jggfssaweg

F O R P E O P L E W H O L OV E TO S E W

QUICK KNIT TOP & SKIRT PROJECTS,

TA U N TO N ’ S

p. 54

BOLD WAX PRINTS Easy Sewing, Exciting Results Pamela Leggett’s

Sleeve-Setting Method EXPERT ADVICE for

Machine Blind Hems Custom Bralettes Key Lingerie Techniques

Plan a wax print project, p. 42

M AY 2 0 1 9 N U M B E R 2 0 2 THREADSMAGAZINE.COM

Air Thread Serger The new air threading system makes it effortless to thread your machine. A time-saving feature for tangle-free sewing.

Serging has never been so easy!

elnaUSA.com

contents ®

A P R I L / M AY 2 0 1 9

* NUMBER 202

features 36 Blind Hems by Machine Tools and methods for a speedy, nearly invisible finish

BY SANDRA MILLER

42

COVER STORY

Wax Prints Colorful textiles with a diverse history and design potential

BY MARCY HARRIELL

48 Pretty Bralettes Make easy-to-sew lingerie with comfortable bust support B Y B E V E R LY J O H N S O N

54 Quick Knits Jump-start a spring wardrobe with two free designs B Y C A R R I E B L AY D E S

58 Soutache Revival How to plan and apply intricate motifs

BY ELLEN W. MILLER

66 The Artistry of Amy Nguyen Melding traditional techniques and contemporary aesthetics

BY D E A N A TI E R N E Y M AY

F O R P E O P L E W H O L OV E TO S E W

QUICK KNIT TOP & SKIRT PROJECTS,

TA U N TO N ’ S

p. 54

BOLD WAX PRINTS Easy Sewing, Exciting Results Pamela Leggett’s

Sleeve-Setting Method EXPERT ADVICE for

Machine Blind Hems Custom Bralettes Key Lingerie Techniques

Plan a wax print project, p. 42

ON THE COVER: Learn where to purchase and how to prepare irresistible wax prints.

Then find out how to best place the textiles’ dramatic motifs when creating a garment.

See p. 42.

20 3-D lace

58 soutache embellishment

48 custom bralettes

departments UP FRONT

PATTERN REVIEW 26

CONTRIBUTORS 6

HOW DID THEY SEW THAT? 30 Raglan with structure

LETTERS 8

PATTERN HACK 32

TIPS 12 Pressing tiny seam allowances, sharps storage, big-eye needles to the rescue, sewing with dental floss, easy Fray Check application

Spiral sleeve

IN THE BACK ESSENTIAL TECHNIQUES 72

NOTIONS 14

Set sleeves expertly

Unusual buttons, travel steam iron, eco-friendly thread, stabilizer for heavy fabrics, marking tool

Q & A 76 Understand bobbin types, intercontinental pattern sizing, identifying mystery fabrics

FABRIC LAB 18 Crepe de Chine

ADVERTISER INDEX 79

EMBELLISHMENTS 20 Dimensional lace

CLOSURES 82

THREADSMAGAZINE.COM 24

UP CLOSE Back cover

01

L OV E TO S E W FOR PEOPLE WHO

threads

TA U N TO N ’ S

FEBRUARY/MARCH 2019 26*$, '*55*/( 40-65*0/4

FITTING FIXES for REAL BODIES

t 5)& %06#-& '0-% #*"4 #* /%&3 t *30/ 015*0/4 t 5) 450. 56/*$

& ."5&3*"- */'-6&/$& t $6

Cover photo: Jack Deutsch.

t 13&$*4& */5&3*03 '*/*4)

Fabrics & Fashion

n Be Inspired by a New Exhibitio

Trim PrecisionAlternati ve Try a Flat Piping

DESIGN AND SEW

A MODERN TUNIC, p.68

TABLET EDITIONS FREE TO SUBSCRIBERS Threads’ digital editions are searchable and full of interactive extras. Download the app at ThreadsMagazine.com/apps. Access is free with a print subscription or Threads Insider online membership.

Vinta ge Finish Edge A Designer’s Ingenious

1955, Silk satin cocktail dress, p. 60 featured in a NYC museum,

threadsmagazine.com

CONTRI BUTORS

What have you found to be an unexpected benefit of sewing?

MARCY HARRIELL

®

Editor Art Director

(“Wax Prints,” p. 42) says,

“I’ve always found joy in making something with my hands, but my passion for sewing gives me much more than any tactile dabblings I’ve previously had. Sewing is

Carol J. Fresia

Assistant Editor

Erica Redfern

Managing Editor, Production

hectic world, and it affords me Technicolor armor to Seamstress

fend off life’s troubles.”

Editorial Assistant

Marcy is a self-taught

Rosann Berry

Senior Technical Editor

Contributing Editors

an island in the middle of a

Sarah McFarland

Jeannine Clegg Louise Cutting Susan Khalje Kenneth D. King Judith Neukam Norma Bucko Katie Strano

sewer who credits the inter-

ELLEN W. MILLER

net for her love of sewing.

(“Soutache Revival,” p. 58) says,

She creates daily in Hell’s

“You get to meet amazing

Kitchen, New York City. Find

people who love to sew. While

her at Oonaballoona.com,

planning a trip to London last

or on social media

year, I wrote to Kate Davies of

@marcyharriell.

Senior Managing Editor, Books

ThreadsMagazine.com

Web Editorial Assistant Video Director

her blog, asking if we could

JOI MAHON

meet. Kate agreed and we

p. 20) says, “I sew for others and I find satisfaction in

spent a wonderful afternoon

making others happy with something I’ve made with my

together at the Victoria and

hands. If you think about it, when you sew, you are mak-

Albert Museum, and we

ing something from almost

became fast friends. Now Kate

nothing. We are never more

and her husband are planning

like the Creator than when

to visit us in New England.”

we are using our skills to

Ellen, an accomplished

create. That is powerful.”

(“Embellishments: Dimensional lace,”

Joi is a fashion designer,

of Creating Couture Embellish-

patternmaker, author, and

ment (Laurence King, 2017). She

sewing entrepreneur. Her

taught at the School of Fashion

studio and classroom is The

Design in Boston for a decade.

Sewing Factory in Sioux

CreatingEmbellishment.com

City, Iowa. DesignerJoi.com

BEVERLY JOHNSON

(“Pretty Bralettes,” p. 48) says,

“The sewers I’ve known tend to think in a linear and logical way, going through a process step by step. This ability is helpful for many other things, whether it be writing a book or understanding directions. For me, when someone explains a technique, I can ‘see’ it as if it were in front of me.”

Beverly has been sewing for 55 years and is the selfdescribed Fairy Bra Mother. She owns Bra-makers Supply in Hamilton, Ontario, Canada. BraMakers.com 6

THREADS

Manager, Video Studio Contributing Video Producer

Christine Alexander Alex Lombardi Colin Russell Je≠ Roos Cari Delahanty

Threads: (ISSN: 0882-7370) is published bimonthly by The Taunton Press, Inc., 63 South Main Street, Newtown, CT 06470. Telephone 203-426-8171. Periodicals postage paid at Newtown, CT 06470 and at additional mailing offices. GST paid registration #123210981.

Subscription Rates: U.S., $32.95 for one year, $54.95 for two years, $78.95 for three years. Canada, $34.95 for one year, $58.95 for two years, $84.95 for three years (GST included, payable in U.S. funds). Outside the U.S./Canada: $44 for one year, $75 for two years, $109 for three years (payable in U.S. funds). Single copy U.S., $6.99. Single copy Canada, $8.99.

Postmaster: Send all UAA to CFS (see DMM 707.4.12.5).

Nonpostal and military facilities: Send address corrections to Threads, PO Box 37610, Boone, IA 50037-0610.

Canada Post: Return undeliverable Canadian addresses to Threads, c/o Worldwide Mailers, Inc., 2835 Kew Drive, Windsor, ON N8T 3B7.

Printed in the USA

Photos: (Miller) JessMcDougallCreative.com; (Harriell) Dylan Osborne; (Mahon) Bobier Photography; (Johnson) Agata Waclanska.

Digital Content Production Specialist

Fabrickated.com because I love

couture sewer, is the author

Carolyn Mandarano

VINTAGE AND FOLK PATTERNS FROM AROUND THE WORLD

#103 – Romanian Blouse

Classic sewing patterns at www.folkwear.com

SILKS

Listen in

Velvets Chiffons Satins Prints

ThreadsMagazine.com

and Much More

฀

฀

฀฀

฀ ฀

Specials for Stores, Artists, Dressmakers ASSORTED SAMPLE SET is available for $40 plus shipping

w w w. t h r e a d s m a g a z i n e . c o m

฀

฀

฀

฀

฀ ฀฀

฀

฀

Our Low Prices Will Surprise You! Free Brochure Call Toll Free A P R I L /M AY 2 0 1 9

7

LETTERS EDITOR’S NOTE

Experiment for success

A

Sarah McFarland Editor

Publisher

Advertising Sales Manager Director of Digital Advertising Operations

We’d love to hear from you!

Send your letters to: Threads Letters 63 South Main Street Newtown, CT 06470 or via email ThreadsLetters@taunton.com

In our next issue: From core sewing and design skills to couture refinements, we have stunning garments and methods for you to explore.

Learn draping basics from an expert instructor, discover the history and purpose of utility stitches, sew a fancy fabric trench coat, and learn Claire Shae≠er’s takeaways from a certain designer’s signature skirts.

Write an article for Threads Threads is a reader-written magazine, and we welcome your submissions. To learn how to propose an article, go to ThreadsMagazine.com/authorguidelines.

8

THREADS

Tracey Lenahan 800-309-0383 Ext. 3540 tlenahan@taunton.com John Maher jmaher@taunton.com

Single Copy Sales

Independent publishers since 1975 Founders, Paul & Jan Roman

President & CEO

Dan McCarthy

CFO

Mark Fernberg

CTO

Brian Magnotta

SVP & Group Publisher

Renee Jordan

VP, Customer Acquisition Erica Moynihan & Engagement VP, Human Resources

P.S. We have started planning the Threads Experience 2019 live event for early September in New York City. Be sure to visit ThreadsExperience.com for updates. It is going to be even bigger and better this year!

Renee Jordan 800-309-0383 rjordan@taunton.com

Carol Marotti

Publishers of magazines, books, videos, and online 'JOF 8PPEXPSLJOH t 'JOF )PNFCVJMEJOH 5ISFBET t 'JOF (BSEFOJOH t 'JOF $PPLJOH www.taunton.com Photo: Jack Deutsch. Stylist: Jessica Saal. Hair and makeup: AgataHelena.com.

ll the elements we use to sew are intrinsically beautiful. Fabrics, threads, trims, patterns, tools— even sewing machines have style. I love having these accoutrements around. I used to hesitate cutting into a beautiful length of fabric because it was lovely as intact yardage. As I’m sure you’ll agree, though, when all goes well, creating a garment is even more rewarding.

“When all goes well” is the key. Time and time again, as I’ve examined samples, or been in awe of a challengewinning garment, I’ve learned that the sewer who made it experimented first, until everything was just right.

In “Blind Hems by Machine,” p. 36, Sandra Miller explains how to ensure the classic stitch works wonderfully on any fabric, with the appropriate preparation and by adjusting the needle position and stitch width.

Detailed embellishments can be daunting. How can you be sure you’ll like the effect, it will fit your garment, and you can apply it accurately? In “Soutache Revival,” p. 58, author and embellishment expert Ellen W. Miller shares her approach to full-scale motif planning and soutache trim application. She achieves exquisite results through her careful method.

In our Q&A department, p. 76, Contributing Editor Judith Neukam explores a reader’s question about mystery fabric. When a burn test isn’t adequate for determining fabric content, a bit of research can set you up for a better sewing experience and a longerlasting garment.

As much as possible, we’re there in the sewing room with you. We test techniques and patterns, and share what fabrics we’ve used. It’s a wonderful fact, however, that every garment is unique, and I encourage you to experiment with new methods.

BERNINA 335 & 325

av e “ I k now I h nd e i r f t s e b a ne w .�

5 3 3 B e h wi t h t ANNIK A VICTORIA, DIY LOVER AND YOUTUBER

THE MACHINE FOR MAKERS AND DIY!

6

6

RIES: THE BERNINA 3 SE HINES AC M YOUR NEW GO -TO

Annika Victoria, Australian YouTuber and DIY enthusiast, knows how to take thrifting to the next level with cute, easy, custom fixes and !) !((%/$)!*0/ $! (+2!/ %*/,%.%*# $!. ) *5 " */ / /$! /!3/ 3%0$ $!. 0 / /0. %#$0"+.3 . 0+ 1/! %* $ 0+ 0$.! /0%0 $!/ ,.! %/!(5 * %/ +$ /+ -1%!0 "+. 0$+/! ( 0! *%#$0 ,.+&! 0/ ! .* )+.! * 7 * /0+.! *! . 5+1 0 !.*%* +) /!.%!/ 0+ 5

LETTERS

continued

I NSP I R E D BY D E TAI LS

This is a letter of gratitude for Threads #201, Feb./March 2019. The 1955 red James Galanos dress on the cover is striking and a beautiful introduction to a wealth of great articles and letters. The letters in every issue and everything by Judith Neukam and Susan Khalje are my favorites. The reason I took time to write is the wonderful article by Rachel Siegel, “Precise Interior Finish.” To see the technique in such a gorgeous garment is inspiring. The technique is genius and well written. I will certainly be using this method, and I’m confident my efforts will be successful because of Rachel’s thoughtful and clear instructions. I am grateful for her fastidiousness and perfectionism.

I look forward to every issue and marvel at how full the subject sewing is when approached with the obvious respect and love your team and your readers hold for this topic.

—Katherine Seeburger, Ann Arbor, Michigan WANTI NG MOR E ON DAVI DOW

“How Did They Sew That: The Davidow edge,” in Threads #201 left me with a lot of unanswered questions. The details were not adequately described or shown in the two-page spread. On p. 32, you show a picture with the jacket interior and exterior.

It is clear that the jacket is lined, but there is no mention of how this was accomplished without front facings. The article

also shows a close-up of the U.S. patent number. Although it is interesting that a label for the patent was sewn in the jacket, it would have been more useful to have shown the bound buttonhole enlarged so the reader could see the finishing details.

The edge-finishing steps are limited and the article directs, “Find additional information on this technique in David Page Coffin’s ‘One-Layer Tailoring,’ in Threads #60, Aug./Sept. 1995.” The pertinent information should have been included in the current article. In my opinion, this article needed one or more additional pages to provide readers with enlarged pictures of all the finishing details.

I am always amazed at what people could accomplish before the advent of technology. I could have written your closing story. I don’t know how many times I had to reinsert the zipper in the outfit I made in eighth grade. I was always marked down for doing a two-thread hem, which was how my mom made my hems. I was a tomboy and continually ripped my hems out otherwise. What that poor teacher may have never realized was that I would go on to make most of my own clothing throughout my adult life, stop counting the quilts I made after 50 of them, and make many other sewn items. Sewing is a huge part of my life and I like reading about it and providing supplies to those who sew.

—Tonna Marroni, Anderson, South Carolina

—Gail Rodgers, via email

A FAVOR ITE I N STRUCTOR

I was thrilled to see the article by June Colburn, “Embellishments: Rescued embroidery,” in Threads #201. I’ve known June for a while and have taken several classes from her. Her accounts of her time in Japan simply mesmerize me, as I love all things Japanese. I’ve never been, but June brings it all alive for me. She is one of the most thorough, kind, and interested instructors I’ve had anywhere. I’ve told several people about this article and all have enjoyed it and, as I am, are inspired to try her techniques for reclaiming kimono embroidery. The day my Threads arrives is like a trip to a theme park for me. This issue was a delight.

—Rosie Nachtrab, Kissimmee, Florida A LUXU R IOUS R EAD

COR R ECTI O NS

Jenifer Mercer-Klimowski of West Des Moines, Iowa, provided the tip “Cutting board aids pinning” in Threads #201, Feb./March 2019, p. 13. Her name and home state were incorrect.

Paddye Mann authored “Custom Tunic,” in Threads #201, pp. 68–73.

Her name was misspelled on p. 69.

10

THREADS

What a luxury I got to experience tonight.

Like many of those who write in, usually when I get my latest Threads, I flip through it and then have to wait until I have more time to read it. However, tonight I read Threads #201 cover to cover as my evening’s entertainment. I love your magazine and have every copy. They may take up room, but I prefer reading an actual magazine to reading on the computer.

I enjoyed the “The Material Influence” about the FIT exhibition. The floral dress and the muslin dress took my breath away.

EXH I B ITION U PDATE S

Thank you for the occasional feature articles on fashion exhibitions such as “The Material Influence,” Threads #201. Please consider adding a regular list to each issue of current and upcoming museum fashion and textile exhibits. Many of us would travel for these.

—Carla St. Romain, Pasadena, California Dear Carla, the lead time for print articles makes it challenging to report on exhibitions in a timely fashion. The internet is more immediate, and we post a monthly schedule of sewing-related events around the world, including fashion exhibitions, on Threads Magazine.com. The post goes live the last week of every month.—SMc APPR EC IATI NG MOM’S WAY

When I read “Closures: Finding my own way,”

by Joanne Fray in Threads #201, it brought back such memories. I, too, had to take Home Economics classes in both cooking and sewing, even though my mother had long since taught me how to do both. My sewing teacher insisted that her way was the only way. It was difficult, yet I just smiled and tried to follow her instructions. I didn’t fail the class, but got by with a C. My mom has long since passed away, but I think of her and thank her every time I sit down at my sewing machine.

—Bonnie Brown, Canton, Georgia

To contact us: Threads The Taunton Press 63 South Main Street Newtown, CT 06470

fashion fabrics made by hand

Send an email: th@taunton.com

www.loomandstars.com

Visit: threadsmagazine.com To submit an article proposal: Write to Threads at the address above or Call: 800-309-9262 Fax: 203-426-3434 Email: th@taunton.com To subscribe or place an order: Visit threadsmagazine.com/tmorder or call: 866-288-4241 9am-9pm ET Mon-Fri; 9am-7pm ET Sat To find out about Threads products: Visit threadsmagazine.com/products To get help with online member services: Visit threadsmagazine.com/customerservice To find answers to frequently asked questions: Visit threadsmagazine.com/FAQs To contact Threads customer service: Email us at customerservice@threadsmagazine.com To speak directly to a customer service professional: Call 866-288-4241 9am-9pm ET Mon-Fri; 9am-7pm ET Sat To sell Threads in your store: Call us toll-free at 866-452-5179, or email us at tradecs@taunton.com To advertise in Threads: Call 800-309-0383, or email us at thads@taunton.com Mailing list: We make a portion of our mailing list available to reputable firms. If you would prefer that we not include your name, please visit: threadsmagazine.com/privacy or call: 866-288-4241 9am-9pm ET Mon-Fri; 9am-7pm ET Sat For employment information: Visit careers.taunton.com The Taunton guarantee: If at any time you’re not completely satisfied with Threads, you can cancel your subscription and receive a full and immediate refund of the entire subscription price. No questions asked.

