Fashion Revolution Week: Who Made My Clothes?

We’re now in the midst of Fashion Revolution Week and I wanted to take a bit of time to talk about this amazing movement. If you haven’t heard of it, Fashion Revolution is an organisation that is working to change the way that we think about our clothes and the ways in which they are currently produced. Looking for greater transparency from manufacturers, Fashion Revolution encourages all of us to ask ‘Who Made My Clothes?’ by getting in touch with brands for information and becoming more conscious of our purchasing habits.

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With the number of disasters and atrocities occurring across the world, it’s easy to wonder why this issue should matter. But it does. The ways in which our clothing is manufactured – and our disposable approach to our wardrobes – has created a cycle of human rights violations and environmental harm that only grows in scale each year. Many of us can recall the 2013 factory collapse in Bangladesh, in which over 1000 people were killed whilst making clothing for some of the world’s biggest brands. Fashion Revolution estimates that 75 million people are employed across the world to make our clothes, with 80% of these being 18-35 year old women.

This is an issue about which I’m incredibly passionate. My professional and academic background is in human rights and I’ve worked in a variety of contexts that have exposed me to the tremendous violations that occur to support western buying habits. Most of us are in touch with issues like blood diamonds (thanks, in large part, to Leonardo DiCaprio, of course!) but, since diamonds are relatively easy to forgo in our daily lives, changing our diamond-buying habits doesn’t challenge us to adapt in any remarkable way (although buying certified conflict-free diamonds is incredibly important and so valuable towards reducing harm perpetrated in these contexts!) . Our choices have an effect. There’s no getting away from it. But working with this knowledge doesn’t demand perfection. Acknowledging that the labour behind our clothing often promotes the most dangerous working conditions, child labour, and incredibly low wages, does not require that we all start making everything we wear. There are so many ways in which we can work consciously towards promoting fair and safe working conditions for those employed in garment-making industries across the world. We can buy from brands that conduct screening and checks of their global manufacturing facilities. We can check that brands have explicit policies on ensuring their products are free from child labour. Even sending an email to a clothing brand that you purchase from, asking them how they guarantee adequate working conditions from their manufacturers, can make a difference.

It’s unacceptable that anyone must sacrifice their dignity by working in squalid and dangerous conditions, simply so that we can spend £5 on a pair of jeans that we’ll be done with in a matter of months. And this disposability is a problem. Fashion Revolution cites that people in the US throw away 14 million tonnes of clothing a year, around 84% of which goes to landfill. So the planet will also thank you for a more conscious approach to fashion choices!

It’s all too easy to slip into apathy on these issues. After all, the scale of these kinds of problems can very quickly lead to thoughts of ‘what difference can I make, anyway?’ Believe me, I’ve been there. But if many years spent working on issues such as this has taught me anything, it’s that change and accountability truly does begin with our own choices. I spent years working in depth on places that had experienced some of the most unimaginable human rights atrocities – from genocide to child soldier recruitment. As inexplicably horrendous as these events are and were, I maintain that the gravest atrocities facing us are those that are practiced as the most insidious and globally-accepted. This has everything to do with the industries that we support – such as garment making and electronics – and the violence that is practiced daily against both people and planet. It’s not our fault that we’re party to this. A great genius of global industries is their ability to point us away from the problematic and divert our attention through convenient and on-trend products. But, when something sits with us as not quite right, we have a responsibility to educate ourselves and do what we can – whether this is sending emails, making different choices in our buying habits, or spreading our knowledge to those around us.

There’s no getting away from the fact that we are global citizens. We reap so many amazing benefits from this position without even realising it – travel, food, and products. Working with Fashion Revolution and helping to promote their cause is just one way in which we can help to give back on this. So head over to Fashion Revolution’s site or join everyone (including me!) on Instagram, asking major brands ‘Who Made My Clothes?’

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Clémence Skirt (Tilly and the Buttons)

Finally, some photos of my Clémence skirt! The skirt has been sitting on my mannequin for a couple of months, totally finished. But, thanks to St Louis weather, I really couldn’t find a good opportunity to take pics – and I was determined to get the photos while I actually took my skirt out for a spin! Fortunately, we had some beautiful weather last week and I finally got the chance to pop on my new favourite skirt for a picnic with my hubs.

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I’m not really sure what my hopes were for this skirt. I had picked up the fabric last year on sale and knew that it would make a perfect skirt for the summer. However, in a pattern that’s becoming frustratingly familiar to me the longer I’m in the US, the fabric proved too narrow for almost all of the sewing patterns that I had in mind. Le sigh. I’d yet to sew up any of the patterns in Tilly and the Buttons’ Love at First Stitch book but figured I’d have a flip through in the hope that one of them would work with my fabric. Lo and behold, the Clémence skirt was perfect!

There are so many things that I love about this pattern. First and foremost, it’s a super easy introduction to making your own patterns. It talks you through measurements, seam allowances, and the various aspects of drafting the skirt as a pattern for yourself. So you won’t find the pattern in the pattern library included with the book – you have to draw it up yourself. The downside to this is that you obviously need some extra tools – tracing paper and long rulers being the main necessities. But I found it super rewarding to draw up the pattern for myself, so I definitely consider it a bonus that the Clémence pattern offers a really basic introduction to doing this!

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The pattern itself is incredibly simple. It’s made up of just four patterns pieces – the front and back skirt, plus two cuts for the waistband. The shape comes entirely from the gathers used around the waist. Using a stiffer cotton, I found that these gathers gave an incredible amount of volume to the entire skirt – a volume you would normally need to achieve with either an underskirt or the use of horsehair braid on the hem. Using a fabric with some stiffness to it definitely helps the gathers gain this shape.

I also really enjoyed the way that the Clémence pattern introduces beginners to some new techniques. The use of gathering is not necessarily something that beginner sewists would have encountered previously and the instructions included alongside the pattern are a super effective introduction. You will also be guided to ‘stitch in the ditch’ for attaching the waistband, meaning that the waist of the garment – with the gathers and invisible stitching – is a real focal point for the skirt.

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Glittery bicycles and balloons are the best!

The pattern also gives super detailed instructions for using french seams. Confession time – I’ve somehow avoided ever using french seams on anything. I guess I just haven’t come across them with the patterns that I’ve used before. But now I’m obsessed! They are such a clean way of finishing a garment – I’ve honestly never made a skirt that looks as tidy on the interior as my Clémence skirt. Normally, I’d turn to my serger for seam finishes but I think I might be a sometimes-convert to the french seam in future!

