

sewing community and the sewing industry. So

31:18

what aspect of the pattern making process

31:20

do you wish that you could share

31:22

with Home Sewist? Are

31:24

you talking about my soap box? If you

31:27

know me, you've heard this one. The

31:30

thing that I wish I could share is

31:32

that, Sharon touched on this and

31:34

everyone here touched on this. So have

31:36

you ever gotten one of those books that

31:39

has all the stock architecture patterns in

31:41

them? Or you get on Pinterest and look at architecture patterns and

31:43

be like, I like that house, I like that floor plan. Have

31:46

you ever done that? Do you know what I'm talking about? And

31:48

you can buy them, but then you have

31:50

to fit it to the land that you bought.

31:52

Say you've got sloped land or a

31:54

creek or an FBA. So

31:58

I think it's so empowering. The pattern

32:00

is the same thing, you know, yes,

32:03

there's no such thing as everybody having

32:05

the hourglass 10-0-10 ratio. Very

32:08

few of us have it. I have

32:10

fairly easy pattern

32:13

adjustments, like an FBA and I'm tall, but

32:15

for the most part, nobody's

32:17

going to fit a pattern out of the

32:19

box. But the fun part,

32:21

you know, the nut you get to crack

32:24

is finding those adjustments and fitting it to you.

32:26

I always say I can't compete with Old Navy,

32:28

nor would I want to, but you bet your ass

32:31

I can compete with Nordstrom. And

32:33

I can make myself look good for,

32:35

you know, I compete with Nordstrom prices. And

32:38

I'm not, you know, making some kids sew it for

32:40

me in Bangladesh. So I

32:43

really like that, but then the idea that you

32:45

can fit it to your body, and think of

32:47

it that way, when you're getting frustrated because you

32:49

can't quite get that crotch curve right,

32:51

remember you bought the stark architecture pattern

32:54

and you can learn how to do

32:56

it, you know, ask somebody. I have

32:58

answered questions about my patterns and gotten

33:00

on FaceTime with people to help walk

33:02

people through it. I will do that. Most

33:05

of us will do that because that's how important

33:07

it is for me to have you

33:09

be happy with what you made. You know, I don't

33:11

care that it was $12. That's

33:14

not the point. The point is that you

33:16

get it, that it clicks in there somewhere.

33:18

And if it takes, you know, I know

33:20

there's two-dimensional drawings because I make them and

33:23

in the instructions, they're not always perfect. And sometimes

33:25

the video doesn't work for you. You

33:27

don't need to exercise the same spatial reasoning

33:30

skills that we've all had to exercise and

33:32

learn. That's not your job. That's

33:34

our job. And so let us help

33:36

you fit that around your body. You can take it

33:38

to the two-dimensional and fitting it three-dimensional. And

33:41

I would also like to add on to

33:43

the clump story of, you know, the

33:45

industrial sewing machine and the hammer. You

33:48

have to sew on one. Have you ever sewn

33:50

on an industrial sewing machine? Oh

33:52

my God. So yeah,

33:54

come, let's go play. Come

33:57

over to my house. Let's go over to

33:59

PFI. to Laura's luggage yesterday, Andy.

34:01

He's got a whole bunch of shop and he

34:03

does happy hours on the 15th of every month.

34:06

And we're gonna go and he has all kinds of industrial

34:08

machines. Or Rebecca Piercy, let's go play on

34:10

her machines. It's like, it's so fun. It's

34:12

like going four by four in for the first time. So

34:15

it's really fun. It's totally exciting.

34:17

You don't want to

34:20

own one because they take up way too much space. But let's go play.

34:24

But definitely worse people. They

34:26

can be dangerous. Erin,

34:29

is there anything that you wish you could share about the pattern

34:31

making process? The biggest one that comes

34:34

to mind is that a

34:36

simple silhouette isn't necessarily a

34:39

simple fit process. So

34:42

for example, like take the Mercer jumpsuit, which is

34:44

coming out next month. It has

34:47

a lot of bells and whistles on it,

34:49

you know, a collar pocket waistband, you'd think

34:51

that that is a much more complicated fitting

34:54

process. But this actually

34:56

took half the amount

34:59

of prototypes than a simple

35:01

shift dress that I was working on.

