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Helen: We are recording today on the traditional, ancestral, and unceded territories of the Coast Salish and Kwakwaka’wakw peoples, including Tsleil-Waututh, Squamish, Musqueam, and K’ómoks first nations.

Hello and welcome to Love to Sew. I’m Helen, the designer behind Helen’s Closet Patterns and Cedar Quilt Co.

Caroline: And I’m Caroline, the owner of Blackbird Fabrics and BF Patterns.

Helen: We’re two sewing buds who love to sew and it’s the only thing worth talking about.

Caroline: Today’s episode is about one of our very favourite fabrics, Indian block prints. We’re going to talk about the rich history of these textiles, the process of making them, and where to buy them. We’ll also share a bunch of pattern ideas and sewing tips so that you can incorporate these dreamy, light, beautiful fabrics into your wardrobe.

Helen: If you love to sew, this is your show.

Caroline: Hello, Helen.

Helen: Hi Caroline!

Caroline: You’re looking good in your block print dress over there.

Helen: I had to, you know? It was the right outfit for the day.

Caroline: I love it. It’s the perfect view.

Helen: Thank you. Yeah, I am obsessed with block prints, as I know you are too, and all of the birdies over at Blackbird Fabrics. Y’all have the best block prints.

Caroline: Oh my gosh. Yes. I cannot wait to talk about block prints today. They truly are my favourite, I think. My favourite, I’ll call it. They’re my favourite fabrics. They’re my favourite.

Helen: Wow.

Caroline: Yeah. Favourite all-time. But I think we need to get to a question before we get into the episode.

Helen: Yes, we have a great question to start with today, from Brianna. “As a relatively new sewist with my first ever dedicated sewing space, can you help me understand all the different specialty rulers, especially the French curve ruler? How do I use it? Which part of the curve do I use when? And would someone use all the fancy rulers and their sizes for sewing and quilting? Are there good crossover measuring tools for both?”

Caroline: Ooh, hi Brianna. This is a great question. Let’s go over some of the main rulers and what they’re for. We have lots of info for you today. So, a clear straight ruler with a grid is pretty common in quilting, but not so much in garment sewing. I think that should change, though. It’s so useful. I use mine all the time for garment sewing. One of the best things about it is that you can combine it with a rotary cutter set up to quickly cut straight lines. We actually use these at Blackbird too when we’re cutting fabric. But for quilting, it’s great for cutting out precise geometric pieces. And for garments, it’s helpful for cutting out bias binding or rectangular pieces like belts. It’s also great for making adjustments to your pattern or drafting your own patterns. It’s great for measuring the grain line to selvedge edge. And being able to see through it and having the grid of measurements is super helpful. A 6” by 24” size is a really good one to have on hand. You can use it for a lot of different applications, both in quilting and garment making. And if you’re a quilter, you can collect different sizes of rulers, plus shapes like hexagons or specific sizes of squares that you use a lot. Helen, I feel like you have potentially amassed a collection of clear grid rulers, am I right?

Helen: Oh, yes. I particularly love the CreativeGrids rulers. Not sponsored, just happen to think they’re awesome. They have kind of a, like, little rough sticky patch on the back so they don’t slide around as much. They come in so many different shapes and they’re, like, clear, I guess, white. Well, clear. They’re clear with black lines, which, I really like that look. Yeah, I have a ton. I have lots of different sizes, but the 6” by 24” size is the one I use the most when I’m garment sewing, by far. So if you’re a garment sewer, I think that’s really the only one you need to get started. And then you’ll probably pick up a few along the way for specialty things as needed.

Caroline: Yeah, in garment sewing I find anything less than 24”…like, I wish it were longer, because if you’re drawing a fold line or a grain line on something that you’re tracing, or anything really, 24” I would say is, like, the perfect size to have.

Helen: Mm hmm. Yeah, and then you can just have a regular old craft ruler around for measuring darts and things like that if you want. I also wanted to mention that I have one of those cool handles for my big ruler. It’s, like, got suction cups on it and so you can just grab it and move it around really quickly and easily. Total game-changer. Definitely would recommend investing in that thing. I think mine is a Dritz brand one.

Caroline: If you aren’t ready to invest in a clear grid ruler, you can do a lot with a regular ruler or yardstick. Home Depot has yardsticks for super cheap. These are good for making adjustments or other drafting steps. I wouldn’t recommend using them as a straight edge for a rotary cutter, though, because there isn’t enough room for you to hold down that ruler without risking cutting your fingers.

Helen: Great point. Brianna also mentioned the French curve, and a French curve isn’t really a ruler in the traditional sense. It’s used for drawing smooth curves, which is hard to draw freehand, so the French curve really helps you with that. When you’re drafting a pattern or making adjustments to an existing one, you often have to redraw curves according to the points that you plot out. You hold the French curve up to those points and you kind of turn it and rotate it until the curve is hitting all the points correctly, and then you use it to draw your curve.

Caroline: Yes, and a hip curve works the same way. It’s just a shallower curve. Usually you would use the French curve for tighter curves like necklines, armscyes, and crotch curves, and the hip curve for, well, the curve of the hip.

Helen: Yes, it’s very specific, but necessary. There’s also something called a design ruler, which combines a bunch of those rulers. It has a straight edge ruler on one side, has a hip curve on the other, and then it has a tighter curve that works like a French curve at the top. This is a cool all-in-one for sewists, if you’re just getting into drafting, or you just want to have something around for those moments when you need to draw a curve.