Copyright 2019 by The Taunton Press, Inc. No reproduction without permission of The Taunton Press, Inc.

w w w. t h r e a d s m a g a z i n e . c o m

OVER 7,000 HIGH QUALITY FABRICS AVAILABLE !

INCLUDING A WIDE VARIETY OF EXCLUSIVE/BEAUTIFUL BRIDAL / WEDDING FABRICS TO CHOOSE FROM USE COUPON CODE: THREADSBRIDE TO GET 20% OFF ALL BRIDAL/WEDDING FABRICS! FREE SHIPPING FOR $75 OR MORE

WWW.STYLISHFABRIC.COM A P R I L /M AY 2 0 1 9

11

tips

YOU R I DEAS FOR B ETTER SEWI NG

BEST TIP Miniature pressing tool I sew a lot of doll clothes, and it can be di≤cult to press small seam allowances open with normal equipment.

I’ve looked everywhere for a smaller ham and kept putting o≠ making one of my own. I eventually found the perfect solution sitting in my sewing cart: my classic “tomato” pincushion. It fits into small curves perfectly.

Use it to support seams as you press them on the table or ironing board.

—Barbara Lipovics, Lady Lake, Florida

U SE A KEY KE E P E R

I enjoy making large purses so I can carry my things as well as my children’s. However, I have a difficult time fishing my keys out of my purse. To make my keys easier to find, I sew a 2-inch loop of ¼-inch-wide elastic into the lining of my purses and attach keys there with a carabiner.

—Jennifer Sumant, Mountain View, California

me a piece of advice: Use a power strip.

I plug an iron and a lamp into the same power strip. I turn the power strip on when I enter my sewing room and turn it off when I leave. The lamp signals whether the iron is on or off, and it helps me see the pressing details as well.

—Lauren McCollum, Waynesburg, Pennsylvania YAR DAGE FOR PETITES

SIGN A L I RO N STATU S

Impeccable pressing is one sign of a wellsewn garment. This was ingrained in me at the age of 8 by my mother, when I joined the local 4-H sewing club. However, I often struggled with remembering to turn the iron on when I began sewing or turn it off when I finished. My mother gave

send usyour tips 12

THREADS

Being petite, I shorten pattern pieces before cutting my fashion fabric. Buying the yardage recommended on the pattern envelope always means sizeable, but seldom useful, remnants. I learned to purchase the pattern before the fabric. After I alter the pieces, I lay them out without fabric and measure for a more accurate

yardage estimate. Hardwood floors proved ideal for this, as the parallel board lines help me keep the pattern pieces straight.

—Régine Frank, Pointe-Claire, Quebec, Canada R E CYC LED SHAR PS CONTAI N E RS

I often sew when I’m away from home, but even in my house, disposing of needles and pins can be an issue. I recently noticed that emptied mint containers, such as from Tic Tac candies, are perfect for a sharps container. I carry a mint container in my sewing bag and have one by my sewing machine. Now emptying my studio’s trash can won’t carry with it the risk of being jabbed by needles or pins.

—Druann Greer-Cisneros, Costa Mesa, California

We pay for every tip we publish.

Threads Tips t 63 South Main Street t Newtown, CT 06470 t or via email: ThreadsTips@taunton.com

ORGAN IZE TH R EAD WITH STRAWS

I found a great way to connect a bobbin with the thread spool it was wound from. Cut a plastic drinking straw into 3-inch-long pieces. You should be able to get three pieces from one non-bendable straw. Cut a slit down each straw piece so that it can curl inward, reducing the straw’s diameter to fit into the spool.

Insert the cut straw piece through the large hole on top of a spool of thread.

Thread the bobbin onto the straw piece so that it sits on top of the spool. This technique is also useful for storing small spools of thread. When I’m running out of room on my spool rack, I’m able to fit two small spools on one 3-inch piece of straw.

—Mary Anne Karaba, Southgate, Michigan B RUSH ON SEA M SEAL ANT

I used to work for a toy manufacturer, creating doll clothing. We frequently used Fray Check to finish raw edges, as the seam allowances were too small for the serger. Instead of fumbling with the Fray Check bottle, which wasn’t precise enough for our work, we put the Fray Check in unused nail polish bottles. You can find new, empty bottles online inexpensively at sites like Amazon.com. The brush is great for applying Fray Check exactly where you need it. Close the bottle after use, and the Fray Check keeps for a long time.

—Jennifer Fournier, North Hollywood, California

Photos: Mike Yamin.

SE RGE R TH R EA D I N G AI D

I ran into difficulty threading my serger with wooly nylon thread. I had an idea and selected a big-eye beading needle, which is basically one large, flexible eye. The large eye made it easy to get any thread through. As a bonus, the needle is fine enough to pass through the eye of any sewing machine needle, as well as loopers in sergers. Push it through, remove the thread from the beading needle and you’re ready to go. This method works well for w w w. t h r e a d s m a g a z i n e . c o m

threading in tight spaces. It is also helpful for people with vision problems. Since the needles are easy to misplace, I keep them on a magnet near my sewing machines.

—Katherine Weaver, San Jacinto, California H EAV Y-D UT Y TH R EAD ALTER NATIV E

While attempting to fix split seams in our fabric sofa, I discovered that I had underestimated the quantity and strength of thread for the task. Out of desperation, I resorted to using waxed dental floss. I was amazed that it held the seams together so well. The sofa was able to survive the rigors of my active son. The handy builtin blade on the floss container saved me from needing to reach for scissors. I customized the floss container into a mini sewing kit by fitting an adhesive magnet sheet inside the lid, which enabled me to store my sewing needles safely.

—Teresa Cheung, Victoria, British Columbia, Canada LI NT ROLLER PIC KU P

I love to repurpose items I already own.

To pick up threads from the carpet in my studio, I placed a lint remover roll on an old 4-inch paint roller with an extendable handle. Now I’m able to keep my studio clean without bending over.

—Brenda Walker, Chesterfield, Michigan

PRIZE FOR BEST TIP Do you have a good sewing tip? Send it in, and we’ll pay you if we publish it. We’ll also select the best tip in each issue, and the winner will receive a gift package of The Taunton Press products shown above. (You can see our full line of fiber arts books and DVDs at TauntonStore.com.)

This issue’s winner receives: ■

Sewing Essentials: Serger Techniques,

by Pamela Leggett. If you own a serger or are contemplating getting one, then you’ll want to learn all the techniques, tips, and tricks for mastering this specialized sewing machine. This instructional guidebook and DVD workshop combo provides you with the knowhow for getting the most out of your serger. ($26.95)

■

Create a Master Bodice Pattern with Sarah Veblen. Fitting expert Sarah Veblen offers an innovative approach to personalizing a basic bodice pattern.

She walks you through the process in detail, so you can learn to fit anyone, of any body type. Once you’ve made a master bodice pattern, you can use it as the basis for countless new, flattering designs of your choosing. ($74.95)

■

How to Sew a Travel Wardrobe with Sandra Miller. Learn to create a stylish capsule wardrobe for your next adventure. Sewing professional Sandra Miller helps you plan and sew a suitcase full of mix-and-match separates that will keep you well-dressed no matter where your journey takes you. She explains how to select the best fabrics and patterns for versatility, comfort, and easy care. ($59.95)

LEASH YOU R SC ISSORS

I have a cutting table, a serger, a coverstitch machine, and a sewing machine. I need my 4-inch scissors at every station, but I cannot reliably find them when I want to use them. I discovered that there are two good ways to always have a pair nearby: Wear a chatelaine or lanyard around my neck to hang the scissors on, or secure a pair of small scissors on a ribbon at every station. I prefer the latter and have four pairs placed strategically around my space.

—Terry Petti, Bradenton, Florida

A P R I L /M AY 2 0 1 9

13

notions

TOOLS FOR SMARTER SEWING

Buttons with cute images ive garments individualized flair with these crimpstyle shank buttons from Winky&Dutch. They are available in a host of fun themes, including sewing and knitting, nautical, and emojis. The image is sealed in resin for a smooth, long-lasting finish. Order the buttons in 13-mm (about ½ inch) and 18-mm (about ¾ inch) sizes. They are machine-washable and dryable because they contain no adhesives. The shank is brass electroplated with nickel. The buttons are manufactured in the United States and sold individually or in sets of six.

(ShopWinky.com; $2.27 each, $11.99 for six)

G

On-the-go steam iron

Accurate rotary cutter

raveling without an iron can leave you with wrinkled clothing, but steam irons are often too heavy or bulky to pack in luggage. The Ovo 150GT from Reliable is a travel-size iron with steam capabilities that removes wrinkles on the go. This 1,180-watt iron features a 3.7-ounce water capacity, 6-foot, 4-inch cord, a collapsible kickstand to support it upright, and a ceramic soleplate. It weighs 1½ pounds and measures 7 inches by 3½ inches by 3¾ inches, roughly half the size of a typical fullsize iron. It includes a lint brush attachment and a heat-resistant carrying case that doubles as an iron rest. Vertical steam capability enables the Ovo to steam hanging garments or fabrics.

(ReliableCorporation.com; $49.00)

hen working with small pieces or intricate edges, a standard 45-mm rotary cutter cannot be maneuvered easily for detailed cuts. The Precision Rotary Cutter from Precision Quilting Tools is designed to navigate tight curves and corners. This tool has a no-slip rubbery grip. It is meant to be held like a pencil for complete control when cutting.

The 14-mm blade can work for either left- or right-handed use. The other end can be used as a stiletto or to fold creases. It comes with a cap to shield the blade.

(QuiltInADay.com; $13.99)

T

14

THREADS

W

Environmentally friendly thread or those concerned about the environmental impact of their sewing, Sewpure thread from Fiberactive Organics is made of 100 percent organic cotton grown and processed in India. The largest verifier of organic fibers in the world, the Global Organic Textile Standard (GOTS), has certified this thread, which means that its production follows guidelines for economic and environmental responsibility. Sewpure comes in two weights: Tex 40, a multipurpose thread available in 17 colors; and Tex 70, a heavy-duty thread in 11 shades best suited for stitching on denim, canvas, and upholstery materials. You can also order custom colors to match fabric samples or a Pantone color. Tex 40 is available in 500-meter spools and 5,000-meter cones, and Tex 70 is available in 300-meter spools and 3,000-meter cones.

The spools and cones are packaged with recyclable materials.

(FiberactiveOrganics.com; $8.25–$40.00)

F

bookshelf Shirts for all For an in-depth guide to draping custom men’s and women’s shirts, check out Sewing Shirts with a Perfect Fit (The Quarto Group, 2018) by David Page Coffin, a former Threads senior editor. This 144-page, softcover book contains instructions for sewing shirts in sizes from XXXS to XXXL, and beyond. It is organized into five main chapters about fit and the terms and techniques necessary for sewing a shirt. The book explores three fit styles: loose, fitted, and tight fit, and explains how to achieve each look. The techniques are accompanied by color photos featuring garments with each section in a different color or print so the details can be seen. David’s method is based on draping the shirt on a customized dress form rather than drafting by measurements. Included in the book is a section that explains an inexpensive and easy way to adjust a dress form’s shape to match a real figure. The book presents four projects: a loose-fitting shirt jacket, a V-neck women’s dress shirt, a wrap shirtdress, and a fitted men’s western-style shirt. Online resources mentioned in the introduction offer extended instructions for the projects, a PDF with full-size pattern pieces for details such as collars and pockets, and explanations of construction techniques. Two sheets of “Pattern Tools,” tucked in an envelope attached to the inside front cover, provide fullsize templates and instructions for adjusting garment details such as the armscye, sleeve cap, yoke, and hem curve.

(QuartoKnows.com; $27.99)

w w w. t h r e a d s m a g a z i n e . c o m

A P R I L /M AY 2 0 1 9

15

notions

continued

Heavy tear-away stabilizer or stability when embroidering on stable knits or woven fabrics, turn to 1.5-ounce tear-away stabilizer from HTC Retail. This stabilizer is designed to work with heavyweight fabrics such as denim, canvas, and terrycloth. It is made of 75 percent rayon and 25 percent polyester, treated with a chemical binder, and created using a wet-laid process so it is stable in all directions. It is machine-washable and safe for dry cleaning.

The stabilizer contains a needle lubricant for smooth sewing and tears away cleanly after embroidering. It contains recycled polyester fibers and sustainably sourced cellulose fibers. Purchase it from the HTC website in 20-inch by 40-yard bolts, or find a local dealer to buy smaller quantities.

(HTC-Retail.com; $78.00)

F

Three marking tools in one ifferent materials need different marking tools, but having so many pens and markers can take up space. The Sewline Trio and TrioColors marking tools contain multiple methods of marking fabric in a single tool to minimize clutter. The Trio includes black-and-white washable pencils, as well as a rollerball tracing tool. TrioColors has black, white, and pink washable pencils. Both tools use 9-mm ceramic lead. Rotate the grip to change the selected tool. The clip indicates which marking tool is selected; turning it between two tools retracts the tip. Press down on the top to extend the marking tool, as you would with a mechanical pencil.

(FatQuarterShop.com; $15.98–$16.98)

Stretchy fusible web tiff or nonstretch fusible web has limited applications with stretch knits because it can reduce or eliminate the fabric’s inherent stretch. HeatnBond Soft Stretch from ThermoWeb is a fusible web that is designed to stretch with knits and fabrics that stretch. It comes in 10-yard rolls of ⅝-inch-wide tape, and in rolls measuring 17 inches by 2 yards. The tape and rolls come in two weights, lite and ultra. Soft Stretch Lite is thinner than Soft Stretch Ultra and is designed to be sewn over without gumming up the needle. The tape is recommended for fusing seam or hem allowances or adhering long, narrow trim to knit fabric, while the wider roll is useful for appliqué and for fusing large fabric areas together.

(ThermoWeb.com; $3.49–$8.99)

S

16

THREADS

Photos: (p. 14, top) Erik Bernstein, courtesy of Winky&Dutch; all others, Mike Yamin.

D

t 'JOFTU *NQPSUFE 4JMLT t 8PPMFOT t 1PSDFMBJOT t -JOFOTt )BOE &NCSPJEFSJFT

33 Years

custom dress forms

of instruction, tips & techniques to make you a better sewer

From digital scan to a physical figure: a copy, a ditto, of you

The 2018 Threads Magazine Archive is now available on DVD or USB.

Tapestry Jacquard Mulberry Silk Tussah Silk Woolens/Linens Other Products

in Detriot, MI & @ events throughout the US www.dittoform.com

Get 200 searchable issues of Threads magazine in one place.

also available in Los Angeles @ PersonalFashion www.personalfashion.us

Available only at TauntonStore.com

From China & The Orient

© 2019 The Taunton Press

8377 Beverly Blvd.

Los Angeles, CA 90048 Visitors Welcome

Ph/Fax 323-651-2323

orientalsilk.com

Try it FREE for ! s 14 day Become a Threads Insider and learn problemsolving techniques through in-depth videos and indispensable tips.

Go to ThreadsMagazine.com/4join © 2018 The Taunton Press

Get Louise Cutting’s Latest Fitting DVD and so much more!

SEWING TOOLS

R

TauntonStore.com/THDVD w w w. t h r e a d s m a g a z i n e . c o m

A P R I L /M AY 2 0 1 9

17

FABRIC L AB

BY SANDRA BETZINA

Crepe de Chine How to handle this textured, drapey fabric

S

ilk crepe de Chine has a slightly crinkly surface formed by twisted yarns.

It is available in three weights: two-ply, the most common; three-ply, the favorite of top-notch designers; and four-ply, found in tailored pants and jackets by European designers. The Japanese unit of measurement, known as momme, refers to fabric weight. The higher the momme, the heavier the fabric. Two-ply silk is 14 to 16 momme, three-ply silk is 30 momme, and fourply silk is 40 momme. However, some versions of crepe de Chine can fall outside those guidelines. Unlike polyester crepe de Chine, silk crepe de Chine has a beautiful drape and enables you to sew pucker-free seams.

All three silk weights work for tailored shirts and blouses; three-ply and four-ply work for tailored jackets, pants, blouses, straight dresses, and semifull pants; two-ply works well in full pants, boxer shorts, loose tops, and full dresses.

Preparation and cutting Crepe de Chine requires gentle care to retain its characteristic hand and luster.

Decide how to preshrink. If the completed garment will be dry-cleaned, preshrink by holding a steam iron 1⁄2 inch above the surface. Light colors can be handwashed. Prewash in warm water with 1 tablespoon of shampoo. Rinse until the water runs clear.

Add 1 tablespoon of hair conditioner and rinse again. Air-dry and press while damp. To set dark colors you plan to hand-wash, add 1 tablespoon of Epsom salt to the shampoo bath. Some prints and solids do run during hand-washing, so try a sample first.

Press the fabric. Use a dry iron on the silk setting. Pressing with steam may create watermarks.

Control fabric and cut accurately. Cover the table with tissue paper. You may apply a “without nap” layout. Pin the folded fabric to the tissue. Then pin the pattern through the fabric and tissue paper, keeping the pins within the seam allowances.

Cut with sharp scissors. A rotary cutter or microserrated shears also work.

Silk crepe de Chine has a gentle drape, which is ideal for garments with a relaxed silhouette.

Pattern: Vogue 1442.

Fabric: crepe de Chine, Josephine’s Dry Goods, Portland, Oregon.

18

THREADS

Photos: (p. 18) Jack Deutsch; (p. 19) Mike Yamin. Swatches: Banksville Designer Fabrics, Norwalk, Connecticut. Stylist: Jessica Saal.

Hair and makeup: AgataHelena.com. Styling credits: earrings—Anthropologie.com, bracelets—stylist’s own.

Sandra Betzina is the author of Fabric Savvy (The Taunton Press, revised 2017), from which this article is adapted.

Appropriate notions Crepe de Chine can range in weight from delicate to sturdy.

Test all tools on a fabric sample to achieve the best results.

Marking tools: Try a Pilot FriXion erasable ink pen or Clover Chaco Liner on light colors, or a Clover white marking pen for dark colors.

