A simple sliptop can be tucked in blossom trousers. Description A classic pair you can't live without, these Black solid colored harem pants are a must for any wardrobe. I also had this question about the swayfront. Speaking of tops, then you can try on chic or sporty jumpers or blazers making yourself looking effortlessly cool.
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Vintage sewing patterns for dresses, gowns, lingerie, shirts, pants, skirts, shirts, tunics and so much more. Sewing patterns for women, men, girls, boys and infants. Sewing patterns for the holidays, home decorating, purses, bags, toys, stuffed animals and many more crafty items. Your Pattern Shop also carries applique, embroidery, crochet, knitting, plastic canvas and many other types of needlework patterns along with complete needlecraft kits and books.
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Some examples of Viking-age glass beads are shown to the left, and a historical string of glass beads from the Viking age is shown to the right. The woman shown standing in the doorway above to the right is wearing an ankle length coat-like outer garment over her suspended dress, but cloaks or shawls were also used and were probably more common.
One such coat was found in Birka with a neckline cut so full that the oval brooches underneath were visible when the coat was closed and fastened. A modern replica is shown to the left. Women often used tri-lobed brooches right to fasten the neck opening of their clothing. These skeletal remains of a Viking-age woman clearly show her tri-lobed brooch in place where it fastened the neck opening of her burial clothes. Belt buckles or other fastenings are rarely found in women's graves, as they are in men's graves, suggesting that women's belts were woven fabric, rather than leather.
Alternatively, it is possible that women did not routinely wear belts, as men did, and instead, they carried all of their everyday items suspended from their brooches. Head coverings were typically worn by women, perhaps as simple as a knotted kerchief over the head left , which was suggested by finds at the Oseberg ship burial. A number of different kinds of head-coverings for women are mentioned in the sagas, some of which are elaborate headdresses, which may have been worn like jewelry on special occasions.
It had eight ounces of gold woven into the fabric. It has been suggested that the type of headdress worn served to distinguish married from unmarried women.
Women's shoes were similar to men's shoes in virtually every particular. Some evidence suggests that women's clothing was worn long. Images of women in picture stones and jewelry right show long, trailing skirts on female figures. Saga evidence also suggests long clothing for women. Perhaps the best evidence comes from Gísla saga ch. A moment's reflection suggests that long, flowing clothing was impractical in the agricultural society of the Viking age.
Trailing garments would get soiled while working around animals and would be awkward around the fire burning on the floor of every longhouse. Perhaps high status women wore such long clothing on special occasions. As is often the case with Viking material culture, we are reminded of the limits of the available evidence. There is little surviving evidence to help us determine what sort of clothing children wore, but there is little to suggest that children's clothing was anything other than adult clothing cut to fit the child's smaller frame.
Tunic and trousers were probably typical for boys, and a dress for girls. Their tunics were plain striped rough homespun wool, with trousers below. They both wore cloaks over their tunics. To the left is shown a replica of a boy's tunic and shoes, and to the right, boy's trousers. The garments follow the same patterns as adult clothing, but are cut to fit a child. We know little about the clothing worn by slaves, or how it differed from the clothing worn by free people.
Most likely, it was similar to but simpler in design and execution than clothing worn by free men and women. Coarser, undyed fabric was probably used to reduce costs, with little or no ornamentation. After purchasing her, Höskuldr dressed her in fine clothes which suited her better. All of the steps of making a set of clothing, from processing the fibers, to spinning, weaving, cutting, and sewing, were done by the women of the family. Since the process was so labor intensive, a set of clothing was highly prized and carefully maintained.
And since the work was skilled, the women doing this work were an indispensible part of the household. Clothing was commonly made from wool or linen. Other fabrics such as silk were known, but were costly and rare.
It has been thought that outer garments were typically wool, while under garments were linen. More recent research suggests that linen was commonly used for outer garments as well. Both fabrics begin with natural fibers. Wool is made from the fibers from the coats of sheep. Sheep were raised throughout all of the Norse lands, not only for wool, but for food as well.
Fleece that had been shorn or plucked from sheep was cleaned left to eliminate dirt and debris and combed with iron toothed combs right to smooth and disentangle the fibers, making them easier to spin. Linen is made from fibers in the stem of the flax plant, a slender, erect plant that grows about cm 40in tall. Earlier references suggest that flax grew only in the most southerly of the Norse lands during the Viking age.
However, more recent evidence suggests that flax was cultivated in the more northerly lands, including northern districts of Norway and Sweden. Both pollen samples and placename evidence in Iceland suggests flax cultivation there, as well, although it seems unlikely that flax would flourish there.
Linakradalur flax field valley is shown to the right as it appears today Flax was harvested before the seeds ripened. The seedpods were removed, and the stems were "retted" in shallow water, a process that caused the plant to decompose and loosen the fibers without causing the fibers to rot. The process creates very disagreeable odors.
Linen fiber was mechanically separated from flax stems by beating the stems, using a wooden beating tool such as the one shown to the right. The fibers were then combed to separate out any woody particles from the linen fibers and to align the fibers to make the spinning process easier. The bundle of wool or linen fibers was attached to a simple distaff, which the spinster could secure to her belt or under her arm.
