Everyday Tank Fit Notes
The Everyday Tank typically fits anyone between a size XS (S tee will be an “oversized” fit for an XS body) and size 2XL (L tee will be a classic fit for a 2XL body) in our size range.
Strong lines create a play between masculine and feminine energy. Comfortably roomy, this piece makes a statement in linen hues. The notched lapel is the visual focus of the Hera Blazer, and is complemented by minimal patch pockets and a relaxed yet structured armscye. A back vent adds ease of movement. From $258
Our original 2019 Simone Top has new life as the Lola Top. A full wrap top in a longer length, the Lola can be tucked in or worn as-is. Choose to wrap the tie fully around the body or secure it in a simple knot to close. The dolman sleeves create a soft angle off the shoulder for subtle structure. This piece is reversible, and can be worn with either the V or scoop in front. From $128
This dress was inspired by the drape of fabric hewn into rock, in the form of ancient Greek statues. The Daphne features back pleats for volume, wide straps, a unique front and back neckline, and gracefully curving pockets. The dress is cut in a midi length with soft volume. From $238
Dreams of the French Riviera brought these lounge pants to life. Roomier in the hip and waist with a herringbone drawstring tie in addition to the elastic waistband, this pant is just slightly more relaxed than our Emil. With a tapered leg and oversized angled pockets, the River Pant dresses up or down well. From $204
The sister piece of the Mira Dress, the Moira is simple yet thoughtfully constructed. This style fits just like the Mira, but features a scoop neck instead of a V. The subtle A-line shape feels casual and easy. Large pieced-in pockets at the side panels are functional, but with an architectural feel. Faced slits at the sides accentuate the shape while adding slight structure and swing. From $286
We'll also have brand new colorways of many of our favorites. Our made-to-order clothing is available in sizes XS-4XL. All handcrafted in the USA. This season, choose to shop slow fashion.
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Life can be beautiful, and life can be hard. Some people’s lives are more difficult than other people’s. Overall, my life has been incredibly blessed. But, as someone once said, the most difficult thing that has happened to you is the most difficult thing that has happened to you. Well, 2022 was, so far, my hardest year of life. But I do think that “renewal” was an apt word for my year. Between fertility struggles, an uncertain but eventually positive job change for my husband, a new puppy, a family health scare, and an ever-evolving business, my year was full of transformation and change. I believe I am entering into 2023 as a stronger person, but also a person more aware of both how exquisite and how painful life can sometimes be.
The shining light through 2022 was Pamut, our customers, and our employees. It was a joy coming into work every day to the humming of sewing machines, the hiss of the iron, the sound of order confirmations printing (which inevitably meant the barking of my puppy, as she evolved to hate the printer… or loved to bark at the printer, I’m not sure which one). The business, along with a spontaneous hiking trip to Scotland in Summer, kept me going through the year. I’m relieved to say that I’m in a much better mental state at the moment! I’m so proud of what we accomplished in 2022. Revenue was up 15%, and our overall profit was up 18%. I give all credit for our increased profits to Mackenzie, who is the speediest sewer I’ve ever seen! In 2022, we designed a very fitting 22 new styles. We began sourcing beautiful handwoven fabrics from India. We went back to popups again. We more than tripled our wholesale volume. And, in my opinion, we kept our quality and customer service tip-top! During a year of a shrinking economy, I consider this a huge success.
Accept the good, accept the bad. Accept what I can’t change and change what I can. Accept that this world is messy and I’m just trying my best! With an uncertain economic environment, an unclear journey to try and grow my family, and some questions about next steps for Pamut that I may disclose soon, I’m setting realistic goals for 2023. Our 2023 financial goal is to maintain our current profits and revenue while continuing to increase pay for our employees. With the rising costs of fabrics, supplies, and shipping, it’s likely that we’ll be increasing some of our prices or shipping rates marginally. However, we’ll give plenty of advance notice if this is the case.
While we’ll be playing it safe financially in 2023, we’re looking at some really exciting concepts and designs for the new year. Nothing boring coming out of this studio! The next few weeks are all about big ideas, as we entertain options like a home goods line, outsourcing some of our manufacturing, more elevated fabrics (washable silk, anyone?!) and, of course, the upcoming SS23 collection. We’re listening closely to feedback from all of you, both on Instagram and through email correspondence. We’d love to hear about some things you’d be excited for us to make, so please do reach out!
From the bottom of my heart, I want to thank you for your loyalty to Pamut. Mackenzie, Anne and I are so grateful that you’re sticking around.
Wishing you the very best 2023,
-Kat + The Pamut Team
]]>We have TRIED to make a perfect sweat in larger quantities for years... And it's finally happening!!! Two new styles, the Zero Waste Sweatshirt and the Short Sleeve Turtleneck, are almost complete! They'll ship in time for Christmas ;)
The process of designing and developing a new style is more complicated, expensive, and time-consuming than you may think! Here's how we did it.
We sourced a new bamboo/cotton blend terry fabric and matching rib, prioritizing softness and washability as always! We ran a shrink test before committing to this fabric. This entails washing and drying a test panel, and then measuring the percentage of vertical and horizontal shrinkage to make sure that the final garments will shrink proportionally when prewashed. Choosing colors was the most difficult part, since there were so many great options. We ended up going with a dusty rose and a mossy green.
Fabric Cost: $15/yard (Averaging $21.30 for each Zero Waste Sweat and $14.62 for each Short Sleeve Turtleneck)
I always design our new styles based on what I think our customers will love and wear often. This makes our pieces pretty timeless! For our two terry styles, I settled on a Zero Waste Sweatshirt and a Short Sleeve Turtleneck. I sketched out each one, and Mackenzie and I discussed details such as stitching, length and general fit.
Design Cost: 2 hours at $30/hour for my time (not counting the hours laying awake at night thinking about these!). A total of $60 for design.
We always sample out new styles to see if we're happy with the general idea and fit. We start with a rough pattern and then cut the fabric pieces. Nowadays, we'll sample each piece in both XS and 2XL (so both Mackenzie and I can try one on!). The first sample of the Sweatshirt came out almost perfect! The only thing we needed to change was to make the sleeve cuff a little tighter. The Turtleneck looked nice in the XS, but in the 2X it felt too short, with the sleeve way too loose. We corrected the patterns based on this and then sent cut pieces to our producton partners, Opportunity Threads, to make the second and final samples.
Sampling Cost: Fabric cost was $123.90. I spent 3 hours cutting and sewing samples, costing us $90. We paid Opportunity Threads $56.48 for the second samples. Total, $270.38.
Once we received second fit samples from Opportunity Threads and were happy with the results, I was ready to grade the patterns. This means making final pattern pieces in all sizes, XS-4XL. Because we used the same pattern for the Zero Waste Sweat as we did for our original t-shirt, I only had to grade the sleeves for this style. For the Short Sleeve Sweatshirt, I had to fully grade the front, back, and sleeves. Each pattern piece must fit with the other pieces just like a puzzle! Altogether, I graded a total of 32 pattern pieces for these styles.
Grading Cost: Pattern paper cost was about $20. I spent 6 hours grading, costing us $180. Total, $200.
The next and final step was production. We decided to cut these styles in-house because we wanted to be very specific with the amounts per size and per color. This was exhausting for me and took a lot of mental work to keep everything straight. It was a relief to package all of the cut pieces off and send them to Opportunity Threads, where they will be sewn. After we get the sweatshirts and turtlenecks back, we'll need to sew in size tags and prewash them all!
Production Cost: I spent 20 hours cutting, which I valued at a total of $400. Opportunity Threads charges us $7.50 per piece to sew sweatshirts and $6.75 per piece to sew turtlenecks. We'll pay $200 total for shipping back and forth, and about $240 to tag and wash all of the garments. Total production: $1702.50
Pricing our items is always a bit of an art. But we begin with our flat production costs (in the case of the Zero Waste Sweatshirt, for example, the cost is about $39 per piece). We must factor in all of the additional costs that go into running a business, including marketing and advertising, rent, photoshoot, and tools/machines. For the Sweatshirt, we settled on a final price of $128. In all honesty, it's a bit low for how expensive the fabric was... But the inherent value of a sweatshirt is usually lower than that of a woven piece. In addition, the costs of design, sampling, and grading are only needed one time. If we do another run of sweatshirts, we won't have those extra costs!
]]>Looking for a way to use those small fabric scraps? Scrunchies are the perfect beginner project! You don't even need a sewing machine or iron to make one (though a machine will speed up the process).