Underlining: Silk organza works well for underlining straight skirts and fitted dresses. To prevent wrinkling without adding crispness, use cotton batiste.

Thread: Fine machine-embroidery silk or cotton thread gives the best stitch because it marries with the fabric and doesn’t cause puckers.

Needle: Use a 60/8, 65/9, or 70/10 microtex (sharp) or jeans needle depending on the fabric weight.

Closures: For machine-stitched buttonholes, use a 70/10 jeans needle and fine machine-embroidery thread to reduce bulk. Loosen the top thread tension slightly.

Presser feet: Select a straight-stitch foot or, if using a standard zigzag foot, switch the needle to the far left position for greater control and grip.

Technique advice Simple stitching preserves the fabric’s flowing hand and soft texture.

Use a straight stitch. Set your machine to a stitch length of 1.5 mm to 2.0 mm. Hand-baste seams for best results when fitting, as ripping out seams may distort the fabric.

Stitch neatly. Hold the top and bottom threads when starting a seam to ensure a neat beginning.

Finish seam allowances. French or flat-fell seams create a neat and elegant finish.

Topstitch by hand. Hand-worked pickstitches 1⁄4 inch from the edge and 1⁄4 inch apart are nice detailing.

Choose a hem finish. On straight hems/edges, finish the raw edge with serging or a Hong Kong finish. Fold up the hem 1 inch and hand-sew.

For full skirts, circular ruffles, and curved edges on tailored shirts, trim the hem allowance to 1⁄2 inch. Using a 2.0 mm stitch length, sew along the finished hemline. Press the hem allowance to the wrong side, with the stitching line on the crease. Trim the allowance to 1⁄8 inch. Hand-roll the hem, enclosing the raw edge. Hand- or machine-sew with fine thread. Apply pressure with your finger on the back of the presser foot to prevent the hem from stretching. w w w. t h r e a d s m a g a z i n e . c o m

Silk crepe de Chine’s slippery hand can make sewing it difficult, but using the correct tools and techniques simplifies the process.

A P R I L /M AY 2 0 1 9

19

EMBELLISHMENTS

BY JOI MAHON

Dimensional lace Build rich designs with embroidery and appliqué ayer dimensional appliqués, made from freestanding embroidery designs, on top of a machine-embroidered lace motif stitched on a sheer fabric to create this stunning 3-D effect. When you make your own lace, you have an unlimited combination of colors and styles to choose from, so you can create an embellishment that coordinates with your fashion fabric perfectly. Purchased lace can be expensive, and purchased lace with dimensional appliqué is even more so.

Not only is this technique customizable to your taste and style, it won’t break the bank. Use this technique to create statement sleeves, as in the sample, or a stunning illusion neckline or lace skirt overlay.

You are limited only by the embroidery capabilities of your machine. Let’s take a look at how to make your own appliquéembellished lace. If you don’t have an embroidery machine, I’ll explain how to achieve the effect with purchased lace and trim.

L

Joi Mahon is a designer based in Sioux City, Iowa.

DesignerJoi.com

Sleeves, bodices, and even skirts can showcase dimensional lace.

Pattern: author’s original design. Fabric: blouse-weight silk (bodice), Haberman Fabrics, Clawson, Michigan; stretch mesh (sleeves), author’s stash.

20

THREADS

Pick the materials This technique works best with specific garment and fabric types. Some experimentation may be necessary to determine the best materials for your desired look.

SELECT A GARMENT PATTERN

FABRIC REQUIREMENTS

Start with a simple pattern with few details so the attention is on the embellishment. Consider where you would like to place the dimensional lace and look for designs that do not have darts or pleats in that area. Sleeves and necklines are a great place to start, but you can use this technique on most parts of a garment.

For a truly lacy effect, you need sheer fabric that is strong enough to withstand machine embroidery but soft enough to be comfortable. If the fabric is too delicate, it could cause needle jams or skipped stitches, and the finished design may not be as neat or as long-lasting. Stretch mesh, netting, tulle, and even organza are suitable. If the area to be embellished needs to have give, choose a stretch material, such as stretch mesh. For example, a fitted dress bodice with dimensional lace overlay requires stretch to allow movement.

Determine the design This technique works in many colors and sizes. As you play with ideas to find what works best for your project, these guidelines can help you plan great dimensional lace designs.

CHOOSE A LACE DESIGN The key to success is the embroidered lace background that forms the base of the embellishment. The design should have a delicate, open pattern. If it is too busy, the dimensional appliqué does not have the same impact, and the fabric may not be able to support the stitch density. Look for a design with an outline stitch and minimal fill stitches for best results.

Most designs for lace are available in smaller hoop sizes, which means you can stitch the lace in small sections. If your embroidery machine has a larger hoop, you can use customizing software to combine smaller designs into a single larger design to reduce the number of hoopings.

An embroidery motif with light outlines and no fill stitches creates a lacy background that’s soft and supple.

Embroidery design: M17518, EmbLibrary.com

DIMENSION WITHOUT MACHINE EMBROIDERY If you do not have an embroidery machine, you can use purchased lace yardage. Some meshes or organzas can be purchased with lace embroidered on them.

Use this as the base layer, and find complementary or contrasting premade appliqués to embellish it. Lace or

w w w. t h r e a d s m a g a z i n e . c o m

embroidered yardage or trim may be a good source of appliqué motifs.

Hand-tack or machine-tack each motif on the embroidered background material in the desired layout.

Keep appliqués away from the seam allowances.

A P R I L /M AY 2 0 1 9

21

EMBELLISHMENTS

continued

SELECT COLORS Stretch mesh comes in many colors, so select a base for the lace that complements or matches your fashion fabric. Next, determine the colors for the embroidered lace foundation and the appliqués. A good rule is to choose three colors: two neutral colors and one bright color that adds contrast to the design. The contrast among colors is important to achieve this technique’s 3-D effect. You can have a large bed of color with smaller, subdued designs layered on top, or the reverse. A monochromatic palette, while beautiful, does not add as much depth and dimension as a design with multiple colors.

Embroidery design: author’s original.

CHOOSE APPLIQUÉ MOTIFS Select a freestanding embroidery motif to create the appliqués that will be attached to the foundation lace. I like flowers because they go nicely with lace designs and can be modified to suit the feeling I’m going for. You could also create leaves or geometric shapes depending on your aesthetic.

USE WASH-AWAY STABILIZER

Contrasting appliqués intensify the 3-D effect.

Stitch the lace background Test the embroidery on scrap fabric and the stabilizer before beginning on the fashion fabric. If you have a problem with stitching, adjust the thread tension or stabilizer and try again.

ARRANGE THE LACE The size of the background lace design determines the overall layout on the garment section.

Trace the pattern pieces onto the fabric with chalk or other removable marking tool to ensure accurate placement. Apply watersoluble stabilizer and hoop the fabric. Embroider the designs, rehooping as needed.

REMOVE THE STABILIZER When the machine has finished embroidering, remove the fabric from the hoop and trim as much stabilizer as possible before soaking the piece in warm water to dissolve the rest. Remove the fabric from the water and pat it dry. Cover the damp fabric with a press cloth and press with an iron on a low setting.

22

THREADS

Arrange the lace embroidery in rows, or play with a more random arrangement.

Photos: (p. 20; p. 23, right) Jack Deutsch; all others, Mike Yamin. Illustration: Rosann Berry. Stylist: Jessica Saal. Hair and makeup: AgataHelena.com; Styling credits: earrings—Anthropologie.com, pants—TopShop (Nordstrom.com).

Opt for a water-soluble stabilizer for the background lace stitching and dimensional appliqué. Most background lace patterns require mediumweight stabilizer, but test to make sure that the weight is sufficient to ensure even stitching. The dimensional appliqués require heavy-duty stabilizer.

Add depth with embroidered appliqué Use machine embroidery to create the 3-D appliqués. Make sure your chosen embroidery is a freestanding lace design, as a standard embroidered motif will not hold together without a fabric base.

Freestanding lace designs begin with a layer of base stitches that support the design without fabric or stabilizer. Hoop wash-away stabilizer to support the freestanding embroidery while it is stitched. If the motif is delicate, add a layer of fine netting in addition to the Arrange the dimensional appliqués so stabilizer. The that the lace background peeks through. netting supports the embroidery after the stabilizer is washed away. Make as many appliqués as desired to create the design, plus several extras. For this blouse, I made approximately 95 flowers for each sleeve.

Hand- or machine-tack the appliqués to your embroidered lace background, then sew the design according to the directions. Add more appliqués when the piece has been finished, if desired.

Stretch mesh’s translucency provides an airy background to dimensional embellishment.

CARE FOR YOUR GARMENT Because of the added weight of the dimensional embroideries, machine washing can potentially damage or stretch out the garment, even if the fabric can withstand machine washing or drying. I recommend handwashing in cold water and drying the garment flat for best results. You may need to press the embroidery after washing.

w w w. t h r e a d s m a g a z i n e . c o m

How-to

◆

Projects & Patterns

◆

Tools & Supplies

◆

Inspiration

Start Watching Sewing with Threads

All About Vintage Sewing Machines

Now you can tune in to the monthly Sewing with Threads podcast on Threads Magazine.com. Watch and listen as the Threads editors talk about sewing with industry experts. Future guests include Rae Cumbie, Daryl Lancaster, and Jennifer Stern-Hasemann. The podcast is full of insight and advice. You’re sure to learn something from each episode.

Threads Digital Ambassador Peter Lappin reviews the ins and outs of vintage sewing machines—where to find them and how to identify vintage machines with staying power. See Peter’s favorite finds through his monthly posts to Threads Magazine.com.

Author and pattern designer Gail Patrice Yellen, far right, joins the Threads editors to discuss her development of and experimentation with embellishments in Episode 12 of Sewing with Threads.

A Singer Model 15, manufactured in 1906, is one of many machines Peter Lappin ran across at a local flea market.

Add Sleeves to Sleeveless Garments If your favorite blouse or dress pattern is sleeveless, you can get more options from the design by planning sleeves for it. Contributing Editor Louise Cutting shows how to graft the armscye and sleeve from a sleeved pattern onto a sleeveless pattern.

With a Threads Insider membership, you open a world of sewing education:

t Sewing technique videos t Digital and tablet issues t Downloads of our most popular articles t More 360-degree views of garments featured in the magazine

t Searchable online archive of Threads from #1 to #200

Follow us on:

24

THREADS

Threads Contributing Editor Louise Cutting shares her industry expertise as she demonstrates how to adjust a garment pattern to add sleeves.

The Threads Magazine Index can be found at ThreadsMagazine.com.

Photos: (top left) staff, (bottom right) Gary Junken, (top right) Peter Lappin. Twitter, Facebook, Instagram, YouTube, and Google+ are registered trademarks; Pinterest logo was designed by Michael Deal and Juan Carlos Pagan.

magazine.com

Your Source for

Fashion Fabric Shop local, independently owned fabric stores specializing in designer silk, wool, rayon, cotton, polyester, knit, etc. and offering expert customer service.

Fabrications Richland, Michigan (Kalamazoo area) 877-629-0190 FabricationsOnline.com Josephine’s Dry Goods Portland, Oregon 503-224-4202 JosephinesDryGoods.com

Ginny’s Fine Fabrics and Support Group Rochester, Minnesota 507-285-9134 Facebook.com/GinnysFineFabrics Let’s Sew Evansville, Indiana (I-69, Exit 9, West) 812-471-7945 LetsSew.com

Mulberry Silks & Fine Fabrics Carrboro, North Carolina (Chapel Hill area) 919-942-7455 MulberrySilks.net

Tissú Fine Fabrics Salt Lake City, Utah 435-896-7286 TissuFabrics.com

Treadle Yard Goods St. Paul, Minnesota 651-698-9690 TreadleYardGoods.com

The French Seam Indianapolis, Indiana 317-841-1810 TheFrenchSeam.com

No Setup Fees Up to Half Off Our Most Popular Sizes Same Day Printing and Shipping

Visit www.pdfplotting.com

pattern review TESTED AND SEWN BY THREADS

Butterick 5930 (Butterick.com) Featuring a vintage-inspired silhouette, this feminine dress flatters many body types. All three views include a fitted, fully lined bodice with a seam at the natural waist, mock crossover front, detachable dickey, center-back zipper closure, princess seams, and front and back low V-neckline. Views A and B feature a flared skirt with side seam pockets; view A is sleeveless with a contrast shawl collar, and view B has short sleeves and a shawl collar in the same fabric as the body. View C is sleeveless with a semifitted straight skirt with a left sidefront slit and notched shawl collar. Though the pattern is marked “easy” on Butterick’s website, our seamstress suggests the bodice construction be marked “intermediate.” Select cotton lawn, silk georgette, crepe, and sateen.

(Sized Misses’/Misses’ Petite/Women’s/Women’s Petite 8–24W for busts 31.5–46 in. and hips 33.5–48 in.) ✚ ■ —Tested by Colleen Hubbard, Duluth, Minnesota

STYLE TIP: Make multiple dickeys, a vintage detail designed to provide wearing options.

Skinny Bitch Curvy Chick Patterns: Rickey Jacket (SBCCPatterns.com) These classic jackets, cut for petite figures, have traditional tailoring features.

They are fully lined with front and back princess seams, two-piece sleeves, center-back seam, welt pockets incorporated into the side panel with the option to add flaps, and a button closure. Collar choices include a notched lapel or a shawl collar with a dart. The jacket ends at the high hip in back and the angled front hem reaches slightly lower. Though areas of the jacket have different seam allowances, the instructions note the seam allowance widths, and the pattern pieces are clearly labeled. This pattern line is drafted for a 5-foot, 1-inch Butterick 5930 view C in premium cotton by Art Gallery Fabrics

tall woman, but there are lengthening lines on all pattern pieces. The sewing instructions are detailed with clear illustrations. The fabric recommendations include wool gabardine, ponte knit, and cotton sateen. For a tuxedo-style jacket use satin on the collar facings and pocket welts or flaps.

—Tested by Pam Howard, Newnan, Georgia

360° Threads Insider and tablet exclusive

26

THREADS

SEWING TIP: Use lightweight felt to create sleeve heads if you cannot purchase ready-made ones.

→

(Sized 00–28W for busts 30–54.5 in.) ✚ ■

LOOK FOR THESE ICONS ON THE PATTERN REVIEWS ■ Petite options ✚ Includes sizes 24 and up ● Fast and easy

★ For knits

▲ Challenging techniques

→

Every pattern shown has been sewn and evaluated. We keep a close watch on fashion trends and select patterns that reflect the latest looks. Each one is then sent to a talented tester, who sews it in muslin to evaluate the proportions, style, and pattern instructions. —Compiled by Anna Mazur

Downloadable pattern

Orageuse: Helsinki Blouse (Orageuse.com) Reminiscent of a blouson-style top, this surplice-front blouse features four stacked pleats near the waist edge, which are pressed and left unsewn on each side of the crossover front, bust darts, and a twisted front hemline. The front edges and neckline are finished with a narrow band that has triangular notches just above the bustline and at center back. The self-lined back yoke gathers the and buttoned barrel cuffs give this blouse polish. The sewing instructions are correct and all seams match up, but the crossover twist at the hem is difficult to visualize. Orageuse has a video on its blog to help with this step. In styling the top for photography, we found it challenging to arrange the front hem twist and keep it from becoming a heavy knot. Select lightweight woven fabrics such as challis or poplin to diminish bulk at the front hemline.

(Sized French S34–S46 for busts 31.5–40.9 in.)

→

Photos: Jack Deutsch. Illustrations: Steven Fleck. Stylist: Jessica Saal. Styling credits: (26) earrings—Amber Sceats (DSW.com), bracelets—Anthropologie.com, handbag—Aldo (DSW.com), shoes—Calvin Klein (NordstromRack.com); (p. 27) shorts—Celebrity Pink (stylist’s own), bracelets—stylist’s own, handbag—Anthropologie.com, shoes—Report (NordstromRack.com).

lower back panel at center back. Bracelet-length sleeves with a sleeve placket

—Tested by Toby Barton, Winsted, Connecticut

SEWING TIP: Once you get the front twist in the desired position, invisibly tack it in place to maintain the folds.

Simplicity 8610 (Simplicity.com) This collection is composed of a wide-sleeved jacket, jumpsuit, and sundress.

The jacket has wide three-quarter-length cut-on sleeves, a gathered waistline at the natural waist, as well as two length options: waist-length with long ties, and hip length with a wide band. The jumpsuit has a center-back zipper closure, a camisole-style top with 1⁄2-inch-wide adjustable straps that attach to the bodice

Orageuse Helsinki blouse in cotton shirting from MarcyTilton.com

back via a loop and buttons, front waist darts, and a high, gathered waist seam.

The straight-legged pants have curved side pockets and back patch pockets.

The knee-length, A-line dress shares the same bodice as the jumpsuit. The instructions are clear and include helpful illustrations. The pattern pieces match well. Suggested fabrics for the jacket include lightweight woven fabrics such as challis or poplin. Make the jumpsuit or dress in medium-weight woven fabrics.

(Sized Misses’ 6–24 for busts 30.5–46 in. and hips 32.5–48 in.) ✚ —Tested by Karen Konicki, New York City, New York

SEWING TIP: For a sleeker look and easier installation, sew in an invisible zipper instead of the suggested centered zipper. w w w. t h r e a d s m a g a z i n e . c o m

A P R I L /M AY 2 0 1 9

27

pattern review c o n t i n u e d McCall’s 7754 (McCall.com) For traditional jeans detailing with interesting touches, look to this pants pattern. It has a straight or scalloped waistband, fly-front zipper, five pockets, and back yoke. It comes in three lengths: short shorts, ankle-length, and midcalf with leg bands that tie. On all views, the bottom edge of the waistband sits at the natural waistline. The pattern is intended to be tissue-fitted on the body using the Palmer/Pletsch method, a process the instructions explain thoroughly. All fitting adjustments are dealt with in detail except for adjusting the scallops for symmetry if making the waistband smaller or larger. The seam allowance on the pants waistline is 1 inch wide, however, the seam allowance on the waistband is 5⁄8 inch wide. When attaching the scalloped waistband, the instructions say to place the large circles at the opening edges. Our staff seamstress found that the circles should be placed at the zipper center for the scallops to line up across the center front. The pattern suggests lining fabric for the pocket lining, but our tester says it would not be stable enough for this application. She recommends pocketing fabric or a lightweight twill instead.

Make these pants in denim, twill, or other bottom-weight fabrics.