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I think the most complex part of the Clémence pattern is the insertion of the invisible zip. But isn’t zip insertion just one of those skills that really takes work to perfect?! I know that, even after two years of sewing, I still don’t have zip insertion down perfectly every time I make a garment. This pattern doesn’t offer particularly detailed instructions on inserting an invisible zip but look to trusty YouTube and you’ll find all of the guidance that you need!

What an incredible pattern this is for beginners! However, even a non-beginner stands to benefit from revisiting the techniques included with this pattern and, ultimately, you definitely won’t regret the opportunity to make such a super cute skirt. The whole pattern sews up in an afternoon and would make a really effective stash-buster because the fabric requirements are so reasonable! With warmer weather on its way, this would make such a great project for just about everyone – plus you get to buy a book with so many gorgeous patterns, which is just an amazing bonus!

So whip out some of that cute cotton you’ve been hiding away and have a go at the Clémence skirt. I know that I’ll be checking in again soon with 50 new versions!

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I Love Fabric!

It’s been a hard couple of weeks. Adjusting to life in a new country is definitely tougher than I expected when I moved here. Now that I’m almost a year on from the move, I was anticipating feeling a lot more at home than I do. But starting your life over again is no joke and trying to build one for myself is taking its toll. Fortunately, I have an amazing husband who knows exactly the right way to cheer me up – by taking me fabric shopping! So with a couple of new projects in mind, we headed over to Joann’s so that I could pick myself up with some fabric devotion. As always, I was in heaven.

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SO much fabric joy! Am I the only one who pretty much always fabric shops in person? I mean, I order the odd thing online – but mostly just fabrics with really cute patterns that I can’t resist. Otherwise, I much prefer a trip to the fabric shop. I guess I’m always worried that what I order online won’t turn out to be as good in person. Although I know you can order swatches, I’m also incredibly impatient when it comes to waiting for fabrics to be delivered. Also, when I’m feeling not so at home here, hunting out new fabric shops or returning to favourites is a sure way to make me feel more comfortable. It’s exactly the same feeling of ‘at home’ that I get whenever I go into a bookshop. I know, I’m super cool!

We ended up spending a long time searching through the various fabrics at Joann’s. I had a couple of projects in mind and was hoping to find some fabrics that would work. The first project is a new version of the Decades of Style Belle Curve dress. This was one of my first makes (ambitious, I know!) and remains one of my favourite me-made garments. However, in my eternal Laura wisdom, I decided a couple of weeks ago that I should try to tidy up my original version. Since I was super new to sewing when I made it, there were quite a few problems with the construction. None of the issues were a particularly big deal, but mostly I was getting annoyed with the wide, unfinished seams and a lot of subsequent fraying. Since everything was already constructed, I didn’t want to risk serging. So I decided to take my pinking shears to the seams and have a go at both trimming them down and stopping the fraying. As careful as I thought I was being, I ended up snipping through the body of the side of the dress – right by the amazing sunburst darts – and leaving a hole big enough that there’s no fixing it (flashbacks to my wedding dress muslin, anyone?!). Needless to say, I was pretty distraught. However, the dress was definitely in need of many alterations. I’ve lost a lot of weight since I originally made it and, with the way the dress is constructed, it would’ve been impossible to alter. So I guess my accident was actually providing an opportunity for me to revisit and remake one of favourite patterns!

I knew that I wanted to stay super plain with the fabric. The best part of the Belle Curve dress is undoubtedly the darts and using a patterned fabric would only make this detail much harder to see. So I decided to get a couple of drapey fabrics in bold colours that would work super well and show of the unique details of the dress pattern.

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Green is probably my favourite colour and I couldn’t resist this gorgeous bottle green. My original version of the Belle Curve dress was in green and it looked stunning. I’m not sure if I’ll use this fabric for my next version since I want to try something different but, either way, it’ll certainly be put to good use!

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Purple! I don’t think I’ve made any purple clothes so far, which is strange because I absolutely adore purple. This is definitely a super bold purple but I think it will work incredibly well with the pattern. I can’t actually remember what sorts of fabrics these are – I think they’re poly blends. But they are perfectly drapey with a silky underside, which will work very well against the skin. I can’t wait to get started!

I’ve also been putting together plans to make some shorts. Summer in Missouri is pretty crazy and temperatures can get up to 110F (I think that’s over 40C). Since I’m came over from England, clearly my wardrobe was very underprepared for such temperatures. I’m determined that this summer will be much more comfortable than the last, so I’m putting my sewing machine to work for the cause. Fortunately, one of the lovelies that I follow on Instagram (Erin from My Poetic Memory) posted a photo of some shorts she’s whipped up recently. All of the pairs looked gorgeous but she had a version of the Chataigne shorts from Deer&Doe that left me particularly in love (I was the personification of the heart eyes emoji, for sure). After searching out the pattern for myself, I knew that I needed to put this on my project list! Since I was especially in love with the styling of one of the models for the pattern, I decided to try and replicate the look by finding some faux suede to create some beautiful shorts:

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I’ve never sewn with faux suede before, so I’m excited to give it a go! I think these shorts will be amazing – although perhaps not made with the most cooling of materials. Just an excuse to buy even more fabric to make new versions!

So that’s a summary of my recent adventures into the world of fabric. I’m so excited to get started on some new projects (especially because Me Made May is coming and I need to get some more stuff together!). Fortunately, my Ginger Jeans are almost finished – just the jeans button, rivets, and hemming to go! So I’ll have those to show you soon.

For now though, I’m wishing you a wonderful weekend full of sewing and happiness!

Sewing For Self-Care: Moriah’s Story

Welcome back to another Sewing For Self-Care: Your Story post! I’ve been so overwhelmed by the response to this series and particularly the willingness of such an amazing collection of sewists to share their stories. Talking about mental health, in any form, can be a daunting task. Doing so in an unfiltered, globally accessible forum – as with blogs like mine – takes the challenge to another level. So I want to take a moment (acknowledging that it isn’t nearly enough) to thank all of the beautiful and courageous souls who have shared their stories on Sew for Victory so far.

This week’s contribution is an amazing addition to the conversation surrounding sewing and self-care. Moriah offers an incredible insight into the many ways that sewing has helped her with her mental health – particularly around the types of body image issues from which so many of us suffer. So, without any more chatter from me, I’ll hand over to Moriah!

*If you’d like to contribute your own story to this series, details can be found at the bottom of the post.*


My name is Moriah Conant and I blog at www.thelordismyteacher.com.