Caroline: Ooh, and a flexi-curve is a flexible ruler that can replace a French curve and hip curve. If you’ve never seen these, they’re really cool. You can bend them into whatever curve you need. And it’s also handy for figuring out how long a curve is like when you need to make binding for a neck opening.

Helen: Yeah, I love my flexi-curve. I use it, actually, quite a lot, and I think it was fairly inexpensive, so that’s a good one to get a hold of. There’s lots of variations on these rulers. There’s lots of price points on these rulers, but I think we’ve covered the main types. If you’re just getting started, you don’t need anything too fancy. We’ll link a couple articles about using curved rulers to help you visualize the different ways you can use them and decide if it’s something you want to add to your arsenal.

Caroline: Okay, now I think it’s time to get into block prints.

Helen: Yay!

Caroline: I’m so excited about this. Okay, I feel like we should kick it off just defining what is a block print.

Helen: Block printing is a method of printing fabric using carved blocks and dyes or inks. In the home sewing world, most block prints you will encounter are on a lightweight cotton-based fabric.

Caroline: And today we’re going to specifically be talking about Indian block prints, which are the only block prints that I’ve seen available to buy by the yard. There’s a long tradition of talented Indian artists making stunning block prints. We’re going to talk about that today.

Helen: Yes, as we mentioned, block prints are one of our favourite fabrics, and there’s lots of reasons to love them. First of all, the prints are beautiful and unique. I especially love the ones that are inspired by nature. There’s lots of flowers and botanicals.

Caroline: And you can see the hand of the maker in the print. These fabrics are literally printed by hand with wood blocks, so they have tiny variations and imperfections and they are chock full of character.

Helen: The lightweight cotton fabric that they’re often printed on is soft and breathable. Many of the fabrics are opaque enough to wear without a lining too. It is the perfect fabric for warm weather, although to be honest, it makes a gorgeous quilted jacket as well. And if you make something like a top, it’s definitely wearable all year round.

Caroline: And these fabrics are also easy to work with. They don’t shift around, they press beautifully, and they have a soft drape while also being able to hold volume. And block prints come in so many gorgeous colours and colour combinations. They’re so beautiful. There’s just so many possibilities with them.

Helen: Yes, truly one of my favourite things about them is how easy they are to sew. They are a dream to sew and press, like, oh! They hold a press so, so well and it just makes everything about the sewing process feel super dreamy.

Caroline: Yeah. And even though they are really lightweight and breathable and kind of airy, they’re also pretty durable. Like, my block print garments have lasted me years, and I know you recently said the same thing to me. So I love to hear it. I love that they are not only beautiful, but also long lasting.

Helen: Yeah, they feel like they might wear out over time because they are so lightweight, but I can definitely attest to their strength because I wear my March Dress constantly. Sam has a button up Cameron; he wears it all the time and it has like really held up. Like, the colours are really true, the strength is there, they’re not really wearing out, like, all the seams have held. I mean, it’s just great.

Caroline: Yeah, I should also mention, there’s definitely a variety of weights out there with block prints. Like, the one that we carry at Blackbird is pretty consistent. We’ve chosen our base. It’s a cotton batiste. We love it. That’s the one that we use. But our supplier sent us, like, a whole booklet of different options. There were some lighter weight cottons, some that were a little bit heavier. So if you’re buying from a new place that you’ve never purchased from before, maybe check the weight of the fabric online, compare it to some fabrics that you have, make sure it’ll be something that you like, and maybe just try one out and see if you like the weight of it. Because they’re not all going to be exactly the same. But generally speaking, I would say they’re pretty lightweight and airy and durable.

Helen: Yeah, and they’re usually cotton which makes them nice to press and nice to sew with.

Caroline: Totally. And if you’re not familiar with this fabric, please go Google it ASAP. We know you’re gonna love it. And if you already love it, maybe we’ll have some new info and inspiration for you in this episode.

Helen: Yeah, so let’s start with a short history of block printing, a bit of overview of where it came from. We found a couple of really interesting articles all about this, including one from the New York Times that has a bunch of links to workshops where you can learn from block printers in India. Truly, dream trip. The articles we referenced while making this episode will be linked in the show notes. So make sure to check them out for some more information. And also, important to note, we are not historians, just two sewing buds doing our best to gather all this info for you. I mean, really three sewing buds, because Lisa was gathering all this info for us today. So thank you, Lisa. And yeah, we’ll link up all these references in the show notes.

Caroline: Okay. So the recorded history of block printing goes back thousands of years to the Indus Valley Civilization. Indians had deep knowledge of plant dyes, mordants, and resist printing, which meant that they were able to create the most visually striking and detailed prints. And block printing really flourished during the Mughal empire from the 16th to 18th centuries.

Helen: The state of Rajasthan was historically the block printing center. Over time, the tradition spread to different states, which each developed their own visual style. For example, and we’re quoting from a Vogue India article by Shweta Gandhi here, “Rajasthan is known for its colourful prints of gods, goddesses, humans, animals, and birds. Ajrakh prints originate in the Dhamadka village in Gujarat, and feature geometric motifs made using natural colors. Punjab’s Chhimba community, which is a group of textile workers, use a print with floral and geometrical motifs in light pastel hues.”

Caroline: Block printing is traditionally a family occupation. Even today, the families who block print have an ancestral tradition going back at least 300 years. Block carvers are usually fathers and sons and other family members do the printing.

Helen: There have been a lot of threats to traditional block printing over hundreds of years: punishing imperial policies, corruption, new technology which imitates the look of block printing but without the handwork, and opportunities for more income for workers who move to larger cities.

