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SEW QUIETER, FASTER, LONGER, BETTER. INTRODUCING THE NEWLY-ENGINEERED BERNINA 5 SERIES.

THE FABULOUS, FEATURE-PACKED 5 SERIES INCLUDES: BERNINA HOOK FOR FAST, QUIET, PERFECT STITCHES • JUMBO BOBBIN TO SEW LONGER 8.5" OF SPACE RIGHT OF THE NEEDLE • AUTOMATIC THREAD CUTTER EMBROIDERY CAPABLE PICK UP A BERNINA 5 SERIES TODAY! FIND A STORE NEAR YOU AT BERNINA.COM

CONTENTS

FEATURES 30 THE COMMON THREAD: SEWING IS FOR EVERYONE Read about what inspires the editors of TheSewcialists.com.

38 FAIR SUEDE DUSTER Add ties and a high-low hem for a dramatic duster.

41 FAB FUR PILLOWS Use faux fur scraps to make elegant-yet-easy throw pillows.

44 DENIM ENCORE TOTE Stitch a stylish tote with repurposed denim fabric.

48 CARDI OF TWO Hack a basic cardigan pattern for two unique looks.

52 NEUTRAL NOTE WALL HANGING Give scraps new life as a custom quilted wall hanging.

55 WAX ON DUFFLE Stencil waxed canvas for oneof-a-kind bags and luggage.

58 CAMDEN COAT Create a one-of-a-kind coat hack with high-end details.

68 SEW YOUR SUPPORT: THE SEWING MACHINE PROJECT Read how an amazing nonprofit supplies sewing machines to those in need.

72 MASTERCLASS: A FINE LINE Get pro sewing tips for installing a jacket lining.

76 TRAVEL CAPSULE: VIENNA-BOUND Follow along as Creative Editor Kate Zaynard plans a Vienna vacation capsule.

OCT/NOV 2019 ISSUE 373

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sewnews.com email: sewnews@sewnews.com EDITORIAL Senior Editor Amanda Carestio Creative Editor Kate Zaynard Online Editor Jill Case Technical Editor Kim Saba

Art Director Photography Illustrator Photo Stylist Hair & Makeup Artist

ART Kerry Jackson Harper Point Photography Ann Swanson Tina Gill Beauty on Location Studio

MARKETING & ADVERTISING Marketing Manager, eCommerce Whitney Dorband Ad Trafficker Lori Hauser Advertising Managers Nancy Mayhall, Mary-Evelyn Dalton BUSINESS Director of Content Tiffany Warble Group Art Director Emily Simpson Media Sales Director Julie MacDonald Sr. Director of Marketing and Operations Kim Greenlee PEAK MEDIA PROPERTIES, LLC Chief Executive Officer Gregory J. Osberg SVP, Group Publisher David Pyle VP, Magazines John Phelan VP, Product and Strategy Josiah Klebaner VP, Finance Jordan Bohrer Newsstand Sales Scott T. Hill Scott.hill@pubworx.com

SUBSCRIPTIONS: To subscribe to Sew News magazine or change the address of your current subscription, visit Subscriber Services online at sewnews.com. You may also call or write: Phone: (800) 289-6397, International: (386) 597-4387 E-mail: sewnews@emailcustomerservice.com Subscriber Services: Sew News, P.O. Box 420235, Palm Coast, FL 32142-0235 Subscription rates for the United States and possessions: $23.98 for one year (six issues). Canadian subscriptions add $6 per year (includes GST and postage). Elsewhere outside the U.S., add $12 per year postage. Payment in U.S. funds must accompany all orders outside the U.S. Major credit cards accepted. Some back issues of Sew News magazine are available for $5.99, payable in advance.

COLUMNS

IN EVERY ISSUE

REPRINTS: Contact Wright’s Reprints to purchase quality custom reprints or e-prints of articles appearing in this publication at (877) 652-5295 or (281) 419-5725 outside the U.S. and Canada.

14 BASIC SKILLS: Thread

Editor’s Letter

18 CURVE APPEAL: Layer Play

Reader Tips

RETAILERS: If you are interested in carrying this magazine in your store, please e-mail sales@peakmediaproperties.com.

22 MEN WHO SEW: Brad Schultz

Staff Picks

Occasionally, our subscriber list is made available to reputable firms offering goods and services that we believe would be of interest to our readers. If you prefer to be excluded, please send your current address label and a note requesting to be excluded from these promotions to: Sew News, 741 Corporate Circle, Ste. A, Golden, CO, 80401, Attn.: Privacy Coordinator.

26 SERGER SCHOOL: Faux Fur & Other Fall Fabrics

12 Meet the Maker

TO ORDER BACK ISSUES: Go to interweave.com/sewing.

Sew News October/November 2019 • No. 5 Copyright ©2019 by Peak Media Properties, LLC. All rights reserved. Nothing may be printed in whole or in part without permission from the publisher. Single-copy rate U.S. $5.99; Canada $6.99. Subscriptions are $23.98 for one year (6 issues). Canadian subscriptions add $6 per year (includes GST and postage). Elsewhere outside the U.S., add $12 per year postage. Payment in U.S. funds must accompany all orders outside the U.S. For subscriptions, address changes or adjustments, write to SEW NEWS, P.O. Box 420235, Palm Coast, FL 32142. Eight weeks are required for a change of address. Please give both new and old addresses and, if possible, the mailing label of the old address. The information in this publication is presented in good faith, but no warranty is given nor results guaranteed. Since SEW NEWS has no control over your choice of materials or procedures, neither SEW NEWS nor the various manufacturers assume any responsibility for the use of this data. PRINTED IN THE USA

34 PATTERN PLAY: 90s to the Nines 64 SEW & TELL Sewing Gifts

82 Off the Shelf 87 Experts 88 All Sewn Up

80 SEW ALONG: Silverton Blazer 84 GET THE LOOK: From Sleep to Street

Issue 373. Sew News (ISSN 0273-8120) is published six times per year in Feb/Mar, Apr/May, Jun/Jul, Aug/Sep, Oct/Nov, and Dec/Jan by Peak Media Properties, LLC, 4868 Innovation Dr. Fort Collins, CO 80525-5596. Periodical postage paid at Fort Collins, CO 80525 and additional mailing offices. POSTMASTER: Send address changes to Sew News, P.O. Box 420235, Palm Coast, FL 32142-0235. Canadian return address: Bluechip International, P.O. Box 25542, London, ON N6C 6B2 Canada.

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EDITOR DEAR READERS, Is there a season when you love to sew? In my book, winter and sewing just go together! There’s nothing like a snowy day to get me in the mood for standing over a hot iron, surrounding myself with colorful cloth and sewing the day away with a hot cup of tea. I’m in my happy place in that cozy scene, friends. How about you?

p. 72

And another question: what is the status of your sewing pattern library? Be truthful! I have so many patterns that I’m not sure I need more (but you know I’m going to be tempted!). What I do love, at this point in my sewing journey, is a good hack: something that takes a basic pattern and gives it new life. The hacks in this issue are designed to do just that. With them, you can:

✓ Take a basic coat and recreate it with asymmetrical style lines. Page 58

✓ Give a duster added drama with a highlow hem. Page 38

✓ Create a high-impact cowl neck on a basic tank dress. Page 34

✓ Make the most of your favorite cardigan p. 48

pattern with hacks for bubble sleeves and cool color blocking. Page 48

We’ll also show you how to bring some easy sustainable practices into your sewing. Use scraps for a simple quilted wall hanging on page 52 or repurpose fabric from a local fiber-based factory to create chic denim totes — check out Denim Encore Tote on page 44. If you’ve got travel plans this holiday season, consider customizing your luggage with a cool stencil technique (page 55) and read about Creative Editor Kate Zaynard’s Vienna travel wardrobe. Aren’t capsule wardrobes the best?

Happy stitching + stay cozy!

Amanda Carestio & the Sew News Team

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SEW TELL Tune in for a little Sew & Tell! Find episodes of the podcast at sewdaily.com/sewandtell or wherever you get your podcasts.

COMING UP GET HOLIDAY READY WITH THE DECEMBER ’19/JANUARY ’20 ISSUE OF SEW NEWS. FROM CUTE SEWING-THEMED ORNAMENTS (OF COURSE!) TO FAUX FUR STOCKINGS TO HACKS FOR HOLIDAY PARTY LOOKS, THIS ISSUE IS PACKED! LOOK FOR IT ON NEWSSTANDS NOV. 12, 2019.

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Sewing Patterns & Projects Member Galleries How-to-Sew Tips & Videos Sewing Tools & Resources And much, much more!

READER TIPS Featured readers received a gift for submitting a tip.

Send your tips to sewnews@sewnews.com or post them at facebook.com/sewnews.

SCRAP PACK When I have more scraps than I can handle or textiles that no longer can be repurposed, I use my curvy-bladed rotarry cutter or pinking shears to make small strips of wavy fabric. I use this instead of purchased gift bag or basket “grass” and as packing when I need to send something fragile. Anne, email SPOOL SPROUT To stop spools of thread from tangling, you can purchase covers from sewing stores or get them for free from your local flower shop. Ask your florist for the mesh covers that come on roses and other flowers, and cut them to your desired size for different spool sizes.

GATHER ROUND Use odd-colored leftover thread from previous projects for gathering and basting. This not only saves money, but you can distinguish the gathering stitching from the seam stitches more easily when removing them.

ON THE LINE Hang a clothesline from one wall to the other in your sewing room for a handy notions holder. To keep small items from getting buried under piles in the sewing room, clip small plastic bags or carded notions to the line with clothespins.

Barb F., letter

Kathy K, email

QUICK CATCH Attach double-stick tape or masking tape rolled back on itself to the edges of the sewing room wastebasket. This will help catch threads and eliminate all those bits and pieces that end up on the floor. Alice B., Facebook

HIDE & SEEK

Terry, email

S E W N E W S.CO M

Play & Win!

Congratulations

What is it? Pictured at left is part of a photo from this issue. When you find it, enter online at sewnews.com or send a postcard with the page you found it on to Sew News, Hide & Seek, 741 Corporate Circle, Ste. A, Golden, CO 80401.

to the August/September 2019 Hide & Seek winners!

Responses are due September 30, 2019. From the correct responses, we’ll randomly draw five winners, one of which could be you.

Mary R., Bradenton, FL

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Joyce A., Saunemin, IL Sheila N., Arcadia, WI Janice M., Ormond Beach, FL Betsy G., Fort Wayne, IN

STAFF PICKS 1 1. If you’ve ever lost a sweater to moth holes, the Moth Hole Mending Kit is for you. It won’t bring back the original sweater, but it will bring it back from the donation pile. It’s packaged in compostable plastic and includes everything you need to embroider four moths on your clothing, including stickand-stitch moth designs, needle, thread, hoop and instructions. wrenbirdarts.com

Loretta Jacket

2. Elevate your fall look with the Loretta Jacket Pattern. This knee-length collarless jacket has gentle shaping and pretty flared cuffs. It’s casual enough for weekend wear, but its classic princess seams make it appropriate office wear as well. www.zigzagdesigns.biz

www.zigzagdesigns.biz zigzagbychristine@gmail.com

2 Front

Back

skill level: intermediate good for: triangle & ideal body shapes all sizes included:

This pattern is to be used for individual private home use only and not to be copied, distributed, or used for commercial or manufacturing purposes. Designed in the USA.

3. Golden Girls fans, rejoice! The Cross Stitch the Golden Girls Kit brings your favorite group of female friends back to life. This collection of images, direct quotes and intricately arranged cross stitch patterns will leave you with a renewed appreciation for the show. Patterns include “Thank you for being a friend,” “Everything I know I learned from Rose, Blanche, Dorothy, and Sophia” and quotes from each of the girls. Also included are materials to make two projects. quartoknows.com

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4. O Organize your sewing supplies with the Footstool Sewing Box x. It’s made with soft-touch fabric with wooden feet and measures 1 by 10" 10 by 13" 1 high high. Under the asures approximately 13" magnetic closure lid is a plastic tray for small essentials, and below that is space for bigger supplies. As a bonus, the footstool is available in a range of fabric covers to coordinate with your space. etsy.com/shop/sewprocrafts

5 6

5. Decorate your sewing room (or any other room!) with the Sewing Vinyl Wall Clock. It’s made from a new vinyl record that adds a unique vintage charm to your walls. If black doesn’t coordinate with your décor, it can be coated in a range of other colors on request. Requires one AA battery. vinylshop.us

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6. Curious about Kraft-tex? Or not quite ready to make an entire project with it? Try out the Emma Messenger Bag Pattern! This chic bag pattern uses denim and cotton for the main bag pieces, but the flap is decorated with a unique pattern of interlocking links. Download SVG files to cut the links with a digital cutter instead of by hand. Patterns for a matching wristlet and key fob are also included. stashbooks.com

7 7. If youâ&#x20AC;&#x2122;re looking for a great collection of quilting basics, check out the Lucky Charms Collection. The low-volume fabrics are printed with subtle or tone-on-tone motifs of symbols of luck from around the world, including crossed fingers, wishbones, acorns and shooting starts. Use charm packs or other precuts, or purchase yardage of the colors you need. figofabrics.com

8. Try out the slow sewing trend with the Hedgerow Sewing Suite. Stitch four delightful zakka-style projects to help corral sewing and knitting supplies, including a sewing bag with an adorable spool tree motif, a drawstring thread holder adorned with colorful little spools, a hedgehog-themed pincushion and a knitting needle holder. The pack includes instructions, iron-on transfers, patterns and motifs for all four projects. ctpub.com

9. Embrace the relaxed yet stylish Mirage Wrap Trousers pattern. The trousers tie at the waist front and back, and the wide legs provide high comfort and freedom of movement. Switch up which is tied first to alter the look; cut at the ankle or longer to wear with heels. camimade.com

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MEET THE MAKER Sarah Gunn of

Goodbye Valentino SN: Describe your perfect day. SG: In reality, I have no perfect days because I put too much on my plate, but my fantasy perfect day…. Wake up to a perfect cappuccino in an Italian villa followed by a morning of fabric shopping. Lunch in Paris then off to a Chanel runway show. An evening glass of champagne prior to an opera at the Met and hitting the sack in my own bed. SN: What's your must-have tool in your studio? SG: My left-handed Kai scissors! SN: What's your greatest extravagance? SG: Food and culture! I’m always up for fine dining, concerts, performances, gallery and museum exhibitions. The first thing I do when traveling is check out performance venue and concert hall schedules. SN: What's your most treasured possession? SG: I have three: My children’s portraits, the piano and my Pfaff Creative Icon. SN: Where do you find inspiration? SG: I look to the classic designers and classic style icons for inspiration. Every prominent designer understands the classic concept before stepping on to the runway. When we know how to adapt classic garments to suit our style, age, shape and size, we are a step ahead of seasonal trends. Sewists get the best of both worlds by applying the designer’s essence to clothes that work for their life.

