10 MIX & MATCH WORKWEAR CAPSULE PATTERNS P. 68
DIY Textiles 3 Ways
Trendy Bags Made Easy
The Trusted Sewing Source
AUG/SEPT 2018
Fashions
Create Welt Pockets with bows! P. 38
Fall to
for
Wrap Top Pattern Hack Cool Cardigan with Chic Sleeves Perfectly Pieced Denim Jacket Make friends with your
MAKE YOUR OWN
BRA We show you how! P. 60
serger P. 26
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CONTENTS
FEATURES 30 CLOTHES MINDED: SEASONAL SEWING Get your fall wardrobe plans in shape with Allie Olson.
34 INDIGO EFFECT Stitch a stunning repurposed denim blazer.
38 BEYOND THE BASICS: WELT POCKETS Learn three techniques for custom welt pockets that wow.
44 WHO WORE WHAT WHEN Read about the history of high heels, bras, the LBD & more.
50 DIY TEXTILES − 3 TECHNIQUES Create custom prints with flour resist, plastic bag painting and brushstrokes on fabric.
60 BRA BASICS, PART ONE: FABRIC & NOTIONS Get starting bra-making with an in-depth look at lingerie fabrics and findings.
new mini-series!
64 CABERNET CROSSOVER Stitch an upscale top using a clever wrap hack.
68 CAREER CAPSULE 10 must-have pieces, endless combinations suited for work.
74 MASTERCLASS: COAT LININGS Learn about all things linings, from silky to super warm.
78 THE COMMON THREAD: THE NEW AGE OF SEWING Delve deeper into “not your grandma’s sewing”.
AUG/SEPT 2018 ISSUE 366
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sewnews.com email: sewnews@sewnews.com EDITORIAL Community Content Director Ellen March Senior Editor Amanda Carestio Creative Editor Kate Zaynard Online Editor Jill Case Assistant Editor Jessica Ziebarth Technical Editor Kim Saba ART Emily Simpson Kerry Jackson Ashley Navarre Jessica Grenier, Matt Graves Illustrator Melinda Bylow Photo Stylist Tina Gill Hair & Makeup Artist Beauty on Location Studio Senior Art Dirctor Senior Designer Graphic Designer Photography
MARKETING & ADVERTISING Ad Trafficker Lori Hauser Advertising Managers Nancy Mayhall, Mary-Evelyn Dalton BUSINESS Director of Content Strategy Stephen Koenig Director of Media Sales Julie Macdonald
F+W, A CONTEN Chief Executive Officer Chief Financial Officer SVP, General Manager, F+W Craft Group Managing Director, F+W International VP, General Counsel VP, Human Resources VP, Manufacturing & Logistics Newsstand Sales
ERCE COMPANY Greg Osberg Jennifer Graham John Bolton
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James Woollam Robert Sporn Gigi Healy Phil Graham Scott T. Hill Scott.hill@procirc.com
SUBSCRIPTIONS: To subscribe to Sew News magazine or change the address of your current subscription, visit Subscriber Services online at: sewnews.com. You may also call or write: Phone: (800) 289-6397, International: (386) 597-4387 E-mail: sewnews@emailcustomerservice.com Subscriber Services: Sew News, P.O. Box 420235, Palm Coast, FL 32142-0235 Subscription rates for the United States and possessions: $23.98 for one year (six issues). Canadian subscriptions add $6 per year (includes GST and postage). Elsewhere outside the U.S., add $12 per year postage. Payment in U.S. funds must accompany all orders outside the U.S. Major credit cards accepted. Some back issues of Sew News magazine are available for $5.99, payable in advance. TO ORDER BACK ISSUES: Call (800) 590-3465; or go to shopsewitall.com. REPRINTS: Contact Wright’s Reprints to purchase quality custom reprints or e-prints of articles appearing in this publication at (877) 652-5295 or (281) 419-5725 outside the U.S. and Canada. RETAILERS: If you are interested in carrying this magazine in your store, please contact us: Toll Free (800) 289-0963; or e-mail sales@fwcommunity.com Occasionally, our subscriber list is made available to reputable firms offering goods and services that we believe would be of interest to our readers. If you prefer to be excluded, please send your current address label and a note requesting to be excluded from these promotions to: SEW NEWS, a division of F+W, A Content + eCommerce Company, 741 Corporate Circle, Ste. A, Golden, CO, 80401, Attn.: Privacy Coordinator. Sew News August/September 2018 • No. 4 Copyright ©2018 by F+W, a content + ecommerce company. All rights reserved. Nothing may be printed in whole or in part without permission from the publisher. Single-copy rate U.S. $5.99; Canada $6.99. Subscriptions are $23.98 for one year (6 issues). Canadian subscriptions add $6 per year (includes GST and postage). Elsewhere outside the U.S., add $12 per year postage. Payment in U.S. funds must accompany all orders outside the U.S. For subscriptions, address changes or adjustments, write to SEW NEWS, P.O. Box 420235, Palm Coast, FL 32142. Eight weeks are required for a change of address. Please give both new and old addresses and, if possible, the mailing label of the old address. The information in this publication is presented in good faith, but no warranty is given nor results guaranteed. Since SEW NEWS has no control over your choice of materials or procedures, neither SEW NEWS nor the various manufacturers assume any responsibility for the use of this data. PRINTED IN THE USA
COLUMNS
IN EVERY ISSUE
14 BASIC SKILLS: Fiber ID
6
Editor’s Letter
18 PATTERN PLAY: Bubble Duster
8
Experts
22 CURVE APPEAL: Fit for Fall
9
Reader Tips
26 SERGER SCHOOL: Serger Stitches 101
10 Staff Picks
82 SEW ALONG: Teahouse Dress
86 Off the Shelf
84 HOME COUTURE: Southwest Chic
88 All Sewn Up
12 Meet the Maker
85 GET THE LOOK: In Short 87 HIGH-END HACK: Boutique Belt Bag
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EDITOR DEAR READERS, I’m not sure the phrase “Dress for the job you want, not for the job you have” is still true today. Office culture has changed dramatically over the years as companies have expanded casual Fridays to include “casual every days.” I think women have an even harder time dressing the part, as we take into account what exactly our ensemble might convey. I work in a casual setting, where the employees are all very creative in their thinking as well as their dress. It’s comforting to know I can wear a suit one day and sundress the next, without being judged solely on my appearance. I know I’m lucky in that regard, and many women aren’t. That being said, I do think it’s important to say something with your clothing, and it’s much easier to do that as a sewist.
GIVE YOUR BASICS A BOOST WITH OUR FUN PATTERN HACKS INSIDE!
Indigo Effect p. 34
Choosing patterns, fabric and accessories that work together is a great way to create a signature style with lots of wearing options. It’s much easier to get dressed in the morning, knowing you can mix and match favorite pieces that fit well and feel great. We’ve put together a workwear capsule pattern collection in basic black, white and gray shades with some pops of color mixed in for interest. Pick fabrics in your favorite color palette and play around with the possibilities. Getting dressed (for work) has never been more fun! See page 68 for the details. What’s underneath is equally as important as what’s on the outside. Well-fitting undergarments are the foundation of any look, and we’ve got a couple of features that will have you rethinkin ring. g Learn about the humble beginnings of the bra on page 45, and then learn what it takes to make e your own bra on page 60. Whether you’re dressing for the job you have, dressing for the job you want or simply dressing to not be naked, I hope you’re dressing for yourself and letting your style shine through. Enjoy the issue!
Careerr Capsulle Ellen March Community Content Director
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WHAT’S NEXT? THE OCT/NOV ISSUE IS FULL OF FALL FASHIONS TO COZY UP WITH AS THE WEATHER TURNS COLD. LEARN TIPS AND TRICKS FOR WORKING WITH LEATHER, SUEDE AND WOOL. PLUS DECORATE WITH ALL THINGS PUMPKIN. FIND THIS ISSUE ON NEWSSTANDS SEPT. 11, 2018.
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26 NEW ! Episodes
EXPERTS
Find out about the talented experts featured in this issue, and visit their websites to learn even more!
What fall trends are you incorporating into your sewing plans? Ana Jankovic’s Dion Lee jacket inspiration
PAMELA HOWARD Beyond the Basics: Welt Pockets — page 38 pamelasclosetinc.com
DANA BONTRAGER DIY Textiles: Painterly Plastic — page 57
RAE CUMBIE Curve Appeal: Fit for Fall — page 22 fitforartpatterns.com
ABBY GLASSENBERG The Common Thread: The New Age of Sewing — page 78
I really only sew stuffed animals, dolls and the occasional quilt, rather than garments. I’m hoping to start embroidering a map of Boston quilt from Haptic Labs, and I’m pretty excited about it.
ANA JANKOVIC I’m into all the details that subtly add drama to a basic garment, whether it’s pattern blocking, an unusual cut or origami folding. Right now, I’m into Dion Lee’s jackets and dresses that play with an idea of underwear interlaced with the outwear. ADDIE MARTINDALE DIY Textiles: Strokes of Genius — page 54
MEG HEALY
KIMBERLY PAYNE
burdastyle.com/profiles/megh/ my_studio
BIANCA SPRINGER DIY Textiles: Flour Power — page 51
I’m excited to try mixing bold plaids this fall. They are tricky to sew, but very satisfying when properly matched. I love that the fall promises bright colors in a larger scale. I hope to add this trend, with some nontraditional color options, to my wardrobe. thanksimadethem.blogspot.com
ALLIE OLSON Clothes Minded: Seasonal Sewing — page 30 indiesew.com
I want to incorporate the 80s revival trend that Harper's Bazaar reported on and appeared on the runways of designers Givenchy, Christopher Kane, Marc Jacobs and Versace. Lots of faux leather, big shoulders and jumpsuits — I love it all! I’m going to sew up BurdaStyle’s 80s Jumpsuit 12/2010 #118 pattern to start.
kristinaseleshanko.com
Indigo Effect — page 34
whileshenaps.com craftindustryalliance.org
Pattern Play: Bubble Duster — page 18
Meier, Julie de Libran and others. I also like that the runways are showing us how fun and flattering hot pink can be. With those trends in mind (and because I just adore vintage looks), I want to add a trim, hot pink dress to my wardrobe, along with a wider belt that emphasizes the look. Maybe Vogue V9265, which also highlights a more romantic look.
Cabernet Crossover — page 64 straightstitchdesigns.com
LINDA REYNOLDS Masterclass: Coat Linings — page 74 simplysewingstudio.com
Getty Images/The Wash ington Post
Getty Images/Frazer Harrison
SOPHIE HINES Bra Basics, Part 1: Fabric & Notions — page 60 sophiehines.com
KRISTINA SELESHANKO Who Wore What When — page 44
I'm absolutely loving the trend of a more trimmed, feminine waist, as seen in fashions by Zac Posen, Lucie
Bianca Springer's bold plai
d inspiration
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Featured readers received a gift for submitting a tip. Send your tips to sewnews@sewnews.com or post them at facebook.com/sewnews.
READER TIPS
1 1. COPPER COOL Use “As Seen on TV” copper grill/baking sheets as pressing sheets for appliqué and fusible interfacings. The copper sheets help distribute the heat without the worry of the fusible adhesive sticking to them.
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Teresa C., email 2. BRIGHT IDEA Use an adjustable headlamp when removing hard-to-see stitches. Elaine O., email
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3. DOT YOUR EYES When sewing felt animals, use the tip of a seam ripper to poke holes in the fabric for the plastic eye placement. Patricia B., letter 4. STRETCH RECYCLING Sew ends of scrap elastic together to create a band to use as a hair tie, in the kitchen around bags of dry goods, around rolls of interfacing, to secure pins boxes from opening and so much more.
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Joan R., email 5. ON THE MEND Use inexpensive paper medical tape for pattern adjustments. The tape comes in a handy dispenser with a cutter, and you can remove or reposition it easily.
HIDE & SEEK
Nancy Y., Facebook
5
Play & Win!
Congratulations
What is it? Pictured at left is part of a photo from this issue. When you find it, enter online at sewnews.com or send a postcard with the page you found it on to Sew News, Hide & Seek, 741 Corporate Circle, Ste. A, Golden, CO 80401.
to the June/July ’18 Hide & Seek winners! We randomly selected five winners to receive a fabulous sewing prize.
Responses are due Aug. 31, 2018. From the correct responses, we’ll randomly draw five winners, one of which could be you.
Buffie V., Earlville, NY Yvonne C., Liberty, TX Holly C., Orlando, FL Regina T., Oakdale, CA Tommie H., Quinton, AL
The Aug/Sept ’18 winners will receive a bundle of sewing books.
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STAFF PICKS 1. The BRYCE CARGO PANTS from Hey June Handmade are a must-have for fall. Make up in stretch twill for comfort and durability.The design features classic cargo styling updated with a slim-fit leg for a modern, feminine feel. heyjunehandmade.com
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2. Perfect your hand sewing or hand embroidery with the SEWING NEEDLE POCKET GUIDE FOR HAND STITCHING. This visual guide features a variety of hand-sewing needles with full-size photos, explaining the characteristics that make each needle different and helping you identify which needles you already have and what to use them for. ctpub.com
2 3. Sip and sew with a group of friends with these SEW CHARMING! WINE CHARMS. These six wine charms will jazz up any wine glass with fun sayings.. If youâ&#x20AC;&#x2122;re not a wine drinker, add them to a wrapped gift, use as an ornament, wear on a necklace, or even embellish a coffee mug. There's sure to be one of each in a group of sewing friends! connectingthreads.com
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4. Organize the sewing tools you use most with the MINT OH…SEW! ORGANIZED STASH ’N STORE. Also available in pink and gray, this small and functional tabletop organizer will allow you to easily place scissors, pens, tweezers, snips and small rulers into its beautifully designed silicon pockets. itssewemma.com
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5. If you’re sewing on the road, don’t leave home without the OVO RELIABLE TRAVEL IRON. This powerful travel iron is also a steamer and features a soft-touch handle and automatic shutoff. The iron comes with a heatproof fabric bag, a cord that is over six feet long and can reach a hightemperature of 306°, making it the perfect travel companion. reliablecorporation.com
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MEET THE MAKER
SN: Describe your perfect day. EB: My perfect day would start with a run along the river, followed by a hot bath, then a whole day in my sewing room making clothing for myself and listening to podcasts. In the evening, I’d meet my husband for a session at our favorite cocktail bar.
SN: What’s the last hobby you picked up? EB: I started loom knitting last spring, and so far I’ve made eight pairs of socks. I still have no idea what to do with a pair of knitting needles, but I’ve got warm feet now and that’s what matters.
SN: What’s your spirit animal?
MELISSA FEHR is the founder of FehrTrade patterns and author of Sew Your Own Activewear. To date, she’s released 13 different activewear sewing patterns for men and women, contributed to numerous sewing magazines and worked behind the scenes on the Great British Sewing Bee TV show. An accomplished distance runner, she’s also run seven full marathons in her ownsewn gear and enjoys cycling and bouldering whenever she can. She lives on a rusty Dutch barge on the river Thames with her husband James and can usually be found in her sewing room, hidden behind a secret bookcase door. blog.fehrtrade.com ∞ shop.fehrtrade.com ∞ @fehrtrade
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EB: I think I’d probably be a cheetah – dedicated and driven, but can pivot at a moment’s notice and still find time for lazing in the shade at the end of the day.