Caroline: And today, the hub for block printing is Sanganer, a suburb of Jaipur, and in recent years, companies like Anokhi, a design firm which is based in Jaipur, and Block Shop, which is based in LA, have commissioned block print artisans to create incredible traditional and modern fabrics. Together, they’re keeping this amazing art alive.

Helen: I love that. Caroline, where do your block prints come from at Blackbird?

Caroline: Our block print supplier is based in Sanganer.

Helen: Awesome. And you guys did a really cool, like, video with them, right? Or was that for hand weaving?

Caroline: No, we have both actually, but yes, for the block prints we have a video. I’ll link it up in the show notes. It’s on our YouTube channel and I believe on our website, as well. We have a really direct connection with the supplier, which is so wonderful. We feel like we can work with them really closely and we’re supporting family owned businesses. And it’s just a really great kind of relationship that we’ve developed over the years.

Helen: Ooh, that’s so cool. And I love seeing how the fabrics get made. It’s absolutely amazing.

Caroline: Yeah, they really are true artists. It’s incredible.

Helen: Yeah, so let’s talk a little bit about that process. How does one make a block print fabric?

Caroline: Okay, so believe it or not, carving a block takes 7 to 15 days, and blocks are carved from teak, sycamore, or pear wood. After they’re carved, they’re soaked in oil for anywhere from 3 to 15 days to soften them. There’s one block made for each colour of the design, so if the print has 5 colours, it’s going to have 5 different blocks.

Helen: Whoa, and all those blocks have to be, like, the same, or they could contain, I guess, different motifs because then they get layered when they’re stamped, right?

Caroline: Yeah, exactly. And not every new fabric needs a new set of blocks. A lot of these artisans will have a whole library, like a design library of blocks that they pull from. And you might notice at Blackbird, we repeat a lot of designs in different colourways. So it’s not like they’re carving a new block every time they’re producing a new fabric. But sometimes they will do custom carving based on, like, a brief or something.

Helen: Ooh, very cool. The fabric base itself is prepared by washing, scouring, and bleaching. This removes the starch and other finishes that can change how the dye reacts when it’s applied to the fabric. And it also makes the surface of the fabric smooth and even in colour.

Caroline: And in order to match the dye to the colour that it’s been designed for, the dyers will mix, test, and remix dyes until they’re the perfect shade. It takes a lot of time since some dyes take a whole day to reach their final colour.

Helen: Ooh, that’s cool. Once a block is done, the fabric is ready and the final dyes are mixed so the printers can start printing. The fabric is pinned onto a covered table so that it’s nice and taut, like a drum, and the blocks are dipped into a pad of dye and pressed onto the fabric. It’s a very precise process. A lot of designs are continuous, so the direction and distance between the prints really matters. For a design with more than one colour, the first colour must dry completely before the second colour is applied. It always amazes me when I watch videos of people doing this process. Yes, it’s a very precise process, and they need to be, like, really particular about where they’re placing it, but they’re so fast. Like, how do they do it so quickly? It’s just, like, muscle memory, like, boom, boom, boom, boom. It’s amazing.

Caroline: It’s so cool to watch. I really encourage you guys to go and check out a video. They, like, place the block down and then give it a good solid whack and then they, like, move it over and it’s just, like, continuous go-go-go and they can print quite a bit of fabric in a short amount of time because they’re so skilled and experienced with that process.

Helen: Yeah, and sometimes there may end up with, like, a tiny little overlap, but that just adds, again, to that handmade quality of the fabric when it’s finished. So it doesn’t even matter.

Caroline: A hundred percent. It’s that maker’s mark that I think makes these fabrics so special.

Helen: Yeah, I do love the spanking of the block.

Caroline: Yeah.

Helen: Really satisfying.

Caroline: Yeah.

Helen: Okay, once all of the ink has been applied using the blocks, then the final step to prepare it is to wash and iron the fabric.

Caroline: And this process can vary based on what kind of block printing is done. There are three types of block printing done in India: direct printing, resist printing, and discharge printing. What we just described was direct printing. And in resist printing, one of the steps is to apply clay or resin to parts of the fabric so that it can resist the dye, and then when the resist is removed, more prints may be added on top with blocks. Discharge printing is where chemicals remove dye from parts of the fabric, which are later filled in with a different colour. Most of the block prints we carry, and I would venture to say, most of the block prints that you can find online and home sewing, are direct printed, but a handful of the ones that we carry at Blackbird are discharge printed. And this is something that we kind of changed over the years because, we’ll talk about this later, but some block print fabrics have a smell to them and it’s due to dye pigment. So darker block print fabrics tend to smell a little bit more and certain dyes just have more of an odour to them. And we realized that if we do discharge printing, and this is through, like, talking to our supplier and kind of working through, discharge printing will, just because of the amount of dye that’s used, it just won’t smell as much. So we switched over to discharge printing for some of our fabrics, and they look really similar. It just tends to have a little bit more of a uniform look, especially in the background, so you don’t get as much of that, like, sort of overlapping block, almost like the colour gets a little bit darker in the overlap and stuff because the background colour is printed in a more uniform way.

Helen: Yeah, that makes a lot of sense. And then resist printing sounds kind of similar to the process of making, like, a wax print or a batik, right?

Caroline: Yeah, exactly.

Helen: Very cool. Well, as you can tell from this overview, this whole thing is a process that demands a lot of artistry, skill, and handwork. It involves a ton of talented artisans and the results are truly stunning. So, well worth the investment for these fabrics.