SEWNEWS.COM

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SN: What's your favorite fabric to work with? SG: I love working with any high-quality fabric. As part of the Mood Sewing Network, I’ve had the luxury of experimenting with wonderful fabrics. Silk twill, ponte & scuba, stretch cotton and brocade are a few of my favorites. SN: What's your sewing mascot? SG: My black and white English Cocker Spaniel, Lulu. SN: What’s your best way to decompress? SG: I completely decompress at our simple and quaint beach house in South Carolina. It’s especially wonderful when the entire family and our pets are there. SN: What are your three favorite sewing hashtags? SG: #thetunicbible #fashionsewing #sewthelook

When we know how to adapt classic garments to suit our style, age, shape and size, we are a step ahead of seasonal trends.

SN: What's your favorite sewing snack? SG: Once I start sewing I forget about food, but you can find half-drunk cups of tea or coffee sitting around! SN: What’s your motto? SG: Sew Your Own Clothes, Save Thousands of Dollars and Look Like a Million Bucks!

Since 2011, blogger and author SARAH GUNN has inspired thousands of women across the globe, nurturing their creative spirits through her fashion sewing blog Goodbye Valentino. Co-author of the award-winning book The Tunic Bible and A Stylish Guide to Classic Sewing (November 2019), Sarah has served as an ambassador for SVP International (Singer Viking Pfaff) for the Pfaff Brand, a contributor to the Coats & Clark website and the PBS series It’s Sew Easy. Recognized for creating “The Readyto-Wear Fast,” Sarah has led dedicated followers through the 365-day pledge to sew rather than shop. Experience Sarah’s enthusiasm for fashion sewing via book signings, presentations, trunk shows and workshops throughout the United States. Learn more at goodbyevalentino.com and @goodbyevalentino on Instagram.

SEWNEWS.COM

BASIC SKILLS

t re d

When it comes to g the right an be tricky to know which way to turn. There are so many different basic threads on the market and even more specialty and decorative threads. Discover how to select the right thread for strong seams and polished, professional results.

THREAD BASICS It’s very important that your thread is compatible with the properties and fiber content of your chosen fabric to avoid popped stitches and wavy seamlines. For most sewing projects, cottonwrapped polyester thread, also known as all-purpose thread, is appropriate. This thread has the strength of polyester and the soft, matte look of cotton. It works for both machine and hand sewing projects. For light- to mediumweight naturalfiber fabrics with little to no stretch, use 100% cotton thread. This thread has very little give and less strength than polyester, so it works for topstitching and seams that don’t receive lots of stress. Don’t use cotton thread with knits or synthetic fabrics; its lack of stretch can result in broken seams. For stretch or synthetic fabrics, 100% polyester thread is a good choice. This thread has similar characteristics to the fabric—a bit of sheen and a little extra stretch. It’s very strong, so it can withstand the garment stretching while being taken on and off. Polyester thread is appropriate

for both hand and machine sewing and is also durable and colorfast. If you’re using especially delicate or slippery fabric, such as georgette, sheer organza or chiffon, you’ll get better results by using extra-fine cotton or silk thread. Silk thread has a bit more stretch than cotton, so it works well for lingerie and other garments that require some elasticity. When you’re stitching on homedécor or upholstery fabric, use a heavyweight thread. Standard allpurpose thread will be too thin and isn’t strong enough to create seams through multiple layers of thick fabric. Quilting thread is usually 100% cotton and often has a slick finish that makes it slide through fabric and batting without friction. The process of adding the slick finish is called mercerization. Use this thread just for quilting.

OTHER CONSIDERATIONS When selecting the thread color for your project, choose one that matches the most dominant color in the fabric for the least visible stitches. If you can’t find an exact color match, use a color that’s slightly

darker than the most dominant color. The darker color will be less visible than a lighter shade. Threads are available in different thicknesses that are indicated by a number. The lower the number, the thicker the thread. A good standardsized thread to use for most projects is size 50, which is a medium thickness. In most cases, use the same thread for the upper and bobbin threads. Using two different threads can result in popped stitches and tension problems. Before you begin your project, it’s always a good idea to test sew with the chosen thread on fabric scraps, in order to work out any problems prior to stitching on the actual fashion fabric. This is especially necessary when you’re using decorative thread, which often creates issues with tension.

tip To prolong the shelf-life of your thread, store it away from heat and sunlight. Always do a “tug-test” on your older threads before using them for a new project.

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THREAD TYPES We’ve divided the various threads available into four main categories and tackled the details respectively. Use this list as a cheat sheet when you’re selecting thread for your projects.

ALL-PURPOSE

Cotton: This 100% natural thread is most compatible with natural fiberwoven fabrics. It’s a low-stretch thread and therefore doesn’t work well with synthetic materials. It has similar shrinkage to a cotton garment, so use caution when washing. Cotton thread is often available in variegated-color spools.

Polyester: This strong thread can withstand high machine speeds and maintains its strength when wet. It retains and recovers its shape, which works well for stretch or synthetic fabrics. This thread comes in many vibrant colors, including decorative variegated varieties, and is heatresistant.

HEAVYWEIGHT

Silk: This thread is good to use when working with delicate and sheer fabrics, such as silk. It’s known for strength and elasticity in a fine package. Silk is often used for stitching buttons, especially “Buttonhole Twist,” a decorative silk thread that’s three times the diameter of regular silk.

tip When buying thread, remember you get what you pay for! Inexpensive thread may save money initially, but in the long run, the quality of your projects will suffer.

Polyester: This thread’s strength makes it perfect for heavyweight fabrics, including work garments, denim and flannel. It doesn’t succumb to wear and tear as easily as other threads, is heat-resistant and withstands chemical damage.

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Upholstery: This thread is most often used for home-décor projects. Its strength fares well with vinyl, leather, canvas and other décor-weight materials. Often, this thread is 100% nylon, which is resistant to sunlight, chemicals and abrasion.

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DECORATIVE

Rayon: This strong but lightweight thread is often preferred for machine embroidery and free-motion stitching due to its high sheen.

Solar Active: This thread turns from white to colored in the sunlight. It’s a popular choice for machine embroidery.

Glow-in-the-Dark: This thread is made in many fibers and is a fun touch for anything that needs a little flair.

Monofilament: This is mainly used for invisible seamlines and goes well with most fabrics. It’s available in clear and smoke shades.

OUTDOOR

Metallic: Often used for machine embroidery but also useful for the “finishing touches” on fashion projects, metallic thread is a classic sewing adornment. This thread comes in a variety of shiny colors and textures. It’s usually made of aluminum material and is constructed in both round and flat fashions. Iron-on metallic thread is also available.

Water-soluble (not shown): This thread will dissolve in water and wash out of projects easily. Elastic (not shown): This is used when stretchable stitches are desired. It’s great for gathering, shirring and creating ruffles.

SOURCES American & Efird, amefird.com Beacon Fabric & Notions, beaconfabric.com Coats & Clark, coatsandclark.com Gütermann Thread, guetermann.com Secrets of Embroidery, secretsof.com Silk Things, silkthings.com SolarActive, solaractiveintl.com Sublime Stitching, sublimestitching.com Sulky International, sulky.com Thread Art, threadart.com YLI Corporation, ylicorp.com

Continuous multifilament polyester: This thread is perfect for outdoor uses, as it’s UV-resistant and doesn’t absorb moisture.

Nylon: This thread has the same outdoor-ready qualities as listed above and has supreme durability.

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CURVE APPEAL BY RAE CUMBIE

Layer Play Read on for all your fall fitting needs, from sewing the perfect not-tootight turtleneck to measuring your curves to picking the right pattern size to creating a contoured waistband for pants.

Is there a trick to sewing turtleneck tops that fit?

Turtleneck tops are quickly stitched up in knit fabrics with plenty of stretch. The designs vary from very tight, double-turned turtlenecks attached to jewel necklines to slouchier styles that drape around the neck of more open necklines. The tighter the turtleneck, the more critical the fit. Make sure the body of the top or dress fits smoothly through the neck and shoulder area before applying a close-fitting turtleneck (1). Test the turtleneck, too: after sewing the center-back seam, make sure it slides easily over your head and stands or lays how you like before attaching it to the neck edge. Snug-fitting turtlenecks are best crafted in jersey or sweater knits with plenty of stretch.

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For a looser turtleneck, make sure the neck pattern piece is similarly sized to the neckline it will fit into. A 1" or 2" differential between the circumference of the neck and an easy-fitting turtleneck is a good rule of thumb (2). If the collar is too

small, it will cause the top to bunch up toward the neckline, distorting the fit. As with any new design, test the pattern in a fabric that is not precious before using your most treasured knit.

What measurements are most helpful when choosing a pattern that will fit my particular curves?

Most patterns list sizing measurements for bust, waist, hip and neck to waist. Use a tape measure and get someone to help you position the tape measure evenly around the body, at the fullest point, parallel to the floor for each body measurement. The tape measure will be perpendicular to the floor for the back measurement (3). Itâ&#x20AC;&#x2122;s best to keep your clothing to a minimum when taking

measurements. A good bra, a thin t-shirt and leggings are a good choice. The tape measure should be sitting smoothly on the body, not too loose or stretched too tightly. Read the sizing section of your chosen pattern to see if there are special measuring directions. For instance, if the pattern offers different pattern options based on the size of the bust, you will be

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prompted to take an additional high bust measurement to help in choosing the size (4). The neck-to-waist measurement is helpful in determining if the pattern will need to be shortened for a petite body or lengthened for a long torso. It’s a very useful measurement when choosing the pattern for a very close-fitting dress (5). When choosing a size, compare your measurements to those on the pattern. You might need to move between two or three sizes of a multi-sized pattern. Pay attention the description of the garment ease, too. If the pattern is “loose fitting” or “oversized” you might be able to go down a size if you want a closer fitting garment. It is always wise to test each new pattern with a mock up. Then you can adjust the pattern for a personalized fit before sewing up your chosen fabric.

I have a pants pattern with a waistband that I want to lower and convert into a contoured waistband. How do I accomplish that?

It is classic patternwork to change a well-fitting darted pant with a waistband into a pant with a contoured waistband. Lowering the waistband makes the task a bit more complicated. It might take some experimentation before finding the perfect contoured waist location but don’t give up. Once you find your perfect waist placement, you can make the pants in an unlimited number of fabrics and colors. To lower the waistline, put on your pants with a waistband, rolling the waistband to the inside and assessing how much lower you want the pant to sit on your body (6). Often the waistline position does not change in the center back but dips slightly through the sides into a soft curve at the center front. Assess how much lower you want the pant to sit in the center front and on the sides. This is very personal and often depends on your waist-to-hip curves.

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Draw the new waist placement on the waistband pants pattern, using a colored pencil to differentiate it from the original waistband. A fashion ruler will help achieve a smooth new waistline. Remember that a seam allowance is required above the waist

placement. We will presume a 5⁄8" seam allowance as we proceed and the waistband pattern will make a 2" finished contoured waistband (7). To begin, trace off the entire front and back of the original pants patterns using your adjusted waistband markings so you do not destroy that pattern while creating your contoured pattern (8). Create the contoured waistband pieces by tracing off the top of your new pant patterns onto an additional piece of paper. Draw a line 3¼" below the top of both the front and back pattern including all darts and other markings (9). Use a curved ruler

to create the cutting line at the base of the traced pattern, and label the patterns as contoured waistband front (and lining) and contoured waistband back (and lining). Trim away any extra paper. Fold out the darts to create the curved contour of the waistband. For a back-opening pant, take 5⁄8" off the center front, creating a cut-on-fold line at the center of the contoured waistband (10). Next, alter the top of the pants to account for the contoured waistband. Measure down 2" from the top of the new pant draft on both the front and back pant pattern.

