2025 is looking a little brighter, I’m not out of the woods yet, but have a much more positive outlook and so I though I would start the year by doing something a little different and share with you all my plans for the year!

1. Aladdin packs

   

   The 1st set of Patterns I’ll be working on finishing are the Aladdin Panto Packs. These include oriental inspired shirts, waistcoats, trousers, cloaks, belts and shoulder pieces.

   I have worked hard to take inspiration from the many Aladdin Pantos’ put on each year so that these may be as useful and adaptable as possible. I was very concerned with views of cultural appropriation, however; I have decided to keep these mainly inspired by our history of Pantomime.

   Each pattern has pieces that can be adapted and changed by adding pieces from other patterns, lengthening and shortening and of course by using surface decoration.

   The first pattern has pieces inspired by the character of Aladdin and Wishee Washee but could also be used for ensemble and elements like the long Harem Pants could be used for other characters like Abanazar. The patterns are gender neutral and could also be used for elements of the Princess’ costume. Instructions will be included for the addition of shaping/darts and tips of decoration etc

   The second contains cloaks and shoulder pieces with belts and a skull cap base that can be used to create headdresses. This pattern has been inspired by the Genie and Abanazar.

   The third contains shoulder pieces and collars that can actually be attached to any costume you like. I think this would be a great addition for any costumer making Aladdin. Shoulder pieces and collars can be ‘stacked’ to create some fantastical pieces, the cloaks are sleeveless and instuctions ’ will be included for shortening/creating trains etc.

2. Historical Menswear

   

   Taking inspiration from Pantomimes like Dick Whittington and Jack and the Beanstalk, I have raided my vast collection patterns I’ve drafted for all sorts of films and theatrical shows and come up with what I hope is a strong, versatile collection which will be helpful for Princes’, ensemble cast and more.

   The first pack includes waistcoats with a Medieval twist for peasants and Royalty. Shoulder tabs and waist tabs help create the effect and instructions will include tips on aging fabric to create patches for peasants, quilting effects for warriors and piping/decorative detailing for Royalty. The 2nd waistcoat in this pack can be made up with an additional front panel that can be decorated, then removed for different scenes.

   The second pattern pack contains cravats and bow ties. Utilised for Princes, ensemble and Royalty these are a very useful addition when creating a costume and can be frilled and bowed as much as your character needs.

   the final pattern in this series contains shirts and breeches. The first shirt is a classic peasant shirt created from squares of fabric with very little waste. I have made these shirts for film and theatre and they’re extremely useful for many, many characters. The 2nd shirt is more tailored and would work well for Gentlemen and Royalty. the Breeches can be made from stretch or non-stretch fabric and instructions for an elasticated or flat waistband and cuffs will be included. They have a split, pointed waistband, with laced jiggers at the back for fit. Instructions for tuxedo stripes will be given. The pack includes fitted trousers and breeches, with an additional pattern for puffed and gathered breeches too. I have included patterns for bows and rosettes to decorate to!

3. 

   This fantastic little pattern contains a simple 5 panel corset which is very easy to make up. I have included instructions for 2 methods of boning, the first of which is incredibly easy. The pattern includes the short, plain corset then variations for the longer corset with sweetheart neckline and pointed hem. Making these is very satisfying, and with the addition of a full skirt they can create a brilliant base for more elaborate costumes. The corset has enough boning in it to support mounting wings and collar pieces as well as hanging heavier skirts etc. Instructions will be included for quick rigging with a zip whilst retaining the laced, corset style back, as well as adding a front, busk opening.

4. Cloak

   

   This pattern includes a 17th Century inspired Cloak pattern, and simpler, long, waterfall and short cloaks. Once again, this is a deceptively simple pattern but each could be a fantastic addition to your costume stock, with the pleated, hooded cloak great for Snow White or indeed any Princess in hiding! These patterns will be sized to fit all sizes and heights. There will be additional pattern pieces included for several collars, a hood and ties.

5. Victorian Bathing Beauty

   

   The first Dame pattern in this release, this will be produced in my normal range so could be used for ensemble too. This has been inspired by Victorian bathing suits and is tres chic! The bodice is a looser fit and gathered into the waistband and has short, puff sleeves with longer cuff, however; you could use any sleeves in any of the Tangled Stitch patterns for a different look. The skirt is pleated onto the waistband and front opening. Instructions will be included for quick rigging for the stage. A sailor collar completes the dress! also included in the pattern are leggings, bloomers and a sailor hat. this pattern could easily change looks if different decoration applied.