(Sized Misses’/Women’s 8–24W for hips 33.5–48 in.) ✚ —Tested by Rachel Kurland, South Strafford, Vermont

SEWING TIP: To simplify the waistband attachment, trim 3⁄8 inch from the pant waist seam allowance so it matches the waistband’s allowance.

Style Arc: Indigo Maxi Skirt (StyleArc.com) This floor-length slip-on straight skirt has deep patch pockets, a waistband with an elastic back, a faux button placket at center front, a curved hemline, and knee-high side slits for walking ease. The instructions indicate to attach the 1-inch-wide elastic to the back waistband before sewing the band to the skirt waistline. Our tester found the method took extra time and could result in added bulk if not sewn correctly. The match points are correct and all seamlines align.

The instructions are brief but easy to follow and do not include illustrations. This pattern works well with light- to medium-weight linen, gabardine, cotton, and rayon. Batiks or stripes in various styles will give this design a distinctive look.

(Sized 4–30 for hips 32.6–61 in.) ✚

→

McCall’s 7754 view B in cotton twill from Joann stores

—Tested by Nancy Muro, Wallingford, Connecticut

SEWING TIP: For an alternative method of attaching the elastic, sew the waistband to the skirt and leave the side seams open to create a casing.

28

THREADS

Cashmerette: Ipswich Swimsuit (Cashmerette.com) With a one-piece and two-piece version, this swimsuit design has appeal for curvy swimmers with different styles. View A is a swimsuit with a contrast waistband, while view B is a bikini with high-waisted bottom and optional contrast piping. Both views have an optional sewn-in bra for support. The pattern includes pieces for three bust-cup ranges: C/D, E/F, or G/H. The detailed instructions come in booklet form. The upper back and back band pieces are lined with power mesh, as noted on the pattern pieces. There’s a cutting diagram for power mesh showing this, but it is not mentioned on the pattern envelope.

The booklet contains a more exhaustive list of materials and notions. You can sew this suit on a regular sewing machine, and the booklet includes instructions for sewing on a serger. Our tester recommends reading the entire instruction booklet before beginning, to understand the construction process thoroughly.

(Sized 12–28 [C-H cups] for busts 40–58 in. and hips 42–58 in.) ✚ ★

→

Photos: Jack Deutsch. Illustrations: Steven Fleck. Stylist: Jessica Saal. Styling credits: (p. 28) earrings—Forever21.com, top—Madewell.com, fanny pack—Urban Expressions (DSW.com), shoes—BananaRepublic.com; (p. 29) hat—Brixton (Nordstrom.com), earrings—JCrew.com, glasses—Stella McCartney (NordstromRack.com), bag—Ralph Lauren (DSW.com).

Use swimsuit fabric with spandex as well as swimsuit linings.

—Tested by Samina Mirza, Katy, Texas

STYLE TIP: Create a sweetheart neckline e≠ect by ruching the center front with a length of elastic.

Vogue 9212 (VoguePatterns.com) With an asymmetrical front opening and stand up collar, this stylish midthighlength jacket has interesting seamlines. It is fully lined, fitted through the shoulders and bust, and flared below the waist, with a pointed hemline that is slightly longer in front than in back. In-seam pockets are incorporated into the lower portion of the front princess seams. The bottom edges of the pocket bags are secured by the diagonal seam on the lower front. Asymmetrical panels make up the lower front. Two-piece sleeves, back princess seams, a center-back seam, and a flared lower back complete the look. Our tester recommends molding the sleeve cap before attaching the sleeve by gathering and pressing it over a ham.

She also suggests checking the sleeves’ width, as she found them to be snug. The sewing instructions and illustrations are detailed and correct. The closure choices are large snaps or loops with buttons. This coat is ideal for medium-weight wool, silk, tweed, and faux leather.

(Sized Misses’ 6–22 for busts 30.5–44 in.)

—Tested by Michele Kwiatkowski, Danbury, Connecticut

SEWING TIP: Staystitch and clip the front neckline corners carefully before setting in the collar. w w w. t h r e a d s m a g a z i n e . c o m

Cashmerette Ipswitch view A in UV-protective polyester and spandex compression tricot from MoodFabrics.com

A P R I L /M AY 2 0 1 9

29

HOW DI D TH EY SEW THAT?

BY JUDITH NEUKAM

Raglan with structure Shape the shoulder line with a pleat he unusual treatment of the raglan sleeve shoulder in a vintage Leslie Fay double-knit wool dress makes the garment a tasteful standout. A clever pleat accents the shoulder and marries the structured shape of a set-in sleeve with a raglan style. The pleat has no visible seamline and is maintained by a fabric stay within the dress. It is further supported with a small shoulder pad.

A standard raglan sleeve is easy to sew and generally easy to fit.

You can adapt a raglan-sleeve pattern to get the effect that is shown. Begin with a one-piece raglan pattern that includes a shoulder dart. The dart’s tip will be concealed inside the pleat, so the dart mimics a shoulder seam.

Try the process on a test sleeve to determine the desired pleat depth and any other adjustments needed. I recommend using a ponte knit to mimic the soft stability of the original double-knit wool. You may need to lengthen the sleeve to account for the fabric taken up in the pleat, so cut the test sleeve a little longer.

Contributing Editor Judith Neukam loves to find contemporary fashion potential in vintage garments.

Enjoy the silhouette of a set-in sleeve with the comfort and elegance of a raglan style.

30

THREADS

Photos: (p. 30) Stephen Sartori; (p. 31) Mike Yamin. Dress: from the Sue Ann Genet Costume Collection, Syracuse University School of Design.

T

11/2 inches

1

Pleat stitching line

Sew the shoulder dart.

Press the allowances open.

11/2 inches Fold the darted portion down and pin the pleat.

SLEEVE (WS)

Fold and pin the shoulder pleat. With right sides together, fold the sleeve’s shoulder/neck area onto the lower sleeve, with the dart point at the fold. Align the dart with the grainline. Pin a line perpendicular to the dart, 3⁄4 inch to 1 inch from the fold and extending to each side 11⁄2 inches.

2

SLEEVE (RS)

Neckline

Attach the stay. With a marker or thread tracing, transfer the pinned lines onto both fabric layers, creating lines 1 and 2. Unpin the pleat and unfold the sleeve. Cut an organza piece slightly larger than the shoulder area. Place the stay on the raglan sleeve’s wrong side so it extends an inch beyond line 2.

Machine-sew the stay to the sleeve along line 2.

3

Line 1

Line 2 ORGANZA

SLEEVE (WS)

Form the pleat. Working with the sleeve on a ham, pull the stay toward the sleeve’s neck edge to align lines 1 and 2. This draws up the sleeve and causes the pleat to fold. Pull the stay 1⁄4 inch to 1⁄2 inch farther, so the dart point folds into the pleat. Pin the pleat without folding the organza within it, and smooth the stay within the shoulder area. Baste the stay to the raglan seam allowances.

4

Pull the stay to form the sleeve pleat, and baste the stay to the raglan seams.

Basting

Sew the stay along line 2.

Finish the stay. Trim the excess organza along the raglan edges. Continue with construction following the pattern instructions. Insert a shoulder pad, with its straight edge even with the pleat’s outer foldline; stitch it in place invisibly through the shoulder dart seamline.

5

Add a small shoulder pad to support the pleat’s shape.

ORGANZA STAY

Pinned pleat

SLEEVE (WS)

w w w. t h r e a d s m a g a z i n e . c o m

A P R I L /M AY 2 0 1 9

31

PATTERN HACK

BY CAROL J. FRESIA

Spiral sleeve Incorporate a flounce in one long seam y stylish coworker came in one day in a striped top that offered a neat twist on the basic Breton tee: Each long sleeve was embellished with a flounce that wound from top to bottom, on a diagonal. The flounce was incorporated into a single seam, spiraling around the arm. Each sleeve was cut as a single piece—but we could tell it was an unusual shape.

We immediately set ourselves the task of re-creating this sleeve from a basic pattern. It looked difficult but turned out to be simple. The patternwork and the sewing are surprisingly straightforward. This method works for knits or wovens. We show it with three wraps, but you could plan a spiral that corkscrews around the arm many more times. Insert a flounce or other trim, or add topstitching to enhance a plain seam. Experiment: It’s less convoluted than it looks.

M

Carol J. Fresia is Threads’ senior technical editor.

Make a sleeve noteworthy with an unexpected winding flounce.

Pattern: McCall’s 7430, modified. Fabric: navy ponte knit and striped polyester/spandex knit, MoodFabrics.com.

32

THREADS

Revamp the pattern Begin with a basic, one-piece sleeve pattern. You’ll draft the flounce pattern from scratch.

A

ADAPT THE SLEEVE PATTERN B

Trace the pattern. Remove the seam and hem allowances and shorten the sleeve by 1 inch. Draw a grainline from the sleevecap center to the hemline.

1

C Back seamline Front seamline

Straighten the vertical seamlines. The sleeve may be tapered as long as the seamlines are straight. If they are slightly curved, draw a straight line from the armscye end to the hemline.

2

D

E

Establish the upper diagonal. Mark point A about halfway up the front armscye seamline. Mark point B, 2 inches to 3 inches below the underarm point on the back vertical seamline. Draw line AB connecting these points.

3

Grainline

Draft the remaining diagonals. Draw a line from B, perpendicular to the center grainline, to the front seamline. Mark that point C. Mark point D on the back seamline, halfway between B and the hem.

Connect D and C with a straight line. Repeat, marking points E and F, and connect them.

4

Hemline

F

Add match marks. With different colored markers, make several match marks on each new seamline. Color-code the adjacent seamlines to correspond.

5

A

Reposition the bottom pattern section. Cut along line EF and move the bottom section to align its front seamline along line DF on the back seamline. Tape to secure.

6

B

C Grainline

Front seamline Reposition the bottom pattern section, aligning its front seamline to the corresponding back seamline.

D

E Back seamline

Hemline

F continued

w w w. t h r e a d s m a g a z i n e . c o m

A P R I L /M AY 2 0 1 9

▸ ▸ ▸

33

PATTERN HACK

continued

Sleeve cap

Position the remaining pieces. Repeat step 6, cutting along lines CD and AB, and aligning each section’s front seamline with the corresponding back seamline. Tape all pieces together.

Mark the grainline in the sleeve-cap section.

7

Add seam allowances. Add 5⁄8-inch-wide allowances to all the edges. Where the cutting lines form a slight angle, smooth the angle into a gentle curve. Label the upper seamline “Attach the Hemline flounce here.”

Attach the flounce here.

Grainline

A

C B

8

E D Add 5⁄8-inch-wide allowances to all the edges.

F

FLOUNCE Cut 3.

DRAFT THE FLOUNCE PATTERN

Cutting line

Draw concentric circles. Make one with a 6-inch radius and the other with a 9-inch radius. This produces a flounce that’s about 373⁄4 inches long and 23⁄8 inches wide when finished.

1

Draw a cutting line across the circular band. Label the pattern “Flounce.” Include the instruction to cut 3. There will be one flounce for each spiral seam and one to split for the sleeve hems.

2

9 inches

Construct the sleeve The sleeve pattern is long. When cutting it, use a single-layer layout, and be sure the fabric is supported at all edges to prevent stretching. Turn the pattern over to cut the second sleeve.

Cut the patterns. Cut two sleeves and three flounces. If the flounce fabric is striped, cut across the flounce circles on the same grainline, so the flounces are symmetrical. Transfer the match marks to the fabric.

1

2

Hem the flounces’ outer edge. Use a serged rolled hem, a baby hem, or leave the edge raw if preferred.

Sleeve cap

FLOUNCE (RS)

Baste the flounces in position. Each flounce is attached to the sleeve’s upper seamline, where noted. With the flounce’s wrong side against the sleeve’s right side, align the raw edges. In most sizes, there will be some excess flounce extending beyond the sleeve hem.

Baste 1⁄2 inch from the edge.

SLEEVE (RS)

3

Transfer the match marks to the fabric, and baste the flounce to the upper seamline.

Hem edge

34

THREADS

Photos: (p. 32; p. 35, right) Jack Deutsch; all others, Mike Yamin. Illustrations: Rosann Berry. Styling credits: earrings—HM.com, shoes—Zara.com.

6 inches

Sleeve cap

Pin the spiral seam. Beginning at the sleeve cap, fold the sleeve with right sides together and match the first marks. Pin. The flounce’s basted edge is sandwiched between the sleeve seam allowances. Continue along the sleeve, pinning at each match point.

4

Spiral seam

WS

As you match and pin the marks, the sleeve coils into a snail-like shape.

SLEEVE (WS)

FLOUNCE (RS)

SLEEVE (RS)

Sew the seam. Uncoil the pinned sleeve. Stitch the spiral seam through the sleeve and flounce layers, making sure not to catch the flounce’s free edge in the seam.

5

Excess flounce

Prepare the sleeve hem flounce.

Trim the excess spiral flounce even with the hem edge; pin or baste its short edge along the hem. Measure the hem circumference. Add 11⁄4 inches for seam allowances, and cut each hem flounce piece so its inner curve is this length. Join the short ends to create a ring.

6

Attach the flounce.

With right sides together, align the hem flounce seam with the spiral seam.

Pin the flounce along the hem edge, then sew. The finished flounce drapes over the hand.

7

w w w. t h r e a d s m a g a z i n e . c o m

Cut the flounce from a striped fabric to play up its shifting grainline.

Finish the sleeve hem with another flounce.

A P R I L /M AY 2 0 1 9

35

Blind Hems

by Machine Tools and methods for a speedy, nearly invisible finish

BY SANDRA MILLER ny contemporary sewing machine that can sew a zigzag stitch also offers a blind-hem option. This stitch’s pattern has three or four straight stitches, followed by one zigzag stitch. It helps you sew hems quickly and with a minimum of visible stitches. The concept is easy to understand, even for a beginner. However, getting truly polished results—smooth, nearly invisible stitching—can take some finesse.

A successful machine-sewn blind hem comprises three elements: an appropriate finish at the hem’s cut edge, a properly prepared hem allowance, and stitch settings that suit the fabric.

These factors differ for every project, so you will need to test each on scrap fabric before sewing the real hem. Once you have

A

established the settings, the actual hemming is fast to complete.

An additional factor in successful blind hemming is the presser foot you use. Most sewing machines come with a special foot for this purpose, so read your machine’s manual and familiarize yourself with the provided foot. There’s a range of foot types, and I’ll show you some of them. Each features a component that guides the fabric for precision stitching. If you don’t get great results with the foot you have, try a different style.

Practice, and soon you’ll be blind-hemming like a pro.

Sandra Miller of Orlando, Florida, is a pattern tester and technical writer for Cutting Line Designs.

Try the blind-hem stitch on any fabric. With the right stitch setting, the result is clean on the inside and imperceptible on the outside.

36

THREADS

Presser-foot variations All presser feet intended for blind hemming include some sort of guide to ensure that you apply the stitches evenly, for a consistent hem.

LOWERED TOE These feet are similar to a standard zigzag presser foot, with a wide opening for the needle to travel within. The right toe is wider than the left, and its sole is slightly lower than the left toe’s sole. The left toe sits on the folded fabric, and the right toe’s inner edge runs along the fold.

To adjust the stitch, change the needle position so the zigzag portion penetrates the fabric at the very edge of the fold. You can also adjust the stitch width to take a larger or smaller bite with each zigzag stitch. Generally, the thinner the fabric, the narrower the stitch should be.

An adjustable version (shown at right, in clear plastic) offsets the foot to the left or right, so you can tweak where the fabric fold sits relative to the needle and the zigzag stitch.

Lowered toe

CENTER GUIDE A skate-blade-style guide sits between the presser foot’s toes on this type of foot. The fabric’s hem fold runs along this guide. For the straight-stitch portion of the blind-hem stitch, the needle stays to the right of the guide. For the zigzag stitch, it jumps over the guide and stitches to the left. To fine-tune the stitching, adjust the needle position and/or the stitch width.

The Janome G foot has a series of slightly diagonal grooves on the sole. These are intended to help guide the fabric properly under the foot so the stitch remains in correct alignment along the hem fold.

Center guide

ADJUSTABLE SIDE GUIDE This presser foot style has a white plastic guide on the right, which can be adjusted to sit closer to or farther from the foot’s left toe. Some versions have a small tab that slides beneath the hem fold. When using this foot type, place the fabric under the presser foot, and hand-crank the needle until the zigzag portion of the stitch penetrates the fold at the desired place. Then adjust the guide so it abuts the hem fold’s edge.

Adjustable side guide

w w w. t h r e a d s m a g a z i n e . c o m

A P R I L /M AY 2 0 1 9

37

Prepare the hem for stitching A clean edge finish, followed by careful folding and pressing, are the first steps to a smooth blind hem.

FINISH THE RAW EDGE

Serged edge

Hong Kong finish

Folded edge

Serged edge: Simply overlock the raw edge for a secure, low-bulk finish that’s quick to apply.

Hong Kong finish: Bind the edge with a bias strip of lining or other lightweight fabric. This is the most attractive finish and the best option for heavy or loosely woven fabrics. With right sides together and raw edges aligned, sew the bias strip to the hem allowance’s edge. Then wrap the binding’s free edge to the fabric’s wrong side, and stitch in the ditch of the seam to secure it. There is no need to trim the excess on the wrong side.

Folded edge: Press under the edge by 1⁄4 inch to 3⁄8 inch to enclose it within the finished hem. This works well with light- to mid-weight fabrics; it can be bulky on heavier textiles.

Trim the seam allowances.

Trimmed seam allowances: Most hems cross a perpendicular seam, as at a side seam. Reduce bulk by trimming the allowances for 3⁄8 inch, in the area where the blind-hem stitch will fall.

WS

WS

WS

Apply an edge finish that’s suited to the fabric weight and texture.

FOLD THE ALLOWANCE INTO POSITION Hem allowance extension (WS)

GARMENT (WS)

Hemline fold

38

THREADS

Temporary fold

1 2

Press up the allowance. Press it on the desired finished hemline.

Fold the allowance under. Fold the hem area against the garment’s right side, so that 1⁄4 inch of the allowance edge extends beyond the garment. Don’t press this temporary fold. You will open it after the hem has been stitched.

Pin the hem. Insert the pins from left to right, so the points emerge just to the left of the temporary fold. The pins should anchor the garment’s fabric to the folded-back hem area. You can remove the pins from the left as you sew or leave them in place, and they don’t compress or pinch the fold.

3

Adjust the stitch and sew The key to a nearly invisible hem is setting the stitch so the zigzag portion takes the smallest bite possible from the temporary fabric fold.