Connect these markings with a curved ruler to establish the new cutting line. Trim away the extra paper above this line and label the pattern pieces (11). If you have short ends of darts (1" or less) remaining on the trimmed pattern, reduce the closest side seam or inseam to remove the small amount of dart intake (12). Take time to fit and assess the waistband and its placement in your first pair of pants. Contoured waistbands need to be snug in order to stay up on most bodies.

3¼"

Front waistband pants

Back contoured pants

Front contoured pants

Back waistband pants

cutting line seam line 2"

cut

Back Front Front contoured pants

Front contoured pants

Back contoured pants

Fold

cut

Back contoured pants

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NEW

MEN WHO SEW

Join us in 2019 as we talk life, inspiration and all things sewing with a variety of male sewists.

BRAD

SCHULTZ Based in sunny Gainesville, FL, Brad Schultz fell in love with sewing 12 years ago. Brad found sewing was the perfect blend of mechanical and creative problem-solving and jumped into the hobby headfirst, from creating commissions to teaching kids sewing classes to sewing his own me-made wardrobe.

SN: Why sewing? BS: I fell in love with sewing about 12 years ago, when I ambitiously agreed to make matching shirts for my friends and I to wear to a concert. My naive attempt ended in failure but birthed a love for the mechanics and creativity that sewing clothing fostered. As with most interests in my life, I jumped in headfirst and engrossed myself in online blogs and videos. But, also as a perfectionist, 22

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it was quite a while before I made something that I actually wore. Fast forward a couple of years, I began working with an event producer designing and creating elaborate costumes for charity events. I also began taking on commission work and started my journey into creating custom bridal and evening gowns, in addition to teaching kidsâ&#x20AC;&#x2122; sewing classes. Now, I continue to teach sewing classes, and I have fallen

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madly in love with sewing clothing for myself again. SN: Who has been influential in your sewing journey? BS: When I was young, my Granny and I would work together to sew Halloween costumes. She taught me the basics of machine use and sewing construction. However, when I actually began to sew more

seriously, around 2007, sewing bloggers were a huge influence. I did not personally know anyone that could sew wearable, beautifully constructed garments until I found the online sewing blog community. My inspiration shot through the roof, but my execution still lacked until I found the Power Sewing web TV show with Sandra Betzina and Ron Collins and Peggy Sagers’ online webcasts with Silhouette Patterns. These two resources, along with many Craftsy classes, YouTube videos and years of practice all combined to teach me what I know today.

year and now seem to need pants in every color and pattern available. SN: Where do you find inspiration within the sewing community? BS: Most of the time, it is the small details that inspire me. A hemline, pocket shape, color, silhouette or mood can dictate an entire idea for a garment. Also, seasonal fashion trends offer continuous inspiration, but I don’t use them as a mandated set of rules. I use them as inspiration to

play around with, a set of new ideas to work into my sewing projects and outfits. I love vintage sewing patterns and styles. I rarely actually use the vintage patterns, but I love using the design lines as inspiration. SN: Are there adequate resources for male sewists? Where is there room for improvement? BS: In general, I feel that most of men’s fashion is generic. I’m not afraid to use a women’s sewing

SN: What is the scope of your current sewing practice? BS: For years I sewed for other people, but today I mostly sew for myself. I am definitely a garment sewist but I have plans for bag making. I despise small alterations, such as hem length, etc., and usually outsource that sort of sewing. I’d rather make a garment from start to finish than alter something I already have. It’s not about the work involved, but the joy in the process and the finished garment. In my opinion, there is nothing quite like wearing handmade, personalized clothing. While the fit and details may be impeccable, the sense of accomplishment and pride are invigorating. SN: What are your favorite kinds of projects to make? BS: I love making tailored clothing. Outerwear and suits are my love, but living in Florida doesn’t allow much time to wear them. Fit and structure are two things I’m continuously working with and tweaking. Most times when I find a fabric I love, I immediately think “This would look great as a blazer!” I’ve sewn my first pants this past S E W N E W S.CO M

pattern as a base if it has the design lines I’m looking for. Women have so many patterns to choose from, so I assume it’s easier to have an idea and find a pattern that suits the inspiration. As a man with a design sense somewhat different to the men’s sewing patterns available, I look for a pattern similar enough to my initial inspiration and then make pattern changes and alterations to accommodate my size, body and creative idea. I’d love to see more men’s sewing patterns and modern styles available. In regards to men’s fitting resources, I primarily learned to fit on female bodies and have just adapted the same techniques to fitting and sewing for myself. 24

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SN: Why don’t more men sew? BS: Unfortunately, I feel that sewing is perceived as a feminine hobby in our society. Sewing is marketed to a female audience, and most men’s sewing patterns are released in a way to encourage female sewists to sew something for the “man in their life” instead of for actual male sewists. SN: Do you wish more men would sew? BS: Yes! I wish more people in general would sew. Sewing holds a space for creativity and artistic expression, but it also requires problem solving, engineering, math,

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precision and constant learning. It gives us the chance to learn more about ourselves, personify our personalities within our handmade clothing and make friends within the community. SN: What do you love most about the sewing community? BS: Sewing can be an isolating hobby. Most of the time, I sew while sitting alone at home. The online sewing community allows me the opportunity to connect with others who enjoy the same things I do. While they do humor me, I’m sure my friends who do not sew are tired of hearing about my fabric obsession

and ideas for upcoming projects. But others in the sewing community can relate and respond back. It reminds me that I’m not alone. It also offers a huge amount of creative inspiration.

Tailor’s Clapper: I was late to the clapper game and just started using one within the past year. The clapper gives a crisp professional finished to pressed edges or seams.

SN: What is your most treasured sewing tool or resource?

Magnetic seam guide: I use these in my sewing classes, and I use one at home in my own sewing. It is a magnetic guide that stays on the throat plate at your intended seam

BS: I couldn’t pick just one. I could go on and on.

allowance. It’s an easy way to keep a perfect seam allowance while you focus on other things. YouTube: The site is home to a sewing community excited and willing to share their projects, inspiration and knowledge. See more of Brad’s creations at @bradschultzdesign on Instagram.

Steam-A-Seam: This product is such a huge help to use instead of basting. I use it when placing patch pockets, holding welt pocket flaps in place before sewing, folding up a narrow shirt hem, etc. It has definitely helped to make my garments look more professional overall. Tailor’s Ham: There is nothing quite like finding the perfect curve on the ham to press a beautifully curved seam. The results look great and will give a professional finish.

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SERGER SCHOOL

FAUX FUR & Other Fall Fabrics A serger is your best friend when youâ&#x20AC;&#x2122;re dealing with fancy fabrics. From sweater knits to velvet, here are some tips and tricks to keep you sewing and serging successfully this fall and winter.

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FAUX FUR

SWEATER KNITS

LAMÉ

• Choose a pattern with minimal seams and a generous sleeve shape.

• The fewer seams and fasteners, the better.

• Some lamés are fused to a very soft tricot backing to reduce the fabric’s innate raveling problem.

• Start with a light- to mediumweight fur. • Lighten the presser foot pressure to about half the normal setting. • Use a flatlock stitch to imitate the seaming on a real fur, and trim the fur serge ur edge as you serge. • Serge with h the nap direction pointed do own or toward you.

• When working with less stable knits, apply fusible tricot to seamlines, necklines, armholes and hem edges. • The more unstable the sweater knit, the more stable the seam should be. For a stable seam, straight stitch and use a 2or 3-thread seam finish. For chier knits, use a 4-thread stretc seam finish. or a 3-thread 3 • To fu urther stabilize seams stretching, use and minimize m the differential feed on your serger, and seam over 1” sstrips of the selvedge edge of lining fabrics or over yarn, elastic thread or cording.

• For unbounded lamé, set the serger stitch to the maximum width and a short stitch length. • When stitching a rolled edge, stitch in the grain direction across the metal filaments, parallel to the line of colored threads. If you stitch in the other direction, the rolled edge will pull away from the fabric. • If using metallic thread to match the lamé, slow down your serging speed to prevent breakage. • Because the lamé fibers are wiry and resist rolling, the metal fibers may poke out between the rolled edge stitches. To avoid this, increase the cutting width of your serger slightly beyond the normal setting to allow the fabric to roll under farther.

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VELVET

SEQUINS & SEQUINED FABRICS

• Preshrink the velvet and start with a pattern that has minimal seams.

• Select styles with minimal seams.

• Consider whether you’d like to serge-seam or serge-finish: both work well with velvet. • Use a larger needle size for velvets. • Serge with the nap, never against. • Consider using topstitching for more defined seams.

• If working with a fused sequin fabric with a backing, serge-seam with a standard balanced stitch, periodically cleaning the needle with rubbing alcohol to remove any transferred fusing material. • If working with sewn sequin fabric, before stitching seams, remove the sequins from the seam allowance. In this case, trim the sequins, not the threads holding them in place. • Serge seam with a wide stitch width and keep fabric scraps for Serge-seam sc replacement sequins.

• Keep hems softs. Serge-finish the edge and loosely catch-stitch in place. • For lighter velvets, adjust for a narrow, balanced 3-thread stitch. For heavier velvets, use a balanced 3- or 3/4-thread balanced stitch stitch. SOURCE SVP carries the Pfaff admire air™, launching this October; svpworldwide.com

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The Trusted Sewing Source

C A P S U L E ST U D I O

WELL Build a travel wardrobe with 6 dynamic patterns created by some of your favorite designers. Mix and match these pieces seamlessly together or pair with your wardrobe favorites. !" #/,* + 12/ )Ǿ /" 1% )" Ɯ "/0Ǿ 6,2 4&)) 1/ 3") &+ comfort…whether down the road or across the world. Capsule Studio: Well-Traveled is brought to you by:

THE COMMON THREAD

SEWING IS FOR

everyone

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Picture someone who sews. What do they look like? The beauty of the sewing community

BY THE EDITORS OF THESEWCIALISTS.COM

is that you could imagine absolutely anyone, because sewing is for everyone. At The Sewcialists we aim to create a safe space where all sewists see themselves represented, regardless of age, size, gender, orientation, ethnicity, ability and skill level. We tarted the blog in 2013 and coined the term “sewcialist” to include anyone who loves sewing and social media. So if you sew, and you talk about it online, you are a Sewcialist!

We publish three blog posts a week at TheSewcialists.com with at least 100 different authors each year, all created and shared by volunteers. One of our favorite series is “Who We Are,” where we invite people to share how identity impacts their sewing. For example, how does being left-handed, petite or tall affect sewing? What’s it like to be a man who sews or cope with illness or grief through sewing? What does it feel like to be a person of color, someone over 50, someone with a disability, someone trans or genderqueer or a plus-size sewist who doesn’t see themselves well represented in sewing media? We can learn so much by listening to each other’s experiences, and reflecting on our own. Along with our blog, you can find us on Instagram as @Sewcialists. We’re proud to collaborate with accounts like @SewOver50, @SewQueer, @ChronicallySewn, @DisabledMakers,

@MeetMakersOfColor and @CurvySewingCollective. They all highlight niche groups in the sewing community, helping people feel less alone. We hear from people all over the world that seeing diverse representation makes them feel inspired and more confident to share their own sewing projects. Of course, we also sew. The Sewcialists host four theme months a year, with 5-day mini challenges sprinkled in between. In the past year, we’ve hosted theme months about sustainable sewing, menswear for everyone, Sew Brave, and sewing under- and outerwear. The challenges are designed to be accessible to anyone, regardless of skill level, gender, body type or even which hemisphere/season you might be in. This fall, our community will be voting on what comes next, so check TheSewcialists.com to help us choose.

Lastly, we have FUN! Sewing can be many things: a way to challenge your creative brain, a solace, a way to meet others, an escape and a way to make stuff that fits your body and your personality better than things you can buy. With all that, sewing remains something we all love doing. Why does representation and diversity matter in the sewing community? For the simple reason that sewing is WONDERFUL, and everyone deserves a chance to try it! Surely we can all benefit from a creative hobby that is fun and challenging, creative and analytical, and results in a fabulous wardrobe. We all have something to learn from each other, too, from sewing techniques to what it’s like to walk a mile in each other’s shoes. If we build a sewing community where everyone feels welcome, then the world is a better place.

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We asked some of our volunteer editors why they felt it is important that the sewing community be as diverse as possible and the reasons they give their time to running Sewcialists:

Representation is about making everyone feel welcome. Sewing for me is an amazing skill to learn, a way to express creativity and also a way to challenge myself to own my identity and my image. This is all helped by feeling like I am welcomed and belong in a community. I wanted to be involved with The Sewcialists because I wanted to help others have that same feeling of belonging. Sophy, Editor As a plus-size sewist, I know what it’s like to be left out and not see yourself represented. My goal at Sewcialists is to make sure that everyone sees themselves represented online, so that they feel welcome to join and can experience all the joys of sewing! Gillian, Co-founder

Many people learn to sew because they are fed up with ready-to-wear not fitting properly, myself included. But when I see a fabric or pattern company only showing their products on one type of body, I have a hard time imagining what my own body would look like in it. It’s such a turn-off that they don’t seem to think I could be their target customer. At Sewcialists, we can be a part of changing the sewing community for the better. Amanda, Editor

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Sewing is a life skill that everyone should be able to access.

We’re all richer for sharing each other’s experience and knowledge! Sewing is a basic life skill, and it’s a path to all sorts of things from body confidence to gender expression to economic independence, depending on the sewist’s needs. Anne, Lead Copy-Editor

Everyone needs to be clothed and everyone should know how to make their own clothes as a basic survival skill. In the history of humankind, it is only recently that humans don’t know how to make their own clothes. It’s a skill that can be acquired by almost anyone and be passed from person to person. It is one of the most human of all survival skills next to making food and shelter! Kate, Editor

Diversity helps us build a better community.