35:04

And the reason for that is,

35:07

of all the anchor points in this jumpsuit,

35:10

you know, it's your

35:12

shoulder and your waist, like their

35:14

connection points to your body versus,

35:16

you know, more simple shift silhouette,

35:18

you're working a lot with the

35:21

balance of the garment and trying

35:23

to get it to hit

35:25

that happy middle ground. And so and

35:28

fabric. Yeah, I mean, so many things come

35:30

into play. So

35:32

I think the reason I'm sharing this is,

35:34

you know, if you're struggling with fitting something

35:37

that you think that it should be a

35:39

simple garment, it might not be

35:41

that simple. That's a really good point. Anybody

35:43

else want to add anything? Peggy said and

35:45

fabric like just because you're you're fitting something

35:48

and it's not fitting

35:50

right. You have the difference between we're wearing the

35:52

exact same garment in entirely different fabrics, you know,

35:54

she's got a boil, I've got a lawn, and

35:56

they sew differently

35:59

and they wear differently and if I would have

36:01

made this in a linen it would

36:03

be entirely different still or rayon and

36:05

so we'll have these patterns you can

36:08

sew them in all of these different fabrics but

36:10

they're not going to be the same garment and so what

36:12

she's saying is she's made a shift which is you know

36:14

used to be a shell dress that's all it

36:16

is it's actually much harder than

36:18

it looks you know and it hits everybody's

36:20

body different because it's not going to have

36:22

your a-line skirt it's more straight up and

36:25

down with like fish-eyed darts and it's kind of a

36:27

pain in the butt you know where this

36:29

you know you could just have like a loose open waist

36:31

you know and the crotch curve is gonna be baggy enough

36:33

it's not going to be so difficult to fit that

36:35

it looks like a pain in the butt but it's

36:37

actually the easier so I totally agree with you it's

36:39

kind of funny how some of these gathers hide a

36:42

multitude of sins right so

36:44

yeah I totally agree it's funny

36:46

what appears to be difficult might not be

36:49

I can add to

36:51

that when I worked at Janssen

36:54

and we did swimsuits and you'd

36:56

think that the simplest swimsuit would be a

36:58

tank suit that is just a carryover style

37:00

in a new fat in a new knit

37:04

new fabric but

37:06

knit fabrics the stretch is so extremely

37:09

different some stretch more in the width some

37:11

stretch more in the length you could have the

37:13

exact same fabric but it's just on a

37:15

you know a different lot and it'll stretch

37:17

differently so the pattern makers

37:19

used to fight over who got the

37:22

open back tanks because you'd have people breathing down

37:24

your neck that's late we need to get it

37:26

out and you'd be on your 15th fitting trying

37:29

to get the straps to go back and then

37:31

you'd have to put a center back seam in

37:33

it because now the straps were gonna be past

37:35

the fold line and and

37:37

yet they seem so simple you know

37:39

it was just yeah so it fabric

37:41

can make all the difference I think that's

37:43

probably encouraging for a lot of us you

37:46

know that when you're struggling with something that you think should

37:48

be easy to do

37:50

it's not you yeah so Robin we've

37:53

talked a lot about fitting and we

37:55

get asked a lot of questions about

37:57

fitting and our whole team works to

37:59

answer them for any seam worker who

38:01

writes in, what do you think is the most misunderstood

38:04

thing about fit? Gosh, I think

38:06

they all just explained it. But

38:10

yeah, it's kind of exactly what Erin

38:12

was saying. You know, the garments are

38:14

made to a specific set of measurements

38:16

for the fit model, and

38:18

you've got the width measurements, the ones

38:20

you're all used to, the bust, the

38:22

waist, the hip, but there's also arm

38:24

hold ups, and across back, and

38:27

thigh circumference, and

38:29

bicep. And so when

38:33

someone is choosing a pattern, if

38:36

they muddle in it and they're like, okay, my

38:39