Caroline: Okay, I think it’s time to take a little break and we’ll be right back.

Love to Sew is made possible by listeners like YOU! We are so grateful for the support of our amazing patrons and subscribers. If you love Love to Sew and you want to help support the pod, we have a new option for you.

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Helen: Go to patreon.com/lovetosew or visit our show’s page in the apple podcast app to become a paid subscriber. Thank you to all of our listeners, patrons and subscribers – you’re the best!

Caroline: We are back with more about block print fabrics. So there are thousands of different block print designs out there. Some are such a local tradition that they are only worn by the people of a certain region. Those that are available for sewists to buy can come in both traditional and modern designs. On the more traditional side, there are lots of beautiful florals. They come in different scales, from small scattered blossoms and blooms to big bold flowers with tangled vines. There are also traditional geometric or abstract designs. Some are directional, meaning they have a right side up, but others are not. And there are also modern designs like stripes and ginghams. At Blackbird, we designed our own collection of wavy ginghams and checkerboard patterns a while back, and this is still one of my favourite things we’ve ever done.

Helen: Yeah, I loved those fabrics. It was so fun. And it must’ve been so neat to go through that design process with your supplier.

Caroline: Yeah, it was incredible and we were so proud of those designs. I mean, they were obviously really simple. We weren’t going to try to emulate the incredibly intricate detailed designs that are traditional to block prints, but we put our spin on it and obviously those kinds of prints were pretty trendy. So we were really excited to be able to do it. And I still have a bag that I made out of the checkerboard that I love so much.

Helen: Do you guys think you’ll ever do that again? Do a custom block?

Caroline: I would love to. We’ll see.

Helen: I would love to see it. Okay, the other thing you want to consider is the quality of the block print that you’re purchasing. So here’s how to spot good quality block printed cotton. The fabric should be smooth, not rough. It should be made of cotton or linen. If it’s on polyester, it’s definitely not hand printed. Good quality block prints will have a nice drape to them. That’s because they’re lightweight and tightly woven. They’re not as drapey as rayon, say, but they should drape more than, like, quilting cotton would.

Caroline: There are tiny imperfections and variations on all block prints that are made by hand, but too many irregularities in the print might indicate a lower quality fabric.

Helen: Yeah, and of course, buying from a trusted source is always a good idea because they will vet the fabric and make sure that it’s up to their standard. There are a few things you might want to consider if you’re thinking about buying block print fabric. Some block prints have that petrol-y kind of smell to them that Caroline was talking about earlier. This is totally normal, but it can be a deterrent if you are very sensitive to smells. Darker prints can be smellier due to the high pigment of the dye, but the smell does get better with washing and you can add vinegar to the rinse cycle if you want the smell to go away faster. I know the smell that we’re speaking of and, uh, I like it. I also like the smell of gas stations though, so.

Caroline: It doesn’t bother me at all, and I’m not very sensitive to smell. We definitely had a lot of really funny discussions in the office where some of our team members were extremely sensitive to the smell and really didn’t like it, and then there were some people that were like, “I don’t know what you’re talking about.”

Helen: Yeah.

Caroline: “This doesn’t smell at all.” So it’s just a testament to, like, different folks having different, sort of, smell sensitivities, and I think it will register with some people as a bad smell and other people as a smell that’s neutral, or even, like you, a smell that they like.

Helen: Yeah, I think I just like the fabric so much that I just like everything about it, you know? Even the smell.

Caroline: You’ve been conditioned to love the smell, because you love the fabric.

Helen: Yeah.

Caroline: That’s great. The colour is slowly going to fade with washing for some of these prints. For me, that’s part of the charm. I love them in both their super bright and more faded forms. And I will say, I don’t think they all fade. I mean, maybe like a little bit, but I think some of them hold their pigment pretty well.

Helen: Yeah, like I said, the March Dress that I’m wearing right now, I don’t really think it’s faded at all. And I’ve, I wash it, like, at least once a week, so…yeah, for a couple of years now. So I think it’s doing really well considering, and, you know, all fabrics kind of fade. So, I think it fades a normal amount, I would say.

Helen: Some colours of dye can bleed, so we do recommend washing them by themselves first, or at least with like colours, maybe throw a colour catcher into your washing machine or dye catcher. Just in case, you know, don’t throw it in there to wash with your white linen on the first go around.

Caroline: Yeah, definitely not. Darker colours are more likely to be opaque in a single layer of fabric, so if you’re working with a white or a lighter colour, you might want to consider a lining or maybe just wearing a slip or some kind of shell underneath that will help to make that fabric more opaque if you want it to be,

Helen: And the last thing to think about is that the width of these fabrics is typically narrower than many apparel fabrics. So the ones that Blackbird stocks are 43 inches wide; that’s closer to the width of a quilting cotton, typically. So you do have to go by the narrower cutting requirements when you’re looking at your pattern.

Caroline: Yeah. Let’s take a break from all this information and get into inspiration. We’ve both made many garments from block print fabrics, so I feel like we should talk about them. Helen, can you share your favourite block print makes with me?

Helen: Yes. Okay. Well, the March Dress we’ve already mentioned, I’m wearing it right now. It is so comfortable. I added an extra gathered tier to the bottom and it’s just, like, the most breathable, easy-to-wear, want-to-throw-it-on-every-day, perfect dress. Great as a house dress. Great as a summer dress. Very, like, farmer’s market vibes.

Caroline: Mmhmm.