Diversity fuels my creative process which simply cannot happen in a vacuum. It’s important to ideate and create in an environment rife with a myriad of viewpoints, knowledge and, more importantly, perspectives. I’ve learned so much about sewing just from talking to other sewers that challenge the way I view things. Diversity is important for so many reasons, not least of which is that diversity of perspective and thought gives better creative output and end result than a single point of view. This makes diversity critical for sewists as a group. We all need to see ourselves reflected in the sewing community and patterns available to us, as well as finding amazing and unexpected inspiration from people who aren’t just a reflection back of our own circumstance or experience. Chloe, Scheduler and Editor

Jacinta, Editor

As a final thought, we at Sewcialists believe strongly that we need to celebrate each other, because we have this secret superpower which blows our minds every day. Sewcialists lets us do that, without undue expectation or competition — and that’s magical.

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PATTERN PLAY

â&#x20AC;&#x2122;90 s to the nines BY MEG HEALY

Add a self-faced draping cowl neckline to a basic knit dress pattern for a fun retro look.

GET 20% OFF

THE FEATURED PATTERN AT BURDASTYLE.COM. ENTER COUPON CODE COWL20 AT CHECKOUT.

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One Shoulder Dress #102 04/2015 (altered)

A MESSAGE FROM MEG, ONLINE EDITOR FOR BURDASTYLE There is something so ’90s about a little tank dress with a cowl neckline. Since the decade is in style for the season, I wanted to show how easy it is to convert your favorite knit dress pattern into one that has a cowl neckline. You can also use this technique to transform a tank pattern into one with a cowl.

Skill Level: Beginner

ALTER

SUPPLIES

On the front pattern, draw a line from the dart tip to intersect the center front at a 90° angle.

• Dress pattern intended for stretch or knit fabrics with one bust dart (such as BurdaStyle #102 04/2015) • Stretch or knit fabric (amount according to the pattern envelope plus 1⁄3 yard)

Draw another line perpendicular to center front extending to the middle of the armscye (1).

• Thread: all-purpose & stretch (optional; see “Sources”)

Mark along the shoulder seam 2 1⁄2" from the shoulder point.

• Sewing machine needles: 90/14 ballpoint or stretch & twin (optional) • Pattern or tracing paper • Pen or pencil • Rulers: curved and straight • Rotary cutting system

Cut along the line from center front to the to armscye, leaving a small hinge at the armscye line. Cut along one of the dart legs, stopping just short of the dart tip. Cut the horizontal line from the center front to just short of the dart tip, leaving a small hinge.

PREPARE If using a digital pattern, print, tile and tape the pattern pieces together. Measure your bust, waist and hip circumferences to best determine the correct size for the dress.

Place pattern paper underneath the pattern and close the dart, opening the slash line from the dart point to center front (2). Tape the dart line closed and redraw the side seam. Tape the center front opening to the paper underneath.

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Spread the armhole slash approximately 3" at the center front. Tape pattern paper underneath the slash.

If using a BurdaStyle pattern, add seam allowance to all edges. Cut out the dress back pattern.

Using a straight ruler, extend the center front line up from below the dart slash line. Connect a perpendicular line from center front straight to the shoulder marking (3). Fold the pattern along this horizontal line.

CUT

Draw a parallel line 4" below the foldline. Using a tracing wheel, trace this horizontal line, the armscye from the line to the shoulder and the shoulder line. Unfold the pattern and draw over the tracing wheel markings to create a self-facing (4). If using a BurdaStyle pattern, add seam allowance to all edges. Cut out the dress front pattern. On the back pattern, measure 21⁄2" along the shoulder seam from the shoulder point and mark. Connect the mark to the center back using a curved ruler to create a curved back neckline as desired (5).

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From the fabric, cut one dress front on the fold and one dress back on the fold.

tip For a more shaped dress, cut two dress backs and fit the center back seam during the construction steps.

From the leftover fabric, cut enough 11⁄2" × the width of the fabric strips to finish the armscyes and neckline.

At the center back, pin a small dart-like triangle from the folded edge of the strip to the seam; stitch (6). Align the back shoulder edge with the front shoulder seam with right sides together, making sure not to extend it into the self-facing; pin (7). Fold the facing shoulder seam down, sandwiching the dress back shoulder seam between the front and the facing shoulder seams; stitch through all three layers. Turn right side out and baste the armhole edges. Pin the side seams and stitch or serge with right sides together. Finish the hem of the dress with either a twin needle or stretch thread.

CONSTRUCT Fold one of the strips in half lengthwise with wrong sides together. Pin to the back neckline with right sides together, aligning the long raw edges. Let 1" of the strip hang over the shoulder edges on each side. Stitch or serge the strip to the back neckline edge, slightly stretching the strip as you sew. Press the strip away from the dress back.

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tip To get the effect of a twin needle without using one, sew a second row of stitching with stretch thread.

Measure the armhole opening circumference and cut two strips that length. Stitch the ends together.

Note: There is no need to add seam allowance; the difference will be eased in. Fold the armhole strips in half lengthwise and pin to the armscye with right sides together. Stitch or serge, slightly stretching the armhole strip. Press away from the dress. SOURCES BurdaStyle provided the #102 04/2015 One-Shoulder Dress pattern: burdastyle.com Coats & Clark carries Eloflex Thread: makeitcoats.com.

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BY ERYN SHIELDS

Transform a draped cardigan pattern into a dramatic faux-suede coat with custom ties that cinch your waist for a flattering silhouette. Plus, discover how to alter a basic blazer pattern to create a voluminous highlow hem.

fair suede DUSTER

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Madison Cardigan by Style Sew Me

Skill Level: Beginner Before beginning the alterations, pin-fit or make a muslin-fitting sample of the selected pattern.

SUPPLIES • Draped-front cardigan pattern with high-low hem (such as Style Sew Me Madison Cardigan) or a basic blazer pattern with a waistline seam (such as Style Sew Me Nikki Blazer)

Cut along each line from the lower edge up to, but not through, the waistline edge.

Make any necessary fit adjustments to the pattern, and then trace a copy on paper, transferring all markings.

Position the pattern over a new large piece of pattern paper, spreading the cut sections evenly; tape to secure (3). The larger the space between the pieces, the more voluminous the skirt.

Position the lower-back pattern on a large piece of pattern paper; tape to secure. Trace the pattern perimeter. Mark the desired back length on the paper at the center-back edge (1).

• Faux suede fabric (amount according to pattern envelope) • All-purpose thread • Removable fabric marker

ALTER If using a pattern that already has a voluminous high-low hem, such as the featured Madison Cardigan, skip to the “Cut” instructions. Otherwise, follow the instructions below to alter a basic blazer pattern. Select a blazer pattern with a waistline seam. Cut out the pattern pieces.

the grainline, spaced approximately 1 1⁄2" apart (2).

Draw a straight line to connect the pattern lower edge and mark. Draw a new lower edge line from the mark to the opposite edge, parallel to the pattern lower edge. True the side edge. Mark the grainline parallel to the center-back edge.

Repeat to draft the lower-front pattern.

Draw vertical lines from the waistline to the lower edge and parallel to

Using a hip curve, draw the desired hemline curve on the lower-back pattern to create a high-low hemline. A steep hemline gives a more dramatic sweep (4).

Trace the pattern onto a new piece of paper, transferring the grainline and any pattern markings. Cut out the new lower-front pattern.

Grain line

Trace the pattern onto a new piece of paper, transferring the grainline and any pattern markings. Cut out the new lower-back pattern.

Position the lower-back and front pattern on a flat work surface, abutting the side seams. Using a hip curve, continue the hemline curve from the lower-back pattern to the lower-front pattern (5). Cut the lower-front pattern along the line.

5 Front

line Grain

Gr a i n line

Grain line

Bottom Back

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CUT From the faux suede, cut out the pattern pieces following the pattern instructions and two 7"Ă&#x2014;36" rectangles for the ties. Transfer all pattern markings. Mark each natural waistline along the center-front edges.

Construct the coat following the pattern instructions, stopping before stitching the side seams. Position one tie over one front side seam edge at the waistline with right sides together, aligning the raw edges and center marks; pin. Baste using a 3â &#x201E;8" seam allowance (7).

CONSTRUCT Fold one tie in half lengthwise with right sides together; pin. Stitch the long edge and one short edge (6). Trim the corners, and then turn right side out; press. Designate one tie side as the right side. Mark the open short-end center.

Repeat to construct the remaining tie.

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Repeat to baste the remaining tie to the front side seam edge. Finish constructing the coat following the pattern instructions. SOURCE Style Sew Me Patterns carries the Madison cardigan pattern and Nikki blazer pattern: stylesewme.com.

FAB FUR PILLOWS BY JENNIFER KEMPLER

Add luxurious comfort to your home dÃ©cor with a faux-fur trimmed pillow.

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Skill Level: Beginner

SUPPLIES Supplies listed are enough to make one pillow cover. • 2⁄3 yard of cotton twill fabric (main) • 1⁄4 yard of 48"-wide faux fur • 22" regular zipper • Needles: hand sewing & size 90/14 jeans • Tailor’s chalk • All-purpose thread • Zipper foot • 20" pillow form • Serger (optional)

PREPARE From the main fabric, cut one 21" square for the pillow front, one 20 1⁄2"×21" rectangle for the pillow back and on 2 1⁄2"×21" rectangle for the zipper panel. Serge- or zigzag-finish the pillow front, back and zipper-panel perimeter.

2 2"

From the faux fur, cut two strips measuring 4"× the fabric width.

CONSTRUCT Abut the faux-fur strips along the short ends; hand stitch (1). Continue piecing together strips to create a 90" strip length. Position the pillow back right side up over a flat work surface. Designate one long edge as the lower edge. Align one zipper-panel long edge and pillow-back lower edge with right sides together; pin. Using tailor’s chalk, mark 2" from each short end along the zipper panel (2).

using a 1" seam allowance, stopping at the first marking to select a basting stitch. Continue stitching, stopping at the second marking to select a 3mm stitch length. Finish stitching, and then press the seam allowances open.

Beginning at the lower-right corner, stitch the zipper-panel lower edge

Fold the zipper panel toward the pillow back with right sides together;

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press. Center the left zipper tape wrong side up over the zipper-panel seam allowance, centering the zipper teeth over the seamline; pin (3). Install a zipper foot onto the machine. Stitch the zipper close to the teeth, beginning and ending 3⁄4" from each zipper end. Move the zipper pull

2" below the pillow back edge. Trim the zipper ends where the topstitching ends. Fold the zipper right side up; press. Topstitch the zipper panel a scant 1⁄8" from the zipper seamline, moving the zipper pull as needed (4). Fold the pillow back right side up; press. Topstitch the pillow back to catch the right zipper tape within the stitching using a 5⁄8" seam allowance, beginning and ending the stitching at each marking along the seamline (5).

Trim the fur-strip short ends even, and then abut the short ends; hand stitch. Fold the strip in half lengthwise with right sides together and align the raw edges with the pillow raw edges; pin.

Main Pillow

Finish stitching the pillow perimeter. Turn the pillow right side out through the zipper opening. Use a seam ripper or tweezers to gently pull any fur caught in the seam. Insert the pillow form.

Remove the basting stitches, and then open the zipper. Fold the fur strip in half lengthwise with wrong sides together. Position the strip over the pillow back right side, aligning the raw edges; pin. Position the pillow front over the pillow back with right sides together; pin. Stitch the pillow perimeter using a 1⁄2" seam allowance, rounding each corner and leaving a 8"-long centered opening over the fur-strip short ends (6).

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Upcycle used denim jeans into a chic, modern tote with leather straps. Create a design feature by utilizing the denim right and wrong sides, and get tips for sourcing textiles to upcycle. BY LISH DORSET

DENIM ENCORE

tote

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Skill Level: Beginner

SUPPLIES • One pair L or XL non-stretch denim jeans • 1⁄2 yard each of coordinating lining & lightweight fusible interfacing • Two 1"-wide 18"-long leather straps • All-purpose thread • Size 100/16 denim needle • Removable fabric marker • Rotary cutting system

two 4"×11 1⁄2" rectangles for the center panels. Designate the side-panel darker-wash sides as the right side and the center-panel lighter-wash sides as the right side. From the lining and interfacing, cut two 11 1⁄2"×12 1⁄4" rectangles. Fuse the interfacing to the lining rectangles following the manufacturer’s instructions. Designate one long edge of each lining-rectangle as the upper edge.

• Removable fabric marker

CONSTRUCT

• Four rivets & attachment tool

Use 1⁄2" seam allowances unless otherwise noted.

• Denim presser foot (optional)

tip Choose an old pair of non-stretch jeans from your wardrobe for the project or purchase used denim at a local thrift store, garage sale or clothing swap.

Install a denim needle and foot onto the machine. Position one side panel and center panel with right sides together along one long edge; pin, and then stitch. Press the seam allowances toward the center panel, and then press open.

Repeat to attach another side panel to the opposite center-panel long edge.