bust matches and my waist matches exactly, why am

38:41

I swimming in this? It can

38:43

often be because of those other measurements, length

38:46

measurements, my baby

38:49

at Seamwork, the four zones of height. You've got

38:51

your shoulder to your under bust, and your bust

38:53

to your waist, and your waist to your crotch,

38:55

and then your crotch to your leg. And

38:58

so if you don't get those things in

39:00

the right place, even if those circumference measurements

39:02

are matching, it's not gonna

39:04

sit right. I think

39:07

we have like 32 different

39:09

measurements we take on our new fit models, all

39:11

our photo models, and we don't have to adjust

39:13

for everyone, but we do

39:15

have to do a lot of comparisons

39:17

and get those points

39:20

right. Yeah, I think those length measurements

39:22

are something that are really often overlooked.

39:26

Yes, arm hold depth is like, that's

39:28

the big one. That's not

39:30

right, other things are gonna feel off. It's

39:32

gonna feel too tight, the bicep. You're

39:35

gonna feel like your bust is too tight because

39:37

your bicep is hitting because the arm hold's too

39:39

low, something like that. And that

39:41

often happens, so the myth of grading up

39:43

to fit your bust causes the arm side

39:45

to go down too low because you don't

39:48

have boobs on your back. So why are

39:50

you grading up? Do a proper FBA, because

39:52

if you grade up to fit your bust,

39:55

you knock down your arm side too long.

39:57

So then your fabric is pulling from the back to

39:59

make up the- circumference in your bust because it's

40:01

pulling that circumference from the back because it

40:03

put it in evenly. So now

40:05

you think you need to do a narrow

40:07

shoulder adjustment and then you think you need

40:09

to do all of these other things when

40:11

really you needed to do an FBA, a

40:13

full bust adjustment, instead of grading up to

40:15

fit your bust. That's like another pet

40:18

peeve. It goes both ways. Please don't size

40:20

down. Unless it's like

40:22

quince that you know it's like super open

40:24

and wide. Sizing down can cause your armhole

40:26

to be too short and your waist, there

40:29

was a question a while

40:31

ago, someone sized down like three

40:33

sizes and nothing fit and I

40:35

wanted you know we wrote it

40:37

no no no no go back go back go

40:40

back yeah. We're gonna end with a question for

40:42

everyone so maybe we could just go around the

40:44

circle and start with you Robin. What do you

40:46

think is the number one thing HomeSewist could do

40:48

to think more like a pattern maker? Mass. Measure.

40:51

Then re-measure.

40:54

Then measure some more things. Really

40:56

just like pretend you're making a 3d model

40:59

of your body and then measure everything again

41:01

and write all of those numbers down and

41:04

then check the ease chart and check the body

41:06

chart and note that difference and

41:08

write that down and then think about how

41:11

much ease you like in a garment and feel

41:13

good and comfortable in a garment and write that

41:15

down and then divide all those numbers

41:17

by the number of seams and then change your pattern.

41:22

And this is what I do for every photo sample.

41:26

I would say for me just accept that

41:28

you're gonna make a muslin like

41:31

it just makes such a better quality

41:33

garment if you just

41:36

bite the bullet and take a little

41:38

more time. Uh oh. I

41:40

see fingers being

41:43

pointed. That wasn't

41:45

a popular answer. Wrapping it up. I mean

41:50

maybe some of you can figure it out without a

41:52

muslin but for me I feel like muslin. The muslin.

41:55

Walking it back. Now,

42:00

maybe we can just think about the first one as

42:02

being your prototype. You know, maybe

42:04

that's not the perfect one. You'll learn about

42:06

that pattern. Yeah, wearable muslin. And then the

42:08

second one will be the better one. Yeah,

42:10

that's very good. Like same here. What

42:14

about you, Peggy? Same. Well,

42:16

this was a hard question for me

42:18

to think of the answer. And now

42:20

I'm going to have the same answer.