6. Usherette and Bell Boy Costumes

   

   I have called these ‘Usherette’ and Bell Boy’’ but I think you’ll agree these could be used for a military dame, Buttons and so very much more if made up in different colours or with different trims. This is the 2nd ‘Dame’ costume pattern but includes a male jacket as well. The Dame version can be made up with ruffled peplum or skirt and all include pattern pieces for epaulettes, collars, cuffs and sleeve/cuff decorations. I’ll also be including instructions for theatrical tailoring- which is a quicker form of tailoring than the traditional methods and creates firm, neat jacket that looks very smart. There will also be a Pill Box Hat pattern and instructions.

7. Hats

   

   Finally there will be a pattern released this year for various styles of hat. this is a pattern that actually uses some very traditional forms of millinery but with slight changes so that you can make a top Hat, witch or Wizard Hat or Tricorn Hat in almost any fabric that will stand the run of a Pantomime. the pattern will have 4 head sizes and include a mini version too.

That’s all folks, I’m going to open voting on my Facebook page so you can let me know which of these most strikes your fancy, so I can publish them in an order that would be most useful for you guys!

I have more tutorials and articles planned, which I will try to squeeze in around my busy filming schedule but I am hoping to be a lot more active and helpful in 2025!

Peace, love and happy stitching to you all!

Lx

I’d like to start recommending some pattern drafting books. Some I use on a daily basis, others may be more niche, many will probably be vintage or antique!

The first is Metric Pattern Cutting by Winifred Aldrich. I have all of the editions but I find 6th edition to be the best of them. My favorite is a revised 1st edition printed in 1978 which I claimed- stole!- from my Mum when I was 14 and it holds a dear place in my heart. She never got it back (shh!), and it’s very dilapidated now, the spine very ramshackle so I have retired it and started collected other editions.

The 6th edition has the best bits from the other editions but also super useful Swimwear Block I have now used several times. But I am getting ahead of myself…

Metric Pattern Cutting has been a standard for many in my industry for decades. I was trained to use it when I first started studying fashion in the 90s, and it was like a lightbulb going on in my head. Many people struggle with flat pattern cutting, it can be a difficult to draw seemingly nonsensical lines on paper that somehow have to translate into 3D wearable garments, but for whatever reason it instantly made sense to me. I think a lot of this may be down to the way in which it’s written, with no nonsense instructions in a list format. If you trust in Winny, she will guide you to making the basic patterns needed to create patterns for your costume designs.

The book is designed for the fashion industry, and manufacturing in particular, so the first section is all about cutting the ‘Blocks’. These blocks are meant to be form fitting i.e. fitting close to the form and the literal building blocks you need to create actual patterns. Blocks contain basic amounts of ease, and will always need adaptation to make them wearable but if a basic block is drafted, then fitted, to each performer you will have an exact replica of their body to be able to pattern cut any pattern for any design needed… or imaginable!

Section one also includes standard body measurement charts (again, these are for industrial sizing, so they run very small. It is not uncommon for a size 10 in real life to be a size 12- 14 in a Winny book), and a really handy diagram showing the position of those measurements. To ensure the best use of this book I have discovered it is very important to measure your performer, then choose which size they are closest to, then draft all blocks to that size.

If you start using your own measurements these blacks will not draft very well and you will encounter a litany of problems. I choose a size, draft a block, fit to my performer, then make any changes on the block. I then trace off a clean copy of the new block and label it for that performer. This can be very useful if making costumes for either the same cast or a similarly sizes performer in the future. In fact, I have drafted every size of basic block for the Bodice, Sleeve, Skirt and Trouser so I can simply choose the best, trace off and get going.

To make best use of the blocks I have drafted and use/trace off the most I have cut them from Pattern Card which I can then draw around. It makes a fairly laborious process exceptionally quick.

Above: Examples of the Basic Skirt, Trouser, Bodice and 2-Piece sleeve Blocks

Chapter 15 in Part 4 (for the 6th Edition) is all about drafting the basic blocks for individual figures, however; this section wasn’t in my beloved copy at college so I had to make my own rules!