With a sewing machine: 5-20 minutes
With a needle and thread: 20-35 minutes
- One 6 3/4" x 19" panel of light-midweight fabric (either pieced together or solid)
- One piece of 9" long elastic (1/8" round or flat works best)
- A safety pin
- Needle and matching thread, or your sewing machine
Cut out a rectangle of fabric measuring 6 3/4" x 19". You can use a ruler and a sharpie to mark the lines before you cut (you won't see the sharpie marks when you're done!). You can either cut the rectangle out from a solid fabric panel, or piece different fabrics together to form the rectangle. Either way, make sure that you're using a light-medium weight fabric.
Fold the fabric panel in half longways with the wrong side facing out. Using a 3/8" seam allowance, stitch down the fabric. This will form a tube (If hand stitching, try and make the stitches no longer than 1/8").
Stick the closed safety pin through one open end of the tube, pushing it through with your fingers to the other open end. Hook the safety pin to that open edge and pull it back through so that the tube is folded in half within itself (wrong side of the fabric should still be visible on the outside).
Place as many pins around the "circle" of the two ends as you'd like. Stitch around the circle using a 3/8" seam allowance, but leave 2" of the circle unstitched. Backtack on each side of the opening to prevent your stitches from unravelling.
Using your fingers, turn the fabric inside out by pushing it through the hole in the circle. You will now have a circular tube with a small hole visible (like a deflated bike tire).
Attach one end of the elastic to the safety pin (you can knot it around, or poke a hole through the elastic if possible). Stick the safety pin through the hole and feed it around the loop, taking care that the tail end doesn't get lost inside. Your scrunchie will now begin to take it's final form! Pull the safety pin back through the hole and knot the ends of the elastic together.
Fold the seam allowance of the hole inside the scrunchie. For the cleanest finish, hand stitch the hole closed with a whip stitch. Alternately, topstitch the hole closed using your sewing machine with a 1/16" seam allowance.
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With that in mind, I set about designing new garments that felt effortless and fun. My first task was to source fabrics and choose new colors in our favorite linen quality. I settled on a REVERSIBLE patterned gauze (OMG, two fabrics in one) and a linen palette that feels bright and playful. Because I way overbought in Winter, we kept our Tencels and Periwinkle Hemp/Cotton through to this season... Did ya know that one of the toughest things to do when owning a clothing company is buying the right amount of fabric? Well, now you do!
Fabrics chosen, I set about designing our new Spring styles. The main thing that we desperately needed were affordable dresses! It's tough to make a dress for under $200 with fabric costs the way they are right now. Being VERY strategic with volume and construction choices, I designed dress versions of two of our favorite tops: The Hanna and the Mira. Number one priority was pockets. Number two priority was reversibility. These have both!
After designing the S/S dresses, I wanted to breathe new life into our best-selling garment: The Hanna Top. I envisioned a Hanna made from our reversible gauze that could be worn four ways: inside out AND back-to-front! It took a while for Mackenzie and I to figure out how to cleanly finish all of the seams, but the result is just so versatile.
Hello sewing friends! I am so excited to share my reversible top tutorial! Here, you’ll be able to get sewing instructions as well as the PDF sewing pattern for our best-selling Pamut piece, the Hanna Top. This is a classic top pattern, made better by the fact that it is reversible (you can wear it with the V in the front or in the back). Its also very easily adjusted to suit your personal taste and body shape (you can easily lengthen or shorten the body, make the V deeper, or even add patch pockets!). In addition, this pattern looks great in a variety of fabrics. I’m demo-ing this pattern in raw silk, but you could also use a lightweight linen, cotton, or dress it up with a satin or organdy. This pattern is certainly easier with a more structured fabric, but if you are a more experienced sewer you can use something with more drape.
-Our PDF sewing pattern here (available in XS-3XL), downloaded and printed
-1.75 yds of your chosen fabric (46” wide or more), prewashed and shrunk. OR fabric from two Maker's Bundles, pieced together however you like them to form a panel.
-Matching thread
-A 1/2” bias tape maker (not required, but this is a great sewing tool that you’ll use again and again!)
*If you like raw silk, I would highly recommend Dharma Trading’s version. It is affordable, drapey, and comes in both natural and black! I bought their natural color and dyed it using avocado dye, and then hand painted it with abstract circles before cutting and sewing.
1: Cut out all pattern pieces:
-two front body panels
-one back body panel
-two sleeve cuffs
-one bias cut strip of fabric for the neck binding, 30” x 1 1/8” (this piece MUST be cut at a 45 degree angle from the grain of the fabric so that it curves gracefully around the neck. (Here are two great tutorials on making bias strips and bias tape:
https://www.youtube.com/watch?v=jXvLAHWbyXo
https://www.youtube.com/watch?v=Pu26wtOj4SM
2. Make your bias tape.
Use the above tutorials if you haven’t make this tape before. You can use the handy bias tape maker in the photograph (from Clover), or you can fold it by hand, although it won’t look quite as clean. You can also use a contrasting bias tape in a different color or fabric for added interest in the finished piece.
3. Press sleeve cuffs
After you’ve made your bias tape, go ahead and press your sleeve cuffs as shown in the photo. Press both long edges in 3/8”, then fold in half and press. It will help you later on if, when you fold the panels in half, you let one side overlap 1/8” instead of having the edges meet perfectly.
4. Serge edges
Serge or zigzag over the shoulder and side edges of the front and back bodies (no need to do the center edges of the front body) to prevent fraying. Press the shoulder, side, and center front edges back toward the wrong side of the fabric 1/4”.
5. Topstitch for a clean interior finish
Topstitch down the shoulder and side edges at 1/8” (but not the center front seams). I’ve added my Pamut tag in the side edge during this step. This will give you a beautiful clean finish on the inside of your garment, and will allow you to execute the side slits later without having to cut your fabric.
6. Shoulder seams
Sew together your shoulder seams at 3/8” and press open.
7. Neck binding part 1
Time to sew in your neck binding! Open up one of the pressed edges of the binding and, starting from the center v of the front body, stitch the neck binding to the right side of the fabric all the way around the neck. The binding will be longer than the actual length of the neck. Leave a little extra binding at the front V before you start stitching, and you’ll have extra at the finishing end too (about 1” on each side). Because the V is cut at a diagonal, you’ll need that binding to be a little longer.
8. Neck binding part 2
Press the binding over to the wrong side of the garment neck and topstitch it down. Try not to pull on the neck during this step. Because the binding is cut on the bias, it will be very flexible and should easily form to the shape of the curved neck.
9. Side seams
Sew together your side seams at 3/8”, stopping and backtacking at the notch for the side slits, and press open.
10. Close the cuffs
Stitch the short edges of your sleeve cuffs together at 1/4”. Flip them to form a circle and press the seam you just stitched (Keep in mind that you’ll still want to make sure that one side overlaps the other by 1/8”. This will be key in the next few steps!)
11. Attaching the cuffs part 1
Find the “shorter” side of your sleeve cuff. This will be the exterior side, and you’ll want to flip it so the the wrong side is up, and pin it around your armhole with the seam at the bottom of the armhole. Stitch around the armhole at 3/8”
12. Attaching the cuffs part 2
Press the sleeve cuff seam allowance TOWARD the cuff all of the way around your armhole. This is very important!
13. Attaching the cuffs part 3
I rarely use pins, but during this step in our reversible top tutorial, I always use a few, especially right where the bottom of the armhole meets the front and back bodies.
You’ll want to fold your interior sleeve cuff inside the garment just over your armhole seam (this is when that extra 1/8” on the interior side comes in very handy!). Pin the interior cuff right on the seamline all the way around your armhole, making sure the interior cuff overlaps the seam by 1/8”. You’ll want to topstitch around the armhole seam from the exterior, catching the interior cuff as you stitch. I find it helpful to use my fingernail to track that interior seam, making sure I’m catching it as I stitch around.
14. Attaching the cuffs part 4
Check and make sure you’ve caught the interior cuff all of the way around the armhole! You can always stitch some sections again if you missed them!
15. Have some fun with topstitching
Now is the time to get creative! I add a second layer of topstitching on the cuff 1/4” from the seam, but you can forego this step or even add 2 or 3 lines of topstitching.
16. Stitch the center fronts together
Sew together the center front seam. You should have pressed it inwards 1/4” already, so excluding the folded part, you’ll sew it at 3/8”. (With the full length of the seam allowance, it will be 5/8”). Trim the excess from the neck binding and press this seam open (now the 1/4” that you already pressed will be folded under and hidden).
17. Topstitch the center front
From the exterior of the garment, topstitch both sides of the center front seam 1/4” in. Backstitch at the center top of the garment when you reach the neck binding stitch for a clean look.
18. Finish the side slits
Fold back the seam allowance for the side slits 3/8” and topstitch from end to end, stitching across the side seam in the center.
19. Hem the bottom edge
Turn back the bottom edge 1/4” and then 3/8” and topstitch to close.