SN: What's your greatest extravagance? EB: I don’t tend to shop too much, but my husband and I spare no expense on cheese.
SN: What's your most treasured possession? EB: It’s probably my wedding dress, which I designed and sewed myself in 2010 using my grandmother’s gown from 1949. I spent months meticulously unpicking it and refashioning it into something modern and suited to my tastes and body. It’s one of my proudest memories that she got to see me in “her” dress before she passed away. SN: What do you consider your greatest achievement?
SN: Who is your dream client and what would you want to create for her? EB: I would absolutely love to design sportswear for Serena Williams. She’s such an incredible role model for women. Plus she’s got so much personality, determination and drive, and a great sense of style on and off the court.
EB: Writing my Sew Your Own Activewear book is definitely up there on my list, but I think representing Great Britain at my first World Transplant Games in Argentina in 2015 takes the cake. I won six gold medals in distances ranging from the 5km road race down to 400m, and even set a new world record in the women’s 1500m.
SN: Whar's your motto? EB: “Nothing is ever as bad as you imagine it will be.” Our minds have ways of building up the new, intimidating and just plain scary, but I’ve learned that reality can never match what you’ve imagined in your head.
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BASIC SKILLS
FIBER ID FIBER We talk about fabric in two different ways: the fiber and the weave. Weave, which for the purposes of this definition include knit fabrics, describes how threads are combined to make a flat piece of fabric. Satin, velvet, brocade and corduroy are all weaves.
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Learn to identify the fiber content of a mystery fabric by performing a burn test, plus discover other tricks for figuring out what a fabric is made of.
The fiber is what the fabric is actually made of. This is why both silk satin and polyester satin exist — satin describes the way that the fibers are laid over each other to create the smooth shininess of satin, but the fibers themselves may be made from any number of materials.
There are several categories of fibers. Natural fibers come from plants or animals and include cotton, linen, silk and wool. Manmade fibers are created from materials that are not naturally fibrous, like polyester and nylon, which are made from petroleum. Rayon holds a unique place in between natural and manmade; it’s made from plant material, such as wood or bamboo, but it is manmade in that the fiber is made by grinding the cellulose and extruding it through mechanical and chemical processes to produce the final thread.
Opposite page: Getty Images/InStock. This page: Victoria Bee Photography
There are several ways to determine the fiber a fabric is made from. The most basic is the feel test. Many sewists have handled enough fabric in their lives to know what a certain fiber feels like and how it reacts to being handled. For example, natural fibers press into hard creases in a way synthetic fibers don’t. Cotton and linen wrinkle easily from the slightest scrunching, but polyester won’t wrinkle at all. In many cases, simple handling may be all you need to identify a fabric.
they may be damaged), but wool and silk will be broken down completely. Try putting a small swatch in one of these chemicals to confirm the fiber type.
BURN TEST The easiest at-home method for identifying a mystery fabric is to do a burn test. Each fiber burns a little differently, so by observing the burning process closely, a sewist can determine the most likely type of fiber contained in a swatch.
SUPPLIES • Metal or glass pie plate • Freestanding candle or candle in a candleholder • 6" or longer metal pliers with rubber or plastic handle covers
Place the candle in the center of the pie plate and light it. Grip the fabric swatch end with the pliers and move it slowly toward the flame. Observe how the fabric reacts as it gets close to the flame, before it makes contact. Touch the fabric to the flame until it ignites, or doesn’t. Remove it from the flame and shift it closer to the plate so any ash or burning pieces that come off will fall safely onto it. Observe how fast the fiber burns, what color the flame is and what it smells like as it burns. Note if it stays cohesive, falls apart or even appears to melt. Some fabrics will self-extinguish and smolder; this is an important clue to identification.
• 1"×4" or larger fabric swatches NOTE: Always perform burn tests in well-ventilated areas, but avoid breezy spots. It’s best to have water, a fire extinguisher and an old towel (to smother a flame) available, just in case.
TIP: Test a variety of known fabrics and video record or photograph them for reference when working with an unknown fabric.
That said, fabric can be deceptive. A silk can be rough-woven, a wool can be very fine and smooth, and even polyester can feel like something more natural. Fabric manufacturers are doing amazing things these days, and feeling the fabric isn’t necessarily sufficient to identify all fabrics.
CHEMICAL TEST There are a few household chemicals that are helpful to test certain fibers. Acetate will turn into goo when soaked in acetone and will eventually dissolve. Plant and synthetic fibers will survive when soaked in chlorine bleach (though
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Lay the swatch down to finish burning when and if it feels appropriate. After the flame is out, observe the ash or residue immediately and as it cools. Refer to the chart below to identify the fabric, or search online for more extensive descriptions of
how each fabric burns. Remember that the fabric may be a blend, in which case the test may show aspects of different fabrics. For example, if a swatch both burns with a yellow flame and appears to melt and drip, the fabric is most likely a cotton/poly blend.
Cotton
Polyester
TIP: Always use pliers or tweezers with coated handles to prevent the metal from heating up and burning your hand during the test.
Silk
TEXTILE BURN TEST
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FIBER
APPROACH
BURN RATE
BURN DETAIL
SMELL
ASH/RESIDUE
ACETATE
fuses or melts in front of flame
fast
may drip
hot vinegar
brittle black bead
ACRYLIC
fuses or melts in front of flame
fast
sputtering flame
acrid
COTTON
rapid ignite, does not fuse or melt
fast
leaves afterglow
burning paper
light feathery gray
JUTE/HEMP
rapid ignite, does not fuse or melt
fast
bright flame
burning grass
soft gray
LINEN
rapid ignite, does not fuse or melt
fast
leaves afterglow
burning grass
light feathery gray
NYLON
fuses or shrinks from flame
slow
self-extinguishes
celery
POLYESTER
fuses or shrinks from flame
melts
black smoke
chemical
RAYON
rapid ignite, does not fuse or melt
slow
slight melting
burning paper
SILK
may curl slightly, no melting
slow
burns briefly and chars, may self-extinguish
burned hair
SPANDEX
may fuse, does not shrink from flame
slow
burns and melts
chemical
WOOL
may curl slightly, no melting
slow
self-extinguishes
burned hair
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hard black irregular bead
hard gray round bead hard gray or tan round bead soft black dark gritty fine powder soft, sticky residue brittle, small black bead
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PATTERN PLAY
BUBBLE DUSTER BY MEG HEALY
Add visual interest, volume and feminine details to a basic duster cardigan by creating a full, gathered lower sleeve.
GET 20% OFF THE FEATURED PATTERN AT BURDASTYLE.COM! ENTER COUPON CODE CARDIGAN20 AT CHECKOUT.
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BurdaStyle #131 02/2016 (modified)
A MESSAGE FROM MEG, ONLINE EDITOR FOR BURDASTYLE Cardigans are such a classic and versatile piece in any wardrobe, and I love this long one, especially since it’s leggings friendly! I’ve been seeing all these trendy cardigans in stores and on the runway with full and fun sleeves, so I wanted to create a balloon sleeve on a classic cardigan. For an extra pop of color, why not sew it in bright pink? We all have way too many black and oatmeal sweaters in our closets.
SUPPLIES
PREPARE
ALTER
• Cardigan sewing pattern (such as BurdaStyle #131 02/2016)
If using a digital pattern, print, tile and tape the pattern pieces together. If using the featured BurdaStyle pattern, prepare all the pattern pieces.
Crop the hemline to your preferred length. For the featured cardigan, measure 24" below the waist notch on the side seam. Mark the crop measurement on the front piece along the side seam.
• 3 yards of sweater-knit fabric • Fusible knit interfacing • 1 yard of 1"-wide elastic • All-purpose thread • Ballpoint or stretch sewing machine needle • Clear gridded ruler
Measure around the bust to find the correct pattern size from the bestmatching bust circumference. Note: This is a plus-sized pattern. If you wear a standard size, use the smallest size line for an oversized silhouette.
• Pattern or tracing paper
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Draw a line perpendicular to the center front that intersects the side-seam marking. Repeat the hem alteration on the back piece, measuring the same distance beyond the waist notch. On the sleeve pattern, measure 6" below one underarm point and mark. Repeat to mark 6" below the remaining underarm point. Connect the two marks with a straight line. Mark and draw a new sleeve hemline 3" above the original. Draw three vertical slash lines between the new sleeve hemline and the upper seamline (1).
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2
3
4
2”
Slash
Added Fullness
Place a piece of pattern or tracing paper over the sleeve pattern. Trace the right section from the slash line to the sleeve right edge.
lower edge (4). Add seam allowances to the front, back and neck facing pieces. Add 1½" hem allowance where appropriate.
On the tracing paper, draw a parallel line 2" to the left of the slash line. Color the added space in to represent added fullness. Note: If more fullness is desired in the sleeve, add an additional 1".
CUT
Slide the tracing paper to align the left edge of the added fullness over the first slash line, and then trace the next sleeve section, ending at the second slash line. Ensure the horizontal upper and lower sleeve lines remain straight (2).
From the interfacing, cut one back neck facing on the fold.
From the fabric, cut one back on the fold, one back neck facing on the fold, two fronts, two upper sleeves and two lower sleeves. Transfer all markings.
Fuse the interfacing to the back neck-facing wrong side following the manufacturer’s instructions.
Turn the seam allowance of the front edges toward the wrong side; pin. Turn ½" of the hem allowance to the wrong side; pin. Topstitch the seam allowances along the hem and front edges. Pin the shoulder seams together, aligning the armscye edges (5). Stitch. Serge- or zigzag-finish the lower edge of the back neck facing and pin to the back neckline with right sides together. Stitch, beginning and ending at each finished front edge. Trim and clip the back neck seam allowances.
CONSTRUCT Add 2" to the left of the second slash line, color in and then slide over per the first slash line. Repeat to add fullness to the third slash line and trace the remaining pattern section. Remove the tracing paper from the sleeve pattern and add seam allowances to each edge. Designate as the lower sleeve (3). Add seam allowances to the upper sleeve pattern, including the
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Pin the bust darts with right sides together; stitch. Press the darts down, using an iron setting suitable for the fabric. Pin and stitch the side seams from the underarm point to the hem. Serge- or zigzag-finish the allowances together; press toward the back. Serge- or zigzag-finish the front and back shoulder edges, the hem edge and front edges. If the fabric doesn’t ravel easily, omit this step.
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Turn the facing to the inside; press. Hand stitch the facing to the shoulder seam allowances. Run two rows of gathering stitches along one lower-sleeve upper edge. Pull the bobbin threads to gather to the corresponding upper sleeve, evenly distributing the gathers; pin and stitch. Serge- or zigzag-finish the seam allowances together. Repeat to gather and attach the remaining lower sleeve to the remaining upper sleeve.
5
Stitch the sleeve seam with right sides together, aligning the seam ends. Wrap 1"-wide elastic around the wrist to find a comfortable tightness. Add ½", and then overlap ½" and stitch to create a loop. Repeat to make a second loop. Quarter-mark one loop and one sleeve hem. Pin the elastic to the sleeve with right sides together, matching quarter marks and seams. Serge or stitch the elastic to the sleeve, stretching the elastic during stitching to match the sleeve, but not stretching the sleeve fabric. Flip the elastic to the sleeve wrong side; topstitch. If desired, use a twin needle to add a little give. Set the sleeve into the cardigan, aligning the front armhole notches and the upper sleeve notch with the shoulder seam. Repeat to finish and set in the remaining sleeve. Fold the remaining 1" of hem allowance to the wrong side; stitch.
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CURVE APPEAL BY RAE CUMBIE
FIT FOR
FALL
Getty Images/PeopleImages.
Create fall layers that fit using expert tips for finding the right cardigan shape, reworking a woven jacket pattern for knits and hacking patterns.
Q
What’s the best shape cardigan to wear with skirts or pants for a workwearappropriate look?
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This is the perfect time of year to consider sewing cardigans for fall. As with all clothing designs, some cardigans are most flattering on certain body shapes, and then elevated again when combined into inspired silhouettes. If your closet is full of full skirts and wide leg pants, choose to sew knit tops that are short and snug for a balanced silhouette. The beauty of a cardigan is it often incorporates a closure that easily changes its look.
1
2
When buttoned up it looks like a blouse, and when left open, it falls loosely along the body. Sew short cardigans so they fit close to the body with a natural shoulder line. If you plan to wear them buttoned up for work, make sure they’re not stretched tightly over your curves. This style is fabulous for triangle and hourglass shapes (1).
3
For more fit alterations, check out Rae’s course Altering Ready to Wear for Fit & Style at academy. burdastyle.com.
If your preference is for hip-length sweaters that skim the body, then pair them with pants, skirts or dresses that follow your shape with an easy fit and mirror the shape of the cardigan. Add some detail to make these tops interesting, such as a collar, peplum or Empire waist insert (3). Try out any of these combinations on any body shape but keep the fit balanced to your height. Be sure to draw the eye to your favorite curves with a stylish detail, interesting fabric or favorite jewelry accessory.
Getty Images/Hero Images
Longer cardigans can have simple lines, waterfall fronts, high/low hems or chunky oversized styles. These look best when paired with straight skirts, tapered dresses or close-fitting pants. It is smart to stitch up these sweaters with a roomy fit that can be closed easily, even if you will always wear them open. The more oversized the cardigan, the narrower your bottoms should be so the silhouette is balanced. This pairing works well for inverted triangle and oval shapes (2).
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Q
I have a reliable jacket pattern that I made in wool. I want to make it again using a Ponte knit in my stash. Do I need to adjust the pattern for use with a knit fabric? For fabrics that have a minimal stretch in the width only, reduce your pattern by about ¼" along the side seams, through the armhole and on each side of the sleeve (4). Test the fit as you construct the jacket to determine if you need to take in a little more in the sides and to determine if you need to narrow the jacket in the front as well. Choose stretch interfacings if you’re adding support.
4
Fold
Sewing with stable Ponte knit is similar to sewing with stretch wovens. A few pattern tweaks are all you need. Because Ponte comes in many weights and fiber combinations, take a minute to assess the knit for stretch before adjusting the pattern. Does it stretch from selvage to selvage only or is there lengthwise stretch in addition to the widthwise stretch?
Front
Back
Sleeve
Fold
5
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Back
Getty Images/Westend61
Front
Sleeve
For fabrics that stretch lengthwise in addition to widthwise, follow the previous guidelines and take 1⁄8" to ¼" off the shoulder seam of both the front and the back. Fold out the same amount down the sleeve center as well (5). Make the same adjustments to any corresponding facings, collars or other finishing pieces so everything fits together during construction.
I recently hacked my favorite shift dress pattern into a shirt and added a peplum and cuffs from another pattern. When I tried to stitch them together, the peplum and cuffs didn’t it, even though I used the same size. How can I be sure hacked pattern pieces ultimately it together?
