Wolff - The Art of Manipulating Fabric

= r ~ E AR1 ~ ~
Manipula tin ---

~ Fabric
Colette Wolff
The Art of
Manipulating
Fabric
Colette Wolff

r publicntions
I I
1\'1 5 1'l'Xl.OIIOI
S
U'C4.' l 0 ll ,
7f)() 1., 7 1 S/4
Tlll:phunc:
l
l 'P' () I <l<le> h' ( o>l<'ll< \\"oil!
All Rc-n cd
Published in loin. Wo-nsm, 64990 by Krause Publications
'o pan of tho' lx><>k m''' h. reproduced. tr.on,moncd. or
scortd m Jn\ t\rm tlf b' M1v mc.m ... electroniC' or
ffiC'Chantcal, \\ lthOUI pru,U \HIItC11 rom the
pubh,her
Eduor> Robboc l.mning. Rc".1hc Cooke
Producuon Ro,,thc took<
Book dc .. gn: Ro,,tl)'ll C.u,on
Cover dcs<gn Amhon) jocobson
l'h01ogrophy Mcchacl Kagan
Line ;JTI: C'olcuc Wolff
Proofreader Mcrcdnh Plnlhp'
m the lnncd States of Amcnca
Llbral) of Congrc" (' atologmg m l'ubhc.uton Data
Wolff. Coltllt.
The an of mancpuiJtong f.>bnc I Colcnc \\'t>lff
p em.
btbhogrphl(,<l rdncnr._ .md mdex
ISO:- 080198-1963 ( phk )
I Sc\\mg 2 I .tnt) work I lnlc.
T'l705 \\'54 I 996
646.2--ddO 9632201
CIP
4S67HCJO 'ifl2 1U'IH
PrtJducr n.mw' mtntmnccJ Itt 1hr' hl tr.tek
mark" ur rt'l(l\lcrtd h.ldtmonk, uf lhtlr rt''JWC.liVt' nun
JMnu, nd .<rc htrchy "' knnwlnlwcl
Otlrcr Boohs Available from Krause PublicaLions
,,,., , 'UP{.Ut,lchl) .... l.I,Sl\,
\c ,, n nt h\ j.ln
\ H,. ,r-. ".,,1) r't,lllrflaa. by :\.lnc\'
"-llrn\\dl
riiJ'h.l' t 'lit. h'" '" /"mel&- Ma<hrnr.
h\ \'o:-hurg Hal1
8rhl,,l l.{)ucwc:. by KhalJC
( "'' 'F,t.Jnic StwmgGtti,ft. by
L llf< II. '-l1.1d!er
U>mrw oj .\fdchmt Embrordc"
l,y Rohhre nnd Tony Fanmng '
fmbroidcn. bv
Deborah Gc,ncl
Embdft,hmo:t- Addmg Glamour to
Garmrnt>. by Unda Fry Kenzie
(r<lllllcnh '"'" .\t>lc, b \lary :'-.!ulan
jan ScwnJ,s' \\'ardrobc Qurck-Fu:cs. by
J.m S.1unders
I.Jjt Is \'m A Dress Srzc. by Rita Farro
Madt wtth Leur. by Gmny 8ams10n
More Swcatshtrts wuh Style. by Mary
\!ulan
Pattern-Free Fashions, b)' Mary Lee
Trees Cole
Sew & Ga Baby, by jasmine Hubble
Sew & Ga. by Ja,mme Hubble
Se" Any Pauh Pocket, by Clane B.
Shaeffer
.So> Any Set-In Pocket. b)' Clatre B.
Sh;w(fer
5o Gifts. by t'aomi Baker
and Tammy Young
Shtrlry Adana' &It by Shorle)'
Adams
Snap It Up!, by jeanone Twtgg
Stlftch & St-w Gurdt to Stwrng on
Kmts, by Ann Person
Sw((Jl\hlltS "'th 5tylr by \1ulan
Tecuh Embroidm, by
Rock
1 c;cturf wtrh To.:ttlrs, by
\ftCrrhrc
Your 'irwrn..: Ma< hrnr b)' Jan S.1undcrs
All(, u/ \try,lrtg /1y lam my Young and
I 1<11 llollotn
Dhtm(l"' :>trgtt c;r/h & Crafts, by
"\.:''"l1 S.tkcr .mc.l Tammy Young
1
""''''<HI\t hv Ga1l Brown :md
r.unmy y,)Ung "
Nt'\\' C tt'<lllv_c lllu\ltatcd. by
f'alml'r G.trl llrown and Sue Green
J\ Ntw Sn!(r Ill Wearable Art, by Ann
ll<lycc
Scw & Scrgt Ptllowsl Pillows' Pillows', by
Jackre Dodson and Jan Saunders
a ProJW. b}' Tammy
Young and Naom1 Saker
Scrg.- rt m un Hour or IL<S. by Cindy

Somohmg Suptr for Ym.r Kids. by
Cmd) Cummin>
S." & Scrg, Terrific Tocrurcs. by Jacke
Dodson and Jan Saunders
Sergcd Garments m Mrnutcs. by T amm)
Young and Naomr Saker
Vlumatf Sal(p Answer Guide, by
Naomi Baker. Gail Brown and Cindy
Kacynsk1
RIBBON ART
Glorious Rlbbons. by Christ.ine
Kmgdom
Morr Rrbbon Embro1dtl) by .\fachmc. by
\1anc Duncan and Betty Farrell
Qut(k and Edsy \\'ays mrh Ribbon, by
Cen Johnson
Rrbbon f:mbrordrry by Machme. br
Mane Ounc;tn and Beuy Farrell
Sea<Oncd Crtatlon,, by Marie Duncan
and Bell)' Farrell
Sec ret\ of Rrbbon Flowas, by
llclcn Glbb
QVIUING
All Qutlt bar.- \ot Square, by
!Xbrot Wagner
Bnt-f.tn.-d O.")l."<'". U>IIC<llon Quttk
_.,..,.. Qur/1<, by Amends Top

(crt Qwlh ctll.l (rcrfts. hy Ll\'cr.l
l ...
(<llllf>ll'tr /ltk>ll of M<l<htn<" b)
f!uhlur .md Ttlll)' I ,utmng
( omtrlrtr Mlni<ltrll<' Qurlt hy
llm,rh lr,l\'1'
Qutlri!.g TtU""f.US, by
C.anns
lrwnglcs Jor Qullr<rs. by Janet
B Uwrn
Dyrlr Pwntlt' Qurlr It' by Joy<e Mon
.rnd Cynthia M)erberg
l'asl Patch Kids Qurlrs. by Anua
Hallock
fal Patch. by Amt<t Hallock
Hnrloom Qu1lts, b) rhe cduoro of
Workbasket
)apunt>e foldrd by \lary
Clar< Cl.uk
Mogt< of Cr"'y QuriMg. by Mama
\hchler
NCI\ Work of Our Hands. h) Mac
R<xkland T upa
Pmhwn l'lcd Qrulrs u.srng rht
found<uron Mtthod. b) Jane Hall and
i)rxre ll.iywood
Q111lr As You Go, by Sandra tl-hlleu
Sadnko and Beyond. by Sarkoh Takano
Scrap Q111lrs Usmg Fast Patch. by
,-\nua Hallock
Shrrln Daddy's T1<s. by
Shrrlev Bot:.ford
Stars Gcllorc and Ewn \lore by Donna
Po<ter
Stot<h n Quilt. by Kathleen fawn
Super Stmpk Qurlb. by K.1thleen E.lton
T t<hniqu<> of )aponese by
ShuJ Lunur.1
Tlua-Dtiii<'IIStonal Prwc/ Qrulrs. by
jodre l);wi>
Tmrllllmlcll Qurlts. T,><lav's Tt(hmtfU<".
by
l'lttmate :>oar Qurlt. by Joyce \\on
ADDITIOML TOPICS
( 1.1fh ( \\ llh f'I,"Wr> ,&
\'ll -
n,-...,d,,th, - w11h
l'.lllll'f \l.ldl<' .md -
lk.l.l\\tllk -ll.m<hlt;ldc r.1p.:r-
ll<>mr J<'wclrv- K1ds
C r.llh Kmlh1.1h- r,nnted Wood
1\>tlrn 1'.11"-'1' (ra[\s
Acknowledgments
L
ookmg b.lek. I rcmemb.:r
wnh the detp<"-1 gr.unudc
1ho-e fncnd' who l"tened
The' let me t;t\k .tbom "h,u ''"'
and "'II ".m oh'c'"W .md r.uher
passtonatc \\'lth 1hc
subJeCt ol cloth "' mampuhtto"
.md the r.umfiCi\Uon' thereof
They allowed me to let off st(;un
so I cottld return to 1hc 'olll.l!j'
pursun re-energized Wnh >pec1al
acknowledgmenh It> Ann Bradlc)'
Dee DanlcyBr<>wn. Norma Ellman.
Sylvia 1'1>hman. Alnnnh Palinka>.
lv
Prokop. and Dee Dee
Tnplen. who were 111 positions 10
c"cnd help of a more tangtble
kmd. thank vou one and all. I
would be >cnously remiss if I didnt
thank m)' husband. Ted Wolff. for
all those cafre lanes during late
mght umes of stress. My thanks to
the crca1ive team who worked 10
gc1 1his book mto print: To Michael
Kagan. whose eye for lighting and
insistence on black-and-white per-
fection produced such outstanding
photographs: to Rosalie Cooke.
whose pauent and contntiOIU
ednmg challengtd me 1o 'go llut
extra distance to Ro..al'n
'
who a,.;:mbled the ma1cnal ,.
11
h
computer magc mto 1hc lund'<()lll(
pages thm follow 10 my hi-<Oil>Lil
editors. Kathy Conover m
Pennsylvania and Robb1t Fannmg
in Cahforma, who coordma1cd
ever;thing-bul parucularl). r ......
and last. 10 Robbie. who kepi the
faith, and then some. and mort
................. i v
FOIIUWORD .................................. vi
PRI: I' ACI! ... .. ... ....... ... ... ... ....... . vii
GETm\v Til E MOST
Tli!S BooK ............................ viii
PII RT
(O'\TROLLED CRUSHING
Chapter 1-GATHERING ..... ... 3
Ga1 hcl'i ng Basics
Singk -Eclge Gathering
OpposilcEdge Gatbering
All-Sides Gathering
Chapter 2- SHtRRlNG .......... 19
Shirring
rauem Shirring
PARl Two
FULLN55
Chapter 3
- MAKING RUFFLES .............. 43
Ruffic Basics
Gathered Single-Edged Ruffic
GaLhcrcd Double-Edged Ruffic
Plc:11cd Single- or Doublc-
Edg.:d Ruffl e
Chapt er 4
- M AKING fLOUNCES .......... 67
Circular flounce
Controlled flounce
Chapter 5
-MAKING GODETS ............ 81
Godet
Contents
PART T HREE
SYSTEMATIC FOLDING
CIIAPTO\ 6- PJ.EATING ........ 89
Plca1 ll.1sics
fla1 Plca1s
Paralal Pleats
PrOJCCiing l'leats
Accordion Pleats
Wnnkled Pleating
Double-Controlled PleaiS
Chapter 7-SMOCKING ...... 125
Smocking 13asics
IZngllsh Smocking
Dirccl Smocking
NorLh American Smocking
hall:m Smocking
Chapter 8- T UCKJNG ........ H 9
Tuck ll..scs
St.1ndard Tucks
Cur\'cd Tucks
Shell Tucks
Contoured Tucks
Sln,hcd Tucks
Cro..,Stitched Tucks
Cross Tucked Tucks
Purtiully Seamed 'licks
Seamless Tucks
Pa1LCI'I1 Tucking
PART FOUR
Fll.LED RELIEFS
Chapter 9-CORDING .......... 187
Cording Basics
Hand-Se\\,. Corded Quilting
Corded Quilting
Surfoce Cording
Chapter 10- Q un.TI NG .. .. .. 20S
Quilting Basics
I lund Quilling
Quilting
Chapter ll - STUFFING ...... 229
Stuffing ll..sic.
Stuffed Quilting
Stuffed Applique
EJe,Oied Applique
llnlf-Rounds
Connected Rolls
Uitk Pillow>
Biscuits
Peaks and VAlleys
PART f i VE
SntucruRED SuRFACES
Chapter 12
- USING DARTS ............. - .. .267
D:m lktsics
Single-Pornted Dart
Double-Pointed Oar!
PART Stx
MIXED MA,'\IPUl.i\ TlONS
Chaplcr 13
- COMlllNArl ONS ........ ...... 283
Technique Variations
Crc:ttivc Con1binations
APPI!NDIX ........................... ....... 295
Hand Stnches
Gloss.1ry
Seleced Blbhograph)
CosiUmC Exlubitions
Endnote
I NDEX .......................... .... .. .. 304
The Art o f Monipulat ing Fabri c v
/.
P
erh'l" youre f.llluh.u wnh
the volume of lcucr. !><tween
""well l'cr\..m,, the f,lnlOU'
Scnbncr' cduor .md ,urh author.
as I Scott fuzger.1lcl ancllcrnc't
Hemmgw.w rm thmkml\ of pub
hshmg a 'mular one for the lcuc"
and phone calb between me .u>d
Colenc Wolff on thb lx>ok
h \larted innoccllll) enough 1n
the early 1980' Cokuc owned a
mail-order catalog m New York Cuy
called Platypu<, wluc h
her toy and doll de"gn< amJ sold
supplies I wrote a column for a
magazmc called Nrrdlc and Tlurad
My rrader> told me about her cata
log; I wrote for a copy ;tnd was
m1pre>sed. I rncnuoncd the catalog
m a column; and :.he wrote 10
thank me We became long-d"'''"'"
friends
Over the )Car>. I "" conunually
bowltd over not onl) wnh the qual-
It)" of her work. but 11\ '<Opc-
qUihmakmg. topnakmg, dolhn.tk
mg. co\lummg W;h there .In) thmg
thts woman could nut do-and do
well> Furthermore. ,he h.d the mrc
tJient of bemg not on I) J con,um
mate crafl\pcrwn but a l(tftrd
graph" J<lt\1 an cxnptttlnall) dcM
wnter and ;Ill oui\IJndtnl( I til< her
In the tmddlr I <)ll(h I tnlltatcd ,1
of huuk' for Cluhun lluok
Company Ntlltrally, I appro.ll htd
Coll"llc .1buu 1 ,\ l)(mk
had Wrtlttn ,1 """of quth ,llltllt'
nn thrtt.dllll('ll\1011:11 f.tbl l\ rmltl'-
and felt th.u wr nrcdtd ,, hook
hi>WIIIJ( ,tll!lll' Jlll"lhthlll'' uf
f,ohllt IIIJl. lllllt"d hy
lt"duwl01' In du 1 .uly WI'
Foreword
oiled the book Falmc 111 Relief.
d forcshadowong or
uur cchng 1he book would
finall) be fmi<hcd. One of my early
notes" dated june 22. 1987.
colclle s;l)'> >he can be done with
the book by june 1988."
1 advanced her $100 for materi-
ab. an enurcly laughable amount,
con<idering that 20 yards of materi-
al wem into t he pleating samples
alone. Another note in my file says,
"july 1989-GW received anocher
200 yards of unbleached muslin."
rhe defining characteristic of
consummate. gifted, exceptional,
talent is that they do
not skim the surface. If the)' discov-
er a s1dc channel and it opens into
another maJOr nver. they follow the
current And that's why thos book
turned 11110 Niagara Falls. Coleue
would pronnse a ddivery date, then
wmc. t keep pronusing myself that
I won't add an) more samples or
techn1qucs, and then something
.1ppcar... and must be included. and
><> 11 go"
Pcnod1call). I \\Ould be in the
'arne town J' Coleue and ,he
would >h"'' me the .amplcs.
Alwa) >. I would be staggered at the
workm.1nsh1p and the possibilillc>
Who but Coleue could have made
d,orh inltl work> of I began to
dra!: other p<oplc mlo the meet-
Ill!(' Ill<' rei)' roo the ptc.O>urc of
watc:hm)t thl'lr f.ll.:l'' .t ..... he pullld
uul ... unH' \O,&mpk., Ae tml' pomt
'""ll'<llll' .11 ( luhun a, ked her to
, lupl ct' l ,,unpk' lo l'luladt'lphut lt>1
.o otll'<'lilll(. Colt'lh' puhhl)' ,l,k<d,
"All ll hnM,I"
VI
Tht Art <of Mauljwlalln& f abrlt
Uke the boxes. the book greo. and
grew. The due date-. were po-tponcd
then agam. As we approached the '
end. I had a sudden case o! the
willies. What tf she got hu by a
crazy Ne" York taxi and her hu,.
band gave her samples to
Goodwill' I called htrn and madt
him pro1mse to will me the <.1rnple.
if anything happened to her.
Then the payoff carne: I had the
extreme pleasure of edt ling a m>nu-
script that '""s nearly perfect A
seminal book like thos one comes
along on!) once or twtcc m an edt
tor's lifetime. And thai was b(lore
seeing Michael Kagan\ photos.
So here tl is-finall)'! I wosh I
could watch your face and e>'<>
drop as )"OU look through th" book
Are you drawn to cuntlar fonn',
as I am? Look at rhe yo-yos go>nt
ku-ku on page 21 or the cutul.r
smock1ng over pleat> on l"'&t 135
Perhaps you hke an
grid Look how ,he nude pk.u' o>n
a Perfect Plc.uer, backc<lthrm ""h
ironon lmrrf.lnng. (Ul thtm mto
squares . 1nd rca-..'i(mble.lthtm
a block on Jlii):C 123.
But I tuU!ltt return tc.' \\<'Irk;}'
''" ednor The foN ncm ''" the
agcnd.1 ,, 10 rcuund ( <>kllc th.ll
t\pnl 8. I ll&\. ,he" n>lC. ' Rehd
tlw <l'"h U\ ''":h
new dncw<>n' th.ul kcl

htb1u "' Rrli<1 "nh .t '''"'t.u
1
"ll,tlkr hll<>k J>,UIIlltl,\1 h (<ll lJIIII
trr' 1 ... ,, rip\' u\(.1 th.tt ,\l '
(,\h'l llllW "
Robbit Ftmnin!t
"''Ill'' 1-thll>l
T
ho< o< a book of tdeas about
scwmg cloth The tdca> arc
tcchmquc> that change the
look and feel of a ptCCC of cloth
wuh the aso.tstance of a threaded
needle 1 hn tcxtunze. cmbcll"h
mOatc, and support The) create
pu,kcl'>. fold>. w.lvt,, purr,. prnlcc
tiono. lnd openmgs Wuh sutching
by hand or mach me. thC)' resurface.
reshape.'. r('c;trucwrt". omd rccon
StrUCt a Oat. supple lliCCC or cloth
into cloth wuh an entirely diiTcrem
dispOSIItOn.
of the'c tcchmques materi-
alized somcwne dunng the long
history of cloth Along the way, per-
sons who handled cloth modified,
varied, and altered the elemental
techntquc;, mto more techmque'
The techmquc. "'qutred tdcnufymg
names like garlt<ring, plrarmg. ruth
mg, ;modmtg, qtultmg. word' that
are now pari of our everyda) vo,ab-
ulatj fhc tcchmqucs have bt>tOI)'
and they are J> \Jhd now
ao they '.ere back then Tod<l)'. an)
one ontcrc,ted on the wh.u, wh).
-.hen. and how of the'< tcchmques
can fmd mformauon 4111
over the plcc tn pnntcd matertab
and actUal ;.cw n-cloth ex;Jmplt'
Some yea" .1go. I nredcd to
re.carch tutk' for J prOJCtarltd loukong Abu from
th" bonk, a lot from that houk.
due' [rum "'cong ,lttual .oppht.o
uon..-<vtntu.olly 1 tnlltrtcd ' m."'
of tnfonnauun A ftw uf thr turk' I
dt"OV<rt!d dtdn't 'CI'II1 like Ill( k'
JcJ dJ"-IIIlfUOii,, I 111Vt' ..
11)ttcd plt.ol\, thnt kd "' llll ill,ll)'
Preface
about ;mocking. shimng. gather-
mg. and how they rela<e. Always
lht sources were a bit here. a lo1
there. wuh clues from pictures and
pre:).enlations-and almost always
the associaled a techmque
wllh one parttcular usage.
1 was frustra1cd because the
informa1ion I needed wasn't put
together in one place in a manner
that allowed me to pick and choose
and make my own decisions rcgard-
mg application. Embroiderers and
nccdlepointers have any number of
manuals that show and describe the
stitches or their craft, isolated from
anything those stitches are used to
produce. Similar directories exist
for those who knit, crochet, knot,
and weave. I wanted that kind of
comprehensove, order!) reference
for the scwong techniques tdenttlied
wuh rabric manipul:nion.
So 1 set our on a journey to sew.
wnte. and draw this book.
1 had a working objecthe: To
ca1alog fabnc manipulatton tech-
mques, emphasizing what they are.
"hat the) do to a ptecc of cloth.
and how tt'> done. from
, .. tth product For mt.
domg thai mean1 generalized
m .. truclions , .. uh enough specifics
to be ,
1
gutde for you. 1he reader, to
con>uh when adapung a techmquc
to the project of your chotec h
me.nll doagrams to clartf)' the dorrc
110,,. and photograph' ''"'" mg
or lhr wuhout
any parucul:ar envmJI\
11H'nt II nu-.Ull fandang '
g.&h' for a he ovct ,, lu.lnung 1o.mp.r ol
Juluk pm.'>tiHIHk-.. om fo\b
nc that would to ahr rrqutrc
ments of dtlfenng tcchmque- nd
present those techmqun on t\en
tenns.
I chose a medmm-wcight. cvtn
weave, 100% colton unblrachtd
muslin. To ancrease the mu)hn\
softness and mana.geabht)' It was
washed with dcu:rgem.
dampened, and oroncd before U>C.
When sewn lnto samplts. plam.
smoothlr woven surface doesn't
tract from the mam pomt, the
manipulation. It> bland color
proved exceptionally recepttve to
the light and shadow of hlnck and
while photography.
The subjects In 1he book dttect
ed their own organlz.tmon. The
Chapter tttles whtch break down
in1o techniques. the tcchmqu< dell
nuions thou expand anto
whtch arc 1hen amphftcd w nit
Note. and stretched wnh
Varianons. J.nd tht techmcJI mfor
matton perunem to nt()rC th.m c:mt
techmqur collec-ttd under &'tl' .u
the bcgmnmg of 1hc ChJpttr- -tht
stntcturr be<.ame ob\t()U' w(lrk
progress.:d The poctun-. du,ttred
ahtr thr how-to\
MMICIIOO ..tn group<d tn
that rmph..t-..a:.t rtl.mc.\n
1 ,, ,mttd to rn.tke: u "'uJ.lh
convcntrnt for \'(Hl tP t
p.uucul.n nt.mtpul.uu.ln '' n tiC'' d
.md w th.n '"-'" .m
m.tkr dt,('()\'l'11l'' \)r
The Art of Manipulating fabric vii
Getting the Most from this Book
S
tart with the pu.:turc-... Rffic
through the P'f.e< unnl om
or a c\u,ter of the photo
graphed nl.lmpul.u1on' l.Udle'
vour eve '-'top. 'on,1dcr. twn l<l<lk
at the dr .. \wmg ... relc,.lnt to y1.Htr
mtcrr't
hnd out 1 1herc .uc -.uml.u
mampuhuion"' in the
book. Comp.ue S.ilfch for conntc
tions and that 'Polfk each
other Bmld combinauon<. When
)'OU need to know. rrad the mstruc
ror your chchl'fl technique:,. tr
you're so mchncd. )'OU can ccrtamlr
>tart at the begmnmg wuh the tllus
tratcd text and rclcr 10 the ptcturt'
as you read. but take 11 m ,mall
do>e.
Tlus " a book of about
sewing doth [or you tO interpret
as )'OU sec fit ru mcJnmg
proper beconung, 'uu;lblc . . td)U\t
cd or altered to the sub-t.lncc, form,
or :,IZ.C requared I:Ht\ fr<htu'lur m
thiS book h Jll c lwngnl, mMt' m
b) hh(U )CIU tc> 11 Jrdm OIH
srdc You'll need to tntcf.r.llc tht
tt{hmquc you\c dlO'>Cn \\llh the
-,uuauon you \\Jnl to put u m, omd
the fahnt )<IU hJ\C m nund
Quahfte<IIIUth th.u wtll.1Uect the
fu of .1 tt< hnrqu<' u1dudt:
fabnc
A tedmrquc ''P''"d to tht
wcrght .<nd phahrht) of tht
llltl\hll tl'l'd 111 th"
hook m,t)' IX" wrttnl( fm tht J.rh11r
111 ynur h.md I hl'll "*"" )<1111
fothnc c.ould tl.lll,fnrm ,1 ll'c.h
fiiC{Ul' lUlU o,cuJitthlfiH "t l>t't ml OJ
you t ould m.ln.tgt' .UI Ullti,U,,I
vui
Jhe Att of Mtnlpulatln& fabric
111<'1')\Cr of f.lbnc and ttchnique for
unr.xpcctcd and umquc result.
Color/texture/pattern.
I he>< be.uuful dtstracuons
:tffcct hght and shadow and the
nouccabil11y of a manrpulation
in ways that can't always be fore
seen. Some techniques wHI be
overwhelmed by the color/tex
Lure/pattern in the fabric. Some
will be intensified.
Design.
The vbual. bas-relief elements of
a manipulation need to be
arranged rnto a pleasing compo
suion. Depending on 1 he tech
niquc. >titchmg. scam lines. folds.
proJections. depressions. edges.
and opemng> are components of
manrpulatcd design.
Scale and proportion.
1 hmk ahout juxtaposing b1g and
\OI.III rn adpcent techniques. or
d"torung the customan rela
llonshop of >tZC between a tech-
mque and ItS sttung. \lsuali:ze a
tcchmque expanded to fit wrthm
' grgantrc format hke a hangmg
for tht Jlnum of a skyscraper. or
behn .1bl) muuJtunzed to doll
huu"' and doll frgure >tandards
Pr".lctrc-.11 apphcability
Wrllthe tcchmque beh,l\'e when
lh moved> normal han
'lf.lltt, or prc'!>urc .1ffcct
tht tnhruquc .od,cNh? \\'rll 11
'm' ' c l.nmdcnng or dr) dC'.m
mJt' '"'llltht hrmnr ..
'"'""' '"'tl(ht .oddt'<l hr the
lt't hlll<jlll' llllrthtlll' l<l tht (lUI
"""' llllt'lllkdl
Skill.
Sewmg tit(
mstallanon of a ttchmquc for
bttter or worst !VIt>haP'
inevitably occur. but whn
do. don't gwe up. Booboos ar<
mnovauons m dtsgmse.
\ktween the techmquc>. undtr
neath the descnp\ton>. and around
the procedures descnbed in thi<
hook, there are devmnons and
mutations wailing to be
Invent )'Our own modtlkauons.
Imagine what would happen 1. ...
Test and experunent. Cloth and
what we do with it i\ il
study. as restless as the cloth 11"'\f
Approach wuh a <pmt of ad\'tnturt
Controlled
Crushing
PART
G
athering edge
of a piece of fabnc mto
mini-folds bunched together on
thread stitched close to the edge.
Gathering shonens the fabric at
the stitching line. Beyond the
gathered stitching, the full extent
of the fabric erupts into irregular,
rolling folds.
A field of fabric gathered only
at the top drops in spreading,
fluctuating folds to a floating,
lower edge. When fields or strips
of fabric are gathered on opposite
sides, variable folds flow unfas-
tened between constricted edges.
Fabric shapes gathered all around
project loose folds that inflate
into the center.
GATHERIN
1 Gathering
GATHERING BASICS .................. 3
Gathering Mcthods .................. 3
Hand Gathenng ...................... 3
Machine Gathering .................. 4
Automatic Gathering .............. 5
Ela>tiC Gathering ................... .5
Channel Gathering .................. 6
Stabili:ing G:nl>ered Stitchi ng .... 6
Binding .................................... 6
Extension ................................ 7
Stn)' ...................... 7
Star ...................................... s
f:lt ing ...................................... 8
Ru(llcd edge .......... ....... ... ........ 8
Stops ...................................... 9
FuiTO\Vi ng .................................. 9
SINGLE-EDGE GA1' 11 ERING .... 10
Procedures ........ ........................ I 0
Notes & .................. 10
Draped single-edge
gathering .................. .......... ! 0
Contoured >inglc-cdgc
gathering ............................ 10
Sta) cd single-edge
gathcrmg ............................ !!
Tiered single-edge
gathering .......................... !!
OPPOSITE-EDGE
GATHERING ............................ 16
Procedures ................................ 16
:-Jotcs & Variations .. ....... ...... 16
Draped opposite-edge
gathering ............................ 16
Puffed opposite-edge
gathering ............................ 16
Skewed opposite-edge
gnthering ............................ 16
Curved opposite-edge
gat hering .... ........................ 16
Circular opposite-edge
gathering .............. .............. 17
ALL-SIDES GATHERING ............ 21
Procedures ............ .................... 21
Notes & Variation.s .................. 21
Puffs ..................... ............... 21
Puff gatl1cring ................ ........ 22
YO)'OS ....................... ..... ... ..... 23
Note: This chapter begins with
BASICS, indicated by a gray band
loc;ntd unde:rnealb 1.bc rclevanl
columns.
GATHERING
BASICS
GATHERING METHODS
T
here are flve ways to gather:
by hand, by machine. auto
matically, wllh clastic. and
Lhrough channels. I htndt mnchane,
automatic, and one kind or cluslic
gathering are standa,d, stitched
thread methods. Other kinds of
clastic gathering and channel gath
cting arc spcdahy varitJtions lh:u
use dilfcrcnt means to gather.
Thread-based hand and machine
gathering involves 1wo procedures:
(l) stitching across the designmcd
edge or tltc fabric wi thin tht scom
allowance; (2) pulling on the loose
tluead dangllng llll!>ccurcd from the
end of the stitching \\1th one hand
while using the other hand to push
the fabric imo it>clf along the tautly
held thread. The sparsity or dcnsilr
of the mimfolds created by the
gathering. in combmauon wuh
stitch length. determine fullness,
which is the amowu and depth of
the folds liberated from the stitches
Long stitches tightly gathercd
release the most abundam fullness.
fland gathering de1><:nds on ntn
tling stitches. Because sewing tltrcad
15 vulnerable to breaks undtr ten
sion. use doubled or
thread in the needle. Anchor U>c
first stitch with a good-;ized knot at
the end of the thread. For plain
hand gathering. draw tl1c fabric up
Ol1l0 Ul O thread of a single 1'0\V or
C\'en rmming stitches (rig. 1-1).
GATHERING BASICS 3
4
LhrNdg.llhered mmi-folds are
''"mP' !he fullness produced in the
...,.,L oiL he fabnc will be. sligln.
Pknttful, dose mini-folds produce
gencruU> fullness. llowever. fabric
llrmly crushed imn copious mini-
folds on a row of running
sLucbcs Lends LO muddle at the gatlt
ered edge, espeaally if !he sLilches
are enlarged. SLroking imposes order
on >Uch dense gaLhcring. Sliding !he
Lip of a blunt needle up and under a
surfnce SLhdt. "stroke" and straight-
en the groove of fnblic beneath the
stllch from <he top edge of 1he fabric
down. One :<f1cr 1 he other, stroke 1hc
groove; behind adjacent stitches in<o
shallow, leveled. tidy folds (Fig. l -2).
Fig. I 2. Stroking running-stitched
gathering into orderly folds.
Rq;;ular hand galhcling accunm-
latcs ort two or three rows of even
running sti lches. The resulling mini-
folds. nent and mo1c comrollcd
than those formed on plain hand
gaLhering. n11 n hand as wide liS the
combmed rows of stitching, usuaUr
sp:O<td Y" (6nnn) or less a pan
(Fig. 1-3). Gauging is a vari.1Lion of
regular h.1nd g:uhering used when
C.\tra\'2j\3nt fullness is Lhe goal and a
loug length of fabric must be gathered
10 a VCI)' Ooluging
stitches nrc une,cn----shon on the
1iglll side and long on rhc wrong side
of the mmcrial. The Sl itch in
Tho Art o f Manlpulacing Fabric

F.g 11.
Equa/ly
spaced mn-
ning sfjrches,
paroally
garhered.
Ftg. I -3. Fabnc garhered on too rows
of hand or machin&-stitching.
fron1 ser:e; the dis1anrc between mini-
folds; <he sLilch in hack sets Lhc
depth. Sew 111 least rwo, preferably
Ll1ree, par.lllcl rows of identically
spaced and vcrlically nligned stitches
acros> the fabtics cdg. Push the fa""
ric 1111 the Llu eads imo L;ghtl)'
JXcked, unifom1 folds Lhat collapse
10 one side in naucnd layers when
Lhc gaugc!(3thercd edge is seamed to
another piece of fabric (Fig. l--1).
(for an addilional g:mged gathering
Lcchniquc, rcfer to "Buncd Cartridge
Pleats" 011 107.)
Fl(l. 15. Two
rows of zigzag
stitching encas9
one gathering
cord caught with
stirchos where
each row srarts.
GATHERI NG BASICS
gntltc,.lng is fuslcr than
hand gthcring. Like hand gather-
mg. SLnch length affects fullness.
longer sutch g:11hcr imo
deeper "hLch rei=
more fullness in Lhe fobnc berond
the sLhclung. For straigbt-sLiLched
machine gathering. gather the fab
ric onto Lhe bobbin of one,
tWO, or t..hree rows or :,.1 raight Stitch-
ing scwu wilh the llpper Lcnsion
loosened. Use cxtrn s<rong thread in
the bobbin 10 i mprove break rcsis
l tll'lt:C.
Zig::tg mnchlnc g:11hcring !Oier-
ates the Stntin of length)' or heavy
fabric gaLhering when e,en strong
sewing thread In the bobbm snaps
from Lhc pulling and pushing. The
fabnc slides imo on sturdy
string or cord loosely confined
instdc a Lunnel of :ig,.g smchcs
(Ftg. 1-5). To increase the cfficiencr
of gathering: (I ) Color-mark
the su-ing OJ' cord wilh after-gather
ing rargcl one. mrll'k
indicating a point 10 he anchored to
tbc fabric. a second marl; indicating
Lhe L:trget length for the gathering.
( 2) Start sewing b)' c:uching the
anchoring mark on thr string or
cord wtth a couple of smught
smchcs: change 10 a :ig20g <hat
encloses Lhe stnng or cord inside
thread for the length of Lhe SLitching
Une. ( 3) GaLher until the Largct mark
Fig. 14. The deep
gathers produced
on I/Jr99 rows of
gauged hand
srltching look /Ike
fine pl9ats.
on t he soing or cord appeaTs.
Another :ig:ag-gathcring method.
IC>S strong than t he abon, utilizes
bobhln thread: {I ) Stop after the first
stitch and bnng the bobbin.thread to
the surface; (2) pull the bobbin
thread out to the lengtl of the fabric
to he gothcrt-d: (3) zigzag over t he
bobbin thread; (-t) gather on the
bobbin thread.
Whcthor gathering on hand or
much inc fabric can be
pushed along from the unsecured
end of t he s titches to the beginning
where the gathering thread is knot-
ted, tied, or anchored-<>r the fabric
can be worked into gathers by push-
Ing it in townrd the center from each
end or the gathering thread. both
un.<;ecured. To gather a very long
piece of Iabrie. di\'ide the length mto
managt,.ble segments and stitch and
g.1thcr each <;egmtnt separate!)'
When gathering stitches cross
>cums tluu join two pieces of fabric
together, the extra layer of fabric at
the scnm :>llowances tl1ickcns the
gather ing. To detach the seam
allowances from the stitching, notch
Lhe scam allowances to the point
where machine-sewn gathering
stitches cross, or ;uspend machine
<ewing on cith<r side of the seam
allowances (Fig. 1-6). If band
St\\ ing. continue without ca1ching
the scam allo\\nces in the stitches.
After gathering to the tatgct
measurement. secure the gathering
( 1) with tiny stuchcs overcast in
place (lmndscwing); (2) by t)ing the
bohhln thread to the needle t hread
(machine sewing) . including any
zigzagged suing or cord in the tic;
OJ by "1nding the thread fi gme-8
style n pin inserted into the
Iabrie at the b st stitch (a temporary
fnstenmg). Gathers an: usually dis-
tnbutcd C\'enly along the length of
the stitching, but ouay also change
from hglu to tf desired.
GJthcnng rtmains adjusmble with
its thread ba.<e susceptible to breaks
untilu i> pcm1ancntly stabiliz<-d
(refer to "Stabilizing Gathered
Stitching" on page 6). Stabilizing is
- ------m------ .. .
.......... _ _:__
(a)
(b)
Fig. 1-6. When machine-stitching to
be gathered crosses structural seam
allowances: (a) Notch the seam
allowances in adVance. (b) lntetnJpt
the stitcNng to free the seam
allowances.
C!tSier 10 manage when the seam that
the gathered edge to anoth-
er piece of fabric runs hev.veen l\\'0
" ' ""' nf gathering, one (or two)
inside the sc"m allowance and one
just outside the se:am allownncc.
After <eaming, remove 1 he gathered
s titching thread that shows in front.
For some purposes, automatic,
elastic, and channel gat hering may
be more r mclicnlthan rhe hand and
mnchine gathering methods pre\1-
ously de<eribcd. With autonwtic
gatiJtrlng, the qualil) and quantit)'
of the bunched mini-folds is
machmc-se1 hthilr sewing rarher rhan
arrnngcd b)r maneuvering after
sewing. Two attachments, the easy-
to-usc gmhering foot (Fig. 1.-7) and
the onort cnmplicatcd, but versatile,
rulllcr (Fig. 1-8), comerr Oat f:obric
Into gathct-ed or finely pleated fabric.
F.g. 1-7. The gathering foot is as
easy to use as a regular presser foot.
The longest stitch length ccmbined
with tightened upper tension pro-
duces the fullest gathers.
Fig. HI. The rulfler attachment traps
puckers or pleats Into stitches as it
sews. II generates fullness ranging
from sllg/!1 to lavish with different
stitch lengths combined with settings
selected on the attachment.
Both lock a bit of extra fabric into
the stitches ns sewing proceeds.
With the gathering foot or ruffier
tounched to the machme, sew until
the automatic:oll)' gathered fabric
reaches target size. To estimate the
fabric rcqulremem, automatically
gather a short sample of the fabric.
measure bdurc and after ga1hering,
and use 1hose measurements in this
for mula:
(ungatheoed sample length
+ oatheod sample length!
taipei measurement
sllmated fabrJc umgth
Automatically gathered fabric may
also be I rimmed to size by securing
tl1c thread ''here it's cut tiny
dabs of fabric glue. Although auto-
matic gathering traps extra fabric
wi thin the slitches, the gathering
retains some ndjustabilit)' until sta-
bllim.l.
El asti c gathering wit h clastic
thread, d :tstic cord, or clastic bands
adds st rctchahlll ry to 'lutomatic
full ness. (l) Strnigh t s titching with
elastk t hread In the bobbin gathers
t he fabric softl y: Wind the elastic
around the hohbin b) hand, stretch-
ing it >light!); while stitching, hold
the fabric taut before and behind
the needle. {2) The fullness created
by t'Ord clastic caught inside a
zigzagged scam mcreases 10 the
degree the cl:tslic is stretched dur-
mg sutching. and the fabric is gath
ered on the dastic ft er stitching.
Chapter I GATHERING 5
cnttoor
-""'"' lm.:th
!he &bot ,.,th
-:f=ac. p:b<r; if !he ci:L<-
bl->c lcns:rh dur-
Fig 1-9
1-a!>rk """ .1..., be gath<red on
dame bbatai mto a cl=md of
bbric
-... - .. __ .......... ______ .
(d)
' I '
Fig. 1- 10. (a) Gathering on
a rod illserled through a
hem. (b) Casing o/ U!pe
sewn around a tube of fab
ric. A drawstring pulled
through the casing with a
bodkin or safety pin wUI
gather the tube. (c) Loops
caught in the seam joining
fabric and facing wlff be
slipped over a rod and
pushed closer to gather the
fabric. (d) Hemmed edge
prepared for gathering on
ribbon woven through but-
tonhole perforations .
Ftg. 1 9. Length of elastic, divided
into qustters, pinned at tho divisions
to Iabrie, also divided into qustters.
To sew, replace the pins with
machine basting that crosses the
elastic. Segment by segment, stretch
the elastic to match the Iabrie while
zigzag stitching.
One kin<l of cluumel gculu:ring
starts with a casing fonned ei!her
by a hem at the edge or a tape
apj>licd across the fabric. Openings
at the ends or htt crnal slits :1llow
access mto the channel cn:atcd
between !he two layers of fabnc.
The fabric slides into gathers over a
gathering elcmcm- a length IJf
string. cord. tape. rilibon. elastic.
rope. chain. wire. dowel, or rod-
mo,ed througb the hem or tape
casing. To fadll t:llc gathering. the
ca<i ng channel should fi t
around the element inside.
6
Another k;nd of channel g.1lher-
ing exposes the got hering clement
to view. A row of loops attached co
the fabrics edge. or holes or slots
!hat pierce the fabric. create chan-
net. witlt open spaces through
which t he gat hcri11g clcnmil moves
in nnd OUL Two reanucs exclusive
to all channel gathering: The gath-
The Art of Manipulating Fabric
aGIDODDDB
.. 1 . ..-----,----------H
'
ets may be adjusted an<l re-adjusted
at any time, ond the g,thering cle-
ment may be removed a1 any lime,
returning the fabric to its ungath-
ered s tare. ( Fig. 1-10)
STABILIZING GATHERED
STITCHING
Su>bilizing fixes hand und
machine gath<ring. It ends chc
shifting of gathers on the thread.
prevents the gathering thrcnd from
snapping, and conceals the gather
ing stitches.
Stabilizing mar be 'isil>lr-a
hlndil>g, extension , foundation stay,
or ufncd edge, or stay
or facing. Where t hey connect. the
stabilizing fabnc matches the gath-
ered stitching in lcngtl1 and shape,
nnd the stabil izing fabric udds one
or more Inver-; 10 a fabri c :.drcady
thickened by bunched gathers.
During the stabilizing process, the
gathering .rhches disappear from
s ight.
GATHERING BASICS
A binding visibly stabilizes t he
gathtring and encloses the stil.ching
ond seam allowances front and back
inside a tunnel of smooth rnbric. A
bound edge is neat and fi rm, and
adds three or four b yers of binding
fabric to the bulk of the gathering.
Binding a gathered edge with a
long, narrow Sllip of rabl'iC Is a lWO<-
Sl'am opcrotion. To prepare the bind
ing strip for methods =I and ::2, turn
the seam allowance one
lengthy edge 10 the back nnd press.
For method # l , sew the umumed
edge o{ the binding to the gathered
edge with right sides together. Bring
Lhe binding up and over the scam
" llow"nccs, Lhcn bandscw 1 he t urncd
edge of the binding to the joining
se:tmlgathering in back (sec (a} in
Fig. 111 ). For method #2, sew the
unnm1ecl edge of the bit1ding,
side up. to the wmng side of the
gachering. Bring the htnding up and
over the sc-nm 10 lhe
covering all previous stilching.
and edgestitch next to the mrncd
edge of the binding (see (b) in
fig.l-11 ). To prepare for method =3.
which rcmmes one layer of fabric
from the binding. serge one long
edge of the binding strip. \'\lith
nght sides together. sc" the
tdge of the binding to the
gathered edge. Fold the edge
to the back. pulling it dom1 below
the stltchmg. righ t side up,
in the ditch, against t he fold
of the binding. catching the scrged
edge ol the binding in the seam
(sec (c) In Fig. I - l l ). Note thm a
fin ished binding wider t iHt n the
will feel empty
above t he enclosed scam
allownnc:cs.
(a)
( b)
(c)
Fig. 1 11 . Binding a gathered edge:
(a) With no stitching visible in front.
(b) With edges/itching visible in front.
(c) Wi th "in the ditch' stitching hidden
in front.
An extension of fabric covers
tltc scam allowances and gathering
stilche-; in front , but not in back.
To tldd an extension. either (l) sew
the extension to the gathered fabric
\\1th tdgcs Dllltching and right sides
together, or (2) cdgcstitch next to
the turned edge of an
plnced on top of the
smchc.s, or (3) combine (I ) and (2)
(Fig. 1-12). 1\vo or more rows of
cdgcstitchlng reinforce the sc-am
and add nmme.<.s while compress-
ing the bunched gathers in the
scam allowance underneath..
(a)
(b)
Fig. 1-12. Gathering stabilized by a
fabric extension attac/1ed (a) wilh an
Invisible seam. (b) with visible
edge stitching.
A foundation stay surrounds a con
toured and gathertd insertion <-ith
fabric. Method "1 Ill Is a cutout in
the foundation fabric with a gath-
ered inscr11on. Sew the turned edge
of the cmout oer the
edge or the insert ion with
edgcstitchfng by machine or blind-
stitching b) hand (Fig. 113).
For Method #2, fabric shapes
gathered 0 11 opposite sides or all
around nrc appliqucd to matching
<mtli ncs marked on the surface of a
foundation Edge.s gathered ou
straight machine stitching are the
easiest to manage. Before gathering.
turn tht edge under ou the stitch
ing and heat press or finger crease.
(a)
(b)
Fig. 1-13. Sewing a gathered inser
lion into a cutout In a foundation stay
with (8) edges/itching and (b) blind
stitching. Edgeslitching emphasizes
the outline of the cutout; for more
emphasis, satin stitch over the
edge stitching.
After gathering, blinds titch t he edge
to the omllnc: Catch the gathering
t hread and scvctai threads of the
fabric In the needle before pushing
it t hrough the foundation and out
V." (3mm) ahead, just in front of
the gathered edge, ready for the
next smch (see (a) in fig. l -H ).
(b)
Fig. 1-14. Gathered applique options:
(a) Blindstltch an edge gathered on
machine stitching. (b) Flute an edge
gathered on hand stitching.
8
Flu1ing is a hand-applique tech
mquo unique to hand-gathered
edges. It aiTanges gathers into
gTOO\'CS betwn standing folds.
Gthtr the already turned edge of
the fabric on the thread of cquallr
sp.1cod nmning stitches (the larger
tho stitches, the higher the
nutcs"), Distribute the gathers
even I)' Start each tacki ng stitch by
Sl roking 1 he groove with a needle
from 1 he inside out to the edge; at
the edge, catch several threads or
the labl'ic in the needle before stab-
bing It through the outline on the
foun<l:uion. Bring the needle up in
front ol the lleXt groove and conLill
ue (sec (b) m Fig. 1-14). RemO\e
the gathering thread when all the
have lx-en t.u:-kcd.
t\n Invisible sray is an underlin-
mg that controls gathering before it
is stabilized in a finished manner. If
the fabric is soft and s linky, a partial
StOI)' s teadies t he garhc,ed edge
before binding or adding an exten-
sion. 1\ full edge-to-edge stay makes
n gathered insertiotteasier to han-
dle while sewing into a cutout
inside a foundMiun May (Fig. 1-15).
When the layer of fabric added by a
permanent s tay is undesirable. use a
temporary or a com
mercia! product de,-cloped for the
purpos.:-whu;h can be tom awar
whtn ItS usefulness is o\er.
The Art of Monipulo:rcing Fabr ic
(a)
(b)
Fig. 115. (a) Target-s/zed stay fora
gather8d square (b) which is stayed
when the two are basted together
An imisible faring is a linillg
that wcU as finishes a
gathered edge. Sewn to the gathered
f:tbric wlth edges matching and
right sides together, a facing, wben
turned over to the hack. also turns
t he gnt he red seam allowance to the
A f11cing for single-edge
gat hcrlnJI, has a loose edge in back;
opposite-edge and all-sides gather-
ing need full edge-to-edge facings
( Fig. 1- 16).
(a)
F'19. 116. (a) Pattie/ facing stabiliz-
ing a gathered edge. (b) Gathered
edge of a fabric circle surched to a
target-siz8d facing before (c) turning
right side out through a slash in the
facing. The gathered circle rolls at
the edge and inflates.
GATHERING BASICS
The rujJicd edge is a decorative,
frill)' finish for th<' gathered edge.
When the stitehlng to be garhercd
is St.."-'''n a distance a\Yay f.rom the
fabncs edge, the stnp of fabric
hen, .. n tht stitchmg and the edge
breaks into a ruffie after g:<tbering.
To smbilize: ( I ) Wllh the edge of an
extension slipped beneath the gath-
ering sticchcs. topstitch over t11c,
g:uhcring Stitches. then cover them
wilh dccornllve stitching or an
applique. Or topslli ('h next 10 the
stitches nhd remove the
gathcling Lhn:acl topslhcbing.
(2) Sew a s tay or tape to the back of
the go1 hering stitches. (Jaunting tbc
gathers for decorative effect in from.
(3) Sew a decorathe 513)' of ribbon.
tape. or br:ud on top of the gather-
ing stitches in from ( Fig. 1-17),
( Refer to "Edge Finishing for
Ruln<'S" on page 43.)
(c)
Fig. 1-17. SUJbilizing a ruffled edge:
(a) With an extension slipped under-
neath /he satfnStitched gathering
stitches. (b) With a tape handsewn to
the back of the gathering stitches.
(c) With s tape edgestitched over the
gathering stitches.
:::mg gathered stitching"
appl) to srrttchable elastic
but tf the elastic is inside
:,_"-'= u nteds srnps to prevem
IDlO tho channel Other
..:=:=:1-gothtnng elements of fiber,
.as tnnl!,. cord, tape, and rib-
...-..1 tOps as well. Depending
clemtm :md the silttation.
n>d. can be stopped by fasten-
the f,tbric, or the)' can be
bc)ond channel capacity
i<noL.<, bead.s, msscls, or
o (Ftg. 1-18). For encircling
wb. the ends c:m be tied or
.J together, or COIUICCLCU with
>ll.lp>. buttons, or Velcro.
bcr gathering d ements such
m. dowel. or rods are
,d "uh suitable hardware
118. Stops at the ends of a
..Stnng block accidental removal.
A s:cp could be a large knot or, as
own. a bead held in place between
ots
F URROWING
With tin)' tacking stitches
furro"1ng creatc, a controlled
relief of meandering. suirling
grooves and crests from the fabric
that balloons between all-sides-
gathered edges appliqued to a foun-
dation StO)' The tacks sian widely
spaced and get closer and closer,
alwn)'S reducing the innmcd fabric
left bctwcel1 previous tacks, adding
more tidges 10 1 he d,cloping maze.
Mnrl< the surface of a foundation
stay wit h t he outline of the gath-
ered slwpc 10 be furrowed. Cut the
fabric 10 be gathered and furrowed
two tunes larger than the oUiline on
the foundauon. even for
dense furrowing with deep crc,1n-s.
Dot lhe fabric in the center and at
equally points between the
center nd the edges. Mru:k the
back of tl1e foundati on behind
the om line. wi th similarly spaced
dots. Stretch the stay in a hoop.
Gather the fnbri c and applique it to
the outline marked on the s tay.
r ush" t hreaded needle straight
up and out 1hrough the center dot
marked 0 11 the smy in back and the
center doL marked on the swelling
fabric above. Take a stitch three or
four threads-of-the-fabric wide and
push lhc needle stright down
through the St3) and out the back.
Pull on the thread 10 bring the fab-
ric down to foundation le,el.
Secure a second stitch mcr the
first. In back. muvc the needle to an
adj:occnt clot position and make
anot her double-tncl<, pulling the
dot above and the clot below
togcthct. When all the dots have
been -:mchorc:d, refine the remaining
bulges with more tacks tO make
new furrows. Use the needle's point
to assist the grooving as tacking
conunucs. (Fig. 1-19)
(a)
(b)
Fig. 119. (s) Furrowing a puffy. gath
ered app/iqu6 with double-tacks.
(b) When tha furrowing is finished,
thread crisscrosses the foundation in
back.
The height of t he crests bet ween
funows diminishes as the number
of Increases. With a densely
furrowed surf::tce, the crests h:wt
JiuJc 1'00111 [or collapse, but 3 Ja)'Cr
of bauing or loose fiberfill insencd
between the guthcrcd fabric and the
foundation sta) adds suppon.
End of GATHERING BASICS 9
SrNGLE-EDGE
GATHERING
-one side of a piece of fabric
reduced to a smaller measurement
when crushed onto pulled thread
stitching. elastic. or over channelled
elements. Below the gathered edge.
the loose fabric drops and spreads in
graceful. unstructured folds to a
floot ing lower edge.
PROCEDURES
1. Decide how much fuUne.ss the
below the gathered edge
<hould displar-<light. moder
ate. generous, abundant. Set an
aftcrgatherlng target measure-
ment for the gathered edge. To
csumatc the length of uogath
cred fabric needed to produce
the desired full ness in the gath-
ered fubric, tnuhipl)
1
the rarget
me-asurement by Lhc amount
indicated in the followiog chan:
silghtluliness (targetJ x 1
moder.ne iullness (tnrgeq x 2
generous luliness (largetJ x 3
abundant lullness Jtarget] x 4 (+more)
As the tlo!Tcrcncc between the
target mcru.urtmcnt and the
length of the fabric gathered to
match that target mcreases, the
fullness relea.ed br the gathering
also increa!>cs.
2. Add 111dth to the estimated
length for the tongathercd fabric,
<tnd cut the fabric. If necessary,
piece the fabric to achieve the
necCSSIITY length.
3. Di\1de the edge to be gad>ered
into halves, quarLers, or eighths,
:mel rnark Lhc divhions between
segments \\1lh pins. nips, no<eh-
es, or chalk. Equate to similar
but >mJUcr tli\'isions on a
g:mgt-a ntler, a snip of paper
or fabric- that represents the
target measurement.
4. Gather the edge (refer to
'Gmhering Methods' on page 3),
segment b) scgmcm. to fit the
target Distribute
the gathers as desired.
5. Stablli:e the gnthcrlng ( refer to
"Stabilizing Gathered Stitching"
on page 6).
NOTES & VARIATIONS
The <tnndard for lngle-edge
gatheri ng Is "cut , s titch, and gather
on t he strnightgrnin of woven fab-
ric: stabili:c horlzonuolly ;md
straight." Also, "st itching on the
crossgrnin b preferred O\'cr stitch-
ing on the lcngthgruin because the
folds released from crossgrain gath-
ering hang more ruuurolly than
folds from lengtlgrain gathering.
tlowc,er, de,1atlons from these
to spedf1c
stances are normal for gathered
applicnrions. l'or example:
Drtopetl shogle-rdge gathering
extends to two adj<Occnt edges of a
squ:orcd piece of f:obric. As a result.
the rdea>cd folds tlmpe toward the
center, and che n()ating edge, wi tb -
OUI the ripples and w.-cs typical of
straight-hanging folds. descends to
a point (see (a) In Fig. 1-20).
Stabili=ing tl1e gathered edge at an
angle tighter or ,,;dcr than tht orig-
inal angle alters the curYe of the
draping nd the length of the point.
For concourrd slngle-lge gatlo-
tring, the gathered edge veers from
the straight uncl horizontul while
retaining. noating edge that ripples
and waves. A straight, gathered
edge may be swbilized to slant up
o1 down, and, hecnusc of Its ilcxi-
biliry, to cur\'e: or angle. \Vhen a
straight, gathered edge is stabilized
to arch or angle upward, the folds
releoscd from che contoured stabi-
lizing deepen and swell. and 1he sil-
houcnc of che noating edge imitates
in reverse the contour at the top
(sec (b) In Fog. l-20). Straoghtening
the floating edge br tnmming
places it off-gr.un.
10 Tho Art o( Manipularing Fabric
SINGLE- EDGE GATHERiNG
FI!J. I -20. Singleedge gathering vari-
ations: (a) FOlds released from adja
centedqe gathering drape.
(b) Straight, gathered edge stabilized
at an angle. (c) Straight, galhered
edge stabilized to cutve. (d) Straight,
gathered edge stabilized in a flat cir
cle becomes e ruffle.
Stabilizing n straight , gathered
edge to clip in a curve stretches
folds Olll of the 0onting tdgC, more
so as the dcplh or the curve increa.s-
es. unless (1) the fabric Is lengthy
and weighty enough to hung
straight down from the gathering.
or ( 2) rhe silhouette of
che floating edge 1S considered in
advance (see (c) in Fig. L-20).
Instead of the gathered-edge target
measurement, the silhouette of
the noacing edge us the target
measurement to estimate the
length of ungathcrcd fabric needed
to produce t he desired fullness i n
a fl oating edAe hanging from con-
cave srnhili zing.
When ao1 PilliCntion requires a
straight. on-grain. lloaung edge
wuh the desired fullness hanging
perpendicular and even from a
contoured gathering {-dgc. the fab-
ric needs to be cue from a pattern.
(I) Mak full -slu pttcm. ";th-
out a scam allowance. of the target
shape the gathered fabric is co
match. (2) Slosh copy of that p3l
tern inl o cuuin$; in the tlirec-
rion the folds wil l hnng. (3) Tape
the \ tnps to another piece o[ paper,
I() stretch out the pat-
tern add the desired fullness-
a! crgJlhering to the target edge.
(omtl-.:ting the separated strips
"'"h re-draw the outline-
,. htch becomes the pattern for the
>bnc to be gatltered. Variation:
"J>r<ad the strips more at the hot-
tom thon t he top to add Oare to
the folds released from the gathered
edge ( Fig. 1-21 ). Add a seam
.tltownncc tO the fi nal pattern.
ror applicaticms so large that
' orkmg with a ullsizc targcL pal-
tern ts unprnnical. reduce the target
dtmcnsions and s hape to a work-
l>te ;cole for panern dr-afting pur-
. "'"PC"S Record actual-size measure-
1rnb on the gather-
pottem and opply those mea-
... ur.:nu:nb when cuuing the fabric.
StaJ rd singlr-ttlge gatlreri11g
hxwe a lloating edge. The
dtmcn<ional folds released from the
1\Jthcrinp. stitches diminish and tlb-
.tppenr at the opposite edge wh ich
1> "retched smoodt and stayed Oat
co prevent ripples nnd movemcnL
To maintain a nat. straigh t. stayed
edge. the opposite edge can be
only up to the point where
the >1dcs begin to drag the stayed
edge OUt of nlignmcm. Too much
\\ill force the stayed edge
to curw up. \\'hen one edge is
<t.tycd In a curw that encircles. like
tube of f3bric sewn to a circular
cutout in a foundation, the opposite
rdge. tightly gathered, closes the
ctrcubr opening with folds fhat
r-.1dinlc from '' cennal
mled the width of the tube equals
the rndi us of t he circular cutout.
Lc>> than tht' radius-an opening
by gathers: More than
the mdiu<- thc gathering closes but
puff; ( rig. 1-12).
(a)
(b)
...- -IS
8

(c)
Fig. 1-21. Slash-and-spread pattern
drafting lor an Inset gathered on a
contoured edge: (a) One-hall of the
miffOr-lmage target pattern
(b) slashed imo narrow strips which
are out on folded paper. The
re-drawn outline is the gathered inset
pattem. (c) Adding optional flare to
the floating edge by increasing the
at the bonom.
Fullness multiplies with each
addition to a buildup of tkrecl
slngle-eclgccl gatltering because rhe
ungathcrcd edge of one tier stabi-
lizes the gnthercd edge. of the next
t ier. Tlte gutlterecl edge of fabric
strip #2 Is sewn to the ungathered
edge of strip #I: gmhorcd tier :;3 is
sewn tu the ungathcred edge of (icr
#2: and 'iO on. Each tier increases
the length of the gathered edge for
the next tier {Fig. 1-13). If the
of the gathering is also
for successive tiers, full -
ness wi11 increase
(a)
( b)
(c)
Fig. 1-22. (a) Gathering limited by the
opposite edge whlcll is stayed flat
and straight. (b) Tuoo stitched into a
circular cutout will flatten and almost
close In the center when tightly gath-
ered. (c) Tube stayed over a rigid
form with the end of the tube closed
by gathering.
Fig. 123. From tightly gathered
stitching at the top, fullness increases
gradually but dramatically when gath-
ering is tiered.
Chapter I GATHERING II
An01hcr varhuion of stayed sin-
gle-edge gothenng invohes pauem
drafting to enlarge the edge LObe
gathered. hut not the oppostte edge.
The Meps foll owed when drafting
the panent duplit'tltc those
described for Fig. 1-21 \\lth a cru-
cial difference- instead of slashing
the ta'l\CI pattern into strips. lhc
cuts stop !lio" ( 1.5mm) from the
edge opposite 1 he edge to be gmh-
crccl. Stlckl11g t he slashed wrgt l
paucrn LO :mother piece of paper,
fan <>Ut the strips to enlarge the
edge designated for gathering.
Filling in the spaces. outline t he
gathering p:tttcrn ( Fig. 1-H ). Use
the onginal "''llct pattern as a stay
for the g.1thcrcd piece. Add seam
allowance> to final patterns.
( c)
Fig. 1-24. $/ash-and-spread pattern
dmtting for stayed smg/6-edge gath-
ering: (a) One-half of target pattern A
(t:J) stashed t:Jut hinged at the oppo-
Site edge, fanned out on folded
paper to enlarge the edge designat-
ed tor garhering. and with the
expanded edge re-drawn. (c) Pattern
C cut out and marked with a notched
edge that, when gathered, wit/ match
the notchos on patterns A and B.
12 The Art of Manipul ating. Fabric
I 1- L<)]IItly fiatncted on mrJCtooroed so<chmg.
m1.1Si1fl etllarged r
1
1} tile torger dJn1Cn5!01i
npples !.O[tly ot rho fl!kolirog
SINGLE-EDGE GATHERING
I 2 Mu>!n !l"fho ed moderoteiy (ull on
macht11e sewn sr1tchng loses 50% at as
length
<lose gmi:enng on lhrco
f!lQChrne sotcl11r'lg rcducrn.
-..sfln ro one.lhJrd t.s ongml
ttl ar.d re.toase:; gMtrous
/illds below lloe ;Jihrmg.
J.c,oSJ> fullneSS Wlrh deep IOld$ deS<end;
eorl>cnne wl>och
"'ttndenSlf.J the mus!rn tJS!d {ot rtus samp.
1
.e to
7: cr 1cs ai$"011et>R:I>.
-
.. '
1-5 The drap!'d (oJds com}' ;;ct'lei.M
edges Oj 0 mliS1,n SC'jurJre tO ha,fihcif length.
I 6--Garheted t'M\ \\1th a cornOUI"ed r.eoc1ing sc: o MM ., o
stay (for ihe P<metn see Fig 1-71)
14 The An of Mallipulacing Fabri c
1-7--Gm/le<ed fior" o( mustw\ twO {Cl>-s.'l-.:>e<l
oppl,ccrJcr.s ..m suJyed sho:>e<I"UO CO<>tlled by o'le
deJoS>ty of the
(tom o pottem eni<Jf!1cd for gc!henng on one W. orxJ
Stated honzontafiy. lhe loose, lower edge of !he gcth<>recl sample
(ails nto o cu.-vo
llers. eoch &<'fT.-./ (t/4 than rho I>C< <lbooe, ...ctOOSe
"'tumterence of lhe flooong edge '"lhout bulky galh<)rs
d1e blrl<Nnll at lho lOp.
I I P<lth." a 110'J,1Janol pmchwotk pattern. wlh
parcloes dmens'Oil(Ji,<fd by folds lha; "'"""" (rom a a..->1
(iG!i>e-ed """"'11>! f/Oii><'< retches 1\tre sro; I be{Ote
assemi>Y,(For the ponern. sec F1g. I 24.)
I 11- Stnps one edge ser '""' a ''""'or cutout before tijihtly
gmllet"'!!lhe Of!POS'!C ecr,e.A{rer Coe/i) 0 SO>:> ....
than me rud...s of the curcut letMS o cc111er openog; (ceotor) o
strt> os wide as d1e rod:us re'eoses {old> (."'m a
ce<>tnJI p.,,pa,nc(ni/lt) a ""0 ,,<Jer than lhe rod>us 'll;iole; lllO
musl.n IIIIo o <brr.e.
Choptcr I GATHERI NG I S
OPPOSITE-EDGE
GATHERING '

--
-
I
-
-
.
-:::;;:
-=
_ .--:;;
Fig. 125.
Opposite-edge
gathering beforo
stabilizing to a
shorter stay-
which will cause
the long, loose
horizontal folds
to drape .
--<>pposite sides of a piece of fabric
made smaller when crushed onto
pulled t hread stitching. elastic. or
over channelled inserts. The freed
fabtic between the gathered edges
collects into variable, directed folds.