PREPARE Prewash and dry the jeans. Position the jeans on a flat work surface. Remove each pant leg just below the crotch, and then trim away the hems. Trim away the outer leg seam and inseam (1). Cut and square the pant legs into four separate panels using a rotary cutting system. From the panels, cut four 5"×11 1⁄2" rectangles for the side panels and

Select a 3mm stitch length. Topstitch 1⁄4" to either side of each seamline (2). Designate as the front panel and one long edge as the upper edge.

Repeat to construct the back panel. Position the front and back panel with right sides together, aligning the seamlines; pin. Stitch the sides and lower edges, leaving the upper edge open (3).

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Repeat to stitch the lining rectangles, leaving a 5"-long opening along the lower edge for turning.

To reinforce the seams, backstitch over each side and lower edge at the cut edge.

Position the tote wrong side up on a flat work surface. Mark a 1 1⁄2" square at each lower corner using a removable fabric marker. Trim away each square.

To create box corners, flatten one tote corner with right sides together, matching the side and lower seams; pin, and then stitch.

Repeat to box the lining corners. Press the tote exterior and lining seams allowances open. Turn the tote exterior right side out. Insert the tote exterior into the lining with right sides together, aligning the seamlines and upper edge; pin. Stitch the upper edge.

UPCYCLE OPTIONS The basic tote is a great starting place for customization. Use the same basic steps to create a pieced tote (such a great way to upcycle odd scraps!). Keep finished seams intact as design details and lengthen the strap for an easy-to-wear crossbody bag. Increase the size for a messenger-style bag with unique pieced elements featuring the upcycled fabric wrong side.

RE-SOURCING FABRIC Try reaching out to clothing and textile companies based in your hometown or region to see how you can put their scraps and extra fabric to work. Detroit Denim, known for creating high-quality denim goods within the city of Detroit, is a company known for helping makers in their community. Scraps are often made available to those looking to work with them, and their studio doors are regularly open to teach others how to sew everything from aprons to reusable market totes — because being a part of the Detroit maker community is at the core of their philosophy. Vary the shape and the jeans details reused to create many different kinds of upcycled bags, each with a custom feel.

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“We don't consider clothing to be disposable. When you love

a garment and use it often, it is inevitable that it will eventually begin to show wear and tear. Whether this wear is aesthetic, structural, or both, mending clothes serves many purposes,” said Detroit Denim co-owner Brenna Lane. “First, it keeps the garment out of the trash heap, which is a win for the environment. Secondly, repairing saves us money by reducing our need to purchase new garments. “Finally, repairing our clothes adds to their character and charm. We live our lives in our clothes — they serve so many purposes beyond simply protecting our bodies. We develop meaningful attachments to our clothes. Clothing that has been repaired has even more emotional cache for the wearer. We hope that by encouraging our customers to mend their garments, they will have longer, more meaningful relationships with their clothes, and that this idea of having a meaningful relationship with your things will carry into other aspects of their lives.”

Turn the tote right side out through the lining opening. Insert the lining into the tote exterior with wrong sides together; press. Topstitch the tote exterior 1⁄4" from the upper edge; press. Hand stitch the lining opening closed. Mark 2" to either side of the tote front upper-edge center and 1" below the upper edge. Center a mark on one strap 3⁄4" above each short end. Using a rivet, attach one strap short end to each tote-front mark following the manufacturer’s instructions. Repeat to attach the remaining strap to the tote back.

tip Use the excess denim and pockets for other upcycling projects.

BUILDING COMMUNITY THROUGH BAGS Over the course of two warm, sunny summer days in Detroit in August 2018, local fiber and textile enthusiasts gathered in a renovated 1940s U.S. Post Office building to learn how to screenprint tote bags, try their hands at embroidery, dye fabric with natural materials and turn denim scraps into one-of-a-kind totes for the first-annual Textile Takeover at POST Detroit. The event was hosted by POST owners Clare Fox and Wayne Maki as a celebration of their locallysourced storefront, which also doubles as a maker and education space, thanks to weekly DIY workshops hosted by area makers, artists and teachers. With a natural dye garden situated within the front corner of the property, talented makers willing to show off their talents and a community eager to learn, a weekend dedicated to all-things textile seemed like the perfect thing to do. “We invited more than 40 textile and fibers artists to dye, knit, print and weave in the vacant lots across the street from POST," said Fox. “The turnout was amazing; this will definitely become an annual event for our little neighborhood. It was all very Detroit: no permits, no funding, minimal planning, but all for the love of work, creation and fun.” Elizabeth Royal of Mend Detroit brought local makers together during Textile Takeover for a community-based creation project. Known for her workshops teaching visible mending and stitching, she sees the mending and upcycling community movement as an exciting way to bring makers of all backgrounds together. “I find that the mending community is super inclusive and has a low barrier to entry. All you need is a needle and thread, and you're good to go,” Royal said. “Sure, you can go buy Sashiko needles and thread at a specialty store and mend your jeans that way, but I've had people in my mending workshops make beautiful, serviceable repairs with a basic needle and thread. And mending is something that happens across cultures — you'll find examples of it almost everywhere in the world.”

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Blackwood Cardigan, Helenâ&#x20AC;&#x2122;s Closet (modified)

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CARDI

of TWO

Add elegant details to a simple cardigan with playful pattern hacks. Learn to create a voluminous bishop sleeve and master colorblocking for two unique looks. BY PAULINE BRUCE

ALTER Lengthen the front and back bodice pieces by cutting across the lengthen/ shorten line and spreading it 10". Place a piece of pattern paper underneath and tape in place. True the side, center back and center front lines.

Add 1 1⁄2" to the front and back hems. Trace a copy of the sleeve pattern onto a piece of pattern paper. Draw a horizontal line across the middle (or at the lengthen/shorten line, if there is one) of the pattern. Draw a vertical line down the middle of the sleeve.

BISHOP SLEEVE HACK Add puffed sleeves and length for a dramatic gray rib-knit cardigan. Skill Level: Beginner

SUPPLIES • Cardigan pattern (see “Source”) • Rib knit fabric (amount according to the pattern envelope plus 1⁄2 yard) • All-purpose thread • Pattern or tracing paper

Cut along the vertical line from the lower edge to the horizontal line. Cut through the horizontal line from the center to the edge, leaving a small hinge of paper at each edge.

Spread the two bottom sections the desired amount to add fullness (1). The more you spread them, the fuller the sleeve will be. Place a piece of pattern paper underneath the sleeve piece. Tape the pieces down and true the hem with a curved ruler to create the new sleeve piece (2).

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Cut the original cuff piece in half lengthwise or use it as-is for a more dramatic cuff.

Continue constructing the cardigan according to the pattern guidesheet, stopping before stitching the hem.

CUT

Turn the band so its right side faces the cardigan right side. Turn the hem up 1 1â &#x201E;2" with right sides facing; the hem fold will line up with the band lower edge. Stitch the band and hem together within the seam allowance where the band is stitched to the front (3). Turn the hem toward the wrong side and, using your preferred knit hemming method, hem the cardigan.

From the fabric, cut the pattern pieces per the pattern guidesheet, using the altered sleeve, front bodice, back bodice and cuff pieces. Construct the cardigan according to the pattern guidesheet, stopping before inserting the sleeves. Stitch the sleeve seams. Gather the sleeve lower edges and stitch them to the cuff with right sides facing per the pattern guidesheet.

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COLORBLOCK HACK Colorblocking is a great way to use up small pieces of fabrics. Combine prints, solids or textures by using simple steps to change up your pattern. Skill Level: Beginner

Draw lines as desired on the pattern pieces to indicate the line between each block. If creating a colorblock effect that continues from the front to the back of the garment, ensure the line itersects the side seam at the same place on the front and back. Cut along each line and add seam allowance to each cut edge.

SUPPLIES • Cardigan pattern (see “Source”) • Different colors of fabric in similar weights and types (amounts depending on the alterations) • All-purpose thread

Label all the pattern pieces and draw arrows where the pieces join.

CONSTRUCT Cut the pieces from the fabrics according to the pattern labels.

• Pattern or tracing paper

ALTER Trace each pattern piece, including all markings and the grain lines. Be sure to note any pieces that are placed on the fold, and label all the pattern pieces.

Stitch the color blocks together to create the original pattern pieces. Topstitch each seam if desired. Construct the cardigan according to the pattern instructions.

PLAN IT FIRST Take a little time to plan your colorblocking before you begin altering the pattern. This ensures you’ll be happy with the final result. Place scraps of fabric over a dressform or yourself to visualize how the colors work together, decide how much of each color to use and gauge how the proportions look with the overall design. Or use colored pencils and play around with sketches on paper to see how the colors look together and where to put the different shades.

SOURCE Helen’s Closet carries the Blackwood Cardigan pattern: helenscloset.ca.

tip When colorblocking, pay close attention to intersections. Machine baste first to secure the seam and check the alignment before stitching.

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NEUTRAL NOTE WALL HANGING BY LINDSAY CONNER

Metallic bronze fabric, striped linen and cotton solids combine to bring texture and handmade warmth to a quilted wall hanging. The modern palette and fun fringe trim make this a welcome accent for any living space.

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Skill Level: Beginner

SUPPLIES Supplies listed are enough to make one 14"×17" wall hanging. • 1 yard of solid cream cotton fabric • 1⁄4 yard of bronze cotton fabric • 1⁄8 yard each of striped & black cotton fabric • 18"×21" rectangle of batting • All-purpose thread • 15" length of 2"-wide tassel fringe • 18" length of 1⁄4"- or 3⁄8"-diameter wood dowel • 3 yards of jute string • Clear craft glue • Temporary spray adhesive • Hand sewing needle

CUT From the cream fabric, cut two strips measuring 4"× the fabric width, one strip measuring 1 3⁄4"× the fabric width, one 15"×18 1⁄2" rectangle for the back panel and one 3 1⁄2"×15" strip for the casing. From one large cream strip, cut five 4" squares and four 3 5⁄8" squares. Cut each large square in half diagonally. From the remaining large cream strip, cut one 4"×15 1⁄2" strip for the upper border and one 2 1⁄2"×15 1⁄2" strip for the lower border.

tip Use scraps of quilting cotton or stable woven fabric for a great stashbusting project!

From the small cream strip, cut two 1 3⁄4"×12 3⁄4" strips for the side borders. From the bronze fabric, cut one 7 1⁄8" square. Cut the square in half diagonally. From the striped fabric, cut two 4" squares. Position each square on a flat work surface with the stripes aligned vertically. Cut each square in half diagonally from the upper-left corner to lower-right corner. From the black fabric, cut one 4" square. Cut the square in half diagonally.

CONSTRUCT Use 1⁄4" seam allowance unless otherwise noted, sew with right sides together and press seam allowances toward the darker fabric. Stitch each black triangle to one cream triangle along the long diagonal edge to create half-square triangle blocks. Trim the dog-ear seam allowances from each block perimeter. Repeat to construct four halfsquare triangle blocks with the striped triangles.

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Assembly diagram

Stitch one cream triangle to each black-triangle short edge to create two large triangle blocks. Stitch one large triangle block and one bronze triangle along the long diagonal edge. Trim the points on the seam allowances. Repeat to stitch the remaining large triangle block to the remaining bronze triangle. Stitch the cream squares to the striped half-square triangle units, and then stitch the rows together according to the diagram above. Stitch each block together according to the diagram above. Designate as the center block and one short edge as the upper edge. Stitch one side border to the center-block left and right edge. Stitch the upper and lower borders to the center-block upper and lower edges. Designate as the front panel. Position the batting rectangle on a flat work surface. Designate one short edge as the upper edge. Spray temporary adhesive over the batting.

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Center the front panel right side up over the batting; finger-press to secure. Stitch vertical lines along the front panel spaced approximately 1" apart, but making sure to space the lines to stitch in the ditch along the seamlines. Square the front panel. Position the fringe straight edge over the front-panel lower edge; pin. Baste using a 1â &#x201E;8" seam allowance. Fold each casing short end 1â &#x201E;2" toward the wrong side; press. Fold the casing in half lengthwise with right sides together; press. Stitch the long edge and then turn right side out. Press the casing, centering the seamline along the back. Position the back panel right side up on a flat work surface. Designate one short edge as the upper edge. Center

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the casing right side up over the back panel 1" from the upper edge. Edgestitch each casing long edge. Position the front and back panels right sides together, making sure the fringe is sandwiched between the panels; pin. Stitch the perimeter, leaving one 3"-long centered opening along one side for turning. Turn the wall hanging right side out through the opening; press. Hand stitch the opening closed. Insert the dowel through the casing. Tie jute string around each dowel end, wrapping and knotting three times, and then tie a final knot on each side; secure with a small amount of glue. Apply glue along the fringe cut edges to prevent unraveling.

BY BIANCA SPRINGER

Stitch a fun bag perfect for all your travels. Learn how to create a custom pattern on waxed canvas with a geometric stencil.

WAX ON duffle S E W N E W S.CO M

Skill Level: Beginner

SUPPLIES • Travel bag pattern (such as BurdaStyle 7119)

tip If using a mediumweight home-décor fabric for the lining, select a lightweight fusible interfacing.

• 13⁄4 yards of waxed canvas • 1 yard each of 55"-wide lightweight woven cotton (lining) & heavyweight fusible interfacing • Two 11⁄2"×42" leather straps • Punches: fabric & single leather • 16 double-capped or standard rivets & attachment tool • Three 3⁄4"-diameter magnetic snaps • Size 100/16 universal needle • Coordinating polyester thread • Geometric stencil (See “Sources.”) • 12 ounces of fabric spray paint (See “Sources.”)