Position the fabric so the temporary fold abuts the presser foot guide.

ALIGN THE FABRIC AND PRESSER FOOT Position the fabric so the presser foot guide is next to the temporary fold and the right-hand side of the foot sits on the hem allowance’s extension.

GARMENT (WS)

FINE-TUNE THE SETTINGS Depending on the presser foot style and fabric, you may need to adjust the stitch width, the needle or foot position, or a combination of these. Practice stitching on a scrap of the garment fabric to determine the ideal settings.

Hem allowance extension Temporary fold

WS

RS

The stitches on the right end are too wide for this shirt-weight cotton. Make incremental adjustments to narrow the zigzag stitches until they are ideal, as on the left end. Even in contrasting thread, they’re difficult to see from the right side when properly adjusted.

WS

RS

This wool crepe is easy to hem. Crepe is woven of crimped fibers and it has loft. When the stitches are correctly adjusted, the hemming almost disappears into the fabric. w w w. t h r e a d s m a g a z i n e . c o m

A P R I L /M AY 2 0 1 9

39

ADVICE FOR HANDLING DIFFERENT FABRICS Weight, texture, and opacity must be considered when setting the machine for a successful blind hem.

Prints Even on lightweight shirting cotton, blind-hem stitches are difficult to see when sewn on a print, especially if you match the thread to one of the print’s dominant colors.

RS

WS

Matching thread

Textiles with body On mediumweight cotton duck, a wider stitch was needed to catch and secure the hem fold.

High-contrast thread

High-contrast thread

WS

Matching thread

RS

RS

WS Solid colors With no print or noticeable texture to camouflage the stitches, pressing is especially important. Allow steam from the iron to penetrate the fabric, then press gently. Test whether pressing from the wrong side gives a better result.

Knits Many machines offer a blind-hem stitch especially for knits. It substitutes narrow zigzag stitches for the straight-stitch portion, to preserve the knit’s stretch. Even if your machine doesn’t have this option, you can still get a good result with the blind-hem stitch for woven fabrics.

No edge finish is needed on most knits. This stitch works on lightweight and heavier knits, with a width adjustment.

RS

Lightweight jersey with a narrow stitch

40

THREADS

WS

Boiled wool with a wider stitch

RS

Photos: Mike Yamin.

WS

WS

Sheers Lightweight and slithery fabrics can be blindhemmed by machine, but may require more effort in the setup, as well as slow, precise stitching. This silk georgette called for special considerations. The raw edge is finished with bias-cut nylon tricot binding that barely shows but adds a helpful touch of body for easier stitching. I used more pins, a smaller needle, and lightweight thread (two-ply, 60-weight).

WS

Sheer binding

RS

Sheer binding

RS

Manage curved hemlines

An open-weave, silk/nylon blend sheer with metallic fibers was finished with a bias-cut nylon tricot binding, which is bulk-free and controls fraying. With a standard blind-hem stitch, this produced a supple, flat hem.

WS

If you’re working on a full skirt, you’ll appreciate the time saved in hemming by machine.

1 2

Prepare the hem allowance. Finish the raw edge. Stitch a line of machine basting 1⁄4 inch from the finished edge.

3

Stitch the hem. Adjust the stitch width and sew slowly, keeping the curved edge along the presser foot’s guide.

Fold up the hem. Lay the garment on a pinnable surface, such as the ironing board, and gently pull the basting stitches to ease the hem fullness, as you fold up the allowance.

To secure, stab pins through the hem. Press and pin the hem.

Once it is pressed, fold and pin it for blind-hem stitching.

Basting

Ease, pin, then press the hem allowance in preparation for machine hemming.

RS

Even curved hems can be sewn by machine, making quick work of hemming full skirts.

w w w. t h r e a d s m a g a z i n e . c o m

A P R I L /M AY 2 0 1 9

41

Wax Prints Colorful textiles with a diverse history and design potential

BY MARCY HARRIELL he vibrant, complex motifs of wax prints are only one aspect of what makes them desirable.

These beautiful textiles are created with tightly woven, 45-inch-wide, 100 percent cotton cloth and dyed through a wax resist method. Because of the tight weave, they are stable and won’t shift while you sew.

In addition, the dyeing process creates saturated color and crisp details on both sides of the textile, resulting in a fabric that has no “wrong side.” It most often comes in continuous 6-yard cuts, though it can be found in 2-, 4-, and 12-yard cuts as well. It retains a wax coating if pretreated without heat, giving it a stiff hand.

Although frequently referred to as African wax print, this textile originally hails from the Netherlands. In 1846, several Dutch entrepreneurs, including Pieter Fentener van Vlissingen, were looking to break into the lucrative Indonesian batik market with a new, automated manufacturing process, which used a modified block printing machine to roll wax and ink onto textiles.

Traditionally, batik is created using hand-applied wax, which is either painted on or applied with a pen-like device. The process can take up to a year, depending on the complexity of the design. Van Vlissingen’s goal was

T

42

THREADS

to speed up batik production with his machine-made alternative, thereby making it cheaper and more profitable. However, his printing process produced small flaws in the print, which his intended market found unappealing.

Trade routes eventually took the fabric to Africa by way of Ghana, and the striking fabric found its audience, where the inherent “flaws” were considered a sign of authenticity. The fabric is deeply tied to its African audience, with many prints produced according to the desires of the consumer. Inspired by the broad range of motifs and color, consumers name and invent backstories for the prints; these stories differ depending on the region in which they are sold. Garments created from the colorful prints make a statement and tell a tale.

There are many prints available that mimic the effect of genuine wax prints but are not made with the wax resist technique. Instead, the fabric is printed with the design. The result is a colorful fabric that is inexpensive but lacks the most appealing qualities of wax prints.

Marcy Harriell is an avid sewer, blogger, and collector of bright, multicolored fabrics. OonaBalloona.com

Wax print motifs range from bold to intricate, offering exciting sewing and design opportunities.

Pattern: Vogue 1239, modified (left); out-of-print Simplicity 1802, modified (right). Fabric: AKN Fabrics (left); MoodFabrics.com (right).

w w w. t h r e a d s m a g a z i n e . c o m

A P R I L /M AY 2 0 1 9

43

Source authentic textiles Many manufacturers producing quality prints hail from the Netherlands and other European countries and from across Africa. Digitally printed knockoffs, usually created in China, are often cheaper and thinner, with less vibrant colors and a lighter wrong side.

Authentic wax prints have a stiff drape that creates dramatic maxi dresses.

ONLINE STORES Vlisco, the original manufacturer of wax prints, sells many varied, highquality fabrics (Vlisco.com).

Urbanstax.com carries prints manufactured only in Africa.

House of Mami Wata carries authentic and less expensive prints from several manufacturers (Etsy.com/shop/HouseOfMamiWata).

BRICK AND MORTAR STORES AKN Fabrics is a small, fifth-floor fabric haven near Herald Square in New York City. It is jam-packed with authentic prints of different colors and patterns. Its fabrics are also available online (AKNFabrics.com).

Mood Designer Fabrics has a selection of Supreme Wax textiles at its New York City and Los Angeles stores, as well as online (MoodFabrics.com).

A few blocks away in the Garment District, wax prints are available in many of the numerous fabric stores. Prints found by-the-bolt are often knockoffs that may be of a lower quality than authentic wax prints.

WAX PRINT SEWING TIPS Needle: Try a mictrotex (sharp) or universal size 70/10 needle.

Thread: All-purpose thread works well.

Stitch length: Set the machine for a stitch length of 2.5 mm to 3.0 mm.

Pressing: Use a steam iron on the cotton setting to press wax prints. Some manufacturers suggest ironing on the fabric’s wrong side to better preserve the wax coating. Test the iron on a small, inconspicuous area first to ensure good results on your fabric.

Fabric orientation: Choose a side to showcase on the garment exterior. Some treatments, such as foil overprinting, may appear on only one side.

RS

WS

Some wax prints have metallic foil overprint on the right side for added interest.

44

THREADS

Prepare the fabric Before sewing, consider how you want to care for your fabric and inspect it for flaws that may influence how you cut and sew it.

REMOVE THE LABELS A genuine wax print arrives neatly folded, with adhesive labels securing the ends. These can include small labels holding the fabric together at the fold, and larger labels near the ends of each length. The stickers are easily removed with a steam iron and a press cloth.

Simply lay the cloth over the label, hit it with steam for a minute or so to melt the glue, and quickly peel the label away while the glue is wet.

Unfold the fabric to check for flaws, examine the print, and begin planning a cutting layout. Three yards, shown, gives an idea of the motif scale.

LOOK FOR FLAWS With cheaper fabrics, especially on-the-bolt knockoffs, the weave can loosen so considerably in the wash that flaws in the fabric are revealed, and even intensified. A repeating slub can morph into a repeating hole in the wash. If you’re unsure of the textile quality, prewashing could be a good idea, so you can work around any flaws that may be revealed.

Knockoffs or poor-quality wax prints can also bleed when washed, something I have not experienced with authentic wax prints.

PREWASH—OR NOT If you like the stiffer, waxed quality, which can be used to stunning effect, make it a dry-clean-only garment. If you’d like to soften the fabric, a cold wash and tumbledrying on low heat does the trick. I use this method to wash all my summer maxi dresses and it has never failed.

Unwashed fabric

Washed fabric

Unwashed wax prints are stiff and crisp, but after washing, they become softer and more drapey. w w w. t h r e a d s m a g a z i n e . c o m

A P R I L /M AY 2 0 1 9

45

Plan the pattern placement Wax prints often have borders and large-scale designs, which can be challenging to incorporate into garments. Plan carefully to achieve an appealing effect.

EXAMINE THE MOTIFS Wax prints are often on a large enough scale that you cannot see all of the pattern elements until you see the whole length. Lay out the entire 6 yards of fabric. Get a bird’s-eye view if you can. From this perspective, you can see where elements repeat, where seamlines might fall in an interesting way, and what new shapes might be created by breaking up or piecing motifs together.

Choosing a pattern that displays the print to full effect is essential. For your first time working with wax prints, I recommend trying something simple with as few pattern pieces as possible, such as a sweeping circle skirt, especially if you’ve fallen in love with a large-scale print.

Sections of the print motif can act as contrasts.

Once you’ve dipped your toes in, it’s fun to choose a pattern with small pieces that can use and even reinterpret the print. For example, on my Ankara Blues dress (facing page), the bodice placket uses a section of the larger circular emblems in the skirt as a pseudo-contrast fabric. The effect is striking and always matches the color scheme perfectly. With 6 yards, it’s possible to play with smaller bodice pieces, and still have enough left over to change course. When you’ve sewn a small collection, remnants can be used for print mixing, to face hems, and even to create bias tape.

POSITION THE PRINT I trace pattern pieces on Pellon Easy Pattern, a nonwoven, nonfusible material designed for patternmaking and alteration. It makes print matching easier because it is sheer enough to see the pattern through, yet sturdier than pattern tissue. If I’m working with an intricate print, I trace the print onto the pattern piece, flip it, and align the pattern pieces to get a mirrored effect. It’s also invaluable for visualizing motif placement before cutting. With a large-scale wax print, the danger of ending up with a spray can or a birdcage on your rear is real.

OPTIMIZE THE YARDAGE Use the lengthwise and cross-grain on these cuts to get the most out of the print—just be judicious about where you use the cross-grain, as it may need to be stabilized.

An inset skirt panel, as in my Good Morning Monday dress (near right), is an opportunity to make the most of your yardage.

The pattern, which I turned into a maxi dress, took up every inch of my 6-yard cut.

The ability to use the cross-grain made this fabric-eating design practical.

46

THREADS

Curved gore

However, even with 6 yards to a cut, the fabric is only 45 inches wide, so you may find that you can’t arrange every pattern piece within the yardage, especially if you’re playing with print placement, or planning a full-length garment.

Here’s where piecing saves the day. The large skirt panels of many of my maxi dresses are pieced along the hemline. With wax prints having such busy patterns, it’s often unnoticeable.

Piecing seams

A wax print’s intricate patterns camouflage piecing seams.

USE BOTH SIDES Authentic wax prints have highly saturated colors, and both faces look similar. In several of my garments, I have used the fabric’s reverse face to get a mirrored effect throughout the garment. This attribute also makes the fabric an appealing choice for wrap dresses, unlined jackets, and any instance where the “wrong” side of the fabric is on display.

Photos: (p. 43; p. 44, left; p. 47) Jack Deutsch; all others, Mike Yamin. Dresses: made by Marcy Harriell. Stylist: Jessica Saal. Hair and makeup: AgataHelena.com. Styling credits: (p. 43, left; p. 44) earrings—HM.com, bracelets—stylist’s own, shoes—American Rag (Macys.com); (p. 43, right) earrings—Anthropologie.com; (p. 47) earrings—Ettika (Nordstrom Rack), bracelet—stylist’s own..

SELECT A GARMENT PATTERN

The radiating spokes in the circular motif are carefully placed at center front to create a flattering effect.

Pattern: out-of-print McCall’s 5490, modified.

Fabric: wax print, MoodFabrics.com.

360° View this garment at ThreadsMagazine.com

A P R I L /M AY 2 0 1 9

47

Fitting and sewing a bralette enables you to create an elegant, feminine look without sacrificing comfort.

Pattern: Beverly Johnson 8416 Sweet Sixteen Bralette Fabric: stretch lace edging and picot-edge elastic, BraMakers.com.

48

THREADS

Bralettes Make easy-to-sew lingerie with comfortable bust support B Y B E V E R LY J O H N S O N ralettes offer a comfortable and casual alternative to a regular bra. For the home sewer, they are easy to make, and they offer many variations in design and style.

A bralette is an unstructured, underwire-free bra. The style was once mainly worn as loungewear. Bralettes were invented as a comfortable alternative to structured underwire bras and were mostly ignored by fashion retailers. Today, however, they are no longer intended solely for at-home wear. Bralettes are worn under any garment and, in some cases, have become fashion garments in their own right. A bralette is quick to create and requires only basic sewing and fitting skills, so it is a great introduction to sewing lingerie.

A common misconception is that bralettes are intended only for smaller busts. It is true that most commercial bralette patterns are sized as generic small, medium, or large. This can cause fit issues, as generic sizes cater only to a single cup size, typically somewhere between an A and D cup. However, some patternmakers, including myself, design bralettes with many cup and band sizes. My Sweet Sixteen bralette pattern, used for this article, contains a dozen cup sizes and six band sizes. It’s worth having a look at independent patterns for some fresh bralette ideas.

Bralettes can have as many style variations as any other garment. Not only can basic bralettes be made entirely of stretch lace, they can also be made with scuba knits or even sheer fabric with lace appliquĂŠs. This article focuses on stretch lace bralettes, which are versatile and simple to make.

B

Beverly Johnson is the owner of Bra-makers Supply and the author of Make & Fit Bralettes (Turtle Press, 2019). BraMakers.com

w w w. t h r e a d s m a g a z i n e . c o m

A P R I L /M AY 2 0 1 9

49

Bralette materials Creating a bralette requires specific fabric and notions, which can be found at many fabric stores or at specialty bra and lingerie supply stores. Read the pattern requirements closely to ensure that you get what you need.

STRETCH LACE Stretch lace edging, 5 inches to 10 inches wide, is easy for novice bralette makers to use because it has stretch but is stable. Just be sure the stretch lace edging is wide enough for the tallest part of the pattern piece.

Low point of lace

Working with scallops Scalloped edging provides a beautiful finished edge for cups and bands. To align pattern pieces with the edge, arrange the pattern’s straight cutting line along the “valley” of the scallop. I call this valley the Low Point of Lace (LoPoL).

Planning a symmetrical layout Lay the front cup pattern piece along the LoPoL on the top edge of the lace. Cut the first piece, then flip the cut piece over. Position it along the bottom edge of the lace and align it with the pattern of the previously cut piece. If you have mirrored it correctly, the pattern motifs line up on the finished bralette.

Low point of lace

RS LEFT-FRONT CUP

RIGHT-FRONT CUP

Low point of lace

ELASTIC

NEEDLE

A bralette requires elastic along the cups’ upper edges and the band’s bottom edge.

This elastic gives the bralette its relaxed and comfortable fit. There are three main types of elastic used for making bralettes.

Use either a size 75/11 stretch needle or a ballpoint needle, size 70/10 or 80/12. Stitch with all-purpose polyester thread in a color that blends with the lace.

Lingerie elastic is soft and plush on both sides and comfortable to wear. Use this type when making stretch lace bralettes, where the elastic is not encased.

Picot-edge elastic is commonly used for bra-making and is plush on one side, which usually sits against the skin. It is firmer than lingerie elastic but softer than strap elastic. This elastic is best used on cut edges, as the picots add a decorative finish.

Strap elastic is firm and has minimal stretch. It comes in many widths and colors. Wider strap elastic is often used for larger cup sizes, as it does not dig into the shoulder like narrower elastic.

50

THREADS

FINDINGS Bra-making findings include the hook-and-eye closure, if needed, as well as strap hardware such as rings or sliders. These are labeled with their inside measurement; 1 ⁄2-inch hardware fits 1⁄2-inchwide elastic. Some bramaking supply stores sell kits that include the findings needed for one bra or bralette. t BraMakers.com t StoneMountainFabric.com t SweetCupsBraSupply.com

Bra-making essentials, from left: Picot-edge and lingerie elastics, strap hardware, and a hook-and-eye closure.

Apply elastic to lace edges This version of a stretch lace bralette has soft elastic at the top edges of the cups and at the top and bottom edges of the band. There are two common techniques to sew elastic on a bralette. One retains the lace’s scalloped edge; the other finishes the edge with picot elastic.

THE FLAT-SEW METHOD Use this method to attach elastic to a scalloped lace edge when you want to retain the scalloped effect. Sew a narrow zigzag stitch, 2 mm long and wide, along both elastic edges, beginning with the edge farther from the scalloped border. When stitching, stretch the elastic about 1⁄4 inch every 4 inches.

The elastic and lace should lie flat when finished. If the lace gathers or becomes wavy, you are stretching the elastic too much. If the elastic causes the lace to WS RS stretch out, check the stitch length. The stitch may be too short or too narrow.

Stitch both edges of the elastic for a secure finish.

When matching thread is used, the zigzag stitches don’t show on the right side.

THE FACING METHOD Position the elastic. Lay the elastic on the fabric’s right side, with the elastic’s plush side up, and the straight elastic edge aligned along the fabric’s cut edge.