--

PROCEDURES
To g3ther the opposite edges of a
length of fabric. adapt the proce
dures described for "Single edge
Gthcring" on page 10.
NOTES & VARIATIONS
Opposite-edge gatherl ng requires
opposhecdgc smbiliting to nnchor
both gathered edges and maintain
the released folds in a directional
and taut or slack condi11on. The
folds can mme straight between the
gathered edges, or 1 hey c.1n drape,
puff. radime. or skew. The forma
l iOn of the sculpted fol ds thm arc
libemtcd between the gathered
edges is the primary design focus of
opposne-edge gathering.
When oppositegathered edges
are to a star that b >mallcr
than the g3thertd fabric, the
cramped folds in between either
dmpe or puff. For drapctl OtJ/JIISitc
cdgr gathering, the rclc.1secl folds
mus1 be hotizomal lengthy
enough to droop of their own weight
when the gathered edges >rc St:tbi
lizcd closer together (Fig. 125).
For pujf<d gmltering.
the folds released between the g,'tth
cred edges must be rel:uhel) short. as
they are between the gathered edges
of a narrow s1rip of fabric. lrtstcad of
draping, 1he folds thrust upward
when the gathe.ring stitches arc tOP
stitched to an even nan'Owcr stay,
brClt king up into swirling ridges und
peaks ( Fig. 1-26). The dmpcd or
puiTtd effect grows more pronounced
as the st:t)' becomes smalkr. Unlike
draped opposite-edge g31hcring.
puiT<xl oppostlc-edge g3thcring c:tn be
rotated in any direction, 'md the cle
vnnons collapse under preswrc.

-
-
Fig. 1-26. Strip of Iabrie gathered on
opposite edges, stabilized to a stay
that's smaller thsn tho strip is wide,
puffs up into craggy folds.
Skewed Ol'l'osilrrtlgt gcultering
fixes tbe folds into a chagonal rela-
lionship \nth the edges. After stabi
lizing the left edge by basting the
gathering stitchc. 10 a stay, pull the
right edge downword forcdully
before basting t hat gathered edge to
t he To provem t he pulled edge
from wandt:ring whi1c topsLiLching,
match the l'dgc to n guideline
marked on the stay (Fig. 1-27).
Skewing decreases the original
\\idth of the gathered fabric.
16 The Art of M>nipulatlng Fabric OPPOSITE-EDGE GATHERING
...,
Fig. 127. Opposite-edge gathering
skewed by tugging the right edge
down to angle the folds before bast
ing to the stay.
Cwwd oppositecdge g(ttltuing
arc> anU I urns. Curvature is ro1'Ctd
by g:11 he1i ng segment on one side
of the fnhric strip tightly (the in net
curve). the segment directly oppo
site lightly (the outside curve). and
stabllizmg the edges according!)'
(Fig. 128).
Fig. 128. Strip of
opposite-edge
gathering that
CUNeS when SIIC
/iolls ol ooe edge
are gathered
lighter than the
sections
ately opposite.
(a)
Fig. 129. Long strips of
fabric with ends joined,
gathered on opposite
edges, (a) fashion a wheel
and (b) create a dome.
For circular opposite-edge gather
lng. the end.< of a fabric strip are
'4!\\11 roge1her. One edge- the
'""de edge-needs ,cry tight gath
cnng on large slirches (rhc larger
the "itches, the smaller the central
>pcning). The opposite edge- the
out< ide of the circle-is lightly
The gathered strip Call be
m.mi;>ulat<tl into a nat. wheel-like
'hape or nn elevated, domed form,
.1-' determined by l-hc nmou1H of
gathering on the outside edge.
lk'th have deep folds. collected
around n cencrnl axis, th3t dimin-
"h a> they radiate toward the
out<r edge (Fig. 1 29). To gather
he outer edge. the strip must be
ongcr than the circumference of
he target circle to which the outer
dAe "II cvcmually be stabilized.
"' the target circle's circumfcr
m:c (ci rnunference = diarneter x
l H) as the wrget measurement
"'hen estimating the length needed
to g.tthcr the outer edge, A s trip as
' tdc the radius of the imended
trcular om line will gather n ..
nhin that outline. A strip wider
han the r,,dius of the intended cir-
ular l)Utline, when gathered on
pposltc t dges, will ele,.atc in the
ntcr within that om line.
none of these fh the situa
tion, draft slash-and-spread patrems
for 1 he gathering.
Insertions of a target shape covered
with folds that cross from a densely
gathered edge to a lightly gathered
edge (Fig. 1-30), or a target shape
wi Lh nn unus,unl outline covered
with folds that cross from edge to
edge (Fig. 131 J', need patterns.
Sl:ISh n cop}' of the target shape
>lr:ight ncross from edge to edge in
the direction of the folds; spread
the pe.< apart on another piece of
paper to enlarge the edges for gatb
cring and stick to the paper; draw a
new outline that fills in the spaces.
Add scam allowances after drafting
pancrns.
Fig. 130. Using the stash-and
spread method to draft an opposite
edgegathering pattern that will be
gathered more on one edge than the
other and stayed to a rectangle.
Fig. 131. Using the
slash-and-spread
method to draft an
oppositeedgegath
ering pattern. based
on an unusually
shaped to be
gathorod unequally
along selected por
lions of the outline.
Match points ( .. )
direct the adjustment
of the gathers.
After the gathered
edges in a l'inishcd manner. arrange
the \lnfastcncd folds agreeably,
pinning the tdgcs to
a padded board if needed. Steam
with ttn iron held nhove the gathc.r-
ing. Allow to cool and dry before
moving.
I-I 2-lvlusl"' garhered on and Slfocclltd <lowels 111to hems
1- I 4- Tropezoid of muslin worh rl> slonr.ns edges gorh<>ll!<l
before sure/ling to o mctanll"lar ""Y as wide as d1c rop o( tile
crapezo.od. The ll!feosed folds drope wrth onci'Ms.ng depth to n
per.d<lntlowe! eclge.
18 The Art o f Monipuloclng Fobrl c
1-13-Musl:r. garhcrod on and dmped between dowels
tf"'sened into he.-riS.
0 PPOSITE- EDG E GATHERING
1-15- MusJrn pottemed w)/h o c!esogn Chat conrroscs smoolh (abnc w:rh
rhe dime.'lSIOIJOf, dfteCIJonol (ofcls o( auromctica!Jy .arherad
f. f U>U( cx,m.ts !he Oroct"'n 0( g<;!/lered (old$ lO
rile Portt o( o p.ece<l desgn. 8oltkr garhenng
a:ound cl>c '""""' IS stayed sngle ec'ge gathering
{lis Ull! e:gh! lncnges OUIJ.<Ie lhe border. Af/ P:ces were Stayed
before ossemt>.'y
..
'
r
'
j
1- 1 8- Ratlle""'' <lrown l1f' on motch.,g
,-o ... s o( C\o1!rlftspaced '"'MinR smdlet. Tnt!
...,stroked and the Puted opp/HJUM
W Clle {oundar1or?
1-l 7- Generousiy gorhe1e<1 inserts fill shoped cutovtt 1n
a muslin (oumtauon. Tlie gather'S 1n the border start .smoorl1 o( the
corner and grodually mcreose 111 denSJty .
OPPOSITE-EDGE GATHERING
l-19- SerpenMe canstrua.-on o( gorhe:ed SlfiPS curved by a<!lust!ng
lhe gaU1ers, \"'ith of smooth (obnc. All
srirclled ro a (XIper st.at Ol.lV>ned WJU> rho deSJRn The 1J11ne po(fed
slrlps have permanent swys o( (obnc.
Chapcer I GATHERING 19
1.20 Thl' SIIPS on on' sl<""ed the stnps an Ilk'
sdes puff too ""if'' of 31" (2cm)
OPPOSITE-EDGE GATHERING
1-2 t- Mcdal/1o" canstttKte<l (rom S{f(ligh< S<nps of '"vsln gathered to
rrdlate ancl enc;rc
1
c. 5tJfdled to a stt{(enr:d fotJndrJtton, foJds spread our
from o oper.ocg wOilcd th c<re;> gatt-m, to <l of toPS<otd1
"'11 thot .. "ruffed e<lgc The ''""''"j..g ,,. o; "'"""gaY- "'R
I:S purttd
Sw,>S gmMft<1 "'"' <wo dome</ - "" oory (abrlco!ton
of b"','ow1ng mus/ln-, rhe ocher molded cJno seorrHet Chef o tOI.Inde<4 sobo J4t'1Tl
20 Tho Art of Manipul ating Fabr i c
ALL-SIDES
GATHERING
-a fabric shape condensed Into a
smaller version of itself when its
entire edge is drawn up on pulled
thread stitching. elastic, or over
channelled inserts, inflating the fabric
between the gathers.
PROCEDURES
I. Sd ectl:trgtl shapes \\i lh <lmplc,
uncomplica1cd oullmes. To drnh
an all sidesgalhtr<-d p.111cm for
a l>rgCI, enlarge 1hr 1arge1 1
1em by an equal amoun1 all
around 10 aUow for puffing. A> a
broad rulc-of lhumh. cslhnalc a
heigh! for the fullncs>
and enlarge b) u1at amoun1 (see
Fig. l -31). Dh<idc 1hc curved
CdJ!.CS of the gatherm)\ pallcrn
imo halves and quancr>. mnrk
ing the divisions wit h notches.
Divide long straight cdgco in a
similar manner. Mark 1 he 1mget
pallern wilh comparably

Fig. 132. To cover a round foon with
a circle of fabnc gathered an around,
measure the foon BCIO$S the diame
ter of the top and down the sides to
the points where the ccvering wll
stop. Thu measurement Includes
enlargement for height.
2. Garher ;1ll around the edge or fab
ric cu1 from 1he gMhcring pa1tcrn.
mmching 1he gmhered lcuglh
between notches or sides 10 1he
length between related n01ches or
sidt'S on the t3rget pallern, or on a
stay em or outlined from the lar
get pouem. Distribute the gathers
evenly. (Refer to "Gathering
on page 3.)
3. Stabilize the ga1hered edges and
shape, choosing a method !hat
<uns 1he requiremcms of lhe
applicauon (refer to "Stabilizing
Gathcn-d Su1ching' on page 6).
NOTES & V ARlATIONS
The s1andnrd for all-sides galh-
cring Is a square ga1hered to a
<malkr squore. an oval gathered to
a. smaller oval, a clrcle ga1hered to
n smaller circle, or variations
!hereof, with t he edgc.s swbilizcd
oppropri,ucly. The air-supported
fragilil)' of the fabric that billows
up between the edges is part or I he
appeal of all-sides ga1hering. 1\o
all-sides-gathered applica1 ion needs
nn environmcm where such quali
tics arc
Furrowing is an unusua,l adjunct
tn all-sides gt1thcring, utilizing 11ee-
dle and 1hread co collapse the puffy.
uns1cady folds delibcnucly. fur
ro\\ ing convcr"> I he ballooning fab
ric between 1he stabilized edges
into a ma.::elikc relief of ridges and
crevices with 1iny 1acldng sli1chcs
( rdcr co Furrowing= on page 9).
!'riffs he"d sub I ist or hand
sewing 1echniques that limit 'Lil
sides gtuhcring 10 >mall circles.
Gather a linlc circle of fabric very
tightlr around Ute edges. Ute
bunched on foundalion fab-
ric. "nd lack securely. With 1he nee
dies polm, tease open Jnd <prcad
out 1he bundled fabric abo\C lhe-
8"1hcrs Ia m.1ke a puff that looks
something like a squJII) 1ood>Lool
(Fig. 133). A puff finishes shglulr
less than one-half hs origmal circu
Jar diamtltr.
(b)
Fig. 133. To make
a puff: (a) Stltcl>
around the odgo of
a small fabric circle.
(b) Gather tightly
and tack the gath
ers /o foundation
Iabrie. (c) Cap lh9
puff over Its base.
Tbe rufOed puff carrks 1 he puff
concept a step ftmhcr. Ccmcr the
puff circle inside a larger circ!t.: of
fabric. Stitch on 1he ou1line of the
puff circle and gather, "indlng 1he
thread around the guU1cring s.:vcrol
Limes before secunng. Auach !he
gathers be1wcen lhe ruffle and 1hc
puff 10 a fowubuon (Fig. 1-34).
Rg. 1-34. To make a
roffled puff: (8) Stitch
around the inner circle.
and (b) gather tiglltfy.
{c) Tack the gathors to
a foundation.
Massed ruffled puffs exaend the
co,crogc of frill)' nofnc> and n<-stled
puffs to an area ddined b)' the
number of rufllctl pulfs attached to
tJ>e foundation: The trlck-auach
so closcl)T tl1ao adjnc<oH rurflcd
edges arc forced upward. The ruf-
ncd puiT on a base snuggles the
puff inside a fuller nornc roiscd
from a cushion of glllhcrs. Outline
lwo conccnt:ric circles spaced abouL
Vl'' ( L. 3cm) apan, centered inside a
larger circle of fnbrlc. With two
threaded needles. stitch on the out-
lines. Gather both rows tightl)' while
pushing the puff circle on the cemer
up, and the gathered fabnc between
the: f0\\1'$ down to rorm :.1 b<lst under
the puff and ruffic. Sew tJtc oosc to a
foundation (Fig. J 35). (Refer to
"Edge Finishing foo Rufrles" on
poge 43.}
With puff gatlocrirog. the puffs
and the folds connecting the puffs
remnstruct the fabtic Into a pat
tcrned rc.Ucr. Puff gathering starts
with a s tencil of cutout drdcs
urr:mged on a grid (l'lg. 1-36) .
Fig. 135. For a
ruffled pull on a
base: (a) Stitch
around both inner
circles. (b) Gather
tightly. pushing the
gatherad ring of
base Iabrie down.
(c) Tack tile base
to a foundation.
Using the stencil. troce the paucrn
onto the right side of the fabric.
Stitch and gather each circular out
line tightly. Push the pulfs up and
spread out the bunched puff f:tbric
with the point of o.he needle. Gather
the edges of the fabric to match the
measurements of the puff-gathered
ontcrior o the fabric. A hght\\eight
lining tacked to the gathering
behind the puffs steadies the f.1bric
ovcoall and prevents puff-jlathcring
threads from breaking under stress.
(b)
22 The Art of Manipulating Fabl"ic: ALL-SI DES GATHER.ING
Star gathering describes the
"'' crse sode of puff gathering when
it becomes the right side. Dimple-
like points surrounded b)' nodlating
folds rcplae< the puffs. Trace the
circulut outlines on the bad< of the
fabric and proceed as dtscribed for
puff gathering. For pierced sutr
gatheting, tbc dimples exp:1nd into
round openings. Pierccdstnrgath-
ering stetlcils h.-e cirtlcs at lca>t
twice as large in ditomcter ns the tar-
get openings nfrer gathering. Cut
out on Lhc cir<.u)ar outlines
on the front of the fabric. Wi th a
scanty seam allowance clipped and
norned under wbile se\\1ng, g.1ther
each circle on stitching
pulled tight around " remov.,ble
gnugc like tl pencil or dowel. Usc
strong t hread and secure the guth
crcd sti tching well to deter future
accidents.
For puff gathering and ns \'aria
nons. the coronccring folds released
b)' the gathering become longer as
the between circles
increases. and deeper as t he circks
increase in size.
Fig. 1-36. Two pull or
star gathering sten-
cils (a) pl8nned on a
radiating grid bisect-
ed by concentric cir-
cles, (b) drawn on a
squared grid. The cir
c/es are spacad more
than their width apart
to prevent the pulls
from bumping into
each other.
(b)
F.g. 137. To make a yo-yo: (a) Stitch. (b) Gather tightly.
and flatten. (c) Join two yoyos together with tiny over
fland stitches. (d) Two yo-yos start a row of yo-yos which
Mil be joined to another row of yoyos and so on.
\'0-yos squash the in Rated resuh
f >11-sidcs gathering and show a
nng of gathers on the top. A yo-yo
"'=!\ins as a circle of fabric cut rwicc
..... large in diameler as lhC inLended
Hlyo. Turning the senm tl llowancc
onside, sew next to the fold wirh
Luge, even running stitches: Lnrxe
1r1mning scilclrcs : smaU u utc1 open ..
ng; smnll nmning sduhcs IIIIJ:t
rnrtr opening. Gather tightlr and
buen the ba&oy fabnc mto a circle
-urrnunding an inner ctrcle of gath
,,., A multiplication of round
)D-)'OS joined together where they
touch creates a fabri c or ui m
uniquely textured whh g:tthcrs nnd
openings (Fig. 1-37).
Appliquf<! to a foundation fabric.
)'<> yos arc dements for surface dec
oration. Outbne smaller circle, the
perhuctcr of the finished yo-yo,
inside the circle of fabric cut for the
)'Oyo. Because the fabric between
the inner circle and the outer edge
"Ill be mmed toward t he center of
the y<>)'O by thr gathering, 1 he dis
tmacc bel ween rhe inner circle tu1d
the otucr edge should be less than
the rodius of the inside circle.
Tuming the seam allowance inside,
sew next to the lold with
C\'en running stitches. but don't
gather until the )'o-ro is attached to
the founda1ion stitching
around the inner circle. Stabilize
the gathered edge with fluting thnt
spaces 1he groo"cs in the gut hcs
(Fig. 138). When some-size cicks
arc nppliqul'd, the finished size and
"ppenrance of the yo-yos m"y be
changed b)' varying che size of the
inner circle, which will abo ch:mge
the of the opening framed h)'
tle gathers. and by pl:lcing the
inner circle off-center.
Fig. 138. To
applique a
yo-yo: (a) Stitch
through the
turned seam
allowance, S6w
to the foundation
fabric around tho
inner circle, and
gather. (b) Flute
the edge while
stabilizing the
gathers.
1-23- Three gclhere<i-cirdo
SUlJCWl'OS, (left) OM Jhal puffs
now""'r. (ntw) one moJdees
from a chcnnel!ed drows01ng
ALL-SIDES GATHERING
cJcs,gn l/1ar C1liiUriSIS putted st'<JpS and smoorh <>=,
Except (or C/1o CW<r of puffs UIO:<d 11> tile sut(oce dl )/Otl>erod
peces ...,,.. S!o)'ed before assembly.
24 The Art of Manipulating Fabric
c!OS';;n wlh
mCJcle from lcrger OVCJis go:/lerecl
nnd hondstrtched i.nro smaf.'er
rMJ! CtJIOI.its, above on mseroon
o{ cpposou. ed5e gmne.,ng.
I 20-Sccmered puffs occem o design of
drcular elemMts: (!op} Six ruffled
puffs. dlree wolh puffs on top,
onod"ed the pvffs voxtem.?o:, , (oor
om) 1hree stnpS " lh C.'l<li p rtee-ed"" or.c '<"
121----(luM!< "f!!l) Massed rvt1l< puff;.
(lof!) fi= ruffie<J (cer>lotJ puffs.
(upper throe ruflied puffs "" boscs
129----Star galhermg (the p;J/Fgathcnng
de;,-gn, te'll:lSCd).
128-Puffi/<Jfhem2 del'gn. H>nt 0t1
r/!c fabnc lfl<kalt 1/>e gn<! lilor teg-
ulctes thc por.wn
ALL-SIDES GATHERING
Rod>ol deso!l" rhot comb.nes Slor and
puff fl'Jii>cnog. t( tr:e p<J}fs were
tw.ce a.s, '"rge. or 1{ there were 24 msread
of 12, the Cof((Jm(crence would shrmk and
tbe centef V<'OUfd cJcvale uuo a dotrte
Chapt er I GATHERING 15
ALL-SIDES GAT HERI N G
J. 32- A>stmbly of yo-yos that coold bo continued lO orr ,;,e
26 The Art or Mani pulating Fabric
1-31 l'letred '"''"
~ g
1-JJ -Row o;yo-yos InSerted a ~ an openwork barrier.
-35---funowl'g SlOtted W>!h ,.,..,;;, wt cw.ce os rhe ccrger
5hope: (top left) Wrdely tp<J(I!d tacl<s rh d..,ptst furrows. (lower lefr) Moo
tackrrrg redrJCes ri1e helglu o(lh ce.sts (top nght) Oosely tacks-<:ICSI$
t\'l.ci: os hRir as !he O'OS<S (lower rieht) '" the densely lOCked """' "''rh o bond
o: OfOI.If>:i rhe
AL L-S I DES
GATHERING
j.J( )'0-)'0$ ..,,(/>
Puted stabrlizmg orovnd lhe
lo!Jer openings.
and fUrrowed yo-yos. Exueme en\Jrge.
outsk!e lhe oppli<jve su"hrng outi<nes Pl&llded the
swolling iobnc (or (IJflowirlg
S
hirring configures fabric with
bands of soft, rolling folds
released between rows of gathering.
The pinched, puckery, stitching lines
that bisect shirred fabric run parallel
or diagonal to the fabric's edge, cross
each other, or form multi-directional
patterns. With its network of gathered
stitching separated by zones of fabric
crowded with variable folds, s hirring
shrinks the original fabric while
adding substance to the decorative
fabric it creates.
S HI R
2 Shirring
SIIIRRING ...................... ............. . 29
Procedures ................................ 29
& Variations ....... ........... 30
Mock smocking .................... 31
Elas1ic shirring ...................... 31
ga1hered
shirrmg .............................. 31
warne or cross shirring ........ 31
Puffed s hirring ...................... 32
Omped shirring ..... ... .... ........ 32
Skewed shirring ....... ............. 32
Channel shirring .................... J 2
PATTEllN .................. 38
Procedures ........... ..................... 3f!
Notes & Variations .................. 38
Meander shirring .................. 38
SHIRRING
-fabric contracted to a smaller size
when gathered on multiple rows of
stitching sewn straight across the
designated area in parallel rows.
PROCEDURES
I. Set an after-shirring target
measurement for the s hirred
fnhric tn match. Decide how
much fullness the fabric
released between 1he rows of
jl31hcdng Slitchcs should diS
play- sUght. moderate. gener-
ous. To cs1ima1e the length of
unshirred fabric needed to pro
duce the desired fullness in the
shirred fabric, multiply 1he tar-
gel measurement by the amount
indicated 10 the chan bdow:
(Wge!J x t
mocltralelunness (lirgel) x 2
generous fullness large!) x 3 ( more)
2. Adding a scconcl measurement for
1he non-shirred length, em the
fabric. No1e that shirred fabric
shrinks slightl) ttcross the gath
ered Slitching. (For example, a
12" (30.5cm) square shiJTed 10
6" ( 15cm) may shrink W' (6mm)
from its non-shirred 12" (30.5cm)
length. As 1he number of gath-
ered rows increases, shrinkage
increases.)
3. !'Inn A shirring pa11ern with par
allcl stitching lines spaced out
over the shirring area. Mark the
Slitching lines on the reverse side
of the fabric "ilh a fabric-safe
marker or lightly pressed folds.
or depend on a sewing machine
auachmem. o .. ;de leng1hy
K\\ing lines mto segments-
hal\'cS, quancrs-that "ill be
ma1ched to corresponding seg-
on a targeL gauge.
4. :o the fabric for gather-
rng, cover the marked lines with
ungaugcd. hand-sewn running
Slitches, machinesewn straight
stitching, or zigzag stitching over
string or cords (refer to
"Gathering Methods" on page 3).
Lea,e al lea." J" (7.5 ern) of
thread. siring. or cord at one end
(hand s.:wing) or both ends
(machine s.:wing) or e-dch seam.
5. Ga1her each row of stitching 10 a
specific target measuremenL
Hand hold the fabric . or pin or
Ulck one end or the center of
each row to a rlat surface marked
wilh Htrgct mea$uremcnts. Grasp
the dangling threads, suings or
cords nt t.hc ends of two or more
adj nccm rows of SLitching in one
hand: u'e t he other hand 10
crush Lhc fabric imo itself on the
1amly held 1hreads. Gather inch
b) inch, working back and fonh
across the fabric. until all rows of
stilching are ga1hcrcd 10 size
(Fig. 2-1 ).
Chapter 2 SHI RRING 29
(a)
"""" ..
(b)
Rg. 2-1. Fabric prepared tor shirring:
(a) Pinned at the end of each
sewn row to one of two tar-
get fines marked on the surface
underneath. (b) Tacked at the center
of each zigzagged row to the mid-
point between two target fines
marked on the surface.
Secure han<.l-s titched gathering
with tiny stitches, one over the
other. Secure machinc-sthchod
gathering b) tying t.he bobbin
and needle threads together and
then machine StiJching across
the knots . If rows of shirring end
inside the fabric rather t han
insi_dt Lhc scam allowance, cap
wrc the knotted threads with a
titl)' tuck (Fig. 2-2). Adj ust the.
shirring evenly.
6. To set the shining, pin to a flat
s-uracc. stretching and
steam with an iron held above
the fabric. Allow to cool and dry
bl'forc moving.
7. Stabilize thread-gathered shirring
with an invisible stay stitched to
the bacl< ( Fig. 2-3), antVor sew
th e shirring to the stay by top-
sti telling gathered row
(Fig. 2-4)
Fig. 2-2. On Ute left, gathered stitch-
Ing that stops attlte fabric's edge
secured with bobbin-and-needle-
thread knots and a vertical fine of
machine stitching that crosses each
knot. On the rigltt, gathered sti tching
that stops within the fabric secured
with bobbin-and-needle-thread knots
and a vertical pin tuck that catches
each knot inside the tuck seam.
(a)
(b)
Fig. 2-3. Shirring stabilized with a
stay hand-stitched to the last row of
gat/Jering stitches by catching the
gathering thread and one or two
threads of the fabric In each stitch:
(a} Stay hand-stitched on one side
and machine-basted to the seam
allowances around the other three
sides. (b) Stay hand-stitched to the
gathering stitches and bordering pin
tucks.
30 The Art of Manipulating Fabric SHIRRING
Fig. 2-4. Shirring, with a stay under-
neath, stabilized by satin stitching
over the rows of gathering stitches.
If a layer of fabric underneath the.
shining is undesirable. use a tem-
porary stay and stabilize wi th nar-
row libbon or tapes stitched over
each gathered r<lw ( Fig. 2-5). For
shirring gathr:rcd on Sl\l(dy Siring
or cords, stabilizing is optional.
Fig. 2-5. Shirring stabilized with tape
or ribbon machine-stitched over the
rows of gathered stitching.
NOTES & VARIATIONS
Fully shirred fabric is gmhcred
from one side to the otiu:r on
stitching spaced out from top to
bottom. Partially shirred fabric is
confined to an area isolated in tho
rniddlc of the fabric, a section dtat
runs clown the ccmcr o[ the fabric,
or a section Lhat crosses the tQp or
botrom of the fabric. When the
shirred section is a heading, the
released fabti c falls in spreading
folds to a floating edge.
Always locate the last row of gath-
ering stitdtcs \Vi thin the seam
aUowance for shini ng that will be
auacl)cd to an extension or inset
behind n cutout within foundation
fabtic. If a gathered edge isn't meant
to become the seam allowance for a
Future seam, the e-dge may be fmishcd
with a ruffie. ( Rder to ''Stabilizing
Gathered Stitching" on page 8.)
5ulnli:ing prevents the gather-
&. threads from breaking and also
CURS the dismbution of the
hers. WiLh a sray undcrntath,
"lnchmg over each gaLhered
"' locks rhe arrangemem in
pl.tce, next besr- hidden Lacking
"Jtches spaced out along each row.
When rows of gathered Slhching
ue topslitched to a permanem or
anporary stay with decorative
l.tlld or machine stitching.
,bming is sometimes called moch
...,oc:king {fig. 2-4 and refer 10
\lock Smocking on page 133).
If all the stitched I'OwS arc gath-
crtd to Ute same cargct
mem, a recrangle of f<\bric shirrs
mto a smaller recranglc ur a square.
But tf each row is gathered looser
than the previous seam, the seams
.,ll CUrYe, the Sides of lhC Shirred
f.Jbric at the ends of the Stitching
,.,ll fan outward, ond rhe densuy of
the connecting folds will gmduolly
dm1inish. Rows of srlrchlng spaced
uound a long scrip of fnlll' ic with
ends seamed together nmy be gar h-
crcd wil h unequal dens II y 10 con-
en rhe cirdc of fabric into a wheel
,.,th radiating folds conrrolled bv
concentric seamlines, or rhc circie
or fabric can be gathered over a
ng.d form into n domed shape
(refer 10 "circular opposite-edge
gathering" on page 17). Shirred fab-
ric acquires sti ffncss across 1 he
scams, a useftll attribute ror struc
turttl applications.
Onc-srcp aulomaric garhering,
no srabilizing, and stretchable
adaptabilil}' are three reasons for
the popularity or elasri< shining.
Machine-gathered wilh clastic
thread in the bobbin or clastic cord
inside zigzagged tunnels, t lnstic
shirring dings and conforms when
stretched over a solid, curvy sub-
structure. (Refer to ''Gathering
Mer hods" on page 5.)
Aulomar.icaUy garlocred sloirrlng
results the rows sewn with
a gathering foor. a specialized
machine attachment that crimps
each stitch (refer to "G31hering
Methods" on page 5). Tension and
stitch setrings regulniC the density of
(a)
the gathcrtng-a high lension com-
bined wilh 1he longesl stitch cause.<
the fullest gathering; shorter stilches
decrease fullness. Test before shir-
ring with the g.1thcring foot. The
lighmess of the gathers. the widrh of
the foot, and the nature of the f.1bric
affect the man.1grnble distance
between rows. Within irs limitations.
auromatic g;nhcring with rhc gather-
ing foor speeds nil kinds o( shirring.
The pockets of puffy. crumpled
fabric I hat spring up between cri<S-
crossing rows of gothercd >lite bing
characterize wCtffic or avss shining.
Sritched by hand or machme over a
grid of lints marked on the wrong
side or the fabric, !he fabric is gath-
ered in one dirccuon to rhe target
measurement and then the cross-
stitched lines are gat hcrcd to the ""
get measurement (Fig. 2-6). When
straight stitching by machine.
the needle O\er previously stitched
TOWS 10 avoid 01<!\"US through the
thread, a catch 1ha1 would impede
the gathering process. Before steam
setting the wnffic slurring. push ou1
and pull up 1he fabric released
bel ween the rows, stretch and piJl
the of 1 he slilchtd rows 10 a
padded bo<rd. steam, and allow to
cool and dry before moving. To sta-
bilize, hand tack a sLay 10 the back
or the shinrlng nl the points where
stitching lines cross.
For pulfctl slolrrlng, the loose folds
between rows or gathered stirching
are elcvared imo a JlUnble of swirling
ridges when adjacent rows arc
(c)
Fig. 26. For waf-
fle or cross
shirring: (8) Mark
stitching lines on
the back of the
Iabrie. (b) Alter
stitching, gsther
parallel rows in
one direction.
(c) Gather the
crossing rows .
pushed toward each othc.r as they're
topstitt hcd to a sray. Mark 1 he slay
wioh lines tbat repeal the shirred
stitching lines but space the lines
closer together {the tighter the spac-
Ing compared 10 the shirred spacing.
the higher the puiD. Pin match the
g.1thcred rows 10 corresponding I inc>
on the stay and topstirch O\'Cr the
gat hering stitches (Fig. 2-7) .
Fig. 2 7. To puff shirring whllo top-
stitching to a stay. shorten the space
between adjacent gathered rows. In
this diagram. topstitched section 1
has not boen putted, sections 2 and
3 are puffed, section 4 will be puffed
when the gathered stitching is top
stitched to the guideline marked on
the stay.
An alternate method: Elevare rhc
folds over a dowel or tube rempol':lr
II) inscned between the shlnrlng and
stay. and topstirch over the garhered
Slitching whh a zipper fool (In 1 he
machine.
Chapter 2 SHIRRING
3 I
l
t\ variotion of putTed sbjrring,
puffed trim eml>ellishes founda-
tion fob1ic with chains of oval or
circular fabric puffs connected by
of gathered stitching. Puffed
trim SLaru ,,,th a narrow snip of
fabric: (I) Press the scam allow-
on the long edges under-
neath. (2) At measured intervals
spaced out along the length of the
strip. stitch across the strip and
gather tightly. (3) Reducing the cUs-
cancc between the gathertd inter-
sections to puff the intervening
falll'ic, blindstitch the folded edges
to a founclnt ion, shaping scalloped
rm<.l securing the gathered
stitching as sewing pi' Octcds
(Fig. 2-8). Shorten the distance
bel Ween i ntersections to incre:a(Oe
the outward curve of the edges
attached to the foundation.
For sh1rring 10 puff. the distance
between the gathered rows must be
short enough for the folds to stay
aloft when the rows arc bunched. As
1 he distance between gathertd rows
increases. the folds in between begin
to clrvop instead of puff wbt11 adja-
tocnt rows arc forced closer and.
eventually, longer folds drape of
their own weight. Ahltougb similar
10 puffed shirring in consrruclion,
the scale of draped sltining is com
pamti"cly large (Fig. 2-9). Draped
shtrring n<eds to hang from ' 'crtical
g.thering, whereas puffed shirring
hul<b up whatc-er its position.
The rtlauonship between folds
and rows of gathered sutching
changes from perpendicular to diag-
onal when shirring is skewed.
Fig. 28. Puffed
trim: (a) Shirr a
fabric strip on
spaced out rows of
machine stitching.
(b) Push the gath-
ered rows closer
together and blind
stitch the curving
edges in between
to a foundation.
Fig. 29. Large, heavy application of
draped shirring gathered on cords
lnsirfe tapes (see Fig. 2 11). Rigid
reinforcement from side to side at the
top and bottom of tl1e tapes keeps the
sides straight.
Sl1e" fll shining requires a stay
abuut as ";de as the shirred fabric
measured across the gathered rows.
but longer than the rows to allow
sp:tce for anghng. (If the Silly fabric is
limJ>. stiffen h '' nh P'pcr or a <:om-
mercia I product which can be tom
away nftcr the ; !itching. or starch it.)
After topstitching the fi rst mw to the
Sla)\ pull the fokls released from the
gathered stitching up m down force-
fully :mel hold In thnr slanted position
whik tupslitching the next row of
g;uhcrcd stitching. ns tOp
s1 itching proceeds 10 maintain a
stmight nnd . ,en dismnce from pre1-
ous rows (Fig. 210). Skewing short
ens 1he acmc;s.row measurement of
the sh1rred fubric.
Chcmnd shirring is gathered on
cords or rods concealed UlSlde fabric
conduitS (refer to "Gathering
Methods .. on page 6). The folds arc
released between seams stitched in
pairs, cllch pair spaced lO enclose a
32 The Art o( Manipulating Fabric
SHIRRING
I
Fig. 2 10. Skewed shirring paffcm:
Aller seam 1. seam 2 is not skewed;
seams 3, 4. and 5 are skewed: seam 6
Is not skewed; seam 7, pin-matched to
a line on the stay. will be skewed when
topstffched. When the skewed anglo
tums up, rum the Shirring so that top-
stitching iJ/IVBys moves doiWI, foRewing
the descending slant ol the skewed
folds.
gathering clement inscncd between
two fabric layers. full or partial
underlining or a tnpe behind every
pair of scams nwkcs up the second
layer (Fig. 2- 1 I). Arter shirring the
fabric 10 size on channelled or
rods, SlOpS Ill I he end> ol' the cords Or
rods prevent the gllthcring from com-
ing undone but :11low the gllthering
10 be rcadjus1cd lll :tny time.
Fig. 2 t 1. Shirring in progress on
cords confined inside hems on the
outside, and in channels of tape on
the Inside of the fabric.
t Halldstuched sro,,lflg Wl'lh eodt S(rtdwg !tnc d1'vJded it1to
oe segments. God1ered segmnt by segmtnt "'"' tisf>dy R<Jth-
<red segments Interrupt the looser gothonng m th< ccnwr and
de segments.
fi-3--V.rnwl pmwcf<s. "f>ch look l'e >eams from d1e (tom.
noody <he nds of rJ1<! rows o( $!>!Chong, and sepa-
l!l!e the s!Kt10n from tho smooth fObr< at rJ1<!
SHIRRING
sutchod slwnnK
gathered on bobbn threads
1--4- Shmng soob!llzed 'Mt/1 topes and broids ll>ot cuer rows
ournm(J!JCOI!y golherro w,rh o gothel'l<tg fool To apply rlM bi'Od and zatntr
111 the same opett::t!Of\ mse:t the braid the need.'e "o!e n the
foor and brong it ovr bel>nd ti1e foot before srartrng to goth! r the iabnc.
Ch>pter 2 SHI RRI NG 33
11-5-(rop) Shimng
0
-adl!:remg. (touom) Sh1rring produced on cord's
dosely con(lne<! ins<ie 7.igzag sVrchog s much disrma
ond c.ont.ro!Ted.
SHIRRING
H The Art of Manipulat ing Fabric
II 6-Cil<JMel shirring over Sl)[i yam and rwi/1 rape. The
seamlines separovng rhe yarn d>Onne's on the le(t look mcci-
d.'ed compared ro U:e de[ined seamtines on the rJghc- where
the seams are bobbin-cilrcad gathered co match ihe! length
of dre yam over whlch rl-re (obr': is channel-gathered.
11-7- Srobl. rhid<. tJ>x(}Je creored by gJ>then:,g
!he Slirchfng between snuglY channelled
cob!e cord. To pte-pme for gorheting, cords wetP.
seamed uno douf>Jed (obtic with exlro-s(!Cng
cilread in the bobbin. Til(! fabric vtGS pushed onro
the cord's a; bobbin-<hrer.Ri garhemrg p:1>gresscd.
1/.8-!.ong recran(.e of muslin shirred
'""' a half-crcle by gradu<Jung the goth-
enng of succcssr.,-e seams (rom very11ght
1n rhe cemer ro light on the outside. A{ier
topstndiirrg ro a (oundor1 sray. fhe
gathering
rhreods W'fli: pulled out of the sllimng.
SHIRRING
IJ. 9--Gn:ulcl.' om.rr.onf Rodrered oo
a:rcenmc .stromS .ruo smota on:f.es.
(le{t) r .. o gam.
ered "'!I> a
0
{11/>eJ.ng fOot cfso ose
""" Oldablf 11'10 cooes. ( ogl>t) Woth
hand RalhOMB ro comml deilS!ty. a
/erg.! orde '"'"' mro o ilot medamon
around o cemer of bolloonJng (aboc.
whKh waf with fUrrowing.
JJ.J 0-Sculpted form shaped by.-. the
<ten$0ty o( succe,.,.., 1llWS to coo(orm to the doml!d
sh<;pe o{ o mo1<t I.DosoMg !he oo the oulS>de
ro.; created !he rvn edged ,,izh
/1.1 I Wolh e!o5lJc tT<reod " the bo!iCon
<llld !he mvsM Sllached UM ., 0 l1cop.
fl1!e-mob0fl """""" ""''"''i " 0
panem ptlldoces '"rcny
sh:rdng 'Nith o amkly texture.
IJ./2- Two ""omptes of waffle oc
ClOSS sill<-. rufomatJCa'o/ go<hcte<l
w !h o (oocA[ter go<.'>emi
.. """ ct.ect"OO.!I>e god"'Efflg {oo1
hod lo thf f>e<r.,y "'"'it"' of u;e
,.hmed mtJSIIf\ COUSin;; slightly fooser
ROII>er"'B donng cross s"r.chlng.
Chapte r 2 SHI RRING 35
Jl. I J- Wo(fle Of cross sh:rnng bobi.M
rl>reod goihere<l to one-iloif the origl
nol si;e of (he (obric. The example on
the ">1. bose<l on a gri<l o( 2 (Scm)
squares gathered w o lOfiet of t "
(2.5cm) sqtl<l<'es, releases sweHings of
mushn lhot peak I (Z.Scm) abovE
!eYe/.
fi.14-Hond woff.e or GO<S s'>:mflg, on on
gild bel\>eet1 bor.ds of pla:n s/1 mng
SH I RRING
IJ.I f>-H:>gt><e ef p.;fftd
!hmng sejXJ(O{ed oy boncls OJ
ltY.v-re!;e{ plain shrring,
36 The Art of Fabri c
puffed when lhe guth<'red ropstitched w o
surt v. >lh folds elevo"ed ""' o dowel und o ''PP" (oo< atrocll<d l!J
1M l'l!OChine.
7- Puffed tnm oppled 10 (Oilndotoon;oboc.
SHIRRING
1118-A band o(honzontol si>lmng at !/1e lop releases {ullnes; Into the
faboc below. Widely spaced row< o[ veruw/ '""""ll garhercd on nbborn
hlSJdc cl1<lfloels of z;gzagged !/1read. create howontol folds and dropmg or
!h<! fewer edge. To seaJIC the hem/me s,.mg. !/1e channelled nbboo was
bawucd !0 ana!/1er /eng!/1 of ribbofl tod<ed to !he top O( eOCh C/)(lnol('l,
1120-Shimng OfOfl<?$ between W>dely spaced. \'CI'IJCO(IxJnc/s 0( cf1onnc/
garhenng
Chapter 2 SHIRRING
PATTERN
SHIRRING
-fabric automatically shirred with
the gathering foot following a design
of lines that twist and wm back and
forth as they cross the fabric.
PROCEDURES
1. Plan a repenting pat<em of con-
tinuous lines thnt move in
cur\'cS uncVor angles from one
sid.: of the Iabrie to the other
(Fig. 2- 12).
2. Trnce the design onto the "Tong
side of the fabric '"ith n fabric-
safe marker.
3. \\'i1h the gthering fOOt anached to
the m:>ehinc (refer to "Gathering
Methods" on page :>). stitch-and-
gather cxh line of the design. Sew
slowly. Slapping to lift !he presser
foo1 and pivo1 1he fabric on the
ncccUc when Sl".amline direction
tcqulrcs t'C:tdjusnncnt In general,
light to modcr:uc ga1hering sui IS
shining lO paucm.
4. Slrclchlng gently. pin the cclgcs
of the pancrn-shirred fabric to a
p<tddl'(l surfJcc nnd steam ";th
an non held above the shirring.
Allow to cool and dry before
moving.
NOTES & VARIATIONS
1'c>t >C\'CF.Il repeals of the design
on a s. 1mplt- of 1hc dc.ignalcd fabric
to detenninc the appropria1c stitch
lcngllt and tension se1dng for amo
malic gnlhct'lng and 10 assess overall
design effecti\'cness. The p:tltcm
may he difficult to follow if the gath
ering is too full or the st.,lc of the
design is too small. To estimate the
amount of required for a spe
ciflc application, memue a sample
o the fabnc before and after a test
shimng of the and equate
with the wrgc1 mcasurcmeniS.
slrirring is improvised.
htSlead of following a pauern, the
deSign wand<r> freely forward and
hackwaJd, across, find
around, developing configurations
of puc.l<ers. fold. and puffs as
Fig. 2-12. Designs for
automatically gath
erBd pattern shirring
have lines that start at
the top and continue,
with changes in direc-
tion bill without
breaks, to the lower
edge.
38 Tha Arc of Milnipulati ng Fabric PATTERN SHIRRING
stitcbing-"nd-gulhcring proceed.
Variations in the spacing and irrcg-
ularilies in the Slitchmg path pro-
duce dhersit)' In the relief of mean
dcr shirring. St!lclt length and ten
sion adjustmentS thai modify the
tigbUtessllightness of the gathering
add more dimen>ion. The foot's
gathering action can be manually
reduced by inhibhing the fabric
from movlttg easi ly toward 1he nee
die. To mcreasc full ness, jam 1he
fabric by holding il down with a
finger as it emerges behind the
gathering foot; after''" inch or so
of fabric build> up In of the
fool. release It and "'pc:u.
Because of 1he densll)' and com-
plexity of the g;othcrcd >thching.
paucrn and meander-shirred fab-
rics arc reL111vel) StTong and DU)'
not need protection from streSs and
stTain. but if the shin'lng. because
of the pattern. acqmrcs some elas
ticity. s1abllizlng may be required.
13aste a stay to Lhc shirred fabric
"round Lhc oulsklc nnd iuck il m
intervals tO 1he gathered s1 hching.
CllfV<S of dl """" pG!".em sfo-, """"""tl< g<W>-
tmg (( rt.e see F>5. Z-12).
PATTERN SHIRRING
11-23 (rop) RJ,.vs 0{ puff(''"*'
d""eloj' M>en deeplf CltiV"''1 l>r>es char
ems E<JCh ocher are ouwmar.colly
gall>ered. (borrom) Wit/1 the seosl1elt
patrern. additiono//,nes of goll>eong
red" the puffing ns<Je !he Cllcles
(li>r dle potrems. !A!e Fg 212)
a"'l'l lines o; !he d-...- .,.,n ooaom J'etd sroJMnd-
PM>r auromaoc IIU<her:ng ((or the pottem sec Ftg. 2 12)
Chapter 2 SHIRRING 39
sowtooth pouern ((Or h porum. s.c Fig. 2 12).
PATTERN SHIRRING
U-25- CheckerboClfd shimng (dis af<emare squares of a grid <l1<lrlold
on the fObnc. The sqJ.rares. which have an uneven number of ouromad-
cally gathered llnes. completed in d:agot1al sequence.
40 The Art of Mani pul ati ng Fabr ic
It 26-MOOilder shlm'ng I! improvJsed as
<Jutomatic gathenr:g proceeds
Supplementary
Fullness
A
ruffle is a strip of fabric
reduced in length by gather-
ing or pleating which releases
folds that configure its floating
edge. Attached to another piece
of fabric, ruffles add the dimen-
sionality of multiple folds and
fluttering edges to the surface
they adorn.
A ruffle is always smaller than
the whole assembly of which it is
a part. Within its setting, it can
be narrow or wide and have one
or two floating edges that hang
down, stand up, or extend side-
ways. Ruffles are flexible, adjust-
ing to straight, curving, and
angled lines of application, and
they inspire simple or elaborate
arrangements, alone or in combi-
nation, separated or crowded,
localized or allover.
U F F L
3 Making Ruffles
RUFFLE BASICS ........................ 43
Edge Finishing for Ruffles ........ 43
Plam Cut... ............................. ++
Pinked .................................... 44
Selvedge .......... ...................... 44
Fringed .................................. 44
Fusing ..................... .......... ..... 44
Doubled Fnbric ...................... H
Lining ..................... ............... 45
Facing .................. ............... ... 45
Oinding .................................. 45
Hand-Rolled Hcm .................. 46
Shell Hem .............................. 46
Double-Polcl Hem ...... ............ 46
Flm Hem ... ............................. 47
Satin-Stitched Edgi ng ............ 47
Hairline Edging ............. ..... . .48
Wired Edge ............................ 48
lettuce Edge .......................... 49
Wavy Edge ............................ '19
Overlocked Edge .................. 49
Rolled Overlocked Edging .... +9
GATHERED SINGLEEDGED
RUFFLE .................................... 49
Procedures ................................ +9
:-lotcs & Variations .................. 51
Single-shell ruffle .................. 52
layered single edged ruffles . .52
Puffed single-edged ruffle ...... 52
GATHERED DOUBLE-EDGED
RUFFLE ................................... .SS
Procedures ............................... .55
Notes & Variations ...... ........... .55
Sprcad-seam or shirred
ruffle .......................... ....... .55
Double-shell ruffle ................ 56
Ruflle designs ........................ 56
~ s s c d ruffies .................... .... 56
layered double-edged ruffles 57
Pllffed double-edged ruffle .... 57
Tucl<cd rufne ....... ....... ........... .57
H'Cadcd ruffle ...................... .. 58
PLEATED SINGLE OR
DOUBLE-EDGED RUFFLE ...... 62
Procedures ................................ 62
Notes & Variations .................. ()3
Box/inverted pleat ruillc ........ 63
BASICS, intlicated by a gray band
located undcrueath the relevam
columns.
RUFFLE BASICS
EDGE FINlSlfiNG FOR
RUFFr.ES
C
boose an edge finish befort
making the rurnc. Anything
imposed on the rufne Strip
co fi nish lhc edge, whe<her it's a
layer of stitched thread or another
layer of fabric, not only protects the
edge of the ruffle bm also affects the
swirling cxpansivene$S and
endumncc of the mfnc's noac after
it's gathered or pleated. A soft,
unlaycred edge finish has 1 he least
effect on the fl oat; a firm. layered
edge fi nish changes the sweep of tltc
Ooat (Fig. 31).
Pinked Edgo Finlah
Double-Fold MaehlneStltehod Hom
Ftg. 31. Demonstrating the difference
an edge finish can make, the edge
profiles of two muslin ruffles (same
1 v.- (3cm) width. identically gath
ered).
RUFFLE BASICS H
Select an edge finish for its
appearance as well as its impact on
the noal. Tlte Onish can be mini-
mized (a selvedge or doubkd fab-
ric) , it can blur the edge (a fringed
or doubled-and-puffed ruffle), or
naur'll il (a smin-stilched or c;:on-
LOurcd-and-faccd ruffle) . A few edge
finishes have no righL- or wrong-
side association. There are no-sew,
folded-and-seamed, and thread-
bound edge finisht-s. Wilh some,
lines of stitched t hread arc ob,'ious
on both sides of the ru ffle.; with oth-
ers, the stitching is inconspicuous.
CooJtlinare tht edge jlnish with the
nawrc of the fabic, tile "'idth of the
mffle, the de1sfty of the gmhe1i ng or
pleating. and the practical require-
ments oft he 11pplicalion. Test one or
more edge finishes on a scrap of the
ruffle fabric before maki ng a fi nal
dc<.:ision. Before gathering or pleat-
ing the ruffle. always finish tlle
edge or edges of the rufne strip.
A r>lain cut edge, appropriate for
tlon-wovcn mo.ucriais-: has no effect
on the Ooat and adds nothing to the
definition of the ruffle's edge. Cm
from woven fabric, an edge straight-
cut on the grain withom additional
finishing quickly to unravel.
I( straight-cut on the hias, the edge
will evemually fuzz.
The pi11hcd edge of a woven fab-
ric ruffle eventually fuzzes out but
rcsisLs ravell ing. Pinking doesn't
a her the float of the ruffle but con-
ributes a distinctive sawlOoLh ouL-
Iine to the edge.
When the selvedge of the fabric
is used as Lhc edge of a rufllc, th e
edge is self-finis hed. The combina-
tion of a selvedge, which is fi nuc.r
thau the between selvedges,
and fabric cut on the lengthgraln,
which is finner than the crossgrain
of the fabric. pcsl<s up the noat of a
rufne.
The soft, indetluitc quality of a
ruffle with a fringed edge increases
with the depth of the fringing.
When the flinging stops j ust s hort
of the gat hering line, a ruffle with a
fringed edge looks more like thick
fringe than a ruflk For a ravelled-
The Art of Manfpul:a t ing .Fabr ic
fringe edge, threads parallel 10 the
edge arc removed, one by one, from
the weave of the fabric. As the
fringing deepens, avoid snags and
breaks by dividing lengthy edges
into man.ngeable secLions with pcr-
penciic\llar cuts. Stirch wi1h r\ llilr-
row zigzag across the base of the
fringe LO prevent coarse weaves
from u nravelling further. With cuts
perpendicular w t he edge, a snip-
fringed rufne is slashed into tiny,
uniform st:rips along its entire
length (Fig. 3-2), After gathering,
deeply fringed ruffles tend to twist
and need patient un\vi nding as
application proceeds.

(b) v"
y'VV
'
I
Fig. 3-2. (a) Sturdy needle extracting
threads from !he fabric's weave for a
ravelled-fringe edge finish.
(b) Snipped-fringe finish slashed at
the inside angles of a pinked edge.
Fusing allows the edge of a ntiHe
to be 1urned without sewing. Insert
a strip of pape.r-backcd. fusible
transfer web inside a single-fold
hem and. followi ng t he manufactur-
er'S directions, bonclLhc layers
together with a hot iron (Fig. 3-3),
Wilh heat, the webbing dissolves
into an adhesive Lhat also prevents
the cu1 edge of the fabric-from rav-
elling and stiffens the Aoating edge
of the rufllc.
RUFfLE BASICS
I
Waste
Allowance
(a) (b)
Fig. 3-3. Fusing a single-fold edge
finish: (a) Prepare the ruffle strip as
shown. (b) Fold at !he inner edge of
!he fusible web and heat bond the
hem.
A fold fini shes the noating edge
or edges of a ru ffle made from
<lou bled fltbric. Doubling adds body
to the whole ruffle and bulk 10 the
bunched gathers or pleat folds at the
slitching line. Cut a single .. edgcd
mffle snip t:\\'ice as wide as the mffle
plus two seam allo,v;mc.cs; match
the long edges to doubl e the rufnc
strip. Cut Lhe strip for a mfAe with
two siMs (a double-edged roUic)
twice as wide as both ntffl es plus
two seam allow.mces: tum one seam
allowance to the back and press; lap
the seam allowances over the cen-
tered sdtching line to doub.le t be ruf-
nc s trip (Fig. 3-4). Edge folds can he
sharply creased or, if the rulllc strip
is cut on Lite bias, unpressed and
soflly rolled. After applica1ion , a
doublcd-andgaihered rufne with
unpressed edge-folds may be puffed
by pulling t he layers apan.
(a)
(b)
Fig, 3-4. Doubled-fabric ruffle sCrips
with pressed folds finishing the float-
Ing edges: (a) Single edged ruffle
scrip. (b) Double-edged ruffle strip
with four layers of fabric atlhe cen-
tered stilchinglgathering/pleating fine.
r..,ld, on a seam finL;h <he edge
a ruffir when it"s lined wi th a
pla.ate of ilself. A rullle with a
barng h;r_., four la)ers of fabric plus
a SGllll .u the Ooating edge or edges.
md th< rest of the ruffie, including
U.., 'utclnng line. is two layers
thtek For a loned rullle, em 1he ruf-
fl(" 'tnp with a scam allowance
.>deled 10 ruffic width at the noatlng
n!11,e or edges, and em a lining 10
m.1cch. Stw lhl' lining to the n1fne
,.uh nght sides wgcther, turn right
...,u]c ou1 with 1he seam or seams on
old>, and press (Fig. 3-5). Options:
Contour the seam joining the fining
10 the ruffic; edgestitch next to the
turned edge.
Fig. 35. W/l(m a ruffle stlip is lined,
each side of {a) a single-edged Nffle,
or {b) a double-edged rtJifle, is the right
Side, and each side may be cut from a
different fabric.
Folds on a seam edge a ruffie
''"P ";th a fadng, but.
unhkt linings, facings are never as
""de :1> ruffic strips and n.-er cover
<tltching lines. For a faced ruffie,
cut Lhe ntffle strip wi tb a seam
allowance added tO rurne width at
t he Oo"ing edge; cut the facing
s horter than ruffiewtdth plus two
ocnm allowances. Application is a
lWOSeam p i'OCCSS: ( 1) Sew r.he fac
mg to the noat ing edge of the rufne
.mc.lturn the facing righ side out,
folding it on the seam. (2) Wilh its
allowance turned under. sew
the other edge of the facing to the
ntfne strip. enclosing all seam
U1 the process. An imis-
ible faci ng 1s S\\, 10 the ruffic
with rtght sides together and
then turned 10 the back or the rurne.
A decorative facing is sewn righL
side down to the back of the rufllc
sr.rip nnd turned to r.he from of the
ruffie. Options: Contour the Ooat-
lng edg<. Contour the inside edge
of a decornti\'C facing. Edge-stitch
after turning to steady the folding
and firm the edge. (fig. 36)
I
;
I
(a)
(cl rvvvv
(d) tv;;;;;
Fig. 36. {a) Invisible facing sewn to
a rullle strip, {b) tumed to the back
and slipstltched. {c) Invisible facing
with a contoured and edgestitclled
floating edge, slipstltched In back.
{ri) Decorative facing with both edges
8dgeslltched.
A binding wraps the Ooating
edge of a ruffie in a separate strip of
fabric which makes the edge five
fabric layers thick. The traditional
binding Is a bias strip cutt\\'ice as
wide as the \!Sible ";dth of the
binding in front, plus two scam
allowances. Pres. the seam
allowance along one edge of the
binding to the ins ide. Application
involves two seams: (1) Sew the
unfolded edge of the binding Lo the
rufne Strip. (2) After LUrtting tht
binuing over to the other side of
t he uffie. sew the folded edge of
the binding to the rufne (Fig. 3-7) .
(a)
Fig. 37. Three ways to bind the edge
of a ruffle strip: {a) Machine-stitch the
binding to the strip with righl sides
together. Either {b) hand stitch the
folded edge to the joining seam in
back. or (c) puR the binding's iokfed
edge beyond the joining seam in
back; from the front, machineslitch
;n the ditch. (d) Sew the binding
right side down to the back of the
strip, tum the binding to the front,
and edgoslllch.
With fl binder foot auached to the
machine, one scam docs the job.
The binder's slots align the folded
edge of the binding on top of the
rurne 10 the hidden, also folded,
edge of the bmding underneath
so that one neatly catches
both (fig. 3-8). Variation:
A no-sew hmdlng. cut \\;tltout
scam backed with
fusible web. folded and bonded
over the edge or the rumc.
Fig. 38. Th6 binder attachment
applies foldad binding to the edge of
a ruffle strip in one operation.
Chapter 3 MAI<,ING RUFFLES 45
The nristocnu of double-fold
edge finishes, a tmy ltand-mlled
Item turns the edge soft!) wi th fine
hand stitching that's invisible
except for miniscule pricks border-
ing the from. Purists accomplish
the rolling ";th only a hand-held
needle and tlucad. but a line of
stnystllchlng next to the trimmed
edge conllibutes a measure of con-
trol to the cut edge of delicate fab-
rics. When cutting the ruffi e, add
w (6mm) \ 0 ruffle width for the
hem allowance and :dd a was te
rtllowancc to be trimmed away after
suystllching. The stitching process
rolls the hem (Fig. 3-9}.
Waste All owance
::::: I e: -- -----
... .... ..
A tey Slltching '- .............._ Hemline
Ruffl e
Width
t
Fig. 39. Hendrolled hem:
(a) Prepare the ruffle strip.
(b) To slips/Itch: Turn the hem
allowance down w (3mm). Take
(a)
( b)
( c)
a V. (6mm) stitch In the hem allow-
ance just below the turn. Moving
straight down. pick up one or two
threads of the Iabrie just below the
hemline. Moving straight up, take
another V. (6mm) stitch in the hem
allowance below the turn. Continue
for t (2.5cm). Stopping after a
stitch below the tum, (c) pull the
thread taut to roll the hem, and
resume stitching.
The Art of Manipul ati ng Fabr ic
A shell Item finishes the edge
of a ruffie with a dainty scallop.
Preparation for a hand-stitched
shell hem imolvcs adding a 14''
(6mm) hem allowance to ruffie
width when cutting the fabric sllip.
Turn the hem allowance down
\Is'' (Jmm} and press: nam it 0\er
itself :mother w (3mm) and press.
Thread, brougllt O\'Cr the top of the
hem while stitching and pulled
taut, bites Into the fold to create a
twisty edging (Fig. 3 10).