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I’ve been sewing for almost 13 years, and it is a huge positive in my life.

Sewing and Mental Health

One of the first memories that I have of sewing was during a summer that my older sister/best friend was spending with our grandma.  We’ve always gotten along well and my sister is a great support, especially when I am struggling with my mental health.  Eight year old Moriah was pretty upset about her sister being away for so long.

To keep me occupied one day, my mom suggested sewing a quilt for my beloved dolls. Together we cut small squares of scrap fabric, sewed them into rows, and then into a small quilt.  It was amazing to see these wrinkled scraps of fabric become a beautiful and useful object.

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Apparently we still own the little doll quilt!

Needless to say, I was hooked.  Sewing provides me with something to do with my hands on the hard days that I can’t quiet my mind.  I make the rules, I control what I’m making, and where my focus is.  Doing something constructive with my hands allows me to makes positive choices for my mental health.

In college I was always busy and rarely had time for sewing.  About a year ago I picked up embroidery (again) as a way to sew on the go.  That revamp of a hobby became an Etsy shop that I run (www.owlofit.etsy.com).  My small embroidery projects are portable, do not require a lot of time investment, and provide a way to be creative when I don’t have much extra time.

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My Etsy shop is a good way to fund graduate school, do something that I love, and boost my mental health.

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I’ve also done some fun projects for myself.

Sewing and Body Image

I think most people can relate to struggling with body image to some degree.  For me, I lost over fifteen pounds over the course of a few months (about two and a half years ago). Even before this loss I didn’t have any weight to spare. It’s frustrating to try everything that you can to gain weight and still feel like your clothes are falling off of you.

It wasn’t until almost two years later that I finally connected the dots between the weight loss and a medication that I was taking. Thankfully, when I brought that up to my doctor he made some adjustments and I’ve now gained back that weight.

It is an amazing feeling to create a garment specifically designed and fitted to my unique body.

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This bodysuit is one of my most recent makes and it took several pattern adjustments to make it fit but it paid off!!

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This is a Barrett Bralette (pattern from Madalynne Intimates).  I love the way it turned out.

Sewing and Self-Confidence

I love saying, “Thanks! I made it.” Every new project reminds me that I am capable of making things and overcoming challenges.  Failing, learning, and growing also helps the perfectionist in me to give myself grace.

There are few things that get me more excited that a sewing project that turned out great.  Even when plans don’t turn out so well, I can learn from what went wrong.

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This is my beautiful niece in a beanie and leggings that I made for her.

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My cat Wednesday also likes to give her help and input with my sewing.

If you want to hear more from me, check out my blog www.thelordismyteacher.com !

Thanks so much to Laura for allowing me to share some of my story with sewing.


A massive thanks to Moriah for sharing her amazing story! Definitely take a look at her blog – The Lord Is My Teacher– to follow along with her journey. You can also buy some of her incredible makes via her Etsy Shop – OwlOfIt (seriously, the embroidered hats are amazing!

If you’d like to contribute your own story about using sewing for self-care, please get in touch. You can email me – laura@sewforvictory.co.uk – or message me via Instagram/Twitter – @sewforvictoryuk. Alternatively, make sure to check out my original postintroducing this series and starting this larger community conversation about using sewing for self-care.

Vintage Sewing 101: Lines Can Be Friendly!

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Welcome back to Vintage Sewing 101! First of all, a big thank you for all of the feedback on my Vintage Sewing 101: You and Your Figure post. I’m glad that so many of you enjoyed it and could laugh at the ridiculousness along with me! Obviously it was necessary to take a bit of a break from this series after such a keen appraisal of my body situation but now we move forwards into the rest of what our 1950s sewing course – Sew with Distinction – has to offer.

Fortunately, the next couple of posts will be moving us away from judging our own figure flaws and into the world of 1950s fashion. This week’s post will be looking at lines. I’d never thought too much about lines in home sewing – or in fashion generally. That said, I have always understood the conventional wisdom that horizontal lines broaden whilst vertical lines narrow. Sew with Distinction takes us far beyond this basic understanding of lines and their effect on clothing. So strap in and get ready for some learning…

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I do appreciate our introduction to this topic via cartoon (particularly after the heaviness of the previous post) – even if it does remind me a little of how I used to force quite irrelevant Clip Art into school projects. Yet Sew with Distinction manages to relate it all back. As the manual explains, “Just as a magician fools his public, so also (within limits) can the clever designer achieve illusion – by making discreet use of the camouflage afforded by line arrangement.” It’s nice that they manage our expectations from the get-go. There are, after all, limits to what camouflage can achieve to hide the terrible flaws that we spent an hour analysing in front of the mirror, as per the instructions of the course. I also enjoy that using clothing to flatter is compared to “a magician fool[ing] his public.” So deceptive of us.

This said, the course does offer some genuinely insightful ways for using lines in your garments in order to create particular silhouettes. As the introduction to the section notes, you can use various forms of lines – including through the placement of pleats, tucks, and the colour/pattern of the fabric itself – in order to achieve certain effects. As Sew with Distinction goes on to note, this works because of the way that the eye travels when it’s faced with particular scenes. Essentially, our eyes work over dominant lines and tend to breeze over blank (or “uninteresting”) spaces.

So how do we use this information when we’re designing our own garments? The course begins by considering how we can use lines to broaden certain proportions…

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As I mentioned earlier, it’s pretty conventional wisdom that horizontal lines increase width, whilst vertical lines increase length. The course also notes that horizontal lines shorten proportions. The diagram accompanying this offers three different ways in which lines are used to widen/broaden. Figure 1 shows “bands of trimming” that suggest a wider chest and hips, with a smaller waist. Essentially, the lines are used here to give an hourglass shape. Figure 2 apparently depicts “evenly spaced vertical lines which create a horizontal eye movement.” I’m not sure I quite agree on this one since it seems to fly in the face of what we were previously told about vertical versus horizontal lines – plus, I really do feel like these lines elongate the figure rather than broaden/shorten it. But that could just be the illustration and/or my eyes. Figure 3 shows the use of “a horizontal accessory” in the stole and hat. I really like the phrase ‘horizontal accessory’ and I’m pretty sure that I’m going to incorporate it regularly into conversation.