As you flick through the book there are ton of notes and it’s actually a really interesting read, especially if you are new to the process. They discuss garment manufacture, the process of cutting- block pattern, working pattern, final pattern-, what blocks for which type of cutting, even fabric selection, costing and lay planning (crucial if working to a budget as we so often are in the theatre) and loads more.

The blocks range from the basic skirt block and skirts with different and more advanced styles and waistbands included, the basic trouser block and trousers of different design like jeans, shorts and different waistlines/finishes discussed, basic body blocks including fitted, easy fitted, tailored, sleeve blocks .

There are several very useful pages that discuss fitting the basic blocks and instructions are given for the basic measurements and placements needed to make close fitting, easy fitting, sleeveless, kimono, jacket, dress and lingerie blocks.

Above: some of the patterns the book teaches you to make.

After the basic blocks the book moves on to adaptations that you can do to the basic bodice block, transferring the darts, shaping, bust seams, making the bust darts pleats, tucks and gathers and further complex bust and waist shaping. It’s becomes immediately apparent just exactly what you can do once you have a basic block. This continues to include adapting the blocks’ for dresses and lingerie, jackets and coats, sleeves (there’s over 30!) and cuffs, openings and collars then a section on easy fitting garments which includes baggy trousers, one- piece trousers, shirts, jackets and weather wear. The final two sections cover stretch and knitted garment cutting with block adaptations of t-shirts, tracksuits, hoods and sportswear.

Finally we come to information about drafting the basic blocks for individual figures, CAD pattern cutting and a very quick overview of pattern grading.

Above: Retro styles and hairstyles!

The slightly unfortunate- but unintentionally hilarious- thing about this wonderful book is it’s very much stuck in a time warp and flashes on the late 70s and 80s push through occasionally (especially the hairstyles!). I actually love this, it’s sweet and can be very useful for costume!

There are no sewing or making up instructions in this book, and most patterns are drafted without seam allowance. They are almost exclusively meant to be used as blocks, to be drafted then adapted to your designs.

As you may have noticed, I am a complete fan of Winny. It’s an excellent book and whilst there may be flaws- her terminology and instructions can be a little dense and needlessly awkward (at times I think she may have been a very formidable teacher in life!)-, but the sheer volume of patterns you can draft and then adapt is astonishing. I also think she really teaches you to draft properly, with techniques that are solid and reliable. A lot of the patterns may be fairly basic and some are downright unexciting or weird but the building blocks are here to create pretty much anything. Learning from this book has also allowed me to pick up other pattern books and understand them easily, which is very useful.

I’m writing an introduction on how to draft a Winifred Aldrich Basic Bodice, Sleeve and Skirt Block, just to give a flavor of how to use the book and I shall publish it here soon. If, like me, you want to learn to draft patterns from scratch I wouldn’t hesitate to buy a copy. You can sometimes find them in charity shops for a few pounds, which is excellent value. Practice makes perfect- as always- and you could always challenge yourself to cut every pattern in the block… I was made to at college!

To conclude, a challenge: I can draft a Basic Bodice Block in under 12 minutes, try to beat me!

Lx

A while ago I popped a vote up on my Facebook and Instagram pages to ask which of two patterns you all would like me to create a tutorial for, and the Bolero Dress won by a landslide!

This is a super long bumper tutorial, but I think would make an amazing costume for a Dame, or for a row of ensemble chorus performers, or even a super snappy Fairy. With a longer skirt I can see even more possibilities!

You will need the Interchangeable Panto Dame Sewing Pattern, I use it for a basic block, however; if you do not have it any simple dress pattern that is similar will probably work. Additionally pattern paper, a pattern master or ruler, pencils etc.

Front

Trace off the Front, Side Front and Back of the Interchangeable Panto Dame Pattern (you can choose to use your own block if you’d like), in the correct size.

Front and Side Front

1.      Mark the centre front but erase the fold/grainline.

2.      Mark a point 2cm down from the neck and 2cm up from the waist on this line. These will be the 1^st and last buttons.

3.      Measure between these points and divide this measurement up to create the spacing between buttons… you may choose to lay your buttons out to check what looks best. A good general rule is to have smaller gaps the smaller the buttons. For this example, I have used 1.5cm buttons and approximately a 5cm gap.