• Use your fingers to follow the adjoining seamlines. When they begin to diverge, move the pin, and then shift the pattern to walk it to the next point of divergence. • Repeat the process until you reach the seam end. • Each seam should be the same length along the seamline and any dots or notches along the seam or cutting lines should match. If they don’t align, evaluate where they’re different. Walk them again, beginning at the center and walking to each side to discover the discrepancy. Consider the shortened shift front and fitted peplum to illustrate this process and the solution. In this
• Reduce the upper side seams ½" on each side to make the bodice smaller. • Increase the peplum side seams ½" on each side to make the waist looser. • Split the difference adding ¼" to the peplum side seams and reducing the top ¼" at the side seams for balanced shaping. • Add a ½" dart or tuck in the shift top, under the bust, on each side for a curvier front. • Slash and spread the peplum ½" on each side of the fold so it has less of a curve for a looser waist and less peplum fullness.
Center Front
Center Front
Step 1
Step 2 er Center Cent Front Front
• Stack the pattern so the seamlines touch. Have a straight pin handy to help anchor the pattern as you walk it.
Correct this several simple ways, nuancing the fit with the chosen correction:
6
Step 3 Center Front
• Draw the seamline on each pattern piece using a color that’s visible.
case, once the seam was walked, the peplum pattern was smaller along the seamline by ½" on each side of the center-front line.
Center Front
What looks like the same size when hacking patterns often requires a little pattern-making finesse to assure successful construction. Start by creating your new pattern pieces and then “walk” them to make sure they fit together (6).
Choose your adjustment, make it on the pattern pieces, then walk the pattern again to check your work. While walking the patterns, add notches along the cutting lines and dots on the seamlines to each piece to help them stitch together smoothly. S E W N E W S.CO M
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SERGER SCHOOL BROUGHT TO YOU BY JANOME OF AMERICA
SERGER STITCHES
101 A serger speeds up your sewing while also lending a professional look to finished garments and projects. Find out more about basic serger stitches for garment construction, and then serge a quick and easy top for fall. BY SUSAN BECK
SPEEDY SERGING Even though a serger doesn’t replace a sewing machine and won’t perform certain techniques, such as buttonholes and topstitching, it’s extremely valuable in garment making. Serger stitches and techniques that are useful for constructing clothing are slightly different than those on a sewing machine. This article refers to the most common type of serger that has a right and left needle, upper looper and lower looper to form 26
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stitches with two, three or four threads, such as the Janome 1110DX.
a finished look with just one pass under the presser foot.
There are many reasons that sewing with a serger is faster than a sewing machine. First, the motor typically runs faster and produces more stitches in the same amount of time, usually about 50% to 60% more stitches per minute. Another reason is that a serger performs more than one operation simultaneously. Along with seaming, it trims excess seam allowances and overcasts, producing
Sergers are also speedy because of some special techniques they can perform. For example, serging a rolled edge is an easy and fast hemming method. Using a narrow serger stitch on curved seams, such as necklines and armscyes, eliminates clipping and notching to achieve an efficient turn of the cloth, resulting in a smooth curve.
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SERGER STITCH SETTINGS Refer to the handy diagrams at right when determining which serger stitch to use for a project. General settings are listed for each stitch, but each serger is unique. Consult your serger manual for specific color-coded diagrams and information about stitch settings. The diagrams at right are color coded as follows:
1
• Blue: Upper Looper • Red: Lower Looper • Green: Right Needle • Yellow: Left Needle
2
4-THREAD BALANCED OVERLOCK (1) Thread the left needle, right needle, upper looper and lower looper. Set all tensions to similar settings, usually a medium setting of 4 or 5. The upper looper thread and the lower looper thread should meet along the fabric edge. This stitch is similar to the 3-thread overlock, but with the addition of a safety stitch. The right needle stitches the safety stitch through the looper area for reinforcement.
Wide
3-THREAD BALANCED OVERLOCK (2)
Narrow
Thread the left or right needle, upper looper and lower looper. Set all tensions to similar settings, usually a medium setting of 4 or 5. The upper looper thread and the lower looper thread should meet along the fabric edge. Thread the left needle for a wide stitch or the right needle for a narrow stitch.
3-THREAD ROLLED EDGE (3) Thread the right needle, upper looper and lower looper. Set the needle tension to 4 or 5. Loosen the upper looper to a setting of 7 to 9 so it can wrap around the rolled edge. Tighten the lower looper to a setting of 1 to 3 so that it’s inconspicuous, fitting snugly beside the needle thread. Engage the rolled hem feature, disengaging the metal “finger” that usually supports the fabric to create a flat edge. This allows the stitch to form over a rolled edge. Shorten the stitch length so the thread, often decorative, completely covers the fabric edge.
3
4
2-THREAD ROLLED EDGE (4) Thread the right needle and lower looper. Set the needle tension to 4 or 5. Loosen the lower looper to a setting of 3 or 4 so it wraps around the needle thread. Disengage the upper looper.
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SERGER SEAMING Learn several basic stitches and techniques that are useful for constructing clothing mostly or entirely on a serger.
4-THREAD OVERLOCK STITCH The 4-thread overlock is the most common construction stitch. It’s a balanced stitch that works well on both woven and knit fabrics. The stitch resembles a wide 3-thread overlock stitch with a central safety stitch (resembles a straight stitch) sewn using the right needle (5). In addition to serging seams, use the 4-thread overlock stitch for other construction techniques, such as gathering or making turned tubes for belt loops or straps.
3-THREAD OVERLOCK STITCH This balanced stitch is useful when serging knits, as it contains a great amount of stretch and will give with the fabric as it stretches. Using the left needle produces a wide overlock stitch suitable for seaming knit garments (6). Using the right needle works well for narrow curved seams, eliminating the need for clipping when turned to the right side.
5
6
The 3-thread overlock stitch is also useful for finishing the raw edges of woven-fabric seams that have been sewn on a conventional sewing machine. Serge each seam allowance edge individually, and then press open (7). To simplify the process, serge the garment-piece edges before sewing them together, and then press open the seams after construction.
HEMMING & EDGING Simplify the garment finishing process by using quick and simple serger techniques for finishing raw edges.
7
ROLLED HEM A rolled hem creates a delicate finish that works best on light- to mediumweight fabrics. Use a rolled hem for sheer fabrics, blouse hems, scarf edges and more. The rolled hem is commonly composed of three threads on the serger (8). However, some sergers also have a 2-thread option for a finer, more delicate look.
8
BANDED HEM A banded hem is a folded hem that results in a self- or contrast-fabric band with trimmed and finished edges on the garment wrong side (9). This technique works best on sleeve and garment lower edges. The band can be serged onto a flat fabric piece or sewn into a circle and serged to a closed garment edge, such as a skirt lower edge. This finishing treatment works on both woven and knit fabrics. SOURCE Janome of America provided the 1110DX serger: janome.com.
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9
Right side
Wrong side
PULLOVER TOP Make a simple and comfortable knit dolman top using your serger along with the sewing machine.
SUPPLIES • Serger (such as the Janome 1110DX; see “Source”) • 2 knit fabric rectangles (See “Cutting Directions.”) • 4 cones of serger thread • Removable fabric marker
PREPARE Cut the rectangles for the desired size according to the Cutting Directions chart below. Fold one rectangle in half lengthwise. Mark the upper edge 5" from the fold. Mark the fold 3" from the upper edge. Draw a gently curved line connecting the two marks to create the neckline. Draw a slight diagonal line connecting the neckline to the long open edge to create the shoulder seam. Mark the long open edge 10" below the upper edge to denote the armscye. Mark the lower edge 2" in from the long open edge. Draw a gently curved line connecting the two marks to create the side seam. Trim away the excess fabric. Draw the identical side seam, shoulder seam and neckline on the remaining rectangle; trim away the excess.
CONSTRUCT Set the serger for a 3-thread overlock stitch. Align the front and back with right sides together. Serge the shoulder seams, trimming off 1⁄8". Remove the left needle and install the right needle. Set the serger for a narrow 3-thread overlock stitch. Serge the neckline edge, trimming 1⁄8". Fold the serged edge 3⁄8" toward the wrong side; pin. Using a sewing machine, topstitch the neckline from the right side using a 1⁄4" seam allowance. Serge the side seams beginning at the armscye and ending at the lower edge. Finish the armscye edges per the neckline. Using the 3-thread overlock stitch, decrease the stitch length to 1.5mm to 2mm. Serge the lower edge, trimming off 1⁄8".
CUTTING DIRECTIONS SIZE
RECTANGLES (CUT 2)
Small
23" × 24"
Medium
24" × 25"
Large
25" × 28"
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CLOTHES MINDED BY ALLIE OLSON, PATTERN DESIGNER & FOUNDER OF INDIESEW.COM
seasonal SEWING 30
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A few of Allie’s favorite fall patterns! Hailfax Hoodie, Hey June Handmade
Living in Boulder, Colorado, means four distinct seasons each year. A few weeks before the temperatures start to dip in September, a sort of innate maker instinct reminds me that it’s time to start sewing up warmer clothing. For weeks before I start the actual sewing process, I sort through a mental checklist of what clothing items I need, what fall trends I’m drawn to and what colors I’d like to focus on that season. The ideas for my fall and winter wardrobe marinate in my mind for a good month before I’m ready to dive into the sewing process.
Cheyenne Tunic, Hey June Handmade
ASSESSING THE BASICS A new pair of jeans are the first thing I sew when the weather starts to get a bit cooler, because I know I’ll be wearing them nearly every day. If my classic blue jeans from last year are still in great shape, I’ll sew up a pair of black or colored jeans to mix it up, using my Sew Your Favorite Jeans method to replicate a pair of my beloved ready-to-wear jeans. Or I’ll reach for my tried-and-true Birkin or Ginger Jeans sewing patterns. I’m usually testing out a new denim for the Indiesew Fabric Shop to make sure it has the stretch and recovery that most fitted jeans require, so it’s a fun experimental process every time. Next, I take stock of what type of tops I need. I sew at least one button-up shirt (Grainline Studio’s Archer or Hey June Handmade’s Cheyenne patterns are my favorite) every season, typically in plaid fabric. I’m currently loving plaid double cloth, because it provides opportunities for color blocking and pattern play. I also like to sew a few relaxed blouses, such as the Beatrix Blouse by Made by Rae or the Dove Blouse by Megan Nielsen. For those, I choose a flowy rayon challis or silk crepe fabric in a fun print. I gravitate towards warm reds and cool blues for these tops because I know how great I feel when wearing those colors. Every fall, I’m typically in need of some new coldweather loungewear and pajamas. I like zip-up hoodies for walking the dog in the morning, so every few years I sew up a Hey June Handmade Halifax Hoodie in a cozy solid-colored French Terry. A pair of black or gray True Bias Hudson Pants is typically in order along with a rayon jersey Lane Raglan for a new pajama set.
Lane Raglan, Hey June Handmade Lander Pant, True Bias
BUILDING IN COMPLEXITY As my handmade wardrobe has started to reach a point of sustainability where I don’t need to add a ton of new clothing items each season, I’m focusing on more complex clothing items. Last year I sewed up a much-needed rain jacket using my Lonetree Jacket sewing pattern, and it’s been a great light outer layer for days that I don’t need to wear a winter jacket. This year, I plan to sew a tailored leather jacket. I know the process will take longer than I’m used to, but I get excited to work on something that requires a bit more research and skill each season.
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SUSTAINABLE & SECONDHAND If you don’t have the time to sew every garment from scratch, secondhand clothes are a great option to create a more sustainable wardrobe. Here are three strategies for adding thrifted garments into your fall clothing rotation:
1. Search for sweaters in the summer. Thrift stores are a goldmine of unwanted sweaters, especially in the summer months. Start hunting for sweaters in June, as you’ll get the best deals then. Don’t worry about finding sweaters in your size. If you have a serger you can easily take in the side seams and arms. Or wear it oversized with a pair of fitted jeans for a casual fall look.
2. Size down men’s button-up shirts. If you’re not keen on shirt making, thrifting men’s button-up shirts is a great alternative. The beginning sewist will find a fast and easy project in simply bringing the sleeves and side seams in a bit to create a slouchy top with a dropped shoulder. If you wear rolled cuffs, there’s no need to shorten the sleeves or modify the cuffs.
3. Repurpose leather jackets. It’s not uncommon to find a large men’s leather jacket at a thrift store for less than $25. Cut the jacket apart to use the leather for your own jacket or a handmade bag, such as the London Backpack. Cutting leather into long, narrow strips, braiding them together, and attaching snaps makes for a great wraparound bracelet to complement your fall wardrobe.
FALL & WINTER TRENDS
Bonn Shirt, Itch to Stitch
I have to admit, I’m not someone who likes to emulate every passing trend of each season. I tend to passively observe what trends wax and wane, and participate in only those that really resonate with me. The trends that come and go quickly, like the recent off-the-shoulder and ruffled-everything garments, don’t often appeal to me. But the longer-lasting trends that tend toward minimalism and androgyny are in my wheelhouse. I like classic yet simple silhouettes because I’ll wear those garments for years to come, possibly most of my adult life.
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I shy away from trends that are overly feminine or have a younger appeal because they just don’t reflect how I feel on the inside. I think of myself as a headstrong and intentional person, and I want my clothes to reflect that.
FALL FABRICS & COLORS In Boulder, fall mornings can be bitterly cold but usually lead into warm (even hot) autumn days. I tend to layer natural fibers with the intent to shed them as the day gets warmer. I like to wear rayon year-round because it’s breathable and drapes beautifully. Cotton and linen are my go-tos for more structured items like trousers and button-up shirts. Tencel (a rayon-based fiber) is also a great fall fabric because it’s typically opaque and has a heavy drape, making it ideal for dresses and skirts. Suede and leather are classic fall choices and some of my favorite materials to work with. A lined suede pencil skirt will get wear for years to come and can be dressed up or down depending on the styling. Thick knits are also a great fall choice for cardigans and blazers. Rayon-based Ponte is one of my favorite fabrics for patterns like the Grainline Studio Morris Blazer, while I love a drapey ribbed knit for a duster-length cardigan. In the fall, I tend to reach for earthtoned colors, such as rust red and camel brown. Ivory-colored flowy blouses look great set against a saturated bottomweight fabric like a sienna brown cotton twill. Metal and leather jewelry complement the warm colors of fall and really pull together a look. In general, my fall fabric selection is based on the colors from nature: warm, natural hues in fibers that breathe and layer well.
STEPS FOR PLANNING A FALL WARDROBE STEP 1 GET TO KNOW YOUR COLOR PALETTE. Understanding my personal color palette has been a game changer, especially in fall and winter sewing. In summer, I tend to wear brighter colors, but it took a few years for me to understand that my fall color palette is more muted. In the colder months, I like to wear neutral colors, so I’m always looking for navy, gray and brown bottomweight fabrics. The prints I choose typically follow that color palette too, with a little bit of red thrown in.
STEP 2 BUILD YOUR WISH LIST IN EARLY SUMMER. Indiesew has a great wish list tool that makes it easy to keep tabs on what you want to make. You can add comments next to each item to note what kind of fabric you want to use and other modifications you want to make. Many people’s sewing practice slows down in the summer, so this is a good time to do more planning.