Alternatively, Sew with Distinction suggests that we might use lines to heighten out figure. Of course, there are accompanying illustrations…

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The course doesn’t go into any detail on these three figures, noting only that “height is added, and a slenderizing effect is given.” Of all of these, I love the third illustration most. I spent a good amount of time (definitely more than I should) trying to figure out what’s on her head. I’m guessing it’s supposed to be a feather. But it reminds me of the spades suit on a pack of cards. Or the hand on a clock. I think I’ve just stumbled upon the ultimate guessing game (suggestions and guesses welcome in the comments!). And while I agree that the accessory certainly adds height, I would probably suggest that the price paid in dignity is simply too great.

Moving on…

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Fortunately, all of this talk about lines only takes up two pages. So if you feel yourself getting sleepy, stay with me because we’re almost done – and who knows what we might learn along the way?

Our next point of consideration is lines that divide. This definitely isn’t something that I’ve ever thought about. Before reading this section of the manual, I would honestly have thought that you were talking about crop tops (I do love a crop top). But apparently crops weren’t big in the 1950s, so let’s see what we’re dealing with instead:

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Sew with Distinction describes: “When lines divide an object into unequal parts, the eye is attracted to the larger parts rather than the lines.” This makes sense, of course. Figure 1, for example, demonstrates that “we notice the widths of the outer portions – and the lines result in making the figure look broader.” Alternatively, Figure 2 divides the body into equal sections meaning that the eye follows the lines and elongates the figure. Figure 3 (the one that definitely confuses me most because I don’t understand what this style is supposed to be at all) “shows how a horizontal line (ordinarily broadening in effect) can be shortened by being divided by a vertical line.” I don’t even understand the description. I guess the horizontal line is divided by the vertical, which is supposed to have the effect of lengthening the figure? I don’t even know if I paraphrased that correctly. But I’ll go with yes. Finally, reflecting my waning interest in this whole to-do, Figure 4 “is less interesting because the jacket line divides the figure exactly in half.” I feel you, Figure 4.

However, now we get to talk accessories!

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Here, Sew with Distinction is describing how accessories can be used to create lines that focus interest – as with the centre of the bullseye depicted in Figure 1 (it totally had a meaning!). Figure 2 shows the use of “radiating lines” (the ruffles from the belt to the neck) that focus out attention on the centre of the belt. Figure 3 draws the eye to the neckline through an “intricate design which seems to be framed,” while Figure 4 draws the eye vertically to the “diminishing repetition of dominant lines” through the use of tucks.

I think this advice is actually pretty useful. I’m generally not one for using accessories – I don’t wear a lot of jewellery or really any belts. But it’s certainly worth considering that accessories – or additional design elements placed onto the garment itself – can change the way that the silhouette is perceived. Although I definitely maintain that everyone should wear whatever they want regardless of their shape/size, this doesn’t mean that our insecurities should be dismissed or disregarded. Sometimes we want to accentuate certain features and hide others because it simply makes us feel most confident when we do so!

On that note, our penultimate stop on this tour of lines takes us to using them to detract attention from certain features…

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With everything I said above in mind, we’ll breeze over Sew for Distinction‘s use of the word “ungainly” to describe those bits of ourselves from which we might want to distract attention. Because we can want to make out bum look smaller (hello Laura’s insecurities!) without feeling “ungainly” or unattractive if we don’t. But this is just another reminder of why we should be so glad that we can choose to replicate 1950s style without having to actually live in the 1950s.

In terms of distracting attention, the course suggests that “since all things are comparative, we can make the less desirable portion appear larger or smaller (as we choose) by making the part to which we direct attention appear smaller or larger. In short, the only lines which detract attention are those which lead to, or are located, somewhere else.” So basically, direct your detail or lines away from the thing you don’t want people to focus on. With Figure 1, the illustration shows the use of lines to broaden the shoulders and therefore detract from the width of the hips (I think her hips look pretty amazing, honestly). Figure 2 depicts an effort to distract attention from “a too large bosom” by emphasising the waist and hips. And, finally, Figure 3 shows a way to minimise one high shoulder by drawing attention to the other shoulder. Wonderful.

At last, we arrive at the final point, with a few last minute words on our use of lines:

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Looking at these illustrations, it’s highly unlikely that you would accompany them with the purpose intended by Sew with Distinction. The first figure shows us how we might use “Youthful Lines.” That’s right, everyone! No need to look any further because the secret to youth is in the fact that “curved lines appear soft, graceful, and youthful.” Don’t get too excited though because curved lines also “add roundness to the figure which must be avoided, unless your figure is slight.” Bad news if you’re young but don’t have a figure that can be defined as ‘slight’. You’re destined to look old from birth, according to Sears et al.

Have you abandoned the idea of using lines to look 20 years younger? Well, fortunately, you can also use them to look sophisticated, as per Figure 2. Here, “a simple silhouette and straight lines create the impression of sophistication by being direct, obvious, and  – in extreme cases – austere.” I don’t know what would be defined as an “extreme case” but it definitely doesn’t lend itself to me wanting to give this a go. Sew with Distinction does a consistently excellent job of undermining its own suggestions.

Finally, Figure 3 offers use an “extreme case” of what not to do. I so hope that these illustrations aren’t based off of real people because the accompanying description would definitely constitute a direct lecture – “To be effective, lines must be seen. When there are too many lines, or the lines run in all directions without plan, the eye cannot ‘see’ any one line. It just wanders over the whole figure in confusion!” Oh dear. Poor Maude had better give it another go.

So there we have it. More information than you ever knew you wanted about lines! Just the word ‘line’ is starting to annoy me at this point, so I think I had best leave off there. Hopefully you will actually return to join me for the next Vintage Sewing 101 post. Next time, we’ll be looking at basic facts about 1950s fashion and how we might incorporate them into our sewing projects!