4.      Draw a line parallel with the centre front, and 1.5cm away from the centre front. This will be the button stand.

5.      Measure your buttons and add 5mm to get the measurement needed for your buttonholes. I am using 1.5cm buttons, so will need to make 2cm buttonholes. Mark 5mm away from the centre front, onto the button stand. From this point, draw a line at as illustrated, and as long as the buttonhole you need.

6.      To create the facing for the buttons, measure from the edge of the button stand fold line to a point passed the buttonholes. This point should be at least 1cm, as you can see from the above, I have chosen 4cm. Mark this line with a dotted line, which can also act as a stitching line when making up. Mark this point from the outside edge, then add 1.5cm seam allowance. The first line is the fold line (mark is as illustrated), the 2^nd the new outside edge of the pattern. Mark as facing and seam allowance as illustrated.

7.      To make up you will need to fold the seam allowance back, then fold again along the facing fold line. This will create a neat facing behind the buttons and button holes.

8.      My Pattern master has very handy buttonhole templates, so I like to mark the button placement along with the buttonholes. It helps visualize the final garment.

9.      The section between the old front and the new facing stitching line will need to be interfaced. You can choose to simply make a note or cut a pattern piece. The advantage of a pattern piece means you will not forget to cut it when cutting out!

10.  Mark up each new pattern piece with piece name (i.e. “front”), amount to cut, seam allowance, grain line etc. It can also be helpful to note the size, performer or performance and date.

11.  I also like to outline each finalized pattern piece with a coloured pen. Sometimes I have drawn multiple lines to make a decision about shape or placement and I find the coloured outline helps remember my final choices. It saves tracing off a final pattern and using more paper.

12.  The Side Front of the pattern stays the same as it is, so feel free to mark up as illustrated.

Read more

A few years ago I hosted some online Classes. This was my 1st, an introduction to using my Interchangeable Panto Dame Sewing Pattern to create fantastical Shoulder Pieces.

In this Class I use the pattern as a basic block- you can use one you already have, you don’t have to use mine- and I illustrate how to create new pieces to add and change up the pattern to make new costumes. These additional elements can help a Dame or a Villain really come to life on stage. They would be a particularly creative addition if creating costumes for Aladdin.

In this video I create small shoulder elements to add on to a shoulder or into a seam. I work quite small because of the confines of the video teaching medium, however; I am sure you can see how this tutorial would scale to create larger pieces.

This video includes an introduction to me and the class, technical illustrations, drafting the basic shoulder piece pattern, a basic pattern adjustment to allow you to insert shoulder pieces into a shoulder seam- particularly important if creating large or ‘‘stacked’’ shoulder pieces - creating different shapes and more complex designs and making up a basic shoulder piece ready to insert into a costume. There is a question and answer section that I have kept at the end from the original online class I am hoping will still be helpful.

You will need card, pins, pencil, sellotape and dress form.

Read more

Following along from my article on how to draft a simple A-Line skirt, this tutorial will illustrate how to draft a more accurate Skirt Block which can then be manipulated to create skirts for any design. It is also a fantastic introduction to how complex pattern drafting can be, but also the myriad of ways in which a simple pattern can create multiple beautiful costumes.

In this tutorial I will be creating a circle skirt block, a double circle skirt block, then adapting that to create skirts which have panels, petticoats with frills, scallop panels, and more complex designs.

If you have my Interchangeable Panto Dame sewing pattern, this tutorial would work well with the bodice from that pattern, and is a very simple way to create new patterns and looks from a resource you already have at your fingertips. You may need to use the measurement of the bodice waist- or at least check with it- to ensure skirts drafted here will fit onto the bodice neatly.

You will need some pattern paper, set square or Pattern Master, pencils and pens, and a calculator. I have posted the A-Line Skirt Block instructions as an image below, so it should be easily printable. If you would like to have a go but don’t wish to waste paper on a full size pattern, I strongly recommend drafting a scale version of this. For mine I simply quartered all measurements. It’s a really great way to understand the theory before drafting a full size pattern, and maybe have some fun creating skirts that are a little crazy!