STEP 3 HUNT FOR FABRIC SALES DURING THE SUMMER. Summer months are the slowest for most sewing retailers, so hunt for sales on bottomweight fabrics and shirtings during July and August. Prewash the fabric as soon as it arrives so that it’s ready for your projects as soon as sewing inspiration hits!
STEP 4 START YOUR RESEARCH EARLY. If you want to tackle a more challenging project this fall, start researching techniques early. There are a lot of great online jeans making workshops that provide invaluable step-by-step instruction. If shirt making is on your list, bookmark useful resources to reference when sewing. This will motivate you to get sewing when cold weather hits.
Understanding my
personal color palette has been a game changer, especially in fall and winter sewing. London Backpack, LBG Studio
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INDIGO EFFECT BY ANA JANKOVIC
Learn how to alter a basic pattern to create intricate log cabin piecing, and then repurpose jeans into fabric to make a distinctive denim blazer.
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BurdaStyle Contrast Blazer, 11/2012 #127A
DENIM RE-DO You’ve probably seen a wide range of garments, accessories and bags made from taking apart and reusing old jeans. There are some amazing patchwork denim creations out there. This tutorial takes you step-by-step through how to create an intricately pieced denim blazer with a basic log cabin pattern — it’s easier than it looks!
SUPPLIES
PREPARE
• Tuxedo blazer pattern (such as BurdaStyle 11/2012 #127A)
Cut out the pattern pieces.
• Approximately six pairs of XXL or XL men’s or women’s denim jeans (amount varies according to measurements)
Before beginning the alterations, pin-fit or make a muslin fitting sample of the selected pattern.
• Lining, interfacing & notions (according to pattern envelope) • All-purpose thread • Size 100/16 denim needle • Pattern or tracing paper • Rulers: curved & straight • Removable fabric marker
Getty Images/Edward Berthelot
For the most striking final product, look for jeans in large sizes (they have more fabric!) in similar weights and stretch but different shades or even different colors altogether. The more contrast you can create between each piece, the easier it is to see the care and work that goes into this statement piece.
1
Make any necessary fit adjustments to the pattern, true the entire pattern and then trace a copy on paper, transferring all markings.
ALTER Trace a copy of the front, side and back pattern pieces; tape together at the seamlines. Tape the shoulder/ bust dart closed.
• Clear tape
TIP: Select jeans that have a similar thickness and stretch. Choose straightor flare-leg jeans to obtain the most fabric.
Beginning on the back, draw a curved line parallel to and 2" from the hemline. Continue the line along the side panel and front-panel lower edge and center front. At the bustline, draw a slightly curved diagonal line toward the shoulderseam center, making sure the line passes through the dart apex. Label as the “Band Line” (1).
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2
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line B 5
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line A 4"
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To create the log cabin piecing, mark the shoulder blade line on the back panel. Measure 4" below the mark along the center back; mark. Draw a straight line across the back down from the first mark at a 45° angle; label as line “A”. Draw a straight line up from the second mark at a 45° angle to intersect line A; label the triangle as “1”. Extend line A 4" past the triangle point (2). Measure 4” above the triangle upper point along the center back; mark. Draw a straight line down and across the back from the mark at a 45° angle, ending the line just beyond the side-back panel seamline; label as line “B”. Draw a slightly curved line from the end of line B to the band line at the center back, intersecting the end of line A. Label the lower rectangle “2” and the upper rectangle “3” (3).
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Continue creating the log cabin piecing across the back, and then into the side and front panel, following the diagram on page 37 and making each rectangle approximately 4"-wide. Number each piece in ascending order from back to front according to the diagram. After the design lines are drawn, smooth all the curves and angles using a curved ruler. Mark notches along each seamline. Cut out each new pattern piece. Add 5⁄8" seam allowances to each piece. Cut piece 13 into as many pieces as needed to fit onto the largest jean section. Add 5⁄8" seam allowances and notches to each cut edge (4). Prepare the lining pieces as described in the pattern instructions.
PREPARE Prewash and dry the jeans. To obtain flat denim fabric, remove each jean waistband and zipper along the seams. Cut along the front and back crotch seam. Cut along the inseam and outer leg seam. Remove the front pockets along the seams. Carefully remove all the back pockets
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13c
using a seam ripper. Trim away any flat-felled seams. Set aside four jean backs for each piece 13. If using the featured pattern, cut pattern pieces 1–12 twice from the denim, ignoring any grainlines. From the denim, cut two upper sleeves, two lower sleeves, two collars on the fold, two undercollars on the fold, two front facings and one back neckline facing on the fold. From the remaining four jean backs, cut each piece 13 twice for the featured pattern. Transfer all the pattern markings. Cut the lining according to the pattern instructions. From the fusible interfacing, cut one collar on the fold, one undercollar on the fold, two front facings, one back neckline facing on the fold and enough 15⁄8"-wide strips for the jacket and sleeve hemlines. Adhere the interfacing to the corresponding pattern pieces according to the manufacturer’s instructions.
Getty images/Atli Mar Hafsteinsson
DRAFTING TIPS When intersecting the log cabin design lines with the original seamlines, follow these guidelines: • If the original pattern includes a dart, the new pattern needs a seam positioned next to the dart apex, going through the apex or just below the apex. • If the original pattern includes a curved seam, such as the side panel seamline, the new pattern needs a seam positioned next to the point where the original seamline begins to curve upward. • The shape of the vertical seams that are intersected when creating the new pattern should be a line, as straight as possible, along each new pattern piece.
TIP: Grade and clip seam allowances during the jacket construction to reduce bulk for best results.
CONSTRUCT To stitch the right jacket half, pin piece 1 and 2 with right sides together and aligning the notches; stitch, and then press open. Repeat to stitch the previous panel to piece 3. Continue stitching all the log cabin pieces together. Repeat to stitch the lapel and band pieces together. Repeat to stitch the pieced panel front and lower edge to the band piece. Repeat to stitch the left jacket. With right sides together, stitch the left and right jacket panels along the center back; press open. With right sides together, stitch the front and back jacket panels at each shoulder; press open.
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13 13
5 10 3
Position two back jean pockets over the jacket front as desired; topstitch the sides and lower edges.
10 3
1
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6 6 11 13
Hand stitch the shoulder pads in place.
9 11
9
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Construct the collar, facings and sleeves according to the pattern instructions.
Construct and attach the lining according to the pattern instructions. 12
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13 Log Cabin Layout Diagram
Construct the buttonholes and attach the buttons according the pattern instructions. The featured jacket has three front closure buttons and buttonholes. SOURCE BurdaStyle provided the featured jacket pattern: burdastyle.com.
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BEYOND THE BASICS:
BY PAMELA W. HOWARD
Ex ore the wonderfu f l world l of of
elt po elt poc cket es
wi h three differe ent app pp p ca cation onss ad on adap dapta table bl r
y garment. Stitc ch a cute e bow wel elt, t, t,
chevron n double weltt and nd cur cur ed dou u l we foll wing p o ssio io ona nal ti tip ps ps and d tr tricks for pre ecise se poc ocke oc kets ts. s
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BOW WELT POCKET Add a cute bow to a basic welt pocket for a sweet accent.
SUPPLIES • Fabric • Fusible interfacing • All-purpose thread • Tailor’s chalk, 100% cotton hand basting thread or removable fabric marker
CUT From the fabric, cut one 4"×8" rectangle for the bow, one 2"×5" rectangle for the bow knot, one 6"×8" rectangle for the upper pocket and one 41⁄2"×8" rectangle for the lower pocket.
CONSTRUCT Mark a 11⁄2"×6" rectangle at the desired pocket location on the base fabric right side. Designate as the welt box. Center a rectangle of fusible interfacing slightly larger than the welt box on the base fabric wrong side; fuse following the manufacturer’s instructions. Draw a straight line through the welt box lengthwise center, ending 3⁄4" before each box short end. Draw diagonal lines connecting each line end with the adjacent corner. Designate the lines as the pocket cutting lines. Draw a straight line through the welt box widthwise center.
Carefully cut open the welt box on the cutting lines using small, sharp scissors. Fold the long edges and short-end triangles toward the base-fabric wrong side; press.
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Center the upper pocket wrong side up over the base-fabric wrong side, aligning one long edge with the upper welt-box seam allowance; pin. Stitch along the welt-box foldline (1). Fold the bow rectangle in half lengthwise with wrong sides together; press. Mark the bow lengthwise and widthwise center. Create a 1⁄4"-wide pleat at the bow center; pin.
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Fold the bow knot in half lengthwise with right sides together; pin. Stitch the long raw edge using a 1⁄4" seam allowance; press open. Turn the bow center right side out; press flat. Wrap the bow knot around the bow center and aligning the short raw edges; pin (2).
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Machine baste the bow knot along the bow lower edge. Fold the base fabric upward to expose just the upper pocket right side. Center the bow over the pocket, aligning the bow upper edges with the welt-box upper corners; pin (3). S E W N E W S.CO M
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Fold the base fabric over the bow, making sure the bow extends beyond all four welt box corners.
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Use a striped fabric cut on the bias to create a chevron double-welt pocket. Choose a vertical stripe, either even or uneven. If using uneven stripes, purchase enough fabric to be able to match the stripes at the pocket-opening center.
Fold the base fabric to expose the right welt box triangle. Pin the triangle, bow and pocket together; stitch along the triangle foldline (4). Repeat to stitch the left welt triangle. Fold the base fabric upward to expose the lower welt seam allowance. Pin just the welt seam allowance and bow lower edge together. Stitch along the welt foldline, making sure not to catch the upper pocket in the stitching (5).
SUPPLIES • Striped fabric • Fusible interfacing
5
CUT
6
From the remaining striped fabric, cut one 51⁄2"×8" upper pocket and one 6"×8" lower pocket. From the interfacing, cut two 11⁄2"×8" rectangles.
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Position the base fabric right side up. Fold the base fabric on the welt right side to expose the welt triangle. To close the pocket bag, begin stitching at the pocket upper right corner along the welt triangle along the previous stitching line. Continue stitching the pocket side, lower edges and opposite edges over the left welt triangle. Lightly press each welt edge flat, avoiding pressing the bow center.
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Position the striped fabric right side up on a flat work surface. Fold the upper right corner at a 45° angle (8). Cut one 11⁄2"×8" rectangle for the welt. Repeat to cut a second welt rectangle from the upper left corner.
Stitch along the previous welt stitching line, making sure not to catch the base fabric in the stitching (7). Fold the pockets toward the welt lower edge; press.
• All-purpose thread • Tailor’s chalk, 100% cotton hand basting thread or removable fabric marker
Turn the base fabric to the wrong side, making sure the upper pocket is flat and covering the welt opening. Fold the upper pocket upward to expose the bow and lower welt seam allowance. Center the lower pocket wrong side up over the upper pocket right side, aligning one long edge with the welt seam allowance; pin just to the seam allowance (6).
CHEVRON STRIPE WELT POCKET
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Fuse the interfacing to each welt-rectangle wrong side following the manufacturer’s instructions.
CONSTRUCT Fold each welt rectangle lengthwise with wrong sides together to create two 3⁄4"-wide welts; press. Draw a straight line 1⁄4" from and parallel to each folded edge. Position the welts right side up on a flat work surface, abutting the long folded edges to create a chevron stripe; pin. Draw centered straight
lines 6" apart and perpendicular to the folded edges across both welts; designate as the welt sides (9). Mark a 1⁄2"×6" rectangle at the desired pocket location on the base fabric right side. Designate as the welt box. Center a fusible interfacing rectangle that’s slightly larger than the welt box on the base fabric wrong side; fuse following the manufacturer’s instructions. Position the upper welt over the base-fabric right side, aligning the raw edges with the lower welt box line, the horizontal line with the upper welt box line and the welt side lines with the welt-box short ends; pin. Stitch, beginning at one welt side along the horizontal line and ending at the opposite welt side line, making sure to backstitch at the beginning and end. Fold the upper welt upward; pin. Repeat to stitch the lower welt, making sure the welts perfectly align. Carefully cut a 2"-long opening along the welt-box lengthwise center using small, sharp scissors and making sure not to cut the welts. Turn the base fabric to the wrong side. Continue cutting along the centerline, ending 5⁄8" before each welt-box short end, and then clipping diagonally into each corner to create a small triangle.
Gently turn the welts to the basefabric wrong side; press flat.
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Position the base fabric right side up. Hand baste the welts together along the folded edges. Center the upper pocket wrong side up over the base-fabric wrong side, aligning one long edge with the upper-welt seam allowance; pin just to the seam allowance. Fold the base fabric away from the upper pocket. Stitch along the previous welt stitching line, making sure not to catch the base fabric in the stitching.
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Position the base fabric wrong side up, making sure the upper pocket is flat and covering the welt opening. Fold the upper pocket upward to expose the welts. Center the lower pocket wrong side up over the upper pocket right side, aligning one long edge with the lower-welt seam allowance; pin just to the seam allowance. Stitch along the previous welt stitching line, making sure not to catch the base fabric in the stitching. Fold the pockets toward the welt lower edge; press.
right corner along the welt triangle as close to the fold as possible. Continue stitching the pocket side, lower edges and opposite edges over the left welt triangle. Trim the welts even with the pocket edges. Press the welt pocket flat from the base-fabric wrong side. Turn the base fabric to the right side, and then lightly press the welt pocket.
Position the base fabric right side up. Fold the base fabric on the welt right side to expose the welt triangle. To close the pocket bag, begin stitching at the pocket upper
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10
CURVED WELT POCKET Create a slightly more challenging curved pocket with double bias welts.
SUPPLIES • Fabric • Fusible interfacing • All-purpose thread • Tailor’s chalk, 100% cotton hand basting thread or removable fabric marker
CUT Download the Curved Welt Pocket pattern from sewnews.com/web_extras until Sept. 30, 2018. Purchase the pattern at shopsewitall.com after the expiration date. Cut out the patterns. From the fabric, cut two 2"×10" welt rectangles on the bias, one upper pocket and one lower pocket. From the interfacing, cut two 2"×10" rectangles. Fuse the interfacing to each weltrectangle wrong side following the manufacturer’s instructions. 42
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CONSTRUCT Position the welt box template over the desired pocket location on the base fabric right side; transfer the markings.
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Center a fusible interfacing rectangle that’s slightly larger than the welt box on the base fabric wrong side; fuse following the manufacturer’s instructions. Carefully cut the welt box on the cutting lines using small, sharp scissors. Fold the long edges and short-end triangles toward the base-fabric wrong side; press. Fold each welt rectangle lengthwise with wrong sides together to create two 1"-wide welts; press. Draw a straight line 1⁄4" from and parallel to each folded edge. Position the welts right side up on a flat work surface, abutting the long folded edges; press the welts in a slight curve to mimic the pocket-opening shape. Hand baste the folded edge together.
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Center the base fabric right side up over the welts, aligning the welt lines with the welt-box upper and lower edges; pin or hand baste to secure. Edgestitch the welt-box long edges (10). Position the base fabric wrong side up. Center the upper pocket wrong side up over the base-fabric wrong side, aligning the upper edge with the upper-welt seam allowance; pin just to the seam allowance. Fold the base fabric away from the upper pocket. Stitch along the welt foldline, making sure not to catch the base fabric in the stitching (11).