Helen: I made Sam a Cameron Button Up for some of the weddings that we attended this past summer and it looked so good under his suit, that little, like, pop of colour and print, but it’s like fairly subtle because I chose one of the prints that was, like, a smaller scale. So it really worked in that formal setting. Also, just texturally, it has that matte texture versus the suit, which had a little bit more of a sheen to it. It was giving. And he wore some suspenders. We’ll have to put some pictures up on Instagram this week because yeah, it was hot.

Caroline: Yeah, you really nailed it with the scale that you chose. I remember seeing a picture that you shared of Sam and at first I didn’t clock it as a block print. I was like, “Oh, that’s a cool print.” And then when I looked closer, I was like, “Ooh, that’s a block print!” And it looked so good. It paired really well. He has, like, leather suspenders, right?

Helen: Yeah, like brown leather suspenders. So cute. So cute.

Caroline: Mmhmm.

Helen: And the other thing about it that really worked well is that he runs so hot. And so wearing a suit for him is like, just a recipe for disaster. Like, knowing that he’s going to be, like, overheated the whole time. So block prints, like we said, they’re so light and airy. It’s one of the, like, thinnest fabrics, the one that you guys carry at Blackbird. The batiste is just super thin and breathable. So it was really perfect for him, but it’s also a nice tight weave. So it doesn’t have that problem where sometimes, if fabrics are really thin, they feel kind of flimsy. Or, like, you know, he has chest hair–like, is that going to poke through the weave? No, it doesn’t. Right. It’s, like, really nice and tight and light. And he was very comfortable.

Caroline: Ooh, I’m so glad to hear it.

Helen: Yeah! I also made a block print Cassidy Wrap Top that I really love in the sweet pink and blue colour. And then finally, one of our Lawrence Dress samples is one of my absolute favourite dresses in a green block print with yellow sunflowers, and that’s another one that gets worn every week, just like my March Dress. It’s just like, I’m out of the shower, throw on the Lawrence Dress, throw on the March Dress, like, easy breezy, just perfect house dress.

Caroline: Yeah. I think block prints lend themselves really well to that sort of dramatic, long, gathered tiers, volume, like, just head to toe cover yourself in block print. It will not overwhelm you. It just shines in that application. And I know some of my favourite makes out of block prints are also that similar style. I have a March Dress, very similar to the one that you’re wearing right now, in a green block print where I added a gathered tier. And that is definitely my most-worn block print make in the summertime. I, like you, will put it on whenever possible, definitely all weekend. Like it’s so perfect with a little straw hat and some Birkenstocks and you’re, like, good to go. I also made, this past summer, a dark blue, it’s the Pattern Fantastique Vali Dress, which is kind of similar. It has, like, puffy sleeves and a little yoke in the front, gathered tiers, very long. Actually, it might not have gathered tiers. I probably added that. I think I added that.

Helen: You love a gathered tier.

Caroline: I love a gathered tier.

Helen: Well, and block prints gather so well, like in some, you know, sometimes you gather certain fabrics and, and the seam ends up looking a bit puffy, but the block prints just, like, sit perfectly in a gather.

Caroline: Yeah. And I actually wore that one for my engagement shoot with Shea last summer. So I have some gorgeous pictures of this dress and I still love it and I still wear it a lot. So it’s great. It’s casual. It can go a little fancy too. I would say that’s one of my favourites. And I mean, I have so many block print makes. I have some tops. I’ve got, like, that crimson red block print that has been so popular. We’ve restocked it many, many times. I have that one in like a ruffly sort of shift top. I have a Papercut Patterns Array Top in a lavender block print. I also made a Victory Patterns Sofia Dress, which has all of that shirring around the bodice and some puffy little sleeves and it’s long and, shocker, I also added a gathered tier to that dress.

Helen: I love it.

Caroline: Which I don’t wear as often, but I do love it a lot. And then, of course, what I mentioned before, that checkerboard canvas Bestie Bag with the tie strap is one of my favourite bags and I’ll pull it out whenever I can. It doesn’t go with everything, ‘cause it’s a checkerboard and it’s brown and pink, but whenever it matches my outfit, I will pull it out cause I love it so much.

Helen: Yeah. Ooh. Okay, I have a curveball question for you. What’s your dream block print make? Do you have one in mind that you’ve been wanting to do?

Caroline: Ooh. My dream block print make is a quilted jacket. I’ve seen some incredible quilted vests and jackets out of block print. I have a couple in my stash that I have earmarked for a jacket, where I’m going to do, like, a block print on one side and then a different block print on the inside and make it reversible. So I think block prints look incredible quilted and I have not tried that yet. I also have so many block print scraps, and I just think they’re perfect for home decor. So I’d love to do, like, a quilted, maybe pillow cover for my living room out of block prints.

Helen: Yeah, great idea.

Caroline: I don’t know. The possibilities are endless.

Caroline: Napkins would be amazing. Or like, the Playful Placemats. What about you? Tell me, tell me what your dream is.

Helen: Well, I also have a bunch of leftovers from all of my block printed projects that I’ve been collecting. So I’m very excited to do a quilt project with them eventually. I’m not quite sure which one, but I feel like I’ll know it when I know it, you know, and when I have enough leftovers to do it. I am with you on the quilted jacket. I love the idea of the reversible quilted jacket, or if you want something that’s a little more neutral on the outside, just putting the block print on the inside for that pop of fun colour. And after seeing Sam in that Cameron Button Up, I want to make him, like, four more because he looks so cute in a floral, and it’s definitely on my list to basically reproduce that shirt like four times over.