42:26

I never really made muslins when I was sewing all the

42:28

time when I was younger. I hated it. If

42:31

I did sew up something and I didn't look

42:33

like it was going to look great on me, I

42:35

just would like not finish

42:37

it and go on to something else. But

42:40

now I love to

42:42

make muslins because I don't love to, but I

42:44

find it important. Or a wearable muslin, like you

42:46

said. Because if you just make it an actual

42:49

muslin, yeah, you can maybe

42:52

see that it's going to get around your body,

42:54

but it's just going to look different. And sometimes

42:56

might discourage you from finishing the final garment. So

42:58

if you make something that at least you don't

43:00

like it, you can sell it

43:02

or give it to Goodwill or something, you know. So

43:05

it's an actual garment. And

43:07

I suggest making it in as

43:09

close to the actual fabric that

43:11

you're actually going to use in

43:13

your end product. Because in

43:15

ready-to-wear, they are not just

43:18

pattern makers, not just coming

43:20

up with the pattern and

43:22

it fits the first time. I mean, they

43:25

go through, like I said, I'm not kidding.

43:27

When I was doing those tank suits, sometimes

43:29

15 times, you know, or something or more.

43:32

And so they make lots of, you know, it just

43:34

depends on the style, but lots of 12. And

43:36

so that's just something that goes along with fitting

43:40

a garment. So first of all, for ready-to-wear,

43:42

there's differences too. You know, one day you'll

43:44

get an Old Navy t-shirt, it'll fit, the

43:46

next time it won't. They're allowed three inches

43:48

of slop. Like they're allowed a lot of

43:50

variation when it comes back, and that's why it's $5. And

43:54

so don't, again, beat yourself up over not fitting that. The

43:57

more you pay, the less slop is allowed in their cutting.

44:00

me back. So I'm going to make

44:03

you my friend and disagree with them. If

44:05

you know your body measurements

44:10

you can learn how to flat measure a

44:12

pattern and once you flat measure a

44:14

pattern you would

44:16

know what it would be on you. The finished measurements

44:18

will give you that but also sometimes the visual again

44:21

with the spatial reasoning skills that helps to flat measure

44:23

a pattern. I used to always just flat measure a

44:25

pattern and then I would know what changes to make

44:27

because again I already know height so where am

44:29

I putting the height? My boobs aren't up here.

44:31

Those patterns that have those multiple cups, my

44:35

double D's up here, that's hilarious.

44:37

So I prefer getting a B cup pattern

44:39

just measuring down where things are and moving

44:41

them around because I know where their waist is, I

44:44

know where my drop is between here, my

44:46

bust. So you can do flat pattern and then yeah

44:48

you can muzzle in it and see then if you

44:50

want to. The other thing

44:52

you can do is pull out something that already fits

44:55

you and put the crotch curve against

44:57

that crotch curve and see how it measures up. If

44:59

it's already not going up your butt on the pants

45:01

you have and this one clearly is going to go

45:03

up your butt, don't scoop the

45:05

crotch. That takes out circumference of fabric,

45:08

another pet peeve. Just check

45:10

your crotch curve against the ones that already

45:12

fit you. Another

45:14

cheat you can do is it's

45:17

not going to hurt my feelings if you

45:19

don't try my patterns but you already know

45:21

for example Peggy's blocks fit you. I know

45:24

her stuff fits me and all I have

45:26

to do is add in height and pop

45:28

in an SBA sometimes. I know

45:30

I keep a steam work account

45:32

because I know if my kid goes I

45:34

want this to wear, I could take any

45:36

of their patterns, their excellent bones and I

45:38

can strip it down. I've literally made huge

45:40

cosplay outfits for my kids out of their patterns

45:44

entirely out of just their patterns because I

45:46

can strip it all down to the bones and I

45:48

know it's going to fit because I know how it

45:51

already measures out because they've already used it a million

45:53

times. I know how they work, how their stuff comes

45:55

out. So if you don't want to try

45:57

somebody new, you want to stick to who you have, you

45:59

know. going to hurt anybody's feelings, it's your body. It's

46:02

to make you happy. You already know it fits.