Getty Images/volkansengor
WELT BASICS Follow these key elements to ensure welt pocket success: • Traditional welt pockets are a maximum of 1⁄2"×6", any longer and the pocket may gap. Welts are at least 11⁄2"×8". • Stabilize the fabric with fusible interfacing to prevent raveling. • Draw welt boxes on base fabric using a removable fabric marker, tailor’s chalk, tailor’s tacks or hand-basted lines using 100% cotton basting thread. Always test any marking method on scrap fabric to ensure it’s completely removable. Some tailor’s chalk and fabric markers disappear with heat or steam from an iron. • Always use a ruler to draw accurate measurements and straight lines. • Carefully and slowly cut welt pocket openings using small, sharp scissors. • Construct samples to practice the technique before working on the final project.
Fold the upper pocket upward to expose the welts. Center the lower pocket wrong side up over the base-fabric wrong side, aligning the upper edge with the lower-welt seam allowance; pin just to the seam allowance (12). Stitch along the welt foldline, making sure not to catch the base fabric in the stitching. Fold the pockets toward the welt lower edge; press. Position the base fabric right side up. Fold the base fabric on the welt right side to expose the welt triangle. To close the pocket bag, begin stitching at the pocket upper right corner along the welt triangle as close to the fold as possible. Continue stitching around the pocket, ending at the left welt triangle. Press the welt pocket flat from the base-fabric wrong side. Turn the base fabric to the right side, and then lightly press the welt pocket.
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WHO WORE WHAT
WHEN BY KRISTINA SELESHANKO
“There’s nothing new under the sun” is a phrase that fits fashion like a glove. When the latest, greatest designers come up with a new look, it’s almost always inspired by something old. Sometimes something very old. In fact, many of the fashions we consider timeless literally are. So who originally made bikinis or high heels trendy? The answers may surprise you!
BRAS BEFORE TIME Women have probably always worn some form of garment for breast support. In ancient times, this took the form of a cloth band across the chest, or a ribbon or decorative chain tied beneath the breasts. Then corsets were invented; yes, they were waist-whittlers extraordinaire, but they also supported the breasts.
peek-a-boo blouses. These were made from sheer fabrics with lace and eyelet insets that exposed whatever was worn beneath them. However, Mary hated the way her corset cover looked under these fashionable clothes, so she tied two handkerchiefs together with ribbon and wore the creation like a bra.
Other socialites noticed how much nicer Mary’s gowns looked, and Mary happily shared her invention with them. She patented her bra in 1914 and produced hundreds for the retail market. Unfortunately, she didn’t make enough sales to sustain her business, so she sold her company to Warner Brothers, makers of
During these corset-wearing years, many people created bralike garments to wear alongside or instead of corsets. The garment most resembling the modern bra was patented in 1893 by a woman named Marie Tucek. It had shoulder straps, a hook closure and held the breasts in two separate pockets. Still, Tucek’s bra wasn’t exactly popular. In fact, pretty much nobody wore it. Fast forward to 1913. Mary Phelps Jacob, a young New York socialite, loved trendy “lingerie gowns” and 44
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Above: Bra design patented by Marie Tucek in 1893. Top: Illustration from Mary Phelps Jacob's patent application, 1914.
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But there’s more to this tale. In 2008, four linen bras were found in an Austrian castle and, to the shock of historians everywhere, were carbon dated to the Middle Ages. So, it turns out, women have been trying to find the perfect bra for a very long time.
TWO-PIECE POLICE
Artwork dating to A.D. 286 depicts Roman women in bikinis exercising and playing sports. (The ancient Greeks preferred playing sports naked, so bikinis may originally have been the choice of prudes.) Venus, the Roman goddess of love, was also sometimes depicted wearing a bikini, as were prostitutes.
Actress Ava Gardner wears a daring bikini in 1943.
Getty images/Werner Forman
Bikinis were introduced to the modern world in the late 1940s; however, most women shunned the superrevealing style. When a few grew brave enough to don bikinis in the 1960s, the fashion hit the nightly news hard. The barely-there clothes spawned protests; bikinis were, many
people felt, too much like wearing underwear in public. But, as it turns out, bikinis were old news. Really old.
Getty images/Bettmann
corsets. The Warner bra was born, and the rest, as they say, is history.
Ancient roman mosaic depicting female athletes wearing bikinis. S E W N E W S.CO M
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WOMEN WEARING THE PANTS Originally, dresses were it. Both men and women wore them, and nobody thought it was weird. Pants didn’t come into vogue until men started riding horseback. And women? They didn’t wear pants at all until the 20th century . . . right? Wrong! The ancient Greeks wrote about women in pants, noting that their enemies the Scythians were such “barbarians” that their women fought right alongside the men, wearing trousers. The Greeks were so amazed by this sight that they immortalized those women by calling them “Amazons”—women they regaled in their art and storytelling. Historians once thought Amazons were just another Grecian myth, but in 2014, The National Geographic reported that DNA testing found that one third of Scythian women were buried with weapons and had war injuries.
Detail of an Etruscan bronze of a female Amazon archer wearing pants, 6th century BC.
THE LEVI’S LEGEND
Levi Strauss arrived in San Francisco, CA, in the 1850s, hoping, like so many others, to become rich. He was a dry goods man, meaning he sold fabric and notions. According to legend, a certain prospector came into his store, wanting to know what was in stock. Strauss said he had lots of canvas for making tents and wagon covers. The prospector replied, “You should have brought pants!” Strauss’ search for the perfect pants began. A local tailor named Jacob Davis often bought Strauss’ denim to reinforce work-worn miners’ pants. Davis hit upon the idea of using copper rivets to reinforce pants, making them more durable. But Davis couldn’t even afford to apply for a patent, let alone start producing his creation in quantity, so he proposed going into business with Strauss. Miners during the Gold Rush.
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In 1873, Strauss and Davis received their patent and soon the team was producing denim overalls. In the 1890s,they produced their first pair of Levi’s 501 jeans and a legend was born.
Bronze: Getty Images/Print Collector. Miners: Getty Images/benoitb. Chanel dress: Getty Images/Conde Nast Collection. Medieval illustration: Getty Images/Historical Picture Archive.
There’s barely a person alive today who doesn’t wear jeans on a regular basis. They owe it all to 19th century Gold Rush miners . . . or at least the men who tried to clothe them.
OMG THE LBD The Little Black Dress is so iconic, today it’s often simply referred to as the LBD. But how did black dresses, once the symbol of Victorian mourning and something most women dreaded, become an essential part of every woman’s wardrobe? The credit goes to a famous fashion designer, a legendary magazine and a tragic economic collapse. In 1926, American Vogue featured a photo of a super-simple, short black dress designed by Coco Chanel. The editors called it “Chanel’s Ford,” reminding readers of Henry Ford’s autobiography in which he famously states customers could have the popular Model T car in any color they wanted as long as it was black. Vogue also wisely predicted the Little Black Dress would soon be “a sort of uniform for all women of taste.” But the style didn’t catch on right away. It took the 1929 stock market crash, followed by the Great Depression, to really launch the LBD into history. Once everyone was strapped for cash, who didn’t want a simple black dress that could be worn over and over to nearly any occasion? "Chanel's Ford"
HEELS ON HIGH What could be more modern than women mincing about in totally impractical high heels? A lot, it turns out, because heels also have ancient origins. Egyptian royalty, both men and women, wore heels to show off their social status among peasants who went flat-footed. But it’s a mistake to think heels were all glamour and high fashion. Ancient Egyptian butchers wore them, too, so they could walk above the blood of dead animals. However, something as practical as butcher’s shoes can still morph into something different: In ancient Greece and Rome, high heels were worn by women of ill repute as a signal they were available for hire.
Medieval royalty wearing heels.
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ITTY BITTY MINIS Miniskirts are synonymous with the rebellious “youthquake” of the 1960s. So it may surprise you that women in the 60s weren’t wearing a new, shocking fashion. They were adopting a very old one. What fashions do ancient drawings of Egyptians reveal? In addition to draped dresses and awesome eyeliner, some of those ancient figures wear miniskirts. And the Egyptians weren’t the only ones donning scanty skirts long before modern times. European figurines dating from 5400-4700 B.C. show women wearing itsy bitsy miniskirts, too. Some ancient Chinese women, known as Duan Qun Miao, which literally means “short skirt Miao,” regularly wore miniskirts so short their rear ends were barely covered. And one of the world’s oldest surviving garments is a wool mini worn by a mummy who lived during the Bronze Age. Apologies to the counterculture of the 1960s. It turns out miniskirts are about as traditional as it gets.
Egyptian fresco depicting short skirt-like garments.
If there’s one modern fashion that inspires head scratching, it’s the tie. Whoever thought it was a good idea to put a colorful noose around men’s necks? It turns out this weird fashion owes its popularity to the 17th century’s 30 Years’ War. At that time, Croatian mercenaries visited France to support King Louis XIII. The Croats thought it smart to tie a piece of cloth, in the shape of a modern bowtie only with longer ends, around their necks so the King would know who they were. King Louis was flattered, and made these “cravates” mandatory for men during royal gatherings once the war was over.
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Sir William Bruce, c. 1630–1710, sporting a cravat
Egyptian fresco: Getty Images/powerofforever. Sir William Bruce: Getty Images/National Galleries of Scotland. Sailors: Getty Images/bauhaus1000
TIES THAT BIND
IN THE FLARE Pants have taken many shapes throughout history, but usually they were either puffy (imagine Aladdin’s fancy pants) or straight and slim. Yet in the 1800s, sailors adopted bellbottomed pants. We don’t know exactly who invented them, but the first written record mentioning flared pants is from 1813, in a description of U.S. Navy garb. Why did sailors prefer flared pants? Probably for lots of practical reasons. They were easy to roll up when the lower leg needed freedom; if a man fell overboard, flared pants (and sailor collars) might give seamen something to grab in order to pull him back on board; bell-bottoms could also be easier to take off when soaking wet, thereby facilitating an easier escape from weighty wool clothes when a ship began to sink. Victorian engraving showing sailors in traditional dress.
SOCK IT TO YA Picture it: World War II. Silk hosiery, popular since the 1500s, is almost impossible to find (mostly because the Allies use silk to make parachutes for soldiers). Some genius scientists create a new fabric called rayon, and stockings are made from it—but in England, even those are tough to find. So you go barelegged or wear long cotton socks. The first makes your feet sweat; the second looks dorky. British Vogue to the rescue! In the effort to help English women remain fashionable amid Nazi bombings, they suggest wearing long socks folded down to the ankle: so much more attractive! The ankle sock is born.
TURTLENECK TWIST Though you might imagine 1950s beatniks when you think of the turtleneck’s origins, British polo players
were really the first to popularize this fashion. In fact, this style shirt was originally called the polo neck. During the 19th century, turtlenecks were popular among menial workers, sailors and athletes, an interesting twist, since in the mid-20th century, this neckline was more closely tied to intellectuals. Nevertheless, turtlenecks became so popular that both Victorian men and women adopted them. But while polo players made the modern turtleneck trendy, it turns out the turtleneck is even older than this. Imagine a knight atop his steed, gleaming in armor. Now imagine how uncomfortable that knight must feel and how his armor chafes his skin. His neck is so sore from rubbing up against his chainmail, it’s difficult to turn his head during battle. And voila! The turtleneck, protector of knights’ necks, is invented.
SKIMPY SKIVVIES When you think of thongs, do you imagine slinky, air-brushed women in sexy underwear? Or do you imagine Tarzan? Because it turns out the Tarzan image is more historically accurate. Going back to the beginning of time, it was men who wore thongs. In fact, historians believe thongs were designed to hide and protect male genitals. Nobody’s really sure when thongs became the province of women, but in 1939, New York City’s Mayor Fiorello LaGuardia was the first to write about them being worn by the fairer sex. He declared thongs indecent, saying the city’s “dancers” needed to dress more appropriately.
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DIY
TEXTILES
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Create your own custom fabric prints using three dynamic painting techniques and supplies you have on hand.
FLOUR
POWER
Look no further than your kitchen pantry for product to produce custom fabric prints. This flour-resist painting technique creates a crackled, layered texture that helps a simple tote make a statement.
BY BIANCA SPRINGER
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1
Test this technique on a variety of fabric substrates, including stable knits, and then use the swatches to stitch small-scale projects, such as a keychain.
SUPPLIES
PREPARE
PAINT
• Tote bag pattern (See "Sources.")
Combine the flour and water in a 1:1 ratio. Whisk the mixture until there are no lumps and it resembles melted ice cream.
Once the paste is completely dry, the fabric is extremely stiff and the edges curl (1).
• Cotton broadcloth or duck canvas & notions (amount according to the pattern envelope) • 2 cups of all-purpose flour & cold water • Putty knife or wide spatula • Wire whisk
Cover the work surface with a tarp. Position the fabric yardage right side up over the tarp. If desired, apply painter’s tape to the fabric to create stripes.
• Fabric paint (See “Sources.”) • Round stippling sponges • Small dish • Tarp • Apron • Painter’s tape (optional)
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Smooth the paste over the fabric; allow to air dry. Note: The drying process is slow because the tarp prevents air from circulating underneath the fabric. To accelerate the drying, remove the tarp and place the fabric on the drying rack when the paste is tacky to the touch, after several hours. Don’t dry the fabric outdoors unless it’s protected from insects and vermin, which may be attracted to the flour.
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Bend, fold and twist the fabric to crack the paste on the surface. The more cracks created, the more the paint permeates the fabric. Position the fabric right side up over the tarp. Pour the lightest paint color into a small dish. Load one sponge stippler with paint, scraping any excess on the dish edge. Pounce the sponge over the fabric, pushing a minimal amount of paint through the paste cracks. Check to ensure the paint shows through on the fabric wrong side. Add more paint as desired; air dry.
2
Once dry, crack the paste again. Apply another paint color using the previous technique. Repeat to apply as many paint colors as desired (2). If the fabric paint requires heat setting, place the fabric in a pillowcase and tie closed the open end. Place in the dryer for 20 minutes. To remove the paste, submerge the fabric in a bucket or sink of water until the paste softens. If used, remove the painterâ&#x20AC;&#x2122;s tape. Using a spatula or putty knife, scrape the majority of the paste and paint away; discard in the trash. Wring the excess water from the fabric. Lay it flat over a tarp-covered surface. Remove any remaining paste. Lightly wash by hand or on the delicate cycle in the washing machine to remove any remaining paste. Air or tumble dry.
FINISH Cut out the tote pattern pieces from the fabric yardage. Construct the tote according to the pattern instructions. SOURCES I Love To Create carries Tulip Soft Fabric Paint in matte: ilovetocreate.com. Paradiso Designs carries the Urbanista Hobo pattern (for blue sample): paradisodesigns.com. S E W N E W S.CO M
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STROKES OF
GENIUS BY ADDIE MARTINDALE
Transform a basic A-line skirt into a unique work of art with fabric painting that highlights paintbrush strokes. Plus, learn must-know tips for painting on fabric.