Ruffle
Width
I
( b)
Rg. 3 10. (8) Ruffle strip for a shelf
hem. (b) Double fold hem allowance
and press. (c) The stitching: Bury the
thread knot inside the outer hem fold.
Bring ltle down and ahead by
1/4' (6mm): push It through the inner
hem fold and out in back. (d) Carry
the needle up end over /he top and
repeat, making several stitches and
flips over the hem. (e) Puff the thread
taut and ccntlnue.
RUFFLE BASICS
A shell hem requires
a tightened sti tch that swings over
the edge, leaving a trail of sthches
in front. Before cuning the strip and
pressing a double-fold hem into the
edge, test on scrnp fabric to corre
late hem width 10 the bile of the
machine stitch (Fig. J.lJ ).
Fig. 3-11.
Machill8
stitched shell
hem shaped by
an overedge
stitch with nee-
dle-thread ten
sion increased.
The strnightsmched double-fold
Item is n ne:n and sturdy edge fi nish
for a rufne. Add n small hem allow-
ance when culling the ruffic strip.
Tum the hem allowance twice and
press. Edgcstitch next to the inside
fold of the narrow hem (Fig. 3-12}.
(b)
Fig. 3-12. (a) Straight-stitching a dou
ble-fo/d hem. (b) Optional edgesmching
of the outer fold firms and accents the
floating edge.
\:an th< appearance of the stitching
nuchme sewing with a dccora-
.. tnc:h or, i a look is
m front. hand sew the
bern The hemmer foor. a time-
,.., cr whtn yards of ruffies need a
ftU>h. combines the double folding
n.! ' traight stitching of little hems
nto ont smooth and consistent
'l'Cr'Jtion 313).
Fig. 3-13.
Hemmer
toot.
A machine-stitched flat Item
<tlges ruffirs with one seam visible
m front. one fold. and one additional
of fabri c. In back, the single-
fold hem stops at a cut edge which
needs appropriate auention to dis-
courage fraying-unless the fabric is
ftnuly non-woven. Cut rurnc strips
w1th a hem :>llowancc added to ruf.
fl e width, and a waste allowance, if
needed. For a one-scam Oat hem,
turn lhC hem aUowance to the back,
press, and secure \\1th a straight,
:1gzagged, or twin-needle scam
Ftg. 3-14). For a two-seam flat
htm, SI3)'Stitch, 0\'Cl'Snv \\ith
or anach tape to the straight
cut edge before turning, pressing,
and 10 secure the hem
(Fig. 3-15).
(a) ( b) (c) ( d)
Fig. 314. One-seam flat hems: (a) Straight-stitched when cut with a pinked
odgli. (b) Zigzag-stitched when the edge is straight-cut. (c) Stitched from the
front wi/fl a twin-needle, and (d) trimmed in back next to the stitches.
(I) (b)
A solid covering of thread wraps
the straight tdgc of a ruffle strip fin-
IShed with sarin-stitcltcd edging. The
tidy, smooth appearance of pcrlect
satin depends on coordi-
nating the method of application
with sewing thread a11d ruffic fabric.
Using scrap r.,bric, test first. Select a
medium-lt>wide zigzag, reduce
stilch lengt h ro 0 or almost, and
guide the rurne strip under the
presser foot so that the needle j ust
misses the edge when it wings to
the right. As tht chosen method
requires, CUI rufOe Strips WithOUt
any allownncts added to ruffle
width 31 the floating edge, with a
waste allowance onl)\ or with a ht'IIl
allowance and a waste allowance.
(c)
Fig. 3-15. Two-seam
flat hems: (a) For
sheer, flimsy fabrics,
or knits, staystifch
next to the hemline;
straight stitch a scant
V<" (6mm) /10m the
staystltching; trim the
excess hem fabric.
(b) For firm, stable
fabrics. zigzag or
Overlock the edge
I:JGfore turning and
stitching. (c) For
heavier fabrics. sew
one edge of a tape
over the cut edge and
the other edge Jo the
ruffle.
(l ) The one-seam/one-layer method
la)S satin stitching directly o,er the
stratght-cut edge of slftble fabric
'\oith n close weave. To contour the
edge with thts method, choose a
decorative stitch appropriate for
satin smcblng. such as the scallop,
and trim on the outer needle holes
of the stitching. (2) The two-
scam/one-layer met hod primes t he
edge with tlgzagging. Satin stitching
co,ers the zigzag stitches. (3) for
fabric that tends to mvel. the one-
seam/two-layer method replaces the
cut edge with a fold and bolsters the
l'<lgc with a second thiclrness for the
satin stitchrng to envelop. (-f) The
two-scam/two-layer methods control
Chapter 3 MAKING RUFFLES
:
j
:
\
(a) (b)
(C)
I
I
(e)
Fig. 3-16. Satin-stitcned edgings: (a) Sewn directly over the cur edge. (b) Sewn
over an edge trimmed after zigzag-stitched preparation. (c) Sewn over a folded
edge with the waste a/towance trimmed altar satin stitchtng. (d) Sewn over an
edge turned on 8 staystitched fold with the waste allowance trimmed after satin
stitching. (c) Sewn over a tiny, straight-stitched single-told hem that disappears
under the satin-stitched covering.
soft. shifty fabl"i c with straight
stitching that Mabilizes the folded
edge before s.Un stitching ca,crs
all. (Fig. 3-16) To pre\'cnt the cup-
ping that occur.; when satin stitch-
ing. with an 0\'('re:dge: root
anached to the machine (Fig. 3-17).
48
Fig. 317.
Medium-to-
wide satin-
stitched edg-
ings lie flat
when sewn
with an
overedge foot.
Th Art of Manipulating- Fabrl<
The Rnest of the thread-bound
edgings. the lwlrline edging, is tiny.
firm. and secure. Select a medium-
dg:ag stitch and mise the
upper- thread tenston to 7. 8. or 9.
With the ntffic stnp \nang stde up.
sew with the needle JUSt missing
the edge "hen 11 ;wings to the
nght. As the needle back to
the left, the tightened tension
brings bohhin thread up and
mound to the top Mtd the fabric's
edge wit h h. trapping a fold inside
Lhc s tilching. A h"i rline edging
emerge< hnlf the width of the medi-
um-tn-widc :.lgz.ag seLling on L.hc
machine (rig. 3-18).
RUFFLE BASICS
Fig. 3-18.
Ruffle strip
finished
tvilh half-
line edging
loses a
tiny frac
lion of its
original
width.
Bdort zigzagging u hairline edge
uno Ouid. sheer fabric. add stability
by staystitching next to the edge.
As zigzag-stitch length moves closer
to 0. the of the edging
increases. A single-fold hairline
edging, 21g:gged or satm-stitched
over a tiny one-fold hem pre,iouslr
pressed into the edge. is ext:ra firm
and neal.
A "ired etlgc , suff and holds
its own. Thin, plasttc-coated wire
buried inside t he fold of a hairliltc
edging enahlcs the Ooating edge of
the rufne to he curved, twisted, and
angled into ecccnlric conngurations.
While sewing. guick lhc wire under
t he presser foot,laying it next to the
edge where it will be cndoscd
inside the fold cnu;cd by the action
or tlle tcnsion-uglncned zig=ag or
stitchmg (Ftg. 3-19). Options:
For an extr:1-flnn edge mthout stiff-
ness. substitute thin cord.
srrong thread. or monofilament ftSh-
ing line for the wire. Enclose the
firming or stiffening element inside
a tiny single-fold hem before rigz:tg-
ging uvcr the edge.
Fig. 3-19.
Thin wire
enclosed
inside a
hairline
edging.
brushes a ruffie s trip
a wnh a [rilly. fluttery
.,.1111'!1. " " "'"' tdge finishes a ntf-
"" the bias Of WOIen
.,_ rolling. twisty edging.
,tretchiness to achieve
"!<.lcct SC\\ing machine
--..-. ,,. a hairline edging as pre
dc>crib<d. While sewing,
'''" the edge progressing
th< needle. holding the fabric
' 1 and back of the presser
'>lop to stretch out t he section
up when i L becomes ne:ces-
The zigzag-stitc.bed edge will
ftUln the stretch while the bod)' of
I I )
(b)
ntffie strip returns to its
rrctched condition ( Fig. 3-20).
I
\
Ag 3-20. (a) Lettuce edging on a
J6fSBY knit. (b) Wavy edging on blas-
cvt muslm.
. ------
An "''" ''"""' cdge requires a
strger. Ovcrlocked stitching enclos
cs the cu1 edge o[ a ruffle strip
Ubidc a laddered chain onoopr
threads ( fig. 3-21). \\lth stitch
length shortened for dense thread
co1erage. the satin-stitched edgmgs
described and illustrated previous!)'
can be duplicated by overlocking
with a strger. The scrgcr lmife elim-
inates trimming rhc waste allow-
ance wiLit scissors.
Fig. 3-21.
Over/ocked
stitching finishes
the edge of a
ruffle strip.
A rolled overloched edgi11g is the
scrgcr version of hairline edging,
zigzag finish described previously-
with a proceduml dilfcrencc. A rolled
ovcrlocl<ed edge is stitched with U>C
righ1 side of the fabric up. On a serg-
cr with n 3-thread stitch, tightened
lower looper tension fortes the upper
looper thread to roll around 10 the
lxtck of the fabric, turning the edge
to the back with UIC thread.
End of RUFFLE BASICS
GATHERED
SINGLE-EDGED
RUFFLE
-a strip of fabric with one long
edge gathered to a shorter target
measurement and attached to flat
fabric. The opposite edge floats in
irregul>r, serpentine folds.
PROCEDURES
1. an appropriate and cffec-
livc edge fi nish for the ruffie
( refer to "Edge Pinishing for
Ruffles" on page +3). To set a
width lor 1he nfne s1rip. add a
seam allowance to the finished
\\1dlh sdccted for the ruffie and
include allowances for the select
cd edge finish ( Fig. 3-22).
w .. te Allowanc.e (If neede-d)
- Se;m- oT Him AiiOwanCc(if n; eded)

Finishod
RuHle
Width
_ _ _ 1_ _
Soam Allowance
Fig. 322. Fabric strips cut for gath
ered single-edged ruffles must
include measurements for finished
rume width and a seam allowance
beside the gathering seam, Mth
measurements added to the floating
edge if and as required for the cho-
sen edge finish.
2. Dc<:idc how much fullness the
gathered mffic should display-
slight , mndcratc, generous,
ubundunt. Set an afler-1he-gath
crlng target measurement for the
ruffle. To estimate the length of
1l1e s1rlp needed to produce the
desired fullness in the ruCile,
muiLiply the target measurement
by the amount indicated in the
following ch>rt:
SIIQhtlutrness = (target) x 11'1
mode<alt I!Ainoss (target) x 2
oenerout luDness = x 3
abundant tullne., = [targel) x 4 (t mo<e)
MAKING RUFFLES 49
To eva)u,ue fullness, gather
matching lengths of the ruffie
fabri c, Identical in "idth and fm-
ish, using different ratios from
the chart.
3. Cut the ruffie strips to size:
Align the tdgcs of strips cut on
the straightgrain of the fabric
with in the weave. To
extend the length of a ruffie
strip, sew the short edges of
two suips together with Tight
sides facing and edges match-
Ing; press the scam allowances
open (fig. 3-23). (For a con-
tinuous rulflc strip cut on the
srmlghtgrain, refer to Fig. 10-1
on page 207.)
Fig. 323. Crossgrain ruffle strips. To
have a selvedge edge finish, a
longer ruffle strip. and extra fabric
firmness-cut lengthgrain ruffle
strips.
For bias-cut strips. mark the
fabnc "ith lines that cross the
wea,e at 45-degree angle. To
extend the length of a ruffie
' strip, sew the angled edges of
two strips together with light
sides fucing and seam lines
matching at the ends; press
the seam allowances open
(Fig. 324). (For a contin\t-
ous ruffie Strip CUI On the bias,
refer to Fig. 9 18 0 11 page 200.)
4. Appl) the sclecttd finish to one
long edge of the ruffle strip.
Fig. 324. Bias ruffle strips. Accurate
measurements between cutting lines
are taken at right angles to both
lines.
5. Gather the unfmisbcd edge to
the target mtasurement {refer to
Gathering Methods' on page 3),
sewing beside the designated
seam line Inside the seam allow-
ance. To deal with lengthy ruf-
fle strip gathered on pulled-
thread stitching, divide the edge
to be gnthered into halves, quar-
ters, or eighths; mark tl1e divi-
sions between segments with
pins, ni))S, notches, or chalk.
Equat e to similar but smaller
on a lltrget gauge.
Gat her segment by segment to
the target measurement.
Distribute the gathers evenl)\
6. Pin the gathered tdgc of the ruf-
fle strip to the fabric where it is
to be apphed; baste dir<etly over
the gathering stitches. Machine
sew the Onat seam immediat.ely
beside the basting/gathering
stitches, hiding all construction
stitching and the gathered scam
allowance in the process of
application:
\id1in a seam connecting two
pieces of fabric (Fig. 325).
................... _____ .. __
( b)
ftbrlc 2
Fig. 3-25. To insert a rume into a
seam: (a) Basta tho ruffle to fabric
#1. (b) Pin fabric 112 over the rullle,
tum the assembly over. and stitch
beside the basting. (c) Optional
edgestitching.
As n hem ruffl e that lies ou
top of the fabt"l c to which it
is attached, or extends out
from the fabric to which it
is attachtd. For top ruffies,
cover lhe seam allowances
with binding ( rdcr tO
Fig. I-ll on pagc 7). For
rufne extenstotlS. optioi1S
for treating seam allowances
include: (1) Zigzag stitching
or serglng over tltc edges
(Fig. 3-26); (l) covering with
a lining or invisible faci ng
(refer to Fig. '19 on P'tge 70):
(3) covering with a decorative
facing (sew the ruffie right
side up to the wrong side of
the fal>ric and turn the facing
10 the fTont): (4) tdgcstitch-
ing after application.
50 Tho Art of Manipulating Fabric
GATHERED SI NGLE-EDGED RUFFLE
- ------- - - -
Fig. 326. Ruffled extension to e
hem: (a) Sew the roffle to the fabric's
edge. Zigzag or Overlock the seam
allowance edges. (b) Ruffled hem.
-ro a foundrulon In u Licrcd
nrrnngemctu (l'ig. 3-27). The
floating edge of the rufOe
above overlnps and covers the
applitntion dewils of the rurne
helo'v. The scam nllowance of
the I'UfOe at the lOp may be
covered with binding,
appliqutd wpc, or nn exten-
>ion of fabric. rulllc at the
bottom muy be treated as nn
extended hem rufOe.
Frg. 327. Tiered roffles applied to e
foundation with straight stitching over
the gathered stitching. and zigzag
sUtching over the edge of the roffle's
seam allowance.
Attbc edge of an clement thnt
will be appliqutd to a foundn
tlon {l"ig. 328).
(c)
Rg. 328. (a) Ruffle basted to the
edge of a circle before (b) edge-
stitching the circle to a foundation.
(c) Ruffle arrached to a band
edgestilched to a foundation.
NOTES & VARIATIONS
A rufOc of soft, thin fabrk can
be gathered much more tightly than
a ruffic of stiff, heavy fabric.
Because a rufOc cut on the bias
tends to absorb gathers at the
sti tching line, a bias-cutruffie may
be gathered much more tigl1dy than
a rufOc Cltl on the Straightgrain of
the same fabric. To produce attrac
tioe fullness at the Ooating edge, a
wide rurne needs tighter gathering
than " narrow rume.
Ruffle strips may be gathered on
thread stitched by hand or straight
or !ig:ag-stitched hy machine. One
row may be enough for narrow
strips gathered with light to moder-
ate density, but tighter gathering is
more e:ISily comrolled ";th two
rows of stitching. When yards of
rufOc Strips need gat herlng, UUIO
malic gathe1ing using chc gnthcri11g
foot or runer attachment is a fa>t
and dfkicnt alternative. (Refer to
"Gathering Methods" on page 5.)
As gathering density increases,
scam allo,v-Jnces accrue more bulk.
To nauen the bunched gathers,
(1) press u rufOcs scam
(only the seam allowance}, leaning
hard on the iron; (l ) crush the seam
allowance accwnulation under
str:ught, zigzagged, or O\'erlocked
stitching; (3) edgcstitcb through all
layers afrer applying the mfne;
( 4) or any combination of the abo,e.
Bull..y seam allowances contribute an
underlying firmness to applications
with rows of gathered single-edged
rurncs floating on U1C surface.
The gathered edge of a single-
edged n.tffle is ncxiblc, pcnnitting
CUl'Vtcl and even angled npplkn
Lions. A ntfnc scwn uround n curve,
circle, or angle wUl suctclt out and
curl tu the floating edge unless it Is
gathered Cx lm tightly at the SOlii'Ce.
Add length to d1c tufll e Sll'ip tO
allow for the dense gathering
curved and angled applications
require. Couvcrscl), a runlc sewn
inside a curve, circle. or angle will
bulge with squeezed folds at the
floating edge unles. the gathering
lightened. For a rurnc applied
around a curve or circle-more
gathering; for a rurne applied inside
a curve or circle-less gathering
(Fig. 3-29).
Fig. 329. To prepare a roffle ior application in a wavy line, divide
the roll/e strip into longer segments gathered closely for outside
curves and shorter segments gathered loosely for inside cvrves.
Chapter 3 MAKING RUFFLES 51
The ends of rufnes that encircle
are stitched together, hut nther rut-
Ile applic:llions start and f'inish with
loose ends. The ends of ruffics that
stop at the edge of the foundation
fabrit wtll he caught in the seam
rha eventually completes Lhe edge.
The ends nf ruffi.es t hat stop within
the foundat ion fabric >hould taper
or fan into the application seam
( Rg. 3-30).
........... . . ...
(b)

(c)
Fog. 330. (a) Ruffles with straight-cut
ends anchored in a binding. (b) To
taper out: Curve the gathering stitch
es into the edge; trim. gather. and
attach the ruffle from start to tapered
end. (c) To fan out: Pull the straight
cut, ungathered end down to the
seamline and catch in the stitching.
When n rufOe is lined or faced
( n:fer to "Edge Finishing for Runles''
on page 4 5). contouring the Roanng
edge, an option. shiftS the edge sil-
houette from straight 111 n shaped
thnt angles and H a
lining or facing isn't appropriate but
a simply comoured floating edge is
the desired profile, contour the gath
ering edge. Vllitlt}hc gnthcring edge
CO!ItOll rcd, Lhe Oonting edge Of Lhe
ruffle strip remains strnight for easy
apphcouon of the desired edge finish
( Fig. 331 ).
Fig. 3-31. Two ruffles with widths that
change from broad to narrow
because the gathering edge of the
strip was contoured.
A single-shell ruffle has a gather-
ing edge shaped in a scallop pat-
tern. Gathering straightens out the
cunes, making the gatltercd
slltthingta;,plication line <traight-
nnd making the floaling edge scal-
loped to rcllcct the silhouclle origi
nail)' cut into the ga<hering edge
( Fig. 3-32). If a single-shell rufnc
is cut from doubled fabric (refer to
" Edge Fi11ishlng for Rufnes" on
page -14) , the shells can be puffed
after application.

- .. -
. t I -
(b)
Fig. 3-32. (s) Single-shell rvtlte pat-
tem with curved outlines lllat are
elOngated v11rsioos (b) of the aher-
galhering sheN shapes.
An application of laycretl single-
edged ruffles compound> the deco-
rall"e effect of frilly edge>. Two or
more ruffles, gathered to
avoid nestled folds at the gathered
stitching, are smckcd one on Lop of
the oLher with gathered edges
matching, and sewn to the founda-
tion as one. Whether the rufnes are
equal or unequal in widtl1, the
lloating edge of the upper ruffic sits
on top of t he folds of the ruffic
below, increasing the total elevation
of the fl(),lt ( Fig. 3-33).
Fig. 3-33. Two ruffles, the upper rufffe
shorter than the ruffle underneath,
applied as one to the fabric s edge.
The floating lodge of a puffed >in
glcc<lged nl}]lr disappears m a
cloud of billowy fabric. The puffed
rufllc startS with doubled-fabric
rufne strip (refer to Edge Finishing
for Rufnes" on page -H) . If the
edges of the ruffic strip are cut on
t he srraighrgrnin, skew the align
ment ar the stal'ling corner when
stitching the edges together for
gathering. If the rufne strip Is rut
on the bias. skewing is unnecessary.
Don't press the fold at the
edge. After gathering and applica-
tion. puU the two iayco:s oft he ruf
fle apart to pouf the body or the
ntffie (Fig. 3 -34). Ruffies less than
!" (2.5tm) wide frustrate :[forts Ill
scpMating the byers. Doubled u f-
fles of crisp fabric 2" (Snn) wide or
more puff with the most buormcy;
doubled ntnlcs of soft, limp fabric
hardly puff at all. Tu stabilize the
puff, tack the spreading rufllc fabric
at intervals to each side of the
application scam. For puffings that
stop where the foundation fabric
end, ga1 her around the wbulnr
opening, naucn, nnd basce to the
c;cam allo,vancc.
y-----..
y,., 2

Fig. 334. (a) Doubled-fabric ruffle
srrtp cur oo tile slraightgrain alld
skewed at each end to prepare for
puffing. (b) Separating the gathered
layers with the help of a dowel.
52 The Art of Manipulating Fabric GATHERED SINGLE-EDGED RUFFLE
-
---
- ----- - ---
._, Ruflie d10ti !hat <>splays !he etrea o; lllCte<lSU1g (U '""' on
., of tdcniiCd ...ad! gotheted ro !he same <argct
(top) RuiP gmt,ered (rom o $Urp cut 201J11.1onger
171011 torgeL (center) !he rufile scnp ""' 300% longer rhon
!tie WROt (bouom) 400% long!!f. edge finiSh doe.,, ,
' tJre (iooc..
111-J- /J!os-cut ruffles cJpplicd N1-seom <md
:n ovelloPPA8 ncrs. The top rier
is gathered {tom o ruffe srno cut 151J11.
Jongcr than the mea-xnmenL !he
rufl!e srnp cut (or todl SIICceSSA<t w
111erooscs 50% on length. A wavy edge {l!l
... on tile 0.9$ S:[(lps conwbttre-s on excta
Pip to the f/Qor o( "' ruffles.
14-1 Ruffle; gu.T.-ci (rom Slllp5 cut 200% longer lhon (/10 !Oige<
..-L The bottom rvff1e IS r.,;ce rn. .oo:h cf tile ruffle on lop ond
len fU!I. The edge (lrnsh. o s1ngf {oltl ilar ,,em <Ncr
!he (oi<J, ""' edge and ggnifrcnnrly affects dw of !he
GATHERED SINGLE-EDGED
RUFFLES
Chapter 3 MAKING RUFFlES 53
1/1-4-Norrow rv(fles sewn orovnd etrdes and to each socfe of o curved bJa; stnp
edgc"'rcl>ed app.<a!IOn The PocMi ecJse; of !he ruff1es botdtnng the
Of'!' S(C!iopeci(he Otf[f.r rufft Wlih SIJ[ln Sllcdw;g. Jia IMef" rujJ;:e
Wo!h o machone sntched snell hem. A ho,rlr.e edgong (.noshes !he fll/res SVffOO,"l(j
ng t.he dJdel,
The norrow 11J(fle on lOP, gorhere<l
(rem o SlflP cur rv.o omes rhe lengrl\""'
<'hed"-.h (.or""" .. U'dir-
rwtn gotr.e<ed (icm o WIP CUI !/vee 011.s the >get
length. """ (111oshed ""lh o laced scoto:;<!d edge
ruffles (top) Three ro"'
plle.-ed from SlllpS (okletJ !0 0
I (l.Scm) wx!ift (boom) Two rows
gathered (rom stroJgilt<ut strips fi>ided
ro o width o( 2 V (5.8cm).
s.. The Art or Manipulating Fabric
of N(f1 chor.grng (rom ruf-
f.es 1111.he cemer. to ruffles thot taper OUl in-.stom
(0 0 bot<'.em;: ru/Pc golhe<OO OKtm 0! !he
comer A hclorlone edg"'! (.,.,.shu a' fll/Pes.
GATHER ED
SINGLE-EDGED
R.U FFLES
GATHERED
D OUBLE- EDGED
RUFFLE
- strip of fabric gathered to a
smaller target measurement on ccn-
rered stitching. Applied to a founda
1:>011 with both edges free to float in
nnable, rolling folds, the top-
W<Ched-and-gathered stitching in the
unter is a visible feature of double
edged ruffles.
PROCEDURES
I Choose an appropriate and effec
ove fi nish for the floating edges
of the rufne. Each edge may have
the same or a different finish.
(Refer to "Edge Finishing for
Rufnes" on page 43.) To deter-
mine the width of the ruffie.
stTip: Set a finished width for the
rufne on each side of the cen-
tered stitching line; include, for
each side, an allowance for the
selected edge finish; total all
measuremems (Fig. 335).
L Follow the procedures described
for "gathered single-edged ruffie,"
steps 4' 2 and #3, on pages 49- 50.
3. Apply the selected finish to botl1
long edges of the ruflle strip.
i . On the ruffie strip, mark the
cemcrcd stitching line with a
fabric-safe medium, or a pressed
fold, or gauge the stitching dis
tance from the right edge of the
strip with a device on the bed of
the sewing machine. Following
the designatecl hue, stitch and
gather to the target measurement
(refer to "Gathering Methods"
on page 3). To deal with a
lengthy ruffle strip on
pulled thread stitching. divide
the line to be gathered into
halves, quarters, or eighths;
mark the divisions between scg
mcnts with pins or chalk. Equate
to similar but smaller divisions
on a target gauge. Gather seg-
mem by segment to tl1e target
measurement'. Distribute the
gathers evenly.
5. With a fabric-safe medium, mark
the foundation fabric with
siraight or curving lines that indi
cate the placement of the ruffle's
gathered stitching. For easy accu
mcy, mark another line to the
right for the right edge of the nf
fle to meet (usc chalk, dis.,ppear-
ing pen, a row of pins, or a tern
porary, lightly pressed fold).
Matching the ruffie to the guide
line, topstitch over the gathering
stitches to att.1ch the ruffle to the
foundation. Use straight or appro
priately decorative srirching when
sewing by machine (Fig. 336).
Usc the half backstitch for hand
sewn applications.
_ _ --- ---- - - - - - - _ _ _ 1 _ Waste
Seam or Hem Allowance (if needed) All owance
- --- --- - --- --- --- - (if needed)
Fini shed Edge of Ruffle t
Flnl&hed
Ruffle
Width
__ s..?:m __ ___ t ___ _
Finished
Ruffle
Width
Finished Edge of Rutile
- S8ani Or Hem - - - - All owance
Waste
-- ------ - - - - --- - - - ......-- (l t needed)
Fig. 335. Fabric strips cut tor gathered doubleedged ruffles must include mea
surements for finished ruffle widths on either side of the centered seamllne,
with measurements added to each floating edge if and as required for the cho
sen edge finish.
Fig. 336. Topstitched application for
doubleedged ruffles: (a) Straight
stitching with gathering thread
removed afterwards. (b) Zigzag
stitching straddles the gathered
stitching. (c) Satin stitching and (d)
decorative stitching cover the gather
ing stitches.
NOTES & VARIATIONS
Edge fulish, gatheri ng density,
fabric characteristics, and mffie
\vidth interact to gcncraLc the wavy
dimensionality of the noating edges
at the sides of doublcctlgcd rufnes.
The standard double-edged ruffle is
gathered with hand stitching, with
stright or zigzagged machine
stitching, or \Vith a1nomatic
machine gathering using the gather
ing foot or mffler attachment (refer
to "Gathering Methods" on page J),
and it is gathered on a straight row
of stitching centered between tl1e
edges of the rufne strip.
[rom the standard, gath
ering expanded to two, three, or more
parallel rows of stitching- the spread
seam or slti>T<d n!l)le- introduces a
decorali"c band of confined folds
between the loose folds released at the
sides (Fig. 3-37). Other deviations: A
mffie gathered a little off-center or on
a stitching line that curves. Applied to
a foundation witll tl1c gathered stitch
ing straightened out, the curving fiuc-
ntations that were present in (he
stitching line before gathering transfer
to the silhouettes of the Jloaling edges.
Fig. 33T. Spread-seam ruffle with
shirred folds between two rows of
gathering. Add extra width tor the
expanded gathering area when cut
ling the rofffe strip.
If the stitching to be gathered
veers from edge to edge but is gath-
ered until the stitching is strnight,
the noating edges assume shell-like
formations. Pattern.< for the gather-
ing that produces a <louble-shdl
ruffle have spaces enclosed by stitch-
ing lines. After marking the stitching
line on t:he back of the ruffie strip.
gather a double-shell ruffic b)' hand
to regulate the. shaping of the shells.
Because of its unusual shaping, a
clouble-shell ruffie may be easier to
auach to a foundation with hand
stitching (Fig. 3-38).
..
(a) -.. _
(b)
Fig. 338. (a) Stitch one 90-degree
angle of this double-shell ruffle pat-
tern, gather until the angled stitching
line straightens, secure. and continue
to the next angle. {b) Gathered dou
ble-she/1 ruffle. (c) Curvy version of
(a). Ruffles gathered from paNerns
(d) and (e) have unequal side forma
tions.
The fl exibility of double-edged
ruffies inviLtS curving arrangc-
mems. Curving the ruffie alters the
float of both edges: The floating
folds on the inside edge of the
curve increase while the folds on
tbe outside edge decrease. If the
side ruffles arc wide and the c:urvc-s
steep, t:he lloaring edge locat:ed on
the outer curve will stretch out and
turn up unless the gathering at the
source is especially light- which
will cause the fullness released on
the inside of thC cunre_ Lo swell imo
bulging folds. Only narrow rufOes
l" (2.5cm) or less from edge to
edge are used for ruffle designs.
With moderate-to-generous gather-
ing, they negotiate tight curves with
unobtrusive strttining and squeez-
ing at opposite edges. RufOe designs
exploit the contrast between wind-
ing bands of ruffl es with rippli11g
edges and smooth background
areas. A scrolled mffie design con-
forms 10 a planned, repeating pat-
tern of lines traced on the right side
of the foundation fabric (Fig. 3-39).
Fig. 3-39. Narrow. doubleedged ruf-
fle scrolled in a repeating wave
design.
An allover ruffie design patterns
the surface with a meandering,
unplanned application of ruffles
(Fig. 3-40).
Fig. 340. Narrow, double-edged ruf-
fles swirled over the surface in a
design improvised while topstitching,
with one end coiled to diversify the
relief.
The foundation f.1bric disappears.
or almost disappears, underneath
mttSs.etl ruffles. For low massed ruf-
ncs. straight or curving rows of dou-
ble-edgecl ruffies are applied to a
foundation with floating edges touch-
ing. The gathercd-and-topstit:ched
scams arc a visible componem of I he
re-deSigned surface (Fig. 3 +1).
Fig. 3-41. Double-edged ruffles top
stitched with edges toucling, following
application lines spaced a bit Closer
than Mo-ruffle-widths apart
For high massed ruffles, rows of
double-edged mffics arc topstitched
together SCI closely t:hat adjacent mf-
Oed edges are forced upward to Ooat
about one-ruffie\Vidth above founda-
tion level. burying the topstitched-
and-gathcrcd seams (f ig. 3-42).
Fig. 3-42. Double-edged ruffles top-
stitched in congested rows re-surface
foundation fabric wi th swirling edges
elevated above shadowy depths.
Scrnight or slightly curving rows of
ruffles can be massed and topslitched
by machine: With previously attached
mOles off to the left of the presser
root, bold the edge of the closest ruf-
fle away from the needle with a ruler
while topslitcbing the new ntffie. A
coihl application will11eed hand
sewing, at least at Lht start To pre-
vent distortion, stiffen the foundation
fabric with a temporary stabilizer.
56 The Art of Mani pulat ing Fabric GAT HERED DOUBLE-EDGED RUFFLE
Layerrd cloublc-cdgrcl ruj]lcs :1re
sucked one over the other with
then gthering stitches matched,
'l<ltopo;Ut<hed to a foundation ns
tc Fig. 3-H).
Fig. 3-43. Layered flOating edgos of
.-o dovbte-edged ruffles accumulate
rising high above lhe top
SLtched golhering.
\puffed doublr-cdgecl n@e must he
cut Jnd stilched from doubled fabric
\\1th unpressed folds (see "Edge
Fmisbing for Ruffies" on page 44) .
Uter gatbenng and application, puff
the side ruffics by pulling the layers
I"'" (refer to 'puffed s ingle-edged
ruffie" on page 52). Variation:
Double-edged rumc \\;th one side
puffed and the other >ide a stnndnrd,
floating-edged runic (Fig. 3-44).
----------------------------
Fig. 3-44. Preparing a double-edged
ruffle strip with lhe Iabrie on one side
doubled for puffing afler gathering
and app/Jcarioo.
Taper or fan the ends of double-
edged rurnes that stop within thc
foundation fabric. Tapering imolves
folding the end of the ruffie strip on
the stitching line with right sides
facing and sewing a scam that grad-
ually curves from the fold to the
matched edges. Trim the excess,
open the suip, gather to the tip.
and wpslitch to the foundation. To
!an the end of a ruffle, the ends
of the side ruffles together with
edge; mutdting and right s ides
together. open, pull down, and tack
to the foundation (Fog. 3--15).
(d)
3-45. Two ways to end a dOuble-
edped ruffle: (a) Teper the end of the
strip (b) before gathering. (c) After gath-
ering, join the ends of lhe side ruffles
(d) and fan down to foundation level.
A tucked n@e has thn:c floating
edges and one gathering seam. The
ovcmll wiuth of the ruffle strip
includes three ruffle widths, two at
the sides of one doublecl-fabric ruf
flc in the center (Fig. 3--!6). The
!loating edge ol the ruffle In the
center is always on the fold. The
gathering scam is stitched through
two layers of fnhric a ruffle's widt h
from the fold. With the finished
edges helow the gathered stilching
sprc.td out into side ruffles, the ruf-
fle sits on its scnm, which is under
t he center ruffle ( Fig. 3--17).
(a)
(b)
Fjg. 3-47.
Tucked ruffle
(a) afler galh-
tHing; (b) with
its side ruffles
separated
and pinned to
a foundation
prior to eppfi
calion.
To a linch to a foundation , topstitch
next u-. the gmlll'l'ed seam wlth the
side or ;l zipper foot up against the
center ruffle, anti then topo;titch
next tO the other side of the !Plh-
ered senm. By hand. sew over the
gathered seam with stitches that
alternate bc1ween a stitch on one
side und a stitch on the other side
o[ the ccmcr rufllc. Tucked nofflc
options include enlarging or decreas-
ing tht \1 idth of the center rume.
snip-fringing or puffing the center
ruffic. and gathering the ccmcr ruffle
over a cord inscm-d inside the fold.
_ _ _ ____ _ _ _ _ _ ___ _ _ -1- \Vasto Allowance
.!:!,e!!!, _ _ _ _ _ (If noodod}
f inished Edge of Sldt RuHle t
Finletted Side
Rullle Width
Gathering Soam

--- --- -----------------1--
Center Auffl o
Width
Folded Edgo of Center Rullle .S.
- - -- - - - -- -- -- -- - - f - "
Canter Autll o
Width
Oethering Seam
__ ___ ____________ ____ t ____ _
Finfahcd Side
Ruffle Width
Finished Edgo of Sldo RuHle
Fig. 3-46. The fabric
srrtp cur for a tucked
rufflo must include
measurements lor
side and center ruffle
widths, with addition
al allowances on
each side as required
by rhe chosen edge
finish.
SHmO;:Htm M'c.dedi ----- Waate Allowance
--- - --- - - - - =t- - - --, (llnttdtd)
Waste Allowance (It needed)
A double-edged ruffic will have
a perky appearance. whether it's
applied horizontally, venically, or
muhi-dircctionall); if rume fabric.
rurne width. and edge finishing arc
sclcCLcd with that effect in mind. A
vertically applled double-edged ruf-
Oe will drape rom its topstilched-
and-gathcrcd scam if the width of
the side rumes becomes more than
the fabric and the edge finishing
can support, or wbcn the rume fab-
ric is soft and Ouid. If applied hori-
zontall); the ruffle above the top-
stitched-and-gathered seam will
nor over the n tffle
tleaded ruffles, double-edged
rufncs gathered off-center between
a wide ruffl e and a smaller heading.
arc always applied horizontally.
Calculate the width of the heading.
as affected by fabric type and edge
fulish. so that it will stand up and
Ooat at the top (Fig.
Fig. 3-48. Headed ruffle.
ruffle options involve com
blntulons with a spread scam, a
J)uffed heading, and a tucked 0 1
layered ruffle. A split headed rurne
allows for di fferences, such as fab-
ric, gathering densit); or
between the heading and the rume.
A( tU211); a split-headed ruffic Is
(Om posed of two slngle-edgtd ruf-
fles with their gathered scam
allowances butted. The wide ruffle
and the n'trrow heading may be
stitched to opposite sides of a band
before topsti tching to 1he founda-
tion. or. af[er direct topsthching,
lhc scam allowances may be cov-
ered with an edgestitched band or
a double-edged ruffie.
SS The Art o f Manipulating Fa bric
Jll-8 Two ruWes 10 o (oundauon. The '""""i roffle has strorghtsulched
clouble-[old /lems; 1/>e ru/Pe '"Jh rl>e (OllCJ[ul. "''"'>' Poot has wired edges.
GATHERED DOUBLE-EDGED RUFFLES
1/1-9- Ruffles. wrlh halrlkle edging. opplted rn rows with edges touchi<Jg
(low massed N(fles).
1 o-(lt/1) r .. o tONS of
tl. ... apc1'l fiom eoc:h
cttw:r. ( n2hr) some rv(.
'ies o.pplted In 10'-"'$ so
tho! cqo.
cent ore {olr.O<J
<4M<Jid (l>jlh mouod rv(
ks) The "'SUI(aced musl<n
tS <hod< and hec;y.AA 1t1(f10
edges ore eerlod<ed.
lr/.f 2-MUS!on
apol+ed Ill tliht cofs: w;rh
edges (oniShed (left ro
llflhl) w!lh sonif'r
swched dpubfe.(olo
hems: wolh hoorllne ecfg.
ong; w1ff> one ponked
rJr>d one edge selvedRe:
wnh ravelled (r/OJie
pottemed alb.,..-Mth 0
<Jesign o{ ptn.l:od nf,fes 31" (2an)
Chapter 3
GATHERED
DOUBLE-EDGED
RUFFLES
MAKING RUFFLES
III-I 3--{top) A snp.rivlfN
wll'< thO{ ends"' 0 cool (bo:
tom) T.o do<.b' .. sne., ru{f'es
che smo/ler 11on<1 smcned imo
0 fiower-1 !<t C0'1.
14-Four {ana(ol rufll>. all fi<JII>orlld VOm rufl1e stnps CUI
tilon twoce rile to rojlht) Horlnc edged rufllc
sprooo s.om garhct!ld on twO corded smp-{nngcd ruflic layered
over a ruflie 1vM (trm, doub!c-(old horl.nc edg ng: ruffle Wlrh a
sna!Jow ruflle centered between Side ruffles fmhed wt/1 deep. smgle-(old
hem> tucked ruffle Wlrh tht centtr rufl1 puffed and Side rufl1es
Wirh ON/floOeediNU/he<J, SIM81e.(ofd hemS
60 The Ar t of Mnnipululn& Fabric
1/J J 5- Unoacochc-rl ruffles ga!hercd 1ntc long. {lufft cyl n
ders on seams zigzagged atcr suil1g. Far each cyfu1der. tvtO rufile
slftps il1a1 111plcd !he torgct lcngrh we"' galhe,.d m 011e.
(righr) SmpC1ngcd edge (irosh. (lef!) Douhle{old fx,,/,ne tdR"R
Il-l b-S<Ie n;ftie> ; \.'l " (II Scm) M<Ie jl<Jiled OC>..r>-
weogltt o{tJ>t rrll45n
111-17-Hcaded ruflle with 0 band orsnmmg sepa'Utl11g d>e (rom de rut
11e. The edges .veto {lmsned woth s!!'O.ghtSUtchec:( dooble;olcl hems.
111-18-Splot headed ruffle. The gaihered seam allowances o( tile ru/Pcs and the
levered neod;ng pad the edgesiJ!Ched wpe with bulk.
Chapter 3 MAKING RUFFLES 6 1
P LEATED SINGLE-
OR D OUBLE-
EDGED RUFFLE
-a strip of fabt'i< reduced in lengm
by systematic folding anchored with
stitching along one edge or down the
center. The edge or edges of a pleat-
ed ruffl e float in regular, orderly folds.
PROCEDURES
1. Choose a arrangement
for the rufllc (Fig. 349). Decide
whee her the folds will be pressed
or unprc;.scd.
2. Select an edge finish tbat \\;II affect
chc folds at the float agreenbl): or. if
the pleats ore to be pressed an
edge finish chat will a<:ccpt sbatp
cn."lStS (refer co "Edge Finishing
for Ruffies" on page -13).
3. Determine the width of tbe
pleated ntffie strip, including
allowances for the selected edge
finish: For a singlt-<:dgcd ruJDe.
refer to Fig. 3-22 on page 49; for
a double-edged rume. refer to
Fig. 3-35 on page 55.
4. To calculate the length required
for a rurnc strip pleated to the
targcL measurement: Make a
folding gauge from a short strip
of paper marked with dots
spaced W' (6mm) or v.''
(l.3cm) apart, as appropriate for
plentlng depth and implcmcma-
tion. The tlot.s indicate pleat
folds: tl1c dbtance between dots
equals ple.1c depth; count dots to
regubt< pleat sp;1cing. Matching
dots. fold into the chosen plea<
arrangement. Apply the follow-
ing formula:
(prtfoldmg leng;h/paper
- aftcrloldtng length/paper(
x C<lrget measurement for pleated ruffle
Escltnaled Length of RuHle Strip
Knife Pleats Box Pleats Inverted Pleats
( Top Row Unpressed; Bottom Row Prossed)
r .. -.. -.. .-....... -..... ... . -. ' ' ' '' ...,., . --+- - ... ..... r __ ..,.. __ -__ -_-_,_-__ --, _ 'r-'
Inverted Pleats Between Wide Box Pleats
Clustered Knife Pleats
......... --- . .
-- r r- ........ -
Spaced Out Box and Inverted Pleats Closed Box/Inverted Pl eat s
Fig. 349. Pl eated ruffle arrangements.
5. Cut noffie srrlps to size on the
of the piecing
stnps together if tlCCCS.<ia'}' (refer to
Fig. 3-23 on page 50). For a single-
edged nome, appl)' the sclected
edge finish to one long edge of the
ruffie S!rip; for a double-edged nof.
flc, finbh both long edge,.
6. Marking with a disappearing pen
or chnlk on the right side of the
ruffi c Strip, dots \!..''
(6mm) to !li" (l.3cm) apart. as
pre-planned. along the unfin .
ished edge for a single-edged ruf
fl e, or centered for a double
edged rullle. Matching dots,
pleat the ruffic strip. securing
each fold with hand basting or
machine stitching. If the ruffic
snip is wide or the limp.
hand form, pm and hand baste
the folds before machme smch
ing over the dots. For rufle
strips of width and
fabric, form che pleuc.:. while
machine stitching (Fig. 350).
For a t>lcmed rufne \\ith sharply
creased folds, ptess the folds
from sentn to finished edge.
Frg. 3-50. To form pleats while
machine-stitching: Prick s dot
marked on the strip with the lip of a
sturdy needle or pointed tool. Push it
under or lift ir over to make an outer
fold that matches the correct dots.
Grip the just formed fold with the
pointed tip as the fabric slips under
the presser foot.
62 The Art of Manipulating PLEATED SINGLE-OR DOUBLE- EDGED RUFFLE
7. ro nunch n pleated single-edged
rume to Oat fabric. conceal the
allowance inside another
scam, at :t hem. or ,,,;th suitable
surface application ( refer to Figs.
3-25, 3-26, 3-17. & 3-28 on
pages 50-51). Topstitch a pleat
ed double-edged ruffic to foun-
dation fabric, sewing ovcr the
rurnes seam line. Match the ruf
fie's scnmlinc or the right edge of
the rumc 10 gtiddine marked
on the fabic (refer to fig. 3-36
on pugc 55).
NOTES & VARIATIONS
Beneath the application seam,
pleated rurncs nrc smooth "ith dis-
cphned folds and underlayers.
Compared 10 gathered single-edged
ruffies, the seam allowances of
ple:ued single-edged rufDes (same
length, same target) are less bulky.
At the Ooat, pleated ruffies roll into
rounded, repetitive folds or, if
pressed, angle into creased,
arr:mgccl folds. The 'YlJe of pleat
affects the lloat-invcrtcd pleats
remain close to foundation level
while box pleats elevate. Pleating
arrangements that feature localized
fullness-pleats isolated in between
unpleated segments of the ruffle
strip-<ontrast bur.;ts of folded full-
n<SS with areas of smooth ruffie
fnbnc.
Pleat depth based on a folding
gauge of dots spaced no more than
!.1" (L.3cm) apart relates propor
tionall)' 10 most rurne widths and
applications. For pleat formation,
consecutive dots indicate the outer
fold, the onner fold, and the omer
fold match point of one pleat. and.
if the arrangement dictates, some
dots are counted as spaces between
pleats. To pleat wide ruffie strips,
part icularly If tloc are to be
pressed, marl< 1 he edge or edges
with a duplicnte of the dots on the
scamlinc: match all the aligned dots
when folding and pinning each
plent; nnd baste ot the edge or edges
as well as on the seamline. Locate
pleat folds on the straightgrnin of
the fabric. Press lighU)' to bold the
pleats. remo,e the basting at tbe
edge or edges, >nd steam press
thorough!)' to produce a ruffie with
crisp folds (don't move until cool
and dry). To maintain the integrity
of the folds, apply a pressed, pleat
ed l'lofne to the fotmdation in a
stn1igln line.
Like gathered nfnes, applica-
tions of unpressed pleared ruffles
can be curved as much as the pleat
mg will accept gracefully. The folds
of a narrow box/inverted pleat ruffle
adapt nicely to the sinuous curves
of scrolled or allo,er ruffie patterns
( Fig. 3-51).
Fig. 351. The plealing of a narrov.
inverted/box pleated ruffle alternately
stretches and flattens on the outside,
and ccndenses and heightens on the
inside as it negotiates a tight cuNe.
The spread-scum noflle, layered
rurnes, low massed rumes, and
headed rurnes, variations described
for g.1lhcred single- and double
edged rumes. pertain to pleated ruf-
nes as well. For applications rhat
require quantities of pleated ruffies,
usc the rufller attachment 10 con
vert ruffie strips into automatically
knife-ple>ted and straight-stitched
s ingle or double-edged rufll es.
Simple adjustments change the
attachment [l'Om gathering to pleat
ing mode and oegulate the separa-
tion bet ween knife pleats by stitch
count- a pleat every stitch. a pleat
every 6 stitches, a pleat every l2
stitches. Stitch length regulates
pleat depth. (Fig. 352).
Rg. 352. The ruffler, a sewing
machine attachment, looks more
complicated to operate than it
actually Is.
Ill- I 9- 0wrt of ro(/les f<ni(e-pleoted wtlh o ruiiler
mrorhment (top) R11fl1e p!Mced on every I 2111 (center) Two
rows of rofl1es p!e<>ted on e>'ery 611> s6tch. (bottom) Ru(fle pleated
on everl sut.<lt with u fiouung edge ll>ut looks likiJ the r&suiL of
gadl!2:lng.
PLEATED SINGLE-EDGED
RUFFLE
111-21 - Four rufl1es I (2.5cm) wide; (Pom ihe top) kni;C-plecied
and pressed: unpr&ssed box plects: box pleal5 wtrh two unprc$Sed
kll<(e pleats on close kll1(e pleoung w11h ihe folds
sroomcd ro OO.'d.
64 The Arc of Manipul aci ng f abric
/1!-20-Norrow roftle strips outomot'cally kfll(e-p/eaied on every sricch.
{tnished wit/> floirline edging. (cop) 8ant1 with o fiJ(fle ouocheo' befOre
edgesurching 1.0 rile founc}arion. (bottom) Cm:les appiiqued over <he
seam o#o .... ance of a previously attnched ruffle.
111-22- Th<'ee O'lflr/apptngliers o( pressed. klli{e-piecned rofl!es WJ!h a
single-fold. Min-need!e- edge (tn;sfl.
111-2 Klll(e pieal' Wolli o bllfl<l o( ntrNJ (olcls that
reverse d:1ec1Jon between topslltd1ecJ
o( bo<. kno(o, and orwertod plecus wttil a
ccmctcd ladder of folds botwoen oun-sto<<hod scams.
111-25 Hcodod rufflo wt<h box pleats deep poonts can-
towcd miD each faced edR Two o( boxhnvettcd pleat Nffles,
notrltno edged. covtr !he appiiCOtoOn seom. nte "W<os" of !he ruffle
on wp are cogcthCt 11'1 clle center:
PLEATED DOUBLE-EDGED RUFFLE
111-24-8oxi11W'ed ple<n raffles I
1
/1" (1cm) w.(Jt.
Ill 26- EI<>boro<e ruffle bw1t q,er a llcodod rofl!c '""( pleated on
a Perfect Plearer. Galhercd ru,Pes bon:kr !he scalloped edge o( !he
band that rho deop. p'c<Ited ruffle. A double .. ruffle
gathered off<enre.r CO'Iers the spirt
Ch pter 3 MAKING 1\UFFLES 65
A
flounce is a flowing attach-
ment that gradually flares
and swells from a smooth seam-
line to a floating edge of rolling
waves and folds. It starts as a
curvilinear piece of fabric with
one edge longer than the other.
When its incurved shorter edge
is straightened and stitched to a
stabilizing fabric, the longer edge
develops graceful fullness. As
part of a whole, the flounce can
be a solo addition, or flounces
can be applied in rows that
either partially or completely
cover the base fabric.
LOUNC
4 Making Flounces
CIRCULAR FLOUNCE .............. 67
Procedures ................................ 67
Spiralcut circular flounce .... 71
Layered circular flounce ........ 72
Tiered clrcular llouncc .......... 72
Double edged circular
flounce ........... ..... ..... ......... 72
Layered doublcedgcd
circular flounce .................. 72
Massed doublccdgcd
circular fl ounces ................ 72
CONTROLLED FLOUNCE ........ 77
Procedures ................................ 77
Layered .................. ................ 78
Double-edged .. ..... ............... 78
C IRCULAR
FLOUNCE
-a circle of fabric with a round
cutout in the center. split open.
straightened out, and seamed to
another piece of fabric along its
inner, h o ~ s t edge. The longo>st
edge floats in waves and folds.
PROCEDURES
1. A ref res her vocabulary:
Circumference- the distance
around a circle.
Oimnewr-any straight line
passing through the center of a
circle from one side of the cir
cumference to t he other.
RadittS- a straight line extending
from the center of a circle to any
point on 1he circumference.
Radil.s of a curving section of"
cirdt- nodius of the circle which
has the same curvature as the
curving section at any point.
2. Choose between a flounce with
maximum. mocle:nue, or mlnimal
narc as controlled by the radius
of t he round cutout In the mid
dlc of a circular nouncc pattern,
nnd the length of the nounce:
The smaller the radius of the
central cutout. the g1eatcr th<:
flare at the fl oating edg< of n
flounce after it i.s appUcd
(Fig. 4 1).
Fig. 41 .. Circle divided into three rings of equal depth to demonstrat9 th9 r9la
tionship between the //are at the floating edge and tile radius of the circular
curve that becomes the straightened edge of the flounce.
Chapter 4 MAKING FLOUNCES 67
f lounce depth as it increases
also increases the flaring. As
the difference between the cir-
cumference of the cenoal
<:uLouL and the circumrcrcncc
of t he fl oating edge increases,
the folds at the edge becomt
more voluminous (Fig. 4-2) .
Fig. 4-2. Three flounces cut with
identical circular curves at the top.
but increasing in depth.
To evaluate a Uouncc.) sampJe: tJ, e
effect of central cutouts that vary
in sire. on a llouucc Lhat remains
the same in depth and straightened
length aL the application Se<llll.
3. To draft a circular flounce pat-
l C.t'tl, establish two measure-
ments, one for the radius of the
centra] circle and a sc.cond for
the depth of tbe fl ounce:
a. Draw the central dn:le using a
compass set to the radius mea-
s urement ((a) in Fig. 4-3).
Adding a measurement for
flounce depth w the radius,
resel I he compass ilnd draw a
second circle outside the ftrsL
((b) i11 Fig. 4-3).
b. To provide a seam allowance,
draw a smallet ~ i r c k inside
the center circle. To include a
hem allowance for a finish
applicablc.J.o a curving edge
(refer to "Edge Finishing for
RufOes" on page 43) , enlarge
the outer circle.

I
(a)
Circular Flounce Pattern
c. 1ndicate. one or more side
open;11gs. Align side. optnings
to a mdius of the outlined cir-
cles ((c) in Fig. 4-3). Cut out
the circular nouncc. pauem.
4. To estimate the 1bric require-
ment for a particular circular
flounce application (Fig. 4-4):
Side
Opening
Seam
Allowances
(c)
Fi nished Edge
Of Flounce
"'
Fig. 43.
(a, b, c) Using
a string com-
pass and a
ruler to draft a
circular flounce
pattern.
a. Calculace the length of the cir-
cular seam line on I he paucrn:
(2 x radius) x 3.14 (I
whole circular seamline length
whole circular seamline length
- side opening seam allowances
= Circular Seamline Length
Fig. 4-4. Alter calculating !he number o/ circular flounce pattern pieces a par-
ticular application will need, use the diameter of the flounce pattern to plan a
cutting arrangement, and figure how much fabric will be required.
68 The: Art of Mani pulating Fabtic CI RCULAR FLOUNCE
b. Figure out how many circular
flounce pieces will be needed
to cover the applic:ttion's
seamlinc(s):
total length or seam lines on application
- seamlme length
Cirtlesto Cut
c. lktemlinc how much fabric
will be needed to cut the
required number of circular
flounce paucm pieces:
fabnc: "'dlh
diameter of crcular flounce pane<n
Corel<$ fin1110 CIOS$01310
cirtles to cut
- circles hUing aossoraln
: lengthgrain IOIYS or CirtiOS
(a fracuon counts as a row)
lengthgrain rows ol circles
x drameter ol circular flounce pauorn
Fabric length Required
5. Cut each cin:ular flounce from
fabric follo\\1ng the pcl'imeter of
the pnuem or ItS U'acccl
outline. Locale 1 he side opening
thttt cutS each cirdc npnrt on the
stmightgrnin of the J'ubric. When
se\\oing two or more circles togclh
er to extend the sc:unline length
of a flounce, join with n reversible
French or fl at-fell scum. espccinlly
if the S\ving of the fl oating edge is
Likely to rcve<1l both sides of the
fabric (Fig. 4-5).
6. Apply the selected Anlsh 10 lhe
Ooaring edge of Oounce.
7. Allach the Oounce or Oounces to
the stabilizing fabric. sewing on
the designated seam line. To
enable straightening the eur\'ing
seam allowncc/scamltne of the
flounce to match the Straighter
scamline on the fabric with min
imal strain, clip into 1hc Oounce
scam allowance at regular inter-
vals. Make as many clips as
necessary, but never overclip
(Fig 4-6). Conceal the flounces
seam allowunce:
0
' 0
:
0
..
: 0
0
'
. !
0
I
. '
'
I
'
:
'
'
I 0
' 0
'
'
'
'
'
(b) (c)
Fig. 4-5. French seam: (a) With
wrong sides together, march the
edges to be joined and sew down the
center of the seam anowance.
(b) Trim the seam allowances next to
the seam. (c) Fokiing on the seam,
tum Inside out with righr sides togeth
er. and sew on the stitching lines.
(d) (e)
'
0
1

( f)
Flal-fe/1 seam: (d) With right sides
together, march the edges to be
joined and sew the stitching lines
together. (e) Trim one seam
allowance by half; told and press the
untrimmed seam allowance over the
trimmed seam allowance. (f) Open
up the fabric, right sides down, and
edgestltch next to the fold of seam
allowance.
Fig. 4-6. Seam allowance of flounce
clipped ro straighten for the applica
tlon seam.
With an appropriate surface
applicalion- Using a fabriC
safe marker. dmw
nnd edge-matching guidelines
on the foundati on. Matching
the guidelines, stmight stitch
the flounce to the foundation.
Zigzag stitch over the edge of
the scam allowance, or CO\'Cr
the seam allowance whh an
edgestitchcd bal1d of rabric
(Fig. 4-7).
Fig. 47. To apply a flounce to a foun
dalion: (a) When rows of flounces
overlap the flounce below, sew each
flounce right side up. (1:1) Sew a
flounce wrong side up and 11/p it over
its seam allowance. (c) Sew right
side up and cover the seam
allowance with an applique.
Inside n stam-Matching
edges. baste the Oounce, rigln
side up. to the right side of fab-
ric =I. Whh right sides togem-
cr. pin bbric ::2 o,er both and
sew through all layers next to
me lx1Sting seam; or lap me
turned edge of fabric "2 o,er
the scr1m :ollowancc o( the
Oouncc and edgestitch through
all layers (Fig. 4-8) .
-- .i 'I .. -- -- i-- .. ----I\
Fabric M1
Fabric 2
I
Fabric 11
Fabric #2
I
abric #1
Rg. 4-8. In-seam applications for a
flounce: (a) Allar machine-basting the
ttounct1 to fllbric #I, (b) pin fllbric 12
over both with right sides together,
rum to the bocl<, and machine-stitch;
or (c) pin end edgestitch the rumed
edge ottsbric 112 ovor all seam
allowances.
Inn hem treauncnt-(a) Bind
the edge when a nounce lies
on lOp of the fabric to which
tt is auuchcd. Sew a narrow
strip of bias-cut binding, right
side down, over tl1e flounce;
mrn the bi nding over all seam
allowances to the back, and
hand its turned edge to
the fabric under the nounce
((a) and (b) in Fig. -t-9).
I \ \
\
(c) \
Fig. 49. (a) Alter machine-basting the flounce over lhe underlying fabric. {b)
encase the edges inside a blnd'mg. (c) Pin a fao'ng over a flounce basted to a
Iabrie extension, sew through aR layers. (d) tum 1he facing 10 the back, and
sllpslilch 10 1116 fabric.
(b) Face the edge when a
Oounce extends beyond the
fabric to which it is aunc:bed.
Sew a fncl ng, right side down,
0 \ 'Cl' 1 he back of a fi ounce
which is basted to the right
side of the fnbric. Turn the
facing to the of rhe fab-
ric and the [loutlCC right side
out; sllpstltch the facing to
the fabric above the flounce
(see (c) and (d) in Fig. 4-9) .
A decorative facing is an
option: Sew the facmg, right
side down, over the front of a
Oounce which is basted to the
back of the fabric; tum the
facing 10 the front and
cdgcstitch over its wrned
seam nllowancc.
NOTES & VARIATIONS
A circular floLUlCC generates noat-
ing full ness i>y encouraging flare. and
docs it without bulking up the seam-
line. The circularit}' and depth of me
Oounce pancm, the fabric compo-
nent, and the edge finish interrelate
to produce moderate. or
minimal waviness at the noating
edge, but a smooth layer of Uounce
fabric at the seam line is a constant.
Since the gr'Jin on a Clrcul.v
flounce is consrallll)' changing. a
Oouncc appllcmlon needs grninline
balance If it is to hang Lhc same way
on either side of a ccnll'al poinL Place
the of a nouncc in the
cemcr so that grninli11e ch:mges mow
idc.mically on Lhc sides. or hang the
mre bias of Lhc fi ounce In tht center.
For flounces Applied in multiple
rows. repc<!t the s:unc balance.
Long rows and multiple tiers of
flounces require the chammg togeth-
er of man)' circles. For shon rows of
nounct'S with modcmtc to minilJlal
narc, a segment or the entire circular
nounce pancm may be all that's
needed for one ro\V. To balance the
grainlinc on all rows :and save on rab
ric as well, align 1hc segments in
tOWS 011 1hc rnbriC when CUlli ng Out
the Oounccs (Fig. 4-10).
Rg. 410. Culling guide th<lt repeats
the same grain alignment for each
circular flounce segmenr.
70 The Art of Manipulating Fabric CI RCULAR FLOUNCE
finishing an edge that continu-
ousl}' curvc.s :tnd changes grain i.s a
c hallengc. When selecting an edge
!UU>h. consider ease of application,
compcnibilh)' with the characteristics
of the fobrk, and how the finish \\ill
mflucnce rhe quality of the float
n:fcr to "Edge Finihing for RuJDes"
on page -+3). If both sides of the
flounce "ill be visible when applied.
ll1c appe.1rancc of the back of an edge
fmish is :ts importam as how it looks
m fl'ont. A fl ounce that's completely
hned cnnvcns both sides of 1he
Oouncc in1o u right side, avoids prob-
lems caused by cune and weave. and
cn:tbles edge contouring such as S<;al-
lops or points. A faced or bound edge
IS al.o n:vcrsiblc. For other kinds of
finiSh, ncx110 the edge
before apphcalion. keep hem folds
lin)\ and gently ease the fabric as il
mo,cs under the presser fooL
The application takes care of the
.)lciCS of n nounce when a COntinUOUS
nount'C encircles a tubular foundation,
or when both sick-s of a flounce arc
caught into cross scanLo;. for silu.ations
where n flounce stops micl-fabric, the
of I he Oounce need io be fln-
bhed a1 the same time as tbe floating
edge ls finished, before the OowiCe is
applitd. Unless \\;th dangling
co!TIT< ore appropriate, eliminate the
by cun1ng the lloating fdge
mto the se-.unline of the Oounce hcforc
finishing the tdgc (Rg. 4-11).
4 I I. Circular flounce pattern
with one side of the opening cuNed.
After finishing the floating edge plus
the cuNed and straight sides, the
flounco. set into a vertical seam, fa/Is
in swinging folds from a curving top
to a hanging point at the end.
When a flounce is lengthy from
seam 10 hem, finish the edge after
the flounce has be-en applied. let il
bang for 24 hours to allow the por-
tions located on the bia.< to settle ..
Where the hemline droops, trim it
l'\'enly, and then finish the edge.
The llexiblc seam line of a circular
flounce wi II follow curving as well
as stmight lines of upplication. The
folds ntthe Ooatlng edge of a flounce
sewn uround an outward curve
spread nnd sewing a
nounce inside an inw-ard curve
squeezes and deepens the folds
(Ftg. 4-12). lfthe deviation between
the seamhnc curve of 1he flounce
and the applicanon line is great
((b) in Fig. 4-12). clipping the scam
allownncc before stitching is a neccs-
sit): If rhe de,1ation is middling to
slight ((c) in Fig. t-12). attach the
0oWICC wit hout pre-clipping, StOp
ph1g frequently while sewing to liit
the preser foot tlnd realign seam-
lines and edges before continuing.
Ftg. 4- 12.
Ccntrast the
effect on the float-
ing edge when
the same circular
flounce is applied
(a) in a straight
line, (b) to an
inside curve, (c)
to an outside
curve.
After application. dip the sc.-am
allowance as the netd 10 release any
pull on the Iabrie dtcut<S. Every clip
into 1he scam allowance of a dn::ular
Oounce weakens the se.1m: Less is
ahvli)'S bcucr and none before
sewing i.s bct!Cr still.
The Ooarlnp. edge of a <j>iml-cut
circulnr-.flouiiCf becomes loss and
lcs..c; WUV)' {tS ll l"noves Out rrom the.
center of the circle. l' or an applica-
tion where gradually diminisbjng
waviness cnn b1 exploited, spiral-
C\11 nounccs SO\' e fnhric. Draft a spi-
ral-cut flounce pan ern over a base
of concentric circles spaced the
depth of the flounce apan (stigluly
more for a fl ounce with a lining).
Finish 1he edge with ztgzag stitch-
ing or a hning bclorc cutting ou1
the fl ounce. Compared 10 a
Fig. 413. (a) SpiraiCUt
flounce pattern.
(b) Zigzag edge finish
stitched over the outllno
before cutting on the
outer needle holes Ollhe
slitchfng. (c) Sewing a
lining, right sides facing,
to the flounce by stitching
just Inside the oulllne
before culling out.
(a)
standard circular fl ounce. the
seamhne on one spiral-cut nouncc
goes a long way (Fig. + 13).
A laycrctl circulur.flmutcc consists
of two or more fl ounces, stacked
over edge, applied as one \\;lh
all scam lines matching. If the fabric
is or finn enough 1o remain
sepnr::uecl when [he lnyers are
pulled up.m aft er llc>unce applica
tion. the flounce has an llufTy
appearance (Fig. -1- H).
Fig. 4 14. Two-layered flounce.
l..ayccd llounces cut I rom soft.
supple fabric resist separation-the
fold< tend to nestle togethcr-
unlc<< ver1ical apphcation allows
the folds to slip apllrt as they hang
and SWl.\)'
There arc two kind> of !icrcd cfr
arlnr jlourru applications. (I) Rows
of flounce ars_ applied to a foundn-
tion with the floatiug edge of the
Oouncc above concenling the
applied edge of the flounce below.
72
. . ... ....
. -
-.
',
-..
(c)
( 2) The rows of flounces are con-
nected. The second Oouncc ls
auached to the lloaring edge of t he
Hrst nouncc, nounce *' Se\ Vll to
the Ooa1lng edge of flounce #2, and
won. The measurement around the
top edge a each SUCCCSSI\'e flounce
mcrcases s >gniflcantl)' to the final
floating edge which be exrrava-
gantly culargctl. way beyond the
Oaring potential of fl ounce PI even
if its length were extended to the
total length of the tiered Ootltlres.
A cfouf>k-crlge<l circulm'}Jounce
begins as lWO Oounces sewn togeLher
with right >ides facing before applica-
tion. Opened and topstitchcclto a
foundation, the doublc-t'tlgcd Oounce
fl ares Olll Into spreading folds at each
side of the seaniline both flounces
>bare (Fig. -1-15).
CIRCULAR FLOUNCE
Before joining the seamlincs of tltc
two nounccs, piece extensions (0
each fl ounce togetltcr and finish
the edges. If lining is the flni>h
o( choice, sew the lining to the
nouncc artcr the two lmings
and the two flounces 10gerher
( fig. 4- 16). Sew the lining t he
flounce on one of the side openings
before tunung nght side out: after
turning. tum the s..-am allowances
on t he open end to the inside and
stitch toge1her- if Ll1c application
requireS such finishing.
Fig. 4 15. (8) Two circular flounces
sewn together (b) and applied with
zigzagged topslilching over tha join-
ing seam.
For a layered doublc-edgc<l circu-
fttr .flounce, h;LStc the scamlincs of
two or more double-edged flounces
together and topsrhch 10 1he foun-
dation as one (f.tbric affects tltc sep-
aration of the layers, as dc<crihed in
a previous paragraph).
Applied in rows spaced less 1 han
the dep1h of one Oounce apart. the
noating edges of ma.<Se<l doublt
edged cii'Cirlar']lounccs stand
upright because t he seam lines are
crowded together so closely.
F'tg. 416. Lined dou
bte-edged circular
flounce before tum
lng right side out.
I'g cdl;e of a r.ouoc cur V.11h ()11 .,,., orr:ie rhar hos a

(f I 5) rorl;us:(ce<>ter) modorc11t pare-a 3" (7.5cm) tl1di<J>:(bonom)
max1mum Pa1c -o I 0 ( 4cm) rodius.
N-2- flounces 2 (Scm) deep, cut oroJI!ld em <nner dn:Jc w<l/i
o I 'n" (4cm) (/le foUJ' rows at lht
bouom. o conrltlUOUs (;.ounce te'Vei"S6 bock a'C1 (orJ; Ill lOWS
!hot shor.et> OS they an(,e ..,.,...,rd
CIRCULAR FLOUNCE
ri/3--Cm from
c,fdes w;m a I ..
(2.5cm) mner rorl1u!l.
a flounce tl:ar
Spte<Jd$ lri(O dCCfA
lux<A:JUS (0/ds bol
wrfh o dot.'b'<:!
(old hem.
CIRCULAR FLOUNCE
/V-5- (top) A r..o l<l)'er f1ocm<,e
nses from o {(J(e<f edR
(ballom} An:ned knts of
one! $<urcJy. dooble (oklllems lntcn
Sift Ill< (oJds oc the fioating odges
o( c/lree l'n<Jdcvrefyf/arcd flounces.
74 The Art ol Mani pulating Fabric
IV-4-T.;o muslm f/Cuocts
(I Ocm) deep (o:l into swong.
mg. altemavng (i>'<ls UM(ue ro
vertJcaJ oppi!COlJOIIS.A h01ri1fll
1!(/ge (.nosh. Stotd1od Cwoce. adds
bacJy 10 1/1< fioadng <<ige
r -
IV-6-l'NO Poonces 2 (Scm) deep. 'M!h a ''IVOI/ECd edge (on>sh. SIJI(Ound
a af>PIque. The Pare of each P<>Jnco g!Vduolly dll'llOJs/les from maxi-
mum ot the futcre<J lower edge 10 mirnmum /Of' the lOWS on tcp.
IV-7---fou< OO<II>e-Edged
""'*' f<JOO<e;, modero<e.y
flcncl arid sel(looed M{/1 float
"'8 ed-
0
es !hot srond m srately.
stu.p:.ured .,.,'0' ..es when applied
n dose rows-.
CIRCULAR FLOUNCE
IV.a-&o,alt appl;coooo of'"' doul>'e-edged musl.iJtbK>ces ser .., $1.ihOy
spo:ed do5e rogt!!w Tne ed,<.s are fin.$hed ...o> o ...
(Old Item.
Cl RCU LAR
FLOUNCE
IV- Poonces Tne O<OJm(er
ence at the edRe IS 10 tmes
gre<)!er than r/lc or rhe
bm<J;ng at rhe top, clrJ>oup.l> lite rop-
!o-lt<!m meos..remenr of 1/le (I<Junces
Is Ofl/t 80" (2 I Bcm).
IV9-P.eJ<0. 01 t"""" eJOdng !hot
S"""& from 0 /loonce Tile 1Jom.
bomd flounces roper 110m (9un) ID I r (4cm) on
de[JI)T. meosurea Olll<JIId a cenrer curOU! w1!h o I (2.Scm)
radius for moXofl111m jlore.
CONTROLLED
FLOUNCE
-Q shaped piece of fabric designed
to spread out into rolling folds at
assigned positions on the ftoating
edge when its incurved, shorter edge
IS straightened and seamed to a
foundation.
PROCEDURES
I. Cue a target pattern chat dupli
cares 1 h< size and shape of the
nren the llountc will cover when
Its npphecl. If one side of the
art:a is a mirror
4
imagc or the
ocher side. or if the same con-
tour repeats many times, make a
panern chat includes one com-
piece scgmcnc of the repeat
(Fig. -+-17}.
Fig. 417. Three target pal/ems, each
representing an area to be covered
with a controlled flounce. Shading
maills the mirror-image segments
that w>'H be slashed-and-spread into
pal/ems.
2. Decide whee her deep folds. mod-
cmce w"es, or slight ripples will
be 11ppropria1e for che floating
edge of the flounce to be devel-
oped from the target pauern:
a. li t che location of each fold.
W(WC, or ripple planned for
rhc lloating edge, pencil a
line on the cut-out rarget pat-
tern <hac conncciS the floac-
lllg edge to the sea.mline and
ind1caces the hang of the fold
((a) in Figs. -+-18, 4-19, and
-+-20).