I hope you’ve enjoyed this reversible top tutorial! If you post photos of your own Hanna Tops, all I ask is that you please tag @pamutapparel so that we can share your beautiful work.
At the beginning of 2022 and after two years of exponential growth, I’m sitting down to do our first ever financial planning session and yearly recap. It’s a bit embarrassing to admit, but I try not to pay too much attention to the financial ins and outs of Pamut… In the past, I’ve found this a stressful (and tearful) endeavor. I realize this is because I put too much pressure on myself to be a version of “successful” that probably does not exist, unless you are in tech. At Pamut, we make things…beautiful things. And rarely if ever does making beautiful things equate to a big chunk of money.
We’ve decided to take the hard road, but one that I am completely positive is the right road: To make high-quality clothing to order in the US, with hardly any waste. To pay our employees enough so that they can live comfortably. To help our customers feel confident and joyful in their body and their clothes. Luckily, all of you reading this: You believe in us. Many of you have chosen to support us with your purchases, to tell your friends about us, and to speak out about ethical clothing and body positivity.
Your belief in us and your support is slowly but surely turning into real profit for Pamut. As you may know, Pamut is completely self-funded. Between 2017 and 2018, I sold 30k in stocks that had been gifted to me by my parents. This went directly into startup costs for Pamut (and to paying my bills while I had no income). As a person in my late twenties with no business degree, I made a lot of mistakes. I designed things that were impractical. I bought too many yards of the wrong fabrics. I put too much money into fixed costs like rent, and not enough into more valuable assets like employees and good equipment. Then 2019 arrived, and I was running out of money. I could have given up then, but I didn’t. Instead, I decided to start again from scratch. It was scary, but I scrapped ALL of our old designs. I drafted completely new garments that would be more wearable. I added plus sizes. I chose better fabrics. I started renting out a studio with no heat, A/C, or natural light for $400 a month. Things began to turn around. In 2020 and 2021, we experienced exponential growth. This positions us for a great year in 2022, and I’m so excited to see what we can do.
I want to preface our 2022 goals by first saying that it’s strange writing about our modest success and growth. 2021 was a difficult year for me personally, and a tragic year for many. Our global political systems seem broken on many levels, and the pandemic has brought fear and instability into every home. I’m proud of the company’s growth and of how hard I’ve worked to get here, but I’m aware that in many ways, my success is due to luck and privilege. As the owner of an ethical company, I have a responsibility to share my success with our employees and to look for ways to get money directly into the pockets of the people who make our fabrics.
2022 will mark a new phase for Pamut. If our growth in revenue continues at even 20% (which, may I add, looks like a walk in the park after two years of a 65% increase), we’ll be positioned to increase our hourly pay for employees, invest more heavily in ethical artisan production abroad, and create so many more beautiful designs for our customers. Here’s how we’re going to get there:
As always, I am so grateful for our supportive customer base. You allow us to stay in business so that we can keep making ethical, inclusive clothes. I’m sure 2022 won’t be without it’s challenges, but I can sleep soundly knowing that the Pamut community is as strong as ever.
Love From,
Kat + The Pamut Team
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-Exterior fabric 18x24" panel, or smaller panels pieced together. We used fabric from our Maker's Bundle!
-Chunky cuff fabric 8x20" panel
-Lining fabric 18x24" panel
-Medium-heavy fusible interfacing 18x24" panel (optional but recommended)
-Decorative ribbon or trim for the stocking cuff (optional)
Print out our free stocking pattern on four pages of regular A4 paper. Piece together the pattern on the gray lines and tape together. Then, cut out your pattern pieces: 2 exterior panels, 2 cuffs, 2 linings, 2 interfacings, 1 loop.
Iron the interfacing to the wrong sides of the exterior panels.
Prepare the loop. Fold over the long sides 3/8" and press. Then fold in half so that the raw edges are hidden inside the fold and press again. Stitch 1/8" from opening, lengthwise, to close. This piece will be folded in half to form the loop.
Pin the exterior panels with right sides together. Pin the linings with right sides together. With 1/4" seam allowance, sew around the "leg" and "foot" of both the exterior panels and the linings, leaving the top open. Then, pin the long sides of the cuffs with right sides together. With 1/4" seam allowance, stitch down both of the long sides.
Assemble the stocking. First, flip the exterior stocking so that the right sides are facing out and press. Insert the lining into the exterior (Do not flip, the right sides should be facing in). Fold the loop in half and place the raw ends at the top corner of the stocking. Pin the raw ends of the loop to the exterior and the lining at this point. (the loop will point down into the stocking lining). Lastly, fold the cuff over itself so that the seam allowance is covered and the right sides are exposed. Insert the cuff into the lining with the raw edges facing up. Now, all of the raw edges from all of the pieces should be laying next to each other in the round.
Pin around the raw edge opening to secure, making sure to catch all four layers and both ends of the loop at the top. Stitch around the circle with 1/2" seam allowance. *Optional - Serge over the raw edges. This seam will not be visible on the completed stocking, but serging will help prevent fraying. Flip the cuff up and over the exterior stocking.
*Optional - Pin a trim of your choice to the bottom of the cuff. Feel free to get creative (you can add multiple layers of trim, pom-poms, or anything else that you think would be fun. We used a handwoven fabric from our Maker's Bundle, and pulled out strands of yard to create a fringe!) Flip the cuff back up over the exterior of the stocking and stitch around the cuff over the trim to secure.
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Jes and I have spoken extensively about the idea of reinvention, and you can hear more in her podcast episode featuring me. Having gone through the highs and lows of entrepreneurship, I have lots of admiration for any business owner who has weathered the last year of uncertainty. I’ve also gained an additional level of appreciation for black women entrepreneurs, who continue to shatter glass ceilings in spite of the trauma of the last year. Jes is one of those inspirational women, and I encourage you to check out her Reinvention Roadtrip Podcast if you feel stuck in your career or your personal life.
Together, Jes and I have put together a list of inspirational black women business owners that we ourselves love to shop with! If you’re looking to support black-owned businesses or just looking for a great new skincare brand or piece of art, then this list is for you.
You may have seen Ashley Johnson's work before… because she photographed the last two Pamut collections! Ashley is an authentic human with lots to say on IG Stories (whether it’s about current issues in the black community or just a commentary on her favorite chick flicks). Support her by purchasing a print on her website, or a gorgeous tufted pillow from Cool and Brown Shop. But hurry, those pillows go fast!
Owner Tiarra Smallwood’s drive to launch bag brand Max & Min stemmed from the underlying stigma that “Black owned brands can’t be luxury”. She sure did prove a point… Max & Min’s drool-worthy leather handbags and totes appeal to minimalist sensibilities while packing a big punch. Pick up a Max & Min bag or tote at Bloomingdale’s or Sak’s!
Plant people, this is your spot! Megan George and her mother Margaret operate two wonderfully green plant shops in the Raleigh-Durham area. The Zen Succulent is worth an in-person visit just for their DIY terrarium bar! If you’re not local, you can find a variety of unique plants, planters, and giftables in their webshop. Stay tuned for their wall hanging collection, coming soon.
A brand crafted around African ingredients and beauty rituals, 54 Thrones is bringing skincare back to it’s roots. Founder Christina Tegbe’s Nigerian heritage informed and inspired the belief that African beauty rituals are “communal, romantic, ethereal and the cleanest thing you could adorn your skin with.” Best sellers include a Turmeric Glow Bar ($16) and Moroccan Body Mask ($42).
Tiffany, along with her husband Daniel and little daughter Elena, make candles to order. With scents like Addis Ababa and Salvador, Bright Black’s candles evoke African culture and traditions. Their combination of soy and coconut waxes result in a slow, clean burn.
Jewelry that’s delicate but exciting is hard to find, but Yam has got you covered! Owner Morgan Thomas created Yam as an ode to her late mother, mixing upcycled materials with new nostalgia. One thing that has us particularly excited: Most of Yam’s earrings are under $100!
Once you see Candy Carver's paintings, you won’t be able to forget them! Working primarily with acrylic and various surfaces from canvas to vinyl, she creates vibrant, textured pieces that touch the soul and excite viewers. You can purchase Candy’s originals as well as prints on her website.
Dynasty Casanova creates delicate, feminine garments from sustainably sourced fabrics for her brand, Dynasty George. Each piece is designed in New York and then sewn by Indian artisans. Garments are available in sizes XS-2XL. Moms will love the new mommy and me dresses in soft florals and plaids.
If you haven’t heard of Jessamyn, you’ve probably been living under a rock! Jessamyn is a Durham, NC native, but you don’t have to be local to participate in her body-affirming yoga classes. Subscribe to The Underbelly, where you can find new classes every Monday! And find acceptance both on and off the mat with Jessamyn’s book, Yoke.