Self-drafted A-line Skirt
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SUPPLIES • Basic A-line skirt pattern with waistband
1
• Cotton sateen fabric & notions (amount according to pattern envelope) • Fabric dye or paint (see “Sources.”) • All-purpose thread • Towels • Wall or furniture paintbrushes: 1" round, 11⁄2" square angle & 2" regular
PREPARE From the fabric, cut one front, two backs and two waistbands. With right sides together, stitch the backs to the front along the side seams.
PAINT Select the desired color and number of dyes or paints. Position the skirt flat and right side up on a flat work surface covered with absorbent towels. Determine a rough brush stroke layout for the skirt. Dip a 2" paintbrush into the dye or paint. Beginning at one skirt side, paint single brushstrokes across the skirt as desired; allow to dry. Once dry, repeat to paint across the skirt with a 11⁄2" square angle brush; allow to dry. Repeat to paint the skirt using a 1" round brush (1). Continue to paint the skirt using different brushes and dye or paint colors as desired.
TIP: Don’t overthink the brushstroke layout, just let loose and have fun during painting.
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TIP: Paint the fabric yardage before cutting the pattern pieces to create an unpredictable pattern for the finished garment.
Repeat to paint the waistband. The featured waistband is painted with horizontal stripes using a 11⁄2" angle brush. Once satisfied with the painting, set the dye or paint according to the manufacturer’s instructions.
FINISH Finish constructing the skirt according to the pattern instructions. SOURCES I Love To Create carries Tulip Soft Fabric Paint in matte: ilovetocreate.com. Jacquard Products carries Dye-Na-Flow fabric paint: jacquardproducts.com.
PAINT A PICTURE
A
Follow these tips when fabric painting to achieve best results.
Fabric Select an absorbent, natural fiber fabric, such as cotton sateen, cotton twill, rayon, rayon blends or linen.
Paint If using a fabric dye, select dye in small, re-sealable squeeze tubes to easily mix colors. Choose a dye that’s set using an iron. If using paint, select paint that’s easily applied to fabric and doesn’t create a stiff drape. Mix colors for unique shades to match any project. Use the paint in very thin layers for the best results.
B
Combine both dye and fabric to create a unique texture on the fabric. When combining dye and paint, apply and set the dye first before applying the paint.
Brushes To create large brush strokes, use paintbrushes specifically used for wall and furniture painting. These brushes are larger and less dense than craft or traditional canvas brushes. Wall and furniture brushes create a brush effect and not just a solid line. Select 2" flat, 1" round or 11⁄2" square angle brushes for the best results (A).
Painting Prewash the fabric to remove any sizing or residual dye from the manufacturing process, allowing the dye or paint to properly absorb into the fabric. Press the fabric to remove any wrinkles before painting. Any wrinkles left in the fabric make it difficult to achieve smooth, continuous strokes.
C
When painting on dry fabric, the brush strokes are defined and don’t bleed. To create defined overlapping or touching strokes, allow the dye or paint to completely dry before adding a second stroke (B). When painting wet fabric, the dye or paint spreads and bleeds from the original stroke to create a watercolor effect. Strokes placed close together gently merge to create a blended border (C). Two different colors placed close together create a third color on the overlap.
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PAINTERLY
PLASTIC BY DANA BONTRAGER
Use a plastic bag and fabric paint to embellish fabric, creating a unique texture. Try this technique on a wide variety of fabrics to create fun garments, bags and home décor.
1055 My Favorite Pullover, Dana Marie Design Co.
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PAINTING BASICS Select a solid-colored fabric or a fabric that reads as a solid, such as small, dense or tone-on-tone prints. Position the fabric yardage or cut out pattern pieces right side up on a covered work surface. Use a plastic plate to mix the chosen fabric paint. If mixing colors to match a certain shade, mix more than enough for the project. It’s easier than trying to mix the exact color again if more paint is needed. Always start with a light color, and then mix darker shades to obtain the desired shade. If using a dark color first, a lot of lighter paint needs to be mixed in to obtain the same shade. Purchase a box of thin disposable gloves at a home improvement, drugstore or beauty supply store. Or use dish soap to remove fabric paint from your skin and hands. Unlike a sponge, a plastic bag is nonporous and easier to control during the paint application. The textured edges created from the bag folds are sharp and clearly defined. Either blend very little to create a rock-like texture or blend a lot to create a softer texture. Turn a plastic grocery bag wrong side out to prevent any ink on the bag from transferring to the fabric. Scrunch up the bag in your hand until it’s a manageable size. If using more than one bag for a project, secure each bag using a rubber band. Dip the plastic bag into the paint, lifting it up and down to get even paint distribution on the folds. Don’t put too much paint on the bag. Pounce the bag onto the fabric, moving it around to cover the entire surface. Repeat to add more paint and colors as desired. Once satisfied, allow the paint to dry. Follow the fabric paint manufacturer’s instructions to set the paint. Most fabric paints are heat-set using an iron.
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EMBELLISHED SHIRT A basic long-sleeve shirt becomes a statement piece with all-over paint. • Prepare the shirt front and back pattern piece for painting. Set up different colors for painting. • After cutting out the sleeves, use painter’s tape to mask off portions of the fabric to create a stripe down the sleeve center. • During the shirt construction, add a decorative stitch along each sleeve stripe to resemble trim.
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LEAF VEST Use a stencil with the painting technique to add artful accents to a vest.
1054 Princess Layer Vest, Dana Marie Design Co.
• Select a readymade or handmade stencil. To create a custom stencil to mimic the look at right, print a copy of a leaf in the desired size. Cover the front and back of the paper with clear packing tape. Carefully cut out the leaf using a craft knife or sharp scissors. • Position the stencil over the fabric. Pounce the plastic bag with paint over the stencil. Use multiple colors to mimic fall leaf colors. Add as many leaves as desired. • For added interest, topstitch each leaf to add stems and veins in matching variegated thread.
PATCHWORK PURSE Combine the plastic bag with a paint brayer for added texture to enhance the design. • Wrap a plastic bag around a small paint brayer (1). • Apply paint to the brayer. Roll the brayer over small squares. • Assemble a tote using the painted squares and coordinating print squares.
15533 Hi-Lo Shoulder Bag, Dana Marie Design Co.
SOURCES Dana Marie Design CO. carries the featured patterns: danamarie.com. Jacquard Products carries Textile Color fabric paint: jacquardproducts.com.
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NEW MINI-SERIES!
BRA BASICS BY SOPHIE HINES
IN THE NEXT ISSUE: LINGERIE CONSTRUCTION TIPS!
Euler Bralette Pattern by Sophie Hines 60
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PART ONE:
FABRIC & NOTIONS Sewing your own lingerie is a seemingly intimidating experience because of the new materials and techniques out there. With expert guidance and knowledge, making your own bras and underwear is actually fun and rewarding, especially when the fit is perfect. Read on to learn all about the fabric and notions most commonly used for lingerie projects.
FABRIC CHOICE Some lingerie sewing patterns are designed for woven fabric; however, it’s much easier to achieve a perfect fit with stretch fabrics that move with your body.
MEASURING STRETCH Sewing patterns indicate how much fabric stretch is needed. Some patterns require a fabric with 25% stretch or 50% to 75% stretch. To determine the fabric stretch, cut a 4"-wide strip away from the cut edge on the yardage. The cut edge has less tension than the interior fabric, so it stretches more and causes an inaccurate measurement. Gently pull the fabric across a ruler and measure how far it stretches. Each inch the fabric stretch is 25% stretch. Don’t pull the fabric taut, pull just as much as would be comfortable to wear.
ELASTIC BASICS
Most knit fabrics with stretch are suitable for lingerie. Choose a mostly natural fiber, such as cotton, or a blend, such as bamboo rayon with a 3% to 10% Lycra content. The Lycra gives the fabric good stretch and recovery, while the natural fibers are breathable and have natural softness. Likewise, select a natural-fiber blend for underwear to maintain breathability and proper recovery. Experiment with fun synthetics for lingerie accent panels, such as stretch velvet, lace or sheer power mesh.
Always measure elastic stretch in the same way as fabric, and also take note of how long it takes to return back to the original 4" length. Choose an elastic that snaps back quickly for longlasting lingerie that holds its shape.
Choose inexpensive fabric remnants for the first few lingerie projects to perfect the new techniques without breaking the bank.
The three main types of elastic are woven, braided and knitted.
Woven elastic is very strong and doesn’t run when snagged or narrow when stretched. Most woven elastic has vertical stripes to prevent rolling, also called non-roll, which is used for waistbands and inside casings. Braided elastic has horizontal ribs and narrows when stretched. It’s comprised of many stretchy threads that are braided together and around elastic cords. Knitted elastic doesn’t narrow when stretched and is usually the softest elastic. It’s made of one continuous knitted fiber and may contain encased elastic cords. Clear elastic isn’t woven or made of any fibers, it’s a continuous strip of clear, stretchy plastic. Use clear elastic for straps or stitch on the garment interior to prevent slipping during wear. Woven elastic
Braided elastic Choose elastic with 25% stretch for a bra under-bust band to provide good support and stay in place. Choose elastic with 50% to 75% stretch for underwear to prevent lines on your derrière.
Knitted elastic
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LINGERIE ELASTIC Learn about the most widely used elastic for lingerie construction. Picot elastic has one or two decorative long edges, usually a little wave or dot design, but can also be intricate and lacey. Apply picot elastic over the lingerie right side or on the wrong side to only reveal the decorative edge. Ruffled elastic is similar to picot because there’s a ruffle on one or both long edges and it can be applied over or below lingerie. Use for underwear or as a decorative bra strap. Stretch lace is available in all widths and designs. Use narrow stretch lace as a trim, apply 1"- to 2"-wide lace to garment edges or 8"- to 10"-wide lace as fabric for small garments.
Picot elastic
Ruffled elastic Satin elastic is sturdy, shiny and commonly used for bra straps. Satin strapping elastic doesn’t have much stretch and is therefore used for under bust and strap elastic to provide excellent support.
Stretch elastic
Brushed elastic has one or both sides brushed to make a soft and fuzzy surface. The brushed side is worn against the skin. Satin elastic Fold-over elastic, also known as FOE, is easy to find and work with. One side is satin and the opposite side is matte brushed. Most fold-over elastic is 5⁄8"-wide and has a foldline along the vertical center to create a perfect fold over the fabric edge. It can also be applied flat on projects.
Brushed elastic
Fold-over elastic Pre-fold elastic is folded over a fabric raw edge, however it doesn’t lay flat like fold-over elastic and always remains folded. Most pre-fold elastic is woven with a decorative edge to resemble picot elastic. Use it for underwear or bra edges.
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Pre-fold elastic
NECESSARY NOTIONS In addition to the fabric and elastic, there are some additional pieces used in bra making that elevate handmade lingerie. Hook-and-eye tape, also known as bra-back closures or bra hooks, comes either by the yard or precut tabs. Tape by the yard is measured by the width between each hook and eye. Precut tabs are heat sealed along the edge and measured by the overall tab length from top to bottom. Precut tabs have a built-in shield, but other hook and eye tape may not have a shield. O-rings and slides are used to create adjustable straps and are measured in millimeters or fractions of an inch. Select rings and slides that match the chosen elastic strap width. Purchase sets either in clear plastic, metal finishes or nylon-covered metal. The nylon-covered metal is usually black or white. Dye the white pieces with synthetic dye to match the project. Underwire is a flat, narrow curved wire that fits under the bust to shape and lift the bustline. Select a properfitting underwire that rests completely flat against your ribcage. If the centerfront gore or cup lower edges aren’t resting flat against your ribs, the wire is too large for your bust size. If the wires are poking into the side of your bustline, the wires are too small. To purchase the correct underwire size, trace the breast root, the point at which your breast attaches to your chest, with a piece of wire or a flexible ruler. Compare the shape to the wire-sizing chart provided by the underwire manufacturer. If you have underwires on hand, trace your breast root with a washable marker, and then compare the underwires directly to your body.
Once the correct size is found, buy underwires in the next size up and down to compare all three sizes to determine the best fit. Most women’s breasts differ in size and shape from one side to the other, so different underwire sizes are needed for each breast.
DYEING BASICS Most lingerie notions are nylon or polyester, which makes dyeing an easy and quick way to match the project. To dye notions, fill a sink with cold water. Wet all the notions in the cold water so they take the dye evenly. Mix the dye according to the manufacturer’s instructions in a large pot on the stove, and then place elastic, nylon-coated rings and sliders and hook and eye tabs together in the dye. Stir the pot often and check the color absorption, making sure to keep the water hot. Once the desired color is reached, remove the notions from the dye and place into a sink full of cold water to stop the color absorption. Once cooled, hang everything to dry. The
DYEING TIPS Always begin with much less dye than needed. More dye can be added to achieve a darker or more intense color. Fabric dye uses chemicals that shouldn’t be ingested; so don’t use any pot for food after it’s used for dyeing notions. Different products absorb dye at different speeds. Fold-over elastic and bra hooks are thin and soak up dye very quickly, while rings and slides take longer. Place hooks, rings and slides in a mesh bag to easily check the dyeing process separately from other notions.
longer the notions are left to dry, the more colorfast they become. Once dry, gently hand wash the notions in warm water and detergent until the water runs clear; hang to dry. SOURCE Rit Dye carries DyeMore dye for synthetics: ritdye.com.
Dye your notions to match!
Hook-and-eye tape
O-rings and slides
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CABERNET CROSSOVER BY KIMBERLY PAYNE
Take a basic staple and turn it into something special with a simple modification. An existing T-shirt pattern is easily transformed into a wrap top that becomes a flattering addition to your wardrobe.
Montlake, Straight Stitch Designs (modified)
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SUPPLIES • Basic T-shirt pattern (See “Source.”) • Knit fabric (amount according to the pattern envelope) • 1 yard of 3⁄8"-wide velvet ribbon • All-purpose thread • Size 80/11 ballpoint needle • Pattern or tracing paper
ALTER Trace the back and sleeve patterns onto new paper; cut out.
the wrap intersects with the side seam, measure from your shoulder to your natural waistline. Mark from the right shoulder seam to the right side seam according to the measurement.
1
Draw a diagonal line from the left shoulder/neckline intersection to the marking on the right side seam, creating a slight curve on the lower half of the line (1). Designate as the new front pattern. Add seam allowance to the cut edge, and then cut out the new pattern (2).
Trace the front pattern onto new paper, and then flip it along the center-front line; trace to create a full front pattern.
CUT
Place the full front pattern on a flat work surface. To determine the point
Cut the ribbon in half widthwise.
2
From the knit fabric, cut one right front, one left front, two sleeves and one back on the fold.
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3
4
CONSTRUCT Fold the right-front neckline edge and short side seam 1⁄2" toward the wrong side; press. Fold the left-front neckline edge and short side seam 1⁄2" toward the wrong side; press. Fold the left-front lower edge 1⁄2" toward the wrong side; press. Position one ribbon end on the left front below the seam allowances at the neckline/short side-seam intersection with wrong sides together and raw edges aligned; pin (3). Unfold the right-front neckline edge. With right sides together, stitch the back and right-front shoulder seam. Repeat to stitch the left front and back at the shoulder seam. Press each front neckline edge along the previous foldline; pin. Press the back neckline edge 1⁄2" toward the wrong side; pin. Beginning at the left-front lower edge, topstitch the left-front short side seam, left-front neckline, back neckline, right-front neckline and short side seam using a 3⁄8" seam allowance (4).