The spindle in the upper left in the photo to the right was weighted by a spindle whorl, a small stone with a hole cut in the center right. The spindle was set spinning and allowed to sink towards the floor. Fibers were teased out of the mass of raw material on the distaff and spun together between the fingers to create thread. Spindle whorls are common archaeological finds.
The examples in the photo on the right are from the collection of the Icelandic National Museum. The finding of a spindle whorl and a bone needle at the L'Anse aux Meadows site is convincing evidence that women were present at the site during the Norse era. Different sized spindle whorls were used for making different weight threads. Some spindle whorl finds are so small that they were originally classified as beads for jewelry. Only recently have they been reclassified as whorls for making extremely fine thread.
Making the thread was probably the most time-consuming aspect of clothing manufacturing. It is estimated that about 35 hours of labor was required to make the thread required for one day of weaving. Finished thread was wound onto a thread reel, shown to the left. Alternatively, thread was wound onto animal bones.
The dyeing process could be applied to the fleece, to the thread, or to the finished fabric. The dyes available to Norse weavers were limited, but many of them were bright. A variety of vegetable dyes were commonly used, resulting in a range of colors: The results of some modern dyeing experiments are shown in the photos. The yarns shown to the right were dyed with natural dyestuffs found in Iceland, as was the tunic and tablet-woven trim shown to the left. The sagas mention that dyestuffs were collected.
The Icelandic sagas often mentions clothing color. Brightly colored clothing was a symbol of wealth and power, no doubt due to the additional expense of the dye stuffs and the multiple dyeing operations required to make bright colors. Presumably, a true black could not be obtained with dyes of the time, and a dark blue-black was as close as could be obtained. The deep black of the tunic of the eastern Norseman in the photo at the top of this article would have been very difficult to obtain during the Norse era.
Frequently, linen undergarments were left undyed, in part because linen is difficult to dye. The looms used by Viking-age weavers would have allowed them to make a wide variety of plaids, checks, stripes, and other patterns, but for whatever reason, they chose not to.
Few examples of these patterened fabrics are found in the archaeological record. When patterns were woven in to the fabric, Viking weavers more commonly used fine patterns, with one or two threads of a single contrasting color thread closely spaced in the weave, illustrated in the sketch to the left.
Patterned fabrics are mentioned in the sagas. Fabric was woven on a vertical loom. A vertical loom is little more than a wooden framework that leans against the wall. It stands about head-high, which puts the working area at a convenient height for someone standing in front of the loom. The modern reproduction shown to the left is a bit more narrow than the more typical width or the replica loom shown to the right.
Typical looms from the period were about 2m 80in wide, capable of weaving material as wide as cm 65in. The warp threads were tensioned by means of the stones tied to the threads at the bottom. The warp threads were moved relative to one another using the heddle rods the horizontal rods located halfway down the loom. Each warp thread had a loop of thread around it tied to one of several heddle rods. Thus, by moving the heddle rods forwards and backwards relative to the warp, a shed was created through which the weft thread was passed on a shuttle.
The arrangement of the warp threads on the heddle rod and the movement of the heddle rods between each pass of the shuttle allowed a variety of weaves to be created, including plain weave left and twills of various kinds right. After each pass of the weft thread, a wooden beater shown at the top of the photo to the left, along with thread and shuttles was used to push the new weft against the fabric above.
Finished material was wound up on the top beam, using the handle on the right side of the beam barely visible in the loom photo to the right. Other materials were used as beaters, including broken sword components. The historical beater shown in the bottom photo to the left is a broken portion of a pattern-welded sword blade , fitted with a wooden hilt, having a wooden crossguard and pommel.
Weaving using a vertical loom is described as being both tedious and physically demanding, requiring that the weaver walk back and forth from one end of the loom to the other with each pass of the shuttle. However, vertical looms allowed a woman to weave cloth of any required width, from wide to narrow. Thus, it was not necessary to waste cloth by weaving material wider than needed. It is estimated that in one day, a weaver could produce one ell 50cm, about 20 inches of two ell wide fabric 1m, about 40in: Because of the cost of making fabric, clothing patterns were very efficient in their use of fabric.
The material was cut with little loss or waste of precious fabric. The top sketch to the right shows the pieces making up a simple woman's underdress, and the bottom sketch shows how they were cut from a single piece of fabric as it came off the loom. The yellow is the body of the garment, the magenta are the sleeves, the light blue are the underarm gussets, and the green are the gores for the body. The only wasted fabric was the white neck opening. There is little information about what sort of templates if any were used, and how they were laid out on the fabric to ensure the pieces were cut accurately.
The fabric was cut with iron shears left. Generally, this tool appears to have been carried by women in a leather case suspended from their shoulder brooches right. Garments were sewn together using needles made of bone, wood, antler, or metal.
Larger needles were typically made from organic materials, but smaller needles similar in size to those used today for hand stitching were made of iron or copper alloy. The small size of the needles and of their eyes suggest that fine thread was used for stitching, consistent with some of the fine weaves found in finished fabric from the Viking age. Needles were often stored in needle cases made of bone, iron, or copper alloy.