Is there any food that evokes more joy than cotton candy? How about cotton candy with seasonal flavors like Campfire S’more and Orange Cardamom? The ladies at Wonderpuff spin up delightful cotton candy treats that will ship straight to your door (shipping is free for orders over $25). If you’re local to the Raleigh-Durham area, Wonderpuff can be found just about every weekend at a popup event!
The concept of a custom made garment isn’t new. In fact, it’s how clothing was made up until the Industrial Revolution. Since ancient times, garments were either made at home or cut and sewn to fit by small dress shops. But over just a few decades, there was a monumental shift in how clothing was bought and sold.
The early 1800’s marked the rise of factories and department stores, who formed a supply and distribution chain for ready-made clothing. Because clothing was now produced en masse, those department stores had to devise a way to specify sizing for the first time in history. Stores initially attempted to categorize sizes by age, which quickly proved to be ineffectual. In the 1940’s in an effort to better standardize women’s clothes, the US Department of Agriculture conducted an extensive mail survey. Looking at this survey today, it’s clear that it didn’t accurately represent the population at the time. Participation in the survey was compensated, so the majority of participants consisted of women from a lower socioeconomic status. In addition, the participants were primarily white. Finally, there was a heavy focus on bust measurement while other important measurements were glossed over (it was just assumed that all women who participated had an hourglass figure). As time went by and a thin figure was popularized, the practice of vanity sizing became more common. Stores progressively lowered the numbers of their size offerings. What was a size 12 in the 1960’s became a size 6 today. Women were being pressured to become dangerously thin.
For the modern shopper, sizing in the fashion industry is frustrating at best and deeply wounding at worst. Our current sizing system has created deep-seated issues with body image. Many brands don’t carry above a size 12. If they do, their plus size options are limited and are often poorly sized. Plus size women are rarely represented in ads and media. The unachievable depiction of the "ideal" female body and the lack of size options becomes even more shocking when one is made aware that the average American woman is a size 16. To add to the problem, American sizing standards are based on an hourglass body type, disregarding those who are shaped differently. What’s more, every brand has a different size standard. What’s a size 14 in one brand may be an 18 in another. With this system, we are sending a message of exclusion to anyone who, quite literally, does not fit in.
At Pamut, we’ve taken steps to be more inclusive by offering up to a size 4XL. While this certainly helps, we believe that there is an even better solution to the problem of ill-fitting and poorly sized clothes. The solution has been there all along, but it was impossible to execute on a large scale until very recently.
We believe that the future of fashion is in customized clothing. Making clothing to order based on an individual person’s body was society’s solution to sizing up until the Industrial Revolution. The practice was abandoned when it became clear that mass manufacturing could not allow for customizations (instead, customers employed tailors to alter ready-mades). However, with new technology and the convenience of the internet, it is now possible to bring back customization while maintaining a relatively quick and affordable production timeline. The benefits of customized clothing for both customer and manufacturer are clear: Drastically improved fit, no additional costs for tailoring, reduced returns and exchanges, and little or no excess inventory. However, the greatest improvement that a custom clothing model can contribute to society is a change in the way that people view their own bodies.
With a business model based on custom clothing, much less focus is placed on traditional sizing. Customers can simply send in their measurements, which cause less confusion and fewer negative associations than the long-ingrained number sizes we’ve used for the past century. With more technological advancements, it will eventually be possible to use a body-scanning phone app to obtain measurements, putting even less emphasis on the numbers.
As customized clothing becomes more common and more accessible, fashion as a whole will evolve into a more inclusive and tolerant category. Shopping, once a stressful experience for many, will become more enjoyable when customers know that any garment they order will fit well. Trend-based fast fashion, already on the decline, will give way to fashion based on the concept of a proper and comfortable fit. The most treasured aspect of making custom clothing is how we’re able to honor the art of fashion while innovating towards a more inclusive future. We at Pamut are proud to be at the forefront of this evolution.
* Find more about our custom garment options here.
** Historical information for this article was taken from Time Magazine, Slate, and Wikipedia.
]]>What Is It? Carrying through from last year in new colors and fabrics, the Mira Cropped Top is an easy tank that can be reversed (wear it with the scoop or V in front).
How to Wear. Pair the Mira with the high waisted Emil Pants or Florence Skirt.
Fit Update Alert! This top ran small last year, so we've updated the pattern to be wider in the body. It's now true to size. If you've previously purchased a Mira and were happy with the fit, size down one to get the same width as your original piece. If you're on the fence about length, customize it and add 2-5" for more coverage.
What Is It? A new addition the line this season, the Lane Top (named after Charity, who helped develop it) is a boxy top with a sculptural side seam detail. Slightly cropped, this piece is available in both linen and hemp/cotton versions.
How to Wear. The Lane Top shines when paired with any of our high waisted bottoms, like the Emil Pants or the Florence Skirt. It's long enough that it can be french tucked into high waisted bottoms to create visual interest.
Fit and Customizations. This top is relaxed and boxy... Not quite oversized, but not fitted! We recommend ordering true to size. Like with the Mira Top, we'd love to see some orders come in for customized Lane Tops with added length!
What Is It? A dolman sleeve version of our much-loved Uma Tunic.
How to Wear. Being the longest top in our Spring collection, the Uma Top looks beautiful with almost any pant (both Millennials with mid-rise skinny jeans and Gen-Z-ers with wide leg pants have cause for celebration!).
Fit and Customizations. This iteration of the Uma series is the same width as last season's tunic, but with an easy dolman arm opening. As always, length add requests are welcome.
What Is It? An oversized cocoon dress with giant pockets.
How to Wear. The best thing about the Atlas Dress is how easy it is to style. Accessorize with boots, strappy sandals, a chunky necklace, big earrings... or just bare feet!
Fit and Customizations. To keep this dress affordable, we're combining sizes. The Atlas is available in XS, S/M, L/XL, 2X/3X, and 4X/5X. Fitting is easy, as this piece is meant to be quite oversized. Adding length if you're typically in the tall range is recommended, as the center back slit may feel a bit too revealing on a tall human. For petites, we're going to recommend to keep the length as-is!
What Is It? A wider leg cropped version of our much-loved Emil Pant in flowy fabrics.
How to Wear. I can imagine these easy pants pairing perfectly with just about any top, from a crop to a tunic. Choose a fitted or tucked-in top for a tailored look, or go with a loose tunic or boxy cropped top for relaxed, beachy vibes.
Fit and Customizations. While the widths of the S-L are the same as the original Emil Pants, plus size widths have been increased to allow for a bit more movement in this flowy more fabric. This version of the Emil is 4" shorter in inseam length than our original Emils. We love this look for warmer weather (it feels like a cool way to pull off wide leg pants without being swamped). If you're in the Tall category, request added length to keep these from being capris!
What Is It? Carrying through from last season in new colors and fabrics, the Florence Skirt is a gathered A-line skirt with beautiful volume and movement (and giant pockets!).
How to Wear. For a casual look, wear the Florence with a Mira or contrast color Lane Top. If you're feeling daring, try one of our favorite looks this season: A matching set with either the the Mira Top in Blobs Print or the Lane Top in Cobalt.
Fit and Pricing Update Alert! Although the Florence Skirt was one of our best sellers last season, we struggled with how to make this piece profitable. The amount of fabric and the construction were both pricey and time consuming. As a solution, we are raising the price of the skirt to $192 for solids and $204 for printed. We've also updated the waistband construction to mirror the Emil Pant waistband (with elastic wrapping towards the front of the hip). This change will also improve fit and will help with getting the skirt on for those of you with hourglass figures.
What Is It? A relaxed piece with a zipper closure, making for the easiest jumpsuit you've ever put on in your life!
How to Wear. We love how the Kiki looks as a standalone style, but just imagine the layering possibilities! In chiller weather, layer a fitted tee or turtleneck under the Kiki Jumpsuit for added interest and warmth.
Fit and Customizations. To allow for the easiest possible fit on a notoriously difficult-fitting garment, we've kept the Kiki Jumpsuit wide and relaxed, with a loose waist and roomy hip. If you're in the tall or short category, we highly suggest requesting a custom jumpsuit so that we can add or subtract length in the waist.
What Is It? Carrying through from last season in a new Cobalt color, the Simone Dress is a reversible full wrap dress with easy, gathered sleeves.
How to Wear. This dress feels like two in one! Wear it with the V in front for a traditional wrap feel, or reverse it and wear it with the scoop in front for a more modest neckline with a surprise deep V in the back.
Fit and Customizations. This piece has gone through many changes over the years to achieve what we believe is the perfect fit for a wrap dress! If you're looking for a dress with pockets, we're happy to add them! Just write "add pockets" in the order notes and we'll send you an additional invoice for $15.