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Turn the ribbon toward the shirt right side. Topstitch the left front at the ribbon position to secure (5). Attach the sleeves to the bodice armscyes according to the pattern instructions.
5 Position the left front and back right sides together. Position the right-front wrong side up over the left-front wrong side. Pin each side seam and sleeve underarm, making sure to leave the left-front short side seam free between the right front and back. Position the remaining ribbon end between the right front and back at the side seam with the ribbon and back right sides facing. Align the raw edges and the ribbon end even with the left-front neckline/short side seam intersection; pin. Stitch each sleeve and side seam as one continuous seam, stitching the right-front short side seam into the left side seam, making sure not to catch the left-front short side seam in the right side seam (6). Hem the sleeves and remaining bodice lower edges according to the pattern instructions.
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6 Back
Left Side
Right Side
SOURCE Straight Stitch Designs carries the featured pattern: straightstitchdesigns.com.
4 WAY STRETCH FABRICS Spandex prints Sparkle Velvets Hologram Spandex Ponte...and more 50% Off Fabric Sale Now in Progress www.fabricsinmotion.com arlene@fabricsinmotion.com
Internet Embroidery Club
Get Hundreds of Designs for One Low Price Beautiful alphabets, vintage-inspired collections, seasonal designs and more. Learn more at embroidery.marthapullen.com
MAKE YOUR OWN UNIQUE SPORTSWEAR! Choose from 13 different styles, all designed by Melissa Fehr, activewear sewing expert
Available on shopsewitall.com
Toaster Sweater Sew House 7
BurdaStyle Biker Jacket
BurdaStyle Dress #124A, 08/2016 Fabric provided by Pendelton Wool
#108B, 12/2015
Working Tote Page 73
Haute Couture Skinny Pants Wardrobe by Me
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Infinity Sc ar f
Roscoe Blouse
Pa 72 ge
True Bias
Esme Cardigan Named Clothing
BurdaStyle Cowl Tank #101A, 06/2013
CAREER CAPSULE
10 MUST-HAVE PIECES TO SEW & SWAP
Laptop Sleeve Page 72
Stitch up the perfect workwear wardrobe with 10Â dynamic garments and three accessories that work together in endless combinations.
Axel Skirt
Closet Case Patterns
Ginger Skinny Jeans
Megan Nielsen Patterns
Kalle Shirt Closet Case Patterns
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Create a mix-and-match workwear capsule wardrobe for endless wearing options and transform the daily grind into a chance to showcase your personality. Smart accessories in complementary colors and patterns do wonders to pull together different looks without too much effort. The featured 10 garments are easily combined to make more than 40 t g twice. combinations, so no one will think youâ&#x20AC;&#x2122;re wearing the same thin
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MAKE THIS FROM START TO FINISH WITH VIDEO INSTRUCTION IN THE "SEW ALONG: BIKER JACKET" AT ACADEMY. BURDASTYLE.COM
LOOK 1
LOOK 2
Pair a skinny pant with a flowy blouse and comfy loafers. Add a pop of color with the tote, which is large enough to hold a laptop.
Turn a LBD into a work staple with a colorful scarf and trendy jacket.
LOOK 3
LOOK 4
Give a modern twist to a classic workwear pairing: don a drop-sleeve button-up with a fitted knit pencil skirt in a bright shade.
Take casual Friday to another level with sleek jeans, gathered top and comfy coatigan to keep you warm in a cool office setting.
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This page: Earrings: Getty Images/evemilla. Flats: Getty Images/Chiyacat. Opposite page: Black flats: Getty Images/Eivaisla. Gold boot and red flats: Getty Images/mawielobob. Bracelets: Getty Images/iconogenic. Nude pumps: Getty Images. Earrings: Getty Images/Tarzhanova. Black boot: Getty Images/Sergantstar.
LOOK
LOOK 6
Combine a slim-fit pant with a cozy boatneck sweater for chic comfort.
Skinny jeans work perfectly with a flowy graphic blouse and a biker-inspired jacket with edge.
LOOK 7
LOO
Balance a trim pencil skirt with a comfy, textured sweater for a look thatâ&#x20AC;&#x2122;s smart and put together.
Layer on the drama with a fitted dress and duster-length cardigan. Belt the look for more definition and an upscale effect.
LOOK 9 It doesnâ&#x20AC;&#x2122;t get more classic that a button-up and jeans, but interesting fabrics and textures can elevate the look. Add a pop of color with a scarf and fun flats.
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INFINITY SCARF
LAPTOP SLEEVE
• 28"× 60" rectangle of knit fabric
• Canvas scraps
• All-purpose thread
• Faux leather
• Hand sewing needle
• Batting
• Serger (optional)
• Coordinating cotton print
Align the rectangle long edges with right sides together; pin generously.
• 7 double-cap rivets & setting tool
TIP: If deciphering the right and wrong sides of the chosen knit fabric is difficult, pull on the cut edge. The edge will roll toward the right side. Set the serger for a 3-thread overlock stitch. Or on a standard sewing machine, install a jersey needle and set the machine for a narrow zigzag stitch. Stitch the long edges, leaving a 4" opening for turning. Turn the rectangle right side out. Turn the rectangle inside itself toward the wrong side, pulling the fabric through the tube until the short ends are aligned with right sides together. Align the long-edge seams; pin. Stitch the short ends. Turn the scarf right side out through the opening. Slipstitch the opening closed.
TIP: Use two different knit fabrics cut to 14"× 60" rectangles. Stitch together both long edges, following the instructions above. 72
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Measure your laptop or tablet. Add 2" to the length and width dimension; label as sleeve dimensions. Cut the canvas scraps and faux leather panels diagonally and piece them together along the diagonal edge. Topstitch the seam allowance to the canvas. Cut each pieced panel to the sleeve dimensions. Cut the two batting and two print cotton rectangles to the sleeve dimensions. Layer the pieced panel (wrong side up), cotton print (right side up) and batting together. Stitch around the perimeter, leaving an opening for turning along one short end. Clip the corners and the seam allowances and turn right side out. Hand stitch the opening closed or topstitch the panel perimeter. Repeat for the remaining panel. Place the two panels together, print cotton sides together, and place rivets along two long edges and one short end.
WORKING TOTE • 1 yard of canvas print • 1⁄4 yard of faux leather • Double-capped rivets & setting tool • All-purpose thread • Fabric adhesive spray • Teflon presser foot (optional) • Fabric clips From the canvas, cut two 10½"× 20½" upper panels and two 17½"× 20½" lining rectangles. From the faux leather, cut two 7½"× 20½" lower panels and two 3"× 21" straps. From the batting, cut two 17½"× 20½" rectangles. Stitch the upper and lower panels together using a ½" seam allowance for the bag front and back. With right sides together, stitch the bag front and back together along the sides and lower edge. Place a batting rectangle on each lining wrong side: secure with pins or fabric adhesive and treat as one layer. With right sides together, stitch the lining rectangles together along the sides and lower edge. Turn the bag exterior wrong side out. Fold the corners together so the lower and side seams match, measure 1½" in from the corner point and stitch across the corner. Trim the corner and repeat for the remaining exterior corner and the lining corners. Place the exterior into the lining, with right sides together, and stitch around the upper edge, leaving a small opening for turning. Turn the bag through the opening, place the lining into the exterior and stitch around the upper edge, closing the opening. Spray the wrong side of a faux leather strip with fabric adhesive. Fold one long edge 1" to the wrong side and then repeat for the remaining long edge. Secure the folded edges with clips and edgestitch each long edge. Repeat for the remaining strap. Place a strap end on the bag front 6" in from each side seam and overlapping the upper edge by 1". Stitch in place and install a rivet, centered on the strap end. Repeat for each strap end.
TIP: If you don’t have a Teflon foot, adhere tape to the bottom of a standard presser foot to prevent the faux leather from sticking. S E W N E W S.CO M
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MASTERCLASS
BY LINDA REYNOLDS
Learn about ions for lining coats and o her outerwe ea Disscover how to choose the right lini f the fabric weight and ntended season of wear.
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OUTERWEAR OPTIONS Making a fall or winter coat is quite a commitment, and best pondered before the onset of cool weather. Aside from choosing the ideal outer fabric, determine upfront the desired warmth for the coat. There are multiple components that, when combined, determine a coat’s ultimate warmth: the outer fabric, the lining material and optional underlining and/or interlining materials. Each element adds a layer of insulation that collectively enhances the coat’s overall warmth. While the chosen outer fabric will, in most cases, determine the general warmth of the garment, careful attention to the choice of lining materials and possible underlinings/interlinings help make any coat withstand frigid temperatures. Getty Images/Travel Ink
WHY LINE? A lining adds body and structure, comfort and longevity to the garment. At the same time, it conceals unsightly seams and the inner construction of the garment, giving the inside a clean, finished appearance. Linings help to prolong the life of the garment by separating the outer fabric from a person’s skin, thus preventing it from absorbing any of the body’s natural oils or perspiration, which with time degrade the fabric. In the case of lining an outerwear garment, it also prevents the underside of the outer fabric from the general wear and tear of repeated wearing. As a bonus, coat linings can play an important
aesthetic role when incorporating luxurious or dramatic choices, such as faux fur or beautiful brocades. Options for coat and jacket lining materials are surprisingly extensive. Choosing the right lining depends on many factors that include the type of coat, the choice of outer fabric, the degree of warmth desired and whether you’re adding underlining or interlining. First and foremost, the coat lining fabric needs to be durable enough to withstand the wear and tear a typical coat endures and allow for movement while still being easy to wear. Whatever the choice, it needs to coordinate with and not overwhelm the outer fabric except in the case of a deliberate style choice.
Adding additional warmth to a coat means going beyond typical apparel lining options, which often means heavy or bulkier fabrics. While the heavier the lining material, the warmer the coat, heavier lining adds more bulk at the seams and more weight to the overall garment. These are all important considerations when selecting the right lining. The range of lining materials is wide, so categorize them by their degree of warmth. The outer fabric ultimately sets the tone for warmth, but options for adding a little to significant amounts of warmth are available.
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WARM For lightweight coats, such as raincoats or jackets that are worn both indoors and as light outerwear, many of the same lining materials used for standard clothing are appropriate. Those lining materials, while suitable, add no additional warmth to the garment. These include smooth and silky type lining materials that are paper-thin and virtually weightless, made from silk, polyester, rayon, acetate, sometimes cotton and viscose fabrics in plain, twill or satin weaves. These are the types of fabrics typically sold as “apparel linings” in fabric stores. Adding a bit more warmth means selecting a lining material that’s a step up in weight, but also in durability from typical garment linings. Look for more substantial rayon and polyester fabrics, heavier satins, twill weaves, jacquards and brocades. Keep in mind that polyester linings, while durable and widely available in all types of weights, colors and prints, are made from manmade fibers that don’t breathe and are prone to static cling. Rayon, on the other hand, is a breathable fabric that resists static cling, making it more comfortable to wear. Bemberg is a leading brand, offering durable lining materials in rayon or viscose fibers perfect for any lightweight coat or jacket. Satins are common coat lining materials for two basic reasons. First, the smooth, slippery surface makes any coat easy to slip on and off. Second, the hand gives a coat interior a beautiful and luxurious finish. Satin refers to the fabric weave and is available in many fiber types from silk to polyester to cotton. While silk satin makes for a magnificent lining material that’s also breathable, it’s not terribly durable and often expensive. Polyester satins are a more economical choice. They’re more durable than silk, though not as breathable. Satins come in a variety of weights and thicknesses, so as the outer fabric becomes more bulky, so should the choice of satin lining.
Apparel Lining
Satin
WARMER For more warmth, another step up in the fabric thickness, weight and durability is in order. Here the options grow as non-conventional linings come into play. Satin fabrics move up in weight to heavy satins and crepeback satins, adding a bit more warmth and a luxurious body to the garment and an elegant finish to the garment inside. For even more warmth, choose flannel-backed satins. These feature one side with a smooth satin weave backed by a soft flannel fabric that adds insulating properties. Unfortunately, flannel-backed satins are not all created equal. There are inexpensive varieties that are typically sold at chain fabric retailers, but they’re not nearly as warm or durable as their more expensive counterparts. Sold under the name Kasha Satin, the more expensive version is decidedly warmer and will hold up much longer, so choose the one that’s commensurate with the chosen garment.
Brocade
Brocades, jacquard prints and dobby prints make beautiful coat linings. The options range from the typical jacquard stripes and geometric designs found in traditional tailored coats to fun and elegant options that add glamour, structure and, if heavy enough, added warmth to the overall coat. Look for rayon-based options for best durability and wearability.
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Flannel
Twill
Opposite page: Getty Images/John Foxx, Getty Images/kyoshino, Getty Images/beijingstory, Getty Images/sebastian-julian. This page: Getty Images/Aslan Alphan, Getty Images/Fotosearch, Getty Images/imagenavi, Getty Images/Wulf Voss/EyeEm, Getty Images/Ryan McVay.
WARMEST When it comes to choosing a lining for significant amounts of warmth, the options are materials that aren’t in the conventional lining category. To add real warmth, use any insulating-type fabric, but keep in mind that the thicker the lining fabric, the bulkier the finished coat. This sometimes makes the coat uncomfortable to move in or to slip on and off. It also creates too much bulk at intersecting seams in the garment construction process. In these cases, heavy or bulky linings work best as partial linings. Line just the front and back torso sections with the bulky fabric, and then line the sleeves with more traditional lining materials. This allows the coat to slip on and off easily and the arms to move freely.
Fleece
For a truly warm coat, it’s best to start with an outer fabric that’s warm on its own, but an especially warm lining boosts the warmth factor twofold. Choose a lining that complements and is compatible with the outer fabric and won’t interfere with the garment design. Naturally insulating, quilted fabric linings are great for making a cozy, warm coat. There’s a wide variety of quilted fabrics that work well in coats, from basic quilted broadcloth materials to quilted sweatshirt fleece, quilted knits and satin fabrics that are either channel quilted or quilted traditionally. Quilted fabrics come in varying degrees of thickness. Some are great choices as full linings, but the thickest are best used as partial linings. Sweatshirt fleece, polar fleece and microfleece offer slightly less thick but equally warm alternatives to quilted fabric, as do lightweight woolens. All add warmth with reduced bulk, but their surface isn’t smooth enough to make slipping on and off easy, and therefore they’re best used as partial linings.
Quilted fabric
Flannel or plaid brushed cottons are also great options for adding cozy warmth to a sport jacket, tailored jacket or coat. Flannel comes in either all cotton, wool or rayon fabrics and, depending on the choice of outer fabric, are suitable for a full or partial lining. Lambs wool, commonly referred to as “Sherpa,” and either real or faux fur add both extreme warmth as well a dramatic finish to the inside of a coat or jacket. They are also, of course, an exceptionally bulky option and work best as a partial lining, or in the case of lambs wool, as an interlining around the chest only.