Caroline: Ooh! Oh my gosh. That sounds amazing. I would love to make Shea a block print shirt. I think it would look really handsome on him, too.

Helen: Yeah, it totally would. Oh, I thought of something else. I definitely had plans, when we released our Arbutus Robe, to make a block printed version for summer, like for the warm summer months. And also for wearing to the beach would be really nice, like a nice cover up to protect you from the sun in a block print.

Caroline: Yes, a block print robe is gorgeous. I’ve seen a few versions. It’s per, it’s the perfect fabric for, like, a summery throw-on robe. So I’m with you on that one.

Helen: Oh, okay, great. I gotta get on it. Well, one person that really pops to mind, when you think of block prints, for me at least, is Christine Haynes. She has so many amazing block printed makes in her collection, it’s hard to even choose which ones to talk about. I mean, she has an Avenir Jumpsuit in this, like, soft blue small-scale floral with a little hint of yellow. She’s made the Lahja Robe, which is from a larger-scale pink floral on a green background. Again, the perfect warm-weather robe. Definitely my inspiration.

Caroline: Yeah, and it looks like she made a set of Friday Sport Shorts from the scraps, and the binding is made of pink block print, which I feel like is the best scrap busting project ever. It’s so cute.

Helen: It’s so cute. Mixing block prints. I mean, again, the March pattern is great for that because you can do, like, the center panel different from the bias ties and then sleeves different and mix them all together. So cute. She also has a bunch of button-ups in smaller scale florals. I mean, it’s amazing. We’ll do a little roundup on Instagram this week.

Caroline: Mmhmm. Okay, hear me out. Orchard Dress, lengthened, with a patchwork block print fabric. Like, if I patchworked all of my block print scraps and then cut out an orchard dress, I feel like that patchwork look, I’ve seen a lot of it on Pinterest, it looks so cool in, like, a really simple tank dress. I don’t know. And then I could use even block print for the binding.

Helen: Yeah, contrast for the binding. That would be so, so cute. I love that idea. Also like, our Lawrence Dress would be good for that too, because it already has gathered tiers that you could, like, easily patchwork those rectangles, and then the bodice could be all one fabric if you wanted. And then you have, like, patchwork on each of the tiers.

Helen: Ooh, ooh, I’m inspired.

Caroline: Truly, you can never have too much block print. Like, if I could have a whole wardrobe of block print, I would.

Helen: You don’t require any neutrals.

Caroline: No, just block print on block print on block print.

Helen: Just block print.

Caroline: Also, okay, every time I wear a block print make, I get compliments on it. Like people always ask me, “Where did you get that? Oh, is that block printed fabric?” People recognize it. People love it. It’s like, it just, like, adds this, like, a little sum’n-sum’n, you know, to an outfit.

Helen: Yeah. I think it is also very representative of makers. Like, a lot of people who are into fiber arts and into sewing and knitting and making of any kind really appreciate this textile because of all the artistry that goes into it. And it’s recognizable. And when you see it, you’re almost like, it’s a cue to be like, well, that person really appreciates fabric and textiles. You can tell.

Caroline: It’s like, wear a block print to the farmer’s market and all of the sewists will find you.

Helen: Yeah. Oh, whenever I wear this March Dress to the farmer’s market, I get compliments. From like, every vendor is like, “Oh, your dress!”

Caroline: Me too!

Helen: Oh my gosh. Yeah. It is literally the perfect farmer’s market dress. Okay, let’s move on and talk about some sewing tips and actually working with this block print fabric. Officially, the care instructions are to hand wash cold, do not bleach, hang to dry, but you can probably get away with machine washing them on a cold delicate cycle. It’s important to pre wash and dry the fabric the same way you’re going to care for the finished garment. So if you plan to use the machine later on, you can use that at the beginning too, for your first wash. Truthfully, mine just goes in with all the other things and comes out the dryer just fine.

Caroline: I’m not gonna lie, same. And I’ve never had a single issue, so if you want to be brave and just wash your block prints with everything else once you’ve pre-washed them, I think you’ll be fine.

Helen: Agreed.

Caroline: Speaking of pre-washing, if you’re pre-washing a long piece of fabric in the machine, which you probably will be because it’s narrow, so you’ll need more than you think, you can safety pin the corners together so that it doesn’t twist up. Or you can sew the cut ends together so that it makes the yardage into, like, a long loop and that will help too. This is a great tip regardless of whether it’s block print or not.

Helen: Yeah, it often comes out of the washer and dryer all kind of bunched and twisted up, so it is a good thing to do. Also, when I’m drying long swaths of thin fabric like this, I’ll usually check the dryer halfway, untwist it, put it back in so that, yeah, fluff it up so it doesn’t, like, come out in that tight little ball. If I remember to do that, anyways.

Caroline: Yeah. Same. And you can always, like, do that after the cycle’s finished and, like, throw it back in for a few minutes if you forget.

Helen: Yeah. Totally. After you pre-wash, you can hang it to dry if you want. Fold it once or twice over if you need to. The nice thing about it being so lightweight is that it does dry pretty quickly. And if it’s taking a long time to dry you can flip it over so the wetter part is more exposed to the air. But again, I mean, Caroline and I, with the Blackbird Fabrics block prints, we’re just washing them and drying them like normal.

Caroline: Mmhmm. Yeah, you gotta make it work for your life, you know?

Helen: Yeah.

Caroline: French seams are really nice on block prints They complement the delicate and lightweight nature of the fabric. And I also love that they strengthen the seams while also making the garment look really beautiful on the inside. And you really don’t have to worry about bulk with block prints. The seams will still be really nice and light.