Recently, a customer posed a question to me: Why have I named a Pamut garment, the Uma Haori, after a traditional Japanese garment? Some people consider this to be cultural appropriation, and could be offended by me, a white person, using the name to label a garment that I sell. The customer suggested that maybe I should change the name of this garment, perhaps to the Uma Jacket. I thought about this for a while. In fact, I hardly slept at all that night. Would simply changing the name of the garment be enough, or would that avoid or even potentially worsen the issue by covering up the garment’s true origins? Delving into the issue further, I wondered if it was unethical to even be inspired by the idea of a traditional Japanese garment, seeing as I am white and not Japanese. The concept of “being inspired” by traditional cultural items is by no means new, but in the year 2021, does it still have a place? Was my act of creating and naming this garment an act of cultural appropriation?
To properly understand this issue, we must first discuss a human’s basic needs. Rudimentarily, these are food, shelter, and clothing. These three categories are considered essential for human existence. By law (just about everywhere), they cannot be trademarked. This allows anyone on the planet to legally make/fabricate and sell an adobe house or tom yum soup or a caftan. It also allows for advancements in technology and design in these categories. You can’t patent the idea of a button, a fireplace, or bread because this would be detrimental to societal progress. This “human needs” rule is why Kim Kardashian would never be able to actually trademark the word kimono. On the other hand, it’s also why Forever 21 can rip off an indie brand’s jacket design and not get sued.
As an artist and designer, I find myself often inspired by non-white culture and garments. It’s hard not to in a world that is so blended! While trying to come up with a perfect second layer garment to add to the Pamut line, I came across the concept of the Haori. The Haori, a traditional Japanese layering piece, is typically made of a midweight woven fabric and, though it has a collar, does not cross over at the front and is meant to be worn partially open. I found this to be an ingenious concept, and realized that there is no real modern equivalent in American culture. We have the jacket, but jackets include a closure and are typically more fitted. We also have the cardigan, but this is a knit item and poses a problem to me as a designer because it would probably have to be labeled as dry-clean only. I took the concept of the Haori, changed some elements, and added it to the Pamut line as the Uma Haori. Is what I did cultural appropriation?
I believe that cultural appropriation involves exploitation. Exploitation is profiting off of others in order to benefit from their work, and it often involves deception. Where you draw the line here can be a little fuzzy, so let’s go back to the Haori and my business for some more details. Did I exploit Japanese-Americans by selling a Haori? My assistant and I make all of our garments, including the Uma Haori, in-house from ethically sourced fabric. I don’t pretend to be Japanese, and I’m transparent about how the garment is made. I sell the Uma Haori online, and there are many other sustainable/slow fashion brands that sell a similar item (whether they choose to call it a Haori or not). But there is plenty of business to go around, and no need for me to compete directly with these other slow fashion brands. If we look at my business model, it’s clear that I am not actively exploiting anyone. Note that if I became a Jeff Bezos-style billionaire, started buying my fabric from an impoverished province in Japan, and employed underpaid Japanese Americans to sew my products, I would DEFINITELY be guilty of exploitation and cultural appropriation).
Does the problem lie in the name of the product? Perhaps it would be better if I renamed my garment, and instead called it a jacket. Well, a rose by any other name would smell as sweet. In other words, the Pamut Haori is still, in essence, a Haori. More importantly, by changing the name of the said garment, I am no longer giving credit to the origin of the item. I did not invent this garment, and I would argue that I shouldn’t be deceptive by avoiding or hiding the true inspiration behind it.
Inspiration is a key word here. I was inspired by a traditional Haori to create my own interpretation, adding elements like a slimmer sleeve and denim fabric in order to differentiate my design. A purist, a lover of traditional Japanese culture, may be offended or upset by this fusion of style. (I am also occasionally offended by fusion fashion, Gaucho Pants in 2006, for instance). However, one must accept that some fusion ideas are downright fundamental to progress. The caftan is one example, commonly worn for centuries in warm climes such as Africa and the Iranian plateau. The caftan was popularized in the West in the 1950’s and was a key garment in liberating women from hourglass silhouettes. But the best example of a garment invented and worn by a marginalized culture and then adopted by a Western one is… PANTS. Pants were invented by the Chinese and eventually worn by Eurasian Nomads, who appreciated the pant as a horse-riding garment. These traveling warriors came into contact with the Greeks and later, the Romans. Both of these cultures initially viewed pants as crude and almost comical. Pants were only worn by enslaved people and by people that they considered “uncivilized”. But, eventually the Romans changed their view on the pant, adopting the idea and adding their own spin, as did many other cultures in the centuries to come. If we say that cultural fusion is wrong, then we lose the ability to build off of old ideas. We lose our ability to be inspired, to interpret, to translate, and to improve on a concept. A world without fusion would be a drab, divided (and pantsless) world indeed.
By logic and for the sake of creativity, it follows that we should allow designers, chefs, architects, and makers to take inspiration from wherever they find it. But regardless of my personal beliefs about creative freedom, the fact is that I may have caused emotional harm to someone; someone from a culture that has been marginalized and deeply wounded by humanity’s past actions. I may have hurt people. The whole point of owning an ethical clothing company is to prevent hurt, and to create a positive and inclusive space for everyone. I messed up! If I had known that some people would be upset by my interpretation of this garment, I may have rethought the design. But here’s the problem. If, going forward, I limited my designs to only European-inspired garments, would I be contributing to cultural division and slowing the exchange of ideas? On a more practical note, if I cut a great-selling item that I’ve put a lot of development money into from the line, I risk, at best, credit card debt and hours of lost work; at worst, having to cut my employee’s hours. In a wider sense, does erasing cultural fusion fix the problem, or only create a deeper wound?
Perhaps there is a solution that works for everyone. Maybe it won’t be perfect, but I’m going to try. I may have upset and hurt Japanese-Americans by taking inspiration from a cherished cultural item. First, it was very important to me that I share this story with you, my customers and followers. Second, I want to apologize to any person that I hurt by using a Haori as inspiration. Third, in order to avoid further distress for Japanese-Americans, I am choosing to change the name of the said garment to the Uma Layering Jacket, putting in the product description that it was inspired by a traditional Japanese Haori. Fourth, I promise to always seek inspiration with awareness, devoting time and care to honoring the heritage of the garment or technique. I’ll be spending time this week working on a way to give back to the Japanese-American community and I will keep you posted on what comes from this.
I do maintain that cultural fusion is vital to creativity and progress. I also believe that the exchange of ideas and cultures brings us all closer together, while cultural erasure can hold us apart. Here is what I will take away from this: Be kind, be aware, and ask for forgiveness. Give credit where credit is due, without creating further trauma. Give reparations if there is a potential for hurt. The past cannot be changed, but together we can make the future a better place.
A big thanks to Emi Ito for her input, as well as my good friend River Takada, who also shared her opinions with me regarding this issue. You can find River's work here.
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Our goal (once things are safe again!) is to allow appointments for customers to shop in person. This was great motivation to get our little shop section set up. In addition to being a mini-shop, this area also doubles as a place to store garments that have already been made and are yet to ship, as well as returns that we'll be putting in Sample Sale.
Our cutting table is located in the center of our studio space, and for good reason! This is where we cut every single made-to-order garment. I'm in charge of cutting all garments, and I usually spend time cutting 2-3 days a week depending on how busy we are. Here, I'm working on cutting out a Mira Top in Graphite. I cut using a handheld rotary blade and I use the pattern as a cutting template. This allows for the greatest precision.
Both Charity and I do a lot of sewing day-to-day, about 4 hours on average. We both really enjoy getting into the zone and whipping out a batch of clothes. Many people ask how long on average it takes to sew a Pamut garment. This can really vary! To be efficient, we usually sew multiples at once (for example 6 aprons at a time over the span of a day or two). At our most efficient, the majority of garments average about 90 minutes to complete (although this doesn't include cutting and packing). Here, you can see Charity working on a batch of Crossback Aprons that will soon be ready to hang in our shop section!
“My name is Charity Lane. I was born and raised in Raleigh/Durham NC, and was homeschooled along with my 4 siblings. I grew up with a deep love for other cultures and languages, nature, and the creative. When I stopped ballet around the age of 14 is when I started to explore visual art and music. A friend gave me my first guitar, and I started falling in love with writing songs and singing. When I graduated high school, I spent 4 months in Scotland working on art. Later, I was mentored by a Durham artist, Eleatta Diver, who helped me create my first painting series. I also started recording vocals for my friend’s band, Crywolf.
Since then, I have worked for a series of creative businesses, and have fallen in love with small business and working with my hands.”
“I really love quality time with friends, gardening, cooking, and eating (I guess most of my interests are centered around food, ha!). I love big windows, cuddly animals, and I melt into a happy puddle if someone touches my back. When I travel to new places, I always hunt down the best coffee shops.