46:04

So you already know what measurements you need to

46:06

pop in on those patterns. So those

46:08

are kind of your teats you can get around if you

46:10

don't want to make Muslims every time. That's

46:13

my two cents. So Becky, you're saying

46:15

measure? I

46:21

know things about you, girl. So

46:27

in bag making, sort of the

46:29

equivalent of what you all are talking about is

46:32

actually gets into the realm of design. Because

46:36

essentially, to fit a bag, you have

46:38

to try the straps on. But

46:41

the bag is supposed to fit your stuff. And

46:44

it's also supposed to function in the

46:47

activity that you want to use it in, or

46:49

for the person with the activity you use it.

46:52

And what's the main thing you don't want a bag to do?

46:54

Well, you don't want your stuff to fall out. And

46:56

you don't want the straps to tear out. So

46:59

you get into this more

47:01

construction and design

47:03

realm with bag making. Because

47:06

a lot what this is like

47:09

is the iterations and the sample

47:11

making process. It's just built in more

47:13

to garment making. But with bags, people

47:15

will make it the way the

47:17

chef designed it. And then

47:19

they'll make it again and say, OK, well, actually,

47:22

I'm going to move this pocket, or

47:24

I'm going to size this up. But you start

47:26

to get into design changes. And

47:28

so then you have to think more like a

47:31

bag designer instead of

47:33

pattern bag designer, if that makes

47:36

sense. Always add more pockets.

47:39

Always add, yeah, but label them because then you can't find

47:41

your stuff. OK,

47:45

I'm just going to say pattern making's

47:47

the best. I'll just assume

47:50

that. I know you all like to sew. You're here because you like

47:52

to sew. But I'm just going to tell you

47:54

right now, pattern making's the best. It's where

47:56

the rubber hits the road. I'm sorry.

47:58

If you cut me, I would bleed off. Opti-Tex,

48:01

you know, that was it. It's

48:04

where the rubber hits the road. It's where your

48:06

ideas come to life.

48:09

It's there. You cut it out of the

48:11

fabric. You cannot cut out of the fabric and make

48:13

a garment until you

48:15

have a pattern. When

48:19

you're thinking about taking the measurements, altering

48:21

the pattern, whatever it is to make

48:23

it work for you, don't

48:25

think of it as, oh, my God, it's

48:27

a place between me and my garment. Think

48:29

of it as a voyage

48:31

of adventure and discovery. It

48:37

is. I mean, you're thinking

48:39

about the things that

48:41

you love to wear. Isn't it great to make

48:43

the clothes you wore, that you made, to wear

48:45

the clothes that you've made? So you know what

48:47

looks good on you? You know what

48:49

you like. Take

48:51

a look at that. Pick

48:55

out the patterns that are going to

48:57

match that look on you. And

49:00

then know the tools, the pattern making.

49:02

Know the rules. Break a few. Make

49:05

that pattern work for you. And

49:07

then just knock that off, baby,

49:10

one after another. And then you'll

49:12

be having a wardrobe, that basic

49:14

classic wardrobe that use your go-to

49:16

garment that you know it's going

49:19

to work for you every time. Thank you,

49:21

everybody. This is awesome. Thanks for sharing all

49:23

your insights with everybody today. Let's give them a

49:25

round of applause. You know

49:29

what we

49:34

do is not human team at

49:36

Samer. Samer is an online community

49:38

that supports you in creating a wardrobe

49:40

that feels right for you. When

49:43

you join us at Samer, you become part of our

49:45

private community of makers, and you also get

49:47

access to monthly sew-along classes, a library

49:49

of over 200 sewing patterns,

49:52

and tons of great resources to help

49:54

guide you through the sewing adventure that you

49:56

choose. Podcast listeners can

49:58

get half off of Samer. unlimited membership,

50:00

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50:02

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50:04

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50:07

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50:09

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50:12

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50:16

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50:20

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50:22

from you. So let us know if there's a topic or

50:25

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50:28

for listening to Seamwork radio. We'll see

50:30

you next time.