I (d)
Fig. 4-18. (a) Target pattern w;th lines
indicating fold locations (b) slashed
and equally spread. (c) Final pal/em
with s/1/ching line, dipping, and
gralnline notations. Note !hat one
stde must be matched to !he fold
of doubled Iabrie when cutting.
(d) Controlled flounce made from
thepallem.
b. Starting nt the Ooating edge.
slash each pencilled line,
scopping about V." (1.5mm)
from the scamlinc edge. Fan
out each slash l<l en large the
nonclng edge, and glue or cape
the expancbl u.rget pauern to
:mother sheet of paper. Rclat<
the extent of each spread to
the effect desired: For a softly
rippled edge, open the slashes
a llulc; !or an edge with
sweeping folds, open the
slashes very wide. Estimate
chat one-half the spread at 1he
Oonting edge will equal the
height of a ripple or wave or
the overlap of a !olcL Usc a
compa.).S to mca.<mrc and
duplicace the spread of a slash
at the flo:mng edge ((b) in
Fig:.. -+-18, -+-19, and 4-10).
c. Draw a new floating edge thac
smoothly across t.he
Ol>cnings, always recaining the
length SCI by the target pat-
tern. Add n seam allowance to
the scam line edge and a hccn
allowance to the floating edge
for the chosen edge finish
(rde1 10 "Edge r inishing for
Ruffics" on page 4 3), Add
sca111 olluwanccs to the sides.
except for n side to be
matched 10 the fold where a
!>C.om ollow:mce is superflu-
ous. Since e\ery sla<h-and-
spread location requires a cltp
in clc sc"m allowance abo\'C
to enable returning 1 he
nounoc to lLS target scamline
con1our, nocc the apex of each
opening wirh n ma1k inside
the allowance 1 hat indi-
cates n cl1p. Cut out cl1e
fluunce paucm ((c) in
-+-18, 4- 19, -1-10).
3. Cue the controlled flounce from
f.1hric following cltc J"'rimcccr of
the p.tper p.1uem or its traced
ol111incs. che lcngthgmin
of the fabric co a cencral and bal-
anced posicion on the Oounce.
Sew the sections of tllc flounce
cogctbcr
Fig. 4-19. (8) Target pattern with lines indicating fold locations, (b) slashed and
unequally spread. (c) Final pattern with stitching line, clipping, and graintine
notations. (d) Controlled flounce made from the pal/ern.
(a)
4. Apply the selwed finish to the
floating edge ( refer to "Edge
Finishing for Ruffles" on -13).
but if the Is lengthy from
scam to hem, finuh the edge
after the nouncc is applied. Let It
hang for 2+ hours tO allow the
portions located on the bias to
senle: Where the hemline
droops, tcim it evenly. and then
fi nish the edge.
5. Sew the flounce to nat fabric,
clipping the seam allowance
where the patttm indicates to let
the flounce seamline match the
sc.amllne on the application
((d) in Figs. + 18, t -19, +10).
Conceal the seam allowance of
the nounce in a manner appro-
priate for the application (refer
to Figs. 4-7. t-8, and -1-9 on
page 69-70).
.--..., -------:
' :
...
/
_ ......

/
Fig. 420. (a)
Target pattern
with lines Indica/
ing fold /ocatiollS,
(b) stashed and
widely spread .
The halfwidlh
section on the leh
edge will be full
size when
seamed to a
duplicate pattem
piece. (c) Final
pat/em with
stitching line, clip
ping, and grain-
line oorations. (d)
Controlled flounce
mado from the
pattern.
NOTES & VARIATIONS
For situnlions where a circular
flounce ''"'on work. a controlled
nounce can be custOmdCSigned tO
fit and fill the special requirements
of <1 appllcat.ion. Using
the slash-and-spread technique of
pattern devtlopmcnt, a controlled
flounce can be variably Oared ";th
deep fnr one pan of the noat
ing edge nnd delicate ripples else-
where. With a comrollcd flounce.
folds, \\'lii'Cs. or ripples can be iso
latcd to spcctfic ponions of the
noating edge. T.he spacing between
the folds, waves, or ripples can be
regulated. A controlled flounce can
be devised to fall with equal flare
from all pomts of a convoluted
scamline.
78
CONTROLLED FLOUNCE
The amount of spread to allot to
a slash involves infonucd guess
work. PanlmCLCrs for the widc11i ng
that will produce slight ripples,
moderate waves. or lavish folds in
the noating edge are expressed in
generalities-a little. a whole lot,
somewhere in bel ween. Acldilion-
:tlly. t he d'"ractcristics of the
mtended fabric and the finish
applied to Ooatmg edge will
uffcct lhe appe.nrance or any nmount
of nared fullness. l'tst bcfote fi nal
!zing a controlled Oounce puucrn.
To continue controlling lhe
flounce after It ts applied. arrange
the flaring at the noating edge to
reflect th e Intentions of the pattern
while the fl ounce is hanging, or
arrange and pin to a fiat surface.
Steam. Wail until the fabric cools
and dries before moving.
like circular comrollcd
nounces may be layered (two or
more Oounca applied one on lop
or the other) and tloublt'-edgcd (two
Oounccs flaring out to the sides
I rom a s hared seamline).
/V-/2-flowxe tha< srarts oot cl!e rap <md
gtockJCJIIy de<elops deep folds ar !he bottom of
the arcufar oper.-,
1
ng. A satin-sdtdled hairline (l'nisil
wpports the roll of the folds.
IV-13- EiaborcJte foov.r.ce
desig:>ed to spread no
sweeping fOlds from on
orched-and-lobl)ed seamfine.
A single fold hem, zigzagged.
(lms/Jes the edge
Pl-11--iloorn:e designed co Pae ovt lmo o poir of
spreading (olds ot intervals thor coir.<:!C4l vmh the
sowtootl> spooi>g of tile lapped l!ec<!ing A oaoU<Y.
ub!e-(okl hem edges the tiered f.ovnc.e.s
CONTROL LED FLOU NC E
G
odcls arc triangular inserts
that inject flaring fullness
into fiat fabric. Used alone or in
multiples, a godet starts at any
selected mid-point within the
fabric and ends at the lower edge
which floats in waves or folds
caused by the expansion. Slender
godets sculpt fabric into a tmm-
pet-like shape; medium-width
godets swell into cone-shaped
projections of fabric; wide godets
burst out from the background
fabric into a cascade of spreading
folds.
DET
5 Making Godets
GOOET ........................................ 81
Procedures ................................ 81
"'otes & Variauons .................. 83
Handkcn:hid edge ................ 83
Mock god<I. ........................... B-1
GoDET
(pronounced go-day'}-a section of
a circle set into a seam or a slash
within a piece of fabric to expand
the floating edge at that place. A
godet develops rolling waves or folds
as it spreads.
PROCEDURES
I . For each godet. select a point
inside the pattern or the fabric
where the godct will bcgiJl its
spread. The distance from poina
to lower edge equals the length
or tl1c godct, and includes a hem

lf the fabric is unscamcd, con-
nect each point to a he lower
edge with a straight slashline
pcavcndicular to the edge.
'
'
/

' '
'
'
'
'
'
Fig. 51. (a) Stashllne, or (b) seam opening. into which {c) this segment of a cir
cle, /he godet. \VIII fit. (d) Godet pattern with stitching line, godet point, and
straightgraln markings.
the pattern, then the
"rong side of the fabric "ith
slashlines that follow the
gmin, or mark directly on the
fabric ((a) in Fig. 5 1).
If the fabric has n vertical
seam ar godet locmion, posi-
tion the point on the $Cam.
The stam remains open to 1he
lower c.dgc lor godct I
((b) in Fig. 5-1).
2. Using a mechanical or string
compass set to the length uf the
godet, draft the godet pnttem.
Draw a ci rcle or :t potion or a
circle. Est imate how much of tltc
circumference the godcc s hould
add to the edge where it will be
inserted to achieve the dcsircc.l
noat. Isolate t hat amount b)
connecting the ci i'C' umf.:rc:nce 1o
t he compass point with two
straight lines. establishing the
width or the godct at the lower
edge (note that after hemming
the width will .son,e-
what less). \ dd a scam allow
ancc to the strJight sides of the
circular segment ({c) and (d) in
Fig. 5- I ). The pattern as ready to
cut out and use.
Chapter 5 MAKING GODETS 91
3. Cut out the godet from fabric
following tltc perimeter of the
pattern or tiS meed oudine. The
crmer axis of a godet IS always
matched to the stmightgrain of
the fnhr1c. On t he godct's wrong
side, mark t he point wltcrc the
side lines meet at the t ip.
for InseT! ion into a slash, mark
Lhc side sc.amlines as well.
4. Insert
82
Into n seam opened to godct
lcngtlt. With riglu sides
together and edges matching.
pin rn>Lch the last stitch of
1hc :,.cam abo\e: the opening
to the point of the godet. "nd
pin one side of the godct to
one side of the opening. Sew
from the point of the god<tto
the lower edge, backstitching
at the point. .-\nach the other
side of the godet to the other
side of the opening. When
Onishccl , the break between
t he godct scam and 1 he scam
above >hould be imperceptible
((a) and (b) in Fig. 5-2}.
Tho Art o f Manipulating Fabric
l mo a godct-lcngth slash.
a. !!(fore slashing the fabric.
mdocate seamlines that
angle from the lower edge
tO the godct> point on each
<ide of the slashlinc. Hand
b:tstc a 2" (Scm} or 3"
( 7.5cnl) Stlu;.tre of organza
or lining material to the
front of 1 ht: fabtic behind
the top of the s lash line.
Swning at Lite oonom of
I he squaoe. machine stitch
up to Lhe: point on one
side: pivot on the needle:
a horizomal slitch
ncl'IXS the pomt: povot and
sew down the other sule to
the bon om of the square.
Stitch nght beside the
scam line with very small
stilehcs ((a) and (h} in
Fig. 53).
GODET
Fig. 52.
(a) One side of
s godet pinned
into sn opened
seam (b) and
stitched.
(c) The inserted
godet with
seam
allowances
pressed.
h. Slash up to the horizontal
stitch at the point. Rcmo,e
the b.1stlng. pull the rein-
forcing square to the back:
press the seam allowances
toward the S<]uarc. Treat
the reinforcement as an
extension of the se-am
allowance. With right sides
together, pin mmch the
hoizonial stitch at the
point of t he odnforclng
scam 10 1he goclct's point.
Marching scam lines, pin
and ba;te one side of the
godet tO one ;ode of the
opening. ptn and baste the
other side of the godet 10
the opcnmg. Machine
stitch and the bast
mg ((c) and (d) in fig. 5-3).
5. Press the godct'> >C:Im allowance
toward the fabric at the top of
the godet. About l" {2.5cm} to
2" {5crn) below t he point, cl ip
and pre.'i.< 1 he allowances
open {(c) ond (e) in l'ig. 53).
6. Hem the noating edge of the
godet and the fabric on the sides.
--,
1 I
- __ ,
(a)
(a)
(b)
{d)
(b)
1-...J-1'--
(c)
Fig. 5-3.
(a) Reinforcing
square basted, and
{b) opening machine-
stitched (c) before
Slashing and puHing
the square to the
back. (d) Pinning
and basting the
seamline beside the
slash to tile godet
seamline on one
side. (e) The inserted
godet with seam
allowances pressed.
(e)
Fig. 5-4. Half-
circle godet of
stiff fabric falls
into folds that
(a) lilt at the
lower edge as
/hey pile up
unless (b) the
circumference
of the godet
pattem is
gradually
elongated to
compensate.
NOTES & VARCATIONS
Ahhough triangular goders arc
ttSual, godcts as wide as a half circle
and as large ns a full circle are feasi-
ble when exceptional!,- lush. luxuri-
ous folds arc the desired rcsuh. A
wide godet of fabric with sufficient
bod,- to stand out and awa)' from
the insertion fnbric will rise ar the
noating edge as it projects unless
the lower edge ls elongated when
the godet ls designed ( Fig. 5--t).
If the godct is wide and long.
hung the upplication for 24 hours
before hemming t O !lllow t he bias or
the fabric to scule. If the fabric is
soft and loosely woven, the godet is
li3blc to ;.:ag from it!> scams unless
allowed to stretch out before inser-
tion. Hang the godet from its point
for hours before sewing into the
scam or slash. In either case, hem
after trimming the overextended
fabric cvcnl) 01 the edge.
When planning a hem trcaoncm
for goilcts. <onsidcr the degree or
curve at the Ooa1ing edge of the
godet, the chnrncteristics or the illb-
ric, and the effect of an edge fmisb
on the sweep of the Ooat. "Edge
Finishing for Ruffies on page 43
describes possibilities: For large-
scale ndd to those choices a
deeper. single-fold Oat hem, eased
around the curve, perhaps with a
suiw;blc >tiffening laid inside the
fold.
The lomodlwcl!ief edge is pecu-
liar Lo godets. h stan.s as a square.
usually of light, delicate fabric. One
corner of the square becomes the
point or the godet; each side or the
square equals the length or the
godcr. For two sides of the square,
select an edge llnlsh that favors a
soft , Ouid Ooat (fig. 5-5). After
inkrtion, the un:ntached comer of
the square dips to a Ooating point
in the center.
Chapter S MAKING GODETS 83
Fig. 55. Square godet creates 8
IJandkerchief edge. Tile 1/oetlng cor
ner and sides of the godet can be
adjusted for fongth.
in :'1 slnc;h is
troublesome: rhnn goclct insert ion in
a seam. Even wit h a J'dnf!H'dng
square. lh(' minbcuh:
allowance nl Jhc lOp of th $lash
makes ntm ill<cnlon trick)'. Tilling
the seamli ncs further "way from the
slash line helps. Cuuing a vccy n.tr
row V-shaptd sl.csh permits mnn
ageable sc:m allow:u>ces around rhe
point, but pltttC> both >I:L>h und
godet seamlines on dlfferenr
of the bias. That mar cal5c strcrch
problems. a consideration before
selectmg rlns option (rig. 56).
\\"rderung the slash to J narro".
an:bcd cutolll and roundmg the
pomt of rhc godct equnh:c> the
seam allowances at the top. but also
eliminates t11c vJnhhlng JlOlnl that
IS a distinctive fe:uurc of the trian
gular godet ( fig. 5 7).
Rcstricunggcxlct openings at the
tip with a stay in back forces godet
fullness forw:trd :tnd prevents soft,
slippery, godct fab1ic from <lidlng
behind the insertion sean" (Fig. 58).
'
" I 0
I I
' ' I
t
o I
o I
0 I
I I
I I
I I
I I
I I
I o
I I
I I
(a)

I
I
'
I 0
, .
I I
' .
I 0
: \
I I
I '

I
,

(b)

I
'

'
'-'-
Fig. 56. To relieve lhe squeeze at
the point of a slash, (a) move lhe
seamfines farther away from the
slashline at the lower edge, or
(b) locate the seamlines beside a
Vshaped cutour.
.-.
;
'
'
'
'
'
'
'
'
, ....
' \
' '
. '
/ ..
. '
'
'
'
'
'
'
'
'
'
Fig. 57. The seam allowanc6 around
the cuNe of an arched cutout will
need close clipping to accommodale
godet insertion. The rounded lip of
lhe godet matches the arch of the
op611ing.
84 The Art or Manipulating Fab r ic GODET
A moch godct cotwcns an inscum
godet insertion into a
tOtlSU'tttliOtl. ln;,tcatl of cutting :1
separate godet, the intended
godet is CLllinwone with Uw side fttb
ric, trrtding LW() side for om:
centered seam th:u from
the seam abcl\'e (Fig. 59). Although
a mock godct cutting
and sewing procedures. it has a
8oth sides of a mock
gooet fall on the bias of the fabrtc .
which mar begin lo s.1g rom the
firmer stitching in tltc .c.m1.

a
'
'
'
'
'
'
'
',
'
'
'
'
'
'
',
Fig. 59. A "cut 2' mock godct pallom
has one seam down the middle. A
circle ( ) Indicates the point wllere a
true godot would have pcakod.
Fig. 58. A stay slilched
to the seam allowances:
(a) Holds the top of an
mseam opening closed.
(b) Restricts the opening
at t11e lop of an in slash
godot.
... "' "'""' ROIJCIS TWo ;hM1, lfiOflgu.'a RodelS [lank a tall. hal{
thor prOjem. 1ro1ni:ke, (rom 11s msc.-oon seams.
V-Z. fight slim JIO<Ie<S on,ortcd ltlta e.gh< "'''m; sr<Jpe o t.bu'ar
mus!n ""'' !lore ,..,.,., !he JI0(1ers 5tclll-
GODETS
\1. J ( OLtt musl:n godetS 1/lSertcd Jn(O S(CJShes.
Chapter 5 MAKING GODETS 85
GODETS
86 Th,e Art of Manipulating Fabric
V 4-fNO godeu set onto
Slepped on l""grh.Airhough each
RO<i<>t rs OJt (n>m the some
sect/On o( a c.'tle.
I'Jetn OS
!he go<ku on length
VS-Quor.cr-otde godet
wnh 0 I1XJtJded Ill> "'se<ted
""" o wndo< ll'thed cutout
Systematic
Folding
P
I eats are measured folds
rormed at the edge of a piece
of fabric where they are secured
with stitching. Beyond the sti tch-
ing, pleats become loose folds that
continue the arrangement set at
the edge.
At the edge, pleat folds are
either levelled or manipulated to
project. The folds are released in
sharply creased order, or they
continue unpressed and modify
into softly spreading rolls. After
reducing fabric measurement at
the source, the full extent of the
pleated fabric becomes accessible
where the folds are unconfined,
all the way to an opposite edge
that floats or another edge where
the folds are again secured with
stitching.
PL EAT I
6 Pleating
PLEAT BASICS ............................ 89
Pressing Pleats ................... ... 89
I lemming Flat ami Panial
Pleats ............... ................... 90
FLAT PLEATS
Knife Pleats Box Pleats
hwcned Pleats ............ .......... 91
Procedures ..................... .. ..... !1 1
\lotcs &: Vari3tions ................ 93
Kih plents .......... .......... ...... 93
Pleat topstitching ........... ...
Doubled or tripled
pleating .......................... 94
Underlays .. ........................ 94
Perfect Plc:uer .................... 94
PARTIAL PLEATS
l!xlcnsion l' leal!i
Set-In Plc:tts ........ .................. 98
Procedures ............................ 98
N01es &: Variation$ ................ 99
PROJECTING PLEATS
Doubled Box Pleats
Single Box Pleats
t hree-Fold Four-Fold
Pinch (French) Pleats
Rollback Pinch Pleats
Pipe Organ Pleats
Rollback C:mridgc Plea1s
Cartridge Pleats ................ .... I03
Procedures for box, pinch.
pipe orgun, and rollback
carrridgc pleats .. ............ ..... . 103
I\ mes &: VariatiOil> .............. 1 06
Goblet pleats ........ ..... .. ..... 106
Procedures for cartridge
pleats ................ ................ I06
Notes&: Vnriations .............. 107
Soflc:trtridge plrnts .......... l 07
Continuous cartridge
pleats ................ ..... ....... 107
llumcl cartridge pleats .. .. 107
ACCORDION PLEATS
ll;lnd-formed Accordion
Pleats
Mini-Accordion Pleating ...... Ill
l'roccdurc;; for hand
fom>ed accordion pleats .. I II
Notes &: Variations .. .......... .. ll2
Procedures for mini-
accordion pleati ng .......... .. ll 2
Notes &: Variations ........... ... 113
WRINKLED PLEATING
Droomstlck Pleating
Contortion Pleating ............ 115
Procedures .... .......... ... ....... .. 115
Notes &: Variations .......... .... 116
DOUBLE-CONTROLLED
PLEATS .... ............ ..... ... ....... ... 118
l' toccdures ........... ............... 118
Notes &: Variations .............. 118
Crossed pleats ................ .. 11 S
Fixed plcats ........ .............. ll 8
Needlefonned pleating .. 118
Solid mini-accordion
pleating .. .. .................... 118
located tllldcrneath the relevanl
columns.
PLEAT BASICS
PRESSING PLEATS
A
t one time or rmother during
the formation of pleated fab-
ric. the iron becomes an
essential tooL Somet imes heat,
and pn:ssurc arc as much n
pan of pleat preparation as needle
and thread. At other times, steam
ing finishes the job. preserv;ng a
careful arrangement of rolling folds.
more 10 pressing the fol ds
of O:tt and partial pleats into sharp,
lasting creases than proper setting of
the controls on an iron. After basting
tht: pleat arrangement , :t gentle
pressing with S<eam makes the pre
liminatvcrcases. For the final , hard
pressing, a bmad surface is more
efficient for large applic:ttions than
the narrow surface of a regular tron
ing board. Prepare a toble top with
p:tdding- laycrs of blanket or towels
co,cred with sheeting. underlined
''1th aluminum foi l. If using a rcgu
lar ironing bnard, bacl< it up agains t
a table or chair to suppon o\erhang-
ing fabric.
To prevent irnprinclng. remove
all pins and basting t hreads from
the fi rst group of pleats to be
pressed. Arrange t hese pleats on the
pressing sw-face, smoothing,
strnightemng. and aligning into the
correct posil ion . To prevent the
otHer folds from leaving an im pres
sion on the fabric beneath, place a
smp of brown Jlapcr, CUI slighter
\\1dcr than plem depth and ltmgcr
thnn ple!ltlcngth, inside t he under
fold ol each pleat to be pressed.
PLEAT BASICS 89
Knife
f f _[
.I
r--Ff
I
Flat Pleats Box
(t
I I
Inverted
------
! l
Single Box
--
1--
Doubled Box
Three-Fold Pinch
\
17 \ 17
Four-Fold Pinch
'f v -wr
Projecting
Pleats
Rollback Pinch
Plpo Organ
Rollback
Cartridge
Cartri dge
Accordion Pleats
Broomstick Pleats
Fig. 61. Pleat profiles.
Immerse a press clod1 in W:\tCJ',
wring it out, and spread the damp
cloth over the pleats. Press with
hot iron until tl!c doth is dl): hold-
mg the tron fmnly m place 10 send
steam down through the folds
underneath. Dont slide the iron;
pick il up and re-position. Remove
90 The Art of Manipul atlns Fabric

,
'
IF

(\@

"1
-
!

'

the dry cioLh but let tht r:1brit COOl
and dry thoroughly bdotc moving
on to the next group of pleats.
Tailors use a clapper. a narrow,
smooth hardwood block about 12"
(30.5cm} long, to pound the folds
of the steamy-warm until
they cool. When all the pleats ha\'c
BASICS
been pressure-and-steam-creased,
rum the fabric to the other side and
repeat the process.
for extra setting power. dip the
press cloth into a solution of one
part whhc v;ncgar lo nine parts
water. Usc two press cloths, one
under the pleat.' and one on mp.
To complete an application of
unpru5ed pleats. tug the folds into
an equalized arrangement while
hanging. or arrange the folds while
pinning the edges to a padded
board, <lab pinning imertor folds, if
neetSSM)'. Sctde the arrangement by
steaming with an iron or steamer
moved slowly above t he surface of
1 he fabric. f\ llow to cool and dry
before moving.
H E,.,IMING FLA.T &
PARTIAL PLEATS
When pleating lengthy fabric,
the scams that join two pieces of
fabric :ore always s ituated unobmt
sivel)\ Unks> the application and
pleming arrangcmem make it
unavoidable. never locate joining
on an outer fold. When
forming n:u pleats. place joining
scams on mncr folds. or centered
behind an lmerted pleat.
Scams on the mner folds of Oat
and partial pleats present problems
when hemming. there are two
option< when dealing with the scam
:lllow:lllCcS: ( I ) Press the inner-fold
scam allowance open and fiat rrom
the lower edge 10 the depth of the
hem. lum up the hem and stitch .
dip the scam allowance at the top
of the hem to free it from confine
ment, re-fold the pleat, and steam
press the hemmed pleat fold.
(2} II em each piece of [abric first.
then sew 1 he pieces together,
matchi11g t he hem folds exactly.
Form the plc<lts with the joining
scam aligned to an inner fold. Trim
the seam allowances diagonally
across the hem folds. 0\'Cr<':lSt the
cut edges of the ;erun allowances to
the depth of the hem ( Rg. 61).
(a) - --...L _ _ _
(b)
(c)
I
'
!
:
r
l
Rg. 62. To hem pleated fabric with
seams located on inner folds:
(a) Pross the seam allowances open,
hem, and (b) clip above the hem.
(c) Hem the fabric. After sewing the
hemmed sections together, overcast
the angletrlmmed seam allowances.
To cope with t he folds of
edge>tit checl pleacs when hemming
the fl oatm!\ edge: (1) llcm the fab
ric fma. then edgcstitch the pleats.
(2) Stop edgestildting at least I"
( 2.5cm) above the upper lc\CI of
the finbhecl hem. Hem the plents.
f inish the cdgcsti tching. beginning
\Vith the needle in the last of the
pr<>'ious cdgestitchcs. Leave about
3" (7 .Smm) of thread at the lo"u
edge of the hem and uc the bobbin
and ne-edle threads together 10
secure t he stitching. Insert hoth
threau end> into a needle; at the
final stitch, push the needle inside
the hem fold and bring it nut half-
its-length awar before cuuing the
threads.
Folu and !(team press 1 he lw nmed
pleat edge. allowing the fabric to cool
and dry before ruo,ing.
fqd of PLEAT BASICS
FLAT PLEATS
-parallel folds lifted from the sur
face of the fabric and laid down
smoothly to me The folds,
arnnged in a systematic fashion, are
secured wim stitching at me top and
released below:
KNIFE (SIDE) PLEATS
-adjacent underfolds turned in the
same direction.
BOX PLEATS
- adj>cent underfolds of equal depth
turned In opposite directions.
INVERTED PLEATS
- adjacent underfolds of equal depm
turned to meet in the center.
(Refer to "Pleat Profiles" on page 90.)
PROCEDURES
1. Set a target measurement for the
fabric to match after it is pleated.
2. Plan an arrangcmen1 of Oat
pleats that will fit wit hin the tar-
get measurement Usc a strip of
paper as long as the target mea-
surement to indicare tht position
of each outer fold. or plot on a
graph-paper reduction. Specif)'
the t)'pe of 'Oat pleat each fold
pos ition reprcsct11S ( Fig. 6-3).
3. Calculate the amount of fabric
required for the ucsired number
of pleats:
a. Establish a depth. the mea-
s urement between outer fold
and inner fold. for each fold
indicated on the plan.
b. The mathematics:
2 x pteat depth
one pleal undetlold
one pleat undctlold
x number ot ptaats
IOQl pteaiiUidorlolcls
total pleat undertoldS
+ target measurement
Pleated Fabric Aequltemenl
(o)
j Placemon1
-..L _____ :::::""{,..._Lino
._outer
Fold
'-4- Pleat Depth
(b)
Fig. 63. (a) Anatomy of a flat pleat.
(b) Types of flat pleats. Arrangements
may consist of one type of pleat or a
combination, and the space between
pleats and ptest depths may vary.
'1. Using <mother strip of paper ns
long as 1 he plcntcd fabric require
ment, or a gnophpaper reduction,
make a pleaung pattern with
measured undufold spaces sepa
rated by perpendicular lines. On
consctlll ivc Unes. an
outer fold for every pleat fold
marked on the original plan, next
to an inner fold nd a plcemem
line for each pleat. Arrows con
nccting omer folds to placement
lines. indicnting direction, will
prevent coruusion. Also note
"right side" on the pattern.
5. Add 1hc desired length. includ
ing a hem allowance. 10 the
pleated fabric requirement and
cut t he fabric.
6. Decide how the pleats will appear:
With folds unpressed and
soft!)' rolled
With folds pressed and
sharply creased.
Wit h outer nnd!or inner folds
edgestitchcd to hold a sharp
crease pcrmanendr ((a) in
fig. 6-i).
Chapter 6
PLEATING

' ;
;
i
i
(a) (b) (c)
r
I
I
Fig. 6-4. (a) Two box pleats with outer and inner folds edges/itched.
(b) Inverted pleat with release point lowered visibly with edgestilching.
(c) Knife pleats with release points lowered invisibly.
pleats marked and formed on
the wrong skk of the fabric
open in the opposite direction
on the Tight side of tl>e fab-
ric.) f or inverted pleats,
baste the outer fold lines on
adjacent pleats wgcther: cen-
ter t he shared placement line
over rhe basted seam and pin
the undcrfolds. To lowcnhc
release point of any pleat
machine stitch over
the basting from the top to
the designated release point
bclow (fig. 6-6).
When working from the front
of the fabric, fold each pleat
on its outer fold line and
bring tl1c folded edge to 1 he
placeme.m line; pin, and then
baste through all three layers
of each pleat. lf the folds arc
to be edgcstitchccl, distance
the basting seams from the
outer folds (Fig. 6 -7).
With 11 lowered release point:
Pleats stitched from the wp of
the fabric down for a specified
distance, either visibly by
cdgcstitching next to th.e [old
t hrough all la)crs, or invisibly
by sewing fold and placemem
lines together in back ((b)
and (c) in fig. 6-4).
A combination of the above.
7. Mark 1hc back of the fabric with
pleating lines, reversing the pat-
tern. The exception: Mark pleats
to be edges! itched on the right
side of the fabric. Using a long
straightedge, indicate an outer
fold and a placement position for
each pleat (the inner fold is auto-
matic). Begin with scissor-nip
markings inside the seam
allm\--ances across the top and bot-
tom edges of the fabric. Connect
the n ips directly opposite with
lines, foll owing the sn:aiglugrain
of woven fabric. Differentiate
between fold and placement lines
with tlte markings:
Broken and unbroken lines of
a C.'lbric .. safe marker such as
chalk, disappearing pen, or
soap s liver ((a) in Fig. 6-5).
Basting seams using two col
ors of tluead.
Basting seams using different
stitch lengths ((b) in Fig. 6-5).
Pin-marked lines, changing
the head color of the pins.
8. Ft>rm the pleats :
When working from the back
of the fabric on a knife or box
pleat arrangement, lJaste each
outer fold line to its place-
ment line, sewing through
two layers of fabri c. 1\.ITn the
under[old to the appropriate
side and pin. (Note that knife
1
I
I
I
I
J
I
I
I
:
I
I
I
I
I
I
I (a)
.___.,. .....__..
(b)
I
I
I
I
I
I
I
I
I
I
I
r
I
I
I
I
I
I
l
.__:.,o-f-
I
Fig. 6-5. Removable pleat markings: (a) For knife pleats- unbroken chalk lines
lor outer folds, broken lines lor placement lines. (b) For inverted pleats- long
basting stitches for fold lines, short stitches lor shared placement lines.
92 The Arc C?f Manipulating Fabric FLAT PLEATS
1, 1, T,
I
I
I
I I II ll
I
I
I'
I, I
I
I I
1!
I
I I ,
I II
I
I t
I I
I.
J
I
I
II
II
II
l,
I
I
II
I,
I
I
l l
11
I
I ;_
= I
r-
d ,
. I
.
J
I
t I l
.
:
I
' t \
t
! k
t I l
I
I
I
Jl ,
I
I I
I l
I 1
I
l I I
I
I l
I I
I
I
I
I I
I
(a)
..___.
(b) (c)
Fig. 6-6. Forming pleats on the back of the fabric: (a) Knife pleats with fold and
placement lines basted together. (b) lnverled pleat centered and pinned after
(c) bas ling the fold lines together and lowering lhe release poinl wilh machine
stitching.
'
T
i i i
i
i
I
I
I I
I I
I
I
I I I I
I
I
I I I I
I
I
I I I I
I
I
I I
I
I
I
I
I I I
I
'
-'
'
_,
_c
'-
"
Fig. 6-7. Pleats formed on the rig hi
side of the fabric with basting holding
all/ayers together.
Lightly stc>am press all folds
t hat will be creased.
9. If desired. choose. one of !he fol-
lowing to edgcstitch the pleat
folds:
Starting at the Lop, cdgcst i.t ch
t hrough two layers ne><.t to the
omer fold, the inner fold, or
both. ( Refer to "Hcnuning
Flat and Partial Pleats" on
page 90.)
For pl eats with edgcstitched
folds and release poims also
lo\-v.,;-.rc<l wiLh edge'sLftching:
(l) Edgcstitch each pleat fold,
starting at the release point.
(2) Edgcstitch from I he lop
10 .1he lowered r elease point
through all 1hree layers, encl-
ing With !he needle fn I he [irs!
of t he previous cdgesLitches
(Fig. 6-8) .
Release
Point
~ y:: .......... .
.
''
'
Edgestitching
Fig. 6-8. lnverled pleat edgeslltched
!lt6 (1.5mm) from the folds through
three layers to lower the release
point, and through two layers to
crease the pleat folds permanently.
Edgeslitch from the top to il>c
designated release points only.
10. Sew the pleats down across the
top inside. t.he seam.allowance.
.II. For <tll bttt unpressed plc1us,
s1e.am press the folds into .sharp
creases (refer 10 r ressing Flat
and Partial Pltats' on page 89) .
12. Hanel or machine. sew a single-
fold Oat hem into the Ooating
edge (refer to "Hemming Flat
and Parlial Plea1s" on page 90).
Press again. Bind the top edge of
the pleated fabric, or scam it LO
an extension (refer to "Stabilizing
Gathered Stitching" on page 6
for applicable directions) .
NOTES & VARIATIONS
ArmngemcniS of Oat pleaiS fca-
rttre 1he repetitive, ordetl) organiza-
tion of parallel folds 1bat open
when dis wrbcd. Variations in plea!
depth, in the spadng between
pleats, and in the combining of
knife, box, and inverted pleats are
the design components of flat-pleat
arrangements.
Gronpings of knife pleaiS may
be turned ln opposite directions.
Sometimes at11hori1ics define knife
pleats as pleats lis'' (!.Scm) deep
facing in the same direction. and
pleaiS with a depth greater than
W' (1 .5cm) as side pleaK Kilt
ple<1ts arc deep knife pleats with
undcrfolds that overlap .
Pleat knninology in action may
be easier 10 remember than pleat ler-
minology from a diagram. From the
side, push a ruler under the fold on
top ( the outer fold) . When it is
stopped by the fold hidden under-
neath (the inner fold), note lhc mea-
surement on the ruler at the omer
fokl. That's pleat depth. Pkat.dcpth,
doubled, is the underfolcl. The spac-
ing between pleats refers to the dis-
tance between two pleat folds on top.
When pleating, work on a sur-
face tl1at allows large sections of 1he
fabri c to be spread out from Lop to
lower edge. Use a gridded cutting
board to hold the fabric straight
and assist when marking the pleat
lines. Where lengths of fabric arc
joined, place the. seam at the inner
fold of a pleat unless the joining
seam can be located on the place-
ment line behind an inverted plea!.
Topstitching that crosses an
arrangement of pleat folds controls
Chapter 6 PLEATING 93
pleat rclc:tSc in an unusually deco-
rative fu.lliou. Pleat ropstilclting
the area above the released
ple3l5 ,.;th a hnear dL-sign that
combines \'crticnl rows of folds
horizomal rows of plain or fancy
tops111chmg (Ftg. 6-9). To pre,em
gapping, baste a stay underneath
the pleating before topstitching.
After topsthching. trim rhe stay
where the topstltchlng s tops.
. . .. - ........ .. ... . -- -- ... .
/ , , , . '\ _, .. /,. ... ,/ ', ,'
.... / ', ,' '\ / .. , ,' .. , ' ,,: '
,,.., ,,, ..... ,,. ... ,, .. ,/ r--,l./
..... ,, ' .. ,/ ', , .. , ,' ...... ,/ . ,' ...
,' .... . " '-.., ,/ .... / ' ,' ' /'
.... ,' .. , ,' .... , ', / ... ,' ..... _,,. ...
, .. ,, ' ,/' .... ,.' .. , ,' .. , .. .... .
.. , /" , .... / !'-.. / .. , .. i\-... / ..
Fig. 69. Diagonal topstitching that
towers release points and becomes a
design element In combination with
the folds of the pleats.
Doubled or tripled pleating pro-
duces extravagant folded full ness at
the Ooatmg edge. To double or
tnple a pleat. stack the undcrfolds,
matchtng the layers m depth or
graduat ing their size with the small-
est on top (Fig. 6-10). Doubled or
tripled pleating adds the bulk of
man)' fabric larers to the top edge.
Uncltr1a)$ allow change in the
fabric vi!tble at the back of inverted
pleal5 or tn between two box pleats.
An umlcrl:ty 1> :1> wide as the space
between two adjacent inner folds.
Inserted into the fabric of the pleat
inl',, an underlay replaces the back
of the underfolds removed between
the Inner folds ( Fig. 6-11 ) .
i
' '
;
:
.
' '
'

:
i
:
.
.
.
.
:
. '
i
.
:
.
.
.
.
' .
.

.
:
'
:
:
:
.
:
!
.
.
.

!
;
'

'

:
I

I 0

I
!
.
I
0
! ' .
l
ir-l
0
_ :

Fig. 611. Two inverted pleats with
underlays replacing the back of the
underfolds.
The Pcofcc/ Plcater is a simple
but ingenious device that sets shal-
low pleats into a length of fabric
without prior marking and basting.
The fabric, pushed do" n lmo the
Fig. 61 0. Box pleats with the two
side plsats doubled, the center
tripled. and pleat depths staggered.
91 The Art of Manipulating Fabric FLAT PLEATS
spaces behind 11 .uccession of cloth-
covered louvers. cmcrgcs knife or
box ple3ted when steam pressed
while in the plcatcr. Skipping lou-
the fabnc mto the
slot behtnd C\'l!r)' second, third. or
founh lou,er- varics tl1e spacing
between the pleats Although the
pk'<ltcrs will form continuous plea!S
in fnblic of any length. the
II" (28cm), 22" (56cm) , or 27"
(68.5tm) width of a pi enter limits
the width of the fablic it can convc-
nicmly pleat, and 1 he pleaters restrict
pleat depth tow (!em) or lilo"
(3.5cm). \VIthin those hounclarie.s,
the Perfect PI cater is an easy-to-usc
and time-sa,1ng tool (Fig. 6-12) .
Fig. 6-12. A Perfect Pteater for knife
pleats.
'1/.J - Pre<sc<l knife plecrs wi!hlowered ~ l o s po.nrs ihor '"'I"""
d!reCIIOn on e:rher side of o cerurof box plem.
Yl2-f'res;ed knife ploars. duswcd rn grovps of U!reo.
FLAT PLEATS
Vf.4-f our box pleors edgesrrched olong !he outer folds.
Chaptor 6 PLEATING 95
VI-5- Doobte-fold box pleats wilh iJ1<J bock pteo!$
e<Jgesdtched end lhe ti'om pteots vnptCSsed.
FLAT PLEATS
Vl-7- lnverted pleors
swd<ed throe deep
wr111 oil [otds matchir.g
a,{d t.mpressed.
96 The Art of Manipulacing Fa bric
l ~ r n r e e 1nverted pleats WliiliMiercli release
'XIinls and mnet and ovter (Clds edgcsritdled
'/1.8----Kn(i: p/rol5 w>tlt ~
~ """'" de{<w!d by 101>-
su.d-.ec SCGmS that = tJ>c
fOlds trom Side !0 Side "' 0
JOgged. ''"'gular tnannct
Y!-9 K:>(e p/eols (atmed
on o Perfect Pteot!<
Chaptor 6
FLAT PLEATS
PLEATING 97
PARTIAL PLEATS
- flat pleatS that open below the
top of the fabric with underfold lay-
ering removed above the release
points. There are cwo kinds of partial
pleats:
EXTENSION PLEATS
-knife or box pleats formed by
sewing specially designed pleat sec-
tions together; inverted pleats
formed by sewing underlays between
speciall y designed pleat sections.
Above the release points, pleat folds
continue as seams.
SET-IN PLEATS
._.nseru or knife, box, or invert
ed pleats stitched inside a segment
removed from the lower portion of
the fabric.
PROCEDURES
I . Draft pattt'rns for the pleat sec-
tions:
Knife or box extension pleats:
Establish the following measure-
ments to use when dcvcJoping
the paucrn for one pleat section
((a) m Fig. 6-13):
Release
Point
/
""
Speco
Between
Pleat
Pleats
Pleat
Depth
Depth
Pleat Soctlon
(o)
(I) Pleat depth. (2) Spce
between pleats (pleat dept h plus
an additional amount for extra
spread, if desired). (3) Length of
a pleat from the top 10 the lower
edge. ("I) length of a pleat from
the 101> to the release poinL
Inverted extension pleats:
Add a Sond pa11em for an under-
lay that duplicates the underfold
extension; at the sides of adjoining
pleat sections ((b) in Fig. 6-13).
Set-in 11leats:
(I) Draft a pa11ern for the shape
10 be cut out rom the fabric.
( 2) f'old a length o[ paper,
slightly longer and much wider
than the cutout shape, into an
arrangement of knife. box, or
invened (3) Posiuon the
cutout over the folded pleats;
nace and cut on the outline.
Open and pencil folding guide-
lines on the pleat insen panem
(Fig. 6-1-1). A'oid locJtmg pleat
underfolds too d ose to the sides
of the c ut<llll when trueing its
shape on the folded pleats.
Longth
Of
Pleat
Rolease
Point
Pleat I Pleat
Dtpth Depth
Underlay
(b)
Frg. 6-13. {a) Pattern lor a partial-pleat section. The side extensions are knife-
or box-pleat underfotds. (b) Pattern lor an inverted pleat underlay that dupli-
cates a side extension, doubled. Add seam allowances ro final patterns.
98
The Ar t of Manipulating Fabric PARTI AL PLEATS
Frg. 6-14.
(a) Cutout ro
be filled with a
pleated insor-
lion. (b) Pattern
lor/he pleated
insertion, cut
from folded
paper, thai will
be set Into the
cutout. Add
seam allow-
ances to final
patterns. (a)
'---..J
(b)
:Pleat!
=-
: I
I
Cutout
I
Pleat ! .Pleat;

Pleat
f-j
I
Pleat Insertion
2. Cut and sew the pleats:
Knife or box extension pleats:
( 1) Cut as many pleat as
required, cuuing around the out-
line of the p;mem or foll0\\1ng a
tracing of the pattern. (2) With
right sides fncing, sew 1 he pll"t
sc.ctions 1ogether. Open and
spread out. (3) Measure the depth
of each to assure a match
when folding and tuming th<
pleats in 1 he desired direction.
lla.<te each pleat through nil layers.
(4) After clipping scam allowances
to the release points, prt'SS the
scam above the plcm
extensions open and Oat. Ughtly
press the pleat rolds (Fig. 6- 15).
"'"' ......
, ... ,
/
l
.
! '
!
i
.
!
! .
.
. .
. .
,.
'
Inverted cxten-.;lon pleats:
\1) Cut as many pleat SCl'tions
and underlays as needed, cut-
around the outlines of the
p.lltcrns or followingtrneings
of the pa11crns. (2) With right
s1de.s facing. sew lwo plc:u sec
Lions tog"thcr f1om the I O[> 10
the pumt. (3) Sthch an
tl nderlay between the two
adjommg plc:u
cac.:h side from 1hc
release point to the lower edge.
( 4) Press the scam nllow;tnccs
above the rdeae point open
nd n.,t. Ccmcr the underlay
beneath the converging pleat
folds, ha.<te , and prC>> lightlr
(fig. 6-16).
..
..
!
;
1
'
'
!
i
!
Fig. 6-16. Underlay seemad between
two adjoining pleat extensions with
Inver/ad pleat folds centered In front.
Set-in pleats:
Fig. 6-15.
Extension pleat
sections seamad
together, tumad
tofotma box
pleat on the left
and a knife pleat
on the right
(I) With a fabric-safe marker,
trace t.he scamlinc (the outline
of the cutout) omo the right side
of lht fitbrk. Cut out a
nllownncc-distance inside the
s.::unline. Clip the scam allowance,
Lurn iL to the back on the se.am-
llnc. and baste. (2) Cut out the
pleat insert following an outline
traced on the Mark the fold
and placement lines. Fold, baste,
and lightly press the pleats.
(3) Pin and baste the pleatecl
insertion behind the prepared
opening. Edgcstitch next to the
fold around the opening
(Fig. 6- 17).
/
Fig. 6 t 7. Knife-pleated insert set
Into a cutout (see Fig. 6-14 for the
patterns).
3. Secure the loose underlayers of
extension h)' topsritching
through all layers from the l'cle.'!Se
point to Lite edge of the undcrlar
er extensions (Fig. 6-18).
/
/
Fig. 6-18. Extension pleats fin/shad
with tops/itching that secures the
angled pleat extensions underneath.
4. Steam press creases into the
pleats (refer to "Pressing Flat
and Pnrlial Plc.nts" on page 89).
5. H'md or machine sew a single-
fold Oat hem Into the Oonting
edge. (For extension refer
to "Hemming Flat :mel l'anlnl
Pleats" on page 90.) Press again.
NOTES & VARIATIONS
Unpressed folds are an option
for an application of set-in pleating.
Other options include cdgcstilching
the folds before insertion, layering
the pleats two or three deep for
additional fullness, and forming the
pleats on a Perfect Pleatcr (a;
described on page 94). The shaping
at the top of a cutout for set-in
pleats can be cuncd. stroight, or
pointed. and the cutout can be wide
enough for one pleat or a succes-
sion of plc.ts.
A sta)' t.hm secures the loose tops
of extcostons and undcrln)'S invisi
bl)\ replaces the topstitched stabiliz-
ing which IS nsible In front. To J>fC
pare for stabilizing with a SHly. draft
pan ems with undcrfold extensions
that are straight instead ,,f :tnglcd at
the top.
--- ... - - .. -- --
Fig. 619. Extension pleats stabilized with a stay. hand stitched to
the underlayer extensions. To prevenl stitches from showing In
front, move bei\Veen extensions with running stitches in the stay.
r rom Jining material, cut a smy that
will cover the joined pleat sec lions
from side to side and top to release
points, plus scam allowances. Tum
and press the seam aHowance on one
long edge or the stay to the back.
Working with the extc.nsion-plcatcd
fab1i c wrong side up, b.'lSte 1 he
unntn1ed of the stay to tht top
of the joined sections.
the tnrnc.d lower edge of the stay to
the scam allowance.s at the top or
each pleat extension (Fig. 6-19).
Extension pleating is generally
crisply pressed because the seams in
the underfolds already function as if
creased.
100 Tho Art of Manipulating Fabric
PART IAL PLEATS
Vl-1 0-/:Jght pleat seaions 1otilf>
r/lat create seven kllife pleats. If the skies of
rile sampfe seamed rogether. anmher
plea; would be formed.
~
..
'
t
I
:a.