BASIC SKIRT BLOCK

This basic skirt block can now be used to create skirts to suit your designs. It is currently a Pencil Skirt shape, and this can be used to create Wiggle Skirts, Tulip Skirts, Pleated Skirts for example but in this tutorial I will be adapting it into Circle Skirts.

Patterns are created with no seam allowance, this is always the last thing that’s added.

To accomplish the Circle Skirt Block you will first need to create the A-Line Skirt Block.

Read more

DESIGN 1 WINNER!!!! CLICK HERE TO SEE THE TUTORIAL

This design features a faux bolero, and multiple front seams so that different and contrasting fabrics can be used to create a colourful or opulent effect. Large Leg o’ Mutton short sleeves with an elongated cuff, a small standing collar and dramatic bow complete the bodice. The skirt features tiered petticoats and a scalloped hem, with bustled overskirts.

DESIGN 2

This design is from a set of costumes I created for Polkadot Pantomimes, ad has been much requested as a pattern, however; I would like to start releasing a few other backdated patterns so have popped this up for a tutorial. This design features a square neckline, with frill, large puff sleeves with frilled cuff. These are elasticated around the arm. The bodice has 5 panels at the front -11 in total- so a striped effect can be created with contrasting fabrics. The skirt has a patchworked striped effect petticoat, and a scalloped and frilled overskirt, with bows!

I think both of these designs would work well for ensemble or Dame, and could be very versatile if using different fabrics, I’d love the see Design 1 made up from velvets and satins in a Christmas theme for example, and I am sure that Design 2 would be stunning in jeweled taffetas with gold piping!

Comment below, on my Facebook page or Instagram to vote, and pop back here in a week or so for the final tutorial.

Lx

Creating convincing rags for stage is an art. By thinking a little creatively and utilizing snippets of trim, fragments of fabric and a tea bag or two, breaking down a costume that will also last the run of a show and stand multiple washes can be satisfying.

Stage costumes need to be stable; the performer needs to be comfortable wearing them, they need to survive multiple washes and they need to look the same for every performance. This means that when breaking a costume down the use of the final costume needs to be considered. Any dyes used need to be ‘fast’ to survive washes, any stitches of distressing of the fabric needs to be done in such a way that it, too will survive the run of a show.

The new Peasant Girl sewing pattern from Tangled Stitch is inspired by Cinders rags dress and many of the techniques described here can be used to create that dress. In this article I will explain how to use Tea bags, patching, stitches and breaking down techniques to create unique fabrics and texture’ for your Costumes.

Tea Dying

Using tea as a dye is an easy, inexpensive, and quick way to bring texture to a costume. Tea provides a rich, earthy colour and different brands and blends of tea can be used to provide different shades. Tea is rich in tannins which bond well with natural fibers. Cottons, cotton mixes, silks and linens for example work best with tea dying, however; samples can be made for any fabrics to check.

Any fabric chosen should be pre-washed, new fabrics can have a glaze on them that will resist dyes. Patch dying works well to provide a dirty, used and broken-down effect. This can be managed in two ways. Firstly, make a strong cup or small bowl of tea. Use several tea bags to ensure it is strong. Leave to steep for a few minutes then either dip a sponge into the tea, then use this to dap onto the fabric. As you apply the tea, try to think about where wear points may be, along the hem, or neckline or cuff for example. This will result in a lighter shade of tea dyed fabric. Alternatively, simply remove one of the tea bags from the pot of tea, squeeze lightly to remove a little of the water, then use this to dab directly onto the fabric. This gives a much darker, richer shade of tea. Using the two techniques together can build up textures on the fabric.

Example shown is of multiple handmade fabric envelopes. Tea has been applied in layers to build up ‘dirt’ as if they have been dropped in a muddy puddle.

Using tea to dye delicate cotton lace and trims is a perfect way to increase the ragged look of a Cinders, a weathered Scarecrow or cravat of a dirty Pirate. Use also to enhance ‘worn’ areas around patches and cuffs and collars.

Once finished, leave the fabric, or costume pieces, to dry then iron well with a hot iron. Tea is a natural stain so no fixing agent is needed, however; vigorous washing over time may cause the effect to fade. Tea shows up best on paler fabrics.