Over the past few years (before quarantine) I started playing my music at shows. I also create botanical Cyanotype prints, which I sell on Etsy (Handsome Hands Co.)”
“I grew up sewing a little bit, but never anything technical. Mostly mending, and sloppily altering thrift store clothes into Halloween costumes, ha! Though I spent a lot of time drawing clothes, because 10 year old me wanted to be a wedding dress designer, and ballet costume designer!
Around 2015, I got a job as a studio assistant for artist Pati Reis at Old News Design, where I learned how to quilt paper that would then be embroidered. After that, I worked at New South Manufactory, where I sewed (thousands, and thousands, and thousands…) of decorative house pillows and hammocks. I also helped launch a reclaimed fabric pillow brand at that time.”
“I grew up sewing a little bit, but never anything technical. Mostly mending, and sloppily altering thrift store clothes into Halloween costumes, ha! Though I spent a lot of time drawing clothes, because 10 year old me wanted to be a wedding dress designer, and ballet costume designer!
Around 2015, I got a job as a studio assistant for artist Pati Reis at Old News Design, where I learned how to quilt paper that would then be embroidered. After that, I worked at New South Manufactory, where I sewed (thousands, and thousands, and thousands…) of decorative house pillows and hammocks. I also helped launch a reclaimed fabric pillow brand at that time.”
“For me, sustainable fashion is a small part of a broader picture. I love feeling in touch with the earth and the community – supporting local farmers and artisans. There’s something really satisfying about eating veggies that a friend grew, or wearing a dress or piece or jewelry made by someone who loves what they do. One of the main things I try to be conscious of is how my purchases and actions are affecting others. There are so many factors that go into everything we have. I would rather have fewer items, and pay more for all around quality, or buy secondhand, and know that I’m supporting real people and communities instead of supporting abuse. I’m definitely not 100% there, but trying to take baby steps.
“It’s easy to get caught up in where we think we should be, and get frustrated if we’re not there yet. Something that I’ve been learning over the years is that there’s beauty in the present. Just keep growing, and keep taking baby steps towards where you want to be. Keep asking yourself, ‘Whats the version of my dream that I can reach right now?’ Then take that step.”
“I love the combination of being able to work with my hands and make things, and also being involved in the creative brainstorming and design process. I feel that I can show up as my full self, and I can also help something grow. I also absolutely love working with you! You are such a beautiful and peaceful presence, and you make me feel really valued.
With the new organic t-shirt line releasing soon, you may want to know which size you should choose. The great thing about cotton tees is that they’re stretchy, and therefore an easy fit!
I’ve spent a lot of time making tees! In fact, they were the first garments I ever made for Pamut (when I started the company back in Budapest, Hungary in 2014). When I moved back to NC, I immediately started working on a local supply chain for t-shirts. After lots of phone calls and meetings all over the state, I was able to set up a t-shirt production chain that’s based almost entirely in North Carolina.
First, the imported organic cotton fiber is loomed into custom knit jersey in Lumberton, NC (the fabric finishing takes place just across the border in SC). After the fabric is loomed, it makes it’s way over to Valdese, NC, where it is cut and sewn into different bespoke t-shirt styles in small batches by the wonderful folks at Opportunity Threads. Once all of the tees are sewn, they are shipped to me at my studio. I block print, dye, and wash each t-shirt upon arrival, so each one is a little bit different!
*Note that each tee is prewashed and preshrunk, and can be dried in the drier with no adverse effects. It is recommended to wash tees with like colors.
Sophie wears the size Small in Charcoal. She has a 32″ bust and 24″ waist, and is 5’8″.
Kristin wears the size Medium in Terra Cotta. She has a 37″ bust and 31″ waist, and is 5’7″.
Monet wears the size Large in Charcoal. She has a 45″ bust and 38″ waist, and is 5’8″.
The Zero Waste Tee typically fits anyone between a size XS (S tee will be an “oversized” fit for an XS body) and size 2XL (L tee will be a classic fit for a 2XL body) in our size range. Go true to size for a boxy and relaxed silhouette. Size down for a more classic fit. Size up for an oversized feel.
Riley wears the size XSmall in White. She has a 33″ bust and 27″ waist, and is 5’10” (black and white tees are offered with a chest pocket).
Kat wears the size Small in Watercolor. She has a 35″ bust and 26″ waist, and is 5’4″ (color tees are offered without a chest pocket).
Monet wears the size Large in Charcoal. She has a 45″ bust and 38″ waist, and is 5’8″ (black and white tees are offered with a chest pocket).
The Everyday Tee typically fits anyone between a size XS and size 3XL. Humans with a small frame and/or women are recommended to size down (fit will still be relaxed, but you can size down two sizes for a classic fit). Humans with a large frame and/or men should choose true-to-size.
Riley wears the size Small in White. She has a 33″ bust and 27″ waist, and is 5’10”.
Monet wears the size Large in Charcoal. She has a 45″ bust and 38″ waist, and is 5’8″.
The Everyday Tank typically fits anyone between a size XS (S tee will be an “oversized” fit for an XS body) and size 2XL (L tee will be a classic fit for a 2XL body) in our size range.
Some important words about this specific face mask pattern: Although not the fastest mask style to sew, I’ve settled on doing a pleated mask because this is the style that is most adjustable for many face shapes. It includes a wire that you can mold to your nose shape, and allows for a little bit of extra space between the mouth and the mask for better breathing.
The most important thing when making your mask is choosing the correct fabric. You’ll want something that is densely woven, yet lightweight enough to comfortably breathe through (either natural or synthetic fiber will do). To test before sewing, hold your fabric up to the light to make sure that you can’t see direct light through the fabric. You may also test by placing a layer of the fabric over your mouth and nose and trying to breathe normally (obviously, do this AFTER you’ve bought the fabric, not at the store!) This mask pattern also includes a layer of synthetic fusible interfacing. Don’t skip this layer, since it will add to the mask’s impermeability, stopping moisture droplets from moving through the mask.
-1 panel of fabric, 13”x7”
-2 panels of fabric, 2”x7”
-1 panel of lightweight fusible interfacing (the synthetic, weblike kind): 13”x7”
-1 twist tie or flexible wire (about 5”-7”)
-2 pieces of elastic (1/8” is best but 1/4” will do): 13”
-A safety pin
Fuse the interfacing to the wrong side of the fabric, letting the iron sit on each section of fabric for 10-15 seconds. Surge or zigzag over the two short sides.
Fold the panel in half so that the short sides match up, and stitch at 1/4″, leaving a gap of 2-3″ in the middle.
Press the seam allowance open.
Flip the panel so the right sides are facing out. Press flat into a rectangle, with the gapped seam 1/2″ down from the top. Topstitch around all four edges at 1/8″. (Your panel now consists of two layers of fabric and two layers of interfacing).
Insert the twist tie through the slit into the top channel.
Topstitch the channel down to enclose the tie. This creates the flexible nose bridge (the slit below the channel is still open to create a pocket. This is for an optional filter insert).
Create three pleats on the sides of the panel and pin. These pleats can be as big or small as your prefer. I made mine 1/2″. Topstitch down the sides to secure the pleats.
Fold in the long sides of the binding panels 1/4″ and press (my panels were cut on the bias but this is not necessary. They can be cut on the grain or crossgrain).
Pin the binding to the panel as shown in the photo, folding the top of the binding over the main panel and down about 3/8″. Trim the bottom of the binding to be 3/8″ longer than your main panel and fold that under as well. Repeat with the other side.
Stitch the bindings to the main panel on the binding fold lines, at 1/4″ (as seen on left side). Flip and turn the binding to the other side of the panel (as seen on right side).
After flipping the bias panels to the other side, pin and topstitch, creating a channel.
Attach a safety pin to the elastic and thread it through the channel created by the binding.
Knot the elastic, pulling tightly to secure, and feed the knot into the channel.
*DISCLAIMER: Neither Pamut Apparel nor any Pamut Apparel employees can be held responsible for health issues that may arise due to masks constructed using this pattern. This mask has not been professionally tested, and we recommend using N-95 or store bought masks if they are available.
]]>There’s absolutely nothing worse than ordering a beautiful piece of clothing online only to find out that it’s the wrong size. Here, I’ll show you a few easy ways to avoid making the wrong clothing size choice so you can online shop without fear!
Before you even touch that computer, know your basic measurements! This will save you so much frustration in the future. I recommend taking and recording your measurements every six months, or more often if you’ve gained or lost weight recently. Ideally, you’ll want someone (partner, friend, mom) to take the measurements for you so that they’re accurate.
To take this measurement, make sure you’re wearing the type of bra that you usually do every day. Have your helper wrap the tape around the widest part of your breast, making sure that it is straight across your back. Relax your arms down.