4

'

t
J l
f

"'
'"-! 2- S.X pltot SectiOnS
combot>i ot>d (ol<kd ll!to
five nvertec/ extenson
pieau ~ With onder
lays A COOMUO<Js 1 ~
$0(C/Ied SI!Om $10b<I.>N!S
Chc !ops of rhe e<rcn"""s
PART l A L PLEATS
..,_,, The back of me
i<ni{e p/MMg sample sh<>N
ng its tearned constructtOn.
VI I 3- Thc bock of (/1e
""e<ted pleat somple
show>ng (he
PART I AL PLEATS
VI/ ""'""ed plem insetiS set mto curvcd-<op Clltouts.
I 02 The Art o f M>nlpu/ot l ng Fabri c
.,

VI 1 back o; dle ser-!fl pleat sample Pleat unrfold$ ""'
caughc ana> dle: cor.slltlction seam ooo/ at the toP
PROJECTING
PLEATS
-folds lifted from the surface of the
'>bnc and struCtured at the top. or
"ad. onto rolled arrangements that
5Qnd out from the Iabrie itself.
Below the pleated. self-finished head-
.nz, the fabric falls in deep. regular,
rounded folds to the floating edge.
There are seven basic types of pro-
pectlng pleats:
DOUBLED BOX PLEATS
-pl .. t allowances subdivided at the
into two tiers of outward fac-
"'1 folds.
SINGLE BOX PLEATS
-have a single pair of oucward fac-
"'8 folds.
THREE-FOL.D AND FOUR-FOLD
PINCH (FRENCH} PLEATS
-pleat allowances subdivided at the
head Into fanlike arrangements of
lhree or four smaller pleats.
ROLLBACK PINCH PLEATS
- have an additional turn on t he
outer pleats.
PIPE ORGAN PLEATS
-pleat allowances stuffed into cylin-
ders at the head.
ROLLBACK CARTRIDGE PLEATS
-;>feat allowances subdivided at the
head into two smaller pleats covered
WJ!h a rolled box pleat.
CARTRIDGE PLEATS
-pleat allowances arched over and
seamed t o a stay.
( Refer 10 "Pleat Profi les" on
page 90.)
PROCEDURES FOR Box,
PINCH, PIPE ORGAN,
AND R OLLBACK
C ARTRIDGE P LEATS
(Procedum for Cartridge Pleats
start on I 06.}
1. Decide which type of pleat is the
most appropriate for the project
Set n target measurement for the
pleated fabric to match at the top.
2. Calculate the amount of Jabric
required for 1 he pleating:
a. Set n pleat allowance mea-
surement for each pleat. As
Indicated by the indi\'idual
instructions follow, pleat
allow.mcc requiremenlS '11ry
with the type of pleat, and are
lnOueneed by the nature of
the fabric, the scale of the
application, and prderence.
Larger pleat allowances pro
duce higher projections in the
pleats that structure t he head-
Ing. nnd release deeper, more
spacious folds into the
below. Using a s trip of fabric,
pin test pleats conslnLcted
front different measurements
before sening an amount for
the pleat allowance.
b. Establish a me-.tSuremem for
the space between two pleats.
and decide how many pleats
will be appropriate for the tar-
get using either
of these methods:
Plel< n number for tl1e
pleats 1 he target measure-
ment can be e.xpeered 10
accommodate. Divide the
target measurement by that
arbit mry figure to get the
space between pleats.
Using n strip of fabri c, pin
test to flnd the most appro-
printe spacing for the
pleats. Divide the target
rneasumncm by the s-pace
between pleats, adjusting
the flgure as needed to get
a round number for the
pleat.> tltat will fit
the target measurement.
With projecting the
wldt.h of 1 he space bet ween
pleats as ind icated by a num-
beo Is deceptive. In actuality,
the SlrUCIUI'Ccl pleat folds
spread Olll into the space:
between pleat scams to a
greater or degree, mak-
ing the 'istble space between
pleat.> appear smaller than the
alloued measurement.
c. Estimate tltc fabric require-
ment:
pleat allowance
x number of pleats
total all owance
target measurement
+ total pleatallowance
Esllmatod Fabric Requirement
d . Add t he necessary length,
including mcasuremems for
the heading turnback and a
hem, to the ";dth of the
ple-dtcd fabric requirement.
Cut tltc fabric.
3. Prepare the heading and pleat
allowances:
a. Make a doubled pleat hca,ling
by tut11inJl lhe top of the fab-
ric to t he back; press. The
pleat he:lcling should he at
least hnlf-thc-ple:u-allowance
deep. If needed to brace the
StniClllrc of the particular
pleat. Stiffen the heading
mtcrfacmg.
Chapter 6 PLEATI NG 103
Pleal I I Pleal Ploat I
Allowance Allowance Allowance
:
(a) Depth Pleats Pleats
Primary Seam
(b)
b. On the right side of the fabric,
dh'l<lc the heading across the
top uuo pleat allowances sepa-
rnu:d by spaces between plea!S.
\\ith d153ppearing pen,
chalk, a sliver of soop, or pins.
measure rutd indk;ur the seam
lines on either side of each
pleat allowance with a line that
straight down from the
tO(> to n point slightly above the
lowc.r edge of the pleat heading
((u) In Fig. 6-20).
c. With t.h< right side outside.
fold. pin match. and sew the
seam lines on either side of
t!.ttch ple.1t allowance LogNhcr.
The...- primary scams establish
the folds that \\ill be struc-
lured mto proJecting pleats
((b) in Fig. 6-20).
4. Structure the pleat allowan=:
Doubled box plcut:
( I ) r or eacl> pleat. subdivide
the pleat nllowance into two
1>nns whh a secondary seam as
long as, unci parallel to. t he pri-
mary plcal allowance seam.
Equalize the parts or make tl>c
part next to t.he fold smaller rhan
the part next to the seam.
Fig. 6-20. (a} Heading marked with
seamllnes at the sides of each pleat
allowance. (b) Seamlines stitched
together. Seems stop just above the
lower edge of the heading.
tack the pleat underfolds with
hand Stitching imisible on lOp
(Fig. 6-ll ).
(a)
(b)
r., i
I '- '
t
! Saom l
l #i
I /
Secondary
Seam
Fig. 6-21. To form e doubled box
ptear: (a) S11tch the secondary seam.
(b) Re-fold the pleat allowance, cen-
tering seams. Topstitch across the
base of the pleating.
(a)
l
: I
l Primary l
; Seam I'"""
: l )
Secondary
PlnSoam
(b)
Si ngle box pleat:
(I) For each pleat, nallen the
p)cat allowance. centering the
fold over 1 he primal)' scam.
{2) Top>titch str.ught across the
base of the plc.tl where the prima-
l)' ends, or tack the wtdtr-
folds to the fabric behind ";th
invisible stitches 6-22).
I
Fig. 6-22. Single box pleat.
Three-fold pinch pleat :
( I ) For each pleat. divide the
folded pleat allowance into
thll'ds, rnnrkmg the third next to
;he fold with a row or pins that
parallel t he fold. (2) Pushing the
pitt-seam down to the primary
scam, open 311d narc the pleat
allow:>ncc below the pin-seam
ouL to Lhc making three
plents, two 011 eit her side
of t he center pleat defined by the
pins. At tltc lOp edge. tack the
folded ammgemcnt to the prima-
l)' seam. Finger crease the folds
of the three pleats before remo,-
ing the pins. (3) At the base.
secure the folding ";th machine
sTitching that crosses straight out
from the end or the primary
scam to the m:ttchcd pleat folds,
or hnnd tack t he folds together
( Fig. 6-23).
X
(d)
(2) Collapse the pleat allowance,
centering the secondal) scam
over the pnmary scam. At the
top edge, tack the two scams
together. (3 ) Centering the loose
pk:11 allo" a nee. secure with top-
sutchang >tralght across all folds
where Lht primary seam ends, or
Fig. 6-23. To form a three-fold pinch pleat: (a) Establish a pin-seam. (b) Re-fold
Into three pleats and remove the pins. (c) Topslitch across tho base of the
pleating, or (d) hand tack at the x position.
104 Tho Ar t of Fabric PROJECTING PLEATS
Primary
Pleat
Fold
\ I
(a) Second (b)
Creases
X
(c) (d)
Ftg. 624. To form 8 /our-fold pinch pleat: (a) Center and flatten the pleat fold.
Crease at the sides. (b) Turn the side cresses Inside to the primary seam,
making four pleats. (c) Topstitchacross 1/Je base of the pleating, or (d) hand
tack at the x position.
'
Primary
j Seam
I
l
I
I
j
__..-I
Secondary I
PinSeam
(a) (b)
Fig. 6-25. To form a rollback pinch pleat: (8) Establish a pin-seam. (b) Re-fold
Into three unequal ploats, and remove the pins. (c) Tack all pleats at the x
position and (d) tack the side folds to tho primary seam at the base of the pleat.
four-fold pinch pleat:
( I) for each pleat, nanen the
pleat allowance, pin matching
t ht center fold to the primary
seant Finger crenl'ie the two new
folds created at the sides.
( 2) Push each of the side creases
inward to the primary seam,
creating four equal-sized pleats.
At the top edge, tack the three
inside folds 10 the primary seam.
flngcr press the new outer folds.
(3) Secure as described for three
fold pinch pleats (Fig. 6-24).
Rollback pinch pltat:
center pleat. At the top edge, tack
the two inner folds 10 the primary
seam. Finger crease all folds before
removing the pins. (3) i\t the base,
hand tack through all three pleats.
catching the fold of the smaller
pleat in the center. (4) Turning
the folds of the side pleats down
to the heading. tack each outer
fold to the primary seam at the
base of the pleat (Fig. 6-25).
'
/
Pri mary
Seam
(a)
1
I

PlnSeam
(b)
Pipe organ pleat:
For each pleat, coovm th< pleat
allow:mce imo a cylinder by stuff-
ing it v.oith polyester fiberfill, or
lnscn into the pleat allowance a
roll of crinoline or other Sl iffcning
as long as the heading. To swbi
lize. tack the cylinder. at the top
and base, 10 the fabnc behind it
for a shon distance on both sides
of the primary scam (Fig. 6-26).
Fig. 626. Two pipe organ pleats.
Rollback cartridge pleat:
(I) For each pleat, finger crease
the fold of pleat allowance.
Dividing the pleat allownnce into
thirds, mark rbe third closest 10 the
primary seam v.oith a mw of pins
thar pamllcl the seam. (2) l lolding
the pleat allowance below 1 he pin
scam upright, the pleat
allowance above the pin-seam.
matching the linger-creased fold to
the pin-seam. Anger press the new
folds at the sides. (3) Remove the
pins, releasing two interior pleats
t hnt fonn a support for the wide
exterior pleaL which curves uround
the interior pleats to the hack. On
both sides, slipstitch tht outer
folds of the sunounding pleat to
the primary seam from the base to
the top (Fig. 6-27).
Slip
Stitch
(c)
Slip
SUtch
(I) For each pleat, divide the fold-
ed pleat ..Uowance into fifths.
Mark the ftfd> next to the fold
with a row of pins that parallel the
fold. (2) Push the pin-seam down
to the primary sc.lm, spreading the
pleat ..Uowances between the pin
seam and primary seam out to
the sides. The pleats formed at the
sides owill be twice as derp as the
Fig. 6-27. To form a rollback cat1ridge pleat: (B) Establish a secondary p/n
sesm, and (b) stand the pleat whl7e re-fOlding the upper pleat sHowance.
(c) Remove the pins, rolf the surface pleat around to the heading, and
sflpstitch the outer folds beside the primary seam.
Chapter 6 PLEATING lOS
5. the floating edge of the
pleated fabric with a double- or
single-fold hem. To hang. anach
the pleated beading with suitable
hard\\ -are ro a rod or ngid surface.
or slip Q Iabrie extension under-
neath tltc beading and auach the
lxlsc of each pleat to the fabric
with invisible hand tacks.
N OTES & VARIATIONS
Compnring the pmjecting pleats,
single bo., pleats <tre the least
dimensional with doubled box
pleats next to the least in dimen-
sionality. Pipe organ ple2ts. panicu-
larly If closely spaced. present the
most sculptural appearance.
Rollback c:anridgc pleats. which
look like small. neat. pipe organ
pleats. conceal the surprising full-
ness they release inside a deceptive-
ly neat, plain heading. Doubled box
pleats can be tripled for la,ish full -
ness in the hanging fabric below the
heading. Two or more types of pro-
jecting pleats can be combined in
the same hc:1Ciing to vary the struc-
tured appearance at the top :md the
depth of the folds released by the
different plcats.
Pinch pleats may be reduced to
two folds or expanded to lhc folds.
The pleat allowance can be subdi-
vided into as manr folds as rhe fab-
ric will sustain. and the folds can be
varied in depth as well. Stuffing
changes three fold pinch pleats into
goblet p/ccm. With the two inner
folch. between the pll"ats unallathcd
<ttthc top, polyester fiberfill forces
the pleats that rise from the pinch-
plented base to open up like a bowl
(Fig. 628}.
Doubled box, pinch, and pipe
org:m pleats may need additional
tacking at the top. beside the prima-
ry sc.1m, to prevent the pleat forma-
tion from Ooppmg forward or wob-
bling from Stdc to side. Finger press-
ing and steaming the strucmred
folds sculcs their arrangcmcnL
Fig. 628. Goolet pleats.
Unlike nat pleats with their
prtsscd or unpressed options, pro-
jecting pleats fall unpressed from
heading 10 noating edge. To control
the spread of the folds. rug and
stroke the folds between heading
and hem into Oowing regularit)<
Hold the arrangement tcmporaril)'
with one or >evcrul strips of fabric
loose!)' wrapped and pinned around
the hanging fabric. Steam. When
the fabl'ic is cool and dry, rctnO\' c
the
To be inconspicuous. seams join-
ing lengths of fabric should fall on
or ncx1 to the primary pleat
allowance swms.
PROCEDURES FOR
C ARTRIDGE PLEATS
(For Rollback Canrldge Pleats. refer
to "Procedures on page 103.)
I. Set target mca.surcmcot for the
fabric to match after it is pleated.
Cut a strip of paper as long as
the L..1rgcL measurement! or scale
1 he measurement dowrl on
graph paper. Divide it into
spaces which li mit the width of
each cart ridge plc2t after smtc-
ruri ng. separated by spaces
bc1wcen the pleats.
2. C.1lculate the amount of fabric
required for the number of car
tridge pleats planned for tbe tar-
gel measure:ment:
a. To determine the appropriate
cuning projection for each
pleat, test by pinning a strip
of fabric Ot' paper to a pleat-
106 Tha Art o f Fabri c PROJECT ING PLEATS
width space. The length of the
arched fabric between the
pins Is the plea! allowance
measurtmenr.
b. Estimate the fitbric require-
ment:
!)kat allowanco measurement
- ,,.dth of pftal
drNerence per pleat
dllference per pleat
x number of pleats
extra Iabrie needed for pleats
extra fabric for pleals
+ target measurement
Pleated Fabtic Requirement
c. Add the necessary length,
plus nllowancts for a heading
tumback and a bcm. to the
width required for pleatmg.
and cut the fabric.
3. Cut a narrow stay of stiff or stilf-
ened fabric as long as the target
measurement and as wide as rhe
chosen depth of the pleat head-
ing. On the pleating fabric, make
a heading as wide as the sUt )' by
turning the lop to the IJllck; press.
Stiffen the turnback with interfac-
ing if the fabric needs support.
4. Outline a pleat-allowance space
on t.lte fabric for every pleat-
width on the stay. separated
bj spaces between pleats that
match. With dtsappearing pen_
chalk or a sliver of soap, mark
perpendicular scam lines on the
stay. Drow perpcndituiar stitching
lines across the top of the fabric,
stopping each line above t.l1c
lower edge of the tumback (usc
an i. -square o follow the fabrics
grain) ((a) and (b) in f ig. b-29).
5. Aligning the top edge of the fab-
ric to the top edge of the sta)\
pin match each stitchi ng line on
the fabric to its corresponding
line on the SUl)' and sew togethci
((c) in Fig. 6-29).
6. Finish the floating edge of the
pleated fabric wuh a double or
single-fold hem. To hang, <lllach
the stay with suitable hardware
to a rod or hard surface.
Cl Space Botweon Pleats
(
I : l \ i : : : I I
I I I I I I l
l \ l .J..f L .ll'! l 1 .L 1
Spa co Be1ween Pleats - -
(b)
(c)
Heading
Depth
:VOTES & VARIATIONS
ln>tcad of a Slay nligned ICI the
wp of 1 he pleated fabric, may
be plea led 10 the lower edge or lublit
tlu1 ex lends nbO\e the J>lcatetl fnb
nc Betau;c canridge plc.1t> c;m be
Jestgncd to project a liulc or a ln1,
the Slay is u<ually behmd car-
mdgc plcaiS. Sta)' fobric >hould be
a.< well as funcoonal
Sofr carrritlgc pltars fall mto d
drape msrc:td of projecting outward,
<xposing the sta)' nhove the IOOS<:
iolds of rhc dmpc. To drape. the (:ob-
"" allow:mcc p<r pl<-at mu>t be
much "ider than rhe <pace alloued
per pleat on the "">: The >lay
,hould be appropriately deep and
decorative.
For cominuou.s em 11 itlgc fJlccus,
the space hctwecn plcaL< sln1nks to the
wichh of one scam thm a shnrp
valley between the bulging curves on
either side ((b) in Fig. o-30).
(a)
(b)
(c)
I 1 I
1 I I
I I I
-' L L L
Fig. 6-29. (a) Stay and
(b) fabric marked with
seam/ines for cartridge
pleating. (c) Pleals struc-
tured by matching the
seamllnes when sewing
the fabric to the stay.
Standard
Continuous
Butted
F"lfl. 6-30. Cartridge pleat profiles
from the top.
Butted cami dgc pleats seem like
a misfit in 1hc canridge. category.
The pleaiS nrc formed on gauged
gathering lhrcads (refer tO
"Gathering Methods on page 4),
creating a packed mass of folds whh
a thick edge ((c) in Fig. 6-JO).
Bullet! carrridgc plcn1lng a
lot of fabric. To calculate the :unoum.
pk<tt " test strip or fabric as directed
In 1he follo"ing. ftnd anach to a cer-
t:lin number or inches on a Slay;
measure 1hc plea1ed fabnc needed to
cover that distance and compu1e
accordingl)c To fom1 the pleat!>.
(I) mark the 10p of the fabric on the
hc-.uling tumback with IWO umfonn
rows of t-quidislolnlly sp.1eed dot>.
The dismntt bet\\ ccn the dots SCIS
the depth of 1hc (2) Run >lur-
dy thread in and out of 1he do1s in
each row (Fig. 6-31) and gather, pack-
ing 1he fabnc into dcnsclr IJ)-crcd
folds. (3) Standing the pleats on end
over a stiiT, sturd> che nam
or c!ICb fold to the Slay, nrst along the
lOp, then at the bOllOnt 6-32).
Fig. 6-32. Tacking the rops of butted
cartridge-pleat folds to a stay before
tacking the boNom of each fold to the
stay.
To t-qualizc 1he spacing of 1he folds,
mark 1hc St.1)' with two dotted guide-
lines, a dot for every >tilch hue> a
fold. Canridge plea1ed fabric buued
to a stay proJe<:L< outward before
t1lling fn lavish folds 10 the Oonung
edge. The silhoueuc i; bcU-hke when
the stay encircles a soltd Conn. If the
fabric is very stiff and the pleats fairlr
deep, bu11ed cartridge plea IS nr< self-
supporting and St.1nd upright or
extend like a shelf from 1he st:t).
Fig. 6-3 7. Butted
cartridge pleats are
formed wllen rows
of largo, equally
spaced hand stitch-
es are gathered.
Chaptor 6 PLEATING 107
Vf. J 0--Doubie:<i box preals a/ternatmg wir.h sing:e box pleats.
PROJECTING PLEAT S
Vl-18- Four-{Oid pinch pl<'<liS.
108 The Ar t of Manipulat ing Fabric
VI-17- Three-fold pinch pfeats rhar (an our
avet rad<ing sri!cr ... s at rhe bose.
VJ ./9- The wmglike wmbacks ro#bcxk pinch pleal.S
requrre more {abnc 0'10n rhrec-(Ofd pmch pfea!S, and the
{abnc fa/Js in wider. deeper columns below the heading.
....
'
'
I
'
' t
I
,_
Vl-7{}-0osely spaced pipe organ p,'<ats pro
1
ec!
much as chc di<Jmerer of the tubular sho)l<!S J11 the
hea</mg
Vl22-<:orwrl<Jous Wnridge p!eacs.
Vf.] /- The cldt s;ruccur;roR o( rol!b<Jd< cortJidgc p.'oats. a ro11nded e><le
rior concealing wpporove insido. reloascs urtCXpocred ful!ness.
PROJECTING PLEATS
Vl-23- Sof! carrndge pleots sewn co a sray VISJble bch1rld lhe dro[Jed
ammgemcnr o( folds lha1 head cacl>
Chaprr 6 PLEATING 109
PROJECTING
PLEATS
VI Z.i-!Mled
'a (lan) tNck
01 rite Slltd>ed edRe shu..-;

choocter.soc o( U.S
tri()/J!od 0{ OlrocilmmL
II 0 The Art o l Manipulating Fabric
VJ..2.S Mus1,n W'Wi
ard cor.r<lge-
,nared on fiOUied "';;;
..,. tlw:* .. bu."ted and
todct<l co o stay 11-e
potl"'e (old$ pro,ect sun'S!' our
v.r>e<> rht CO<lStrucbO<l IS
ole rite S<lt(oce
ACCORDION
PLEATS
- fabric folded altemately in and out
with even spaces between the paral-
lel folds, creating projecting pleats
th3t resemble the bellows of an
accordion in action and appearance.
There arc two kinds of accordion
pleats:
HAND-FORMED ACCORDION
PLEATS
folds spaced at least 1>1 (l.lcm)
apart. marked, formed. and steam
pressed by hand.
MINI-ACCORDION PLEATING
folds spaced no more than W'
(3mm) apar t. mechanically formed
on a smocking pleater.
Refer to 'Pleat Profiles" on
page 90.)
PROCEDURES FOR
HAND-FORMED
ACCORDION PLEATS
(For Mini-accordion l'lenrlng, refer
to page 112.)
I Set a target for the
fabric 10 match after il Is pleated.
Pick a pleat depth wider than 1>1
(1.3cm).
2 eo,er all or a ponion of the tar-
get measurement with a st rip of
paper folded ahemnrcly In and
out, equating the dis tance
bctwcc.n folds to plc"l depth.
Spread t he pleats equally ..s much
as desired. Measure lite test strip,
and estimate the amount of fabric
required for the pleaung nccord-
mgly. Add the OCSS.11)' length.
pillS allowances for a heading
tum back and hem, to th< width
required for the Cut 1 be
fabric.
3. I lead the top of the fabric with a
turnbatk and hem the lower
edge of the fabric.
(a)
(b)
4. Measure and mark a succession
of fold Indicators spaced two
pleat dcr11hs apan. lnsen pins
prpendicular to the edges at the
top and bouom of each fold
position. On woven fabric, the
fold lines In between should par-
allel Lhc Stmightgrain.
5. Foltl and press the pleats, using
the straight edge of a still strip of
papr cut longer than pleat lcngllt:
a. Press the inward folds first.
With the fabric right side up,
align the edge of the pressing
gmdc tO, and between, the pins
marking the first fold. Remove
the pins. turn tl>C fabric over
the edge or the guide, and
crease the fold witlt a steam
iron and ptcssure. Open the
fabric, move the guide to align
with the piib marking the next
fold, tum in the same dirttlion
as before, and press that crease.
Continue setting every pin-
marked fold in tlte same man-
ner ((n) in Fig. 6-33).
....... j ......... ....... . . .... .
Align
reases
..
Fig. 633.
Accordion-pleat-
ing a length of
fabric: (a) Press
the first creases
in the same
direction over a
paper strip that
trues the creas
es. (b) Matching
adjacent creas-
es, press the
second folds In
between.
b. Turning the fabric over.
form new folds between th<
previous folds. Matching
the first two folds. st eam
pr<ss the new fold created
in the middle. Align the third
fold to the second fold, creat
ing anothe:r new Slcum
1>ress. Continue aligning folds
and pressing. stacking pleat
over pleat, unt il allln-andOUI
folds arc shar ply ((b)
in Fig. 6-33).
6. Control the pleating:
Stabilized but movable at the
lop: Hang the pleats from a
rod, dowel, or cord utscned
through loops or rings
auached to the top between
folds, or pushed t hrough
holts that perforate t he hcud-
ing b<tween folds.
Chopter 6 PLEATING Ill
Stabilized permanently at the
Lop: Cul a narrow stny as long
as the targeL mcasurcmenL
Dhide the stay into spaces.
each as wide as 1he destrcd
spread <lf one accordion pleat.
Mark the s paces with perpen-
dicular pins or lines. :.latch-
ing !he 10p of 1he plemed fab-
ric 10 the lOp of the stay, tack
c.1ch inward/back crcnsc to
!he stay at the lop edge. or
machine stitch over each hack
crease, stopping before reach-
ing the lower edge of the stay
(Fig. 6-34).
!
I I
F.g. 6-34. Accordionp/eat spread
ccntrolled at the top when back
creases are topstitched to a stay.
112
To hang the pleati ng, auach
1 he stay with appropriate
means 10 a fimt s\lrface. An
option: Use the lower edge of
a piece of fubric that extends
above and beyond the pleated
fabric as a sta)\
The Art of Manipulating Fi:bdc
NOTES & VARIATIONS
Steam creasing accordion pleats
In" (l.3cm) or smaller in dep1h is
tricky and trying 10 impossible: The
greater the depth, the easier to pleal.
During and arlcr pressing, accordion
pleats stack up one on top of the
next "';th bock creases and Front
creases aligned. To minimize the
pressing complications 1 hat develop
as the extra byers of L1bric at !he
tumhack and hem build up. use the
selvedge for n hem. serge the edge
ot edges, or fold and sew the hem
after pressing and re-set the pleats.
Folds may be pennanemly fixed
with edgestitching.
Accotdion-pleated fabri c Is fii!Xi-
blc in the direction of the folds, bm
the in-and-out folding impans slifT-
ness to the fabric in !he 01her direc-
tiOn. The pleating "breaks" if forced
to bend across the folds. If a stiff fab-
ric is accordion-pleated, the result is
dose to inflexible across !he creases.
For self-supp<>rting applications that
stand or project, stiffen the unplcat-
ed fabric \ \ ~ h starch or an iron-on
interfacing. Bun the !hick edge of
the pleating 10 a stay and tack each
fold to the stay with equiclis tMt
spacing (refer to "Buued Cnrtridge
Pleats" on page 107).
Accordion pleating, tightly bun-
dled at the heading or at a cross-
section in the center, opens and
spreads out to a floating edge or
edges. To fan accordion pleats. run
strong thrc.1d or cord run through
the folds, pnck the pleats Into a
solid mass, and fasten ll>c ends
se<:Urclj (Fig. 6-35).
Locate a seam joining two pieces
of fabric on a back crease.
- l - -
-
'
ACCORDION PlEATS
Rg. 6-35. Accordion pleats, lighrty
compressed at the heading, spread
out to a curving edge.
PROCEDURES FOR MiNI-
AccORDION PLEATING
I. Using a smocking pleater. pleat
the fabric. ( Refer to "Using a
Smocking Pleater on page 126. )
2. Stretch out tl1e fabric on the
pleating threads and press to
smooth out the edge to be
hemmed. Hem the floating edge.
and the top edge, if rcqt>irecl by
the stabilizing mtthod:
For a pleated edge. fold on
thr final row of pleating
thread. Make a tiny double-
fold hem that fi ts inside the
space before !he next row of
pleating thread (Fig. 6-36).
Re-pleat the Fahric on its
thrc11ds, including t he hem.
...!,. __ _
Fig. 6-36.
Machine-stitch-
Ing a hem into
fabric spread
out after mini
accordion pleat
lng on a smock-
Ing pleater. The
Iabrie will be ro-
pleated after
hemming.
For rt [rilly edge, hem just
the last row of pleat-
Ing thread. For a rufficd edge,
hem a distance away from the
final row of pleating thread.
Re-pleat the fabric on its
threads. excluding the
hemmed edge. (For finishing
options, refer to "Edge Finish-
Ing for Ruffics" on page f3.)
3. Pushing all t he pleats together
tightly on the pleating threads,
steam wi th an iron held slightly
nhove the surface o[ the pleats.
Allow to cool and dry thorough-
Jy before conlinuing.
4. To swbilue the pleats across the
top. sew to plain fabric cut as
long as the target measurement:
a. Cover the pleated se-.un
allowance wilh an extension or
bindmg. ( 1) Cut a tempor.ny
st.bilizcr. a strip of paper or a
tear-away product. Spreading
the pleats out evenly on the
pleating threads. pin the edge
o[ the pleating over the stabi-
lizer. (2) Cut plain fabric for
un extension or a binding.
Matching edges, cover the
pleating with the plain fabric.
right sides together. and
machine-stitch, squashing the
pleats between the layers. The
pleating will appear gathered
at the top. (3) Remo,e the
temporary Slllbilizer from the
scam. An option: Usc fabtic
for a permanent stabiUzcr.
(Refer to "Stabilizing
Gathered Fabric" on page 6.)
Fig. 637. Hand stitching a stay over the back of mlnlaccordlon
pleats stabillzeci with three rows of backs/itching.
b. the finished edge of
the pleating. attaching it to an
c..rcnson or stay slipped
undcmemh the final rows of
plcaung thread.
To retain the regularity
ond three-dimcnsiolll!tity
of the pleats : (1) Tum the
pleating over to the back.
(2) l'ollowiug the last row
or pleating thread, catch
the Lip of each r ib witb a
backstitch. Add one or
more rows of backstitch-
mg. The Lens1on on tbe
thread controls the spread
of the pleats, allowing
some nexibility for adjust-
ment. ( 3) Pm the exten-
sion or stay o,er the back-
stitched area and handstitch
to the backstitching threads
Fig. 6-37).
An alternative method: Slip
nn extension or stay under
the frilled or ruffied edge.
Following 1 he final row or
rows of pleating thread,
bltStc the pleating to the
fabric undemeath. Edge-
stitch a length of ribbon or
over the basted pleat-
mg. crushing the pleats
under the stitching.
5. Remove the pleatmg threads.
NOTES & VARIATIONS
Estimate the fabric requirement
for pleating as three
to four times the target measure-
ment. the general rule-of-thumb for
applications that involve the
smocking plcuter.
Like h:u1d-formed accordion
pleats, fabric plcutcd with the three-
to-four-plus pleats per inch t hat a
plentc produces acquires
stllfness up and down the pleating,
although It Is more s upple across
the folds than fabric with deeper
accordion pleats. Unlike hand-
fonncd accordion pleats, which can
usually be re-set by hand pressing,
the folds of mechanically-formed
mini-accordion pleati.ng aren't
r<newoblc when use, dampness, or
laundering destroys their definition.
Fabric can be mini-accordion
pleated by hnnd following a grid of
dots marked on t he fabric, and the
ple:nlng ""' be stabil ized across the
top w1th n hc.ndi ng of decorative
stitching worl;ed I rom the from
( refer to "l:nglish Smocking" on
page 129).
vt-26 Hand-(orrnecL shorply creased plcors spread oot on a rod 1nscrccd
through holes 111 lhc lwJad,ng. Tho orronp,ement Js movoble and
temporory.
2 & I{ a a aU rtl r 5 5 #;
!
.
: "
)
I,
li
:'
I
I i
I
l
vt-27 o(hand (orme<l p.'eats attached
ro o sray wirh u short scam er}dl bock. foJd.
114 Art of Monlpul atlng Fabric
ACCORDION PLEATS
VI-18-M m-oaordon P""""E 's (.Jmm) deep, fJ'OdiJC<d""
" So'fy Sron:er p'-a SIDbolm ocmss ""'
rht .. l'tM'$ o( bocl<s!llc/l.ng md 0 SID( The s"'t>< t>lerriiP'""' "'
rile tegvlor.1y <>( iho nbs about t."'.WOS o( rne "'!' down
re.Ml< the m.smotdl"'g til01 ocrutred II>- (obric ,,.,,
plecr.ec! a secnnd ttme oo 1ts lenglh.
WRINKLED
PLEATING
-irregular ridges and grooves set by
bunching and scrunching damp fab
ric. securing it tightly, and letting it
dry. There are two types or wrinkled
pleating:
BROOMSTICK PLEAT ING
-<lamp fabric gathered up. rolled
around a cylinder, and bound to hold
until dry. When unwnpp<!d. the
wrinkled folds arc onedirectlonal.
Refer to "Pleat Prollles" on
page 90.)
CONTORTION PLEATING
fabric twisted into a rope.
coiled, knotted. and dried in a
microwave oven. When opened out.
the wrinkled folds are multldlrec
tronal.
PROCEDURES
L. narr()w hem huo one or
111orc edge> of the fabric, If and
where the requires.
1. Prepare t he fabric for wrinkled
pleating:
Broomstick ple:ning:
n. Gather the opposite sides of
tltc fabric with large running
sntches. pushing the gathers
together tightly. Very wide.
lengthy fabTic may need lllle
rior rows of gathering :tS well.
b. Wet UlC fabric thorough!): wring
u out, and rollin towelling to
c.xcess moistun:.
c. Stretching bet" ecn the gath
ering, roll the fabnc a
broomstick. length of plastic
pipe. or any other sturdy,
moisture and rust-proof
cvlindcr Tie the fabric 10 the
cylinder at the top. then bind
with fabric strips 1" (2.$cm)
to l" (Scm) wide. Wind the
st rip> tightly around nnd
around until t he rolled fnbric
is emircly covered (r:ig. 6-38).
Fig. 638. Winding a strip of moist
fabric tightly around a broomstick.
Optional preparation:
Stretching and bunching, roll
the damp. gathered fabric
around itself. Shove it imo 1he
leg or a nylon stocking and
bind m close intervals with
snips or cord.
Contort ion pleating:
a. Immerse [he fabri c in water.
wdng it Olll, and roll in lOW
clling to absorb excess mois
lure.
b. Fold t he damp fabric into lay-
ers. mrning it over repeatedly
in one direction. Clamp one
end of the narrow. layered fab
ric in a vtse or ask another
person to hold the end.
Stretching the fabric taut.
twist it so rightly that it spi
mls around itself when the
ends arc brought together.
Continue twisting und
entwining until the fabric b
contorted into a ;phCI'Ical
knot (Fig. 6-39). Bind the
knot with suing or tic 11
inside the toe of a sock.
3. Dry the prepared fabric:
In a warm. dr); well-vemllated
atmosphere. 8roomsuck pl<at
ing will dry in a few dars
without mtlde"1ng, but air
drying IS not
for contortion pleating. unless
on I)' a small amount of fabric
is invohed.
\Vlth consecutive cycles Ill an
automatic dJ)er. llroornsuck
pleating prepared in a nylon
stocking (the optional
method) may be automntlcnl
ly dritd. For comortlon pleat
ing. dryingjump-swrted auto
mntkally cnn be completed In
t he air.
A minute al a time in a
mkrow{we oven, untll the
moisture inside the oven
evaporates. Microwave heat
dries hmh broo111sticl< plc;\1
ing in a nylon stocking and
contortion pleating t hOI'Ough
ly and quickly, but requires
care ;md tntcntlon.
4. Untie. unwrap. open up. and
spread Oil! t he fabric when ills
completelr dry. Remove any
gathering thn.>ads.
Fig. 639. (a) Thick cord Of
tightly twisted, damp fabric,
looped before releasing In
tho contor to cvrl srovnd
itself. (b) Coiled. knotted
ball of Iabrie.
Chapter 6 PLEATI NG II S
5. To ;onbolile broomsolck pleating.
sew to plain fabric cut to a targel
mc{IS\.Ircmcnt Sml.Jllizc contor-
tion pleming if and as the appli-
<-auon requires. ( For applicable
directions, refer 10 '"Mini-ao;:or
dion Pkaos; on page ll3.)
NOTES & VARIATIONS
Soft. ohin. narural-fiber fabric,
such as China silk and ligho"eiglll
cotton. reacts best 10 wrinkled
pkating mcLhods. Tht amount of
fabric required varies with wrin
kled fullness approprlaoe for the
applicaoion, bu1 thret umes the tar-
geL cUmension is a worl<ahk mlnl
mum.
Afler pleating. ohe sides of
broomstick-pleated fabnc are more
or lcs> soraight, but the of
colttortlon-plcaoccl fabri c will be as
ilTegul:'tr nnd 1meven as lhe imcrior
pleatinl\ The broomstick method
produces ridges and creases that
cross ohc fabric Croon one side to the
other in a dircction:.ll WJth
con1or1ion pleaoing, one direction
predominates--the duection that
coincides with the original folded
layering-but subsequent '";siS.
bends, and knoLS inuoduce denec
tlons and interruptions, result ing in
a moT< complex configuration or
wrinkles.
When dry and unwrapped,
wrinkled pkati ng retains the
imprinl of ils prcpanuion. Modifi-
cations change 1hc rc-sull. for
example. when preparing d.1mp fab-
ric for broomstick pleanng: Enlarge
or reduce Lhe size of the g:n he:ring
SLilthcs and int rease Lhc number of
rows. lnsoead of thread-gaohering.
scrunch the fabric with fingers.
Tum and owl<! while rolhng ohe
fabric around a cylinder. sec-
oioots of the rolled fabric unbound.
Instead of binding. tie the rolled
fabric at mlervals "ith cord ohat
bites into the bundled materiaL
Add tying tightly ";th cord 10 the
layering and owisring proccduocs of
tontorlionpleatlng pre:p11fi.1llon.
for maintenance, hand gather
and twist broomstick or contortion
pleated fabric into a roll and store
inside a nylon Slocking, 01' coil
loose\)' and keep in a drnwer or
box. 1\ioisturc and hc-d'') pressure
will undo the creases or wriltldcd
pleat ing. buo the pleaiS be reset
by repeaLing the prepar:nion and
drying procedures. The rcsuiLs will
\111)' \\ith every repetition
116 The, Art of Manip.ulat\nc
WRINKLED PLEATING
'/1.30 Conrornon"pleoted
sqoate o( muslrn
vr"Z9- Trn! voroobre,
' ~ pleoung resul!
mg (rom !he broom-
slick prouss.
WRINKLED PLEATING
Chapter 6 PLEATIN G 117
DOUBLE-
CONTROLLED
PLEATS
-pleats confined at both ends. with
folds loose In the center. The stabi
lized pleat arrangements can be
turned In any direction.
PROCEDURES
l. Select a pleat type that sui!$ the
pul'ose. Fonn the pleats on oppo
>i tc >i<.lc> of the fabric, foUowing
the procedures described for that
type or pleating. (P;mi,ll pleats are
imtppropriatc for doubk>-<:omroUcd
pleating.)
2. St.1bili1e the pleatS ar both ends.
Either underline/stay the pleated
f.1bric completely before binding or
scwang the edges to another piece
of fabric, or stabilize " ;thout
underlining beforehand, as appro
ptiatc for l11c litbric and the
requirements of 1l1c panicular
ins111llation. Stabilizing and the
type of pleating at Lhc edges, in
combination. affect the appearance
of the folds in the midcUe:
Smooth folds:
Folds Row undisturlx-d bttwOOl
matching arrnngements on oppo-
9te ends when the pleated fabric is
stretched over a stiff underlining or
held taut between stationary edges.
Turned folds:
Suctchcd out over a stili underlin-
Ing or held taut between stationary
the folds of l11t pleatS
change direction when laid down
in one dlrccrion on one edge and
reversed on the opposite edge., or
when pleat depth and the number
of ple.1ts. or rhe 1)1Je of pleat.
changes on e.1ch side.
Orn]Jed or puffed folds:
The folds m the center either drape
or their own weight or rise up into
whtn the stabili:ed distance
lJetween the ends of the pleats is
less than tltc length of the pleats.
To drape, rhe folds.oflargc-scalc
applications must be borizomal
with the vertical sides where the
pleats originate sL1bilized rigicUr
The folds of small-scale applications
puiT- " ilh t!Je cooperation of fmn
fabnc-when basled ro a full stay
fintshed application_
3. Settle tl1e orrangernent of folds b)'
stcal1ling wit.h an iron mo,ed
slowly abol'e 1 he smface of the
fabric. Allow tO cool and dry
bcrort>
NOTES & VARIATIONS
Thorc two double-tonrrolled
pleating vurintlons thac require par-
terns: (I) Pleats fonned on adjacent
edges of the fabric, forcing the folds
to converge nt an angle in the cemer.
( 2) Pleats Com1cd on one edge of rhe
f.1bric with folds 1h.1t dwindle out to
nothing at the opposite edge. The
pleating pa11ems arc developed from
target pauems that are slashed at
pleat locations, following the intend-
ed dllcct ion of the folds from edge
to tdge, and spread to allow for a
pleat undcrf,11d nt every lash- (For
directions ndaptnble to pleat ing,
refer to "Singlt Edge Gathering,"
Note> and Variations, on page 12;
and "Opposite Edge Gathering,"
Notes and Variations, on fl'lge l 7.)
Pressed Colds. accordion pleats, and
wrinkled plea ring are inappropriate
for 1he.se \"3ri31ion.\.
The folds of crossed pleats puff up
when they collide in the OO!ICL Using
thlt pleats. reduce each side of a
square or triangle of fabric \\oth ihe
folds, then b:lste the pleated edges to a
stay which is a smaller version of the
square or rrinngle. The puffed fabtic
may be left as is, ot it can be tacked
down imo" 1nazclikc swirl <Jf <:reslS
and grooves with furrowing (refer to
"Furrowing" on fl'lge 9). or stuffed
into biscuits (refer 10 -lllscuits' on
page 258). Varimion: Lse pinch plerus
for f.1bri<: and topstitch the
pkated edges 10 a foundation.
The folds of ftXC<l plcllLS are stahl
lized into permanent, immovable
arrangements. \Vlthout floating edges
or loose folds, fixing pushes pleats in
non-pleat-like directions. For exam-
pie: fusing an :trrongemem of flat
pleats to iron-on mtcrfacing converts
the pleat folds into unstitched, f.l ke
tud;s. \\'1ten l11e b.K:kfolds of car-
tridge or hand. formed accordion
pleatS are mochine-stitched to a finn
stay from one end to the otl1er, lite
pleating enablcs
sculptuml consmtctions.
dion, broomstick. or contortion pleat-
ing, secured to a stuy Wi lh riny hand
stitches sp:ccd out and buried in the
comtgarlons, suggest smocking.
While shift the direction of
the folds or wrinkles :tnd vary the
spacing between the ridges.
Neetlle-fonnetl pletUing l unique,
a continuous arrangement of soft.
Oo";ng, rounded Colds shaped ";th a
needle and sccun...J "tth hand stitch
es. Without markmgs or
other prcfK1rotion. b-1Ste the top edge
of the pleating fabne to tlte top edge
of a much smalkr. stiffened SUI)\
Work.U1g from the top do""' pull up
a fold with the point of the needle.
hold with pins if necessary, and
ground tl1c fold to the stay with tiny,
separated Push and pull
up another fold beneath the first fold;
secure. ConLinuing row by
m;meuver Stthtlt 1rregttlaritics into
lite folds. Limit the length and
change the dnft of the folds with tltt-
cUe action '"'d stitches. As pleat for-
mation proctc:ds. the securing stitch
cs recede into the gTOO''es between
succeeding Needlcforrned
pleating may be adjU>t<-d to cover a
stay \\1th a modelled surface.
SoJi,lminillCCOrdiollpfenting
restntcture.s fabri c into a different.
fi nn tc;o.:tile 1 hick us its pleal com-
position, with a finely ribbed surface
tcxntre. To !mild the snlid pleating,
accumulate pleater fomled pleats
into a packed mas> on the pl"uing
threads. l!xtcnd the accumulation
with more pleated lengths of fabric
un11l11 r.aches the target measun:-
menL The pleating threads, with ends
tied together in f><1ir>. remain in the
textile for !'or additional
texture, run fobric with wrinkle-s
through the pleatcr. (Refer to Using
u Smocking Pleotcr" on page 126.)
118 The Art o f Manipulating Fabri c DOUBLE-CONTROLLED PLEATS
YI-J 1 kJ>fe P'C<lts
Chot Omnsh ood dsoppeUi
ot l/lc OflllOS'!e
'JI.Jl-unprtr.sed kn( rllor
start and srop on od,oce-m
pfecrs
a< !xJU. ends look
Jok hoozomol lo!NetS.
DOUBLE-CON TROLLED
PLEATS
Chapter 6
PLEATI NG 119
DOUBLE-CONTROLLED PLEATS
120 The An o f Monipulotlng Fabr i c
V/-34 Draped knife pleots.
'II-35--Anoogemenl o{ """rtO<t box.
and i:nJ{e p'eau vert.oeOIIy SltelehM
beM'<'en SU>ps of (ob<ic Tho (o
1
cJs 01
rne mfe pleot3 "' the center I>Pf>le
because ~ e y chonR drecnon

o{ kn(e. box Of1d
.,.;erte<t pk<Jcs sec
lllolO CUfOUCS.

DOU BLE-CONTROL LED PLEATS
Chapter 6
Vl-37 ThfH.(old p.nch
pleca consoucced orxi
suJyed oc oppos.ce erxls
of tile (aoric.
PLEATING 121
D 0 U B LE-CO N TROLLED
PLEATS
"'-38--Coo:Jnuotls scomcd
to a $0(f Slay ;rom end to end. form a
sup_oortlng. coJt.rmrt-likt suuctufe-.
'tl-39--ActotOon p/eo!S. {wm!y rod<t<liJlrough !he cetiiCT. spreod
out 1'110 a lhe $ide pleats = seemed AI lhe
ptntTKH,t!r. tile IOSidC ate Seruft!d (0 0 Sft{f Stay W.(tl My
1000
122 The Art of Fabric
ploors monrpulatcd rnto a conc.nuOlJs band oi fans
ond wrth uny rocks 10 o Sfir/ sooy
111 J- f>leall {ormecl 011 a Per(ea f>leoW bocke<i w1(h Iron-on IMler
'0001) cu1 mlo squares. and assemblecll"'r:cl!worksryle m1o o block.
rwo of the squa1t:s. the (o.'d o( occh plea' snagged by o sr r ch,
'''" P<J'oe<l bocl< ond ro troe bose of the ploct boh.od.
- --

s .
t
-=
YJ.4 2 Ptr.droNOI'o< w:d! cro<se<J.p.'<ot t'.,.,..,IS The three
squares. and 01f' rec-umg'es C1!l! ;n rht anter:
DOUBLE-CONTROLLED
PLEATS
;
-
Z?
.
..-.....- r
:
:

: _
-

-
'1143-Neea.eiormecl p/e<IIIOI/Iho<
laol<s l.ke warer nppled by a breeze.
Chapter 6 PLEAT ING 123
-
-
S
mocking secures and adjusts
the folds of a finely pleated
field of fabric with hand stitching.
When the stitching is visible, it
superimposes an ornamental thread
design on the surface of the pleats,
organizing and bending the under-
lying folds into cellular formations.
When the stitching is invisible, the
fluctuating movement of the folds
becomes the decorative focus.
Smocked fabric acquires the same
thickness as its pleats, and loses
flexibility across tbe pleating.
...
-
-
-
-
-
-
...
MOCKIN
-
7 Smocking
SMOCKING BASICS ................ 125
Fabric Required for
Smocking .......................... l25 -
Using a Smocking Pleater ... . 126
Smocking Embrotdtry
Stitches ..... ....................... 127
Outline ............................ 127
Mock chain ...................... 127
Cabl e ................................ 127
Double cable ............ ........ 127
Wuvc ............ .......... .......... 127
Trellis ...................... .......... 12 7
Diamond ............... ........... 127
Honeycomb ...................... 12 7
Surface honc)comb .......... 128
Vandyke ...... ..... ................. 128
Feat her ......... ................... 128
Spoo1 ................................ 128
Cable Flowcrcucs ............ 128
Managing the Smocking-
Pleated Edge .................... 128
Crushed and nauencd
pleats ............................ 128
Standing pleats ................ 129
El'\GLISH SMOCKJNG .............. l29
Pmcedurcs .......................... 129
Notes & Variations .............. 132
Experimental smocking .. 133
Reverse smocking ............ 133
Interior smocking ............ 133
Mock smoddng ..... ........... l33
DIRECT SMOCKING ................ 138
Procedures .......................... 138
Notes & Variations .... .......... l39
Re-versed direct
smocking ...................... 139
Experimental direct
s mocking ............ ..... ..... 139
NORTH AMERICAN
SMOCKJNG ....................... ..... l41
Procedures ...... .................. .. 141
Notes & Variations.. ....... .... .) 4 2
Reversed North
American s mocking ...... l42
Experimental North
Atncrican s mocking .. .... l42
ITALIAN SMOCKING ..... .. .. , .... 144
Procedures for Contoured
Italian Smocking ................ .. l 44
Procedures for Shirred
Italian Smocking .................. l45
Notes & Variations .............. l46
located underneath the relevant
columns.
SMOCKING BASICS
FABRIC REQUIRED FOR
SMOCKING
T
radilional wisdom advises
three to four t imes the target
width or the smocking as a
basis for cstinlilting the amount or
fabric required for a smocki ng t>ro-
ject. That's a fairly reliable !, 'Uide for
thin fabric prepared for Englis h
smocking on a plcatcr or huml
pleated on dot-pickup sti tches
spaced '!.!'' (6mm) apart. but inade-
quate when other facwrs npply.
Type of fabric. When pleating a
thicker litbric such tiS wool, each
pleat fold will be mo1e e.' pansivc,
consequently, the pleating "111
match the target mcasurcmcm
with less fabric than the pleating
of a fabric like batiste pleat-gath-
ered on an identical grid.
Pleat depth. Deeper pleal!l
require more fabric for the same
target measurement than shallow
pleats. Widening the spacing of
the dot grid followed for hand
stitched pleating increa.es the
fabric estimate. Smcbcd on the
same grid, dot-In dot-out gather-
ing requires more fabric than
dot-pickup gathering.
Pleat density. Smocking t hat fea-
tures the palleming or massed
pleat folds requires more fabric
than other type.s or pleating.
Shi rred Italian smocking U>CS the
most fabric. with contoured
Italian smocking a dose second,
followed by English smocking.
SMOCKING BASICS 125
+ Smocking construction. While
stuching an English or cUrect
smocking design. a tight rather
than light tension on the thread
mo,es the tubes closer. ine:rcas
ang the amount of fabric needed.
Direct smocking generally uses
less fabric than English smock
lng worked on a similar grid.
English, direct, and shirred
ltnlian smocking shrink slightly
along t he length of the pleats.
The multi-directional pull of
Nor1 h A mcrican and con1oured
hnlian stllchinp. reduces measure
ments in both directi ons sig
nHicnntly.
To estimate dte fahtic
ment nccurntcl). make a small sam
pic "orked on a square of the cho-
>en fabric. using the grid and slitch-
mg planned for the smocking pro-
ject. Measure the fabric in both
dtrecuons before and after smock-
ing. Use Lhosc measurements in the
following equation:
!sample measurement before smocking
+ sample measmemem alter smocking)
x. target measurement
Fabric Requtrement
P'or North American and contoure<l
Italian smocking, LlSe the equation for
fabric length and then for fabric wklth.
When 1hc fabric 10 be smocked
piecing 10 extend its
length, locale 1hc seam inside a
pleat channel. llccause seams rha1
cross I he pleats add seam allowance
bulk 10 the folds, the bulging hand
caused by the extra 1hickness will
be OJJ\fiOliS L01Jess offset by plea[
spread elsewhere.
126 Tho Arc of ManiP.YI'Iting Fabri c
USING A SMOCKING
PLEATER
Mmt-accordion pleating is the
foumL1uon for English smocking.
$mocker> have a choice: form the
plea" on rows of gauged hand
stilchrs or use a smocking pleater. a
nifty. appliance thai
pleats )'Ords of fabric quickly and
easil)'.
Ph-a1crs have gears thm me.sh
tuget her when 1 urned. and a long.
s tmigh t row of delicate needles 1 hal
51 itch I hrend through t he pleats
forn1ed h)' 1he gears. llasic opera-
tion is simple. Thread 1he needles
\\;lh ewing 1hrcad abou1 4"
( I Orm) longer than the length of
1hc fabnc to be plea1ed. Tape the
ends of 1he thread 10 the surface in
lrolll of the plca1cr. ,\ftcr trimming
1he >clvcdges. roll the fabric around
a dowel. Jnsen tl1e dowd inside the
cndpl:ue openings on the plcater.
Standing behind 1he plcatcr. mm
tht: handle 10 move Lhe fnbric
througlt the gears and onto 1 he nee-
dles. When the neNiles fill up with
pleats, Jlll1h the pleuis gcmly onto
the threads. Continue un1il all the
fabric has been plcalcd and pushed
on1o the 1 hrcads. CUI the threads
nextlo 1hc needles 10 free the pleat-
ed fabric.
Smocking produce uni-
form mini-accordion plca1s. a1 Jcas1
Vo" (3mm) deep, tha1 vaf)' fraction
ally between three-plus to four-plus
pleat for every inch of fabric,
depending on the manufacturer
of 1he piCIItcr. Also depending on
1he manufacturer, the fabric widt h
n plealcr tu.:ct:pts varies from 5
(Hem) to 11" (30.5cm) . A second
run through the pi eater doubles the
wlchh of the fabric that cao be
pleated. Open and spread the pleat-
ed porlion of the fabric on iiS
SMOCKING BASICS
threads (knot one end of the threads)
and Sleam Jlf<'SS Oat. Re-thrcad
the piea1cr needles. but leave one
needle a1 one end un1hreadcd. Re-
rolllhe fabric on 1hc dowel. Insert
the dowel instdc the cndpla1c open-
mg>. m01ching the final row of
pleaung 1hread on the fabric 10 1he
post non of the umhreaded needle
on the plcatcr. Guide the fabric
1hrough the plcmer wirh the
unthreaded needle followi ng the
lnst llne of ;>lculing 1hrcad and, if
possiblt, pien:ing the s:mtc holes.
CuLt hc liHcnds holding the fabric
to 1hc needles. Re-plcat the
tcncd fabric on its thrc.tds.
Umhrcadcd groups of needles
creal< sn1JX of ga1hering
bands of plea1s. Af1er pleating,
>pread 1hc fnbnc on 1he threads
and tron any folds out of the strips
mcam for g:uhering; rc-plcat. For
cxpcrimcmal pleaung texlllrcs. send
the fabnc through the plcatcr ddib-
cr.ttcly rumpled or pulled off-grain.
When one piece of fabric isn't
long enough. pleat the pieces sepa-
rately. Matchi11g 1he plcning
threads. sew the pre-pleated sec-
tions together. locoting the scam i n
a channel between 1wo plea1 tubes.
Tic the plc:uing threads across the
scam. pu>h 1hc plc;u, together and
proceed.
When one piece of fabric bas a
>cam do" n the mtddle, 1hc seam
allowance should be no wider than
the diStance between two adjaccm
needles <>11 1 he plea1er. During
pleating. guide 1hc seam to move
between two needles. Angled or
curved sc:nm ollowances musl be
basted clown. The cxua layer of fab-
ric, and fabric t hat's 100 thick and
heavy. tends 10 break needles.
SMOCKJNG EMBROIDERY
STITCHES
For Engli>h and direct smocking,
embroidery stitches have a func-
uonal as well a decoratie purpose.
\Iter the pleating threads have been
removed, the stitches hold the folds
of English smocking together. For
direct smocking. the stitches not
on I) hold the folds together, the)'
crc:ue the folds.
Each stilch also has a distinctive
role to piny in the overall decorative
dc,lgn on the sucfacc or the pleat-
ing and in the pMtcrning of the
folds underneath. The stitches con
ncct the tips of consecutive folds,
or lubes. in a manner that arranges
1hc lUbes mto cells between lhe
ro" of stitching. EeT) stitch fol-
il< 0\\ n path. (The arrows in
1he diagrams mdic<llc starting
poilus for a ro" made up of one
particular stilch.}
The needle action of backs titch-
ing is chc basis for most smocking
embroidery sti tches. For every
h:.ckstitdt in a s traigh t row of
Olltlilll' st itching, hold the thread
either below and under the. Lip of
the needle as it emerges from a fold.
or above and under the needle
(Fig. 7 I).
Fig. 7-1. Outline stitch.
Two ubuucd rows of omline stitch
ing. wit h tlll'ead direction reversed
for the second row, produce the
moclt elwin Slitch (Fig.7-2}.
F'tg. 72. MOCk chain stitch.
Cable stitching is an outline-stitch-
ing variation. For each successive
backsutch, altemate the thread
poshion between below-and-under
and above-and-under the tip of the
needle (Fig 73).
Fig. 73, Cable stitch.
Spaced rows of double cable stitch
ing change Lltc alignrncn1 of the
tubes In one way if the s titches in
successive rows are identical, and in
anotltcr way if the Slilches in suc-
cessive rows ahemalc between up
and down ( Fig. 7-4}.
Fig. 7-4. Double cable stitch.
i\ cable-and-outline composite d1at
moves diogonally up and down in
close steps outlines a wave. On t he
way up, rhe lhread remains below
1he ongled needle: on the way
down. the thread stays above the
angled needle ( Fig. 7-5).
Fig. 75. Wsve stitch.
Two rows of wave stitching, iden-
tical but reversed to meet at the
end of a w:1ve, combine inlo t.hc
ucllls >litch ( Fig. 7-6).
Fig. 76. Trellis stitch.
For dinmon<l Stilching, the needle
altemates bet" een moving up and
across two tube> for a backstitch and
moving dO\\ n and across two rubes
for baeksmch. witlt a cable type
anchoring s1i1ch m between.
Diamond sutcbing requires two rows
or idcnu,.,.l but reversed stitching
1hat mee1 nt every other cabled
anchoring stiiCh ( f'ig. 7-7).
7 7. Diamond stitch.
Double rows of honeycomb, sur
fce honercomb, and Vndyke
stitchmg reorganize the tubes of the
pleating in1o a substructure of dia
mondshaped cells. Because the
needle moves the threlld up and
clown inside the l ubes, one row or
honeycomb stitching looks like two
s 1nggcrcd rows of Llrt)', doubled,
indepcndc111 s tilchcs that bind adja
ccm lubes 1ogether (Fig. 7-8).
(c)
Fig. 78. (a) Moving down inside a
tube. (b) Stitching two tubes together,
and moving up (c) to create rows of
honeycomb stitches.
7
SMOCKING 127
For surfare lroneycomb, the thread
wraps O\er the tube when
up and down between the stitches
that bind two tubes together
(Fig. 7-9).
Fig. 7-9. Surlace honoycomb stitch.
Like surface honeycomb. th7cad for
\'andyhc >!itching wraps over tl1e
same tube as itmo,es up and down
bet" een binding stilchcs, but,
unlike honeycomb. Vandyke is
sewn from right to left. The binding
stitches pick up two tubes with one
Stitch (Fig. 7- 10).
Fig. 7-10. Vandylce stitch.
Work feather stitching over hor-
Izontal pleating tubes. l'icking up
two tubes in u stitch, zigzag back
and forth [rom right to left with
the thread for each s titch forming
a loot> under the tip of the diago-
nall y-pointed needle ( Fig. 7 -I .I ).
Fig. 7-11. Feather stitch.
5r>ool (Fig. 7 - 12) and cable
flowcrcrtcs (Fig. 7 -13) are spot
stitches. Borh bind tubes together
in i<olatcd locations.
Fig. 712. Spool stitches.
7- 13. Cable llowerelte stitches.
M ANAGING THE
SMOCKING-PLEATED
EDGE
The mer hod used to finish and
stabilize n smocl<lng-pleated edge
either fi nuerrs wbes under a
mnchincscwn scam or preserves
the stand of rhe t ubes with hand
s titching. Whether flattened or
st.anding, maintain the arran,gcme:nl
of folds established by the final row
of smocked strtchlng in the finish-
ing of the edge.
CRUSHED & FlATTENED
PLEATS
Leave a row of pleating th;ead inside
the scam allowance or English-
smocked pleating. For other kind< of
smocking, prcp.1re the edge with a
row crf Stitches or basting
inside the scnm allowance. v-r,th right
sides tOgether, sew tlrc smocked edge
to smooth fnbric cut to size for an
extension or binding. Locate the
machincSllldll't.l in between
tire pleating. g.1tl>eriJ1g. or basting
thread and tho final row of smocked
sritching (1-ig. 7-14).
129 Tho of Manipula_<ing Fabric
SMOCKING BASICS
Ff{}. 7- 14. Pleated edge of shallow
English smockmg machine-stitched
to a Iabrie extension. right sides
together. A row of gathering stitches
remains Inside the seam allowance.
Opened up, the srnooth fabric
extends beyond the smocking.
Opened and turned over the scam
allowances to the back, a strip of
smooth fabric biruls the edge. (Refer
to Stablll:ing Gathered Stitching
on pages 6-7 for directions applica-
ble to smocked edge.)
To end the smocked pleating
\\1th a rum e. locate I he final row of
smocking sthchc. a distance from
the edge and hem rhe rume (rerer
to Edge Finishmg for Ruffies" on
page -13). At the base of the ruffic,
hold the s mocking-plea red arrange-
ment with n row or gathering or
ba$ling stitches. Slipping u fabric
extension or 11UI'rO\V wpc under-
neath the edge. topstitch with
straight or decorative st itching over
the stitches holding the arrange
mem ( Fig.
Fig. 7-7 5. Loose folds at the
hemmed edge of directly-smocked
honeycomb pleating, satin-stitched at
the base to a fabric extension, open
into a pleated ruffle.
An ahemntive: Stahilize t he ruffic
wilh narrow Lape or ribbon top ..
st itched across its hase.
When t he smocked fabric is thin
and light"eight and the pleats shal-
low. even solid pk-ating can be
crushed and Oaucned under a
machined =m ns previouslr
described. But i the abric is hea"
icr and the pleating deep, or if the
pleating was engineered with con-
toured ltnlinn smocking, a standing
edge is the bcrtcr droice.
STANDING PLEATS
llefore smocking the fabric. make a
uny double-fold hem in the edge
next to the final row of stitches.
After smocking. arrange the
hemmed edge over a Oat fabric
extension and tack the groove of
each pleat to the fabric underneath,
continuing the pleat spacing cstab
lishcd by the smocking (Fig. 7- 16).
Fig. 7 16. To maintain the stand and
arrangement of smocked pleats,
hand slitch the tumed-andp/eated
edge over a fabric extension. catch
lng the groove of each pleat with a
tiny stitch.
To Stabilize a ruffied edge and also
keep the swnd of the pleats. hand
Slilch n fahlic extension or tape ro
the ple.1t fnlcl in back, behlncllbe
nnal row or rows or smocking stitch-
es (refer '" Fig. 6-37 on page ll3).
The erratic stitching paths of
con lOured h alian smocking force
the edges of the pleated fabric into
uneven curves. Either retain the
shaped edge for its decorative
effect, or start and finish ohe stitch-
ing far enough from the fabric's
edge to allow for a straight scam or
a straight trim.
End of SMOCKING BASICS
ENGLISH
SMOCKING
-a cwo-stcp procedure that
Involves structuring the Iabrie into
shallow pleats with rows of stitching.
and regulating the tubes of the
pleats with rows of embroidery.
Elasticity is an English smocking
attribute.
PROCEDURES
I . To csolmuoc the amount of fabric
required, refer to "Fabric Rc.quircd
for Smocking" on page 125.
2. l' leao the fabric mechanical!)
(rdtr to "'Using a Smocking
Plcatcr" on page 126). Skip steps
.:3, =4. and =5. continue with
soep =6.
3. To plea1 ohe fabnc by hand. mark
I he wrong side or ohc fabric with
u grid of dots aligned to the
straightgmin of woven fab1ic.
The spadng betwe:eu the dots in
a row determines the depth of
ohe plent ing mbcs. Cboose an
nppropriale dot-marking meul()d
from the following;
Place a smocking dot transfer
sheet over the fabric. Transfer
the dots 10 the fabnc with an
iron.
Insert dressmakers carbon
bcoween the fabric and a
paper patlern of the do1s. Use
poino pressure over each doo
to transfer impressions to the
fabric.
Bnste or pin a dotted tissue
papel' overlay to the fabric.
(To sthch wll h a I issue paper
overiRy, handle overlay and
fnb1ic as one and gemly tear
the paper away when 1 he
soltching is done.)
Use n fabric-safe maridng tool
to mark the fabric direct!)'
whh grid or dots:
Place a dot paucm under
ohe fabnc, using a ligho box
for enhanced visibilil); and
orace.
Tmcc through a doo socncil
placed on top o( the fabric
((a) in Fig. 7-17).
Mark dots as directed by a
SUWtOOthcd template ((b)
in Fig. 7- 17).
Space :tnd mark dots
act-ordlng to the measure
mcnts indicated on an L
shaped ruler aligned, row
by row. lo ohc straighograin
of woven mbric.
0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0
(a) '------- -----'
(b)LWW1
Fig. 7-17. (B) Stencil and (b) saw-
toothed template used to mark fabric
with rows of smocking dots.
Chapter 7 SMOCKING 129
------+---------- - - - - - -
------1'-- --------- - ---
-== -::::::----------- - - - - .#
-- ------------- - ---
:= ----
(a) .
(b) Ploatlng Profile
(c) - -
'> 1)/\A/lOOA/"'
VVl/0 vVVV
(d) Pleating Profile
Ag. 7-18. To prepare dot-marked fabric for pleating, hand sew (a) with dot-pick
up stitching or (c) dot-In dot-out stitching. From identical grids, (b) dot-pickup
produces two times as many shallow tubes as (d) dot-in dot-outwith its deeper
tubes.
4. Hand sew each row of dots with
running smchcs U>ing s1rong
ilircad cut ns long M the row
plus 3" (7.5cm), knoucd at one
end. The stitches in each row
should line up under the
sri1chcs of ilie row bo,c.
To make pleat< "uh mb<s
one-half deep space
bem een dms. pick up each
dot with a 1in) stitch. The
1hreads of dot-pickup gthcr-
ing C01Ch lhC tube; or the
pleating 01 1he base ((n) and
(b) in Fig. 7- LS).
To make ple:u.s with tubes as
tlccp as the S('llte bctwcc11 dot.
push 1he needl e into ouc
d o l a nd o ut of I he 11CXI dot.
130
The An o f Manipulating
The threads of dot-in dot-om
gailiering. run ilirough ilic
center of the pleating rubes
((c) and (d ) in fig. 7-18).
5. Graspmg the ends of the threads.
push the fabric imo itself, gaili-
ering h into pleat.-;..
6. Pack ilic pleats 1ogether tighd):
strctchmg length\\iSC to straight-
en the tubes, and steam wiili an
tron held just abo\'e the fabric's
surface. After the pleating is cool
and dry. spread d1c tubes of 1he
pleats 3pllrt just enough to reveal
the gathcriJ1g threads between
the rubes. Secure the loose
a1 1he ends of the scams,
in pairs, by tying or wincling
around pins (Fig. 7- 19).
ENGLISH SMOCKING
(a)
Rg. 7-19. Aher pleating, secure the
seams (a) by rytng adjacent threads
together, or (b) wfndlng pairs of
threads, figure-S style, around pins
stuck inro the fabric beside the last
tube.
7. Wi1h 1he pleated foundation
right <ide up, arrange rows of
ornamental and slltbil izlng
embroider)' SLitches over the
rubes. Usc the gathering threads
10 gauge dis1ancc nnd keep the
rows straight. Pal'.< 1 he needle
through the poak or Ci\Ch SIIC
cceding mbe as 1hc
embroidery stilch direc1s, main
tai11ing a 1cnsion on 1 he
thread (refer 10 "S111ocking
Embroidery Sf itches" on page
127}. Follow a s tnching pauern:
Prepare a de.<ign on graph
paptr. Bis<!ct 1he printed vcnl
cal line.<. which represent the
pleating tubes, \\lili broken
spaced out 10
indicate the gathenng1hreads.
Using another color or colors.
outline the paths follo\\ed b)
the "rious stilehe.s as they
cross ilic tubes, drawing
short. cun')' line to Indicate
the lay of the 1hrcnd between
stitches (Fig. 7-20). When
stitching, count t he tubes to
copy the design. fo center a
balanced design on the pleat
ing, baste the centor rube, nnd
tubes aL counted on
each s ide, wil h colored
thread.
Fig. 720.
Traditional
English smock-
ing pattern with
ornamental
bands devel
oped from com
binerlons of
embroidery
stttches. Note
that tube-stabi-
lizing rows Of
outline {mock
chain) or cable
Sltlching begin
and end the
design.
ll l 1111 11 ll I II I l I Il l 111 11
-
Moe
I
k Chain
. 1-! - b-.
F;
-I- -
Surf ace

Honey comb
-
Spo ol
- - -
i-'
-
. ...; -
-------- --- ------ - --- -- -- - -- -- --:;.-
.., ______ -" ----P -- ------ - - -'-= -
!,.- "' r.. " I r-.
- - - t-- - - - 1- - - - - - - - - - - -
--- --- _ __ __ _
v
. - - - R, - lf - - - - - D., - - - - - - - - - - - - - - - - - F- -
Dia
mo{j
1-T-"F - - F -
- - -
c abl e
t
- -
-
--
-
\
Jt
:.: - - -!= - -
.