1

PICOT-EDGE ELASTIC (PLUSH SIDE)

Stitch the inner edge. Sew just inside the picot edge with a zigzag stitch, 2.5 mm long and wide. Always sew the innermost edge of the elastic first. This anchors the picot edge so you can fold the elastic under neatly. It also establishes how much of the picot edge will show along the finished edge.

2

RS

Zigzag-stitch the first line on the inner edge of the elastic.

3

Sew the remaining edge. Turn the elastic to the lace’s wrong side and sew the free edge with the same zigzag stitch. With this method, only one line of zigzag stitching is visible on the right side of the bralette, and the picot edge shows along the bralette’s edge.

First stitching line

WS

w w w. t h r e a d s m a g a z i n e . c o m

Picot-edge elastic

Second stitching line

RS

A P R I L /M AY 2 0 1 9

51

Create adjustable straps The straps in a basic bralette pattern are custom-fitted and do not require adjusters. However, adding adjustable straps can be useful if you are making a bralette for someone else. You will need about 11⁄8 yards of strap elastic, and two rings and sliders in the same width as the strap elastic.

Back-strap scoop

Cut the elastic. Split the strap elastic length in half, so each piece is a little over 1⁄2 yard long. Each of these lengths becomes a strap. Cut a piece off each strip measuring the height of the back-strap scoop—the length between where the shoulder strap attaches and the center-back edge—plus 1 inch.

This elastic is attached to the back-strap scoop to anchor the strap end.

1

Align the shorter length of strap elastic with the lace’s raw edge on the right side of the back-strap scoop. Leave about 1 inch of elastic extending beyond the upper edge. Stitch along the innermost edge of the elastic, then stitch a second time along the midline of the strap elastic. Trim any excess lace. Set the bralette aside to work on the long piece of strap.

WS

2

Add the slider. Push one end of the elastic up through the slider’s bottom slot, over the center bar and down through the other slot. Push the slider almost to the end of the elastic so only about 1⁄2 inch of the elastic tail remains. Fold the short tail down and stitch it to the long elastic with a narrow zigzag stitch, as close to the slider as possible. The zipper foot may be necessary for this.

3

Add the ring. Slide it onto the strap’s loose end almost all the way to the slider, then feed the elastic’s tail end up through and over the slider’s center bar.

The elastic should fit snugly in the ring and slider. If it is loose, the strap may not stay at the desired length.

Slider

Narrow zigzag stitching

The back-strap scoop elastic supports and anchors the strap end.

Thread the loose end of the back-strap scoop elastic through the ring. Fold the end over, enclosing the ring, and use a zigzag stitch to sew it down roughly level with the elastic trim along the back band. Trim excess strap elastic if needed.

5

Back-strap scoop

Pin the other loose end of the strap to the front cup. Try on the bralette to ensure that the strap will adjust to the correct length. Then stitch the front strap to the wrong side of the cup with a straight stitch. For a secure anchor, stitch a triangle following the elastic cup edging. This ensures the strap stays flush with the top edge of the cup.

6

4

Slider

Stitch a triangle to secure the shoulder strap to the cup.

BRALETTE CUP (WS)

52

THREADS

Photos: Mike Yamin.

Ring

A hook-and-eye closure at center back makes a bralette adjustable and easy to wear.

Attach the closure Not every bralette pattern includes a hook and eye, but this closure enables adjustable fitting in the band. You can add a hook-and-eye closure to a pattern that does not have one by splitting the back band pattern piece in half at center back and adding a 1⁄2-inch-wide seam allowance on each side of the center back.

Sew the eye side to the bralette’s left back band. The eyes are attached to a double-layer fabric backing, so you can encase the fabric’s raw edge. Make sure to tuck in the raw edge as far as it can go, then stitch the opening with a straight stitch. Backstitch at each end.

1

Align the hook side with the right side of the Folded hook-and-eye closure bralette’s back band. Some hooks are sold unfolded; fold the edge to encase the raw edge. Keep the Straight stitching Straight stitching hooks facing up as you sew, using a straight stitch on the outermost edge to secure it. Moving the needle for this RS step makes stitching much easier.

Alternatively, use a zipper foot to keep the stitches where you want them.

Tuck the fabric’s cut edge into the folded hook-and-eye closure and stitch in place.

2

w w w. t h r e a d s m a g a z i n e . c o m

WS

A P R I L /M AY 2 0 1 9

53

Quick Quic Knits Jump-start a spring wardrobe with two free designs B Y C A R R I E B L AY D E S

When there is little time to sew, inventive basics like this fast top and skirt can fulfill wardrobe and creative aspirations.

Fabrics: Novelty texture synthetic knit (top), cotton/polyester blend ponte (skirt), both from Joann stores.

54

THREADS

S

pring is an opportunity to lighten up with feminine coordinates after months of wearing heavy winter layers.

To swiftly add a few seasonal garments to build a sewn wardrobe, here are two coordinate pieces with on-trend appeal.

The pieces are a cinch to make and to customize for a variety of looks. Plus, they are made in knit fabrics. Stretch textiles keep comfort in the equation, even when you dress to look your best.

First, I’ll show you how to make a twisted-cowl tank that can easily be made in a rainbow of colors for a wardrobe basic with simple sophistication. It is a great piece to wear under jackets or cardigans in air-conditioned settings.

On the following pages, I’ll show you how to sew a paper-bag-

waist skirt in a comfortable knit. The paper-bag silhouette has reappeared on runways as part of the natural-waist and highwaist trend in jeans and bottoms. It is more fashion-forward than a traditional elastic waistband, and it is a wonderful showcase for a sash, chain belt, or buckled belt.

These designs are deliberately simple, for when you have minimal time to sew. However, each has potential for refinements and embellishments. Find pattern templates for the designs and fabric and notions requirements at ThreadsMagazine.com.

Carrie Blaydes, a fashion designer and author, now runs a home interiors business with her husband in Louisville, Kentucky.

Twisted-cowl tank The classic cowl neckline gets an update in this sleeveless design. Look for a knit that drapes nicely. Follow the diagrams from ThreadsMagazine.com/TwistedCowlTank and draft each pattern piece on paper in the desired size. Transfer all markings.

B TANK FRONT (RS)

A1 Fold

Create the drape. Fold the tank front pattern’s left A2 shoulder seam to match the A markings.

1

Add the back neckline facing. Finish the facing’s lower edge with an overlock stitch. With right sides together, align the facing and tank back’s neckline edges. Sew the neckline seam.

4

FACING (WS)

TANK BACK (RS)

B Then fold at B, with wrong sides together.

A Baste the folds in place.

2

Baste.

Fold

Trim and grade the neckline seam allowance. Next, flip the facing to the tank back’s wrong side, shoulder edges aligned. Baste the facing and tank back together along both shoulders.

5

Fold

Baste.

Baste.

FACING (RS)

Turn under the neckline edge at the opposite shoulder seam. Fold 1⁄2 inch to the wrong side, and baste in place.

3

Baste.

RS

TANK BACK (WS)

B A

Assemble the top. With right sides together, align the shoulder edges of the tank front and back. Sew each shoulder seam, then sew each side seam. Turn the top right side out. Press the shoulder seam allowances to the back. Press the side seam allowances open.

Add a narrow, twin-needle or cover-stitch hem.

6

Bind the armholes. Cut two 20-inch-long by 21⁄2-inch-wide bias or cross-grain strips. Use the binding method of your preference and a stretch stitch to bind the armholes.

7 w w w. t h r e a d s m a g a z i n e . c o m

A P R I L /M AY 2 0 1 9

55

Paper-bag-waist skirt This skirt creates shape with its gathered waist and angled pleats. Look for a knit with body, such as scuba or ponte, for this design. Draft the pattern from ThreadsMagazine.com/ PaperBagWaistSkirt, and be sure to transfer all markings.

Create the angled pleats. Following the markings, fold over each waistline pleat, angled slightly, folding both pleats toward center front. Pin in place, and baste closed 1⁄2 inch below the top edge and 21⁄2 inches from the top edge.

Basting

Basting

SKIRT FRONT (RS) Fold the pleats in place and secure with basting.

Assemble the skirt. Use an overlock or zigzag stitch to sew the side seams, with a 1⁄2-inch-wide seam allowance.

2

Sew the front and back facings together at the side seams. Leave 2 inches unsewn on the bottom end of one side seam, for elastic insertion.

3

SKIRT BACK FACING (RS)

SKIRT FRONT FACING (WS)

This skirt’s wide waistband facing creates an elastic channel as well as a high-waisted effect.

Sew the two facings together along the side seams, leaving 2 inches unsewn on one side.

Finish the waistline. With right sides together and side seams aligned, sew the facing to the skirt’s top edge with a 1⁄2-inch-wide seam allowance.

4

SKIRT FRONT FACING (WS)

Sew the facing to the skirt with right sides together and side seams aligned.

56

THREADS

SKIRT FRONT (RS)

Photos: Jack Deutsch. Illustrations: Rosann Berry. Stylist: Jessica Saal. Hair and makeup: AgataHelena.com. Styling credits: (p. 54) earrings—Natasha (Nordstrom Rack), bracelets—stylist’s own, purse—Lulu Townsend (DSW.com); (p. 56) necklace—Anthropologie.com, bodysuit and bracelet—stylist’s own, belt—HM.com, handbag—Kate + Alex Cuffaro (DSW.com), booties—Dolce Vida (DSW.com); (p. 57) earrings—Anthropologie.com, bracelet—stylist’s own, pants—JCrew (Nordstrom.com).

1

Turn the facing to the wrong side, and press. Sew a stitching line 1 inch from the top edge with a stretch stitch. Sew another stretch-stitch seam 11â „2 inches lower, to complete the channel for 11â „4-inch-wide elastic. Feed the elastic into the opening in the facing side seam. Join the elastic ends, sew the channel opening closed, and remove the basting.

5

Cut wide at the neckline and folded for controlled drape, the tank has a flattering cowl.

Basting

SKIRT FRONT (RS)

Sew two stitching lines to create a channel for the waistband elastic.

Hem the skirt. Try on the skirt to determine the desired hem length, and shorten as needed to the desired length plus 2 inches. Turn up and press the 2-inch hem allowance and blind-stitch or machine-sew with a stretch stitch.

6

STYLE OPTIONS For the skirt: Select another facing fabric: Cut your facing in a contrasting fabric and adjust the fold to make it visible along the top edge.

Add in-seam pockets: There is plenty of ease to accommodate them.

Add belt loops: This style works well with a belt or sash.

Sew a formal version: Make this skirt from a glitter knit fabric to wear on a night out.

For the tank: Add sleeves: Copy an armscye and sleeve from a pattern.

Buy glamorous binding: Check out foldover elastics at a fabric store.

Go long: Extend the hem to the knee, use high-quality jersey, and this tank becomes a little black dress.

w w w. t h r e a d s m a g a z i n e . c o m

A P R I L /M AY 2 0 1 9

57

Embrace the delicate appeal of soutache embellishment. A meticulous approach to placement is the key to great results.

Pattern: Vogue 8804, modified. Fabric: Boiled wool, StoneMountainFabric.com. Soutache: SewBizFabrics.com.

58

THREADS

Soutache R How to plan and apply intricate motifs

BY E L L E N W. M I L L E R

S

outache was a favorite trim during the Victorian era, when women’s gowns and men’s Filler cords vests and jackets were heavily ornamented. Since richly embellished clothing was time-consuming and costly to create, only wealthy people could afford these ornate clothes. Today, soutache, like many trims, is mass-produced and can be sewn on by machine. Use soutache to create scroll-like motifs with curves and swirls. Waves, spirals, loose braids, paisleys, and serpentine patterns come to life with soutache. Straight lines and Valley angles are also within the canon of soutache embellishment.

Rayon yarn In Hungarian, sujtĂĄs means trim; the French transliteration is soutache, and the term is used to describe a specific kind of braid. Also known as Russian braid, soutache is made with two or more cotton cords wrapped together side by side by a rayon yarn in a herringbone pattern. The valley between the filler cords is a perfect place to hide stitches.

I’ll show you how to sew soutache in a four-strand flat braid pattern, but even a single line of soutache accenting a design line can transform something ordinary into a unique garment. Why settle for plain and ordinary when a few yards of soutache can elevate your creation into a dramatic outfit?

Ellen W. Miller is the author of Creating Couture Embellishment (Laurence King, 2017), and formerly an instructor with the School of Fashion Design in Boston, Massachusetts.

Assemble the supplies In addition to soutache and a suitable base fabric, a few notions are needed to make the embellishment process easier and more efficient.

SOUTACHE BRAID TYPES AND WEB SOURCES

DOUBLE-SIDED STICKY TAPE

Soutache comes in 2-mm, 3-mm, and 4-mm widths. The most common size is 3 mm, which is just less than 1â „8 inch. Soutache is readily available online.

Use this to hold a design template in place. Although marked “permanent,� Scotch brand double-sided tape is repositionable on fabric. Other brands will suffice.

t 'JSF.PVOUBJO(FNT DPN t $POUJOFOUBM4UJUDIFSZ5SJNT DPN t 4JNQMZ4PVUBDIF DPN t Plus many vendors on &UTZ DPN.

STABILIZER

BASE FABRIC Soutache requires a stable foundation. A firm silk dupioni, a sturdy cotton, or medium-weight wool are appropriate. If, after making some samples, you find a fabric is too light, underline it with silk organza, or apply fusible knit interfacing to the wrong side.

w w w. t h r e a d s m a g a z i n e . c o m

Lightweight tear-away stabilizer provides support as you stitch soutache. t 4VMLZ NBLFT Tear-Easy, a “soft, lightweight, tear away stabilizer.� t 1FMMPO NBLFT Stitch-N-Tear embroidery stabilizer.

Either product works well for this technique. Tissue paper can be used, but may be too fragile for a complex motif.

A P R I L /M AY 2 0 1 9

59

Plan a braid motif The sample garment has an expanded four-strand flat braid embellishment. Master a tight braid first, then move on to create an expanded braid. Work on a gridded, pinnable surface, as increasing the braid’s scale requires keeping the dimensions precise. You’ll copy the expanded braid into a template to use in planning the soutache placement. This method works with other braid types or motifs.

PRACTICE A FOUR-STRAND FLAT BRAID

1

Secure four strands together. Pin them to the worksurface. If you work with four colors at first, it is easier to discern the pattern.

From left to right, place the left-most strand (the working strand) over the adjacent strand, then under the next strand. Then, from the right, place the right-most strand under the working strand.

2

Repeat step 2 to continue. In the finished braid, every strand crosses over one and then under one. If a strand crosses over—or under— two strands you’ve made a mistake somewhere.

3

At left, a practice four-strand, four-color flat braid. At right, the same braid type in a single color, ready for trying on a larger scale.

CREATE AN EXPANDED BRAID

PREPARE A TEMPLATE

Pin the strands to a pinnable, gridded board. The gridded board enables you to experiment with the scale of your braid. In this sample, each square is 1⁄2 inch; the distance between X’s is 1 inch.

There are several ways to create a paper design template. Work the four-strand flat braid in an expanded size, as described at left; draw the design as you envision it; or download a picture of Celtic knotwork. However you form the motif, photograph or copy and paste it until you have a couple of inches of braid motif to follow. Use a marker to make the lines of the braid as wide as the trim you’re using; this helps with the design’s scale. Then use a photocopier to enlarge or reduce the braid scale until it suits your garment. Once you have the correct scale, print out several copies of the braid. Cut and paste the braid until you have lots of braids on one sheet of paper.

1

Adjust the braid’s scale. Pin it in place when it is in the desired shape.

2

X

1 inch

X

The four-strand flat braid, expanded and pinned to a gridded board, becomes the design motif.

Reproduce the braid template, placing several braids on a single sheet of paper.

60

THREADS

Fit the design to the garment Work with the full-scale braid templates and pattern pieces to plan motif scale and placement. Once those aspects are determined, copy the templates onto tear-away stabilizer, which I use to guide the trim application.

Full-scale templates and pattern pieces ensure accurate trim application, even over seams.

Pin together pattern pieces where the soutache trim goes over a seam. Here the undersleeve is pinned to the upper sleeve, as the soutache encircles the sleeve hem.

1

Pin the pattern pieces together.

Place tear-away stabilizer over the pattern where Stabilizer the soutache will be sewn. Trace the area. Note the seam allowance is marked on the right and left ends of the stabilizer tracing, where the soutache ends are sewn into the seam. Add any other details that can serve as registration marks. Make a right and left sleeve tracing. Put the tracings aside.

2

Shape the templates. Cut out one braid template. Clip into the template to spread or overlap it into curves. Be sure to clip either between X’s or through X’s.

3

Place some double-sided sticky tape on the wrong side of the paper braid template. Lay the template on the joined pattern pieces, clipping into the braid when needed to ease around curves. Don’t try to make the clipped braid lines connect at this point; the lines will be matched in the next step.

4

Clip the paper braid template to create curves.

Apply the template with repositionable tape and maneuver into position.

continued

w w w. t h r e a d s m a g a z i n e . c o m

A P R I L /M AY 2 0 1 9

▸ ▸ ▸

61

Shape the braid Lay the tear-away stabilizer piece onto the sleeve pattern.

First, trace the unclipped motif sections onto the stabilizer with a marker. Trace the rest of the braid with a pencil, elongating or shrinking lines where needed. Pencil marks can be erased without harming the stabilizer. Once the design looks good, trace over the pencil lines with a marker. Add registration marks such as seamlines, the center/straight grainline, and the hemline.

5

Stabilizer

Unclipped motif section

With the stabilizer stitching templates prepared, it’s time to cut and shape the soutache braid. The process is shown for the jacket cuff.

Cut four lengths of soutache. Each should be at least one and a half times the cuff circumference. Pin the soutache to the stabilizer stitching template, braiding the strands as you work. Note: With this braid, all the pins are on the straight portions of the design. The curves may have some bumps or angularity at first, but the warmth of your hands should help ease the soutache into the correct shape. Check your work every couple of inches, making sure each strand follows the braiding pattern you practiced.

1

Remove the stabilizer template. Turn it over and trace the braid pattern onto the opposite sleeve stabilizer. The two templates are stitching patterns for the sleeve cuffs.

6

Paper template

Stabilizer templates Mold and pin the soutache braid onto the stabilizer template..

Once you have a section of soutache shaped and pinned, steam it. Keep the iron 1 inch to 2 inches above the soutache. Do not press the soutache. The goal is to shrink the braid on the inside of the curve and stretch it on the outside.

While the soutache is still damp from steam, manually reshape any curves that are bumpy or angular.