PREPARE Cut out the pattern pieces from the waxed canvas and lining according to the pattern instructions. The featured bag uses two coordinating waxed canvas colors for the bag exterior. Cut out the pattern pieces from the interfacing according to the pattern instructions, except cut full lining pieces. Fuse the interfacing to the corresponding pattern pieces following the manufacturer’s instructions.

• Temporary spray adhesive

STENCIL

• Press cloth • Binding clips (See “Sources.”)

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Select a well-ventilated room. Protect a large flat work surface with

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paper or other covering. Position all the exterior bag pieces except one flap piece right side up on the flat work surface. Apply temporary spray adhesive to the stencil wrong side. Position the stencil right side up over one bag piece; finger-press to secure. Place scrap paper or fabric around the stencil to prevent overspray. Apply the paint over the stencil in light, even layers. Once satisfied with the coverage, allow the paint to dry following the manufacturer’s instructions. Remove the stencil. Repeat to create an all-over pattern on each bag piece.

CONSTRUCT Construct the bag following the pattern instructions, using binding clips instead of pins and stopping before the strap construction.

tip Always press a waxed-canvas scrap with a press cloth to test the iron temperature before pressing the project fabric.

Create evenly spaced rivet placement markings on the bag exterior and each strap short end. Punch a hole at each marking using the corresponding leather or fabric punch. Attach each strap to the bag using rivets and following the manufacturerâ&#x20AC;&#x2122;s instructions. Finish constructing the bag following the pattern instructions. SOURCES Clover carries Wonder Clips: clover-usa.com. I Love To Create carries Tulip Color Shot Instant Fabric Color: ilovetocreate.com. Thanks I Made Them carries the Mod Laser Cut Felt Stencil: thanksimadethem.etsy.com.

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ansf

Y N

NKO KOV C

c tr trench r

in o an up up

th leather accents.

tip Select fusible interfacing that corresponds to the coat fabric chosen.

BurdaStyle 10/2018 #107B (modified)

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Skill Level: Advanced

SUPPLIES • Trench coat pattern (such as BurdaStyle 10/2018 #107B) • Mediumweight outerwear fabric (amount according to measurements)

Make any necessary fit adjustments to the pattern, and then trace a copy on paper, transferring all markings.

ALTER

• Pair of shoulder pads

Determine the desired coat length from your shoulder to hemline; record the measurement. Compare the pattern length to the recorded measurement. Shorten or lengthen the pattern pieces as necessary to achieve the desired length. The featured coat was shortened 6" to achieve a mid-thigh length.

• Needles: size 100/16 leather & universal

Remove the back vent placket.

• Interfacing & notions (amount according to the pattern envelope) • 2 yards of lining • 1 yard of faux leather

• All-purpose thread • Pattern or tracing paper • Straight ruler • Removable fabric marker • PTFE foot

PREPARE

Position the front pattern piece on a flat work surface. To draft the collar, draw a curve beginning at the shoulder-seam center and ending approximately at the waistline where the center-front edge begins to curve up toward the neckline. Designate as the princess seam.

Cut out the pattern pieces. Before beginning the alterations, pin-fit or make a muslin-fitting sample of the selected pattern.

Lengthen the center-back collar seam 1⁄2" above the neckline edge. Measure and mark 21⁄2" above and 1" beyond the collar point.

Draw a straight line to connect the new center-back collar point with the new collar point. Draw a straight line from the new collar point to the center-front line at the hemline. Designate as the new front edge. Extend the princess seam to connect to the new front edge. To redraft the side seam, draw a curved line from just below the bust dart to the center of the pocketplacement horizontal line. Draw a straight line to connect the line endpoint to the pattern lower edge (1). Cut the front pattern along the drawn lines. Designate as the upper front and lower front. Discard the excess hem piece, but set aside the remaining piece for the side-front pattern. Place a piece of pattern paper below the bust dart to fill the area; tape to secure. Position the lower side-front pattern on a flat work surface. Position the remaining piece from

" 2½ 1"

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the front pattern with the lower side-front pattern to form a smooth line at the waistline. Align the upper side-front pattern with the previous pieces along the side seams and waistline. On the right edge of the pattern pieces, draw a straight line to connect the waistline on the upper pattern to the lower-pattern lower edge, making sure the new line doesn’t shorten the waistline and hip circumference. 60

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Place a piece of pattern paper below the pattern gaps; tape to secure. True the hemline. Cut along the drawn lines (2).

the lower edge. Subtract 2" from the measurement; record as the sleevestrap length. Draw a rectangle 2 1⁄2"× the sleeve-strap length (4).

Draft an angled pocket over the side-front pattern according to the desired measurements, and then draft a pocket flap approximately 2" wide (3).

Abut the upper front and lower front patterns along the princess seam; trace a copy on new pattern paper, and then cut out. Draw a curved line connecting the shoulder-seam center to the lower edge. Cut along the drawn line; designate as a front facing and front lining pattern (5).

To create the sleeve-strap pattern, measure the sleeve width 2" above

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Trace a copy of the back pattern onto a new piece of pattern paper. Draw a curved line parallel to the neckline from the shoulder-seam center point. Cut along the drawn line; designate as the back neckline and back lining pattern (6). Trace a copy of the pocket flap; designate as the pocket-flap lining. To create the leather trim patterns, draw a line 1" from and parallel to the upper- and lower-front neckline and center-front edges. Repeat to create the leather trim pattern for the front facing, but end the line near the hipline. Draw a line 1â &#x201E;2" from the pocket flap outer edges. Draw the buttonhole placements on the upper front and front facing (7). Cut along all the drawn lines. Check the pattern pieces against the diagram below.

CUT To determine the coat fabric amount, measure from the upper edge of the back collar extension to the lower edge; record as the coat length. Add together the coat length and sleeve length, plus 4"; record.

Double the recorded measurement; record as the coat yardage needed. The featured size 44 coat used three yards of fabric. From the outerwear fabric, cut two upper fronts, two lower fronts, two side fronts, two backs, two side backs, two upper sleeves, two lower sleeves, two pockets, two pocket flaps, two pocket-flap linings, two front facings and one back facing cut on the fold. From the lining, cut two front linings, two side fronts, two backs, two side backs, two uppers sleeves, two lower sleeves and two pockets. From the leather, cut two upper fronts, two lower fronts, two pocket flaps and four sleeve straps. Fuse interfacing to the upper front, lower front, side front, back neckline, back sleeve opening, back shoulder seam, front facing, back facing, sleeve straps, pocket flaps and all leather pieces following the manufacturerâ&#x20AC;&#x2122;s instructions. Transfer all pattern markings.

Coat Pattern Pieces

CONSTRUCT Sew with right sides together. Stitch the bust darts on each front panel; press. Install a PTFE foot and leather needle into the machine. Stitch the corresponding leather trim to the upper-front panel, making sure to leave the seams at the buttonhole markings unstitched on the right panel.

Lining Pattern Pieces

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Repeat to stitch the corresponding leather trim to each lower-front panel and front facing. Install a regular presser foot and universal needle into the machine. Stitch each upper-front and lowerfront panel together, making sure the leather trim seams perfectly match. Clip the seam allowances along the curve; press open. Stitch each side-front panel to the front panel; press open. Install a PTFE foot and leather needle into the machine. Stitch the corresponding leather trim to each pocket flap; press open. Stitch each pocket-flap lining to the corresponding pocket flap, leaving each upper edge unstitched. Turn each flap right side out; press flat. Install a regular presser foot and universal needle into the machine. Position one pocket right side up on a flat work surface. Position the corresponding pocket flap right side up over the pocket, aligning the upper edges. Position the pocket lining wrong side up over the pocket and flap; pin. Stitch the upper, side and lower edges, leaving the side-seam edge unstitched. Clip the pocket-flap seam allowance. Turn the pocket right side out; press the edges flat. Position the pocket over the corresponding front panel, aligning the side seams; pin. Topstitch the pocket a scant 1â &#x201E;8" from the side and lower edges; press. Repeat to construct and attach the remaining pocket to the opposite front panel. Stitch the collars along the centerback seam; press open. Stitch the side-back panels to the back panels; press open. Stitch the back panels along the center back; press open. 62

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Stitch the front and back panels together along the side and shoulder seams; press open. Stitch the collar to the neckline. Clip the seam allowances along the neckline curve; press open. Construct a bound buttonhole on each sleeve strap. Stitch the two corresponding straps together along the long edges and pointed ends. Turn the strap right side out; press. Topstitch the buttonhole on the upper strap to the hole on the lower strap. Repeat to construct the remaining sleeve strap. Position the strap between one upper and lower sleeve along the underarm seam; pin. Stitch the underarm seam; press open.

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Construct the sleeve following to the pattern instructions; press. Stitch the sleeves to the corresponding coat armscye following the pattern instructions. Attach the shoulder pads. Construct the lining and facings. Stitch the coat and facing along the front, overlapping the collar edge. Attach the lining following the pattern instructions, or using a bagging technique as desired. Topstitch the coat to the facing around the buttonholes. Attach the buttons. Press the coat. SOURCE BurdaStyle provided the 10/2018 #107B trench coat pattern: burdastyle.com.

#150 Hungarian Szur

interweave.com/sewing

SEW NEWS

Sewing patterns for historic and folk clothing from around the world Classic sewing patterns at www.folkwear.com

Sara Gallegos shows you how with Absolute Beginner Machine Embroidery In this show, you will gain the skills you need to start machine embroidery and master the basics. Sara will also teach you intermediate techniques to take your projects to the next level, along with tutorials for 10+ projects. With 3 full series, you can ďŹ nd over 70 episodes full of machine embroidery expertise.

MACHINE Embroidery

You Can Do It!

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SEW

TELL

Sewing Holiday Gifts It's fall, friends, and that means it's also time to start sewing holiday gifts. Or not.

ME IN SEP TEM BE R: I’M GO ING TO MA KE A GIF T FO R EV ER YO NE I LO VE .

n episode three of Sew & Tell, we discussed sewing handmade gifts, and we came to a lot of conclusions. Namely, sewing gifts often involves a bit of stress. Whether you wait until the last minute to tackle a lofty list or plan and sew and plan, it’s hard to avoid getting at least a little burned out. We’re up against a lot, planning holiday gifts to sew — there’s the gift-giving mehs (when your

gift isn’t properly gushed over), the whole issue of sewing for men, the recipients that think handmade gifts are a cheap alternative to real gift giving (they’ve never been to a craft store!). We hosts can all agree, though (sort of), that sewing holiday gifts can be rewarding. And we have our own ideas about taking the right approach and staying sane during the holiday season.

The SEW & TELL team: Kate, Meg and Amanda

M E IN DE CE M BE R: I LO VE TW O PE OP LE . Our version of a popular sewing meme

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Amanda

Kate

I’m 50/50 on sewing gifts. Especially when it comes to kids, handmade gifts can get lost in the hubbub of fancy store-bought gift excitement, though over the years, I’ve learned to rein in my expectations. I do make handmade gifts, but I try to keep things super realistic.

As I mentioned on the third episode of Sew & Tell, I make homemade gifts for Christmas… but they’re usually not sewn; I make soap instead. The reasoning behind this is that a batch of soap yields multiple bars, but each sewn item has to be made individually.

4. Use your time wisely. Is there a way to combine your work with other things you spend your time on?

Generally speaking, I’m a big fan of bags for gifts. You can skip any sizing issues and many bag patterns are gender neutral. I particularly love the Maywood TotePack and Woodland Dopp Kit by Klum House, the Desmond Rolltop Backpack by Taylor Tailor and the Stowe Bag by Grainline Studio. A simple tote — no pattern needed — also makes a great teacher gift.

I tend to be very busy around the holidays — most of my family has their birthdays in December, so that gets added to the typical Christmas-and-end-of-year rush. Because of this, I often don’t have the time to do sew something for one person on my list, much less everyone. That said, it is doable, and I’ve successfully done it a few times. Here are a few tips.

I also really like cardigans, since fitting issues are usually minimal. I’ve sewn the Driftless Cardigan by Grainline Studio and the FarFar Cardigan by Wardrobe by Me (for men), both as gifts. Accessories are another great approach to handmade gifts. Ballcaps, bucket hats, knit beanies and simple infinity scarves out of swishy fabric are top contenders this year.

1. Be realistic. If you have a lot of spare time and money for supplies, maybe a complicated handmade gift for everyone you know is reasonable. But if you’re busy like me, you’ll want to take a hard look at the resources you have, including time.

Remember, it’s okay not to sew anything for anyone. Maybe you’re feeling burned out, and you just can’t face the sewing machine. Maybe it just feels easier to buy something instead. Maybe you’re working on something really special for yourself and you don’t want to set it aside. It’s your hobby, and it’s supposed to make you happy. Don’t feel guilty if you don’t to build your gift-giving around your hobby. You should only sew gifts if you want to!

If the stress starts to get overwhelming, I tend to let projects go or let myself be okay with delivering them shortly after the holidays.

2. Make good choices. If making multiple gifts, it’s easiest if they’re all the same or similar. That way, the basic construction quickly becomes second nature, and you spend less time on each.