The Ultimate Vintage Pattern Haul! (And Some Tips For Buying Vintage Patterns)

As you all know, one of my favourite things in the world is trawling antiques malls in the hopes of finding some vintage delights. I’m super fortunate that, in moving to the US, I’ve found so many amazing vintage and antiques shops – my vintage collection has obviously benefitted where my bank balance has suffered. So when my hubs offered take me out for another vintage hunt, I totally jumped at the chance. We went back to my favourite antiques mall in the world – one that has never let me down – and oh boy did it come through for me. I can only described my resulting purchase as the ULTIMATE vintage pattern haul. Because seriously these patterns are some of the most beautiful – not to mention reasonably priced – that I’ve seen in the wild…

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Yes, yes, yes! I am so much in love. And I got literally all of these patterns from just one seller (and I think I pretty much bought them out!). Not only was I super impressed with the collection but they’re also all in amazing condition. One issue I find in buying vintage patterns from antiques shops is that there’s rarely a guarantee that the patterns are totally intact. I’ve bought a couple in the past that have turned out to be missing several pattern pieces. This feels very much the equivalent of buying a jigsaw puzzle and finding pieces missing – it’s frustrating and you always feel a bit cheated. But I was fortunate to get all of these patterns from a seller who had actually made sure that the patterns were complete! If you’re on the lookout for vintage patterns but are similarly concerned about finding ones that are complete, I have a few tips that might help:

  1. Look online! If you want to guarantee that a pattern is complete, it is probably best to look on Etsy or eBay. Sellers will typically state whether or not a pattern is complete in the description (if they don’t, you can always send them a message to ask). There will usually also be a returns policy, so you know that you can return it if you aren’t happy with the condition! That said, you will pay considerably more for these patterns than you would buying from a shop in-person.
  2. If shopping in person (at an antiques mall, for example), check their returns policy first! My favourite antiques place – where I bought all of the patterns in this post – has a no returns, no exceptions policy. So I always assume a degree of risk whenever I buy something from there. However, the prices are also about 50% of the price of the same items on Etsy or eBay so, for the most part, I’m happy to trust the seller and take the chance.
  3. You can tell a lot from the external condition. Generally speaking, I find that the external condition of the pattern is pretty reflective of what you’ll find inside. In some cases, you’ll be able to have a look through the pattern itself – this is usually the case in charity shops. Often, however, sellers will put the pattern into a sealed plastic folder (as was the case with the ones I just bought). In these circumstances, I will typically just check over the external condition – if the packaging is all torn up and rough, there’s a good chance that some of the pieces will be missing. You can also gauge a lot from the thickness of the pattern envelope – a coat, for example, will typically have a lot of pattern pieces to it so, if the envelope is super flimsy and thin, it probably doesn’t have a lot of the pieces inside!

There’s often going to be an element of guesswork involved when buying vintage patterns but, the more purchasing you do, the easier it’ll become to tell the complete from the incomplete! And yes, I’m definitely giving you license to go out and buy lots of vintage patterns for yourself so that you can learn!

Anyway, back to my pattern haul! I wanted to give close-ups of some of my favourites because I’m just so obsessed with these gorgeous finds. First up:

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Most of the patterns are 1940s but I also found these stunning 1950s gowns! Just look at them! I’m absolutely in love with the bodice on Vogue S-4264 (on the right) – it makes me think of a prom dress! Plus the sleeves are just incredible! Simplicity  2442 is also beautiful. I’m not usually one for sleeveless or strapless dresses but this one is so adorable. It definitely gives me a summer in Havana vibe!

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Who wouldn’t want some vintage swimwear?! I won’t lie, when I first saw this pattern (Hollywood 1775) I thought it was for nighties and dressing gowns. But no. And, honestly, who wouldn’t want to venture into the ocean wearing something this chic? I’ve actually never owned (or seen firsthand) a Hollywood pattern. I’ve seen them pop up on eBay and was always intrigued – largely because most of their patterns feature a Hollywood starlet on whom the pattern is based. However they also produce generic patterns, as with Hollywood 1775. If you haven’t seen their patterns before, it’s definitely worth having a look online because they’re so gorgeous!

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Here we have some gorgeous 1940s dresses! Do I even really need to say much about these? They are both so unique – I mean just look at the bodice on both of these patterns! I think I’ve actually seen the McCall pattern on the left reproduced – at the very least, I’ve definitely seen something very similar as a reproduction.

And, finally, I didn’t neglect menswear. I found a couple of gems:

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I’m pretty well in love with the blazers on the left. They’re definitely screaming Mad Men to me. And, even though I have no infant children in my life, I just couldn’t resist the coats on the right. Every time I look at it, I think of the Famous Five. I clearly have so many amazing cultural influences at work in my life right now.

So there we have it! I honestly can’t believe my luck. Proving once and for all that spending your free time trawling around antiques shops is always a valuable use of your time!

 

Sewing For Sweating: Making Your Own Activewear

I’ve alluded a few times to the fact that I spend most of my work week in athletic wear. Since I work from home and do yoga a couple of times a day, it’s really too much effort to get changed whenever I want to roll out my yoga mat. Despite this fact, I’ve never considered the possibility of sewing for a workout. This is really an oversight on my part because there are constantly pics of other sewist’s athletic makes floating around on social media. So I know that it’s possible! Now that I’m moving towards starting Yoga Teacher Training (I actually have an interview for a programme lined up!), I’ve been thinking increasingly about the need to start sewing some of my own yoga clothing. But where to start!?

Sewing athletic wear is quite different from sewing regular garments for a number of reasons. Most prominent is obviously the fabric. You’ll most likely be working with fabric that contains a good amount of spandex or lycra, so learning to sew with stretch fabric is a must! I’m still somewhat challenged in this arena – although getting a walking foot has helped immensely. You’ll want to be sure that you have all of the appropriate equipment for sewing such stretchy fabric, including machine feet and needles. It might also be a good idea to have a practice with some scraps of the material before diving right in. I found this great blog post written by Melissa Fehr on the Colette Blog – it goes into some of the things that need to be considered when selecting fabric for activewear.

It’s also super fortunate that many fabric sellers now separate out fabric for athletic garments. This is the case on fabric.com (who have a separate section for swimwear and activewear) and, for those with a bigger budget, at Mood. With sewing activewear so clearly on trend right now, it really isn’t tough to find the right kind of fabric for the job! Plus, there are some seriously striking colours and patterns out there!

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Fabric from RexFabrics LA

Once reassured that there’s plenty of fabric out there, it’s a question of finding the right sewing pattern. Obviously much of this will depend on the type of activity that you need the garments for – although there is certainly some overlap. Since my primary activity is yoga, I’ve spent the past couple of weeks on the hunt for potential yoga clothing patterns. There are few different places that are worth visiting if you’re on the lookout for activewear patterns! Here’s a list of some of my favourites:

– Fehr Trade

Melissa Fehr is a bit of a guru in the world of activewear sewing, so it’s not surprising that the patterns on offer from Fehr Trade are so great! I think I’m actually going to invest in their book – Sew Your Own Activewear – since it’s the same price as buying a couple of patterns. If you’re not in the market for more sewing books, however, there are plenty of individual patterns on sale, appropriate for a good variety of activities – including things like cycling and hiking! My favourite is the Knot-Maste Yoga Set (of course!) because it looks incredibly comfy:

KnotMaste from Fehr Trade

– Seamwork

Seamwork has a couple of really great patterns (the link above will also take you to an amazing feature about building your own activewear wardrobe). I’m a big fan of their Aires leggings – although I would probably replace the mesh insert with a contrast stretch fabric – in combination with the Rio top:

Aires and Rio

Patterns for Pirates

On a recommendation from one of my Instagram friends, I decided to check out the Peg Legs pattern from Patterns for Pirates. The nice thing with yoga pants is that you really can wear just about anything, as long as its comfy and you can move well in it. My collection includes pants that I’m sure are meant to be for running, as well as regular leggings and actual designated yoga pants. The Peg Legs pattern fits many – if not all – of these descriptions. In designing the pattern for a specific activity, the main choice comes in the fabric used (with running you’ll obviously opt for something stretchy but supportive with a good amount of compression to it, versus using a jersey fabric for regular leggings). I love this pattern for its versatility, but also the fact that it looks super good as shorts! Since we’re headed for 100F in the summer, shorts are a necessity!