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THE COMMON THREAD ABBY Y
ASSENBERG
the new age of
Getty Images/Sidekick
SEWING
Sewing doesn’t make the news very often, but when it does the headline seems too often to include the word “grandma.” I’ve seen “Not Your Grandma’s Sewing Circle” and “Not Your Grandmother’s Quilting.” Perhaps you’ve seen them, too? 78
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It’s as though in order for the mainstream media to draw attention to sewing, they’ve got to differentiate it from the pastime of prior generations. “That old sewing? The bland, stodgy, boring stuff? That’s not what we’re talking about here. No way! This is something entirely new!” I think these headlines have become tiresome. While I’m all in favor of grabbing people’s attention, these do a disservice to the sewing community, and it’s time for them to go. Let’s start by unpacking what this phrase, “Not your grandma’s…” really means. I think the word grandma here is really a code word for older women. Our society tends to worship youthful femininity by idolizing fashion models, singers and Hollywood
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I want people to love sewing as much as I do and love the fact that they can be fashionable and sophisticated at any age. Period. celebrities who are in their teens and early twenties. Except in very rare cases, that attention ceases once women get older. We hold up motherhood as a special role, but what about women who have passed that phase of life? I feel there’s an undercurrent in our culture implying that women in their 60s and 70s are irrelevant. They’re pushed aside, their input ignored.
Getty Images/Hero Images
In fact, older women today are active participants in society, working full-time jobs, volunteering in their communities and living full lives. The Bureau of Labor Statistics projects that by 2024, women age 65 and older will make up 25% of the female labor force, and many of these women will have grandchildren. In the sewing community we have several prominent examples of business owners who are grandmothers. Annie Unrein, the owner of wellknown sewing pattern company Patterns by Annie, is a grandma, for example, as is Maddie Kertay of the Badass Quilter’s Society. There are many others. “Today’s grandmother is just as likely to be in a yoga class as she is to be using a walker,” Kertay quips. “She brings her experience and savvy that we all ought to pay attention to.” S E W N E W S.CO M
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Judy Kessinger is a 72-year-old grandma of two who works fulltime running her sewing business, the FitNice System. What bothers her most about the phrase “not your grandma’s sewing” is the implication that grandmas aren’t fashionable. “The misconception is if we make our own clothes, everybody assumes that we’re going to look frumpy. We’re not making housedresses. This is not what we look like now,” she emphasizes. “We are fashionable women who love sewing, designing and creating. I want people to love sewing as much as I do and love the fact that they can be fashionable and sophisticated at any age. Period.”
but my clothes are something I could wear now, and you could wear now no matter your age or size, and you’re going to be able to wear the same thing ten years from now. Fashion doesn’t have to be a trend. Fashion is a lifestyle and that’s my life,” she says. When we discount older women, we’re also choosing to discard their knowledge and skills, yet this demographic has tremendous wisdom to share. Avid sewist Susie McKinley remembers her grandma’s sewing expertise. “My grandmother made my prom dress 46 years ago, and if I still had it and fit into it, I would wear it today,” she laughs.
If you think about it, the skills of our grandmas have never been more appealing than they are today. Consumer studies show that millennials and members of Gen Z are interested in products that are customizable. In a world of mass consumerism, they want something unique, and they want to be involved in the process of making it. Sewing your own clothes is the ultimate act of customization. You choose your own fabric and notions, alter a pattern fit your body perfectly, and make a garment that truly represents your style and personality.
“I have a quilt she made from the scraps. It will never wear out, and I take it camping all the time.” McKinley cherished her grandma’s sewing and is in admiration of her skills. A grandmother herself now, she’s inspired to do the same for her own grandchild. “I’m making clothes and quilts for my own granddaughter, and I hope she has fond memories of my sewing,” she says. Differentiating today’s sewers from women like McKinley’s grandmother isn’t making us more relevant. It’s discarding the richness of the relationships we had with skilled sewers in our past. Framing today’s sewing in F opposition to the sewing o of the past also furthers o he misconception that t ewing is stagnant. In fact, s needlecrafts, like all art forms, n
The ability to customize is what Kessinger values about sewing, too. “I started sewing 40 years ago. At that time, wool blazers were really popular,” she recalls. “I wanted so badly to wear a wool blazer, but I couldn’t find one that fit me. And none of the patterns out there fit either.” So she drafted her own and hasn’t looked back since. “My goal in how I dress is to be sophisticated and timeless. I’m not a tiny person, Judy Kessinger, FitNice System 80
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are constantly changing. Makers are forever innovating on traditional techniques, taking advantage of the tools and materials around them to create one-of-a-kind pieces to express themselves. Sonya Philip is a pattern designer known for her colorful handmade wardrobe. She’s also a grandma. Philip is especially excited by how alive sewing feels today. “The notyour-grandmother’s trope paints a picture of sewing, knitting and quilting as being fixed when they are, in fact, dynamic and ever evolving,” she says. “I don’t see the need for opposition. A craft can be reimagined, whether by context, subject matter or materials, yet still honor its lineage.”
Getty Images/monkeybusinessimages
Sonya Philip, 100 Acts of Sewing
Contestants on television shows like Project Runway and The Great British Sewing Bee are perfect examples of the constant newness. While under the pressure and time constraints of reality television, they show tremendous creativity, dreaming up new designs and using unexpected materials or color combinations, while using tried and true construction techniques. Everything has changed and yet nothing has changed. There are so many other ways to write an attention-getting sewing headline, and it’s time we left grandmas out of it. Rather than disparaging women of an older generation and implying that sewing has ever stood still, how about highlighting the ability sewing gives you to create a custom look that truly fits? Sewing is powerful, no matter how old you might be.
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SEW ALONG AUGUST
TEA HOUSE DRESS & TOP BY SEW HOUSE SEVEN Grab the pattern at shopsewitall.com and join designer Peggy Mead (and the Sew News team!) for the following special topics on the blog: August 14: Fabric Selection August 21: Yoke Assembly Tips August 28: Tying Options
THE PATTERN Flattering, easy to wear and style and with unique design features, the Tea House Dress by Sew House Seven is a great pattern with a variety of options for different looks in a wide variety of drapey fabrics. The design features a V-neckline with front and back neck yokes, in-seam angled pockets (for the dress versions), a back neck box pleat, cuffed dolman short sleeves and two tie options. Choose from three different lengths: a hip-length blouse, an above-the-knee dress and a tea-length dress. Even better: There are no closures to sew as the dress simply slips on. The pattern comes in sizes 0-20 and lightweight fabrics are recommended, including rayon challis, wool challis, silk charmeuse, cotton lawn, cotton voile, linen, chambray, cotton madras, cotton yarn dye and more.
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What inspired you to create this pattern?
MEET THE DESIGNER:
PEGGY MEAD, SEW HOUSE SEVEN Working out of her home in Portland, Oregon, Peggy Mead is the owner, designer and patternmaker for indie sewing pattern line Sew House Seven. Peggy started sewing around age 8 and was soon an addict, sewing most of her clothes by age 13. Before launching Sew House Seven in 2014, Peggy worked as a patternmaker for NIKE and a swimwear designer for Jantzen, created surface and sweater designs for Pendleton Woolen Mills and freelanced for many small companies. Sew House Seven’s main focus is simple designs with easy-to-follow instructions that encourage beginners, though Peggy works to incorporate unique elements in her designs so they appeal to sewists of any skill level. In addition to her own paper and PDF patterns, Peggy has a few licensed designs with Simplicity.
I’ve been heavily inspired by the Japanese pattern trend, and I love all of the kimono styles I’ve been seeing. I think that’s what inspired the Tea House Dress pattern. I try to make
patterns that aren’t too trendy so they can be classic and last for more than a few seasons, but it’s hard not to be somewhat influenced by trends.
SWEET DETAILS We're in love with all the details of this dress, including the angled pockets, dolman-style sleeves, cuffs and multiple tying options.
SewHouse7.com
FIND THE PATTERN AT SHOPSEWITALL.COM.
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HOME COUTURE BY JESSICA ZIEBARTH
Southwest The rugged look of the Southwest brings rich earthtones and softened geometrics together, creating a space that's warm and exudes comfort. Textiles feature diamond-patterned wovens with symbolic Native American imagery. The color palette includes shades of turquoise, reds, oranges and yellows, with indigo blue, sage green and hammered silver. Decorations include terracotta pottery, suns, dried Indian corn, feathers, horses, buffaloes and lizards, and the look wouldnâ&#x20AC;&#x2122;t be complete without Kokopelli. This home dĂŠcor style is perfect for anyone who dreams of quiet desert living, the warmth of the sun and a deep appreciation for the earth. From top: Getty Images/pidjoe; Getty Images/DNY59; Getty Images/Julien McRoberts; Getty Images/bortonia
Ganando design, CME Southwest Story embroidery collection: shopsewitall.com
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GET THE LOOK BY JESSICA ZIEBARTH
Santana Getty Images/Mauricio
STYLE inspiration
IN SHORT Recreate a classic workwear look with a twist that transitions easily from summer to fall or from vacation back to work. Make a suit set with the same bold geometric print that works together or as separates. Depending on the color scheme and fabric print, this outfit looks great on all ages.
BLAZER PATTERNS Look for a pattern that features a higher-neck lapel collar, straight sleeve and hits below the waist.
Pattern for Petites in sizes 12-24! ed TIP: Pick a print ny ma s ha at th fabric the elements to it so ed print doesnâ&#x20AC;&#x2122;t ne to match up.
#202 Princess Seamed Blazer by Petite Plus Patterns
FABRIC COLOR PALETTE
Vintage Ali Blazer by BurdaStyle
Blixen Blazer Jacket by Wardrobe by Me
SHORT PATTERNS Look for a tailored mid-rise short thatâ&#x20AC;&#x2122;s not too short and features minimal pockets.
Blue
Teal
Salmon
Mustard
White
FINAL TOUCHES When accessorizing a print suit set, keep simplicity in mind. The matching suit is the statement, and the accessories should be solid tonal colors. Choose one color from the fabric print to coordinate with shoes and purse. For a work-appropriate look, choose a close-toed shoe and structured satchel bag.
Emerson Shorts by True Bias, available at shopsewitall.com
Maritime Shorts by Grainline Studio
Chi-Town Chinos by Alina Sewing & Design Co.
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OFF THE SHELF
Stock your sewing library and increase your know-how with the latest & greatest books.
FLOSSIE TEACAKES’ GUIDE TO ENGLISH PAPER PIECING by Florence Knapp Blogger Florence Knapp shares her love of this hand-sewn patchwork technique through step-by-step tutorials and inspiring articles. From fussy-cutting fabric and sewing curves to creating unique rosettes and a gorgeous quilt top, you’ll learn the fundamentals of English paper piecing, time-tested tips, tools for achieving great results and what to look for when choosing fabric.
WIN A COPY! ENTER TO WIN
A COPY OF FLOSSIE TEACAK ES’ GUIDE TO ENGLISH PAPER PIECING ON THE SEW NEWS BLOG ON SEPT. 6, 2018!
quiltingcompany.com
EMBROIDERED GARDEN FLOWERS
EASY HOME SEWING PROJECTS
HANDMADE BAGS IN NATURAL FABRICS
by Kazuko Aoki
by Charlie Moorby
by Emiko Takahashi
Sixty-three flower varieties are presented featuring buds, blooms and roots in stunning detail and charming color combinations. Kazuko Aoki blends her twin passions of gardening and embroidery through these designs. Artistic photographs, clear instructions and detailed diagrams create a treasure trove to be enjoyed by novice and experienced embroiderers alike.
There’s something for everyone in this inspiring collection of home sewing projects. Give your dwelling a speedy makeover with bright kitchen projects, perfect linen table settings, cheerful bedroom designs, tactile nursery toys, functional organizers and al fresco accessories. Step-bystep instructions and ready-to-use templates are guaranteed to stir up your creativity.
Create 60 variations on over 25 basic styles for tote bags, shopping bags, satchels and pouches easy enough to sew by hand. The book provides instructions and diagrams as well as a sheet of full-sized pattern pieces and a few lessons in hand-stitching bag details, such as drawstring casings and straps. Whatever your style, the bags in this book will become favorites you’ll make again and again.
roostbooks.com
foxchapelpublishing.com
tuttlepublishing.com
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HIGH END HACK BY JESSICA ZIEBARTH
boutique BELT BAG Belt bags are the upscale reinvention of the fanny pack. Major fashion design houses have been featuring their take on this functional 1990s trend. Add this waist-side clutch to any look for hands-free ease. SUPPLIES • Clutch purse
• Scrap ribbon
• Leather-belting strip
• Hand-sewing needle
• 3 button studs ds with screw backs
• All-purpose thread p p
• Round drive punch • Rubber malle et • Precision knife
TIP: Use an existing belt to determine the length of your leatherbelting strip.
Purchase a clutch or large wallet that features a large fold-over flap and coordinating leather belting strip. The length of the leather-belting strip will be determined by your waist measurements, plus a 4"–6" overlap section for securing the belt. The width of the belting should be determined by style preference and space available on the inside flap of the clutch. Mark the overlapped portions of the belting in three evenly divided sections for button stud placement. Using a round hole punch and rubber mallet, punch out the marked areas, following the manufacturer’s instructions. Screw on the button studs to one end of the leather-belting strip.
Check out the Sew News blog at sewnews.com/blogs/ sewing for clutch sewing pattern options and step-bystep photo instructions.
Using a precision knife, make a 1⁄8"-long slice from the center of the remaining punched holes to create room for the button studs to fit through, but still remain secure. Cut two tabs from scrap ribbon that are tall enough to encase the leather belting and wide enough to prevent the belting from twisting. Use a hand-sewing needle to attach the two tabs 2" from the clutch’s flap edge. Slip the belting strip through the two tabs on the inside of the clutch’s flap. Push the button studs through the punched and sliced holes.
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ALL SEWN UP THE ULTIMATE SEWING PLAYLIST Set yourself up right for an afternoon of sewing with this fun playlist.
1. The Sewing Machine Song—Frank Loesser 2. Coat of Many Colors—Dolly Parton 3. Fashion—David Bowie 4. Velvet Pants—Propeller Heads 5. Material Girl—Madonna 6. Black Velvet—Alannah Myles 7. Raspberry Beret—Prince 8.
He’s So Fine—The Chiffons
9. The Girl in the Yellow Dress—David Gilmour 10. Take Your Momma Out Tonight—Scissor Sisters 11. The Hardest Button to Button—The White Stripes 13. Chantilly Lace—Big Bopper 14.
The Work Song—Mack David, Cinderella
15. No Disco—Depeche Mode
Search the Ultimate Sewing Playlist on the Sew News You Tube channel to hear all the songs featured here!
Getty Images/CSA Images/Snapstock
12. Forever in Blue Jeans—Neil Diamond
Issue 366. Sew News (ISSN 0273-8120) is published 6 times a year in Feb/March, April/May, June/July, Aug/Sept, Oct/Nov, Dec/Jan by F+W Media, 741 Corporate Circle, Suite A, Golden, CO 80401. Periodicals postage paid at Golden, CO 80401 and additional mailing offices. POSTMASTER: Send address changes to Sew News, P.O. Box 420235, Palm Coast, FL 32142-0235. Return undeliverable Canadian addresses to Bluechip International, PO Box 25542 London, ON N6C 6B2 Canada.
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