Your waist measurement should be taken at the spot in between the bottom of your ribs and your belly button. This is the place where a pair of high-waisted elastic pants would sit. Have your helper pull the measuring tape snugly around your frame to take this measurement.
The hip measurement should actually be taken BELOW your hip bones. In fact, it should probably be called your bum measurement! Have your helper wrap the tape around the widest part of your seat, keeping the tape straight.
It’s unfortunate, but it’s true. Although it would be wonderful if every brand stuck to the same list of measurements for each size, this is simply not the case. When you’re considering placing an online order from a brand, be sure to check their general measurement chart. Any reputable brand should have this available on their website. You’ll be able to see where you fall in their size chart (keep in mind that you may be a different size on the top than on the bottom… this is actually quite common). Note what size is recommended for your body in tops and bottoms. If you are a different size on the top than on the bottom, odds are that you’ll need to choose the larger size for dresses and rompers.
When looking at product pages, you may see some measurements listed by size. This is what we do on each of our Pamut product pages. Be aware that these measurements ARE NOT the same as the measurements on our general size chart. That’s because even the tightest fitting garments need to be a bit bigger than your actual measurements to give you breathing room, or ease. When looking at these garment measurements, you’ll want to make sure that they are wider in circumference than your personal measurement. How much wider? It depends on the garment. You can see here that Sophie is wearing our Hanna Top and Emil Pant. The Hanna Top is meant to be oversized, so the garment bust circumerence is almost 14″ more than Sophie’s actual bust measurement (she could easily size down and still be perfectly comfortable). By contrast, the relaxed fit Emil Pant only gives her about 2″ of ease, enough to move around comfortably.
Sometimes it’s fun to play around with sizing! Maybe you see a top that you love but would prefer in a more slim fit. Alternately, you might feel the need to go up a size for a relaxed, flowing dress. This is do-able, but there is one hard and fast rule when it comes to fit!: Never buy a size where the bust or hip width is listed as narrower than yours. Even if you do manage to pull the garment on, you risk putting stress on the seams and increasing the risk of rips and tears.
If you’re feeling adventurous, you’re probably safe to play around with sizing for boxy tops, tees, and dresses. I wouldn’t recommend venturing out of your size for pants, rompers, or anything fitted.
If you’re unsure about which size to choose after comparing your measurements to the brand size chart, just ask! Most brands, especially smaller ones, are happy to look at your measurements and tell you what size they recommend. At Pamut, we send out an email to our customers before we make their garment to see if they’d like to confirm their correct size. More than half of our customers choose to send over their measurements to make sure they’ve chosen the best size for their body.
Typically, you’re considered petite if you’re shorter than 5’3″. You’re considered tall if you’re taller than 5’7″. If you do fall into one of these categories, I’m sure you’ve noticed that bottoms can be a hard fit. Not only will the inseam be too short or long, but the rise, or the distance from crotch to waistband, may be off. The rise of a pant or short is something that is difficult (if not impossible) to have tailored, so keep this in mind when buying clothing.
To avoid these issues, opt for brands that have tall or petite options for pants, or find brands that will make custom garments for you! At Pamut, we’re happy to make custom garments at no extra charge. For petites and talls, we change the inseam and rise of the pattern pieces. We can make these measurements to your exact specifications, or we can estimate the ideal measurements ourselves based on your height.
From Left to Right: Samantha, Sophie, Caroline, Kristin, and Ashley. Scroll down to read their stories and hear more about the outfits they wore at the shoot.
Samantha Ray is a creative entrepreneur based out of Raleigh, NC. A native to the area, she owns her own businesses as a hair and makeup artist, a writer, and a musician. She enjoys traveling, spending time outdoors, eating great food with loved ones, hanging out with her husband John, and celebrating the sacred in ordinary moments. She is passionate about owning your voice and the importance of creative expression. Samantha serves with her local church on the campus of NC State, and is the founder of the North Carolina Hair and Makeup Artist Summit, an annual gathering to unify and encourage the women in her industry.
When I found Samantha through the suggestion of my photographer, Emily Lyons-Wood, I knew I had to put her in our new Matcha linen! I decided on the Rae Dress as one of Samantha’s main looks (center photo above). Her skintone and dark hair looked stunning next to the soft green.
I also put her in a more wintry look which included the Basil Pant in Charcoal Linen, the Hanna Top in Rectangle Print, and the Dennis Jacket in Charcoal Linen (right and left photos above). This outfit is our version of a pantsuit, and I loved the contrast of the raw silk and linen textures.
Samantha is 5’7″ and wears a size Large in all Pamut styles.
Sophie Wiseman-Floyd is a jewelry designer based in Raleigh, NC. She first got involved in creative business while living in Haiti as a teen, where her parents were missionaries. She started Haiti’s Jewels, a company that helps empower local Haitian women to earn a living by becoming jewelry artisans. In 2018, Sophie graduated from NC State with a batchelor of Industrial Design. She founded her minimalist jewelry brand, Heir, and has been growing it ever since.
I knew of Sophie and her work through some creative friends, so I was over the moon when she agreed to participate in the Pamut shoot! Because I make all of our samples in a size Small first (I’m also a Small and like to wear-test them before production), Sophie had A LOT of pieces to model for us. Sophie captures movement perfectly in her photos, so I wanted to put her in a Simone Dress to show how the garment flows.
I also decided on a combo of the Flared Emil Pant and Dennis Jacket (left) for Sophie. This neutral outfit provided wonderful structure with the slightly cropped jacket and cinch waist pant.
We also put Sophie in the Rae Dress in Clay (right). I chose the Clay color as one that could sit between the neutrals and the brighter pops of Fig and Matcha. I have to say, it truly looks good on all skin tones!
Sophie is 5’8″ and wears a size Small in all Pamut styles.
Caroline Lawless is an actor, photographer and illustrator based in Chapel Hill, North Carolina. She has nearly a decade of experience working in the marketing, graphic design and commercial photography industries, and her clients range from inspiring local female entrepreneurs to celebrity stylists. She loves cats, coffee and cameras (in no particular order), and never leaves home without a book in her purse. Caroline can be seen in the North Carolina Museum of History’s Quilt Speak exhibit as well as the upcoming online series .org.
Caroline had modeled for my photographer, Emily in the past. I loved her on-camera look, but also appreciated and admired her work as a photographer! She was excited to be involved, and I chose a selection of Pamut garments that I knew would look stunning on her tall frame. One of Caroline’s main looks was the Simone Dress in Fig Raw Silk (which she ended up taking home that day!)
We also photographed her in a Cream Francine Top and Canvas Basil Pant (left). We styled the Francine Top with the scoop in the front (I love the versatility of this garment… the ties can be knotted in a variety of different ways, and you can also reverse it and wear the V in the front). One of my favorite compliments during shoot day was when Caroline told me that the Rae Jumpsuit (right) was the only jumpsuit that had ever fit her properly! Again, that Clay colorway was magic on Caroline’s skintone.
Caroline is 6′ and wears a size XSmall in all Pamut styles, with the exception of the Rae Jumpsuit (she wears a Small).
Kristin Robbins is an old soul living in modern times. She and her husband, along with their two daughters, are currently renovating an RV for tiny living just outside of Durham, NC. The family loves spending time being creative, and their goal in renovating the RV is to live a more simple and free life. Along with her jobs as a mother and bad*ss RV renovator, Kristen also works as head of social media marketing at Mainland Creative in Raleigh.
I knew Kristin from a previous modeling gig, and asked her to model for me again this season! We went for a moody vibe for Kristin’s main look, pairing an Ingrid Top in Charcoal with cozy Emil Pants.
I also wanted to make a Simone Top for Kristin (right), and she looked stunning in it! We styled it tucked into the Emil Pants in Evergreen for a monochrome look. This look works because the Evergreen pants act as a neutral. Though they have a definite green tint, they appear less bright compared to the pop of color that the Matcha linen provides.
Kristin is 5’7″ and wears a size Medium in all Pamut styles.
Ashley McIntyre started her fashion career at the tender age of 6 – hiding from her mom in the circular racks at Macy’s at Herald Square. Today, she’s a wardrobe stylist and writer who loves helping people uncover their personal style. She believes that style is for everyone and that it doesn’t have to be complicated or expensive. A Triangle transplant from Atlanta, she’s proud to call Durham home. When she’s not working, you can probably find her watching “Golden Girls” with her dog, practicing yoga or trying to convince her boyfriend that their living room needs another houseplant.
Ashley is an absolute joy to be around, and I was lucky to find her through some connections I had in Durham. It was very important to me during this shoot to showcase Pamut pieces on a curvy body, so I prioritized choosing Ashley’s looks before I chose those of the other models. For Ashley, I chose the Simone Dress in Clay as a main look. It fit her like a glove (and do I need to say a third time that the Clay color looks good on every skintone?!)