Patches

Read more

A simple A-line skirt was the first piece of clothing I learnt to make, it’s a great way to practice skills and knowing how to draft the pattern opens up a world of options. It is also an important step in learning pattern drafting, as mistakes are clear and can be easily rectified, finding the fit on your performer is easy and any changes can easily be managed and noted on the pattern. For speed you can use these instructions to quickly and efficiently draft this pattern straight onto the fabric, however; it is good pattern cutting practice to draft this onto some pattern paper so you can use it repeatedly.

You will need the Waist and Hip measurement of your performer, as well as the length of the skirt you are wanting to make. There is 1.5cm seam allowance included in this pattern, and 3.5cm hem allowance. Your Grain Line will run parallel with the Centre Front fold and Centre Back opening. Any hand drafted sewing pattern should always be marked up with the pattern name, piece name, seam allowance, performer and production, the amount you need to cut and any other information you think relevant. As you draft, make up and fit this pattern, add any notes to the pattern either on the pattern itself or on a sheet to be stored with the pattern. Drafting instructions are metric, use an online centimeter to inch converter if you need these instructions in imperial. 1” is approximately 2.5cm.

To make this skirt up I often use a simple, light weight cotton, but almost any fabric is available. You will need approx. 1.5 meters of fabric for a knee length skirt, thread to match, some interfacing (I use lightweight cotton woven iron-on interfacing) a 20cm Zip and button or hook and eye. As you can see from the skirt pattern illustrations, there will be excess fabric you can utilize for pockets, however; you can also use scrap fabric if necessary. There is a generous amount of ease in these instructions so it is advisable that you try the skirt on your performer before adding the waistband to add in any darts, or waist/hip shaping. If you are using a heavier weight fabric such as brocade, satin or drill you may want to use an iron on canvas for the Waistband. Cut this ‘net’ (without seam allowance) and iron on before making the waistband up. Cutting Net reduces bulk in seam allowances and corners. To add darts and shaping to the waistline, first fit the shell of the skirt on your performer, pinning and excess fabric. If it is less than a couple centimeters this can be managed by curving the side seams in a little more at the top, however; if you consider that darts are needed, place them approximately half way between the side seam and centre back. Pin excess out and continue pinning down until smooth. Darts are often 12cm to 14cm long and about 2cm wide. Multiple darts can be used if necessary.

A new pattern drafter, having learnt to draft this simple, useful pattern should continue to draft several times, for multiple performers to understand the different shapes of their bodies, and to start to adapt it for different uses. Use one to manipulate it into a different style, longer, shorter, adding frills or layers. When confident this pattern can be manipulated to create Circle Skirts, Tulip Skirts, Wiggle Skirts and Pleated Skirts, really anything your production needs.

Don’t forget to Subscribe to Tangled Stitch to see future articles about pattern cutting for costume makers.

Subscribe now

I’ve wanted to create a space to share my costuming knowledge for a long time. I’m passionate about Tangled Stitch, and I’m hoping this is the start of being able to share ideas, costume makes, sewing knowledge, pattern making information and tutorials with a wider audience. I’ve been a professional costume cutter and maker for over 20 years now and I think it is important to share this knowledge, pass it on, to help highlight this wonderful profession and to teach others. As it can take months to develop a new Tangled Stitch sewing pattern this will be a way to share things along the way.

I’m hoping that together we can build a community that will chat, ask questions, and help guide me to sharing what you need to know. Tangled Stitch Patterns will be released alongside articles here, and I will be sharing progress as I write my costume making book so it is going to be lively!

I will be posting an article once a month. These articles will be tutorials, with either making or pattern cutting as a subject, some will be video tutorials and they will be available to paid subscribers only. A lot will be new, but I will also be sharing tutorials on how to ‘hack’ pre-existing Tangled stitch Patterns to use resources you already have to create new and exciting costumes! Alongside this I will be posting other, shorter pieces, but once a month a nice, juicy, information packed article will make a satisfying “ping!” as it arrives in your inbox. Smaller articles and tutorials are free for one week only, remember to subscribe if you would like to access them for longer! These articles will be hints, tips, recommendations and links to resources’ outside of Tangled Stitch as well as snapshots from my workroom of inspiration from past and present costume builds.

There will be further benefits to becoming a subscriber as I will be pre-releasing my new Sewing Patterns here, as well as offering discounts and giveaways’.

I’m really looking forward to this, and I hope you join me on this journey!!

Lx

Subscribe now