-
_ - _ rn- _ .. _
- - - -e-b:I- .. J:!!:l!-
. - _f-:: -
Chapter 7 SMOCKI NG 131
- --+-- - - ------ - - - - --- --- - -
Fig. 7-21.
Stitching over
dots marl<ed from
transfer sheets:
(a) Pick up each
dol in a row. (b)
Pick up a dot.
sJ<ip over the
next dot to take a
tiny stitch in the
space between
two dots, skip a
dot to pick up the
next dot, and so
on. Dot-in dot-out
gathering is
another opuon.
--4----- --------------------

- --- - ------- - ------
(a)
---t--- ------ - -----
---1 --- -- - - ---- - r
-- - ---- --
- - ---.._ - - - - - '
(b)
Improvise a design while
embroidering. using a variety
or stitches.
8. Stretclung gcntlr 10 emphasi2e
the structuring of Lhe tubes, pin
the edges of 1he smocking to a
padded >urface. Set \\; lh st.eam.
movmg the irott just above the
fubrlc, nncl allow to cool and dry
before moving. Remove aU gath-
ering threads.
9. l'or finishing options, refer 10
"Managing the Smocking-Piemed
Edge 011 page 128.
NOTES & VARIATIONS
determine the
depth of the shallow pleats that
smocking pleatcrs and dol tranSfer
>heets produce. But in dte real
world or variables, Lhe interpreta-
uon of "shallow pleat should be
rclntivc to fubric and application.
WI I h hand-calibrated dot patterns
and hand-sewn gathering slitches.
pleat depth can he adjusted LO suit
ntl)' COildillons. The
he1wc-cn the I'OWS of gathering
stitches C:ln be related to Stabilizino
..
the mbcs sufficiently and having
enough guidelines for 1he. embroi-
dery dC>ign. Dot-in dot-out stitch-
Ing produces pleats wilh deeper
mbes tlmt arc beuer stabilized
thread runs Lhnauoh Lhe
"
middle of the pleats.
132 Tho Art o f Manipulating Fabri c
The dots printed on transkr
sheetS renee! a rectangular grid
with a rauo of 2 across to 3 down.
To gather .lS tC the dot grid were
squared. a 3 to 3 ratio. and produce
fewer and deeper pleats, stitch from
dot LO >p.oce to clot ralher than the
usual dot t<) dot (Fig. 7-21 ). Skip
Lhrce or more rows of dots when
Stitching to introduce a band of
Irregular gathering imo the repeaLs
of ordcl'ly pleating.
Markl11g dots on the fabric is dis-
unUct Lwo circumstances:
( 1) With evenly pntttrncd ging-
hams, plaods, stripes. and sponed
designs, follow a grid dictated by
the design when stitching.
(2) When the wca\C of the fabric to
be smocked Is pronounced, cotml
tlucads in the weave to regulate Lhe
lcng1h nf the stitches and Lhe space
berween rows.
ENGLISH SMOCKING
Bccau>c of its claslitil)', a strip of
English-smnckcd fabric can be steam
set,.., cune I)\ bUI, for smock-
ing mcanL to curve: de:e:pl)' or cncir-
cle-<lnd remain Oat-stan the cun-
mg nt the begmmng. Cut the fabric
on a cune and adJUSt the smocking
dots tO rndiate omward from the row
of dots :oround the utsidc <:Lu'vc.
Slash a dot marked on paper
or a Lrnnsfcr sheet between rows of
dotS: >prcad Lhe slashed p<llLtrn over
the faht1c, opening the slashes and
increasing the distance between the
doL< from 1hc Inside to 1he outside
curve (l'lg. 7-22). Usc the most chis-
tic embroidery stitches- large wave.
diamond. hon<)'tomb. Vandrke-
for the rOI\lS of smocking on Lhe
outside curw, >aving outline and
cable, the 1\mter stitches, for 1he
inside edge.
fabri c smocked In the English
manner Is as thick us the dcplh of
the plems, nkhough it loses some
heigh! when the pleats are spread.
The smocked fnbiic remains
ln the direction of the tubes, but
resisL< such flexibility in 1hc oppo-
site direc1ion. Allover smocking pro-
duces an Ornl\mcnlal 1ex1ilc. Parcial
smocking also manages fullness,
relea<ing the Iabrie imo spreading
folds where the smocking stops.
Fig. 7-22. Dot
panem stashed
be/ween the rows
of dots up to the
dots on the top
row. and spread
out equally a/the
cuts to adapt to
curving fabric.
Traditional designs for smockmg
tmbroidery arc formal , repetitive,
and symmetrical, and wmetimcs
mclude pictorial motifs and pntcbcs
of solid sLitdling within the rrcned
bands that cross the pleats. Six-
stmnd couon embroidery flo>>
which can be split in!O finer
by rcmov;ng srrands, is gcnernlly
I
Lf
\
7
I
I
r 7
I
......
\ \ \
u.ed to stitch t he design>. (a)
\
E.''l>flimcnlal smocking pushc.
the cOIWCntions of cbssic Enghsb
<mocking. It !launL< uneven pleat
mg. inventive embroidery :tpplica
UOrb, unex-pected thrc;,d textures.
eccentric furrowed and cellular for
mat Ions. and self-supporting con-
sLrucLions. The deviations from
stnmlard tcdmiqucs that experi-
mentalists exploit include
on irregular grids (fig. 7-23), asym-
metric embroidery sritch pancrning,
unusual embroidery sJiJchcs and
Sutch combinations, multiple tubes
c-ught into a slilch, unequul ami
exaggcmtecl carry-over distance
between s titches, overlapping
Milchcs, variable 1hrcad tcnsioats,
loose threads on the surfncc. objects
anachcd with stitching, nnd sn on.
\Vil h reverse smocking, the: wavy
profiles of the pleat tubes, con-
trolled by imisiblc smocking stitch-
es. are the decorative :nmcuon.
Reverse smocking is Englis h
>mocking wrong side up. The
smocking is worked on the back of
the pleats. Eilch stitch and s titch
combination produces a different
effect on the movement of the
pleats in fronL (lioncycomb slilch-
ong. which requires 1hrend p:>ssed
underneath the fabnc. is unsuitable
for reverse smocking.
honeycomb instead.) Re\erse
smocking and right-s ide smocking
can be combined in the snmc piece.
(b)
lnlt P"ior smocking is a variation
of English omocking1hat doesn't
seem like smocking "t all. The
pleating is secured to a slay with
stitching laid dow11 inside the
grooves be1wccn t he tubes. Straigh1
embroidery s hchcs. sttdt as nm-
ning. back, stem, and chain, seu'll
along each groove from end to end.
or cords couched within the
grooves, auach the pleated fabric to
a stiffened stuy. For additional tex-
ture, thread curri ed over the top of
a lube and pulled taut breaks the
fl ow plent. Because interior
smocking requires n Sla)\ it loses all
elasticity.
Fig. 7-23.
Experimental doc
grids chat gather into
pleatlngs with unovon
surface textures on
dol-pickup stitching:
(a) Randomly drawn
grid. (b) Unevenly
spaced grid.
Moclt smocking combines
shirring with embroidery. The irreg-
ular folds released by rows of gmh-
crcd Slltching replace che mini-
pleming of real smocking.
Dccomti\'C machine embroidery
topsthched over the machine-
stitched and gathered rows, with a
pcnnancnt or temporary sta)
undcmeath, replaces the hand
embroidery that Slrlfttures t he
pleatS or real smock;ng. Mock
smocking is a popular coumerlcil
bcrnusc it's fast-entirely machine
produced , although some mock
smockers hand embroider over the
rows 10 suggest amhemieiry. ( Refer
10 "Shirring" on page 31.)
VII 1- ldonoccf lcn2fl's o( (alx1c hand sht.chcd (ollow-
mg Klenckal dot Qrids: (lop) Sdmple garhercd on dot-
p>CJ<up sotc/l!ng h ~ shotk>w ple<JIS w,u, lhm wbes;
(/Xli(Om) sample gorheo'ed on <lot on <let-out Sl.tc/long
has P'COIS !W/Ct os I ~ P wolh broader rubes.
ENGLISH
SMOCKING
w J aa.s.c Eng'<s/1 ~
wetl<s:d Wlfh tlree-Sirorld .,-!Jro,
dtry f.oss "" a fi>c_.-.doot;n of
mocl! '1<'-p""*'<:ed pleomg
134 Tho Art o f Monipul a<lng fabr ic
V/1-2-Mus!n os 11 em<fiCS finelt pleat-
ed I"'"' a Solly $(<1tl/Cy smocking nleat.er
VIr-5 exeii:J>os o <rculor smodong over pleal5 g"thetl!d
Jtt s.mlor f'UdiOWlR Rntls (bwer The mosl
a modo/liOn smocked {rom a on:fe 8 (20.5on) "'
'IOmmr w.th a orcu!ar OJtour m center 4 (I Ocm)
smockmg "' the olher excmp!<.'s, on
""""" on:fts v. rh smailer certml c:v10013, IS .oes,
one of the drries (top le/!J .nto a cone
VIJ-1 Hooercarnt> smod<.<!g on mac:t>rre-
mode pleabng. cased mro o curve w111t the
help of the pao!M des,gn and steam.
ENGLISH SMOCKING
VII o-R.,..rse smockmg npplcs 1hc prof, es
o{ pleou. The smodong tmpm.
... ,sed (iflc/ rregviar
Ch>pcer 7 SMOCKING 135
ENGLISH SMOCKING
VII 7-HoriLOiltol pleats ltlat
Rrodually docrcoso 1n depth,
smocked Wlrh {eat1Jer s<i!ch
ong on rhe surfixe and
,_rsc.smocked w:rh lt7W> of
OU!Ionc slltdw>g "' bad<.
'1!1-1 D-Rugged f*anng hond-godle,.., """' o rondom grid.
omod<ed 111 ploces ,.;v, honeJ1'0r71b sritch:ng. wth gathering
threacf!; assimilated oto the mformol stJlJCUNTng.
V/1-9-&perimenwl.
improvised smockmg
worl<ed on a ground or
machine-produCed
plea-.; rexwred wollt
rorxtom (dds as n '"''
(ed thoog/1 the a-s
oj Iff p1eoler.
ENGL I SH SMOC K I NG
DIRECT
SMOCKING
worked on a grid-based
pattern ol dots. that draws the Iabrie
into structured folds with pulled
thread while creating a decorative
pattern. Direct smocking mimics
English smocking but accomplishes
the effect with one stitching proce-
dure rather thn two.
PROCEDURES
I. Review the procedures for
English smocking that begin on
page 129.
2. On griddcd paper, prepare a dot
pnern to support tbe smocking
embroidery stitches chosen to
strucwrc the fabric witb pleats
(refer to "Smocking Embroidery
Stitches" on page 127). Each dot
repres<:nlS the pcnk of a future
fold and w1ll be picked up by a
sutch. The spce between dots
becomes a fold when two dots
are pulled together with stitches
(spaces W' (6mm) or 'h" (1 em)
wide arc usually appropriate) .
Straight horizontal rows of dots
indicate stitching pmhs for botl -
cycomb, s urfnce honeycomb,
Vandyke, outline, and cable
stitches. Designs that include
wnve, trellis, and dinmond s titch-
" require sr.1gg<red rows of dot<.
Align the dots vertically as well
as horizontnll)' (Fig. 7-H).
t
Outline
Surface
Honeycomb
f,_ lr
i
'-lL .:,, 't+ ' ;;_
tc
I
r '1-

Wave
...
I

f-
1- 1-l--

J:-
I
1-t-----.
t 38 The Art of Manipulating Fabr ic
':"
(

.l
Fig. 7-24 .
Direct
smocking
pattern. The
cufVY lines
indicate the
thread direc-
tion of the
stitches. Only
the dots are
ma!l<edon
the fabric.
Diamond
DIRECT SMOCKING
3 . Mark the l'lght side of the fabric
with the dot pattern, aligning the
rows ";tb the strightgrain of
woven fabric. Before choosing
one of the following dot-marking
methods, test on scrnp of fabric
to make sure that the morking
\viii wash out or com-
pletely disappear.
Insert dressmaker's c-arbon
betw<c.n th< fabric and a
paper p;tttcm of the dots. Use
point pressme over each dot
to tron1tfe1' impressions to the
fabric.
With the dot pattern under-
ne<Hh, copy t he dots showing
through the fabric. Use a light
box for enhanced visibility.
Mark dots tluough punctures
in a stencil placed on top of
the fabric.
Use an L-sha)>ed ruler to spot
straight rows of dots.
4. Picking up each clot as if it were
the fol d nc the tit> of a pleat, stitch
across the fabric. Refer to the
wavy lines l)t1 the pattem for
direction. The stitches that con-
nect two adjacent clots from the
same row (outline and cable), or
two-St<pped but adjacent dots
(\\Jvc and trellis). are pulled
and together to create the tube-
and-chonnel composition olthe
smocking. The stitches that mmc
up and down between the pulled
stitches (surface honeycomb,
honeycomb, dinmond, nnd
Vandyke) rcmnin slack to main-
tain dot SCj>llrntion (Fig. 7-25).

(a)

(b)

(c)

(d)
Fig. 725. Honeycomb stile/ling interpreted for direct smocking: (a) Pick up dots
2 and I on the needle with two separate, tiny stitches. (b) Draw the dots
toge/ll er on pulled thread. (c) Insert the needle Into the Iabrie at dot2 and bring
It out at dot 3 in the row below. Do not pull dots 2 and 3 together. (d) Pick up
dot 4 and then 3 on the needle and draw dots 4 and 3 together on pulled
thread. Continue moving up or down behveen rows of dots, altematlng between
taut and slack stitches.
5 Pin ll1c finished smocking
around the edges to a padded
surfoce. gently stretching it into
shape. Steam with an iron held
above the fabric, and allow to
cool and dry before mo,-ing.
6. For finishing options. rder to
"Man3glng the Smocking-Pleoted
Edge" on page 128.
NOTES &VARIATIONS
Direct smockmg has an arrange
ment of folds under the stitches, an
obvious difference when compared
to English smocking with its
nnmistak.1blr pleated substructure.
Direct smocktng is more flexible
across llc pleating than English
smocking and, started from idenl:i
cal grids, doesn't finish as thick.
Unlike English smocking. it is not
elastic.
Lf t he fabric is woven or printed
with n grid-based pauem (ging-
hams, checks, spotted designs),
smock b)' foUowing evenly spaced
points rep.ated on 1 hat grid .
The distincuve: fom1ation of
folds produced by l't\'trsed direct
sma<:king is much different in
appeamncc than the rippled pleat-
ing of reversed English smocking .
Reversed direct smocking is marked
and stitched on the wrong side of
t he fabric, Because of t hread visibil -
ity. avoid using the honeycomb
slitch.
Expelimentttl direct smoclling is
worked on a grid of unevenly
spaced dots, wh ich may or may not
be marked on the f>bric:. The stitch-
ing changes and wanders as inspira
tion directs.
Chapt er 7 SMOCKING 139
DIRECT SMOCKI NG
140 The An ol Manipulating Fabri c DIRECT SMOCKING
VII I 3- Expemncntat drect \vtth outhne. cabJe.
hcneycomb. and surface l oneywmb sntdli!1g appled at
random lo an erro/Jc god
VII-14- The Pad<
become.; !he {rom
for reversed direct
smocking
NORTH AMERICAN
SMOCKING
-a grid-regulAted system of pulled
stitches alternating with slack stitch-
es that invisibly reshapes the fabric
into an intricate composition of
folds.
PROCeDURES
I . Select a paucrn from the dia-
gr:tm$ in r:ig. 7-26. ( Refer to
Fabric Required for Smocking"
1111 page 125.)
2. Review the English smocking
directions for marking dots on
fabric, step =3 on page 129.
Choosing an appropriate
Latllce
Lotllco Variation #1
2
c-1:
6
1- 1: n
- .......
, s I
i7i n il
----
.... ....... n
Flower
method, mark t he wrong side of
the fabric with an equidistant
gricJ of clots. For 1 he Oower pat
tern only. dot the right side of
the fabnc wtth a prc,1ously
tested. fabric-safe. washout or
diS3flJX'3ring marker (the Oower
vari:nion 1S sutched on the
wrong side of the fnbric).
3. Following the ><itching path indi-
cated fo1 the pauem, smock row
by t'Ow with sturdy thread, con
necting pnirs of dots with pulled
stllches separated by slack, knol
ted stitches (Fig. 7-27). Por the
Onwer and Lhe flower variation
pa11cms onl)', connect four dots
on one pulled stitch (Fig. 7-28) .
' 1- i i.-i
__ , . .,_....... .
- _./ - ----+-
I I I I I I
. - -- . ........-...
L.ozenge
Lattlco Variation #2
1.,1 l_ l:=l_ []
Flower Variation
- Pulled Stitch
= Slack Stitch
Fig. 726. North American smocking patterns.
(a)
(b)
JE;

( c)

(d)
727. To stitch the lattice, lattice
variation, and lozengo patterns:
(a) Bring the needle up at dot I, pjck
up dot 2 and (b) rerum to pick up dot
1. (c) Pull dots 1 end 2 together. Pick
up dot 3 and Slip knot the thread to
secure. (d) Pick up dot 4, {e) return
to pick up dot 3, end pull dots 3 and
4 together. Continue. alternating
between slack and slipknotted, and
pulled stitches.
.bJ
4
F19. 728. To stifch the flower pattem.
pick up dots 1, 2, 3, and 4 with stitches
angled toward the center. Pull the dots
ragether tightly and secure with a tiny,
Invisible s#tch. Without pulling the ccn-
necffng thread, carry the thread in back
to /he next group of four dots and repeaL
4. Whh right side up, pin the fi n-
ished smocking around the edges
to a padded surface, su-etching
genLI) while the
sides. $learn ";th an iron held
just above the smocking. Allow
tO cool and dry before moving.
5. For finishing options, refer to
"Managing 1he Smocking-Pleated
Edge'' on page 128.
NOTES & VARIATIONS
Fabric already patterned with a
grid-based design t>f lines or spots
cancels the need for marking with a
grid of dots. Unlike English and
direct smocking. Nonh American
smocking is supple in all directions.
h IS no1 elastic.
For rc\ trsed Nordt American
smocking, the wrong side is the
intended right side, and the mark-
ing and Stitching are done accord-
ingly. Choose decorative thread
bct,IU>C the slack. knotted stitches
wlll be visible.
Experimental Nortlt American
Involves playing wilh
variations: Change from an cquidis-
tnm or squared grid to a rectangular
grid. Gradually increase/decrease
the size of the grid. Combine
Oower l)'pe stitching with the
Slitching for non-Oower panerns.
De''ise original stitching paths.
142 The Art o f Manfpula t ing Fabric
NORTH AMERICAN
SMOCK I NG
Yll-1 S The lcUICJl panern.
s!J'Ucwrmg preset1ted by !he ,.,,erse Side of the lotiJCe smockmg sample.
'Ill-J 8- Rowr pouem worlo!d on a
gtaduollj expat>tjng grid o( '*>ts.
f t e r ~ tJf {olds e x ~
!hose oudoning lhe <en!1lll <lomond
were pu->hed up ro lhe ~
CI'OC!orwlhe pew141<e (Mnaoons.
NORTH AMERICAN
SMOCKING
I TALIAN
SMOCKING
- Iabrie drawn up into close pleats
on rows of gauged stitching with
deviations that create patterned
irregularities. There arc two kinds of
Italian smocking:
CONTOURED ITALIAN
SMOCKING
-fabric gathered into pleats on
rows of stitching that wm and angle,
causing the pleats to bend and crum-
ple where the stitching veel'1\.
SHIRRED ITALIAN SMOCKING
- Iabrie gathered into pleats on
rows of straight stitching with
skipped stitches t hat form a delicate,
puffy, raised design.
PROCEDURES F OR
C ONTOURED I TALIAN
SMOCKING
1. Copy one of the designs In
Fig. 7-29 on appropriately
scaled, griclded paper. To avoid
conrusion, alternate between two
different!)' colored pens for suc-
cessive rows. Note that the short
lines and the spaces in between
are equal in size, and that their
length equals the depth of the
pleating fonned when the sti tch
es are gathered.
2. Mark s titching path on rhe
wrong side of the fabric.
Marching Lhc s titching lines ro
the suaighlgrain of the weave,
place rhe pattern undcrncarh the
fabric. Trnce rhc broken lints
with a fabric-safe, fme-poinr. dis-
appearing pen or pencil. ahcr
nating colors for successive
rows. Use a light box for
enhanced visibility. Carefully
re-aligning the pauem, nnce :\S
many repeats of the design as
necessary. An ahcrnalivc to trac
ing: Use a tissue-paper overlay
marked wirh rhe panem.
g Q E 5 5 =: 5 5 5 5 Q Q Q Q Q Q Q E 5 5 =:
. -- ....... ... 1 - - 1"" - , - - 1"'" '
.I .. 1 .......... 1 1 .......... 1" 1 .... .

. .. . ... I I . . .. . . I I ... . : .. I I . . ' ... I I . .. . . . l I .. .

:-, :-. .-. :-, :- I ; : I -, :-. .-. .- . :-. .- I : : I -, .- . -. .-. :-: :-: I :
.... . .. , . I _ _ I . . . ... , . , . I - - I .. . . . .. .. . I - ""
.. E E 5 g Q Q Q Q Q Q g B E 5 5 E E s:
(a)
,- --- - --,
... ... -.. . .
..! - - - - - I . I - - - . '1 . I - - - - - - "'
- - = = = = _: I .. 4 . ! I :_ :: .: :: :: :: :: :: :::
J . . . . . . i- ._. -...,....,.. - - -
I :_: I ' I = = :; .: .: :: .; :; :; :; :; :. : -: I ' . hr
- I . II . I - - - - - - - - - - - - I ' I - "'
-- " I . ,_. - --. - ...... -- T'..,..-=- Jt ' 1 --"'
__ _ ..,
---- . __ _ 1 ' . -- - -*"
------ - 1 1'' 1 _ _ _ __ 1' 1' 1 __ _ __ ..,
__ _____ '=" .' t 1 ' ............ .,.,.. _ _ _ ,..,
- - - - - - - - - . . I - I . l ' - - - - - - - .,-
--- --- - :: _ l .. . ; :._ =- ..,.. .... -:: -:. ...
I i:: i 1 = - - ,.. ,.. ._.,.. - ... - ...... ...... ..,.. ._ .._ t t. 1.,
:_=_ I " -"'
(b)
. .
- - ' - - ' I - - - - I . - - - - - ' I - ;.
1
1 1-
I
- - - - - I - ' - - - - 1,...
: I -: I I - I I =::'
1
i:;"::l 110:-:11:::: -
__ ___ II _ _ - - ._.-. -tt"
- - - - - I I - - . I - - - - t 1- - - _ ..,
- - - - 1 - - - - - 1 r -, - - -"'
- I I - - I I - I - - 11 '--' I I - - - - - . - - 11
- I I - -- "'
= = I : _ = _ : t : - - : l : '' - :: :: - : =:;
- - I ' - - - . I - - - - I ' - - - - - . I - -'
(c)
Fig. 7-29. Throo pall ems for contoured flalian smocking. The arrows on the
right indicate where rows of stitching begin. Each short line represents a sur-
face stitch. Stitches move in and out of the spaces between lmes, and they
do not follow a straight path. The large triangles ( ) mark the limits of one
pattem repeat. (Dotted lines are gridline markings, not stitching indications.)
3 With strong thread as long as a
row plus 3" (7.5cm) for each
end, stileh each row as marked,
a surface stirch mer e-ery line.
Do not secure or dip rhe threads
ar the ends of seams.
4. Grasping the ends of the threads
two-by-IWo. push the fabric inro
itself on rhe stirched thread,
ga!l1cring it into dose plears. To
secure rhe pleating, tie rhc ends
of the rhreads wgelhcr in pairs
nnd trim.
144 The Att of Manlpuluing Fabric ITALIAN SMOCKING
PROCEDURES FOR
SHIRRED I TALIAN
SMOCKING
2. Mark dots on the right side of
the fabric, aligning the dot rows
with t he StTaigbtgrain of woven
fabric. Choose fabric-safe mark-
ing substances that wi ll wash out
or disappear, having been previ-
ously tested on a sample of the
fabric:
+ With 1 he pauern underneath,
mark the dots that show
through the fabric. Usc a light
box for enhanced visibility.
l. Copy one. of the designs in
+ Mark dots through punctures
in a Slc.nci1.
( a)
{b)
(c)
Fig. 7-30 on gridded paper appro-
priately scaled for the pleating.
The space. between two dots in a
horizontal row becomes a pleal
fold when the stitching is gat.hered.
+ Trace dot impressions from
the paper pattern onto lhc
fabr ic with dressmaker's car-
bon between both.
Use an Lshaped ruler to
sure the separations and mark
the dots.
- - - o--.-..-..-o-o-.
- -- ---------------- ------ - - - - -- ---------
X - - -- - - - - - :.: 111 lo.- - - - - - - - X > - - --- - - - > X X--- - - - - - > l<
. - -- --->t " oc x------ oo;"' ,. lot - - - - -'1( 'II x x-- - - - x x x
- ot .c---- > - - X X -- --)( Iii ..:- It )1'- - - - X > - - X k >- - --)1. l" )II-
- I( >(- I( - - - -- -- - ---:1( )I )( ---!( 'It - - - )I( -- 1(
--- "' " ,. ---- - - x- --- - - 'JI 1'1 )( )( x---- --x x x x---
---- . -------- ' - --- ---- - . - ---
- -->< .. .. ----- - o: " - -- -- - ,. x - - ---- .. w x- - -
- "' - - x - -- - < k <- - K x- - --- lil 11 --K K x ----K X - -> x >--
- IC ------> X ---X K x------X X x--- JI V 1( 0( I( >1 W--
- -- - - - >o: '0: II II 1'. - - - - - - >o: ll. x X X M X x - - - - --K k X
--- ---- - ------- )( )(--- - - - -- - ------ - --><

---- - - - - - - -
- - --- - - - --------------- --------- -- - --
- ------- ------ --- . -----------------
- --- ---- --------1( l( X 'II. ll---- - - ------- - - -
- - -- -- - -- ----- . -- . - -- ------ -- ---
----X k x- -------x K x--- " )I X- -------X X ---
-- - X x )( 10------ x :.t-)( x 'lC-'11. x )t-- - - - 'IC 'll " x- --
-- lC :.e---x 'll x-- --> x x- - x 1t ,..__.,. 11. l!f-- - K lC--x x x--
- lt X lC--"Jt-)( :J( , _ _ )( X - IC !(---It It --x K x --X X X--x- - x )II -
--X X x --X X x- - --X X x - - x l'; )( -1( x--x 1'. Xt-- - - IC )( le---W 'll ._,_ .
- --'1(. X X X It-------)( )I( lC-1( X 1C--x X x- - - - - - )( )( lli X --" -
---- < > x------- - x k --x- - X K x- - - - - - --K X x--- -
- ----------- - -- )( -- . --- - ------ -,.__---
- -- --- -- -- -><---- -- . --- -
- - - - - -- - -)( X )(-----X x----- -X k - -- - -----
---- - - - - )( )C )( J( "'--- - -- - -- ----)( )( X X l'l----- --
- - - -- ----X K --- - --- --------->( k ><---- -- -- --
--------- -- - -- --- -- ------ -- -- -- -----
-----------. - - ----------- - ,----- ---
-- - --- -- -- -- -------------
- --- ---- ,. )( )It,. - ---- -
- - - - - )( )( J( )( )I )( )( -
--- - lt X l(-l( It )1-------- --- -x X x--K X X- - ---
- - -)( )( Ji-J(--x x x--- - - - - - --> x >--- )1. ._.,_ ,
- - x - - x x- - x x-- x )C.---)1 .11. x- - x " ,._.
- x "' - x x 11. -.. ,_,_. x ,c. )( w ,c - - "A ,. ,.__,
- - 1t 11. )( - - <------- - x x- - x x x- - x x - -
- - - )( lt--'11:-- )( " l( 1( I( I( )(-- --
- - - - x x - - X X M--- - 'It )( )1(- - x x ><-- -
- -- - - :.; )( )( --- -- - - - - ---- - - -- " 'II )( - --- ---
----- - x x '><----- - --- - - - ----x 11.
-- ------------ - . - -- -- ------------
--- -- -- -- --- -- -)1 )( )I )(
X x---- - --- - - - - 1<. lt --x x - -- - ----- - - -
< X X---- - --- - - - x X K-- - - x >- -- -- -- -- )( )(
- )( 1C- -- ----- - -- ---- ------- --- )I -
- - 11 )( J<--- --- --------- --- - -- --
--- ------ -------- -- - - ><- - - - ---
- - - 'II' lC- - X X X- - - - - - - - - - --X X >- - )( X
- - - - - -" Jl )( - - ---- ----------'11 .. )< - - -- - -
- - - - --x x >----- --- ------ - - - x--- ---
- - ------ ------ -- ------------ - - - -
Fig. 7-30. Three
designs for shirred
Italian smocking.
- - --- - - - - - - - --- - --- - --- - - - - -- - - -
- -- --- - -- ---- - - - ---- -- -- -- - ------ -- -
x:- ---
Fig. 7-31. Shirred
Italian smocking Is
based on dot-pickup
gathering. with the
thread skipped under-
neath the r-marked
dots. Groupings of
x-marked dots are
always in threes or
lives.
Counting dotS from the top
and bonom of the design, x
mark the dots that make up
the motifs.
3. Use strong thread as long as a
row plus 3" (7.5cm) for each
end. Without securing or clip
ping the threads at the ends or
rows, follow lhc dots with dot-
pickup stitching:
n. Pick up each dot in the first
row with a tinr stilch.
b. For the second and all interi-
or rows. pick up every other
dot with a tiny stitch, but
(litcmalc the dots up for
a(ljtlwtt rows. Carry the nee
die and thread behind each
grouping or x-mar ked dots
(Fig. 7-31).
c. l'ick up each dot in the final
row witb a Liny stitch.
4. Grasping the ends of the lhreads
IWOb)'two, push the fabric into
itsc!C on the stitched thread.
gathering it into lightly massed
ple:us. Gather from one side to the
center, then t he other side to
rhe center. To secure the pleat-
ing, tie the ends or the threads
together in pairs and rrim.
146
The Arc of Manipulacing Fabric
NOTES & VARIATIONS
Tradhlonally, the fabrics used for
halian smocking are S<Jft and thin,
but, for contemporary purposes, the
techniques have been successfully
applied LO a variety of uncom'en-
tional materials. In general, Italian
smocking uses extra,-agant amounts
of fabric (refer to "Fabric Required
for Smoc.k.ing' on page 115) . For
finishing options, refer to
"Mnnnging t he Smocking-Pleated
Edge" on page US.
After gathering into pleats,
h ulinn smocking designs con traer
into nn llbbreviated version or lhe
design on paper. To offset this
shrinkage, designs a"' always elon-
gated sideways whco planned.
Shirred italian-s mocking designs
become so compressed that they are
planned on a grid with rows more
closely spaced than the dots widhin
dhe rows. Before developing an orig-
inal pancm, understand dhe stitch-
ing process and how it works.
Indicate stitching padhs for several
repeats Of the design tO make trans-
fer to fabric easier. Stitch from t he
bottOn\ Of t he fabric up after mark-
ing widh chall<y-type
that easily rub orr.
ITALIAN SMOCKING
Using one thread to stitch two
rows is cfficicnl and se:cures one
end of the pleating permanently.
Cut a lengdh of strong rhread
as long as needed for one row, plus
6" (15cm). Thread one end into a
needle and stitch one row. leaving a
3" ( 7.5cm) tail of thread after the
lnst Stitch. Insert dhe long, dangling
end or the thread into the needle
and stitch the next row; Gather rhe
two rows stitched on the same
t hread as one, pushing the pleat ing
ns it accumulates from one end to
tl>e beginning, uud Lie the ends to
secure.
After stitching but before gadher-
ing, sonk or wash out the dot mark-
ings for shirred designs and iron
the fabric. Where appropriate to the
application. tic the threads to
secure the gathering- but don't
trim rhe ends. The shirred smock-
ing can be undone for future laun-
dering :ond ironing, and re-pleated
artcrwnrds. Because the gathering
lhtcacl for shirred Italian smocking
becomes o visible part of t he bas-
kc.twtttvc pleating, the decoralive
ns well as dur:tblc quality of lhc
thread should be considered.
Fabric smocked in the Italian
manner finn and solid. It is as
thick as dhc pleatS are deep and it is
not elasric. Bodh typeS of smocking
roll widh dhe dlnection o( the pleats
but resist such ncxing across the
pleating. Because the pleats are gath-
ered so tighdy, shirred smocking is
stiffer than contoured smocking.
VII- I 9 Contoured desgn stJ(c/led d.'IJ-
grumml!t)"' Ag. 7-29 (see (b))
Vl/.20 .U.ntoured deslgo SlJtched os cbagrummed In Fig. 7-29 (see (c)).
Chptcr 7
I TAL I AN
SMOCKING
VII-21 - Shtrred doSJgn sotch<X) as
cbagmmmed m F1g. 7-30 (sec (c)),
wilh dertcaze, pltat1ng
CtOUnd rhe raised mov[s. The rt!tmed
(<Jbnc (il!ls l'liD fiJ) fold<
bduse lite p.e<nS. vn.dl .., odt
\18 (3tm>) doep.""' so compaa.ct.
SMOCKING 147
T
ucks are slender folds lifted
from the fabric and sewn at
their base from end to end. The
folds are either pressed into low
relief or they are maneuvered to
project with higher relief from
their seamed foundation. Tucks
vary in width from broad to tiny
and pattern the fabric allover or
in isolated bands. Tucked fabric
is stable; from the back, tucks
appear as seams. Tucks add self-
thicknesses to fabric.
C K I
8 Tucking
TUCK BASICS .......................... 149
l:ixtondlug the Tucking
Fnhric .............................. 149
Srams coinciding whh
tuck, ......................... ... 1
Sc.un.> perpendicular to
tucks ......................... - 150
STANDARD TUCKS
Pin Tuck< Spaced Tucks
Bhnd Tucks
Gmtluatctl Tucks
Centered Tucks
Doubled-and-Centered
Tuck>
Tnpcrl Tucks.. .......... .......... ! 50
l' roccdurcs ...... .. ..... .. ..... ...... 151
Notes & va,iations ........... ... l53
Designer tucks ................
Cro)s Lucking .................. 154
Random tucldng ........ ...... 154
Mock pin tucking ............ 154
CURVED TUCKS .......... ............ 160
Procedures .......................... 160
Notes & Variarions.. .. .. ........ 160
SHELL TUCKS ........... .. ... .. ........ 162
Procedure> ......................... . 162
Note> & Variations .............. 162
CONTOURED TUCKS ........ ..... . 163
Procedures ..... ..... ................ I 63
Notes & Varintions .......... .... 164
Keyhole tucks .... .............. 164
S:uin-stilched comourcd
tuck, ............................ 164
SLASHED TUCKS
Shark's T<eth
Smp-fnngcd Tucks .............. l67
Procedures .......................... 167
Note. & Variations ........ ...... l 67
Ruvclll-d-fringe t:ucks .... .. 168
CROSS-STITCI I t: D TUCKS
Undulating Tucks
Bow-Tied Tucks .................... l 71
Proccdu res .......................... 171
Notes &: Vanations .............. 171
CROSS-TACKED TUCKS
Bubble Tucks
Cabled Tucks ........................ In
Procedures .......................... 173
Ncues & Variations .............. 173
I'ARTIALLY SEAMED TUCKS
Released Tucks
lntcrruptctl l'uck> .......... .... 175
Procedurts .......................... 175
Notes & .... ........ .. 175
SEAMLESS TUCKS
Cluster Tucl<s
ned Thcks ............................ 178
Procedures for Clu<ter
Tuck, ................................ J / 8
Procedures for ned Tucks .. 178
Note< & Varhuions .............. l79
RcvtrM'<I cluster tucks .... 179
Meandering tied tucks .. .. 179
PATTERN TUCKING ................ 183
l' roccrlures ..................... ..... 183
Notes & Vuriations ......... ..... l83
locnted undcrnc:LLh the relevant
columns.
T UCK BASICS
E XTENDING THE
T UCKING FABRIC
T
ucks reduce fabric measure-
ments m C)ne: and sometimes
both directions. &fore start-
ing to mck, It may be necessary to
increase the length of the fabric
with an addition. After tucking,
extenslon-ndcling met bods vary
with the kind ol tuck.
SEAMS COINCIDING WITH
TUCKS
To join two l>icccs of fnbric with a
seam that pamll cls the tucks, hide
the scam behind an unfinished
tuck. fi nish one pic<c of fabric
a folded but unstitcbcd tuck.
addmg a seam allowance under-
neath. Lp the fold o,er the edge
of the second lcn)\th of fabric, pin
together, and <ew the tuck.
Continue the tucking (Fig. 8-l}.
8- 1. To add fabric undetectab/y.
sew the last tUCk when It is lapped
over the extension.
TUCK BASICS 149
(a) (b)
.
.
:
l
I I
i I
Fig. 82. (a) Tucking continued across previous seams. (b) Tucking pieced
together after sewing the tucks.
SEAMS PERPENDICULAR
TO TUCKS
After sewing two pieces of fabric
together, fold and sew the t ucks
across the joining u nless
there's a compeiHng reason to Luck
r.m and join later ( Fig. 8 2).
1\tcklng fi rs t and j oining later
chnnge.s 1he vertical t ucking pat
tern when both pieces or fabric
were rucked wi th differem arrange-
mentS. or when mismatching iden-
tically tucked pieces is intentional.
Matching tucked pieces
with Onlcky precision has a decora-
tive when the fabric changes,
or when the int:ru!tion of horizontal
scamUnes is a designer choice.
When fi nished rucks are pressed
Ont, nttaching an extension to Lhc
tucked edge Is simple: Sew the two
toge1 her with right sides Jacing, or
lap the tmned edge of the extension
over the tucl<ing and edgestitch.
When tuck folds project or cause the
to puff. the edge where the
lucking ends needs preparation
before adding the extension:
(I) Flaucn the tuck folds with bast-
ing an a manner that continues the
pattern and direction of the folds.
Gnd ( 2) stabilize the scam
allo" anccs of cross-tacked and
seamless tucks. and pattern tucking,
with h:md or machine stitching that
also controls SITctch and dimensions.
I SO
To motntnm the stand of
or projecting tuck folds
when attaching an extension. press
and stitch a single-fold hem into
the fabric before stilching the t ucks.
up the hemmed edge of the ruck-
ing over the extension and attach
wit h hand stitching (refer tO
rig 7- 16 on IXtgc 129), or zig;;ag or
hc.mstttch by machine. Machine
sew slowly. moving each t uck fold
back and then forward to keep it
between the stitches that straddle
the edge (Fig. 8-3).
- ..
.......................
.................. -..
- .-............ ..
u
.................. ..
...... _.. ..
J
Fig. 83.
Zigzag top-
stitching that
attaches
tucked fabric
with project
ing folds to
an extension .
End of TUCK BASICS
STANDARD
T UCKS
-parallel folds pulled up from the
surface of the Iabrie and held by
stitching from one end to the other.
Standard tuck seams are straight and
sewn at an equal or slanted distance
from the folded edge t hrough two
layers or fabric. There are seven basic
types or stnndard tucks:
PIN TUCKS
- narrow tucks that are sometimes
only a pin's diameter wide but are
never seamed more than
1
/s" (3mm)
from the fold.
SPACED TUCKS
-tucks that are identical in width
and visibly spaced an identical dis-
tance apart.
BLIND TUCKS
- tucks without visible spacing in
between because folds touch or
overlap the seam lines of adjacent
tucks.
GRADUATED T UCKS
- a series of tucks that progressively
increase in width with the visible
spaces between also progressively
Increasing. matching the width of the
smaller of the adjacent rucks.
CENTERED TUCKS
-tucks with two folds made by cen-
tering each tuck over its seam.
DOUBLED-AND-CENTERED
TUCKS
-are subdivided with secondary
seams into two parts which, when
centered with one seam over the
othet, form two !ltcks stacked one
on top of tho Other.
TAPERED TUCKS
-tucks sewn with straight seams
which move in an oblique rather
than parallel relationship to the fold.
(Refer to fig. 8-4 .)
.
.
.
i
I
I
I
i
Pin
.
l
I

I
I
I
'
I
'
!
Blind

-- --- - - -- --
Centorad; Doubled and Centered
Fig. 8-4. Standard lucks
PROCEDURES
I. Estimate the amount offabnc
required for tucking that u;ll
match a target measuremenL
Apply one of the follouing
methods:
UNEQUAL DESIGNS
For designs with unequal tuck
widths and spacing, fold paper to
uy out dlfferem an-angemems.
MC1\Sure a repeat of the chosen
arrangement before and af1er fold
lng, and calcula1e from that basis:
(btlore loldlng + after lolding)
x tatoet menurement
Fabric Fitquemenl
UNLFORM DESIGNS
For uniform designs. use formu-
la :1 '" formula 112.
!
' '
II
Spacod
'
i
i
i
I
l
i I
!
i
i
i
I l
I
!

! i
i
l ! :
Graduated

I
;

i
i
l '
:
I
i : .
i
'
'
I
I : I
I
i
I

I
! i
:
I
I .
I
.
I
i

:

Tapered
Formula I'll:
a. Establish measurements for
r.he widrh of a tuck ( r.he space
between ruck seam and tuck
fold) and the vislblt spact
between one tuck and the
next ( Fig. 8-5).
b. Find oul how many tucks "ill fit
within the tnrgcL measurement:
Soam Spaco Between Tucks
/"""'>, o(""o.r-..,
'
:
r-1 -
!. i i
: : : :
' ! : :
,_ - :
VIsible Space Between Tucks
Chapter 8
laroet meuurement
Jwidlh +viSible space]
llumber ol Tucks
c. Figure the tolal amount of fib-
ric required for the tucking:
lUCk width X 3
Iabrie required lor one tuck
fabric required lor one tuck
x number oltucks
fabric needed lor lucks
visible space
x number ollucks
tolal visi ble space
fabric needed lor lucks
+ totJI YIS1blt space
Fabric Fltqulremenl
Formula 1:2:
a. Establish measurements for
the width of a tuck ( the space
between tuck scam and mck
fold) and the seom space
between rwo adjacent t uck
senmlines (Fig. 85).
h. Find out IHlw many tucks will
fit within the target measure
mcnt:
larget measurement
+ saam space
number of Tucks
c. Figure the 1otal amount of fab-
ric required for the tuck;ng:
luckwlidlh x 2
tuck width Inside seams
luck width Inside seams
x number or tucks
lotal tuck wodlh Inside seams
101at tuck width Inside seams
+ targe1 measuremenl
.. Fabnc RequlremenL
Tuck
Width
8-5. Tuck ter
m111o/ogy defi'IO()-
strated In a dia-
gram with two
spaced tucks on
either side of three
centered lucks.
TUCKING 151
Note: The width of a cemered
tuck, measured from fold to fold ,
is idcmical to hs measurement
from fold to scamlinc before cen-
tering. When cemered tucks are
doubled. the1r combined uidths
equal the width in the formulas
(Figs. 8-5,8-10, and 8- ll).
2. Mark wcklng guidelines on the
rigl11 side of fabric that has been
cut tO size ( refer to " Extending
the Tucking Fabric" ou page
149). Every tuck has a fold line
centered between two stitching
lines t h111 :Ire matched for seam-
ing (Fig. 86)- but marking all
lines is seldom necessary:
Seamlines
......---c-.,
I I I I I I
I I I
:
1
1 : : bl
,--, .-
1
- , Width
I I I I I
I I I
I I
I., I I )
Fol d Line ./
Fig. 86. Two tucks before sewing.
a. Using a long ruler, measure
oiT fold positious for e\'ery
tuck on the top and bottom
edges of the fabric, marking
with a disappearing
pen. chalk, or scissor-nips.
Connect opposile edge marks
\\1th t he ruler and indicate
fold Lines with disappearing
pen, chalk, or thread bast-
ing-or fold between the edge
marks nncl crease with an iron
(for ccnt.ercd tucks, crease
very lightly). Align folds to
the st:raigbtgmin of woven
fabric.
b. Indicate slitching lines in the
same manner but with differ
ent markongs (another color,
longer basting Slitchcs, or
narrow masking tape beside
each scamli uc). Mark the
stitching line to the lclt of the
fold line visible on
I
I
I
I
I
I
I
:
i I
I I I
I I
I I
I I
I I
I I
I I
I I
I I I I I
top when Lite tuck is fol ded
for seaming-if marldng is
nece.<MT)' at all (Fig. 8-7).
Scamlinc indications are
optional when tuck width can
be controlled ,.;th a sewing-
machine device or a wcklng
gauge while hand SC\v;ng.
Scamlincs for pin tucks are
never marked. Tapered tutks
and unusually wide tucks
need sc:unlinc mdicalions.
Doubled-and-centered tucks
need two sLilching 1 incs
(Fig. 8 11). For slippery fab-
rics. mark a stitching line on
either side of each fold line,
lines that will be matched to
prevent fabric creep and
assure accuracy when sewing.
3. Sew the tucks by hand or
machine. If not done before. fold
on the indicated lines with
wrong sides together and crease
the folds \\1th an iron, or nm the
length of the held fold
over the edge of a table (crease
centered tucks lightly). Pin the
layers together and stitch each
tuck from the side that will be
seen. Turn previously sewn Lucks
away from 1he Luck seam in
progress.
a. When stitching lines arc not
indicated, hand sew with an
C:\'en running stitch and a card
board tucking gauge ( fig. 8-S).
I 52 The Art of Manipulat ing Fabric STANDARD TUCKS
I
. I
I
I
F'lfl. 8-7. Preparing
Iabrie for tucking with
fold- and stitching-
line markings.
Fig. 88. Hand sawing tucks with a
gauge notched to direct the seam in
progress, and to Indicate (1) /he
width of the tuck, and (2) the dis
lance between the stitching line and
fold of tho previously sewn tuck.
-
For machine sewing, control
needle distance from the fold-
ed edge b)' aligning the fold
\\1th markings on the needle
plote of the machine, with a
magnelic or scrtw-in scam
allowance guide. ""h mask-
ing tape stuck to the bed of
the machmc, or by using the
right edge of t he presser fooL
as a gauge (Fig. 8-9).
I
I
I
l

'
:
l I
' i
' i
.
I
.
I
.
I
l
:

i
I

!
.
' .
i
I
I
!
I
;- - :.
'
l
.
I
.
'
.
.
;
I

i
:
I
1 -
'

.
Fig. 89. For precise stitch formation,
sew tucks with a straight-stitch foot
and round-hole needle plate
attached to /he machine.
Specialized machine attach
mtnts that assist mck
sCMng-an overedge foot, an
edge stitcher. or an adjustable
blindhem foot- keep pintuck
senms from wandering and,
for wider tucks, the tucker
and the gauged prcsscr foot
save marking time and s up
port precision.
b. Folluw the s titching-li oc
maddngs when sewing. If
bnt h stitching lines are
marked. pin mutcb and baste
each tuck before s tarting ro
sew. Avoid snagging the mark-
ing or basting threads in the
tuck scams. For doubled-and-
centered tucks, sew a sec-
ondary as weU as a primary
seam (Ftg. 8-11).
-1. Press the tucks:
For al l but centered mcks,
prtss in the wrong direction
first, then press in the right
di 1ection, us ing a press cloth
tO proten t he fabric. Tum the
tucked fahri c to 1he back and
press again on a padded sur
face to preserve the dimen-
Stonalit)' of the surface folds.
lf imprinting is a concern,
inscn strips of brown paper
between the tucks and the
fabric before pressing (refer to
"Pressmg Flat and Partial
PleatS on page 89).
For centered tucks, center the
tuck fold line over the seam-
line before pressing (Fig. 8-10).
For
tucks, center the fold line o"er
the secondary seamline, then
ccnLe:r the sccomL.try seam
o"cr the primary seam before
llftsslng (Fig. 8-11). As a pre-
l>ressing aid. push a dowel
inside the tuck tube to open
and spread it for centering.
5. Secure the tuck folds at each end
with hasting inside the seam
allowances. Topstilcb down the
middle of centered and doubled-
and-centered tucks, an option
for cc,ntercd tucks but recom-
-
.
'
!
'
.
.
'
.
.
'
i
.
.
l
:
r
.
!
- --
___ .,. ___
.
-
Fig. 8- 10.
Centered tucks
(a) after seam-
ing; (b) pressed
with fofd lines
centered over
seamlines .
l
l- -----+- --
---
(a I
mended for doubled-and-ceo-
tered tucks. After to stitchin p g .
press agoln.
6 Rercr to "Extending the Tucking
Fabrk" on page 149.
NOTES & VARIATIONS
The smooth symmetry that dis-
tinguishes standard tucking
demands exact measuring and
marking, accurate folding, nnd
scams s titched plumb-straight a
pncisc distance from the fold.
These additional suggestions make
a diJJcrcncc in the result:
Before marking, true the grain of
wo\en fabnc and steam press.
Spread the fabric O\'er a surface
latger than iiS length and width and
hold it taut while marking. Use a
griddcd cmting hoard for straight
ness control. Optional methods for
fold-line marking that may be
(b)
appropriate in so
out a thread fron
me instance..c;: Draw
1 Ute wro\'e of the
fabric, Tum the fabric to the back
and score Mth a blunt tapcsuy nee-
dle. Make rows of tailor tacks.
When folds prior to
stitching. fold and press over the
straight edge of a s trip of hea"y
paper aligned to the straightgrain
bet ween opj.>osite position marks.
Space the seamlincs of ndjacem
tucks at least a pre.sscr-foot width
apart, ns measured from t he needle
to t he left. For the final pressing,
avoid excessive steam which may
cause the fabric to pucker.
Align the folds of tapered tucks
tO the Straightgrain of the rabric
e''en though the tapering scams
slant, either alternating direction
rom tuck to tuck (refer to Fig. 8-4),
or moving In the same direction
(Fig. 8-12).
Seams "->1
I
I
/'I
Primary
Seam
I
I
I
1":
Secondary
Seam
(a)
(b) (c)
Rg 8-11 Doubled-and-centered tucks: (a) After sewing, and (b) "'(ith the
fotd tin11 i:entered over botll seams. (c) Stabilized with decoratfllo topslltchmg.
Chapter 8
TUCKING 153
Fig. 8 12. Tapered-tuck seamlines,
slanting In the same direction and
meeting at the widest ends, re-shape
the Iabrie like a fan.
The on-grain folds prevem t he off
grain scams from stretcbing and
snapping. l'or tucking applications
purposely dcstgned with olf-gntin
folds and scams. choose firm fabric,
limit the length or the tucks, ami
usc S!rong thread to counter the
stretchy bias. Bias-set tucks re-
shape tho contours of the fabric.
When lUck foltls and scams are par-
allel, a tucked diagonally,
finishes diamond-s haped; a rectan-
gle rlnishcs as a parallelogram.
When lucks are not parallel, the
changes in the comours are unpre-
dictable (Fig. 8-13).
Designer tucks interpret the sun-
drds freely. mi..xing and contrnsting
different kinds and sizes of tucks
into individualized patterns. Plan
destgner-tucking paucrns with
drawings on graph paper, and final -
ly by folding paper. Indicate fold
and stitching lines on the paper and
transfer to the fabric.
Cross wcking embellishes fabric
\\-;th intersecting rows of honzontal
and vertical folds. lf aU the vertical
mcks are stitched first, t he
crossover honzomal tucks '"iII
ovcrshndow the kvdled tucks
tlndcrncath. When tuck sotchillg
alternates back and forth between
vcn ical and horizon1J1I, the cross-
tucked design appears interlaced.
For either approach. press before
changing direction. When stitching
a new tuck over prenous rucks,
sew with the folds of previous tucks
facing away from the approaching
presser foot. Thick fabrics are not
suitable for cross tucking.
R.twclom ludling flaunts the
rules. Working with unmarked fab-
ric, tucks are casually folded and
stitched. Unplanned and irregular,
folds and stams tilt haphazardly
and cross at unusual angles.
Mocl: l'in tuc/:ing substitutes
raised cloublcSi ilching, cre,lled
whh twill nccd1c machine sewing,
for the folds of s tandard pin tuck-
Ing. By tightening the thread ten-
sion or. on some machines .. br run
ning the bobbin thread through the
hole In the Anger of the bobbin case
as well (1'1g. 814). twin-needle
stitching in back pulls close togeth-
er, making a ridge in front.
Fig. 8 13, Fabric re-shaped with tucks stitched parallel to me folds, and the
space between folds greater at one edge than the other.
The Art of Manipulating F>brlc
STANDARD TUCKS
Fig. 8-14. Bobbin case for front-load
machines with thread drawn through
the hole In the linger. before inserting
into the machine.
The spnce between the twin nee
dlcs--1.6mm, 2mm, 2.5mm, 3mm,
1
fmm, 6rnm-conLrols mock pin-
mel< size and height. With a corre-
lated pin-tuck fool on t he machine,
the spaci ng between parallel twin-
needle tucks is easy 1o regulate
(Fig. 8-15). Pin tucks rom1ed \vith
IWIO-nccdlt sutchmg can follow
lines th3t curve. t\\;st, and eros as
well , .. line> that are straight aud
pnrallel.
Fig. 8 15. Twin nee
die and the bottom
of the 5-grooved
pin-tuck loot it
matches. Placing
the grooves over
previously sewn
tucks regulates the
distance beMeen
tucks.
The hand of fabric changes after
it is tucked, becoming thicker by
two la)'crs. firmer. less pliant
across 1he lliCI<ing. Doubled-and-
centered tucks weight the fabric
with four layers. Crnss-tuckcd fab-
ric loses some nc,jbility il1 both
directions.
LLoi - L. .............. ._ ... ,_... ... .......... ._ L:. ...... '-'
VIII-J- Bind-wcked (obroc '' consosll!<l!Jy Jh:ck
Yl/1-5 Ccmcte<IIUCI<s S{Of>lozcd "'ofh IOpSlofChrnR
olrernotc wJth rucks stabl'lzcd wlh seams ocross tJxl ends.
Chapter 8
STANDARD TUCKS
--Grodvored tvc!<s
TUCKING ISS
t..OO
wth dose "Bl"l!i"le down the cenre
VIII-9---0osgner W<king
that c:ommsu dusters of
p1n rucks wilh '"'*' tucks
I 56 Tho Art of Mani pul ating Fobrlt
Vlfl-7- Tapered rud::s \Wth seams that sfan[ In the some 6rcct1011.
STANDARD TUCKS
VIII. r 1>-CIOSS ruciQng wol/1 hMzc,owl wcks 1/lot oppC<1T tD
ll!Ce<le behod vorucor tucks.
\111. I I -Voss nd:ing hos o more c.ornplex Mt-<Jitd'1JI>dcr 6mc:"""""'ry
when me se-g of horizotllal Dttd ,eJWJ} OKks Oi!emotes bocX end fDnh.
STANDARD TUCKS
'IIII-I 2- Rondom IIJd(jng examples: l e f ~ A """ety of ttd<s
seamed osymmetricolly in o generally vern<:al directJon.
(nght) Tucks !hot C<ISs.<ross coch other any whch ~ Y
Chapter 8 TUCKING 157
STANDARD TUCKS
VIII- I J Pon Wd<s.
~ p<.1lem lilc
mu$1':11 W L ~ {cks lflaz
stand up Ike ndges.
I S8 The Art of Manipulating Fabric
YJII /5- Freely smelted w:rh o twn nee<d<. mock p;n tucks
a;rve ooa cross and appe<1r ro w<!OVC 0\'tt and under.
--
.
I I
r- - . -
I' ! I
l-.1

-t

;; ["

IIi
II
i'-
81
I'
I'
r
!ill
......

I
....
-
I. I. '-.-- R ... ...
V//1./7- Tu<kod (abric cut Into swps and reassembled to the
l,nes of the (o.lds.

, =
= '

STAN DARD TUCKS
VI" It>--Tucked onstttt (!DP) lh>pressco
tucks sw:t>ed ocross o sqoore.
(centet) Tapered ond cent01ed tuoo.
(bouom) Tucks Wllh siCJntng fOlds
II
-o:. _____ .-
...,

':

ll
"""
I

---:::e:
.. - -
"

" '"!'

...,
[ lllJ
I....
I .c." "' I
i'-

I
'" ;

-,
--
I

f:l'
t :=.
I kinds o( Wcic"'l! M nto - and reossembied
nto (ab;,c parrcmcd ,..,rh tu<k (olds !hot chonge
C URVED TUCKS
-blind. spaced. or graduated tucks
that follow a curving path which
usually parallels the curving lower
edge of the fabric. Fabric flares
below a curved tuck.
PROCEDURES
I. Review t he procedures for
Sumdurd Tucks that begin on
page 150.
2. Plan an arrangement or curved
t u k ~ that confonns to the circu-
lnr shaping of the fabric. To
ac.:cotnmodatc tht tucks, add lwo
times the width of each tuck to
the length or radius of the fabric
when cutting. If the fabric is cut
in segmems, scam the segments
together before tuckina
0 '
3. For each tuck. mark a fold line
and an upper ancl lower seam line
by measuring down (rom the
center of the circle or the apex of
n circular seg1nent, or by measur-
Ing up from t he curving lower
edge of the fabric (Fig. 8-16).
Crease each fold line with the tip
of nn iron.
.
. . .
. ... .
. .... .
. . .
. .
. " - ..
.. .
...
______ __ ...
-. . . . . .
~ ...... :::::;: ::: . ...
. . - ....
Creased Tuck Fold
4. Scam c.:1cb tuck:
( b)
a. Hand sew over 1hc. lower seam-
line with running stitches, or
machine sew with l:uge, loosc
slitches. \\11th the tuck folded,
gather and ease the stitchino
..
on the lower scrunline. seg-
ment br segment. until it
matches the upper seam line.
which will be shorter. Steam
ptess the eased stitching and
pin or haste the tucl< scamlincs
together (Fig. 8-17).
b. f'ollow the upper seamline to
sew the tuck.
c. Remove any bru;ting and steam
press before proceeding to t he
nc.t tuck.
Fig. 8 16. Two ways to
mark fold and slilching
lines for cuNed rucks:
(B) Measure down with a
string compass. (b)
Measure up wi th a ruler
placed at a 90-degree
angle co the lower edge
160
The Art of Marlipul ating Fabric
CURVED TUCKS
Ftg. 8- 17. CuNed tuck
with the seam/inc under-
neath gathered to march
the upper seam/ine.
NOTES & VARIATIONS
The fabric between curved rucks
should be pucker free and will be if
the difference between the lower
and upper scamline of each tuck is
cased smoothly. The Unre o[ cur,ing
tucks is progreSSIVe; the amount of
flare incroaS<.'S wath the depth and
number Of the lUCk:.. fluring CSC<I
lates even mol'e when successive
t ucks gradually increase in widt h.
Note: Pro<edures for Shell Tucks begin on page 162.
shelkcalloped wh<e machn sewing wi<h an
overed,ge stitch.
Chapt er 8
CURVED TUCKS
Vili-19- TIe

Poring =umu-
Jotes. Wllb SUC
cessive tucks.
SHELL TUCKS
VIII 21- Hand-stioched shell tucking
TUCKING 161
SHELL TUCKS
-<Iarrow tucks with shell-like, scal-
loped edges shaped with thread car-
ried over the folds at regular inter-
vals and pulled taut. Shell rucks can
be sewn by hand or machine.
PROCEDURES
1. Review the procedures for
S1undnrd litcks rhat begin on
pngc LSO.
2. lb make machinc-slilched shell

a. On a scra1> of folded fabric,
1es1 m:u:hine-produced
ovcredge stitching. guiding
the fold 1>0 th.1t when the nee-
dle swmgs to the right. it just
misses the edge. juggle stitch
length with tightened tension
until a pleasing shcll edge
resultS (l'ig. 8- 18).
Fig. 8-18.
Shell tucking
shaped by
machine with
a light
over edge
stitch.
b. Taking the reach of the
overedgc stitch as the width
of a tuck, plan an arrange
n1Cill Of spaced or blind tucks.
Mtct marking fold positions
on the fabric, fold ;md tben
crcnsc 1hc folds with an Iron.
c. stitch each tuck with
ovcrcdgc stitching as tested.
Adding a Straight-stitched
seam IICStde the ocredgc
>litching is an option.
162
The An. or Manipulating Fabric
3. To make band-stitched shell
tucks:
a. Plan an arrangement of spaced
or hlind tucks \4" (6mm) to
!n" ( 1.3crn) wide. Mark the
positions ol seam and !old
lines on the fabric. Fold
where and then crea<e
the fold> with an iron.
b. Hanel sew each t uck with run-
ning stopping to
bring the thread over the tuck
fold from back to front at
lntctvals >paced m least two
times 1hc luck width apan . To
determine Lhe most satisfaclO
ry spacmg. test on a scrap of
f11bric 0r<;t. For even shells,
m.>rk oeredge poilus with
pin>. chalk. or disappearing
pen. or gauge by counting the
running stitches in between
(Fig. 8- I 9).
4. Stmch and pin the edges of t he
shcll-tuckctl f:tbric, right side up,
10 11 padded surface. and s team
with the iron held j ust obovc the.
tucking. Allow 10 cool ani! dry
before moving.
(a)
(b)
SHELL TUCKS
NOTES & VARIATIONS
The width of machinesewn shell
tucks is limited to what the
machme c.1n produce. However.
";de rucks and graduated. centered,
or tapered tucks can ha e shell-
scalloped edges by O\'Crcdge stitch-
ing after the tuck> have been
seamed into 1he fubnc. Fabric shell-
Lucked by mnchine sti ffens more
crosswise t han fabric shell-tucked
by h<1nd.
The dircctiOt15 for hand-stitched
shelllucl<ing He specific: Bring t he
needle and th read over the edge
from bach to fn>llt-wlucb turns the
fold forward to make t he slight rim
suggestive of shells. If the tuck is
"1dcr than W' (I.Jcm). the folds
tend to roll over too much. Wide
rucks m:tr be scalloped with a few
extra stitches runnmg out to the
fold, which helps to gather the
tuck's width Into the base scorn. If
1 he overedgc s1 llches are too close
together for the width of the tuck,
the shells will dmg the wck from a
level plnne. Te<t to find the appro-
prime spacing.
(Sec l>hotos of Shell Tucks on
page I 6 1 ).
Fl{l. 8-19. To sheH
ltJCI< by hand:
(B) Sew with running
stitches. Stop at a
pre-set point. draw
the needle out in
back and bring it
over the fold to the
front.
(b) Push tho needle
through the base of
the iuck to the back,
and pull the thread
to crumple the tuck.
Bring the needle tor-
ward again and
resume sewing to
tho next crush-point.
(a) (b)
CONTOURED
TUCKS
-spaced or blind tucks wider than
1
12" ( 1.3cm) with folded edges that
have been reshaped to curve and
angle.
PROCEDURES
I. 1he procedures for
Standard Tucks that begin on
page 150.
2. Plan tuck width and spacing using
folded testing different con-
lours for the lucks. Estimale 1he
rubric rt4uirerncnt. Nlakc-a tem-
plate lor the comourccl edge of the
1t1cks (Fig. 8-20).