Helen: You might have to alter the seam allowance of your pattern if you’re planning to do French seams, so double check the pattern and see what the seam allowance is and then redraw it if you need to. Usually people like to do a ½” seam allowance for French seams so they can sew ¼” inch away from the edge, trim it, press it the other way around, and sew another ¼”. I often just go with the ⅝” and I do a ¼” seam and then a ⅜” of an inch seam so I don’t have to do any trimming, but it does result in a slightly wider seam allowance on the inside than maybe is preferable for some people.

Caroline: Yeah, so true. You also want to be paying attention to the direction of your fabric. If it is a one way print, meaning that it has a right way up, you will want to lay the pattern pieces out all in the same direction, and this usually means buying more fabric. Also, you might want to consider whether you want to pattern match. This could mean buying more as well. One thing that I like to do, especially with something like a March Dress, is almost like alternate the direction of the block print to add a little bit of interest. My favourite block print design is, what we call at Blackbird, the Bloom block print. So it’s just like a really simple kind of flower that’s all in the same direction, sort of lined up in rows. And I think it just looks really nice when you sort of alternate the direction to add a little bit of interest to the garment. And I think I did that on my March Dress with the yokes and the tiers and the sleeves. So that’s a good way to kind of get a little bit more out of your fabric and not worry so much about having to cut everything in the same direction.

Helen: Yeah, like, even though the flowers are upside down, it doesn’t matter because they’re still gorgeous and they don’t look weird. It’s just a personal preference.

Caroline: Yeah. And if you make those choices intentionally, then I think it looks good. Like if you’re like, “Okay, I want my yoke to be all going in this direction and my sleeve to all be going in this direction,” and maybe don’t just go totally random with it. Or do. Whatever you want.

Helen: Or do. It’s small enough scale that it’s not really going to be noticeable. And don’t feel the need to point it out to every person you talk to. I did this on purpose. This upside-down flower. That was a design decision. Well, we mentioned this already, but pressing on lightweight cotton is great. You can use a hot steamy iron. It holds the press so well. Sewing it’s amazing too. It’s just, like, beginning to end, a very dreamy experience. Great for beginners.

Caroline: If you need to make a lining or a slip, you want to choose a smooth fabric like rayon bemberg, silk habotai, or maybe like a silky polyester. Using another cotton for the lining can cause bunching. Although I think sometimes it would work, like, for a gathered skirt, for example, where there’s a lot of volume, I think lining with a cotton would be fine.

Helen: Yeah, you could even do a gathered cotton petti-skirt underneath to give it volume. Or if you’re underlining like a bodice, a fitted bodice, for example, definitely a cotton would work well there. Save your scraps. As we mentioned, even small pieces can become really cool accessories, home decor, gifts. Imagine getting, like, a block print oven mitt or a scrunchie or a little bag as a present. You can incorporate them into other garments to make details like pocket bags, bias binding. Those, like, hidden neck bindings and armscye bindings are really nice in a block print. ‘Cause on the inside you get that beautiful pop of floral.

Caroline: Yes, I love a block print pocket bag. Okay, we have some pattern ideas for block print fabrics. These, as we’ve already mentioned, are a great match for gathers. There are no problems with bulky seams and the fabric holds a soft volume. The Harmonic Set by Pattern Fantastique will look amazing made in a block print for the main sections and maybe a coordinating solid cotton for the colour blocked section. The top has giant gathered sleeves and a circular keyhole over the chest, and the area around the neck is colour blocked, kind of like a bib style, and the sleeves and skirt have a wavy colour block detail that is so cool and unique. And this pattern goes to a 55 ½” chest and a 48” waist. I know you really like this pattern, hey, Helen?

Helen: Oh, I do. And it’s in part because I’m a sucker for, like, a strong contrast black and white or black and cream, and the sample they made is just that. And of course, these squiggly lines around the sleeve and the skirt. It’s just so cool. It’s so freaking cool and I would love to make this one day. I love it.

Caroline: Mmhmm.

Helen: The Juliette dress by Silversaga has a gathered scoop neck, voluminous full length sleeves, and pleats at the waist. It has buttons down the front and an integrated sash that ties at the front waist. This would be such a statement in a beautiful block print. There’s a lot of patterns, actually, from this company that I think would make fantastic block print outfits. And that one goes to a 46 ½” bust.

Caroline: We both have Helen’s Closet March Dresses in block prints and we both absolutely love them. Mine feels so comfortable to wear. It’s loose and light and breathable, but I also feel really stylish and put together in it. It’s one of the few dresses that I own that I feel like I can wear on the couch and I can wear to an event and still feel, like, amazing, you know?

Helen: I love that. I feel the same way. It’s like pajamas that you wear outside.

Caroline: Yeah. And with that extra tier at the hem, which I highly recommend, I feel pretty covered up as well, which is nice for those days when I don’t feel like showing my whole body to the world. And the March goes to a 56” bust.

Helen: Yeah, I’ve seen a lot of people make this pattern also as more of a modest fashion garment, and it works really well for that, with the longer sleeve, the tie that can tie up at the neck and make it, like, quite cinched up at the top as well. Casual button-ups are another great choice for block prints. Something about it feels so unexpected and cool. The Cornell Shirt by Elbe Textiles for block prints would be great because it has a relaxed fit and a band collar which would go really well with the softness of the fabric. And that one goes up to a 48” chest.

Caroline: And like we already mentioned, the Cameron Button Up is a perfect match for block prints If you’re looking for something with a collar.