Peg LegsSo there we have it! Something of a beginner’s guide to sewing your own activewear, thrown together from the bits of research I’ve done in hopes of building my own activewear wardrobe. Since yoga clothing is also super expensive (the contradictions abound!), it can actually work out to be a really cost effective route! I’ll be getting started on this soon and will definitely share my progress once I’m underway. In the meantime, if you have any tips or suggestions about activewear sewing, please do leave them in the comments below!

 

Book Review: Everyday Fashions Of The Forties By JoAnne Olian

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When I first picked up sewing as a hobby, it was almost an accident. I’d been on the lookout for an activity that would help me to channel the relative chaos of my life and had already cycled through a pretty impressive number of potential outlets – drawing and photography among them. I’d never had any previous inclination to take up sewing. In fact, my only encounter with a sewing machine when I was very young had left me terrified and certain that I would never touch one again. When I eventually decided to give sewing a go, it wasn’t due to a desire to overcome this long-established fear or a real passion for the idea of making my own clothes. Rather, it was a love of history – and vintage fashion, in particular – that first sparked my interest in getting reacquainted with the sewing machine.

I had always had a fascination with vintage styles. I’d taken up swing dancing while at university as an excuse to dress myself as authentically as possible. At the time, however, it never occurred to me that I might have greater success finding the outfits I was looking for were I to make them myself. Instead, I spent countless hours trawling eBay and a number of other sites for any authentic or replication 1920s-40s dresses and accessories. I didn’t have a whole lot of luck and, eventually, my passion for the jitterbug died out. But the fascination with vintage styles never disappeared.

Although my sewing skills have developed substantially over the past couple of years and I therefore depart every so often from sewing exclusively vintage-looking garments, I’m still constantly looking to bring sewing and vintage style together. When I’m not sewing vintage, I’m typically researching it. And my growing library has played a key part in delivering me great inspiration when it comes to my sewing.

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Everyday Fashions of the Forties edited by JoAnne Olian is one of my favourite sources of vintage fashion inspiration. Alongside Vintage Details: A Fashion Sourcebook (which I’ve previously reviewed), it is my go-to resource when I’m searching for that spark of creative instinct in designing or planning a make. The book contains a truly wonderful collection of advertisements used by Sears during the 1940s – ranging from women’s wear, to men’s wear and children’s wear. It is a truly thorough accounting of the styles that dominated the period.

The book opens with a detailed and incredibly interesting introduction, contextualising the whole collection with information on fashion in 1940s America. The manner in which the war impacted fashion choices is especially interesting:

“In spite of war-imposed shortages and hardships, and ‘sorry, not available’, stamped with increasing frequency over items in Sears wartime catalogs, the smiles of the clean-cut American women modeling in its pages never faltered. Wearing cotton stockings or leg makeup and rationed leather shoes, they took Sears’s advice and saved their treasured service-weight rayon stockings for ‘furlough dates’, conserving gasoline by walking in comfortable low heels or wedgies. They wore slacks for comfort and warmth even when pregnant.”

However, you truly come to this book not for the introduction (however interesting it may be) but rather for the amazing advertisements. The whole collection is an incredible historical snapshot. I mean just look at the hats:

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As with the hats pictured, the collection of advertisements gives a great amount of insight into 1940s accessories – as well as clothes. We get to see beautiful shoes, pins, and belts, in all of their authentic glory. There’s even an amazing ad for ‘leg make-up’ designed to offer “that silk stocking glamour”! I mean you really can’t more authentic in terms of understanding the 1940s war-time style environment than that!

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The layout of the book is impressively. Although obviously the ads are presented in black and white, they are all incredibly visually clear. You’ll also notice that the year of the ad’s publication is in brackets at the top of the page, meaning that you can track the advertisements and the styles they present with a mind to the social and historical context!

I can’t recommend this book highly enough to those with a real interest in 1940s fashion. Whether you are looking for personal style inspiration or simply a wonderful historical snapshot, you really can’t do better do better than this amazing collection.


Everyday Fashions of the Forties edited by JoAnn Olian is available in both the US and UK. You can find it on Amazon UK here and Amazon US here.

Sewing for Self-Care: Jenny’s Story

The latest Sewing for Self-Care: Your Story post is here and comes to us from Jenny of Jenny DIY! When Jenny reached out asking whether she could share her story, the questions she was raising totally struck a chord with me. At the time, I’d been dealing with a desire to step back from my sewing and practice other forms of self-care. In this post, Jenny discusses this issue of timing in self-care and how we might manage our desire to sew with our expectations of the results that it can deliver to our mental health. I hope that you find this post as thoughtful and reflective as I do!

*If you’d like to contribute your own story to this series, details can be found at the bottom of the post.*


I’ve been sewing all my life, but it has only been recently that I have realised how much of an impact it has on my mental health.

My sewing journey began when I was a child making clothes for dolls. When I was a teenager, I created some very dodgy clothes! I got my first sewing machine when I was 18/19 and was using my spare time at university learning dressmaking.

Heather Dress

From my teenage years, I’d had anxiety. During my mid-twenties I’d learnt that therapy, in particularly CBT was a treatment for the anxiety I had. I was learning to retrain my brain.

Therapy taught me that the relationship between sewing and my mental health was vital. It taught me that sewing is who I am, what I’m good at and a way to keep myself grounded. The state of mind I had whilst sewing was what I needed to transfer to my everyday life to move away from anxiety.

When I’m sewing it’s just me and my rules. It’s my achievements and failures. The time I spend sewing is time to be me with no judgement from others or myself.