Fig. EJ-20.
Contoured-tuck pat
terns: (a & b) With
cutouts separated
by intact portions of
the tuck fold.
(c) Contoured to
reshape /he edge
completely. Patterns
do not include seam
allowances.
(c)
3. the right side of the fabric
for lUCking:
a. Using a lo11g ruler. measure off
fold posilions for every tucl<
on t he top and bouom edges
of the fabric and mark with
stissor-nips thai are ' 'isible on
both sides. Also indicate a
sc"mlinc position to the lc.Ct
of 1he fold position (the seam
line tha.t \\ill be on top when
the tuck is folded [or sewing).
b. Connect the opposite seam-
lincposition marks on lhc
top nnd bouom edges of the
fnbric with a stmight line of
f"bric-safe chalk, disappearing
pen. or 1 h read b"sting.
4. Contour Lhc edge> of lhc tucks-
a. Turning the fabric to lhe bad.
connect the sctssor-nip fold
marks on opposue edges \\;th
a straight line of c:balk. disap-
J>l'llring pen, or thread bast-
ing. Fold each tuck on the
hne ( the right side of the lab-
ric will be pin or
baste, and crease the fold
ligluly with an iron.
b. Using the Lemphuc, trace the
conLoured S<Mnlinc down the.
length of each tuck. Stitch
C!.ach contour on 1hc line, Lrim
n se:tm allowance disLancc
from the scam. and clip lhe
scam allowance at inside
curves and angles (Fig. 8-21).
Tum 1hc contoured edge of
each tuck righ1 side out and
press.
Tuck
Seamllna--...:
I
1
I
1
I
1
I
l
--
.
:
!
..........
.. ---------
1
!
t ... __ ____
Fig. 821. Tuck contoured with seams
stitched on traced outlines. To pre
pare for turning right side out, seg
ments inside seams are removed
and corners clipped.
5. Pin or baste. and 1 hen sew each
lUck by machine or by hand, fol-
lowong 1hc marked seamline.
6. S1eom press the tucked fabric.
Chapter 8 TUCKI NG 163
N OTES & VARIATIONS
When designing a contoured
tucking pauem, consider the effec-
tiveness of a design when
repealed row after row. Testing with
paper. vary the spacing between the
mck rows und stagger the
panem, or turn pairs of rucks to
face each other (Fig. 8-22).
(a)
(b)
I
I
I
I
I
I 0
0
0
0
I
0 0
0 0
0
I
Fig. 8-22. Variations with a contour-
ingparrem.
Combine diffcrem contouring pat-
tems. When blind tucks are con-
toured. note that tuck seamlincs
show unlc,s the amount of
oerlop is tncreascd to compensate
for the dci>Lh of the contouring.
K<yholc lucks. which look as if
openings "ere cut through a top
layer of fabric to expose another
layer underneath , are acmally pairs
of idcntk:tlly cont oured tucks that
meet in the center. Since keyholes
rc.quirc two tucks joined in the
middle, the mcasmcments for each
combimu1on mus1 be exact: Two
mcks of cqunl wi<hh aft er contour-
ing, with seamlincs spaced two
times that width apart. Cut a kc)'-
hole tucking pauern on tl1c fold of
a strip of paper ( the fold is where
lhe tucks \\Ill meet): open the strip
to sec the kt)hole design. After
contouring the edges, stitching lhe
tucks, and pressing t he folds to face
each other, hattd sew the tucks
toget her where they touch using
clccormive Ol' invbiblc srhching
(Fig. 8-23).
Fig. 8-23. Diamond-shaped keyholes
creat9d by bow tying the points of
rwo zigzag-rontoured tucks together.
164 The Art of Manipulating Fabric CONTOURED TUCKS
SarinSiitdtrd cmuourcd ruchs urc
shaped after the tud<.> have been
stitched. A border of thread pre-
,-ems lhc cut edges of the fabric
from frn) ing and also emphasizes
the contoured profllcs of the rucks.
After trnong the contours onto the
front of a finished tuck, cut out on
the line nnd satin stitch over tb.ecut
edges with nn overcclgc foot
attached to the The alter-
nate method: Follow the traced out-
line \Vhh sal in stitching; remove the
fahric beyond the satin-stitched
contours by CUlling from needle
hole to needle hole with small,
sharp scissors, without snipping a
thread (Fig. 8-24).
Fig. 8-24. Contouring the edge of a
tuck with closely tnmmed satin stitch-
ing.
Machines with a selection of deco-
mrive s tltches can be programmed
to satin sti tch a suitnbly contottred
st:am r or 11'i tnming aflc.rwurd.
Contoured-tuck edges may also be
thread-bound with a sergcr.
Viii-23- SP<Xed
wcks with saw<ootb,
saiJns!llched edges.
VIII 22 W.do blr.C tucks
with edges scalloped on
a turned seam. Tude over-
lop was calcvlated til
conceal the ruck scams.
CONTOURED
TUCKS
CONTOURED TUCKS
pcltem o( repeoted
bL't slightly :;raggered on S<JCCe<!dns wcfcs.
crrtes o SlJOI>R des-gn !hot domnotes
.,.., vertKOI bnes or !he bl>lld-<ud< folds.
Wj.26 F001'111Ucks '""" o ZlgZCg d>cnne/
between l>glOg<OI>loured
166 Tho Ar t of Manipul ati ng Fabric
06C

c
I I
1u<!<s bor l<lcked
!ogelher where they I OUCh
SLASHED T UCKS
-spaced or blind tucks at least Vi'
( 1.3cm) wide cross-<:ut at regular
Intervals between fold and seam.
There are two types of slashed
tucks:
SHARK'S TEETH
- tucks slashed more than twice and
folded under on eit her side or the
cuts to create pointS between the
slashes.
SNIP FRINGED TUCKS
-tucks slashed into narrow loops.
PROCEDURES
I. Rt\1cw the procedures for
Standard Tucks lhat ))(,gin on
page ISO.
2. Plan, mark, and sew a succession
of >paced or blind tucks !nn
( l.3cm) wide or wider into
appropriate fabric.
3. To make s hark's teeth:
(a)
( b)
(c)
n. With b bric-safe disappearing
pctl ot cltal k, l1mrk the front
of each tuck with slash lines
between and perpeuclicular to
fold and seam of the tuck.
Space the lines two times the
\\1dth of the tuck apart. mark
ing at two slash lines per
tuck {two si.1Shes make one
sharks tooth. lhrct slashes
make two shark's teeth. four
slashes make three, and so
fonh). Relate the lines on
adjncen1 tucks lO an O\rerall
design. Slash where marked,
cuning straight across from
the fold right up to lhe tuck
seam ((a) m Fig. 8-25).
b. Turn the cut edges under,
folding "t a 45-degrec angl e to
the mck seam. Press. srroking
the new fol d into points mid-
way between the slashes ({b)
in Fig. B-25).
c. Re-sew the tuck scam with a
zigzag Stllch wide enough lO
calch nnd secure the cut edges
hidden beneath the tuck ({c)
in Hg. 8-25).
d. press with the shark's
Ieeth face down on a padded
surface.
4. For snip-Cringed wcks:
a. With chalk or disappearing
pen, drnw a ncross the
l'ron1 of each tuck, indicating
that the >nips arc to stop a
''safe disumcc i't'Olll tl1c t uck
sc:tm. The safe" distance
r(scrvcs a scant allowance
between tl1c base of the fringe
itnd I he seam.
b. Smp each luck closely. cutting
straight in from the fold and
Stopping where indicated
( Fig. 826).
Fig. 825. To make shark's teeth: (a) Space slashes two-times-tuck-width apart.
(b) Turn the edges of adjacent slashes to make angled folds. (c) Zigzag stitch
fo catch the edges.
.... , ................. ..
.... ! .. ....... ....... .. .......
::::::::::::::::::::.1
Fig. 826. Cutting Into a tuck with
uniform, closely spaced snips to ere
ate fringe.
NOTES & VARIATIONS
Shark, lt-.:tlt are easier to fonn
when the tucks are wide. and easier
to poim if an extra bit of fabric is
shaved from the stdes of the cuts.
Design options for >hark's teeth
include the obvious-identical
lucks slashed idcntic:tlly to produce
rows or shuri<'s teeth witb points in
cvc1y row aligned. or, ror more
diagonal emphasis, identical tucks
wit h sb shcs staggered in succeed-
ing rows. Also. v:uy 1hc amount of
overlap or separation br1ween tuck
rows. ch:mge ruck widths. or space
slashes more than L\\
\\idth (Fig. 8-27).
Vnry sharks teeth obrusely
p01med: Space slash poims more
than IWC>-IImes-tuck-width apart,
remO\'C V-shapcd wedges or fabric
from the t11ck. and fold as usual
(Fig. 8-28). Instead of zigzagging,
choose a suitably wide decorative
stitch.
Fig. 828. Slashing with notches to
shape shark's teeth that point at
angles greater than 90-degrees.
A cnnstruction variation for
shark's teet!>: After slashing. poke
the cm edges inside the ruck rube 10
form the angle ( Fig. 8-29). ladder
stitch the folded edges together,
taking care to prevent fabric threads
from at inside angles, or
st itch around the poinu of
the folds with a narrow igzag.
Fig. 8-27. Varied shark's
teeth designs set into
(a) overlapping blind tucks,
(b) spaced tucks, and
(c) blind tucks.
Slashes may stop shon or the tuck
seam. and the ttnglcs or the poims
may \'3()'.
Fig. 829. Shaping shark's teeth by
pushing the slashed edges inside the
luck tube.
Non .. wovcn materials are partic-
ularly appropriate for snip-fringed
tucks. Graduated. tapered. even
centered lucks seamed down the
middle may be smp-fringed.
Cuuing the luck apan al the fold
before snippmg alters the fringe
from looped to layered. If the fabric
is a woven. repealing washings will
fuzz and fray the fringe.
168 The Art of Manipulat ing Fabr ic SLASHED TUCKS
Fab1ic can he pile-textured all
over with snip-fringed tucks. Cover
the fabric with very closely spaced.
unpressed bhnd tucks. Fringe the
tucks and, if the fabric is a woven.
amomaucall)' wash and spin dry 10
jumble and soften the snipped
fringe pile.
R"velfed-Jringe tuda are split
into thrend-finc loops wltltout
slashing. One. at a time, on tucks
with folds :tligncd 10 t he straight-
grain. threads arc pick t el and pulled
out of the weave of the fabric wi th
the help of a long ncc<llc or pin.
Before unravelling. divide lengthy
tucks imo manageahle sections
clips perpendicular to tl1c scam..
After fringing. Stabilize with a seam
of narrow zigz.g stuching across
tbe base of the fnngc 10 prevent
more unrn,elling (ftg. 8-30). Tucks
may be fringed to the seam if the
t ucked fabric is with
lining or prcsson interfacing l O
prevent the scams from pulling out.
Ravd led-fril1gc lUCks are panicular
ly effective Sci into fabric woven
wi1 h 1hick thread or yarn. Mall)'
woven.s hnve n c.IHrcrcnl w:1rp and
wert; LtSl [or the UlOS1 attractive
fringing direction.
Fig. 830. Ravelled-fringe tuck.
'1)11.29- Bind Oid:s thoz
.-.ctt(M m S&Ze ~ ' ih lhf'eoe sharKS
t ~ cemcred"' e<Jch t1JCk
SLASHED TUCKS
V/1128 FiVe wide blond tucks
shaped Into sf>ork's teelh, above
a border o( smaller sf>orks recrlt
'1!11-30-Shork's t e e t h ~ by pu$1>-
u>g the cut edges ~ ~ tuck rubes.
!hat "''Y in angutoflty and dtplh,
Chapter 8
TUCKING 169
SLASHED TUCKS
Vli!-)2-{'.eit) <'Mon ~ tw.nd
w:rh dwiJt spoced
rucks. snopped .nto loops
(lfghi)A 0.1Jbcmc S<1mj)le oft
"""""""' ..w.ng and sp.n dl r-
itlJl mode " more piOom and soft.
and jumbled the looped ( ~
170 The Art of Manipulating Fabri c
VIII 31- Sn;p.fnnged rucks.
Vl/!-3 J.-.Rovoi'Y!d-{nnge c!ICks "'
mUSio11 w'!h o 78 78 Wead
coun:. To t<lObie the (ri.1g"ng !he
l ~ k s were cut aporr o< d>e fo.'cis.
C ROSS-5 TITCHED
T UCKS
folds forced co elevate
between crossover stitching that
holds the tucks down. There are cwo
types of cross-stitched rucks:
UNDULATING TUCKS
-tucks t hat ripple back and forth
between crosswise stitching that
forces the tucks to change direction.
BOW TIED TUCKS
-centered tucks with folds tacked
together midway between the cross
wise stitching t hat levels the fol ds.
PROCEDURES
L. Rc,'icw 1hc procedures for
Smndard Tucks !hat begin on
page 150.
2. a base of rocked fabric:
For undulati ng tucks. choose
pin. spaced. or blind lucks.
1::or bow-tied tud<S. use ce.n
1crcd lucks.
3. Tops1ilch across the rucks,
Slitchmg parallel rows that fol
low struight, regularly spaced
guidelines marked with fabric-
safe cholk or disoppcoring pen:
For undula1ing lucks, alter-
nalc the direction faced by the
tucks with C\cry cross-stitched
ro". Allow sufficient space
between adjacent rows of cross
stitching for the tucks 10
reverse direction \\'ithom drng
gmg up the fabri c (Fig. 8-31).
(o) (b)
for bow-lied t ucks, provide
enough space between the
rows of crossover stiiChing for
1hc folds of the centered rucks
lO be pulled up and tacked
together witliOUl drowing up
the fabnc as well.
-1. Comen segmems of the ccn-
ICrcd tucks into bow-tied tucks.
Midway between the crosso,er
slitchlng. tack 11lc folded edges
toge1hcr (Fig. 8-32).
5. Strclching gently, pin t he perime
tcr of t he tucked to a
padded hoard. Set t he projecti ng
tucks wi 1h steam from an iron
held just above the fabric. Allow
to cool and dry before unpin
ning.
... ...... ..................... __ _
'
!
::::: .. :: .:! .. ....... L
l
--------.-------
.
.
.
... ------ ....
.
I
.. .. .. ..... ___ .. ------r --------
'
...
Ftg. 831. Undulating an
BffBY of tucks with
crossover rows of stitch-
Ing that change the direc
lien of the folds .
\
(c)
Fit;. 832. To hand tack
bowtied rucks: (a) lnserl a
needle mto the tuck wbe
and bring tt our at the left
midpoint. (b) Catch the
midpoint fold directly oppo-
site wtth a stitch and pull
the folds together. Secure
with a second stitch.
(c) Insert the needle inside
the tuck tube, bring it out
ltallthe-needle's-length
away, and cui the thread.
NOTES & VARJATIONS
The wid<r the tucks, the
the space needed between the rows
or topslltching to keep the fabric
fla1. Undulaung lucks reach a
height where 1hcy change direc1ion
that equals the depth of the tucks.
The hdghl of n bowtil"<l tuck is a
linle less 1hnn half t he width of the
centered tuck.
Always loc;uc rows of crosso"er
topsrltching inside the scam
allowances al t he cuds of tlte lucks.
To mnkc t he crosso"cr topstitching
a more t.Jomimun element in the
ovcrnJI design, usc a decorative
Sl itch when sewlng. Unevenly
spared crossover rows that wander
from the slrictly paralkl and rigidly
srraigh1, tfftethtl)' panem infor-
mol. looser opplicarions of cross-
Siitched tucks.
of mcklng the folds
together incon>picuously as direct
eel nbove, tie ce111ered tuck folds
coget.her wit h bow ties of orna-
menlal thrcucl or cord and allow
the ends 10 dangle. For a design in
two layers, mnkc bow-ties of tlte
tucl<s on 1hc top of doubled-and-
ccnlcred tucks.
CROSS-STITCHED TUCKS
Viii )6 Cemeted tuck$ cross-;,omed ot regular intervols
wth bo'No{ICS rn eYef)' other Sf};ment
Vlrt-35- Wider. btmd rucks undukited With tapsutching.
I
VIN-37--I.kldulotJng G:!d t:Xl'"'tJed llJCI:s of WIIIOUS \Wittls """"ed 'Mill
mcondcmg rows of ZJgz<rg surdllng.
CROSS-TACKED
TUCKS
-centered wcks with folds hand-
stitched together at intervals. There
are two kinds of cross-tacked tucks:
BUBBLE TUCKS
-centered wcks that split open
stitches that squeeze the
folds together.
CABLED TUCKS
- ce11tered t ucks t hat are spread
opon and secured with tacks, mid-
way between other tacks that bind
the folds together.
PROCEDURES
l. Review the procedures for
page 150.
2. Stitch a succession of centered
tucks into a length of fabric.
3. Mark 1 he surface of each mck
with spaced tacking poims using
pins," fabric-safe disappearing
pen, or chalk. Test for spacing
nrst, appl)'ing the sde.ctcd tech-
nique 10 a scmp of lucking. Wi1h
needle and thread. tack the
oppo>ilc folds or the tudnogetb.-
er a1 the marked points:
a. Alternate hand-stitching tech-
niques for bubble tucks:
For tucks that swcll out
between tacks: (1} Bring
the needle out at the tuck's
senlll, unden1eaLh the- tuck.
(2) Car')' the thread over
the t uck to the other side
nnd push the needle under
t he tuck (lllCI out at tl1e
seam. Pull t he thread
light. crushing the ruck.
(3} Repeat once more,
secure the thread in back
and dip-or carry the
thl't'lld to the next tacking
position ((a} in Fig. 8-33}.
(b)
Fig. 833.
Bubble tucks:
(a) Crushed
under pulled
over-the-tuck
sUiches.
(b) With folds
tacked
together and
anchored to
the tuck
seam under-
neath.
.A. flattened version for
wider tucks: (1) h1Scn the
needle into t he tuck from
1he se:am in back, running
i1 1hrough t11c tuck and out
the left fold. (2) Catch t he
fold directly opposite with
a stitch and pull the folds
together. (3} Tack again,
then push tbe needle
through the center of the
tuck and out tbe back,
pulling tbc tucked folds
down. ( 4) Secure and cut
t he 1hread- or carry the
1hrcad to the next tacking
position ((b) in Fig. 8-33).
b. For cabled tucks. tack the folds
10gc1her and, in belwecn, tack
3
4 4
4
(D)
(b) (c)
6 5 6 5 6 5
each fold to the fabric behind
(fig. The two tacks in
OCt\\ CCII, located just inside the
folds. allo" the edges to curl up.
NOTES & VARIATIONS
Appear:mce go\'cms the spacing
between bubble-tuck tacks. Bubble
tucks may be tied o n the surface
with dccomtlvc thread or narrow
ribbon, lcuving I he cut ends dan-
gling, nnd thC)' ai'C particulArly
effective when ribbon or cords are
tacked Ins ide the channels.
Cabled need sufficient space
between tacking points to prevent the
pull on the tuck from bo\ving the fab-
ric nftcr h Is rnblcd. n,., stand of a
cabled tuck equals a little less than
half the width or the centered ruck.
f or both kinds of cross-tacked
tucks. start and Rnish "ith tacks in
the scam allowances at the begin-
nmg and end of a tuck. Both bubble
and cabled tucks can be worked on
the top layer or centered-and-lay-
ered t ucks. Cmss-tnchd tucking
stiffens the fabric up and down tbe
length of the tucks.
Fig. 834. To cable a cen-
tered tuck: (a) Bring the
needle up through the
tuck seam, Into the tuck
tube, and out the left lola
at dot 1 l evel. (b) Catch
the fold directly opposite
with a stitch, pull the folds
together. and tack again.
Insert the needle into the
right fold of the tuck and
bring it out at dot 2.
(c) Make two tiny stitches
through to the back of the
fabric, move to dot 3, and
(d) make two tiny stitches.
lfiS6rt the needle klside
the tuck and bring it out
of the left fold, /eve/ with
dot4. (e) Tack the folds
together and continue to
dots 5 and 6 as before.
CROSS-TACK ED
T U CKS
'1111 38-&tbboe ruck;
(le/l) "'!h folds =shed
under over-100-wck suldles.
(righ!) w'!h folds o i ~ d and
oochored to 1M seom
t:r.derneoth
174 Tho Art o f Manipulating Fabric
1
:f
1
n
'1
l
ll
~
I
j: 1
';
~ 'i
'
~
r
~ I
I :I
t
{
- ~
r
i .
F f:,
tt :1
f
i
i
~ ~ - I
~ -
1
'[
I
'
:
i
r-
PARTIALLY
SEAMED TUCKS
- t ucks stitched with scams that are
deliberately incomplete. There are
two types of partially seamed t ucks:
RELEASED TUCKS
-parallel cucks wich portions of
their seams unstitched, releasing
loose folds from the seamed folds.
INTERRUPTED TUCKS
-crossed t ucks with unstitched
intersections, creating puffs of fabric
between the seamed folds.
PROCEDURES
I . Review the procedun!S for
page 150.
2. Plan an arrangement of pmtinll)'
seamed rucks on graph p.1per,
outlining t he se:unlfold positions:
For released tucks. draw par
allcl lines to indicate the pin,
spacNl, blind, grnduntcd, cen
tcred. or capered tucl<s that
will open imo unscnmcd folds
at design.1ted poinl ((a) in
Fig. 8-35). Specify the t)'J'C of
tuck, ruck width. the space
between rucks. and fold-pre.s
ing directions on the plan.
For i nter rupted tucks, out line
a cross-tucking paucm.
Indicate the pohm where mel<
s titching will be suspended
( (I>) in Fig. 8-35) . Translate
the plan imo a full-sit ed tuck
ing pauem, sprend out lO
include space for the tuck
folds, 'With mel< scamlines
noted beside the centered fold
lines. Limit tucl: width for an
bue,nqncti-rucl: design w V4"
(6mrn) at tl1c mosr.
\ t-\ )=\ ?:"\. }:\
\ .1 \) \} } 7 \.

t \ t\ t\ 1\ r
' \./ \.{ S-< \./
>:< )\ ).\
';( \-{ '>-7 \7
X)\ I \ !\ ;-
, \ -J CO{ <; .J \ -J
I ' : ' ' '
(b)
Fig. 835. Designs for partially
seamed tucks with lines indicating
seams/folds: (a) Released tucks with
brokenv lines wt>ere tuck stitching
stops. {b) Interrupted tucks with bro-
ken-fine circles where tuck stitching
breaks.
3. Using a fabricsnfe, vanishing or
removable, murking substance.
mnrk the right side of th e fabric
with fol d lines nnd seamlines as
specified on the planned
arrangement. Mark the points
where tuck SC. 1111S stop and start.
for released tucks. expand the
]Japer plan b)' adding measured
tuck w1d ths beside the fold lines.
For interrupted tucks, trace fold
lines from trace
seam lines ilnccded.
4 . Fold and sew t he tucl<s by
machine, stopping and resuming
where indicated. When a seam
ends or inside the fabric,
pull the end of the surface thread
to the back and tie the needle
and bobbin threads together
before trimming tl1c threads. If it
can be done inconspicuous!)'.
backstitch or stitch in place to
!><:Cure the seam. Hand se" 1ng
ma)' be tha!l !Wiclune
sewing for crossrucked pattern<
5. Press the folds of released tucks
Oat in the direction specified on
the original pla11, witl1 the
released por tions of the tucks
continued as pressed or
unpressed folds. For unpressed
released-ruck applications and
int erTUpted tucks, stretch aJ>d
pin the edges of the tucking to a
padded board. with an
iron he.ld just above tl>c surface
or I he t ucks, and allow to coo)
tmd dry before
6. Refer to Extending the Tucking
Fabric on page L49.
N OTES & V ARlATIONS
Released tucks are not purely
decorathe; they function somewhat
li ke pleats to crea1c and cont rol
Fullness in the unt uckcd scctiotts of
the fabric, The fullness can be iso
Ia ted at one or on both ends or the
discontinued tucks, or the Fullness
can be centralized. Either the
tucked Slde or t he seamed side or
released tuck< can he selected ror
the right side. When the seamed
<ide Is oul<idc, the mcks in back
are pressed Oat.
Unlike released tucks. fabric pat
tcrncd with an interrupted tucking
design remains s tabilized through
out and t he result is more dimcn
sionolized . Tuck Folds stand. and
the puffs that replace the intersec
tlons where tucks would otherwise
cross project C1'Cn mot(!. The eleva
Li on of the puffs is detem>ined by
t he number and depth of the tucks
t hat discharge the puff. Since paper
ph1nning for an imemtpted tucking
design can't full y predict t he cloth
result, test first.
PART I ALLY
SEAMED TUCKS
Vltt.41 Spocod woo, pressed., <fzre<:(JOI!$ bes>de o CCiltered
wd< "' the rrwddle. releose loose folds of, e and btlow the Wd< seams.
1 ?6 The Art of Manipulating Fabr ic
rocks tn dusws o( 1/lree ttle0$C loose folds
where the tlKks srop..
Vllf-42- IJnpressed, parollol, narrow tud<s n:>lcose bands o(
foose {o!ds where wck !Wt.thinR srops.
YIII -43- An imerrup!ed cross-
wckmg destjn. pln-Mked.
Chapter 8
PARTIALLY
SEAMED TUCKS
TUCKING 177
SEAMLESS TUCKS
-wcks formed and secured with
hand stitches at separated points
along their length. There are two
kinds of seamless tucks:
CLUSTER TUCKS
- three or more fanned rucks
assembled at regular intervals with
hand stitches connecting the base of
the folds. Cluster tucks stand up
from the surface of t he fabric.
TIED TUCKS
- rucks shaped solely with ties that
enclose and crush the tuck fold ar
intervals. Tied tucks puff up from the
surface of the fabric.
PROCEDURES FoR
CLUSTER T UCKS
1. Plan the numhcr of mcks in a
clush:r, and the standing width
or tuck in the cluster.
Decide how mnny clusters to
include wh hln the wrget mea-
surement for the tucked applica-
tion. To the space between
clusters, divide the target mea-
>urcment by the total number of
tlu>tcr>. Estim.nc the fabric
rcqtHrcmcnt:
Slandlflg tUCk 1\idtll X 2
tolal tuct 1\idtll
IOialtUCk Wtdlh
x numlltr of tuctcs per cluster
* width or one cluster
width of one tlusler
x total number of clusters
total clustet width
tolal cluster wldlh
+ largct measurement
Estimated Fabric Requirement
2. On the wrong side of fabric d1a1
h:t.s been cut to size, measure
and mark venical rows of dots:
a. Start with horizontal lines of
dot.> .ocrY. the top 3lld bot-
tom edges of the fabric. Mark
one dot for the back fold of
c.och tuck in a duster, plus
one-fnur back folds for ohree
1uck.\, flvc bacl< folds for four
tucks, etc. Each tuck '";n be
one-half 11> wide as the space
between two back-fold dots.
S.:par:ue the dot clusters \\;th
measured ;p:accs.
b. Connect the hack-fold dots on
opposite edges \nth vertical
rows of dots, ldcnlically spaced.
ilt'causc each dot is a stitch
localiOI\ gauge 1 he dLstancc
between vct'tlcal by the
need tt> assure Shtbiliry of a
cluster along it.> length from
edge to edge ((a) in Fig. 8-35).
(a)
(b)
:ll r
-\----.....-
Back Fold Dots
SpaeeBotween
Clusters
I=
I=
1-

' .\
Fig. 8-36. To make cluster tucks: (a)
Mark the Iabrie with rows of dots
aligned vettlcally and horizontally. (b)
Pick up the dots In each horizontal
row in a cluster, on tiny stitches,
belot1l pulling the stitches together
on the thread.
178 Tho Art of Manipulating Fabric SEAMLESS TUCKS
3. Working from the back and
using sturdy tln'Cd in a long
needle, pick up each of the hori-
zomal dotS within a cluster ,,;th
a tiny "itch, and pull d1e stitches
together rightly on the thn-ad.
Repeat, then !CUrt< nnd cut the
thread. Continue to connect each
succession or horitontal dols in a
duster \\1th stitches. moving
down along the lcngt h of the
cluster tuck ((b) in l' ig. S-36).
4. Stretching the cluster Lucks along
their length, pill the ends to a
padded surrace and steam with an
iron held above the fabri c. Allow
ro cool nnd dr) before moving.
PROCEDURES FOR
TIED TUCKS
1. Plan a repeanng, fullslZed tuck-
mg paucm on graph paper. using
two dots connected with a line to
indicme one tie (Fig. S-37). The
spacing between dots comrols the
amount of fabric that \viii he
enclosed :ond crushed by a rk,
and the spread and pull' l'f the
ruck between Lies. 1Cst the rm-
tcrn on a >qu:.re of fabric.
Measure 1he fabric before and
after he ltst >nd u>c those mea-
surements as a basis for cstimat
ing the fabrt c requirement for a
lied-tuck applicauon:
[measurement bef01e tesbng
+ measuremenlaller tesMgJ
x large! mmurement
Fabric Requirement
2. With'' fabrlc<.tfc pen or pmcil,
mark fabric th:n has been cut to
size with pairs of dots to be tied
together. For surface tics, dot the
right side (the technique \viii
ob>curc the dots): for reYerse
ties, d01 the wrong ide.
l'uncrun< the p>llem wtth holes
10 usc as a dot-marking stencil.
or trace dots the pallem
under the matertal.
(a)
(b)
(c)
(d)
Fig. 837. Examples of gridbased tied-tuck patterns: (a) Identical rows of dots
shape vertical tucks when pairs of dots are tied together. (b, c, d) Rows of dots
with staggered spacing and changes in the direction of dots to be lied together
release folds that restructure the fabric Into nontucklike formations.
3. With strong t hread in 11 needle,
connect each pair of do1s: lnsen.
t he nc.cdlc in to one dot nnd
bring it out at the other doL
a 1ail of thread. repeat
the stitch (fig. 838).
Fig. 838. Preparing to tie a tuck by
connecting a pair of dots with repeat
ed stitches.
Pull the dots together on the
thread. crushing the fabric of the
ruck. Tie the ends securely with
n square knot (fig. 8-39).
Fig. 839. A square knot. Trim the
endS of iha thread about 'k"
(1.3cm) from the knot.
When urface tying in front.
don't let the crushed fabric
slip under the pulled stitch to
collect in back. The ends of
the clipped thread become
pan of the surface texture.
l;:or I'Cvcrsc draw the
dots together with the
crushed fnbric pushed
1hrough tu the right side. The
end> of the clipped thread will
remain h1dden in back.
4. Stretching gently. pull out and
pin the edges of the fmisbcd
mcklng to a padded board.
with an ron held just
above the surface or the tucks.
Allow to cool and dry before
removing.
NOTES & VARIATIONS
Refer to "1-stcndmg the Tuckmg
Fabnc on pa)\e 149.
When cltl>ter tucks arr mcrscd.
the back fold> of the clusters peep
out be1wccn the g.>ps m the pulled
stitches. and fan out more when
S!Telched or pushed. For rnrscd
clusw wclzs, reduce the stunding
width of t he tucks to minimirc bulk
unden1enth. Conceal the starts and
stop> of the th-cnd in back, or secure
the ends with deCOI'ative ties in fronL
ik>.itlc> following gridha<ed pat
tems. tied wcks can dimcnsionalize
designs "id'l that curve.
dhel)\e, converge. nnd disappear,
outlining with lucks that vary in size
and dw;ndle down to nothing.
Patterns for mcmulcri11g tiecl nicks
are linear rather than dotted. They
start on \\1lh llnes th." nOI
only describe the design, bm also
indicntc the center poinr het\vecn
pairs or tics that mise the design
from the fnbrlcs surface. (l) Make a
line drawing of the meandering
dc...; ign. Convcl't the ti.J:-t\\"ing imo a
paucm, the lines apart to
allow for he fabric that will be
drawn up into luck:, when lhe
design I< tied. (2) Trace the pattern
onto 1he right side of the fabric w;th
fabric-safe disappearing pen or
chalk. onto 1he wrong side of the
fabric with u fabnc pencil, or, for a
design to include >urface :os well as
reverse tying, omllne the design
with thread ba.>ting. (3) Gauging by
eye or measuring. stitch in and out
on eil her side of o Une and knot the
thread previously described. Vay
the distance between ties to accom-
mod;tlC lhC cur\'CS nnd dniations of
1 he design. ( 4) When finished. pin
the fabric around the edges 10 a
padded board. stretching to smooth
ou1 1he areas bc1ween the tucks nnd
accentuate the relief or the design.
Steam block. and allow to cool and
dry before unpmnmg. (5) Bausc
meandering tied tuck designs change
the edges of the f:bric from straight
and mit to dl<tortecl. trim the fabric
back to shope. If slabilizc
with underlining.
Chapter 8 TUCKING i 79
SEAMLESS
TUCKS
I
clllsl<r n:cks.
180 The Art of Manipulat ing Fabric
'
I
o( tople Clustc; tucks
'1111-4 7 Rows of surf=-<C!d tucks cros"ng the boas
of the mvs,m. boned too ln1ni.

SEAMLESS TUCKS
of reverse-ned t<Kks. See Fig. 8-37 (or </le pauems
used; (abwe left) see (a) a()(! (cj); (above righi) sec (b}; (below left}
see (c): (below right) see (c/).
Chapte r 8 TUCKING 181
SEAMLESS TUCKS
Vl/149 A !led llddes;gn limllldt.<ies rutWlg. <MTng.
c o n . ~ 1 1 ~ d11opP<anng. croSSlng and scrambled /.nes
182 The Ar t of Manipulating Fabric
PATTERN
TUCKING
pin tucking that
dlmensionalizes designs with rurving
and angular as well as straight lines.
Amid the ridges of the pin
fabric shifts between
smooth and puckery.
PROCEDURES
1. Oral't a linear on
expanding 1he space
bcawccn lines to compensa1e l'or
1hc lo:.s that occurs aftcr the lines
are pin-tucked. To prove the
design. test with a square of fab-
nc. \Ieasure 1hc fabric before and
af1cr 1hc tl'>l and lJS(O those mc-.t
;uremcnt.> :1!> a basi!. for c:akulaL
ing the fabric requirement, or
work w1th fabric cut approxi
m:otdy l >;.. limes larger in both
dlrec1ions than the 1arget mea-
5UI'ement for the Finished tucking.
2. Trace 1 he design onto 1 he right
side of the fabric with fabric-safe
<: halk, pen .. or
1 h read basting:
Pin tbe fabric over t.be l'aper
pattern and ;>lace on a ligh1
box or window during
10 expose the lines of the pat-
lcm dislinctly enough 10 copy.
Trace the pattern onto tis..<rue:
paper or tc.tr-away stabilizer.
Pon 1he pattern over the fab-
ric. Follomng the lines of 1he
pattern. thread baste 1hrough
b01h, and 1hen gently tear the
pnucrn away.
3. Hnnd sew 1 he design:
pin rucks. To
>CW otrnightlincs and slight
curves, fold on the rraced line
just ahead of the needle and
sew with tiny running s1i1ches
no more 1han Yi" 0 .5mm)
fmm the fold. For tight C\li'Vts
and designs thai continually
cur\'c, Uhcmatc between a sur
face stitch on one side of the
line and a surface slitch on the
Other side of the line. After six
or more >tllche>. pull the
1hread 10 rni5<' the pm rod
(T'ig. 8-.1()). :-Jegotiau: steep
cuncs with >mallcr stitcbe,
on the in.<lde of 1he cune and
lnrgcr stitches on the omside.
-
/ "..,/ __ _
(,
,.
ti'./
I.
\
'
' ,
- __ ,.,
I
'
'
\
\
I
I
J
(a)
(b)
Fig. 8-40. To pin tuck s curving
design with sltemsting running stitch
es: (a) lnse/1 the needle Vr6
(I.Smm) from one side of rhe line
and bring it out Vr6 (I.Smm) from
the Hne on the side directly opposite.
Moving fOf\vard slightly. take a tiny
stitch back to the orher side.
ContintJ6 back snd forth. (b) After six
stitches, pull tho thread taut to bring
up ths tuck, a(J(J proceed.
Pin tucking with
Mal<c pulled stitch-
es !1\'' (3mm} wide tbal 11\0VC
under n II ne wi th the needle
always crossing from Lhc same
dorcc1lon. Overcasting witll
embosses the design
wil h uny ridges tltat have a
rope-like t"<igc (fig. 8--H}.
Fig. 841. To pattern tuck willl over
cast stitching: Bring the needle up a
scant
1
/16"(1.5mm) to the lefl of rhe
line. Moving forward across the line,
take a stitch under the line to the
side directly opposite, staying a scant
'/rB"(I.Smm) from the line on either
side. Moving fonvsrd (ICfOSS the line,
make another stitch in the same
direction. After several stitches, puN
tho thread taut boloro ccntinuing.
-1. Stretching the pattem-ruch-d
fabric pin around the
edges to a p.tdded board. Steam
wit h an Iron held just above the
surface of 1he tucks. and allow to
cool untltil')' before moving.
5. Refer to "Extending the Tucking
Pnbrlc" on page 1+9.
NOTES & VARIATIONS
Panem tucking is surprismgly
wrsatilc. h c:m foUow lines that
meander, converge. angle. split.
cross. and s1op and s1art anywhere.
Afrer a tulle experience w1th the
technique, fabric can be tucked
wilh a pancrn improvised while
stitching.
Given the C\lrvilincar. at)1lical
pnueming of 1he folds raised from
the fntll' ic, Onlshi1tg wit h a fahric
thm lies Overall requires S!iiCh
ing dawn up jusl enough 10 crea1e
the tucked ridge-bUI never so
much that the fnbric begins to g<lth-
cr beyond the puckering
isllc of 1he ttchmque. An e:<cep-
lion: If the design Includes cudes
within circles or squares within
squares. the outer motifs mar need
some to maintain a Jeyef
fabric. Alwny>, 1hc IUcl< i1sclf
should be tiny.
VIII-SO--Rows o( arcles plnllid<i wrlh /a<lder sutdlrng.
PATTERN TUCKING
VIII-51-A nmrong fforol repeated "' rows.
V/11-52- Sho'low <1/frcost o sprftll des1gn W!!h twJSty.C<Jgcd p.n wcki11g
184 T he Art o l Mnnlpulntlng Fnbrlc
Filled Reliefs
PA
FOUR
C
ording raises linear designs
from the surface of the fab-
ric. Inserted inside channels
stitched into doubled fabric, cord
brings elaborate, interlaced com-
positions up from the surface with
low-relief modelling. Encased
inside tubes stitched into single
fabric, cord lifts parallel rows of
rolls from the surface in high-relief
arrangements.
Besides elevation, cord adds its
own substance to the fabric. Fabric
has more weight and firmness after
cording than before, and its flexibil-
ity is affected by the thickness and
closeness of the cords and the tight-
ness of their fabric wrapping.
CORD N
-
-
-

9 Cording
CORDING BAS1CS .................... 187
Cords for Cording .............. 187
HAND-SEWN CORDED
QUILl ' lNG .............................. 188
Procedures .......................... 188
Stnng-guidcd yam
cording .......................... l90
Trnpunto .......................... 191
Single-fabric cording ........ l91
Mt\OIINE-SEWN CORDED
QUILTING .................. ............ 194
Procedures .............. ............ 194
Single-fabri c machine-
stitched cording ............ l95
SURFACE CORDING ................ 199
Procedures .......................... 199
Note. & Vuiations.. ............ 200
Dctoc.hed cording ............ 200
:-lote: This chapter begins with
BASICS, indicated by a gmf band
locotcd u nclerneath the relevant

CORDING BASKS
CORDS FOR CORDING
S
elect a cord for its quality in
hand and in conjunction with
the fabric, for its suitobility to
the cording technique. for its size in
relation to the channel or rube. and
for its practicality.
To bring complex. hand-sewn
designs into relief, t he soft, puffy,
resilient , lightweight of
at rylic yarn make It the contempo-
rary favor! tC. Tluetldecl into a nee-
dleS eye, Insertion into narrow
channels is I'Clativcly easy. even
when tWO. 1hrcc, or four S-trands are
combined to the filler bulk
of the }am. Fabtic corded _.;th yarn
remains supple.
The more solid substance of
cable cord offers the resistonce
needed for hand-stitched sinlc-fah-
o
ric cording, and for machine stitch
ing with :1 zipper or cording foot
next tO t he covered cord. llefore
acrylic ynrn. cable cord was the
raising clemenL insencd into the
cha011cb of imricatc clt:signs, and it
is still the choice when sturdy
roundness the desired rcsllit.
A loose lwis t of many plies of black
or white collott or polyester thread.
cable cord is pliable and stable. and
manuf:tcturcd in a ";de range of
sizes identified b)' numbers that
jump betwe<n =6 and =300 as
diamtt<rs mcreasc. Cable cord
finns up when tightly encased in
fabric. One hundred percent cotton
cable cord tcntb to ohrink when
washed.
F<>r thick, fat, surface cording,
either connected or detached welt-
ing cord is in diamc,ter.
that excc.ed the largest cable corcl.
Welt ing cord Is made from couon
fibers shaped into a roll and con-
mined ins ide a ncuing o{ thread.
Consider crochet cotton. heavy
string, macr>mt cord. and rauail for
or zigzag cording. for
dehcate cording in n.1rrow channels
or tubes. and for cords brouht to
the surface. When adduionalte:<-
turc is appropriate, no,elty cords
manufactured with uneven. nubby
surr:tces. Or String Or twine tCXlUrCd
with crocheL, knots. and twists.
imp>rt their Irregularities to thin,
snug fnbrl c coverings.
BASICS 187
HAND-SEWN
CORDED
Q UILTING
-two layers of fabric covering cords
conflnod within stitched channels. a
combination that embosses an inter
lacing design into the surface fabric.
PROCEDURES
I. Draft a full-size pattern for a
design that uses, as the linear
de,;ce. two parallel. evenly
spaced lines. The lines cleOnc
channds that follow curving,
angular. emwilting pnths thm
appear to weave over nnd undCI'
one another. Where the double
line channels cross. one channel
stops the progression of the
other. and each channel ahe.-
nates between proceeding O\'cr
and disappearing under the
channels it crosses. Because of
the constant interruptions. chan
nels arc divided into short scg
ments (Fig. 9- l ). The safe wi<hh
for the parallel lines is W'
(6mm) or Jess.
2. With a fine-line, fabric-s.fc
marker. trace a faint but distinct
copy of the design onto the inner
lining or the surface fabric, both
cue to t he desired size (refer 10
"Transferring Designs" on
page 205}:
For running-stitched corded
quilting, trace a mirror-image
of the design onto the inner
lining.
For back-stitched corded
quilting, trace the design onto
t he surface fabric using a van-
ishing or easily removable
marking substance.
188
Bflste the inner lining to Lhe
surface fabric.
The Art ol Manipulating F>bric
3. Cover the traced l i n ~ of the
design with ttn)', uniform stitCh-
es Al polnts where cross-over
cbatmels interrupt the Line being
stitched, move the needle
between t he fohric layers to the
other side of the channel where
the line cominues, taking a tiny
backstitch on each side of the
intrrrupLion.
Fig. 9-1. Designs for
hand-se1m corded
quilting.
Allover
Desi gn
Border
Designs
Medallion
Designs
When se'"ng ~ t h running
Stitches, periodkall)' check
the regularity of the stitches
from the front.
When backstitching, s tretch
the fabric in a hoop to pre
vent thread tension from
pulling on the fabric.
HAND-SEWN CORDED QUILTING
4. Fill the stil c:h-outlincd channels
of the design with cord, either
cable c01d or acrylic yam (refer
to "Cord!. for Cording" on
page 187), pulled through the
channels with the aid of a tajl<!S-
try needle or
a. With the inner-lining side up,
Ioree the cord-threaded needle
or bodkin into one end of a
chatmcl. piercing a hole
through the lining only. Pu5h
the needle or bodkin through
the channel umil its forward
movement is halted by a turn
or a seam. Bring the needle or
bodkin out of the channel
through a hole punctured in
the lining. Draw the cord
through the channel, leaving a
scanty tail exposed at the
bcgmning.
b. If the needle or bodkin is
stopped by an angle or curve
it can't negotiate, bring it out
10 the surface, re-insert it into
Lhe snme hole. and continue:
shoving It forward through
the channel until i t is stopped
Lining
Lining ---
again. Push the needle or
hodkin out of the mner lining
at that point and pull the cord
through the channel, but
leae a tiny loop exposed at
the angle or curve. When flU.
ing a long channel unimpeded
by abrupt turns. break out of
the channel at inten als to
leave outs ide loops for slack
to relieve the tension accumu-
i(ltctl in t.hc pulled cord.
c. When " seam crossing the
chonnel blocks further
progress, bring the ntedk or
bodkin out of the inner lin-
mg. pull the excess cord
through the channel, and cut
the cord a shon !4" (6mm)
[rom the lining where it
emerged ( Figs. 9-1 and 9-3).
d. Tug the fabric along the
length of the corded channel
to stretch out any constric-
tions cattsed by the drag of
the cord. As lhe cording read-
j usts, t he toils and loops
rcucat inside the cham>els.
..... ...... -\ \ "tgz ' r7.:;::--::------,
. . / . " Lining
: ... \ \ / .... \- \
o o ' I ' ' ' ,'' ,.'" '", ',
: : ', \ o I ..,
' . \ ' : : \ '. . :/ .. ,
. . . . ... :' '. ,, ... .... .\
:' :' , . ' ' . . , ' .. (" .
I o I I o o o ' < , o '(.
:: : : '('r :: \
... . . ' , . \ ,' : ', .
.......... ..... ____ ___ _ :: \\ :: .t t

... ----.. ---..... --.. -- .. __ _ :- a\-.---------'ftL.
(b) -- -- -- -- --'lll -- -
(c)
(a)
Fig. 92. Cording with cable cord: (a) Poke and wi ggle the needle into and out
of the inner lining. (b) At sharp turns. push the needle out, re-Insert into the
same hole and move forward. (c) Leave short tails where channels begin and
end, and tiny loops at re-direction points.
F'tg. 9-3. Cording with doubled yam.
5. Stretch and pin the corded quilt-
ing to n p.1dded surface. Steam
with an iron held above the fab-
ric, and allow to cool and dry
before moving.
6. Line tl>e corded des ign. If need-
ed, tncl< the outer lining to the
lining inconspicuously at
intervals. Cover the edges with
blndlng or sew to an extension
fabric, triuuni ng bulky cords
from the seam allowances if the)'
interfere.
Chapter 9 CORDING 189
NOTES & VARIATIONS
After cordtng, the fabric between
the cord-Oiled channels should be
and Rat. For this result.
channels Yi" (6mm) wide are safe.
If the surface fabric has sufficiem
give. it will absorb the relief of elab-
orate cording through wider chan-
nels without disturbing the even-
ness or du: Intervening fabric, but
test before application.
Number SO cable cord or two
Strands Of 4-pl) acryiJc yarn provide
ample Oiler for a W' (6mm) chan-
nel. One ;trand of yam will fill a
channel V." (3mm) wide.
Comparing a W' (6mm) channel
Oiled with :150 cable cord tO a V."
(6mm) channel filled with two
strands of 4-pl)' acrylic )'3nl, the
t':lble-cordcd channel bas a more
rounded. pronounced reltef than
the Rauer. ram-corded channel.
Cable-corded fabric is firmer in
hand than y.trncorded fabric.
Cable COI'd enters and e..xit.s a y4n
(6mm) channel as doubled cord,
although a single cord remains
and requires larger openings
and more clfort to pull through the
channels 1 han doubled yam.
Doubled yarn enters and exits
through >mallcr boles because pres-
sure compresses its bulk. but, once
inside. u expands to the same bulk
that >lays in the channel. A channel
must ha\'t enough play to allow the
interior movement or corcl or ynm
without jerking. but if t he channel
ts toll loose around t he cord, the
finished design wlll lack dtfinition
(t'i&. 9'1). Choose a tapestry needle
m hod ki n with an eye j ust big
enough 10 accept the cord or yarn
that must be threaded t hrough it.
Relate t he si:c of the shaft 10 the
puncture the nl-cdle or bodkin
needs 10 make in the inner lining.
puncture. prderablr worked by
pushmg a;idc threads in the wea,e.
be barely large enough for
rhe cord to poss through.
190 Tha Art of Manipulating Fabri c
tl
(I
Fig. 94. To fit channel width to the
cord, pin tile cord between scraps of
fabric and lining; test the slid'! of the
cord. Remove the cord and measure
the distance between pins.
Careful!) done, yam-corded
designs arc reversible. If cntr)' and
exit holes are poked through rhe
lining \\'ithout breaking threads in
the weave, if rhc tails and loops left
Olti.Slde rhe openings arc rugged,
pushed, and t<a.ed back inside the
channels, and if the wea\'e distorted
Lo make the openings is restored by
scrntching wit h fingernail and
needle, there won'l be any proce-
dural evidence to conceal under
...-- --
neath an outer Uning. The inner
lining becomes the outer lining.
Select a loose weave for the one and
only lining fabnc.
Srrlng-guidcd yarn cording elimi-
nates o,ersizcd entry and exit
holes. Thread both ends of doubled
string into a l:orge-eycd needle with
a long, slender >lmnk. Work the
needle into, through. and out of a
channel segment. Loop doubled
yarn through t he loop aL the wd of
the sning. Pull on t he SITing to lead
t he ynm into and through the chan-
nel until the ynm bulls up against
t he seam Ul the end. llolding on ro
the string, stretch out the corded
channel and cut the )'m at the
beginning. Le,l\'c SCtnty tails to
"ork Into the channel and provide
slack to any strain on yam
stretched b)' pulling. If the channels
nrc short and SU'aight. the tails can
be minimal. Remove the srring
(Fig. 9-5). john l'lpm developed
t he method for r.ord
insertion. l ie cords intricmc
des igns from Lhc Lop.
---, __ .....:--- ...
L..-----1 ... ,;.---- ... , ,
(a)
-..... .... ,r.< \ - - ... / . \
'<." \ I , - '" " I I
- - ... J , , ...
....__, I I / ), '-
1
I I
........ -... __ ,' ,' ," , ....... __ '
' ' I
__ .... - ..,<._,' ... _ __ __ .,.,
__ ,
Fig. 9-5. String-
guided cording
with doubled
yarn: (a) Yam
looped into the
loop at the end
of a doubled
string run
through a chan-
nel. {b) Yam
pulled through
the channel on
lhe string.
(b)
HAND-SEWN CORDED QUILTING
When corded quilling inte-
grated \\;th stuffed quilling 10 raise
designs that indude shapes as well
as lines, the combined techniques
3re called traiJumo.
\Vilhan outer hning over an
inner lining, cable-tordecl designs
nnd non-rcvtrsiblc ym'tHMdcd
designs finish as textiles.
To lighten the layering, u<e a gauzy
inner lining for allo\'er pauern_o;,
and cut away the uncorded lining
around borders and tsolatcd motifs.
For single-fabic cording, thread
crossing over the cord in back sub-
stitutes for an inncl' Lining.
Particularly suitable for medallion-
type motifs or abbreviated border
designs, singk-[abric cording is
hand stitched with the fabric
stretched in a frame or hoop large
enough to expose the entire design.
Trace the design on the right side of
the fabric. one hand, hold a
length of cable cord underneath the
channel to be corded. With the
other hand, backstitch over both
lines, aiLernat ing between A s1 itch
on one side and a slit,:h on the
other side. ahvays scooping the nee-
tile down and up over the cord
underneath. l'ullthe sutches
againSI the stdes o the cablr cord,
tndosing the. upper half snugly
with <he fabric (Fig. 9-6).
I
-4
(a)
(b)
Cut the cord where a channel seg-
ment bcgms :md ends. Maintain an
even channel width throughouL
Adjust backstitching lengths around
wking longer stitches on
the outs ide of the channel matched
to shorter Stitche..< on the inside. At
outside angles, change tO alternat-
ing the hackstltchcs diagonally
across the corner" hen alternating
bctwttn the and inside of
the channel is no longer possible: at
t he lip, turn to the back and tack
the Olller comer to the inside angle
wi1 h slilchcs lh:tt aren't visible in
fron t. Lining is opllonal. An alter-
nate technique: Hnnd sew single-
fabric cording from the back using
a closed herringbone stitch to con-
tain the coni ( Fig. 9-7).
Fig. 9-6:-(a) Using IM alremating backstitch to secure cable cord underneath
lhe fabric. (b) In b8cl<. crossover lhread holds th6 cable cord in place.
Fig. 9-7. Worl<mg on
tile wrong side of
the fabric, use the
closed herringbone
stitch to oversew the
cable cord.
The channels of cord-qu1hed
designs outlined with runnmg
stitches have a soft, blurry appcar-
:1nce. Bnckstitching, which outlines
the ch:mncls with cont inuous,
unbrol<cn li nes of thread. shtll'pcns
the dtsign. Designs raised with sin-
glc-fnbric cording ha,'e the
>Lrongest definition. Cording. espe-
dall)' when elaborate and cxltltshc,
tends to shrink the fabnc.
Chapter 9 CORDING I 91
HAND-SEWN
CORDED
QUILTING
IX- I ROJMmg>Otchec!
cable-corded de>ign
192 Th12 Art of Manipulating Fabr ic
IX-2-Dvpl.ca:e
d e s ~ g t s \ .. 1lh
chant>eJs rurr.og-
stJl.c:hed on Ule le{i
and bod<st.tcr.ed
on 111 ngfot.
IX-3
nn>ong-S!>Idled
shtM "'i !lie ends (Jrt(/ loops
of tlw: rol>c<Otd (l"tt
IX-4-SM>g'e-P/xrc """"f' bock
soo:hed ""'"' ;, 50 coli cord.
HAND SEWN CORDED
QUILTING
IX-5 R...,,.,. "de of <he lx.'d<sttche<l desogn reveals
!he aoss"""r th!!<!d that holds lhe cable ca<d.
MACHINE- SEWN
CORDED
Q UILTING
- twO layers of fabric covering cords
confined within stitched channels. a
combination that patterns the sur-
face fabric with rounded ridges
arranged In panllel rows.
PROCEDURES
I. l'l'cpa,c u s uiped design com-
of >Lraight, wavy, or angled
hands using equidistant double
lines as the linear device. The
most practical designs for
machme-,;e,"' corded quihing
ha\C parallel double-line channels
thnt t\\ ISland tum, thar touch
but don) cross. and that continue
unm1cm1plcd b)' stops and re-
SHlrb where sewing lhrcad must
be (Fig. 9-8). The safe
width for the double lines is w
(6mm) or less, although straight,
striped patterns will 1oleratc
wider churUlcls.
2. Wi lh n fine line, fabric-safe
marker. trace a faint but dis
linct mirror-I mage copy of 1hc
design onto a he lining ( refer
ro '"Tmnsremng Designs- on
page 205). Basae the lining to
the surface fabric.
3 h\ mudnnc . ..:o,e-ring the
lrllced ""h strnigln stitch-
mg. If 1 he dc>ign requires stop-
ping a scam 10 start again a dis-
tantc srcure rhe stitching
unnmlceably by t};ng abe ends
of the lhrcild in b.1ck: (1) Pull
the needle 1hread up and out on
the lining side. {1) Tie the nee-
dle 1 hrcad to the bobbin t hread
wlah n S<]uare knot. (3) insen
bolh into a baud-sewing
needle; push 1hc needle into the
lining 01 I he last sti1ch of the
senm; bring it out half-lhc-nee-
cllc's lcng1 h away, and cu 1 lhc
1 hreads at thnt point. ( -t) Steam
press to >Ct tbc stitching.
4. Fillahc Slllch-oUIIined channels
of I he design "ith cable cord or
acrylic yam. follo,nng procc-
described on page 189.
s1cp :4, for "Hand-sewn Corded
Quilting" (also refer to "Cords
for Cording'' on page 187). Most
mnchmc .. sl.!wn designs have
chunncls wil h ready-made open-
the edge of the fabric. An
elabornac, machine-sewn design
may have dosed interior chan-
nels ns well.
S. S1rc1ch and pin 1he corded quilL-
ing to a padded surface. Steam
with nn Iron held above the fab-
ric. Allo\\ to cool and dry before
removing the pins.
Fig. 98. Continuous-line designs for machine sewing: (a, b, c) Designs with
parallel, uninterrupted channels. (d) Design for solid cording with segmenled
channels. To stitch. sew the straight lines first. then the stepped lines that angle
down and across, and oversew portions of the stralgh/ lines.
6. To prepare the edges of corded
fobric for finishing or cxlension.
remove stilT, l>ulky cord from the
allowances. Measure the
corded fabrcc from s1de to side
across the center of the corded
channels. Usc that mcasuremcnl
when cuning 1he fabric that will
be St\\11 10 the edges of 1he cord-
ing :md when cuu.ing an outer
for the corded design, if
there nrc c.xposed cord ends to
concc.1l. Ease 1 he edges empl led
of cords to match the fablic
when sewing t..hc Lwo
together.
N OTES & VARIATIONS
Re\ icw the Notes and Variations
abou1 Corded Quilting"
thai begin on p.tge 190.
The most efficiem designs for
machine-stilched cording require
sewing 1haL moves down 1 he fabric
rrom top to hottom without any
need t O stt>p and re-position for a
shar;> a urn ur 1hc cndlnglheginning
of a se-l!m. With ahc design rraced
on the lining, the bobbin side of a he
scam shows in fl'ont. Before sewi ng.
1cs1 1he balance bc1ween tension
and stitch length on scrnps. paying
p-.trlicular aucnuon 10 the appear-
ance of the bobbm stitches.
Strnlght-linc channels may be
slitched from lhc front when the
widah of the presser foot is the
guide followed 10 gauge channel
width and 1hc spacing beawcen
channels. For solid cording, adja-
ccm chnnnds shnrc the same seam,
which cnn be with satin
saitching or twin-needle seaming.
Lead 1he cmd 1hrough straight
channels of modcrale kngth wi1h a
tapestry needle or bodkin ; or pull
1hc cord 1hrough the channels with
a piece of stilT wire, slightly longer
than a channel, bent imo a hook or
loop at one end.
194
The Art or Manipulating Fabric
MACHINE-SEWN CORDED QUI LTING
..
l
'

' .

' .
'

'
'

'
'

'
.
'
' '
'
'
:
'
I
'

'
.
:
'
'

'
:
' '
'
'
:
'
I
'
' :

'

!

'
i
.Iii
i
Another option for straigln -une
paucrns eliminates cord insertion as
a .cpamte JCthitr Channel stitching
and coni inscnion arc simuiUtnt-ous.
(I) S111n '"th a stiffiy stabili:ed lin-
ing cut to size. Cut the surface fabric
long a> the lini ng and corded
channels, but wider than the lining
to compcnoatc for the curving of the
surfncc f"bric over the cords. Pin
t he of the surface fabric to
the lining Ot1 one side. ( 2) Wit h
the surface fabric up, sew the firs t
(3) Insert " firm cord, such
as cable cottl between the surlace
fabric and lining, pushing it up
ag:linst the seam_ With a zipper or
cordmg fooL sew ne.xt to the cord,
enclosing it inside a channel.
(-I) Contmue adding corded rows,
one against the other. or with wtcord-
c..:l sepamtions to ,ary the design
( Fig. 9-9). Indicate measured spacing
between the cords with thin, faim
ttuidclines marl<cd 0 11 the surface
(a)
(b)
Surface
Fabric
lining
Surface

Lining
-
Fig. 9-9. Sewing
the channel and
the cord into the
channel in one
operation .
fabric. If the swfuce fabric is bias-cut
and cased or sm:rched as
pmctttls. the cord can he
sutched ln1o rows that curVe.
The humped ridges caused by
the cord undemea1h are more pro
nounccd when cord is stitched
inside 1he channels rather than
inserted after the channels
$t amed (fig. 9 10) . Using either
met hod of insertion, 1 he
surface will ha\' e more texture if the
cord Inside the channels is rough
wilh knobs and LWISI S rhat sl1ow
1 hrough the fabric. Floaters of cord
dclihel"dtel)' brought OUt 10 the SUT
face in cenain places conrributc 1he
texture of cut, brushed-out ends to
the ovcmll relief.
With s ingle-fabri c machine-
slirchetl cording, a network of
thread encloses the cord. Twi n-
needle or zigzag stitching subsci-
IUtcs for t he li ni ng.
Fig. 910. Profile diagram illustrates the dilleronco In surface elevation between
(a) cord insened after sewing the channels and (b) cord lnsened while sewmg.
Twin-needle rord1n!i! outlines -
ro\\ channel; "' th 1 ""''S <md>-
ing in front and
in bock. Select a finn cord that lib
between 1hc nctdles. ti5C a
fool \\ilh a groovein the 00,.,_
and choose 1 hin fabric that wmp.
the cord eiiSily (Fig, 9-11) .
Fig. 911. Twin needlesizes- 1.6mm.
2mm, 2.5mm, 3mm, 4mm, 6mm-
indicate the space l:>ellveen needles,
and that limits the width of the cord
the stitching will be allle to wrap. The
groove on the base of the presser
foot makes a passageway for the
sti tched cord.
Increase lhc machine's top.-tension
setting to l ighten the thread that
crosses over the cord ln Te<1
the raised result of various settings
on a scrap or practice fabric. Sr.m
s titching with 1 he cord located
under Lhe f11bric and be1wccn the
lowered needles. Guide the cord
under the presser fool as stitching
progresses ( Fig. 9-12).
Ag. 9-12. Place a forefinger on either
sido of tho cord underneath the fabric
to centralize It as It moves toward the
presser foot between the twin needles.
Single-fabric machine-stitched cord-
ing will follow straigln ot curving
paths. Mark the design on fub-
ric with faint, temporary, single
lines; usc the foot to regu-
late the between rows: or
improvise a pattern while sewing.
The rigzag cording process is
similar to l\\;n-needle con!Jng but
the stitching in front "'different
Stitched thread crosses back and
forth over the ridge created b) the
cord underneath. Select a firm cord
and choose a :igzag stitch
that straddles the cord closely.
Ztg;mg s tuchlng also attaches cord
to the surface or the fabric. embell-
ishing the fabric wuh cord thot's
between the crossover
threads, or, with stitch length
reduced abno>t to 0, with cord
that's untkr a solid cover-
ing of satin -stitched thread.
floaters, loop> nnd ends of cord
released from the covcnng t hrcud,
add loose texture to t he s urf:tcc. To
interrupt a Line of zigz:og cording
with loops of cord 10 the sides, stop
stitching whh the needle: dow11,
loop the cord back :tn<.l fonh in
from of the needle, zigzng :tcross
the center of the loops, zig:ag back
ror sccurll )', nnd conLinuc forward
(fig. 9-13).
(a)
(b)
Fig. 9-13.
(a) Zigzag-
stitched cord with
floaters that
break !reo from
the stitching.
(b) Short lengths
of satlnstltched
cable cord with
both ends free
and untwisted.
196 Tho Ai'c of Mnipul>elng Fa bri c
IX 6- 5ampfcr ofmoehlne-se-Mt po!!m; With channel' cuble<ordea alter <otd1<11g.
MACHINE-SEWN CORDED QUILTING
IX-7- 1\vo SIZes of cable core/ ughriy as dre SO<lm$ wen;> str!ciJerl
IX-8 Mvshn tc><Wred by rhe
cord ""''* the d>o011els: ((mm
d10 top) yolf\ beods tenor
1ed twill<' cord.
tcnoue</ cmtlrwSied p.'asuc scnps.
MACHINE-SEWN
CORDED QUILTING
/X-9 CO/dong thor
{rom tile d101>-
ncls os knotrt!d {ronge.
l)(.f c.onkd """ """ ;ioote<S bmughl 10 1M SUt(ol:c
lht gn4 o( clloonels .,ffiffiS. Yom ends on w. CMter
bru!/!od Olll
MACH IN E-SEWN
CORDED QU I LT I NG
f
' ,..