5. Start early. Be honest with yourself about how much time you have and how much time each gift will take.

38%

of Sew & Tell listeners say they do not sew holiday gifts

3. Personalize an aspect of the project. I have used this technique (and seen it used by others) to great effect.

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Meg I do like making holiday gifts, and when I do, I like to make it easy on myself by bulk making one item that I give to everyone. One year it was embroidered tea towels (I customized each one a little bit), another year I made faux fur headbands and this year I made pajama pants for everyone. I really like this way of handmade gift giving and producing. It's easier to cut the same thing a bunch of times and then sew it, like an assembly line, instead of thinking of something to make everyone and tackling each project one by one. Sometimes I do feel as though my handmade gifts are not enough simply because "I sew for my work." I have started to change my own thinking around that stigma because for every person that says "that's okay that you are making your gifts," there are way more people that really appreciate the time and uniqueness of a handmade gift. Because right now, I feel as though my time is more valuable than money. Also, I know the feeling of receiving a handmade gift and IÂ greatly appreciate them. Some of my favorite patterns to make as gifts are Faux Fur Headband, Eye Mask and Cosmetic Case (all tutorials on BurdaStyle. com), wrapped up and tagged with handmade gift tags.

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A NEW KIND OF STREAMING Are you ready for a video experience designed just for you? Experience our new video service, offering: • Hundreds of sewing tutorials • Hours upon hours of expert instruction • Access right at your ﬁngertips (watch on any device) • Multiple purchase options to ﬁt your needs!

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SEW YOUR SUPPORT The Sewing Machine Project

he Sewing Machine Project was formed in 2005 for the purpose of bringing sewing into peoples’ lives by offering sewing machines, tools and education. The organization works with groups committed to using the machines to provide opportunities to create, learn new skills, build selfconfidence and contribute to their own livelihoods and the wellbeing of their families and communities. Since their founding, the Sewing Machine Project has distributed over 2500 sewing machines, helping people become self-sustaining through sewing. We talked to Margaret Jankowski, the founder of the Sewing Machine Project, about how they got started, what they’re doing now and how you can help support their mission.

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SN: How did The Sewing Machine Project get started? MJ: I began the Sewing Machine Project (SMP) in 2005, not knowing I was starting an organization. Instead, I was answering a call that I couldn’t ignore. I read an article online about a woman who had lost her sewing machine in the southeast Asian tsunami at the end of 2004. When asked what she hoped to find as she returned to her village, she answered “my sewing machine.” That tool had been her means to earning an income and was so important to her. As a sewist I thought “I can’t imagine what I’d do without my sewing machine,” but I recognized that I’d survive without it. For this woman, that was a question mark.

Working in a sewing machine dealership, I met customers every day who, when purchasing a new machine, wondered aloud what they’d do with their old one. It seemed like the perfect answer to me: I’d collect donated machines that people no longer needed and get them to people who needed them. I didn’t ask how it would work or where the money would come from. I just trusted that it would work. And it did. In the spring of 2005, partnering with the American Hindu Association local chapter, we began shipping sewing machines, one at a time, packed into boxes with relief supplies, via USPS to Sri Lanka and India. SN: How have you expanded since then? MJ: Later in 2005, Hurricane Katrina hit the Gulf coast and we shifted our efforts down to that region. I’ve driven many truckloads of sewing machines to New Orleans. After a few years, I began shipping pallets of machines and flying down to meet them. We had a list of over 650 people who needed machines. Additionally, we’ve donated to schools and community groups, as well as the Mardi Gras Indian community in the New Orleans area.

their clothes. Some people also started sewing for others to earn extra income. We developed a six-week beginning course where people work on the same donated machine each week, learning to use the tool and also how to care for it and feel confident in its use. One of the lessons requires that students “pay it forward” by sewing something for someone else or teaching someone to sew. We believe this gives our work a ripple effect and also shares the message that everyone has the power to mend their community. Upon “graduation,” students are gifted the machines on which they learn. Most centers end up requesting continuing classes, so we’ve created intermediate and advanced follow-up curriculum.

I’d collect donated machines that people no longer needed and get them to people who needed them. I didn’t ask how it would work or where the money would come from. I just trusted that it would d. work. And it did

To date I’ve made 18 trips to New Orleans, delivering over 1200 sewing machines to that region alone. Overall, we’ve delivered over 3000 sewing machines. We began shipping sewing machines to groups in need all over the United States. Women’s shelters, libraries, community groups—the common thread being that they were serving people who wouldn’t otherwise have financial access to sewing and sewing machines. In 2011 we began working locally in Madison, Wis., developing a beginning sewing curriculum to offer through local community centers. We reach out to people who don’t have the means to purchase a sewing machine and whose lives would be positively touched by learning to sew, mend and take care of

We build the pay-it-forward idea into every class and every donated machine, asking recipients to consider how they can use sewing to help others. SN: What’s your most recent initiative?

MJ: In 2013 we began a local free mending initiative. Beginning in a local community center, aligning with their free meal and food pantry programs, we have two volunteers set up for two hours, and they mend whatever people bring in. We do just what we can do in that two-hour window. About a year after we opened the first site, we added a second mending site at our downtown library, which serves a lot of homeless clients. In January 2018, we added a third site at the Beacon, a downtown day center for our homeless population. SN: It sounds like there are many types of people that you help. Can you expand on why you don’t just focus on a single type of person? MJ: In these times, we all need to feel the bonds of community. Though this organization focuses on sewing and sewing machines, the broader vision is that we all need connection; we all need community. We are happy to help whomever we can, whether it’s teaching

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someone to sew, sharing a sewing machine or mending a precious garment. I would say that overall, we are working mostly with adult women but we do offer machines to afterschool programs and to community centers, helping men and women. Everyone who touches this organization feels its power, from the machine recipients around the country to newly arrived immigrants in search of community to our volunteers and donors. We take each situation, consider how we might help, and do our best.

Margaret helps to unload a truck of machines donated by Baby Lock, Bernina and AllBrands for victims of Hurricane Harvey in autumn of 2017.

I must add that in our work we’ve also had to ask the question “what are we and what aren’t we?” There are times when we are asked to tackle something, for instance starting a sewing manufacturing house, that is currently outside of what we’re capable of. We don’t have the skill set or the (wo)manpower. That’s not to say that we never will — we are always open to the conversation — but knowing when and where to focus our energy is important too, and recognizing that while we might want to take on the world, we are doing what we do well right now. SN: What accomplishment are you proudest of? MJ: I am most proud of building an organization given to bringing people together through the use of a simple, yet powerful tool. I am humbled when people compliment me because I’m just doing what I feel driven to do, and I feel so lucky to be able to do this work. And I’m so very proud of my board and volunteers. I think the team we attract reflects the love, care and honesty of the organization. I’m always astounded by the love and dedication of the volunteers and board. I’m so proud that this idea attracts such an amazing group of people, driven to making a difference. SN: Are you working on any new projects or initiatives right now?

Machines wait to be given away in New Orleans, LA. in 2007.

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MJ: I feel like we are always striving to go deep rather than broad. Personally, I’m working to solidify our foundational pieces: making sure our volunteers feel appreciated, assessing the effectiveness of our local classes and mending programs, figuring out the best ways to share the stories we hear from all of the groups that receive machines.

SN: If you had all the resources you needed, what would you accomplish in your wildest dreams? MJ: We have always operated on a shoestring and done what we can do with the money we have so, it took a moment to consider this BIG question! I would have the finances and a team with expertise on shipping machines worldwide. We currently work mainly within the United States because it’s so expensive and complicated to ship machines to other countries. So if money were no object, I’d have an international team that would vet international applications, prepare and ship machines to other countries. It would mean shipping connections in each country so we could ensure the safe delivery of the machines. My “unlimited” budget would also pay for my volunteers to be able to travel, ensure that new sewing groups are off to a good start and teach in these international locations. I would have a staff that could coach me on social media, sharing the beautiful stories of machine recipients. SN: Do you need volunteers? MJ: Yes, but we are really only able to use local volunteers right now. Here in Madison, volunteers mend, help in the classroom and work on machines.

Volunteers Kate (left) and Pat mend items at the Beacon Day Center in Madison, Wis.

We build the payit-forward idea into every class and every donated machine, asking recipients to consider how they can use sewing to help others.

SN: What’s the best way for people to help? MJ: The best way to help is to make a financial donation to the SMP. We’re a 501c3 so it’s tax deductible. People can make a donation in honor of a beloved sewist through our Forget Me Not program. It’s great when people contact me because they’re inspired to start a mending program in their community. We’ve had about four or five start up in other states. We’re happy to share best practices if a group is interested in starting a mending program or teaching sewing to people in need in their community. The positive energy and goodwill of people around the world have made all of the difference in the success of this organization.

A Bhutanese student learns to sew in a Sewing Machine Project class.

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MASTERCLASS

A FINE

LINE BY PAM HOWARD

Start fall off right with tips and tricks for installing a jacket lining perfectly.

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ewing a lining into a jacket can seem like an impossible task, especially if you consider yourself "lining challenged." But just think of it as sewing the garment you’ve just made in a different fabric and connecting them together, and it won’t be so intimidating. Linings serve many purposes: they conceal and protect the inner construction and seams, allow you to express your creativity or sense of style, and make your jackets more comfortable to wear over other clothing. Depending on your choice of fabrics, they can add warmth or coolness against your skin. They can absorb or wick moisture, or have a bit of Lycra for stretch and comfort.

GENERAL TIPS Consider using "taut" sewing for more smooth or slippery fabrics. Gently but firmly hold the fabric with the same amount of pressure in front of and behind the presser foot as you sew. Be careful not to stretch the fabric, as that it will cause it to ripple. After sewing each of the seams, press them flat, then open. If desired, use a silk organza press cloth or a Teflon iron shoe to protect the fabrics during pressing.

LINING SUPPLIES SUGGESTED FABRICS

MACHINE NEEDLES

Any of these can be used in solid colors or prints — choose what lets you best express yourself.

Size 9/11 universal or sharp needles work well for most lightweight fabrics. Heavier fabrics will require a size 12 or larger universal, sharp or microfiber. It is always a good idea to test your choice of needle on a scrap of fabric to see what works best. Make sure to check that you aren’t getting skipped stitches.

• For cooler climates: Cotton or wool flannel, flannelbacked satin • For warmer climates: Cotton batiste, broadcloth, sateen • For wicking properties: Microfiber fabrics • For comfort: lining fabrics with Lycra • For "fancy" garments: Silk (or silk-like) crepe de chines, charmeuse, washed silk dupioni (washing it removes some sheen and makes it softer), Bemberg rayon (cool against the skin)

STITCH LENGTH Test to see what works best. A length of 2.0 to 2.5 works well for silks and silk-like fabrics, and 2.5 length works for most other fabrics.

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ASSEMBLY Most lining sections are cut from the same pattern pieces as the jacket. PRO TIP: When cutting out the jacket lining pieces, always cut them the same length as the jacket pieces. It’s easier to make the lining shorter than to add length later. The front or side front lining is usually attached to the front facing. Assemble the lining pieces as for the outer jacket, as shown in the pattern’s guidesheet. PRO TIP: Leave about 3" of the lining unsewn from the facing lower edge. This area will be finished later.

DRAFTING AN EASE PLEAT

• Measure 11⁄2" out from the center-back seam near the neckline. Draw a line parallel to center back. Continue that line down the back and gently curve it, starting just above the back waist marking. Blend the line into the existing seam (A).

• During construction, stitch from the clip to the dot with right sides together. Stitch the new cut edge using the pattern’s seam allowance. • Press the center-back vent seam and the seam that connects the linings to the front and back neck facings to one side. All other lining seams should be pressed open.

• Make a “V” clip at the top of the back lining pattern to indicate the center back. Measure 2" down along center-back seam, and draw a dot to indicate the end of the ease pleat.

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2" Center Back

Occasionally, the pattern will include a separate back lining with a wearing ease pleat. This makes the jacket more comfortable to wear and easier for the wearer to move their arms forward without ripping the back lining open. If the pattern doesn’t have that feature, add the ease pleat yourself using the following steps.

Jacket Back Lining

Waist

Clip the lining seam at the back neck facing every inch or so to ensure the lining will press flat. Press the facing seam toward the lining. Pin the entire lining/facing unit to the jacket with right sides together. Assemble according to the pattern instructions. Trim the seams to reduce bulk, turn the jacket to the right side, press and understitch the facing where needed.

ADVANCED TECHNIQUES Manufactured jackets are always completely constructed and finished by machine to keep costs down. Since you’re making your own, why not try some next level techniques to finish your linings? This involves some hand sewing, but it will not only add value to the jacket, but will allow more control when stitching key areas.

ANCHOR THE LINING Catchstitch the jacket hem and sleeve hems before attaching the lining to the jacket (1). Tack the back neck facing to the jacket and the shoulder seams. Tack at the underarms of the jacket and lining down to the jacket waist.

At the jacket hem, fold up the lining 5⁄8" and press. Place the pressed seam over the jacket hem just over the catchstitching and pin in place across the bottom. Fell stitch or slip stitch the lining in place. Smooth the lining down to create the ease pleat/jump hem. At the ends of the lining closest to the jacket front, pin in place and hand stitch the area closed (2). This is where 3" of lining at the front facing has been left unsewn. Bring the lining down to create the jump hem, then press lightly in place (3). Repeat these steps to hem each sleeve.