From the first skirt I ever made, to the first collared shirt and getting my garments to fit perfectly, my sewing journey has made me feel like I can do anything. The clothes I get to make and wear bring me so much joy. Sewing is the ultimate self-care practice!

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Melilot Shirt

If this is the case, then why do I sometimes feel like sewing can feel like a chore? I hunch over the machine and tense my shoulders. This isn’t ideal for my self-care!

When I sew I have to be motivated. The machine needs setting up and everything has to be set up right. It has to be light, warm and I need to feel wide awake.

Sometimes sewing is not my self-care. It’s often the little things, the boring things that are self-care practices that ‘work’ the most. Washing your hair and making your bed. Taking deep breaths when you first leave the house in the morning. Eating healthy food and making sure your home is neat and tidy. Those ‘boring’ self-care activities can keep your mind clear and accomplished.

I often set my heart on sewing projects and have a huge to-do list of things to sew, things to amend. My dreaming up projects and constant need to be ‘productive’ doesn’t help my headspace! Is sewing more of a burden to my self-care?

Speaking to Laura about this, she explained that “when our self-care practices become a chore or a stressor, it’s really an indication that we need to be more responsive to ourselves and our requirements in the given moment”.

That’s why I have a struggle with sewing for self-care. I never want to force myself to sew because it will make me feel better. But sewing has been a huge help for my mental health.

I get such a feeling of accomplishment and energy when I do something amazing. It boosts my self-esteem and makes me feel great about myself. It makes me feel like I can achieve so much, and this is the state of mind I have to bring to my every day anxious life.

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Sewing might be self-care for some people, at all times, but for me, it’s self-care at a specific time. If I can do my ‘boring’ self-care practices and keep my mind clear, then I can get stuck into my sewing projects. The more I can sew and be myself, the more I can continue to grow my sewing skills, and continue to keep my mind healthy and happy.


A huge thanks to Jenny for this super thoughtful post! Be sure to take a look at her blog – Jenny DIY – to see pictures of some more gorgeous makes and follow her on her sewing journey!

If you’d like to contribute your own story about using sewing for self-care, please get in touch. You can email me – laura@sewforvictory.co.uk – or message me via Instagram/Twitter – @sewforvictoryuk. Alternatively, make sure to check out my original post introducing this series and starting this larger community conversation about using sewing for self-care.

Sewing for Self-Care: The Science Behind Creativity and Mental Health

This is a post that I’ve been piecing together for a while with various bits of research. Since launching my series of Sewing for Self-Care posts, I’ve been growing more and more interested in the evidence behind the use of creative outlets to help maintain our mental health – and potentially recover from mental illness. Although there is clearly so much anecdotal evidence that creativity helps to manage mental health – my experience has certainly proved to me that there’s a connection – is that evidence really enough to suggest that we should all whip out our needle and thread in the name of good health?

Expanding my knowledge of sewing for self-care through the Sewing for Self-Care: Your Story posts has been an eye opener. I’ve heard from people who have used sewing to navigate all sorts of challenges – Tamsin’s story of using sewing to maintain her mental health following the birth of her daughter is just one example. How well do these experiences translate, however? Can sewing be helpful even if you aren’t suffering a mental health crisis? And what exactly is the connection between sewing and self-care? I’ve distilled some of the research in an attempt to answer these questions (and as the ever compulsive former PhD candidate, sources are listed at the end of the post)!

* As always, none of the below suggests that sewing should be seen as a cure for mental illness (and none of the studies mentioned posit that creativity can single-handedly fix a mental health crisis). My personal experience – and the evidence discussed below – is a testament to the power of creativity in maintaining mental health and practicing effective self-care. But I found my answer through a wide range of interventions and activities, including consultation with doctors and work with therapists. If you’re suffering, please be sure to reach out to local professionals who can help to put you on the path to recovery.*

Is There A Connection Between Creativity and Mental Wellbeing?

YES! (I’m really fortunate that this is the answer because otherwise it would make a LOT of what I’ve written totally redundant). There’s a good amount of evidence to suggest that creativity helps to maintain mental health. An article in Psychology Today cites a literature review by Stuckey and Noble, in which they looked through over 100 studies into the connection between engagement in the arts and mental health. Their overall conclusion from looking through these studies was that “creative expression has a powerful impact on health and well-being on various patient populations.”(1)  The researchers also found that these studies showed a general consensus “that participation and/or engagement in the arts have a variety of outcomes including a decrease in depressive symptoms, an increase in positive emotions, reduction in stress responses, and, in some cases, even improvements in immune system functioning.”(2) So creativity could even help you fight off that irritating winter cold!

Outside of this, engaging in creative practices can also put you into a different psychological state. Many of us have experienced this before – a place where you are so engrossed in what you are doing that time passes without you even noticing. This is actually a widely acknowledged psychological phenomenon – labelled ‘flow’ by the psychologist Mihaly Csikszentmihalyi (if I remember correctly from my years studying psychology, this is pronounced chick-sent-me-high – I wonder why I remember it?). Flow is essentially a state of hyperfocus and a place in which we are our optimal selves. We experience flow when our whole attention rests on the present moment, when we are fully engaged in and enjoying what we are doing. Creativity is one of the easiest ways to find yourself in a state of flow. And flow is integral to our happiness and wellbeing. The amazing Ted Talk by Csikszentmihalyi – linked in the citations at the bottom of the post – is a really great explanation of flow and why it is so fundamental to our mental health and a fulfilling experience of our own lives.(3) The same thoughts behind flow are the ones that encourage us to practice mindfulness – essentially the act of being fully present in the moment. It all very much connects.

“The average person has 60,000 thoughts per day and 95% of them are exactly the same, day in and day out.”(4) Creativity allows us to break free of these thought patterns and puts us into a different mental space. We turn to what we’re doing, rather than falling down the rabbit hole of spiralling thoughts in our minds. This is why creativity has such an incredible effect on our mental health. As Charles Benayon, writing for the Huffington Post, explains:

“Neuroscientists have been studying many forms of creativity and finding that activities like cooking, drawing, photography, art, music, cake decorating and even doing crossword puzzles are beneficial to your health. When we are being creative, our brains release dopamine, which is a natural anti-depressant. Creativity usually takes concentration and it can lead to the feeling of a natural high.”(5)

Clearly, then, creativity is acknowledged to be fundamental to our mental wellbeing. Whether you are working to recover from mental illness (in which case creativity can be an excellent supplement to other interventions) or simply looking to keep your mental health on point, practicing an activity such as sewing is a great step!