2

Repeat this process for other garment areas. You may be tempted to stitch through the plain paper version of your motif instead of copying it onto tear-away stabilizer. This is a bad idea for two reasons: You would be sewing through the double-sided sticky tape, which can gum up and dull your sewing machine needle; and the plain paper is more difficult to remove than tear-away stabilizer.

7

Hover the iron over the soutache braid.

tip Stay sharp. Change the needle on your sewing machine once all the soutache has been sewn to the fabric; it will be dull from stitching through the tear-away stabilizer.

62

THREADS

Repeat this process to create soutache layouts for the rest of the garment. For the sample jacket, I assembled the motif for the jacket front, neckline, and cuffs.

3

Sew on the trim To stitch the soutache in place on the garment pieces, use a straight stitch presser foot. The gap between the toes should just grip the soutache.

Sew any seams in the fashion fabric that were pinned together in the previous steps. Here, the front underarm seam was sewn and the seam allowances pressed open. The raw edges were pinked to diffuse the seam allowance ridge and the hemline was machine basted.

1

Stabilizer

Lay the stabilizer stitching template on the fabric’s right side. Match any registration marks. Machine-baste the fabric and stabilizer together.

2

With a 2-mm stitch length for increased control, sew along the valley of the trim. Sew the curves by manually turning the handwheel to place each stitch accurately. Keep the needle down when lifting the presser foot to pivot the work. An awl can be used to guide the trim into place under the foot.

3

STABILIZER

AWL

Guide the work with an awl, if necessary.

Do not press the piece immediately after you have finished sewing. Remove the machine basting that holds the stabilizer to the fabric. Working with small paper scissors and tweezers, remove the stabilizer.

Once all the stabilizer is removed, smooth the piece, reshaping the fabric and soutache if they have become distorted. Press the piece carefully; too much pressing can make the soutache shiny.

4

Tweezers

Stabilizer

Use tweezers or small paper scissors to remove the stabilizer.

w w w. t h r e a d s m a g a z i n e . c o m

A P R I L /M AY 2 0 1 9

63

Back neckline

Front neckline

Front opening edge

Precise templates take the embellishment in curves as well as straight lines.

64

THREADS

Photos: (p. 58; p. 61, top right; p. 64) Jack Deutsch; (p. 59) Mike Yamin; all others, Ellen W. Miller. Stylist: Jessica Saal. Hair and makeup: AgataHelena. com. Styling credits: earrings and bracelet—Anthropologie.com, pants—JCrew.com, shoes—Sam Edelman (Nordstrom.com).

web extra

Download a PDF copy of the four-strand braid motif at ThreadsMagazine.com.

Hide the soutache ends Not all of the soutache pieces end in seams. The braid on the jacket front, for example, runs into the soutache around the neckline. Here’s how to pull the soutache ends through the fabric to the wrong side and secure them.

Soutache

Thread

Tie the thread ends around the soutache on the garment’s right side.

Create a small hole in the fabric, where the soutache should pass to the wrong side, by separating the yarns. Use a large needle or an awl if necessary. Try not to break the yarns while making the hole; you do not want to weaken the fabric.

Boiled wool, used in the sample garment, is flexible enough to require only a needle-made hole.

1

Pass a large needle, with four strands of thread on it, through the hole. Bring it up from wrong side to right side, and leave thread tails on the wrong side. Remove the needle and on the right side, wrap the thread around the soutache.

2

Gently pull the thread tail until the soutache comes through to the wrong side. Repeat the steps with the remaining soutache strands.

RS

3

Pull the excess soutache through.

Pull the threads to bring the soutache to the garment’s wrong side.

WS

WS Soutache

Thread

Trim the soutache ends on the wrong side to 1⁄2 inch long.

Overcast or whipstitch the ends to the fabric’s wrong side to prevent the soutache from fraying or being pulled to the right side. Continue with the construction of the garment as usual.

4

w w w. t h r e a d s m a g a z i n e . c o m

Hand-sew the soutache ends to the fabric’s wrong side.

WS Secured soutache end

The embellishment finishes cleanly with the trim ends secured on the wrong side.

RS

A P R I L /M AY 2 0 1 9

65

Amy Nguyen designs and sews garments in her Boston studio.

The Artistry of

Amy Nguyen

Melding traditional techniques and contemporary aesthetics B Y D E A N A T I E R N E Y M AY inding balance between opposing forces is the focus of textile artist Amy Nguyen. Her garments are thoughtful, elegant, and soft, yet they’re bold, purposeful, and precise. Drawing inspiration from diverse sources such as the New England seaside landscape and Japanese aesthetics, Amy creates extraordinary one-of-a-kind, limited edition, and custom wearable art garments and collections (see AmyNguyenTextiles.com) from her studio just steps from Boston’s harbor front. Her work is at once steeped in

F 66

THREADS

tradition, with a focus on ancient dyeing techniques, yet thoroughly modern in her fabric manipulations and artistic vision. Threads spoke with Amy to find out how she has evolved as an artist and what inspires her. Amy shares her creative process and explains a technique used in her most recent collection, Kintsugi, on p. 69.

Deana Tierney May is a freelance writer and editor in Roxbury, Connecticut.

Threads: How did you get drawn into sewing and fiber arts?

Amy Nguyen: My mother, an avid quilter and reader of Threads, introduced me to the world of sewing. At the College of Charleston, South Carolina, I gravitated to the costume shop and after graduating, I collaborated with Mary Edna Fraser, a world-renowned batik artist, who inspired me to use my background in painting, sculpture, and garment construction to venture into dyeing fabric. After a move to New York City, I worked at the Department of Design for Stage and Film at New York University with Susan Hilferty, the chair of the department, who introduced me to a book about Itchiku Kubota and his Symphony of Light kimonos, which influences me to this day.

TH: How would you describe your aesthetic and the garments you create?

AN: My aesthetic is shaped by a love of Asian design as well as 20th-century art. I often look toward historical shapes, such as the kimono, and aim to modernize garments to be relevant today. It’s important to understand our ancestry and history, and to make sustainable changes with our environment and the future in mind. I want the clothes I make to show these values and to allow my clients to experience life with ease and joy.

TH: Who or what are your biggest influences?

AN: Teachers from surface design classes I’ve enrolled in have played a large part in developing my textile aesthetics and skills. My first shibori class informed my conceptual ideas and dye techniques for many years. Textile artist Akemi Cohn introduced me to katazome, a Japanese method of dyeing fabrics using stencils to apply paste that resists dye in patterns. Travel to Japan with artist Kiranada Sterling Benjamin helped to refine my roketsuzome, a traditional Japanese wax-resist dyeing technique, and textile design skills, as well as introduce me to meditation. Additionally, my tai chi and qigong teachers encourage inner and outer strength by broadening my thinking while protecting my body from the physical effects of textile work.

TH: How do you approach creating a collection of garments?

AN: As part of the slow fashion movement, I don’t follow the traditional practice of creating seasonal collections. A collection may even mature over a few years. My work develops organically. When working on each show, I focus on creating balance and cohesion as I introduce new elements of surface design, color, technique, patternmaking, and finishing.

The Quilted Zen Coat from Amy’s collection features piecing, quilting, and shibori techniques. w w w. t h r e a d s m a g a z i n e . c o m

A P R I L /M AY 2 0 1 9

67

TH: Anything new on the horizon?

AN: I’m learning to work with natural dyes. They allow for more surprises, sometimes the most interesting and beautiful. This summer, I enjoyed mixing natural dyes to create new colors. Surface design involves a lifetime of work. I also am working on a series of katazome screens and I’m always playing with new pattern shapes.

TH: What advice would you give a budding designer?

AN: When I met Mary Edna Fraser, she suggested always trying something new each time a piece is created. This incredibly important advice has really stuck with me. I would add: Step into what scares you.

A TECHNIQUE DICTIONARY Katazome: a traditional method of Japanese dyeing, which involves applying dye-resist paste to fabric through a stencil to create patterns.

Kintsugi: a traditional Japanese technique for repairing broken ceramics by using lacquer mixed with gold or precious metals to fill the cracks.

Qigong: a Chinese system of physical exercises and breathing control related to tai chi.

Roketsuzome: a traditional Japanese wax-resist dyeing technique, akin to batik.

Shibori: a traditional Japanese dyeing technique that uses binding and stitching to create patterns in the finished textile.

Tai chi: a Chinese martial art that focuses on defense and physical and mental well-being.

68

THREADS

The deconstructed textile treatment adds texture and visual interest to a simple pattern.

Putting together a deconstructed textile My collection was inspired by kintsugi. In this technique, broken ceramic pieces are repaired with precious metals, becoming more beautiful than they were when they were whole. Initially, I began this work fitting scraps together to use all fabric waste in the studio. I was so fascinated by the texture that I continued to explore, using traditional quilt designs like Log Cabin and Drunkard’s Path with many types of natural fibers. I enjoy building out from a small scrap, but I also enjoy creating larger textile shapes to explore their use in garments.

Designer Amy Nguyen was introduced to sewing by her mother, Judith Thompson, who encouraged her to share her knowledge.

Explore the motif and fabrics

Amy Nguyen among her works in progress.

Start by choosing two fabrics: one for the top layer, and one for the underlayer. The two layers will be sewn together and the overlayer cut away to create the overall design, revealing the underlayer in the gaps between shapes.

Consider how the two fabrics will contrast against one another. Similarly colored fabrics provide a subtle effect, while contrasting textiles create more drama.

This technique works with fabrics ranging from wovens to knits in varying weights. Pretreating fabrics can change the overall effect, so it is worthwhile to take notes as you experiment.

I began to create my own templates, to experiment with pattern, shape, color, and structure. The result was the technique I used to create the coat shown on the facing page.

To make your own version of this textile, work from traditional quilt designs, favorite sketches or photos—anything that may be divided into shapes.

Experiment with using solid, printed, or dyed fabrics. Begin with something small, like place mats, and work up to a simple garment. This technique is best suited to patterns with fewer pattern pieces, as seams may diminish the effect of the textile treatment.

Stitch and cut an overall design Determine the motif. Experiment with paper or card stock shapes and begin sketching pattern repeats using these shapes. Use the shapes to make a stencil-like template, which you can then use to create basic repeats, mirror repeats, brick repeats, or other patterns. Try angular or curved shapes.

1

continued

w w w. t h r e a d s m a g a z i n e . c o m

A P R I L /M AY 2 0 1 9

▸ ▸ ▸

69

Create a reusable template from card stock or quilting template material. Use a permanent marker to draw the simple lines and shapes on the template material. Avoid shapes smaller than 1 inch overall; they may be difficult to stitch. When combining shapes to make the template, leave 1⠄2-inch-wide margins between shapes and on all edges. The spacing can be increased or decreased to change the look of the design, but I’ve found that 1⠄2 inch is a sweet spot for making a clear design in the finished garment. Cut the shapes, ensuring that all cut lines are accurate and smooth, leaving no jagged edges. The resulting stencil can be used multiple times.

2

With a washable or iron-away marking tool (such as a FriXion pen), trace the template shapes onto the right side of the top fabric layer in the repeating pattern of your choice. I use a mix of basic and mirror repeats for the overall textile pattern. Iron-away pens are better for this than washable because you can change the design without waiting for it to dry.

3

70

THREADS

Photos: (pp. 67-68) Torkil Gudnason; (all others) Mario Avila.

Carefully trace the template shapes onto the right side of the top fabric layer.

Short scissors provide precision when cutting the templates.

With right sides up, place the marked fabric on top of the underlayer fabric, which has been cut slightly larger. Pin or handbaste the pieces together to ensure proper alignment while sewing.

Using a straight-stitch foot or a 1⁄4-inch piecing foot, precisely sew along all the shapes’ outlines with a 2.5-mm straight stitch.

4

Sew slowly to ensure accurate stitching when outlining the shapes.

6

Cut the channels.

When you have completed the stitching and clipped all the threads, carefully cut between the shapes on the top fabric layer. I use basic shears, but you may use tiny scissors for small, intricate shapes, or a chenille cutter for long, relatively straight cuts. Mark the cutting lines with an iron-away marker where particularly odd angles join so there is no question about where to cut.

5

Cut carefully through the top fabric layer to create a 3-D effect.

Wash, dry, and distress the fabric to create frayed edges. As you clean up the piece by cutting and pulling excess threads, the design becomes clearer. For additional distressing, brush the raw edges with a moderately stiff brush, such as a toothbrush.

Brushed and washed textile

Distressing the shapes’ edges enhances the treatment’s texture and dimension. If your fabric can stand it, put it through the wash to intensify the effect.

w w w. t h r e a d s m a g a z i n e . c o m

A P R I L /M AY 2 0 1 9

71

ESSENTIAL TECH N I U ES

BY PAM E L A L E G G E T T

Set sleeves expertly Steps to ensure smooth seams and caps skillfully set-in sleeve using professional techniques enhances any garment you sew. Even if you’re venturing into tailoring territory for the first time, you can master this process and create jackets, coats, and other garments that surpass costly ready-to-wear pieces.

The hallmark of a well-set sleeve is a smooth sleeve cap, free of puckers or tucks in the armscye seam. It curves softly over the upper shoulder and may be supported by a sleeve head or an added shoulder pad or shaper.

Often, a commercial pattern’s sleeve cap has more ease than can be handled in your chosen fashion fabric. I’ll show you how to determine the existing ease amount and how to reduce it for a more realistic sleeve-to-armscye ratio. This pattern adjustment helps you achieve a well-sewn sleeve with minimal difficulty.

I’ll explain the proper steps to insert a tailored sleeve and share the method I use for shaping, supporting, and binding the sleeve-cap seam. If your garment doesn’t call for the full tailored treatment, you can skip the sleeve heads.

A

Pamela Leggett, owner and designer of Pamelas Patterns.com, sews and teaches in Vernon, Connecticut.

Home-sewn garments look professional when the sleeves are beautifully set.

web extra To learn about shoulder pads, visit ThreadsMagazine.com.

72

THREADS

Get acquainted with the pattern Most structured and fitted garment patterns include a sleeve with a high, rounded cap. These set-in sleeves are set “in the round,” which means the garment shoulder and side seams and the sleeve seam are sewn first, and then the sleeve is attached to the garment. Commercial sleeve patterns generally include markings to guide you in setting the sleeve.

Ease markings

Notches: A single notch indicates the sleeve front; a double notch denotes the sleeve back.

Back notches

Shoulder match point

Front notch

Shoulder match point: A large circle at the sleeve cap apex is intended to match to the shoulder seam.

Ease markings: On either side of the shoulder circle, there are usually two small circles, which are meant to be matched to circles on the garment’s armscye. Usually, you are intended to ease the sleeve cap between these circles. Ignore them: My experience is that matching them usually results in unwanted puckers.

SLEEVE

Make revisions before sewing Many sleeve patterns have more cap ease than can be sewn smoothly into the armscye. If necessary, make the following pattern adjustments before cutting to reduce the ease. Note that sleeves with a gathered sleeve cap have more ease for design.

Fit the bodice armscye. Pin the garment front and back at the shoulder seam and try on the bodice.

The armscye seamline should sit at the end of your shoulder. If it extends beyond it, trim it to the correct place, blending it to the original cutting line at the notches.

1

Measure the sleeve pattern’s cap ease. Measure and compare the armscye and the sleeve-cap seamlines from notch to notch. If there is more than a 11⁄2-inch difference between the armscye and the sleeve cap, you need to reduce the ease amount in the sleeve cap.

2

Reduce the cap ease. Make three vertical slashes through the sleeve pattern and overlap the sections to reduce the ease to 11⁄2 inches. True the edge.

3

Slash and overlap the pattern to reduce ease.

Back notches

BACK

Measure the seamlines.

Back notches

Front notch

ILLO TK

SLEEVE FRONT Front notch

w w w. t h r e a d s m a g a z i n e . c o m

A P R I L /M AY 2 0 1 9

73

ESSENTIAL TECHNI UES

continued

Set sleeves in the round For a pucker-free result, you’ll adjust the sleeve-cap ease as you pin the sleeve to the garment, then sew.

Apply easestitching. On the sleeve, sew two rows of long machine-basting stitches from notch to notch, 1⁄4 inch and 1 ⁄2 inch from the cut edge. Then sew the sleeve seams and press the allowances open. Sew the bodice side and shoulder seams, and press the allowances open.

1

Sew two basting rows along the sleeve cap.

With right sides together, pin the sleeve into the armscye.

Match the garment shoulder seam to the center sleeve dot, the underarm seams, and the front and back notches.

2

GARMENT (WS)

SLEEVE (WS)

Adjust the ease. Pull the easestitching from the notch to the center sleeve dot on each side until the sleeve cap fits into the armscye. Wind the threads around a pin in a figure eight to secure. Evenly adjust the sleeve cap fullness and pin in place.

There should be no puckers at the seamline, but there will be fabric fullness at the sleeve’s cut edge.

3

After adjusting the sleeve-cap ease, wind the easestitching thread around a pin to secure.

Sew the sleeve to the garment. I like to set sleeves with the bodice against the feed dogs and the sleeve on top where I can see it.

However, some sewers prefer the reverse. Try both methods to determine which is more comfortable for you. Start sewing at one notch, continue through the underarm, up around the sleeve cap, past the notch where you started stitching, and finish at the next notch. This stitches the underarm area twice for added strength.

4

Check for puckers, tucks, or any other mistakes. Push the seam allowance toward the sleeve and examine the seamline from the right side. If you see a problem, remove the stitching in that area only and sew it again.

There generally is no need to resew the whole sleeve a second time.

5

SLEEVE (WS) Sew the sleeve to the garment, stitching the underarm section twice.

GARMENT (WS)

74

THREADS

Identify any puckers that may have formed.

Bind and shape the cap Trim the seam allowances. Make them 1⁄4 inch wide in the underarm area and 1⁄2 inch wide in the sleeve cap. For a blouse or dress, you may serge the entire armscye seam with a 3⁄8-inch-wide seam allowance.

6

Give a tailored sleeve cap definition with a sleeve head/seam binding. I also occasionally use this dual technique for unlined blouses and dresses.

This method gives support and a clean finish.

Cut a bias strip for the sleeve head. Make it 3 inches wide by the distance between the front and back notches.

Choose a fine-gauge wool fabric or thin fleece for a lined garment, or self-fabric for an unlined garment. Aligning the raw edges from notch to notch, pin the bias strip to the sleeve-cap seam allowance on the bodice side. Stitch the bias strip to the seam allowance so the stitching is about 1⁄8 inch from the armscye seam.

1

Trim the seam allowances.