Helen: Yeah, and good for, like, your first shirt-making adventure, because it is easy to sew.

Caroline: Block prints make amazing pajamas. That is my definition of luxury. A classic set like the Closet Core Fran Pajamas would be so nice. Or you could make just a basic pair of PJ pants and wear them with, like, a soft t-shirt. The pattern doesn’t have to be complicated because the fabric is such a star.

Helen: It would be really nice to have that lightweight block printed robe in the summer. The Whitlow Robe by In the Folds would be a good choice. It could double as a swim coverup if you want to wear it open at the beach. Or a light layer–if you want to wear it over, like, a t-shirt and jeans, it’s just like, a fun layering jacket. I love that idea.

Caroline: Yeah. Okay. So now that you’re all inspired, let’s talk about where you can buy these beautiful fabrics. We stock a bunch of block prints at Blackbird. We absolutely love carrying them. They’re super popular with our customers. We usually choose florals in vibrant colours. Sometimes we do a little bit more of a muted earthy fall collection. I am super proud to have these in my store. I love them so much. I don’t know. I’ve been gushing for the whole episode, but I just, I love our block prints.

Helen: Tell us how you really feel! No, they are fantastic and I have like eight of them in my fabric stash as well. It’s like, every time you drop a new collection. I’m like, “Oh, look at that!” Yeah. Totally addicted. Another Canadian company that I have bought block prints from is Maiwa, which is based in Vancouver. They sell in-person and online. They’re known for, like, their dyeing selection. If you’re into fabric dyeing, they have a ton of resources and materials for that. They also do carry fabric yardage and their selection has a bit more of a natural, muted tone colours, abstract prints, like, bold polka dots and things like that. Really cool. Um, definitely check them out.

Caroline: In the UK, Merchant and Mills has block prints in neutrals and indigos. They also have some really cool quilted block print fabrics that would make great blankets or jackets.

Helen: In Australia, Woven Stories has a huge selection of block prints with lots of colours and styles to choose from.

Caroline: And in the USA, Gilded Threads has a great selection of block prints, lots of beautiful, light, bright colours.

Helen: Etsy is another great place to look. There are even Etsy shops that specialize in block prints. So you can really get a wide selection over there.

Caroline: And if you’re feeling inspired to try your own version of block printing, you have some options. We did an episode with the artist and sewist Jen Hewett back in 2018 that you might be interested in. It’s episode 59.

Helen: Yeah, and I actually made an Ashton Top out of fabric that I block printed myself, and I wrote a post about the process on the Helen’s Closet blog, so we’ll link that up. I did that little workshop at Blackbird Fabrics, actually, back when y’all had workshops, and it was so much fun. We carved our blocks out of, I can’t remember the name of the material, but just that, like, soft material that you can…

Caroline: Like rubber…

Helen: Yeah, like rubbery material you can carve really easily. So we could do it quickly. And then we mounted them to wood blocks. And then you roll the dye on and you print the fabric, and then you can sew it up into something. And that whole process was so creatively invigorating, like, I would highly recommend trying it out if you’ve been interested. It was not hard to do. You just need the right materials, and you’re really good to go. So It was really fun and I enjoy that Ashton Top a lot. It’s one of my proudest makes.

Caroline: I love that top. As we mentioned before, there are several workshops available where you can learn directly from Indian block print artisans. They’re linked in the New York Times article that we talked about, and that’s going to be in our show notes. Also, Maiwa here in Vancouver is a great place to get supplies, if you’re local. I think they have an online store as well. They have a bunch, including pre-carved wooden blocks.

Helen: Ooh, very cool. Well, I hope that you liked learning about one of our favourite fabrics of all time. It’s really just the tip of the iceberg. The history and the tradition is so rich, still living and changing. Block prints forever!

Caroline: Block prints forever!

Helen: Ooh, Caroline, can we have a hashtag for this episode? I want to see everyone’s block prints.

Caroline: Oh my goodness. Yes, absolutely.

Helen: Okay. Please share this week or whenever you’re listening, #LoveToSewBlockPrints and tag us, @lovetosew.podcast, so we can see your makes. And we’ll reshare anything that comes in and, yeah, we can’t wait to see what you’ve made.

Caroline: There has never been a truer statement. I love to sew block prints! That’s it for today’s episode of Love to Sew. You can find me, Caroline, at Blackbird Fabrics and BF Patterns and Helen at Helen’s Closet Patterns and Cedar Quilt Co. And we’re recording in beautiful British Columbia, Canada.

Helen: You can support Love to Sew and get access to bonus content by subscribing on Patreon or Apple Podcasts. You even get access to the back catalogue of bonus episodes. That’s over 75 hours of Love to Sew. Go to patreon.com/lovetosew or check out our podcast page on Apple Podcasts for more info.

Caroline: You can head to lovetosewpodcast.com to find our show notes. They’re filled with links and pictures from this episode. And if you’d like to get in touch with us and tell us how much you love block prints, leave us a message at 1-844-SEW-WHAT. That’s 1-844-739-9428. Or you can send us an email at hello@lovetosewpodcast.com.

Helen: Thanks to our amazing podcast team! Lisa Ruiz is our creative assistant, Jordan Moore of The Pod Cabin is our editor. And thank you for listening. We’ll talk to you next week.

Caroline: Bye bye.

Helen: Buh-buh-block prints!

Caroline: Buh-buh-buh-block prints!

Helen: Buh-buh-block print!

Caroline: Oh my gosh, we’re obsessed.

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