These cases are common finds in the graves of women, and were suspended from the brooches worn by women. When hanging, the case kept the needles safe and secure left , yet it was easily opened to reveal the needles inside when needed right. As with weaving, sewing the clothes was a time-consuming, labor-intensive task.
The seams in this replica women's underdress took about 25 hours to sew by hand. Again, there is little information about how if at all the fabric was held in position as it was sewn by a Viking-age seamstress. A variety of seams and stitches were used, including the finish stitch shown to the left. Some of the seams were finished on both sides, so that it is nearly impossible to tell the outside from the inside of the garment from looking at the seam right.
Decorative trims and braids such as used around the neck opening of a tunic were made using a process called tablet weaving.
In tablet weaving, a large number of various colored warp threads were threaded between tablets made of wood, bone or heavy leather left. As the tablets were rotated, different colored threads were brought to the top of the shed. The weft thread was passed through the shed on a shuttle. With each pass of the shuttle through the shed, a beater was used to tightly pack the threads left. By rotating the tablets in a systematic way, a decorative colored pattern was created in the material right.
The warp threads were tensioned between the weaver's belt and some heavy, immovable object such as a wall or pillar. The photo to the left shows how typical tablet woven braid used dozens of tablets to create very elaborate patterns. Some modern samples of tablet woven braid are shown to the right, above, as it is woven, and below, sewn to the sleeve of a tunic.
Another method of weaving braid is inkle weaving. While the use of inkle weaving is known over a broad period in history, its use in the Viking era is debatable. Archaeological evidence is sparse. Inkle weaving can not produce as many pattern variations as tablet weaving, but it is much faster.
Drawstrings for the waistbands of trousers, for example were made by finger braiding, in which loops of yarn were moved from finger to finger to create braid. Modern practitioners do it at lightning speed, turning out large quantities of braid in a short time. Presumably Viking-age women were no less speedy. Embroidery was also used to decorate clothing. The modern reproductions of a cap left and a hood right are decorated with embroidery around the edge. Wool and linen were the most commonly used fabrics.
Concerning the waist, how do you address if the slacks pull down in the middle back due to more room needed for the butt? I posted a pic and link to one of your tutorials. Thank you for this chart, it is great! I also had this question about the swayfront.
I noted the term is not linked so it makes me think the latter. Thanks for any clarification. I am printing this out and laminating it for my sewing room! This is the first tutorial that addresses my leg issues. Things I have learned about my legs, butt and hips while trying to make these pants: But even with that last issue, after ripping apart my first pair of Clovers about 8 times, I finally got a fit I really like!
Then the fabric stretched out like crazy. What is your source for pant-weight stretch fabrics? I love this cheat sheet! Excess fabric pooling under your butt Excess fabric around the fullest part of your butt Flat butt Flat butt adjustment see Full or Flat Butt Adjustment Tight diagonal wrinkles radiating from the fullest part of your butt Feels tight across the butt Back waist is pulling down Full butt Full butt adjustment see Full or Flat Butt Adjustment Legs Symptoms Potential Issue Adjustments Pants too long or short Longer or shorter legs Lengthen or shorten, either above the knee or at the hem.
Diagonal wrinkles around the knee, coming out from the side seams Knock knees Add length at the inseam, remove length at the side seam. Diagonal wrinkles around the knee, coming from the inseam. Bow legged Add length at the side seam, remove length at the inseam. Tight horizontal wrinkles at the upper thigh Wrinkles forming from the crotch to the side seam at the thigh Excess fabric pooling under the butt Large outer thigh area Let out the side seams at the thigh Feels tight across the upper thigh Wrinkles at the inner thigh, near the crotch Large quadriceps front thigh muscles Add width at the inseam of the pants front, close to the crotch and tapering down toward the knee.
Tight wrinkles coming from the inseam, near the crotch Large inner thighs Add width at the inseam of the pants front, close to the crotch and tapering down toward the knee. Excess fabric hanging vertically around the inner thighs Small inner thighs Remove width at the inseam of the pants front, close to the crotch and tapering down toward the knee. Tight wrinkles forming around the calf. Large calves Add width to the pants back, down the center back of your leg.
You may also be interested in: Some pants fitting basics The Year in Tutorials First Look: Colette Patterns Fall New patterns! Make your own dainties! Thank you so much. Will come in handy, especially when sewing for others! Thanks so much for your work compiling it and posting it!! However, you might notice that adding width at the CF changes the size of the waist seam, right?
What a fantastic resource. I hear you, I have the same fitting issue a lot of the time, and in ready to wear too. Sarai—you are a sewing goddess!!! Thank you for this post! Check out my comment to Allison above! This is fantastic, Sarai!
Thanks for putting it together for us all. Cannot wait for the flat butt tutorial — I do avoid making pants for this very reason! Oh my gosh…is that the premise of your second book? Just want to express thanks for the wonderful hints and tutorials! Where can I find the swayfront adjustment? This is a great list. I use Palmer and Pletch, and will put this in my alteration book.
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