GARMENT (WS)

Press the sleeve. With the garment wrong side out, place the shoulder seam over the large end of a pressing ham. Steam this area thoroughly without touching the iron to the fabric. Finger-press the seam allowance toward the sleeve along the seamline and hold for 10 seconds to set the seam. Rotate the sleeve on the ham, and repeat this technique on each side, down to the notch. Do not press the underarm area.

Photos: (p. 72) Mike Yamin; all others, Sloan Howard. illustrations: Emily Bronson.

7

Form the binding.

Wrap the bias strip snugly around the seam allowance toward the sleeve’s wrong side.

Pin it in place.

2

w w w. t h r e a d s m a g a z i n e . c o m

BIAS STRIP

Sew the bias strip from notch to notch along the armscye seam.

Wrap the bias strip around the seam allowance.

GARMENT (WS)

Secure the binding’s free edge. From the garment side, stitch in the ditch of the binding’s attachment seam. Trim the excess bias strip close to the stitching.

Place the garment on a ham to steam the seam allowances toward the sleeve, where they support the cap.

3 Steam the armscye seam, then finger-press it.

Armscye seam

Trim the excess binding.

GARMENT (WS)

SLEEVE (WS)

A P R I L /M AY 2 0 1 9

75

Q&A

R E A D E R S ’ Q U E STI O N S — E X P E RTS ’ A N SW E R S

Understand bobbin types

Carol J. Fresia, Threads’ senior technical editor, has gone round and round on this issue herself: It definitely does matter what size you use. The wrong size bobbin can cause jamming, poor stitch quality, or damage to your machine. Start by checking your machine’s manual. The bobbin size and type should be listed there. If it isn’t, but you have one of the bobbins that originally came with the machine, take it to a local machine dealer (preferably one who sells your machine brand) and ask for the same type.

I realize this may be easier said than done, since many of us don’t live near a sewing machine dealership and are obliged to buy accessories online. If you find yourself in this position, do some research. SewingPartsOnline .com carries a remarkable range of bobbins, and you can search by machine brand and model to find the type that fits your machine.

If your machine is a newer model intended for home use (not an industrial machine or longarm quilting machine), there’s a good chance that it takes one of three commonly available styles. Class 15 (also called A style or SA156) is 13⁄16 inch (about 20 mm) in diameter (approximately the size of a nickel) and 7⁄16 inch (about 12 mm) high. Its top and bottom, called the

A

have a question?

Send it to us and we’ll find an expert’s answer.

Threads Q&A 63 South Main Street Newtown, CT 06470 or via email: ThreadsQ&A@taunton.com

flanges, are flat. The L style (sometimes referred to as SA155) has the same diameter and flat flanges but is only 5⁄16 inch (about 9 mm) high.

Other bobbins you’ll find in many chain fabric stores are the Class 15J and Class 66. These are close in diameter to the Class 15 and L-style bobbins but have slightly convex flanges.

Though these four types don’t look substantially different, they are not interchangeable.

An online search for bobbins may turn up the temptingly named “universal bobbin.” Avoid these, unless the description clarifies the bobbin style (usually a Class 15, but not always).

You’ll also find a vast selection of non-original manufacturer bobbins. These are not necessarily dangerous to your machine or poorly made.

If you have doubts, order from a reputable company with a good return policy.

Many bobbin styles are available in metal or plastic. Choose the same material as the machine’s original bobbins. The bobbin thread tension may be sensitive to the bobbin weight, and you’ll get more satisfactory results with the version intended for the machine.

Some European sewing machine brands, such as Bernina and Viking, use brand-specific bobbins. Don’t substitute other sizes. If your machine is vintage, seek advice from an online community that focuses on your machine type.

Should you buy or inherit an older machine, it may come with a mysterious assortment of bobbins that may or may not fit. Before installing one, exercise due diligence so you don’t damage your heirloom machine.

Bobbins come in varied sizes. Left to right: Class 15 (plastic), L style, Bernina Class 15 (metal).

76

THREADS

Photo: Mike Yamin.

Q

Help! I need more bobbins for my sewing machine, but they all look alike in the store and online. Does it matter what size I get, and if so, how do I know which ones to buy?

—Harriet Brown, Greenwich, Connecticut

THE INDISPENSABLE FABRIC GUIDE FOR SEWERS ALL NEW

SANDRA BETZINA

FABRIC SAVVY HOW TO CHOOSE & USE FABRICS

REVISED & UPDATED NEW FABRICS NEW NOTIONS NEW TOOLS & TECHNIQUES x 5506

A QUICK REFERENCE GUIDE

6HZLQJ OHJHQG 6DQGUD %HW]LQD·V EHVW VHOOLQJ IDEULF JXLGH LV QRZ XSGDWHG IRU VHZHUV RI DOO NLQGV All New Fabric Savvy LV FKRFN IXOO RI HVVHQWLDO LQIRUPDWLRQ WKDW DOO JDUPHQW DQG KRPH GHFRU VHZHUV QHHG 2UJDQL]HG DOSKDEHWLFDOO\ ZLWK IDEULFV PRUH WKDQ SKRWRJUDSKV DQG LOOXVWUDWLRQV LW·V HYHU\WKLQJ \RX QHHG WR NQRZ DERXW ZRUNLQJ ZLWK IDEULF

AVAILABLE WHEREVER BOOKS ARE SOLD.

t

©2017 The Taunton Press

Q&A

continued

Intercontinental pattern sizing What is the di≠erence between European and American pattern sizing (Marfy vs. McCall’s, for example)? Are European sizes smaller?

—Linda PIttman, via email

Threads editors routinely scrutinize pattern size charts as they select sizes for sample garments to be sewn for our issues. We’ve concluded that American patterns aren’t larger than European patterns. In fact, some European sizes have larger measurements than the corresponding American size.

For example, a Vogue size 8 is for a 31½-inch bust, 24-inch waist, and 33½-inch hips, while a BurdaStyle US size 8 pattern is for a 34½-inch bust, 27½-inch waist, and 37-inch hips.

As with ready-to-wear clothing, the size number is essentially unimportant. What matters more is the sizing convention used by the pattern company or designer. Because these differ from company to company, you must always compare your measurements to the pattern designer’s size chart. In one brand, you might wear approximately a 12, whereas you’d take an 8 in

A

another brand. Some European companies publish their charts with metric measurements. You can take your own measurements in centimeters, or look online for the chart converted to imperial units.

Once you start looking closely at various size charts, you will notice that pattern companies design for different body types.

Ottobre patterns, for example, are about 2 inches larger in the hips than corresponding sizes by Vogue and Simplicity. If your waist is small relative to your hips, you might find Ottobre a better fit. There are patterns, such as Cashmerette Patterns’ offerings, specially designed for plus-size figures. These feature proportional grading that accommodates a fuller bust, without increasing the shoulder width or overall body length.

Getting a great fit is easier when you start with a pattern that’s closer to your body measurements. Recognize, though, you’ll probably have to make some size adjustments for your shape.

Visit ThreadsMagazine.com for help with fitting; there are many approaches to customizing a pattern, and you’re sure to find a way that works for you.

Each pattern publisher has its own size standards and may prefer one measurement system over another. Clockwise from top left, size charts from Simplicity (plus size), Ottobre magazine, BurdaStyle magazine, and Vogue Patterns.

78

THREADS

Photos: Mike Yamin.

Q

FABRIC

NOTIONS

NOTIONS

PATTERNS

TH READS SEWI NG CORN ER

EDUCATION

Advanced Alterations Training Alterations for Professionals and Bridal & Formalwear instructional CD’s $79.95 each, both for $145 plus $6 S/H A Key Resource in the Master Alterations SSecialist &erti¿cation 3roJraP

Linda Stewart Instructor, Author

To order books on CD call 908-310-8214, email LindaJ.Macke@gmail.com or for the fastest service, order on-line at

www.AlterationsforPros.com

ADVERTISER I N DEX ADVERTISER

WEBSITE

PAGE

Alterations for Professionals Assoc. of Sewing & Design Professionals Bamboo Fabric Store Beautiful Textiles Bernina Bra-Makers Supply Budo Bear Button Bird Clover Needlecraft, Inc. DittoForm E-Quilter Elna USA Eva Dress Expressive Image Solutions Fabulous Fit Dress Forms Folkwear Patterns Gorgeous Fabrics Independent Fabric Stores Kai Scissors Lama Sewing Kits Linton Direct Loom & Stars O! Jolly!

Oriental Silk Company PDF Plotting.com Pfaff Sarah Veblen Clothing Original Schmetz Needles Sew-Brite SewkeysE Simplicity Patterns Sterling Name Tape Company Stylish Fabric Thai Silks Tissu

alterationsforpros.com sewingprofessionals.org bamboofabricstore.com www.beautifultextiles.com bernina.com/3series www.bramakers.com www.budobear.com www.buttonbird.com www.clover-usa.com www.dittoform.com www.equilter.com elnausa.com www.evadress.com expressiveimagesolutions.com www.fabulousfit.com www.folkwear.com www.gorgeousfabrics.com

p. 79 p. 7 p. 81 p. 7 p. 9 p. 81 p. 81 p. 17 p. 3 p. 17 p. 7 p. 2 p. 79 p. 79 p. 11 p. 7 p. 11 p. 25 p. 79 p. 81 p. 81 p. 11 p. 81 p. 17 p. 25 p. 83 p. 79 p. 17 p. 25 p. 81 p. 81 p. 79 p. 11 p. 7 p. 79

w w w. t h r e a d s m a g a z i n e . c o m

kaiscissors.com www.lamasewingkits.com www.lintondirect.co.uk www.loomandstars.com www.ojolly.net orientalsilk.com www.pdfplotting.com pfaff.com sarahveblen.com www.schmetzneedles.com www.sew-brite.com www.emmaseabrooke.com simplicity.com clothinglabelsbysterling.com www.stylishfabric.com www.thaisilks.com www.tissudallas.com

are you in ?

Discover a whole new level of content.

www.threadsinsider.com A P R I L /M AY 2 0 1 9

79

Q&A

continued

Identifying mystery fabrics

Threads Contributing Editor Judith Neukam shares her detection guidance: I’ve been studying fabrics for more than 50 years but turned back to my textbooks to answer your question and, in the process, confirmed how complex this topic is. There are burn tests and chemical tests that can identify a fabric’s fiber content, but they’re inconclusive if the fabric is a blend of fibers.

If you’re buying new fabric from a reputable seller you can usually trust the fiber labels. However, when you are not sure of a textile’s content, origin, age, or how to handle it—as in our reader’s case—identifying what it’s made of becomes a Sherlock Holmes-style endeavor of logical analysis.

Knowing the age and origin of the fabric is a good starting place. Study the acquisition: Is it from an estate sale? How old are the other items? What region of the world did the household come from? The answers to these questions may narrow down the possibilities. To make identification more difficult, some fabrics are bonded to a backing that is a different fiber from the face.

These create more complex issues regarding its care.

If the fabric came from someone else’s collection and you have acquired it secondhand, inspect it carefully. Some fibers fail with age. Other elements can make the fabrics unsuitable for use.

Silks can shatter (suffer fiber breakage). Many woven fabrics are permanently damaged by folds. The fibers break along creases and though you can’t see damage in the yardage, it will probably reveal itself the first time the project is worn or used.

Fabrics are made of natural (cotton, silk, linen, wool are the basics) or manmade fibers. Some synthetic fibers, especially petroleum-based ones, are less sensitive to many elements that harm fabrics, such as mildew or insects. However, over time and especially under less than ideal storage conditions, they may break down chemically and become sticky or oily. Textiles with elastic components, such as nylon, latex, or spandex, often lose recovery with age.

When I obtain a mystery fabric, a chief concern is how to care for it. Test cleaning and pressing procedures on a fabric corner or

A

80

THREADS

swatch. Typically, I gently wash the fabric by hand in cold water with a pure castile soap, Ivory soap, or a clarifying shampoo.

Avoid laundry soaps with bleach or stain removers. They can damage fabric. Bleach dissolves wool and discolors and weakens silk. You can rinse the washed fabric in a vinegar solution followed by clear water; this may help remove heavy creases.

Dry the fabric flat and hand-press it smooth. You can press with a warm iron and a press cloth, and you can keep turning the iron to a hotter setting carefully to make sure you aren’t burning, melting, or making the fabric shine. When creases have damaged the fabric beyond rescue, get creative and work the design around the foldlines.

When working with tempting fabrics of unknown or mixed content, experimentation will guide you toward the best handling and care methods, so you can enjoy your special textile finds.

Photos: Mike Yamin.

Q

I bought a beautiful fabric remnant at a rummage sale.

It didn’t come with any information about fiber content or manufacturer. I need to get some idea of its fiber content, if for no better reason than to know how to remove the crease marks without ruining it. The fabric is structurally complex and may have several di≠erent fiber types. Can I use a burn test to identify its make-up? Are there other ways to figure out what a mystery fabric is made of?

—Jean Smiling Coyote, Chicago, Illinois

M ARKETPL ACE Patterns Martial Arts, Patterns for for Martial Arts, Anime Anime & & Cosplay Cosplay Dogi and and women’s), Dogi(men’s (for men women), kimono, vests, kappogi kimono,hakama, hakama, vests, and (“mamma-san accessories. apron�) and more.

www.BudoBear.com www.BudoBear.com Keep your magazines

neat&tidy in a Threads slipcase

P. O. Box 157 Sewickley, PA 15143 / (412) 741-7286

Product# THR30031050

O! Jolly!

Order online at Tauntonstore.com

SWEATER KNIT FABRICS www.ojolly.net

LEARN . SHOP . SEW

The World’s Most Innovative Fabrics For Couture Ladieswear

www.lintondirect.co.uk

Simple and easy-to-make projects for children that are fun, functional and fashionable!

Shop Our Online Store ThreadsMagazine.com/ShopNow Your destination for trusted sewing know-how

Call: 800-876-8870

TM

www.LAMASEWINGKITS.com

Sew Your Dream Wardrobe Sew with confidence when you use Threads patterns by Simplicity.

Every design is enhanced with tips and tutorials.

8467 H5

SIZE U.S. 6-14 TALLA EURO. 32-40 TAILLE FR. 34-42

Watch for feature article in Threads magazine issue No. 195 about finishing details for this pattern.

C

A

B

Find all the styles at Simplicity.com.

D

ÂŽ Designed and printed in the USA./ DiseĂąado e impreso en los Estados Unidos./ CrĂŠĂŠ et imprimĂŠ aux Etats Unis. simplicity.com

w w w. t h r e a d s m a g a z i n e . c o m

SINCE

1927

A P R I L /M AY 2 0 1 9

81

CLOSU RES

BY BETTE LOW

Memories in bloom y family recently decided to move to a new house. “Moving” is a word that strikes dread into any sewer’s heart.

To me, it means I must admit that I have too much fabric. Looking around at the supplies, notions, zippers, and buttons overflowing from shelves in my sewing room, I sigh. Most of my stash needs to be culled so it will fit in the moving van.

As I sort, the scraps cascade across the floor in an avalanche of memories. Some are links to people and places I have lost. In my sewing room is the Victory Quilt my great-grandmother worked in red and blue bandanas and old sheets during the lean days of World War II, as well as the quilts my mother fashioned from house dresses and curtains. Some scraps from her quilt bag remain in my stash, and I move those into the must-save pile.

Then I come to two bags I have never opened. They were passed to me by a cousin who cleaned out my Aunt Louise’s house after she died. Inside, I find a neat box of carefully saved zippers from dresses sent to the rag bag, her button box I loved to look through as a child, a bag of well-used doll clothes patterns, yarn, and her fabric scrap bag.

Louise was a wonderful seamstress. When I was a little girl, she

M

amazed me by whipping up new dresses for my Barbie dolls while I watched from atop her sewing table. Each summer, she took a tracing of my brother’s and my little hands so she could make us new pairs of colorful mittens for Christmas, as well as mittens for her 23 other nieces and nephews.

Her love of bright colors was famous. I have a distinct memory of her weeding the garden, wearing a dress so bright that the geraniums around her looked dull. Now, as her scraps and notions spill out of the bags, I can picture her and the clothes she wore in these bits of fabric. There is a scrap of the green and purple fabric that she used for a dress to wear to a cousin’s wedding. A lavender, yellow, and lime-green plaid she sewed into a pair of shorts jumps out at me from the pile. I remember the acute embarrassment of being seen with her in those shorts. With a sweep of my hand I move to throw them all in the discard pile, but something makes me pause.

As a teenager, I often wore somber clothes, with earth-toned, natural-fiber fabrics and Birkenstock sandals. One day, my Aunt

Louise swept into the room wearing a summer dress printed with giant red, orange, and yellow poppies. She took one look at me and said, “Bette Ann, did anyone ever tell you, you need to lighten up? You know, your clothes should make you smile!”

I’m smiling, now, thinking of her in that dress, strolling around the quiet Maine town where she lived. Her bright remnants are like vivid nasturtiums among the tiny, quietly colored floral prints in my scrap bag.

I see the colors bloom among my stash and I wonder if Aunt Louise was right. The blue and olive green swirled fabric could become a border for my next quilt. I could use these yellow paisley scraps as an accent in my daughter’s college quilt. Maybe I do need to lighten up a bit, I think, and I move all her scraps into the must-save pile. The next time I sew, I’m going to have fun with color as I think of my Aunt Louise in her blindingly bright poppy dress.

Bette Low sews from Westport, Massachusetts.

DO YOU HAVE A SEWING STORY TO SHARE? Email it to TH@taunton.com and you could be our next Closures author.

82

THREADS

Illustration: Janice Fried.

Her bright remnants are like vivid nasturtiums among the tiny, quietly colored floral prints in my scrap bag.

Style Luxury is in the details Beauty

creative icon

Visit PFAFF.com PFAFF, CREATIVE ICON, PERFECTION STARTS HERE, IDT, and ACTIVSTITCH are trademarks of SVP Sewing Brands, LLC. ©2018 SVP Sewing Brands, LLC. All rights reserved.

TM

Up Close

F

ounded in 1947, the Leslie Fay label made affordable, stylish dresses that were sold in department stores to discerning women. This cream wool double-knit day dress with brown faux-leather piping is from 1983. Its clean

lines and subtle details—including an interesting variation on the raglan sleeve— fit right in with current styles. Ponte knit fabrics are perfect for re-creating the

From: Vintage Details: A Fashion Sourcebook (Laurence King, 2016); photographer: Stephen Sartori

elegant, softly structured silhouette. See how to manipulate the raglan sleeve to

Source: The Sue Ann Genet Costume Collection, Syracuse University School of Design

create the elegant shoulder effect on p. 30.

Text: Judith Neukam