HEMS When you cut your jacket lining out, make sure that the lining is the same length as the sleeves and jacket body. This ensures that the lining won’t be too short. Use the extra fabric to create an "ease pleat" or "jump hem" at the hems. This will keep the jacket from pulling up when the wearer raises their arms. S E W N E W S.CO M

TRAVEL CAPSULE

BY KATE ZAYNARD

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Want to build a wardrobe that travels well? Follow along as Kate plans a travel wardrobe for an autumn trip to Austria.

s any of you who listen to the Sew & Tell podcast know, I’m going to Austria in late October/early November. My fatherin-law was born in Vienna, and I’ll be going with my husband and his immediate family. I had not initially planned to make a capsule wardrobe for the trip. But then we decided to go later in the fall than originally planned, and I realized I didn’t have many me-mades that fit into that time of year (an ongoing struggle for me). In addition, I decided on a whim to make a coat — BurdaStyle #112 12/2018 — which I realized would be perfect for the weather at that time of year. However, the fabric I chose was brown, and I don’t wear brown a lot, so I don’t have much that coordinates with it. The next thing I knew, I was planning out a capsule for the trip centered around that coat. Based on these criteria at right, I decided I need two pairs of pants, five tops, a cardigan, a nice dress and the coat, of course. The pants are intended to be mostly made from a pants sloper I’m working on, rather than a specific pattern. Below, find my capsule wardrobe. Note: Though this issue is coming out shortly before my trip, at the time of writing I’m still sewing, so you’ll be seeing some finished pieces and some sketches.

PLANNING MINDFULLY Here are the considerations I took into account while planning my travel wardrobe: • The temperature and time of year. Based on 2018, I’m probably looking at the 50° F range. Because of this, I’ll need longer sleeves and layers, but because I’ll be walking a lot, I want some of those layers to be pretty light. • Type of trip you’ll be taking and what you’ll be doing. I’m opting for stylish but comfortable. I don’t want to look too touristy; ideally I’ll have a business casual feel. Because we’ll be doing a lot of walking, I prefer to wear pants and not skirts. I would be making very different choices if we were headed for Hawaii for a beach vacation! • Number of travel days and available facilities. We will have access to a washing machine, so I don’t have to pack enough clothes to wear something different every day of the trip. • Special occasions. We’re hoping to go to the opera, so I’ll need a nicer dress for that and just in case we go to a fancier restaurant.

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BURDASTYLE BUTTON-UP JACKET #112 12/2018 I stitched this in a tweedy brown wool with a bonded fleece lining for extra warmth. It should be just about perfect in the Austrian fall weather. The facings and buttonholes are a luscious silk satin for extra elegance.

LIESL + CO AFTERNOON TEA BLOUSE Elegant but wearable on a casual day, this blouse will be comfortable and pretty. I plan to sew it in a burgundy linen blend. It will be lovely if I can find some coordinating lace as shown in the sketch, but I might have to go with a neutral lace instead.

BURDASTYLE SCARF BLOUSE #147 08/2012 I love this flowy blouse with its on-trend neck tie. I’ve sewn it up in teal rayon with tiny white polka dots that give it a lovely vintage feel.

BURDASTYLE SHAWL COLLAR BLOUSE #132 09/2015 This simple blouse is dressed up by the bias-cut detached shawl. It’s going to be sewn in a flowered rayon print of brown, black and white.

TWO PAIRS OF PANTS FROM A SLOPER I DRAFTED One will be fairly straight-legged and the other slightly flared. Current plans are to do one in a brown and one in an olive green.

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BURDASTYLE BOATN SHIRT #132 04/2 Another piece on the casual-but-ele list. I plan to make this in a jade-gr stable interlock knit and omit the zip This is what I’ll probably wear on looong plane ri

BURDASTYLE FRILL DRESS #127 08/2015 I sewed up this elegant dress in a polyester crepe with a lovely sheen that should pack beautifully. This is intended for any special occasions w might attend — which will hopefully include the Vienna Opera.

ESTES DRESS, ALTERED I love the Sew News Estes Dress, but for this trip I don’t plan on wearing many dresses, so I’ve cut the pattern off to tunic length so it can be worn as a light sweater. This is stitched in a sweater knit, and I’ll probably reserve it for the coolest days.

BURDASTYLE SHAWL COLLAR CARDIGAN #130 05/2016 Because there’s no way of knowing what kind of weather we’ll be having, I’m planning layers to make sure I can be sufficiently cool or warm. This lightweight cardigan should take the edge off any chill.

This isn’t quite everything, of course — I’ll be taking pajamas, too, and probably some lounge clothes of various types. I’m also toying with the idea of getting a nice knit print that doesn’t look like traditional knit, like a pinstripe or plaid, and making comfy yoga pants for the plane! SOURCE My Body Model provided the custom croquis: mybodymodel.com.

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SEW ALONG OCTOBER

SILVERTON BLAZER By Kimberly Payne of Straight Stitch Designs, exclusively for Sew News

SEW ALONG WITH US Register at videos.sewdaily.com during the month of October to get the pattern and video sewalong course free! Then sew this fall wardrobe must-have — with us! By registering, you're automatically entered to win a BRILLIANCETM 75Q sewing machine from Husqvarna Viking.

You could win this! Gi your kknit Give it bl blazer a professional f finish with the BRILLIANCETM 75Q sewing machine. Pick from a variety of stretch stitches on the machine that are perfect for stable ponte knits (and all the knits). The Exclusive Sewing AdvisorTM and Exclusive Sensor SystemTM ensure your Silverton Blazer is impeccable, start to finish. Brought to you by 80

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THE PATTERN We are loving the blazer trend this fall, but not necessarily all the fitting that comes with a traditional woven design. The Silverton Blazer pattern is an ideal layering piece. It’s the perfect casual, everyday blazer, but add it to the right outfit, and you’ve got a piece worth dressing up for! Sewn up in a ponte knit and in sizes 0–24, the blazer is comfortable and easy to fit. It wears like a cardigan (you know we love that!), and the knit fabric makes for easy finishing, compared with a traditional woven blazer. This design features many unique details, including a flirty back ruffle. Stitch one up with us!

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SEWING ROOM SECRETS: MACHINE SEWING

SEW YOURSELF A MERRY LITTLE CHRISTMAS

by Debbie Shore

by Mary Hertel

Whether you’re just starting out or are looking to perfect your skills, step into Debbie Shore’s sewing room and learn all the techniques you need for successful machine sewing. Jam-packed with helpful tips and friendly advice, Debbie walks you through every aspect of machine sewing, building your skills and confidence as you progress through ten gorgeous step-by-step projects.

Get ready for the holidays with this book, all about paper piecing with fewer rules and more fun. It contains 16 whimsical blocks to create eight fun and useful projects — and each block will work in each project. The book is designed for the paperpiecing beginner and will help you build your skills with fast, friendly blocks. You’ll soon be paper piecing like a pro!

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What will you make next? Browse our wide collection of sewing patterns and start a NEW project today!

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GET THE LOOK from SLEEP to STREET Take your loungewear to the street with this trend that is still going strong. If you value comfort in your fashion, then this look is for you. Pair with either sneakers or heels to bring different vibes to the ensemble, and opt for silky fabrics with contrast piping to make all the seams pop! This style is chic from head to toe, and you can feel right at home anywhere you go in these traveling pajamas.

Christian Vierig/Getty Images Entertainment /Getty Images Europe

STYLE inspiration

BY MEG HEALY

TOP PATTERNS Opt for a loose-fitting blouse pattern with a notched collar, breast pocket and sleeve cuffs for inserting piping.

plus size!

Pajama P j Style S l Bl Blouse #111 01/2017 by BurdaStyle

Carolyn Pajamas by Closet Case Patterns

Pajama Shirt #122 01/2017 by BurdaStyle

PANTS PATTERNS

COLOR PALETTE

Pick a pants pattern with a wide leg silhouette, cuff at the hemline and an elasticated waistband for optimum comfort. TIP: Want pockets? Draft them yourself if theyâ&#x20AC;&#x2122;re not included in the pattern.

plus size!

Carolyn Pajamas Pajama Style Trousers by Closet Case Patterns #110A 01/2017 by BurdaStyle

Pajama Pants #124A 01/2017 by BurdaStyle

FINAL TOUCHES The beauty of this look is how you can dress it up or down â&#x20AC;&#x201D; and it still looks chic! Runners are trending, so you can throw on your favorite pair of sneakers to embrace the comfort of this entire look. A pair of heels will elevate the ensemble; top it all off with a sleek hairstyle and fashion clutch.

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Find either printed, embroidered or plain silk fabric. Also pick up some contrasting piping to make your collar, pockets and cuffs really pop!

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Have you always wanted to sew that perfect garment, but didn’t know where to start?

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Our step-by-step sew-along videos guide you through making a complete garment. You will ﬁnd everything from pants to jackets as well as tops and even bathing suits.

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Finally!

Find out about the talented experts featured in this issue, and visit their websites to learn even more.

EXPERTS

PAULINE BRUCE (“Cardi of Two” —

PAM HOWARD (“Masterclass: Fine

page 48), aka @sewuthinkucan on IG, has been sewing since age five. She expresses her creativity through pattern hacking by customizing commercial sewing patterns to create garments that are unique and reflect her personality. Pauline is fascinated by the versatility of stripes and loves to manipulate them in a variety of ways when making her clothes. She’s a homeschool mom who currently lives in northern California with her husband and three children.

Line” — page 72) owns Pamela's Closet, Inc., which specializes in ladies couture tailoring, advanced sewing instruction, and fitting. Pam has a B.S. in Textiles & Clothing and is a member of the Atlanta Chapter of the American Sewing Guild. She loves the possibility of what a piece of fabric can become. pamelasclosetinc.com

LINDSAY CONNER (“Neutral Note Wall Hanging” — page 52) is a writer, editor and modern quilter. Her books include On the Go Bags, Modern Bee and The T-Shirt Quilt Book, and she recently co-compiled the book FreeSpirit Modern Blocks (Stash Books). Lindsay keeps busy as an ambassador for Baby Lock sewing machines, a freelance travel editor and a contributor to various magazines. In her free time, she loves to travel with her family, teach her son to sew and snuggle with her lazy cats. She lives in Indianapolis, IN. lindsaysews.com, craftbuds.com

RAE CUMBIE (“Curve Appeal: Layer Play” — page 18) is the Creative Director at Fit for Art Patterns, which offers patterns for modern wardrobe basics that focus on fit and include artful design options. She coaches sewists of all skill levels, in classes and on her blog, to stitch up a fun and comfortable wardrobe and design more creatively. fitforartpatterns.com

LISH DORSET (“Denim Encore Tote” — page 44) is a freelance writer based in metro Detroit. She enjoys sewing projects for family and friends, being inspired by the quilting community and serving as the current president of the Detroit Area Modern Quilt Guild.

MEG HEALY (“Pattern Play: 90s to the

ANA JANKOVIC (“Camden Coat” — page 58) is a computer programmer who expresses her creativity by sewing in her free time. She’s a self-taught sewist and designer residing in Belgrade, Serbia. stepalica.blogspot.com

JENNIFER KEMPLER (“Fab Fur Pillows” — page 41) learned to sew from her mother, who encouraged Jennifer by letting her use the sewing machine and buying her fabric. She’s been sewing ever since and can often be heard saying "we could totally make that"! jennifersewsagain.blogspot.com ERYN SHIELDS (“Fair Suede Duster” — page 38) founded Style Sew Me to empower women to take control of their style through sewing their own fashionable clothing. Style Sew Me provides creative inspiration with online sewing classes, a private collection of home sewing patterns and DIY tutorials. stylesewme.com

BIANCA SPRINGER (“Wax On Duffle” — page 55) is a native of The Bahamas who learned to sew at her mother’s side. She now resides in Pearland, TX with her husband, daughter and son. They all serve as endless inspiration for fabric experimentation and hand-embroidery designs. She teaches group and private sewing to anyone willing to learn. thanksimadethem.blogspot.com

Nines” — page 34) has a passion for sewing that led her to study Fashion Design in NYC where she also interned for Vera Wang as a pattern maker. She’s now the editor, lead educator and face of BurdaStyle.com, the world’s largest online sewing community.

S E W N E W S.CO M

ALL SEWN UP

BOLTS & SEWISTS Play with a friend! The first one to the fabric store wins!

FORGOT MATCHING THREAD

28 29

MOVE BACK 3 SPACES

27 d rea h t

LISTEN TO SEW & TELL

e! slid

GO BACK TO ST ART

e! thread slid

MEND A SHIRT

TRADE PLACES WITH AN OPPONENT

AHEAD MOVE 5 SPACES

USED FABRIC SCISSORS ON PA PER

FINISH A W I P

thread slide!

MOVE AHEAD 3 SPACES

SEW

PERFECT BUTTONHOLE

MOVE AHEAD 2 SPACES

3 slide! thread

N SEW OVER A PI LOSE A TURN

START

Use a thimble, bobbin or decorative button as your game piece. Youâ&#x20AC;&#x2122;ll also need one die and as many players as you like. Roll the die and move forward the number of spaces indicated. Land on a square with a thread end and follow the thread slide up or down to the square on the other end.

S E W N E W S.CO M

O C T O B E R / N OV E M B E R 2 0 1 9

'21Âˇ7 :$,7 FOR

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Articles inside

TRAVEL CAPSULE

MASTERCLASS

SEW YOUR SUPPORT: THE

WAX ON DUFFLE

CAMDEN COAT

NEUTRAL NOTE

DENIM ENCORE TOTE

CARDI OF TWO

THE COMMON THREAD

FAB FUR PILLOWS

FAIR SUEDE DUSTER