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Will Creativity Always Make Me Feel Better?

I think this is an important question to consider. Next week’s Sewing for Self-Care: Your Story post – written by the lovely Jenny from Jenny DIY – deals with the issue of timing. Because, as many of us know from experience, sewing will not always make you feel better. Sometimes – particularly when those pattern pieces just won’t fit together properly or your fabric can’t help puckering – it will make you feel a bit worse. Learning to respond to your needs in any given moment is something that I’ve already written about at length. But it’s a tough skill to learn (and yes, it really is a skill!). Especially when we know that sewing is such a great self-care practice so much of the time and we convince ourselves that it is always an appropriate response.

Interestingly, reaching that meditative state where creativity can have such a positive impact on your mental health is not a given. Returning to the idea of ‘flow’, Csikszentmihalyi actually identified nine different elements of flow that he saw recurrently when researching people’s engagement in flow activities(6):

  • There are clear goals every step of the way

In sewing, this is a relative given. The process of following a pattern is incredibly goal-oriented which makes it a naturally suitable ‘flow’ activity.

  • There is immediate feedback to one’s actions

This means that, at every step of the activity, you should understand how well you’re doing. With sewing, the feedback is often self-driven and avoiding falling into a place of self-critique can be a challenge (and self-criticism certainly isn’t conducive to ‘flow’). It’s important to be able to acknowledge how well you’re doing, without being hard on yourself if things aren’t going perfectly.

  • There is a balance between challenges and skills

You need to make sure that what you’re doing isn’t too easy or too hard. To achieve flow, you want to be challenged just the right amount – basically, what you’re doing should correspond to your skill level. If you’re sewing, this is pretty simple to assess. Make sure that you’re looking at pattern reviews and details before committing!

  • Action and awareness are merged

Be in the moment, fully present. This can take a bit of effort at first – don’t fall down that rabbit hole of thoughts and, instead, keep returning to what you’re doing (however, determinedly your mind is trying to pull you away with thoughts about the past or future).

  • Distractions are excluded from consciousness

Basically as above. Focus on the activity at hand and don’t let yourself get carried away by distractions.

  • There is no worry of failure

This is definitely one that I struggle with. ‘Flow’ means that you should be so absorbed in what you’re doing that you’re not engaged with the idea of failure. Since ‘flow’ requires that we know what steps we need to take in our activity, we should be fully immersed in carrying these out. If you’re naturally self-critical, it can be hard to disengage from constant negative assessments of your progress. But, if you’re fully in the present moment and the activity at hand, failure shouldn’t be on your radar.

  • Self-consciousness disappears

This relates to the above. It’s basically about putting your ego to the side. If, like me, you’ve taken your creative outlet to the internet, it can be hard to let that self-consciousness go. Many of us are engaged in comparison with others and fear that what we’re making might not get the right kind of response. These thoughts can carry away from the internet and into the activity. Thoughts like ‘What if this goes wrong, when I’ve already told people it’s what I’m making?’ or ‘If the sizing isn’t right, I’m going to look like a sack of potatoes!’ start to become a problem. Returning to ‘flow’ as your priority, the ego gets put to the side. It’s about letting go of your self-image and self-consciousness to be a part of the process.

  • The sense of time becomes distorted

I mentioned this above. When in a state of true ‘flow’, your sense of time will disappear and you’ll find yourself so absorbed in what you’re doing that you don’t notice time passing.

  • The activity becomes ‘autotelic’ (an end in itself, done for its own sake)

This relates to most of the above. If you practice sewing, you should be doing it for the pure enjoyment of the process. Blogging, or taking your makes to social media, can augment this quite a bit. It starts to become a means to an end (recognition, followers etc.) rather than an end in itself. If this is the case, take a step back. Remember why you started sewing in the first place and try to return to that sense of beginner’s joy – where everything you do is interesting and a victory.

These elements of ‘flow’ can definitely make it feel as though such a state of immersion is out of reach. But it truly isn’t. Remember that the positive effects of creativity are not tied to achieving a meditative state. Just the act of creating and getting yourself off the couch to do something productive can be sufficient. It’ll still give you that dopamine boost! But if you want to truly experience everything that creativity has to offer you, it’s a good idea to cultivate some of the elements listed above. A lot of these will just happen naturally when you find something that you love to do and are in the right mental headspace. Some of it might take a bit of work – as, for example, trying to reduce incidents of self-criticism and remain present with the activity. You might find that you achieve this state for just five minutes (and not even notice that you’ve been in it), or it might go on for hours. Although feeling good isn’t a given when it comes to investing time in creative activities, there is so much that we can do towards improving the consistent and long-term impact that creativity can have on our lives.

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So Is Creativity For Me?

Creativity – as well as the positive effects that it brings with it – is absolutely for everybody. I spent most of my childhood feeling like the least creative person on the planet. I invested all of my time in my academics and always told myself that creativity was for someone else. I did poorly at art, played the piano mechanically, and basically spent no time at all investing in anything truly creative. It wasn’t until I started sewing that I realised I’d been carrying so much creative potential. Creativity isn’t an exclusive practice. We all have, in our minds, an idea of someone truly ‘creative’. They’re probably wearing an artist’s smock, glasses, and a beret. But creativity isn’t pre-packaged and it doesn’t come with a list of admission criteria. Find something that you love to do and you will reap the benefits. Divorce yourself from thoughts of judgement from others and stop believing that you have to come into an activity already being totally knowledgeable. I’ve been sewing for two and a half years and I still do more learning than feeling proficient. That’s ok though – learning is genuinely 75% of the fun. You just have to embrace it.

Scientists, doctors, therapists, and those of us with personal experience all point to creativity as a stellar way to help manage your mental health. It is not a panacea – you won’t find that your depression lifts forever the minute you sit down with some knitting needles. But creativity will help to alleviate internal conflict and teach you to cultivate a outlook that will assist you in making lasting change. You just have to give it a chance to work its magic.

(1) Cathy Malchiodi, ‘Creativity as a Wellness Practice’, Psychology Today (31 December 2015). Link

(2) Same as above

(3) Mihaly Csikszentmihalyi, ‘Flow, the secret to happiness’, TED (February 2004). Link

(4) Charles Benayon, ‘How Creativity Improves Mental Health and Wellness’, Huffington Post (5 July 2017). Link

(5) Same as above

(6) Dr Steve Wright, ‘”In the zone”: enjoyment, creativity, and the nine elements of “flow”‘, Meaning and Happiness (5 September 2008). Link