I also made Ashley a pair of Emil Pants which we now offer in 2XL and 3XL. We decided to pair the pants with a few different raw silk tops. We styled them first with the Simone Top (tucked in so we could show the gathered waist detail of the pant, and wrapped with the scoop in front) and then the Hanna Top in a new Fig color. I’ve always loved the relaxed fit of the Hanna Top, and the raw silk fabrication drapes beautifully whether you decide to tuck it in or not!
Ashley is 5’10” and wears a size 2XL in all Pamut tops, and 3XL in all Pamut bottoms.
You find a new clothing brand that you like, maybe through a friend’s referral or through Instagram. You google the name and a dreamy image pops up on the brand homepage. As you scroll through the products, you see garment images and detail shots. The photos convey texture and mood. The models move beautifully, showcasing the shape of the garments and (hopefully) the pockets!
These images weren’t made spontaneously, but through weeks of planning and brainstorming for the fashion photoshoot. Every brand has a different way of getting those great images… here’s how I go about it!
The first step in planning for the Pamut photoshoot is always finding great collaborators. At the heart of a fashion photoshoot is, of course, the photographer. I chose to work with my friend Emily Lyonswood for this shoot. I also knew that I would need to employ a great stylist for both the set and the models, and asked my friend Melissa DeLeon to participate. Another very important step is choosing the models. Because I believe in showcasing the garments on a variety of body types, I tend to choose the models first and then make the sample garments in their size. I wanted to have a diverse range of models, both in size and ethnicity. I found models who are an inspiration to me. All of them work in creative fields and are simply a joy to be around!
To create samples for the photoshoot, I’d first have to decide how many models there would be and in which sizes. This shoot would have five models, each of a different size. Because I am a size S, I planned to draft, or make the pattern, in a size S of each new garment first so that I could wear test it. I’d first make a muslin (a sample garment out of less expensive fabric) to check the fit. After the size S was made, I would grade the pattern. Grading the pattern means drafting all of the different sizes. I still do all of my patternmaking and grading by hand!
I had to do a lot of calculations to make sure that I had a good amount of variation in size and style for each model. For example, I wanted to show how the Hanna Top would look in a size XS and also how it would look in a size 2XL (a new size add for this season). I also wanted to photograph each model wearing a range of colors to showcase how the fabrics looked against different skin tones.
The creation of the moodboard is essential in order to share the vision of the shoot with the photographer and stylist. For this shoot, I was inspired by a little story in my head:
Inside a sun-filled cottage, there is a gathering of women. They have picked a bounty of fall fruits, mushrooms, and flowers. In the heart of the cottage on a linen covered table, they prepare dishes of fresh food to be shared among them.
House of Work in Durham, NC
When looking for a shoot location, we were lucky enough to hear about a new studio in Durham owned by photographer Hannah Lee. The space, called House of Work, was both cozy and light-filled. We were actually the first group to use the space for a photoshoot! We scheduled the shoot to start at mid-morning for the best light.
Shoot stylist Melissa DeLeon, along with her assistant Hannah, purchased and hand-dryed a selection of flowers. They were also in charge of buying the fall fruits and mushrooms the morning of the shoot. I pulled together a collection of my mom’s hand-thrown ceramics and table linens as additional props. I always love using what I already have instead of buying props… it just feels more authentic to me!
To prepare the models, we asked them to come with natural hair and makeup. All of our models had experience with photoshoots (either in front of or behind the camera) so we all felt confident that we would not need a hair or makeup artist. The models brought their own shoes (Again, I always try to avoid single use props when possible. In addition, models tend to feel more confident when they are quite literally in their own shoes!).
I wrote out the following schedule for our photoshoot, which we adhered to pretty closely!
9:00-10:30 Photographer, stylist, designer, and assistants arrive at House of Work to unload and prepare for shoot.
10:30-12:15 Models Ashley and Sophie pose for product shots
12:15-12:30 Snack break and prep for group shots
12:30-1:45 All models pose for group shots and main web photos
1:45-3:30 Models Caroline, Kristen, and Samantha pose for product shots
3:30-4 Cleanup
All of the garments, before they were expertly steamed by my wonderful intern Rae!
Melissa and I hanging a backdrop hand-painted by Melissa and Emily.
There’s always a bit of spontaneity upon arriving to the shoot location and deciding on lighting, background, and styling. We spent some time playing with how to hang the hand-painted canvas backdrop. There was also a bit of confusion about which table to use as the centerpiece for the group shots. We had to switch to a smaller table so that Melissa and her assistant Hannah could set up the display outside the studio and then get it through the door without upending everything that was delicately laid on top!
Melissa and Hannah putting together the gorgeous table set.
Expertly styled fruit and veg in my mom’s NC-made ceramic bowl.
We started whipping through the product shots as soon as the models arrived, aiming for one front photo, one side or back photo, and one detail of each garment. Many of the FW styles are reversible, so we made sure to style these pieces both ways. For example, we styled the Simone Top (photos below) with the V in the front on Sophie, and the scoop in the front on Ashley.
Melissa and I perfecting the styling of a Simone Top and Basil Pant (new!) on Sophie.
Ashley looking radiant in a Simone Top and Garden Bandana.
The shoot went smoothly, with everyone involved helping in various ways. There was a lot of laughing and smiling, and even a tear or two from me when I saw all of those gorgeous models grouped around a bountiful table setting, wearing clothes that I designed and made. As the shoot was wrapping up, Emily and Melissa suggested that I change into one of my favorite new garments and pose for a few shots of my own. I’m glad they nudged me into doing some solo shots… I think they really captured my joy of creating beautiful clothing and seeing it come to life on real people.
A huge thank-you to Emily Lyonswood for the stunning photos included in this blog post, and for many more photos to come! Thanks also to Melissa DeLeon for the styling, to Hannah Lee for providing us with the shoot location, for assistants Rae and Hannah, and to all of the models (Sophie, Ashley, Caroline, Kristen, and Samantha) who you will see lots more of when the collection debuts on September 10th.
Photo: Me looking exhausted but happy after the shoot, wearing the new Rae Jumpsuit!
Eulalia sewing up a storm!
Its always such a pleasure to visit Opportunity Threads and see what everyone is up to on a given day! When I arrived, the facility manager, Molly, gave me a quick recap of what the sewing techs had been up to over the past few months. Molly has been able to hire a few more employees because business has been going so well! All of the employees are Hispanic. Many of them learned sewing and production skills while in their birth country and have brought their much needed knowledge to rural NC.
Just a bit of background here on apparel production in NC: A few decades ago, North Carolina had a strong infrastructure of clothing production. We grew and processed cotton, loomed fabric, and sewed garments (notably denim, tees, and undies!) here in NC. Unfortunately, we lost much of that due to outsourcing in the ‘90s. Luckily, Hispanic immigrants have come to North Carolina bringing their valuable sewing skills with them. They are key to rebuilding local supply chains.
The Thread Wall.
So, back to my visit at Opportunity Threads! I was given a show of new products and garments being made at the facility. Molly and her co-workers love to collaborate with sustainable brands to make a variety of garments. I saw boxers, doggie vests, sweatshirts, and baby clothes this time around.
The main brand that the facility works with recycles used t-shirts into keepsake quilts. As far as I could tell, the vast majority of the employees were working on quilt production. It seems to be a booming business, which is exciting because these quilts are 100% recycled! The process is fascinating too. Some workers maneuver human-sized machines that cut perfect squares out of old t-shirts. Others sew the pieces, thoughtfully putting them together so that the colors coordinate. One woman, Maricela, was stacking up layers of recycled fleece and then cutting out the quilt backings with a giant saw! (I’m SO IMPRESSED with women who use heavy machinery. So badass.)
Maricela stacking fabric in preparation for cutting.
After a short tour, I got to take a look at the samples that Eulalia, one of the most talented and senior sewing techs, had put together. They looked great. I added a rib neckband to the Cody Tee this time around and it was laying nicely. I also had a couple of samples made for a new mens tee, to be called the Jack Tee.
Eulalia putting finishing touches on the Pamut samples.
Most importantly, Molly and I had a quick conversation about the future of sustainability in NC. We both agree that it is SO important to keep sustainable clothing accessible and affordable. Molly believes that the people who sew our clothes should be able to afford them too, and I wholeheartedly agree! That’s why I have a wide range of price points for Pamut garments. At $32-$40, the tees are accessible and wearable. The more expensive woven tops, dresses, and pants are my passion projects where I can really explore silhouette and craft. By creating this range, I’m able to help grow facilities such as Opportunity Threads while also pursuing my own creative goals.