. ...
198 Tho Art of Manipul ating Fabric
IX-II - T\V111-i!eetlle single {i!lmc coro/Og rmr /lrov-t crochet cotton.
IX 12- ZigZag-5blche<J songle {almc sompitr ({'Om thelc{t) lr.-s.b'e
and VISible z,gzcg cordm? soun sutt:he<J cOld looped cord:
cheted, cc:<i; shon lengths o{ saton sMched cord v.1th
/oo;e ends {royed.
SURFACE
C ORDING
-parallel tubular casings, raised and
stitched into the fabric like t ucks,
that round out over the foundation
when filled with cord.
P ROCEDURES
l. Decide how much fabric to allow
for a tubular c<t s-ing for the
selected cord ( rdcr to "Cords for
Cording" on page l87). Pin t he
cord inside a scrap of the chosen
l'obric. remove the pins and cord,
and measure rhe distance
between pinholes:
for cording to be stitched
lmo folds. confine the cord
snugly with pins.
For cording to be insetted
after the casings are se,vn.
the covering w
room for cord movement
mside ( Fig. 9-H},
T
I
Fig. 9- 14. Testing the fit of a tubular
casing around a cord lo set the fabric
allowance.
2. To estimate the amount of fabric
rc<;uircd for a surface-corded
applicmion: (l} Mult ipl) the
mnount of fabric needed to
cnColSc one cord by 1he rows of
cord pre-planned for the target
measurement. and (2} add that
IOt.nl to the target
for the application. Cut fabric for
cording to size- up and down as
well as across tho cords.
(a)
(b)
3. With a rabric-sak marking tool
or scissor ni ps, mark t he top and
bottom edges oE the cording fab-
ric, dght side up, witl1 measured
spaces for each cord casing and
11,ensured sep:uations in
between:
For cord inserted-and-stitched
in one ope:rmion. add a <:enter
point In between theseamline
posilions marked acros.> the
top and bouom edges of the
fabric (see (a) in Fig. 9-15).
Separations between the cas-
ings must be more than, or at
least equal to. the width of
the machines cording or zip-
per foot.
For cord inserted after s titch-
lug, Lhc minimum separation
between casings equals the
ovcrlnp of adjacenl, encased
col'tb ( fig. 9-16). For each
cnsing. indicate seacnlinc posi
Lions across the top and bot-
tom edges of the fabri c. and
connect the position marks
opposilc each other with faim
but di>tmct lines up and
down the fabric (see (a} in
Fig. 917).
1

1 !
I ;
!t
Fig. 9-15 .
(a) Fabric
prepared for
sewing cord
into tubular
casings.
(b) Machine
stitching a
cord into a
pinned fold.
Fig. 9 t 6. Profile views of surface-
corded channels demonstrate:
(a) The difference between the
actual space between seams and
the space that's visible betiYeen the
skies of the corded tubes.
(b) The minimum space between
seams for adjacent corded tubes
that touch.
Chapter 9 CORDING
-

,.,---....., ..,..--...,..
I I I
I I
I
I I
I I
I
I
I I I I
I
I I
I r--;;;:..
--,
I
I I
i
I
I I
I
I
I '
'
I I
I
'
'
I I
I
'
'
:
I I
I '
I I
I
'
;
I I
'
'
:
'
(a)
'
' '
'
'
' '
'
:
'
(b) . .
-1. Stitch and cord the rucks:
To Slltch-nnd<Ord in one oper-
nrion; (1) Fold between Lhe
edge marks Ll,;tt indicaLe the
center of a casing space and pin
awny from Ll1c location of the
scant (2) I nscrt cord inside L11c
1.1lnned fold. (3) l'ushing the
cord ngainst the fold. stitch
next 10 tJ1c cord widl a cording
or zipper foot anached 10 cl1e
machine (see (h) in Fig. 9-13).
To sthch the casing and inscn
the cord afterwards: (l) Pin
match the >e<unlincs that
enclose a ClSing space. (2) Sew
the scamlines together, remov-
ing c:tch pin at the approach of
1he presser fool. (3) Threading
1he cord into a tapesu-y needle
or bodkin, or using a hooking
or clamping tool, work cord
Inside the tubular ca<ings (see
(b) in 1'ig. 9-17).
5. Remove cord from scam-
allowance areas to prc.pare the
edges of surface-corded fabric for
finishing or extension. Center
each Oancned casing over the
scam underneath and baste with-
in lhc scnm allowance.
I I
I
I I
I I
I I
I

I It
I
917.
'
'
'
l
'
'
'
' '
'
'
"
'
I
:
'
'
'
'
'
I
'
'
'
'
t
I
'
'
'
'
'
:
f
'
'
;
'
'
l
I
I
I
I
I
I
I
I
(a) Fabric
marked wi!h
seam lines
for tucks to
be corded
alter sewing.
(b) Sewing
the casings
be/ore
Inserting
cord inside
the tubes.
NOTES & VARIATIONS
When a surfacl.'-<.-ordcd application
encirelcs. 1hc corded rubes must be
cominuous. After marldng the flat fab-
Stralghtgraln
200 The Art of Manipulat-ing Fabric SURFACE CORDI NG
ric with cording >paces and separa-
tions, sew the ends of the fabric
together, m;uching the markings.
Stitch-and-<:ord each tube in one oper-
ation, butting the encb of the cord
"here they meet, or sew the tubular
casmg> and leave an ope11ing in each
seam for cord insertion afterwards.
Unlike hand->cwn 'md machine
sewn corded quilling, s urface-cord-
ed manage cords or tmy
diameter (refer to "Cords for
Cording" on page I 87). Patterns are
LimiLcd 10 strnlght rows varied wiLh
cording that differs In size.
Covered cortb Lhat arc separated
from 1 he fabric can be curved and
coiled during application. Dctru:lted
cordi11g is m.-.de from strips of bi.'lS-<:IIt
t1bric wide enough to be folded
lengthwise around the selected cord
(fig. 9-18). The cord IS machme
stitched inside the cJSing witll"
zipper or cording foot.
(c)
Fig. 9- 7 8. To cut a con-
tinuous length of bias
s/rlp: (a) Cut a square
on the stralghtgrain of
the fabric. Cut in half
diagonally. Sew the
straight-cut edges of the
triangles together as the
arrows Indicate. (b) Mark
the wrong side of the
pleoed fabric with appro-
priafety spaced paraDe/
lines. Sew the opposite
edgas of the fabric
loge/her as the arrows
indicate, (c) but offset
one comer to match the
first line. and match all
succeeding lines to the
overhanging end.
For piping or welting. fold a strip
cut wide enough to include two seam
allowances nround the cord, with
right side out, and machine stiu:h.
Prepare piping/welting with seam
allownnces appropriate for sewing
into a scam joining two pieces of fab-
ric, or laying O\'C.r a foundation in
overlnpping rows (Fig. 9-19).
~
r
.
.

.
.
.
'
'
'
.
:
.
.
_,
(a) (b) ]I
Fig. 9-19. (a) Piping/welting for in-
seam application. (b) Piping/welting
for laid-on application.
To sew ptpin&"velting into a seam,
baste it to the right side of one piece
or Fabric \vith all edges matching. 1[
the seam Is circular, stop se-.ving
about 2" (Scm) from the meeting
point; open the piping/welting casing
nnd sew tbe ends together; re-fold,
nnd fi nish the basting (Fig. 9-20).
Sew the second piece of fabric to the
fi rst wllh right sides facing and the
piping/welting in between.
Piping/welting intended for laid-
on application needs to be fabri cated
with unequal seam allowances, one
SC:\nty and one at least Lwice as '"ide
:lS the diatneter Of the CO\'ered cord
(see {b) in Fig. 9-19). lay the cov-
ered cord on the foundation with the
short scam 3llowance underneath:
sew 10 the foundation by stitching
over the cording sc-m. Plncc the
corded edge of the ne:'<t row up
ng.11nst the cording of d1e row just
applied; sew 10 the foundation,
catching Lhc wide scam allowance of
the previous row in the scam. To
start or stop a row internal!}\ fold
the end of the strip diagonally to the
back, removing cord from the fold-
back (Fig. 9-21). For a coiled appli-
cation, the \ \ ~ l d r seam alloVv-ance
may need clipping, partimlarly at
the scart, but avoid clipping deeply .
Fig. 921. Machine sewing rows of
piping/welting laid over a foundation.
Sea on ullowllnces are inside corded
tubing. another type of detached cord-
ing. To make corded tubing: (I) Cut a
strip ,v;th two mnderate seam allow-
ances. Fold lengthwise around a cord
with the wrong side outside. The
~ o r d should extend beyond the-fabric
strip by a duplocatc length. (2) Using a
zipper or cording foot. stitch next to
but not tightly against the cord At the
end of the strip, pivot on the needle
and stltch ncross the cord several
Fig. 9-20. To join in-
seam piping/welting
that surrounds:
(a) Stop sewing and
remove all p1plngl
wetrmg stitching 2"
(SCm) on either side
of the meeting poinL
Make angled folds
and trim the ends of
the strips as shown.
(b) Sew the ends
together. Re-fold the
seamed strip over
the /:Jutted cord, align
all edges, and
resume the interrupt-
ad stitching
times. Trim tbe scam allowl\J.tce
close to the stitching (Fig. 9-22).
Fig. 9-22 .
Corded
tubing in
process.
ready to
be turned
right side
out over
lheoord
thai
extends
from the
endollhe
bias strip.
(3) Holdiug the top of the cord,
push the casing down lind over the
second half of the cord until it is
covered with fabric right side out.
Cm off the first half of the cord
{4) Hand sritch corded tubing with
its seam against the foundation fab-
ric. Working from the front, slip-
stitch the tubing to the foundation.
or, working from the back, srretch
the foundation in a hoop and back-
stitch Into the tubing as it is pushed
up against the fabric from undct-
ne:tth. Corded tubing is an appropri-
ate medium for scrolled designs.
SURFACE CORDING
202 The Art ol M>nlpulotlng Fbrlc
I
-. t- .. --
IX-I 3-Tubes that 9t on top of dlc some mvslin
!hot 11h'<lps !/le cable cord sttched lo>sde.
IX-I 4-(le(t side) Stnps o( pipong applied to o In cvrvong
rows. (nglll sde) Coded qvnl!ng w;th the co<ds undcmcoth
mus!in OJt on the bios to O(COmmoOOt curwng OI'IOnRCmcnt.
IX <mbell<shcd 'Mih
cOtde<J ubir>g opptJ"' o ser-
- <les>gn ant/ f<1lle<1 Mill
o dou!ie rrm o(
SURFACE CORDING
IX-I 5 Col! oppltco/#1
of "''""'"cc''"'ed p.p<ng
Chapcer 9 CORDING 203
F
unctionally, quilting is stitch-
ing that fastens three layers
of fabric-a top, a batting, and a
lining-into a stable textile that
becomes more than the sum of its
parts. Decoratively, quilt stitching
indents a design into the soft
thickness of the layered textile
with interrupted or continuous
li nes of thread. Hand-stitched
lines of thread have a different
effect on the padded surface than
thread lines sewn by machine.
A quilted textile has the bulk
and warmth of its fabric compo-
nents, and a substance in hand
influenced by the kind and amount
of stitching applied overall.
QU ILTI N
10 Quilting
QUILTING BASICS .................. 205
Tr:msfening Designs .............. 205
Tracing meo hods .................. 205
Baoomg .................................. 206
Tile Doubled-Binding Edge
finish ............................ ...... 207
joining Modular Unios ......... ... 208
Concealed COIIIlCCLions ........ lOil
Taped connections .............. 208
Stripped connecoions .......... 208
HANl) QUILTING ..... ............... 209
Procedures ...................... ........ 209
Notes & Variations ............. ... 213
Stabsoitched quiloing ......... ... 213
Backslitchcd qui lting .......... 213
Envelope edge .... .................. 2H
Flat hand quilting ..... ..... ...... 214
T)ing ................................. . 21-1
lining-binding .. ................. . 214
MACHINE QUILTl NG ........ .. .... 2.17
Procedures ......... ... .................. 217
:-.Iotts & Variations ................ 221
Art quilting ... ....................... 222
Openwork nnni-mo<lulcs .... 222
Tabs .................................. 223
Pressed quohmg .................. 223
Note: This chapter begins whh
BASICS, mrucatcd b)' n grny band
located underneath the oclcvnm
columns.
QUlLTING BASICS
T RANSFERRING DESIGNS
H
and quihcd or machine
quilted, Lhc type of design.
the size of Lhe 10p. and the
quilling procedure are considerations
when deciding whetlocr to copy the
onto tl1e fabri c before the top
is basted to the batting and lining, or
aftcrwnrds, jusL prior lO quilling.
Copy before hasting when intricate
allover de.signs cross large areas of the
surface. when the smnll size ,,r the rop
mflkes it easy to trace the lines before-
hand. or whctl the top/batting/lining
will be hand quilted in a frame.
localized designs involving repeated
shapes ma)' be marked as quilling
pro<:ecds. Improvised panems
rtquire linlc or no at all.
Mark lines on the righL side of
the top after the fabric has been
pressed smooth. Immobilize Lhe
fabric to prevent it from moving
during tracing. Use a fabric-safe
substance that marks fine lines,
barcl) distinct enough to see when
stitching, durable enough to last
untiltbC)' arc quilted. and prefer-
ably coverable by the stitching. If
the lines will be ,,;sible after quilt-
ing, they must he completely
removable by brushing. erasing.
washing, or an) other mclhod com-
paLiblc with the quihed textile.
Chemicals in the marldng sub-
stance should do no harm in the
(uLurc. To avoid lllll>leasanc surprises.
<rhwrys resr a marlling substance on
tloc fal>ric of choice bcfor oosing
cxtcnsfvel,Y.
TRACING METHODS
Pladng the design underneath
the wp. use a light box 10 cxpo;.c
the lines LhaL need Lracing. lf Lhc
top is small, dayhght shining
through window glass will reveal
Lhe design to be traced.
Place dressmaker's carbon
between the design and tl>c top.
Trace over the lines of the design
with a tracing whei:l or :m tonply
ballpoint pen.
Heat pres .. w lntnS
fer a fresh photocopy of the
clcsign to the top (the Image will
be reversed) or, using a traotsfcr
pencil. trace the design onto
paper and heat press the transfrr
copy of the design onto the fabric.
Make a perforated sLcnci I b)'
machine se,'<ing \vith a large nec-
clle and no thread over the lmes
of Lhe design traced onto light
cardboard or acetate. Pounc< the
design onto Lhe Lop by forcing '
harmless powder. such as connn-
mon or talc, through the punc-
tures: or dcinc the dc.ogn "lth
dots marked on the top through
the holes.
Place a commercial or hand-cut
sloned stcndl made from sofL
plasnc on tbe top ill1d draw Unes.
guided br the channeled open-
ings, to reproduce tl1e design
Tape n)lon net o'er the design-on-
paper and Lrace tlw design on the
nylon filaments with an indcUble
pen. Pinning the net to the fabric.
follow Lhe indications on tl1c net-
ting to mark the top with a broken
line that describes cloe design.
QUILTING BASICS 205
Trace around templates moved
from place to place on the top. A
template could be a t<acup, a
gluss. a cookie cuucr, or another
shaped household
object; or i r could be a cutout of
tardboard, sandpaper. acetate,
heavyweight norH\O\cn imcrfac-
rng, or lightwcrght plastic.
using a firm, Straight edge long
enough to rench ncross the mp,
trace s traight line; on taut fabric.
Use an anist's tool called a ncxi
ble: curve, which ben1 in10
shapes. co trace
repeated, cuny lines.
To quilt long. str.ugln tines with
out prcmarking. swch next to
one or both edges of masking
tape s tuck 10 the surface. The
width of the masking tape- Vi''
(6mm}, w (l.3cm). w ( 2cm}.
I" (2.5cm}-<:omrols the spac-
ing between hnes. Do not leave
masking t.1p< on the top benveen
quilting
Stitch around 1 he edges of " ncx-
ible, St icky tCIIIIllatc t UL from
adhesive-backed Contae paper or
pressure-sensit ive htbds. Sticky
templates have limucd re-use
and should be remocd from the
top af!er the outliners quilted 10
preven1 residue I rom permeating
the fabric.
For echo qui ll ing. guide the nee-
cUe by using a lhumb or rorefin-
ger to measure 1he distance
between outhnts
\\'hen tops arc l:ugc and ele-
menr.s in c he design ure continuous
and aligned, divide Lhc fabric into
halves, quancs, and even eigiH hs
with guideline folds or b:ming;
hold the fabric t:IUL :tnd keep Lhe
weave on gram; use a pattern wi1h
'tr.tight edges that can be matched
to 1he sLraightgrain of the fabric;
and measure frequently to check
the position of motifs in balanced,
.sym mcuitnl U11signs.
BAITING
Batting is manufnctured. from
llal\lral or synthetic fi ber. whitlt
have been mi nglcd t.ogct her, S[>read
oul into sheets, and lreated to
udhcre. For stahilil)' and dural>ili ty,
hauing requires a covering of fabric
f:>stened wilh stitches. To 1be fabric
that covers it. baurng tmp,tns
wanmh. body, and a >Oflncss recep-
tive to 1he imprint ol the stitch. The
fi ber content or the hauing aiTeciS
its utilization.
Cotton batting is valued by
many quilters for its 1>leasing accep-
t:lnce of hand-held needle action.
Its thinness and softnc;; invite fine
quilting and elaborate, ovcmll pat-
terns, which mnkc n dccornllvc
asset of a necessi ty. Co11 on balling
must be quilted CVCI)' 2" (5cm) :u
the outside. prcfer.tbly duscr. other
wise it shifiS and scpamtes with use
and bvcomes lumpy and roper
when washc'<l. Gentle pre-washing
b athisable because It tends 10
shrink. When qui heel. a textile
padded wiLh co11on balling has k ss
relief than a textile with pol)cstcr
batting inside.
For man) contemporary quilters,
the primary auraction of polyester
hauing is its resistance lO tearing
nnd shredding, which allows lines
of <1uilting to be spnccd 4" ( I Ocrn}
tO 6" (15cm) apart . VariCI)' and ver
S.11iht)' are two of 1 he other reasons
for us popularity: low-loft. regular
loft. and high-loft thickness<:s:
honded or ncedlepunchcd finishing;
dllferenccs in supplencs> and
resilience: and avnl lubility in stan-
dard. nuuLress-relmed sizes as wel.l
os by the yard. The di!>:>dvamagc of
poi)'CSicr b-Hing is a phenomenon
called bearding. A sauc-caused
nrlgmtion of batting fiber; through
the weave of 1op and lining fibrics.
especially after washing. beard ing
a fuzz on the sul'l'ucr thai is
particularly nonccahle on fabric of"
di[fcrenl color. To eontrol tllis reac-
tion. manufacture" bond the poly-
ester fibers in banings with thermal
or resm processing, fuu;hcs that
QUILTING BASICS
\'ariously affect the hand and needle
rcccpti\it)' of a ban and its bearding
resistance. Bearding is a dcCiniLe
problem when polyester balling is
combined with fabrics thnt have a
pol)'CSLCI' tOtllCIU, and when the
l>n11ing has been cheap!) manufac-
tured. Bearding is not n major prob
lcrn when good qualit)' balling is
com hi ned with closdy woven, nar-
ural Ober fabrics.
Blended batungs h11VC mix of
couon and polyes1er fi bers. An
elTon by batting manufacturers to
eliminate the problems while pre-
s..ning the best of both fiber-
worlds. blended hauings offer the
thinness and coolness of couon
wit h t he quilring spaciousness of
polyester and high resistance 10
bcatding.
When COlton nannel or COIIOU
knit fabncs subslitute for bauing,
the barelr padded bbric supple
nnd thin and the quilting lines may
he \vide!)' spaced wit hout creating
problems, but the
unique text ure of the quilting Is
noticeably diminished.
Wool batting i;, ><.>fl, wamt,
resihcnt, and quiltS like couon. One
manuractureT claim..c; n .. I(')()% wool
b.llting is washable and wlthst:mds
3" (7.5cm) sti tching separations.
Silk Ohers make a featherweight.
luxutious balling, most appropriate,
obviously. for use with silk fabrics.
Because it is cxpcrtsi'e and unusu-
allr small in size. silk battmg is
gencrallr confined 10 medium- and
>mall-sized project$. Unlike colton
and polyeSter, wool and silk bat-
cings suffer the iJlCOnvcnicncc or
limited availability.
To choose a balling suuable for a
specrfrc projttt frorn the manr
brands on the market, ask 10 feel a
sample and test irs cnt5habilitr and
dnlpc. Before beginning Lhc projccL
test t he baning with the chosen fab-
rics: (I} Quilt a s mall square or
toplbattin!flining in the intended
manner wi1h lines that arc closely
and "1delr (2) Me-JSurc the
quilted sample. (3) Pull, twist, mb.
wash, and dry the sample.

.. Straightgrain
/,
_/I
I
I I I 1
Strt to /
cut
I I A
Mcnure and compare with the
original dimensions. Evaluate the
condition or the balling bc.tween
lines, and the texmre and
loft of the quilted surface. (5) Make
adjustments accordingly.
Tti D OUBLE-BlNDlNG
EDGE FINISH
Binding frames a quilted textile
with a smooth, narrm\; protective
edging. A doubled binding also
incrcas<s t he firmness and durabili-
ty of the edge.
If the qui lted text ile is rectangu-
lnr or square, wltc kngtlt and wicltlt
rncasu,cmrnts across cl1e centc,. to
estimate the amount of binding
required. and to cut the bin d-
tog for each side. Pre-measured
binding bilscd on cemer measure-
mentS equalizes opposi1e sides.
\\1th the quilted textile smoothed
out llat. use a tape ro measure curv-
ing edges for binding length.
To bind straigh 1 edges, cut bind-
ing strips nn the s traight of the fab-
ric, piecing the s trips together as
needed ( tefer to Fig. 3-23 on page
XX), nr cu1 continuous straigJn.
gram binding (Fig. 10-1). for edges
t hat cttrve, cut the strips on the bias
(rder to Fig. 3-H on page XX and
Fig. 9-18 on page XXX). The width
of a doubled-binding strip equals
four times the "idth of the finished
bmdmg in (rom, plus tWO scam
nllo" anccs. Finidtcd binding width
equals tht stam <rllowancc around tlat
edge o) tltc t{uiltr<ltop at tlte lenst,
m11l <my lwuiug rltm extends beyond
rite to fill a widrr /Jindiug 111 tltc
Fig. 10-1. To cut a
continuous strip on
the straightgrain,
mark the back of the
fabric with fines
spaced a strip-width
apart. Match the
lines-but set off by
one spacing-and
sew the ends togeth-
er. Cut on the line.
ma.st. Cul n binding stri)) for each
s traight edge, adding two seam
nllownnres and an exrra amount to
tl1e length of s trips that will be
mitered at the corners. Cut one
extended hinding strip with two
allowances for edges Lhilt
curve. Fold the bonding stnps in
half lengthwise and press.
Stnbihze the quilted edges
machine basti ng inside the seam
allowance. Mark long, s lraight
edges at hniJ and quam:r poims;
mnrk the binding fot those edges at
half nnd quan cr points, and mark
t he pre-measured length of the
hinding 01 each end. Match and pin
the cui edge of the binding to the
edge of the lOp, one edge at a time,
"ith the extra bindmg for mitering
extending bc)ond each corner.
Sew the bmdmg to each quilted
edge, >larting .utd >topping at the
p01ms \Vhtre the seam allowance
on the quilt turns comers. Long
quilted edges trHt)' need gentle cas-
ing tl., H\0\tCh the pre-measured
lengt h nf the binding. Ease the
bi nding curves. Miler the
binding l1t comtrs. Turn tlll bind-
ing <.1\'cr the edges to the lining side
of the CjUtltctlt cxt ile. Blindstitch
the !ready folded edge of the bind-
ing to the lining. concealing the
cam under the fold
( Fig. 10-2). A doubled bindmg
should feel .lS thick all the way to
its edge as the bod)' of the quilted
ICXtiiC.
To bind entirely by machine, sew
the bmdmgto the lining side of the
quilt. turn the folded edge to tltc
from, and cdgcstitch through all
10 srrure.
Perpendicular
Guideline
Chapr I 0
Fig. 10-2. (a) Sewing
doubled binding to a
quilted edge. {b) Do not
sew 1/Jrough the quill's
soam allowances at
corners to be mitered:
Fold the quitted textile
diagonally to match
adjoining edges and
binding overlaps. Mark
a guideline petpendictr
tar to the end of rhe
seam: drav a 90-
degreeangte seam/111e
and sew the binding
wertaps together as
shown. Tnm next to the
seam. (c) BlmdstJtch the
bindmg 's folded edge ro
the ltning.
QUILTING 107
} OINCNG MODULAR
UNITS
Choose one of the following
methods to assemble pre-quilted
modules into a lruger conslTUction.
CONCEALED CONI\TECTTONS
One of the two edges to be joined
mus t be free from all quilting for a
breadth cc1ual to two seam
allownnccs at least. for example,
stop c1ulhlng W' (1.3cm) from the
edge if the scam allowance is \4''
(6nuu); swp quilling 1" (2.5cm)
from the edge if the seam allowance
Is W'(l.3cm). Pin the lining and
balling of that edge back and out of
the way, exposing the re'ersc side
of the top. With right sides togeth-
er. pin and sew the exposed top
edge to the edge (all layers) of the
second module. Spreading both
modules out fiat. trim the unat-
tached batting to abut the seamed
batting. With the seam allowance
turned under. blindstitch t he folded
edge of the loose lining to the lining
of the second module ( fig. 10-3).
Finish quilting as needed to com-
plete the design.
.
.
.
.
,
.
....
/
.
'
.
.
.
.
.
'
'
Module 12"
Lining
'
.
'
.
'
'
.
.
'
'
..
'
'
'
/
/
/
'
' /
Fig. 10-4. Taped connection: Sew two modules together. Cover the
seam allowances with blindstitched tape.
TAPED CONNECTIONS
Cut a strip of lining fabric four
seam-allowances wide and as long
as the modules to be joined. From
the strip, make a tape with the seam
allowances on each side pressed
underneath. With right sides facing,
sew the edges of two modules
together, stitching thmugh all layers.
Picking apart any quilting seams, cut
t he baiting out of the seam
allowances and trim the li ning
seam allownnces by half. Spread
F ~ g 10-3. Ccncealed
coonectiQn: (a) Sew the
top of moclule t/1 to mod-
botll modules out nat and finger
press the seam allowances open.
Co,er the seam aUowances \\;th
tape blindstilchcd to the lining on
both sides (Fig. 10--1).
- Mod lo 12 ule 112. (b) Trim the loose
STRIPPED CONNECTIONS
Cut two strips. one for tl1c wp and
one for the lining, each as v.-idc as
the desired spread plus two scam
allowances, ami as long as the mod-
ules 10 be j oined. Sandwich t he
edg" of one module between the
two strips, right sides facing, and
st!w through all layers. With right
sides together, sew the strip of top
fabric 10 the second module. Spread
both modules out to the sides of
the connecUilg strip. Cut a lcogtlt
of bouing wide enough to fill in the
gap behind the top strip; hand sew
the edges o the balling to the abut-
ting seam allowances witlt large,
loose s titches. Smooth the lining
s trip over the senm allowances and
batting insert; with the: seam
allowance turned under, blindstitth
the folded edge of t he lining strip to
the lining of the opposite module
(Fig. 10-5). Add quilting to the
stripping.
Module #1
Lining
. .
:Modute. l1
L!nln.g
: :
. .
. .
.
208 Tho Art of ManipUlati ng Fabric
batting to abut/he sewn
batting. (c) Hand sew the
loose lining over the
sewn lining.
End of QUI LTING BASICS
~ Lining strip
~ Module 12
r, Lining
I
,. .. -.. -----------... -... ...
Module 112
............ .. Lining
Fig. 105. Stripped connection: (a) Join modules to strips, leaving one edge of
the lining strip loose. (b) Fill the space behind !he top strip with batting tacked
to the seam allowances. (c) Hand sew the folded edge of the lining strip to the
adjoining module.
HAND Q UILTING
- lines of running stitches designed
to adom and secure an impression-
able tOp fabric to the soft batting and
lining l.hat are layered underneath.
PROCEDURES
1. Develop a design that will cover
I he full cxtenl or the fabric wilh
lines to be inscribed with running
stitches. The stitched Unes mus1
be close enough to merge the
thl'ee layers of top, batting, and
lini ng into a single, stable textile
(refer lO "Batting" on page 206}.
Contrast in the direction, spacing,
and density of the Unes exploits
1he bas-relief potential of padded
fabric. The simplest quilling
design is an allover pallern wilh
or \\1thoUI a border. Complex
quilling designs combine:
(b)
Figurall\'t mouf. !hat an:
repeated m an ord('l'n Jmn-
ncr. or smgle monfs that orr
the focus of atumtion
(Fig. 10-6).
Pnutrns that fill in lhe back-
grounds whlun outhned
shapes and between figuD-
dvt motifs, that connect figu-
rative motifs to borders, and
Inner borders to outer bor-
ders. Background fillers are
also used allover to cover the
f:tbrlc withoul interruption
from edge to edge ( Figs. 10-6
and 10-7) .
(c)
Fig. 106.
Hand quilling
designs:
(a) Traditional
figurative
motifs.
(b) Echo quilt-
ing and
(c) stippling
are specialty
fillers that
Ioree sur-
rounded motifs
to stand our
from closely
quilted back
grounds.
Chapt<r I 0 QUI LTING 209
I
1
I I
_ ...... ,. .... ., r - -- - .. - .,
: I I ! : I
: I : : : : I :
- --., r . ... ... , r
1
1
I I ! I

1 I I 1 1
, I l- -,- J ,- T '"'I
: : : I I : 1
I + I I I
I I I I 1 I I
r ----- .. ,...

1 : : ' I
r- _. ,-- - -- .- - , : - ;- "'
: I I I 1
Fig. 10-7. Designs for background fillers.
Outr borders thadrarne the
inicrior quilting, and i nner bor-
ders that enclose a portion of
t he greater design (Fig. 10-8).
2. Transfer the design omo the
Tight side of fabric that has
bce.n cut 10 size for the top
{refer to "Transferring Designs"
on page 205). VV\th fabric-safe
markings. make faint but visible
l ines durable enough to survive
the necessary handling prior to
stitching. Fillers and motifs that
are gauged by eye or improvised
while quilting do not require
mar king, s uch as'
Echo quilting ((h) in Fig. 10-6}
mimics the contours or Ogura-
tive shapes wilh a succession of
evcr-\{iidening outlines spaced
W' (6mm} to l4" (2cm) apmt.
Rg. 10-8. Traditional border patterns.
St ipple quilting ((c) in
Fig. 10-6) s urr ou nds
tivc shapes
ing. wavering, running
stitches s paced at the most
\4'' (6mm) apan .
Designs stitched as inspiradon
dirCCLS.
3. Cut t he batting and lining sligh t-
ly larger than the top. II the top
is big (e.g., adult bed-covering
size) , cur lhe bantng and lining
4" (lOcm) larger all around. For
smaUer tops, reduce the incre-ase
accordingly.
4. To baste the top, batting, and lin-
ing together. clear a firm surface
large enough t.o suppon aU or
tuOSl o( the fabric (a noor
or uti lity table) , or usc a frame
the size o( the lining (Fig. 10-22) .
With the right s ide down,
spread. square o!I, smooth, and
immobilize the lining by taping
the c.dgcs 10 tbc. surfact or attach-
ing the edges to the si des of t.he
frame. Center the batting O\ICr
the lining and smooth it out.
Center and smooth the top o<rcr
both. 1-lolcl the layers together
temporarily with n>'A'S of long,
straigh t pins while ba"ing with
thread or safety pius:
Thread extra-long lcngrhs of
thread into a long, suaight
needle or a curved needle.
Sew with running stitches
about W' (1.3cm) long
underneath and l vt' (4cm)
long on the surface. Baste in
SlTaiglu rows, .spaced 6"
( 15cm) apart or closer, t hat
grid the surface or radiate
from the center to t he edges.
Finish by basti ng around t he
outside edges inside the scam
allowance (Fig.l0-9) .
210 The Art o ( Manipulating Fa bric HAND QUI LTING
I I I I I
- r - t- - t- - 1-
1 I I I I I I
r -, - r-
1
- - 1- -
1
-
1 I I 1 I I I I

I I I I I I I I
r--r--r - 1- -,--,- ., -
1 .!-- I I I I I
1--r - ..,'!... - 1 --t--J-;
I I I I I l I

I
1
I I I I I
L _I _ L - I - ..J - ..J - _j
I I I I I I
L -
1
- L_I_.J _ ...J
I I I I I I
L_
1
__ L _ I _ .J_
I I I I
(a)
Fig. 109. Patterns for basting the
top, balling, and lining together:
(a) Squared grid. (b) Radiating and
concentric lines. (c) Protecting the
edges by folding and basting the
extra lining to thO soam allowance
around the top.
Pm with brass or nickel-plat-
ed steel safety pins, size 00,
0. or L Start at one end of
the toplbaningllining.
Srnoothing outw,.ud constant-
ly, insert rows of safe[)' pins
spaced 4" (I Ocm) apart. Use
a grapefruit spoon to help in
closing the pins. Baste the
outside edges with needle and
t l11'cad (Fig. 10 10).
(c)
,.
I
,j.r
' J
(
I "'
.I ,..
I
I"
1 ....
I r
. I
r
,. ,.
..
..
,.
....
,. ,. ,.
.... .... ...
,. ,. ,.
,. ,.
....
,.
... ..
r r .r
r r r
,.
<" <"
.... r ....
,. ,.. ,..
,..
....
,..
,. .,.
....
"
,.
"'
.. .. ...
r r r
r
,..
.r
'
Roll large quilts as rows of bast
lng are completed. reaching over
the roll to cont inue basting. If
the quilting design is already
marked on the top, uy to baste
between the lines.
Ftg. 10 to. Basting with pins.
....
r
,.
....
....
)
r
r
r
"'
5. Follnw the lines of the qttihi ng
design whh snaaU, even, runuing
stitches. Using srurdy quilting
thread insened inlo a short,
strong, quilting ntcd.le called a
between, sew through all the lay
crs using a needle action that
produces stitches wluch look 1M
same in back as they do in fronL
a steady. moderate ten-
sion on the thread. pulling the
stitches in to the padded fabric 10
inscribe the design into the snr-
face (Figs. 10-11 , 1 012, and
10-13).
(o) __ _

Fig. 1011. (e) To start quilting. make
a small knot In tho end of an 18"
(46cm) length of quilting thread.
/nsllrt the needle Into the top Jr.!
(1.3cm) from the outline where stitch
ing will oegin; run the needle through
the batting ancl out at the starting
point. (D) Tug on the thread to pop
the knot t11rough t!Je top, to lodge in
the batting.

(c) An alternative to burled knots uti
lizes thread 36" (91.5cm) long. Use
half the thread to quill in one direc
tlon; use the other half to quilt in
another direction.
While quilt ing, place the basted
IOpl bnttin!l'lining in a frnmc or
hoop, allowing some slack in the
srre<ch 10 accommodate the
quilting technique; or lap quilt
without using stretching hard-
ware:
Chapter I 0 QUILTING 211
(a)
(b)
(c)
(d)
( f)
Fig. I 012. Runningslilched quilting:
(a) The third finger of the sewing
hand, wearing a thimble, pushes and
rocks the needle through the top/bat
1/ngl//nlng wl1ich is pinched toward
the needle by the thumb.
Underneath, the second or third fin
ger of tho other hand pushes the
point of the needle back up to the
surface. (o, c, d) The action of the
needle as It takes one stitch.
(e) Pulling the thread out and
(f) starting another stitch with a per
pendlcular needle. The needle can
take two or three stitches at a time
before pul1/ng out the thread.
212 Tho Art of Manipul ati ng Fobr ic
(b)
(c)
(d)
Fig. t 013. To secure quilt stitching
when thread runs out, or at the end
of a quilling line: (a) Knot the thread
!r.?" (1.3cm) from tho surface. (b)
Insert the needle as if taking another
stitch but turn It backwards. Weave
the needle through the batting and
around the threads of previous stitch
es; bring It out halfitslength away.
(c) Tug the knot into the batting. Cut
the thread where it emerges. (d) To
secure with 8 pierced backstitch: End
with a tiny backstitch. Stab the back
stitch with the needle, run the needle
through th6 batting. bring it out half
the-needle'$ length away. and cut the
thread 8t the surface.
FifJ. 1().14. Quilting frame
w1th the basted top/bat
ling/lining rolled around
long rails to eJ({)OSe a
reachable section for
quilting. The material wiU
be unrolled and rerolled
to move unquilted sec
tkms into vfsw. For add/
tiona/ stability. pin the
sides to strips of muslin
tacked to the stretcher
bars at ooch end.
HAND QUILTING
a. Quilting frnm<s expand to
expose the enure of a
quilting project.
and m..'linl2in the ha..c;ted
top/batting/lining in rc"ddy-to
quilt position until the quilt
ing is finished ( Fig. 10-lf).
t\ quilting frame requires floor
a top marked "ith the
design before basting and set-
ling Into 1hc frame, and dex-
lCrll)' with the needle because
the quit ter sll, facing the
design from one direction.
Frnme quilting stabi lizes tbe
top/b3ttinWiiuing for the
durnrlon of the quilting. so
close basting isn't ot-ccssary
and quilting can begm any
where on the surface.
b. Quilting hoops arc round.
ovnl. or half-round. available
in dtnmeter< from 1
to 29"(73.5cm), and have
clup rings with butterfly
screw clamps to cope with
heavy, padded fabric
(T'ig. 10-15).
Fig. 1015. Top/batting/lining
clamped into a 29"(73.5cm) hoop.
Change to a h81f.clrcle hoop when
quilting the outer edges, or baste
extra fabric to the edge to continue
stretching In t11e round hoop.
I loop quilling is ponable and
nexlble, allowing access 10.
selected portion of t he design
from any direction. To prepare
for hoop quilting, bM<e exten-
>ively and protect the edges. If
basd whh safety pins.
remove pins <hat Interfere
wilh clamping. Prop one side
of the hoop on the edge of n
<able. Support the opposite
side close 10 the body In a
comfortable manner <o facili-
tate the stitching activity. If
<he desogn lsn) alread) out-
lined. trace the design on 1he
top when the toplbattingllin
ing is stre<ched tight in the
hoop, before relaxing <he
stretch to begin quilling. For
hoop quilling, designs arc
stitched from the ccmer out
to 1hc edges. To prevent wttn-
kles, remove the top/batting/
lining from the hoop between
qui It i ng scssio11s.
c. Lap quilting needs <he prcpa-
wtlon of very close bnsting to
be successfu l, but it is the
most ensily mnneuvcmble of
all the mc1hods. l nstcad of
quilling with one hand above
and one hand undcrnc.nth, to>C
one hand to grasp and manip-
ulate the fabric in front of the
needle. which is umneuvercd
by the 01hcr hand. Lap quill-
ing always moves from the
center of the design ou1ward.
To pro,lde an area of tension.
sit in :on upholstered chair
and pin the top/bauingllining
10 <he cl01h on <he arm, or
"e<tr denim jeans and pin to
the cloth covering a knee, and
quilt away from <he anchor.
Lap quilling Is particularly
suitable for projects,
and for large projects that
ha,c been dlvided hliO small-
er modules.
6. When the quilting is comple<e,
remove all b:osting tltread except
the 1hread inside 1hc seam
allowances at the edges. Trim the
edges of the batting and lining
Rush with the IT\led-up edge of
<he mp. Assemble quilted mod-
ules together using one of the
me1hods dCS<'ribed in "joining
Modular Units" on page 208.
Cover the edges of a finished
quill or quilted item .-;th
machine-sewn. doubled binding
(refer 10 "The Doubled-Binding
Edge Finish" on page 107). or
include the quilled piece within
a larger consiT\lclion of unquilt-
ed fabric.
NOTES & VARIATIONS
Novice qui hers often feel clwnsy
trylng tO coordina1e 1hc movements
of the hand above wilh the hand
below when frame or hoop quilting.
A liule practice normalizes the
ac<iviry, btu it lakes dedicated expe
tience to achtcve the liuy, cvc.n
sti<ches-12 or more to the inch
(2.5cm), counting only the stitches
on top-that characterize tradition-
al hand quilti ng. Thin, soft batting
layered between thin, soft fabrics, a
combination supple in <he hand
and easy for the needle to slip
lhrough, is <he necessary base for
fine hand quilting.
ror many contemporarr purpos-
es. small quilting stilches aren't a
part of the aesthetic. Uniformity
and pictorial are the
standards. Somelimes contemporary
hand quilting approaches the deco-
ralhe appearance of embroidery.
Stabstitched quilling looks like
running-stitched quilting but the
needle aclion is dillerenl and pre-
ferred by some quillers. It's an
ambidcxuous \\'tth the
ooplba<tingllining in a frame or
hoop, the hand above pushes the
needle strnight down through 1he
layers. The band below pulls the
needle out and, moved forward by a
sti1ch, rcinsens the needle into lhe
lining, pushing il straight up for the
hand above co retrieve, and so on.
Stabsutching tends to look
in back until prnctice perlb 1hr
rclUrn stitch..
Baclmitcloed <juilrlug. an ahcr
nate to running stitching. cove,.., .1
line unimerrupted sutch.,.,.
thcrdore it doesn'l produce <he
puckery texnorc that dostinguosh<:>
running-stitched quilting Rarcl)
used as the only quolting smch
today, backstitchcd qmlung func-
tions as an outline thnt cmphas1z.,.
By con<rast ";'h the running smch-
es used to quilt the majority of a
design. backsti1ching will accen<
selected parts of the design.
Whatever the quilling wchniquc,
control when pulling <he 1hread Is
essentiaL CorreCI thread 1ension
indents tbe stitches imo tlte padded
surf.1cc; 1oo much thread tension
shrivels the quilted fabri c. Some
shrinkage, particularly when 1he
quihing is extensive and includes
stippling, is inevi<able. If a certain
finished s ize is Important, add a safe-
!)' measurement for shrinkage when
cutting the fabrics and balling.
Designs with short, close lines
that mean ronsl:mt s tops :md s tart!
for the stitching a.re easy for hand
quilters to negotiale. Analyze rhe
design to track the mos1 long-run-
ning quilting path. If the line being
sli<ched ends before the thread '"""
out, scoot the neecUe through the
lruing to a nearby line reachable
by the needle and resume Slilching
at that point. End one line and
begin the next with a tiny back
Stilch for securil).
Never quill long. suaight Iones
wilh lengthy threads thao could
snap under future strain. Stitch a
short span of the line and <hen ve<r
off onto a crossing line, or move 10
a line nearby. Otl1cr quilling ncga
tives include uneven Slitches.
stitches that waver ins<ead of fol-
lowing cacb otltcr smomhly, wrin-
kles trapped in the quilting slotchc;.
noliceable knots and <ails of 1 hrc.1d.
and design markings that are voslhle
after stitching. Never press linished
quilting.
Chapter 10 QUILTING 213
Quilting can he isobned 10 a portion
of the top fobric. The oottiJ>g that pads
d1e area should be thin amVor pulled
and shredded around edges 10
d\\1ndle out graduall)\ otherwise the
line where it stops may show as a ndgc
on IDp. Bock tl1e panicular a.re:t to be
quilted with lining. or line tl1e entire
top, and haste as previous!) described.
Unlike other oogc-rmishing nlClh
ods, the tm dope edge is apphed :u the
beginning rather than the md of the
qttilting procedure. liS comp:u:otivdy
simple to do and adaptable 10 w:mdcr
ing coniDUI'S and mini-sized as w"U as
modernte-sized projcciS. Start with a
same-size top, batting. nnd lining.
( 1) <tlgcs, smooth the lining.
face up. over the baning. the
"vo !Ogether with enough thread or
sofetypin basting to prwcnt the bardng
from rumpling and stretching during
turning. (2} With the edge'S :tligned, pin
the top, with its right side [acing rho
lining, 10 the iinlng'\lalling. Muchlne
sew around the edges, turning the cor
ncrs wirh two or tlon;t ditlgoual
cs. Leave. an opening la1ge enough for
mming on one straight Sroystitch
rhe lining'\lalling side of the opening
on the scamline, press lengll1y scam
allowances open, trim all comers c:lli&o
nally, and clip the scam allowancl'S
where necessary (Fig. 10-16).
nlng
Top
10.16. Topbattifl9'Pnirlg prepared
for an envelope edge.
(3) Pull the envelope right side ouL
With the scall\ allowances mmoo
inside, dose the npening with ladder
stitching. (4) Thread baste the
smoothe<l top to the. lininglb:\Uing, or
repin if 1he fi rst basting was safety
pinned. (5) Carry the quilting design
to tl>c edge of the batting inside the
scam allowance and ouilioc-quilt next
to tl1e batting's edge-or nim the bat-
ting from the seam allowance before
1uming. (Refer to Fig. 10-32 for
assembly suggestions.)
For flat hru1d quilti11g, procedures
:md ttc:hniqucs are the same with one
c.xccptioo: The top and lining are
quilted togcthcr without a layer or
batting in between. As a result, the
crinkly rclid of the running-stitched
line is minimal.
l)illg is a quick :md (';1$}' war tO
fasten the top, batting. and lining
together into a stable unit. Spaced out
in a gricllil<e manner, deroched stitch-
es \\ith ends secured by !)1ng the
ends into a visible knot dot the sur
face. T}1ng is ussociated "ith fat, pull);
high-loft oouing. cithcr the extrava-
gantly thick kind avaih1ble for com-
forters or sevcr-allaycrs o( d>inner bat
tin g. (I) Prepare the top, batting,
and lining with basting.
(2) the width of the top/bat-
ting/lining spread ou1 on a table or set
up in a rrame, start measuring, mark-
Ing, mcklng, and tying at OtiC end.
Use a template with holes 10 spot the
locations of the ties. Six inches
(!Scm) apart is a prudem dista11ce for
tying. (3) For the stitches and lies,
perle cotton, embroidery floss,
crochet couon, yam, or narrow nO-
bon, single or doubled, imo a large-
C)'Cd needle. Always holding the nee-
dle perpendicular 10 the surface, make
two stitches a scant Yl' (6mm) wide.
one on top of the otllt'r, leaing a
tying lllil at tbe beginning (\\ith yam
or ribbon in the needle. make a single
SIIICh). The ends CUI be tied, CUI
W' ( l.3cm) or more from the knot.
and left loose to garnish the lop, or the
ends can be tied in back, in which case
the IDp \\ill be dimpled with pulled
stitches (Fig. 10-17).
TI1e lining-binding is an uncompli-
cated edge An ish appropriate for a tied
textile. (1) Trim the batting Oush
the edge of the top. Tum the excess
lining over the edge to the from; t:rim
evenly for binding. (2) Prepare the
2 14 The Ar t of Manipulating HAND QUILTING
(a)
<! ..
C! ''?
. .
? . <?
y
(e)
Frg. 10.17. (a) Tying template. (b & c)
Making a dcuble stabs6tch with tying
ends. (d) Tying the ends together with a
square knot. (e) Profile vfew of a tie.
comers with a diagonal fold \II 1 he
poim ;Uld trim n seam-allow;mcc dis
ranee from 1hc fold. Re-fold with edges
matching and right side. facing, and
sew each comer miter on d1e fold line.
(3) Pin the lining-binding 10 1he from.
With the seam allownntc turned under.
cdgcstitch by machine thoough all lay
crs to seCl\re the bincling (Fig. 10 18).
Fig. 10-18. (a) Lining-binding pro
pared for machine sewing with a
diagonally folded comer. {b) Quick
way to secure miters: Stop straight
stitching at each comer to zigzag
stitch over the butted folds.
X-2--&nlrng-;nu:hec/ design
cemeree arocmc1 o f1oroJ !hot
..-onds OU! from a "'fJflled
b<xlcglovnd. The edge cs (11>-
J cshed """' do<.!lled b<XIrng.
HAND QUILTING
-ed
t!JMl>g SIJicl>eS" (fit>m rht: rDp)
&xder c!es-gn W<!h CMl1s ,.,.
rupung o sttll!Eflt ....,. (lr,..-; the
fearher. a doss" qu lung mot(;
jlowrng lrncs rmp<o"sed wh:'e
stitching;
Chapter 10 QUILTING 215
HAND QUILT ING

r
"
-

.. +
X-4 Embroidcry-tross ues
used to qUJir rh;ck bomng.
"'
kl the center. crossed
stitd-.es lldlcore ihe oes
'
t
that \YOre kno!rcd.., bock

I

2 16 T he Art of Manipulating Fobr lc
otcu1ar """*'..s emphasutd "'"'
seL .n o (eld o( ho quillng.lns>de, the
_, 10 the kit IS qtlllted wl!h 0 ll'rd-boscd OOmond potlert\
!he W1i'ldow to lhe t'Jt.l- "'th on mpttr.is<d dranood par<em

t-
-
"'\\, 1:.
l'
'
\: '
.-
.,.

j

.!

,,

II
t
,.. j
"
\
+ ,
"
Fig. tO t 9. Background or overall designs for mschineguid
ed quilting: (11. b, c) Straight and slightly curving lines are
the easiest to loilow. (d, e. f) Angled and doop/y curved
lines require constant stops for re-direction.
Fig. 1020. Border designs: (a, c) Machine-
guided quitting. (d, e) Freemot,on qw/1/ng.
MACHINE
Q UILTING
- twO layers of fabric with batting in
between held together with
machine-sewn seams that follow a
decorative pattern. The seams
impress lines of continuous thread
into the padded surface.
PROCEDURES
1. Crcntc a linclu' design that will
enhance the padded surface
when in.snibed "ith srhching by
rnocltinc. Continuous lines that
start and stop at the edges, and
lines that describe or fill "1th a
minimum of internal stops and
re-starlS. are the most efficient to
machine stitch. Diversity in the
spacmg between the lines brings
bas-relief contrast to the
machine-quilted surface. but if
the spaces become too large,
the layers will be inadequately
stabilized (n:fer to "Batting" on
page 206.) Machine-quilting
de.igns 1tn: di\'ided into back-
ground (Fig. IO-l9), border
(Fig. 10-20), and figurati\'e
(Fig. 1021 ). and
into designs for machine-guided
and frcemolion stitching.
2. em fabri c tO size for the top,
adding nn allowance for shrink-
age uftct qtdlting. Trace the
design onto the right side of the
top with a fabric-safe marking
tool and a faint but visible line..
Outline the entire design. those
portions of the design that arc
figured and repeated. or i mpol'-
tanl guidelines. For some
designs. marking after basting
ami irnmedilltely before stitching
may be appropriate. lmprovised
machine quilting requires liule
or no mnrklng. (Refer to "Trans-
ferring Destgns" on page 20.5.)
3. Cut tht batting and linmg slight-
ly larger than the top. 1f the top
is big (e.g., oduh bed-covering
si:t), cm the baumg and lining
-1" ( I Ocm) larger all around; for
smaller tops, n:duce the increase
accordingly.
4. Baste the top. b:tuing. uncl lining
toActher:
a. Spread the lining out, ti ght
side on n clean fl oor or
utility wblc large enough to
s upport all or most of the fab-
ric. Square it off. pull it smooth
mad wut aooss the c-mssgrain
am/lrngtltgrain of the fabric,
and secure the sm:rch b) tapmg
the edges "oth Mde masking
tape, or clamp the linmg to
the edges or the lablc with
bulldog paper-binding clips.
Chapter 10
QUILTING 217
(b) (c)
Fig. 1021. Designs fortree-molion quilting: (a) Flgurstive motifs for stitch
tracing without stops and re-stat1s e/sewhem. The flower on a stem with
leaves is the most forgiving to stitch because irregularity Is built into the
design. (b) Improvised meander stitching for finer. (c) Echo-quilted spiral
and heart shape. with improvised meander-stitching filler.
As an alternative. use a frame
as large <IS the lining, attach
the edges or the lining to the
four sidebars or the frame.
nncl mccch between sidebars
C-clamped together at the
comers (Fig. J0-22).
b. Ccnccr the bauing over 1he lin-
ing and smooth it out. Center
and smooth l11c top, right side
up, O\'Cr the batting. Thread
baste using a long or curved
nel-dlc to crisscross the surface
row; of large stitches
spaced at most 6'' ( !Scm)
2 18 The Ar t of Manipulat ing Fabric
apart (refer to Fig. 10-9), or
fnsten the layers together with
safety pins at 4" ( l Ocm) inter-
vals (Fig, 1010). For small
pi'Ojects, basting wi 1h long
quilting pins is an option.
MACHINE QUI LT ING
Avoid basting where quilting
lines arc marked or intended.
If the table cop is smaller than
the entire llnlnflbatlingftop,
baste en sections, repealing
the mctching and securing
procedures described in
step 4.a. for each section.
5. quilt the design
planned for 1he cop. Relate the
machinc-schchi ng method to the
demands of the design. Sliteh
wiLh machine automati ..
Cillly moving chc cop/batlingllin
ing under chc prc.scr foot, or
with hand actiOtl directing the
movement of c he cop/ballingllin-
ing under the dri\'ing neet!lc.
a. Overall, background. and bor-
der designs with straighc lines,
bro.ld curves. and shallow
angles are the most suitable for
presser-foot motchine quilting:
(1) Choose a presser footll1.11
interfere with seeing
the c;ulhlng line; that mea
succs distance, if such spac-
ing is ce<;uircd; an<l thac
fccc.ls the layers c.venl), par-
ticularly when quilting uncs
ore lengthy (Fig. 10-23).
(2) Adjusc the machine,
upper 1cnslon to sew a
seam that bites into the
padded surface. Balance
nedle and bobbin ten-
sion> to interlock threads
within the baulng. Eighc
en 12 straight stitche> per
inch arc accepUlblc par-a-
mcccrs for sticch length.
Fig. t 0-22. Basting
frame made from
lour lengths of
lumber with strips
of fabric stapled to
the edges,
C-<:lamped togeth-
er with right-
angled corners.
EvenFeed
Walki ng
Foot
Straight
Stitch
Presser
Foot
Zigzag
Presser
Foot
Open-Toe
Presser
Foot
Fig. I 0-23. Choices for presser-fOOl
machine quilting.
(3) Analyze the quilting
design for the easiest
approach: As an example,
quilt centralized pallern
lines first to stabilize the
busted top/baningllining
aml divide it into secrions.
Next, qui lt Lhc anchor
lines of tl1e pattc.nt, start-
tng in tbe center and mO\' -
ing outward to the righL
finallr. quilt subsidiary
lines that parallel and
mimic the. anchor lines
(Fig. 10-24}. Sew overall
from one edge of
the fabric to the other, or
from one end of a line to
its fi nish (Fig. L0-2 5).
(e)
(b)
4 2
Fig. 10-25. Ernest B. Haight, a pio-
neer machine quitter. developed a
soquentlal-line system of quilting that
kHPS the bulk of the toplbattingAin-
ing to the left of the presser foot
Outline a diagonal gnd with lines that
converge at the ooter edge. Start
qvilting at arrow I. At the end of line
Ill, swivet the fabric until line #2,
which angles off to the left, is in
stitching position. Quilt line #2. AI the
end, swivel to the felt to quilt line #3.
Repeat until there's no line to the left
to quill. Start over again at arrow 2,
following the same "quilt to the letr'
path. The number of paths to follow
before all lines are quilled varies with
the size and shape of the rectangle.
(-I) Unless the presser foot
in usc Is a walldng fo01
(Fig. L0-26), reinfon:e the
smooth, basttd alignment of
1hc layers ";!h a'!r,tstraight
pins beside the seamlinc, and
the top layer on!)
to compensate for presser-
foot creep. Never pull or
>U'Ctch in front and back of
the needle. Expect to stitch
with slow to moderate spccrl.
Fig. 10-24. To qvift overaU
patterns: (a) Stitch lines across
the center first. (b) Stitcli othar
pat/em lines from the center
out in each direction.
Fig. I 026. Pus/1/ng tho top/battingl-
linlng In front of a walking presser
loot to assist the action of the dual
feed dogs.
b. Usc free-motion quilti ng for
locnll:ed, intricate designs
1hat require major and con-
stant changes of direction:
( I) Low"r the feed dogs or cover
titan ,.,th sticky 1ape.
Choose a straight stitch ";th
length set at 0. Fit the
machine with a darning foot.
a darning spring, or a spring
needle (Fig. 10-27).
Bigfoot
Darning
Foot
Darning
Spring
Spring
Needle
Fig. I 0-27. For free-motion quilting,
machine attachments that hold the
fabric down while the stitch Is formed.
(2) Position the top/batting!
llnit1g on the hed of the
machine. Select a single
motif or limited area as the
im1nedlate focus for quilt-
Ing activit)t lower tile
/>lr'Sscr btu lever! Stan Jn-
bnnglng tbe bobbin thread
to the surface. Reproduce
the locking action of
extremely tiny stitches by
moving the fabric slowly
while running the
machine.
Chapter I 0
QUI LTING 21 9
(3) To quilt. grip the top/bat
Ling/lining with fingertips
spread out on either side of
the needle, preparing a flat,
taut Mite bing space about
Y (7.5cm) to -tw (IOcm)
wide ( Fig. 10-28).
PI(). 1028. FIX lree-mo/ion qujftjflg,
hands direct the top/batting/lining
under the needle stitching the design.
Tips cur from rubber gloves help fin-
gers to get a better grip.
Coordinating a constant,
moderate-to-fast needle
speed with steady. fl uid
hand movements, operate
the untthiue while stccri ng
t he fabric under the needle
:\S it follows the lines of
the de>ign. Quilt smooth
lines with stitches that are
equal in length. Don' t
watch the needle; concen
trate on the line ahead of
the needle. Move t.hc
toplbauingllining side-
ways, diagonnllr forward,
and backward withouL
altering the straightforward
position of the design.
Keep enough slack in the
surrounding fabric ro
1naintain maneuverability.
(-t) When quilting activity
progresses beyond the tlat,
taut space controlled by
the fingers. or if the fabric
begins to jump up and
down with the needle,
stop with the needle
down, reposition the
hands, and start again.
(5) Finish a quiltt'(llinc by
bringing the UlOVCLUCill of
the fabric to a gradual stop,
m..'lking eYer-tinier locking
;.tiu:hco.. Rclocuc to anoth-
er pan of the design with
out cutting the threads, bm
lock the threads before con
tinuing to quill. Clip all
threads when the free
motion-quilted top/batting!
Uning is removl'tl from
tn{u::hinc.
c. When a of machine-guid-
ed 01' t'1ce molion quilting
begins and ends inside the
fabric:
(I} St:trt by holding on to the
end of the needle thread
and hand turnmg the fly
wheel to lower the needle
through the top/bau ingl
lining. llring the needle
b"ck up to iLS highest
position and tug on the
needle thrcarl to raise a
loop of bobbin thread.
Snug the loop with a pin
and pull the bobbin thread
out . Finger-grounding
both strands of thread
behind the needle. lower
the presser bar le,er and
lock the thread by stitch-
ing into the snmc needle
hole several times with
smch length set at 0.
Crttdually incr<;aSC stitch
length tO the desired size.
(2) 'fo end a line of quilting
the fabric, gradually
decre"se t he stitch length
to 0 ru1d $tilt h into the
l'innl needle hole several
limes. Cut all locked
threads at the surface.
6 To manage large, bulk)', machine
quilting projectS in the limited
space a'11ilable between the nee-
dle and the head of the machine
on the right, and also control
drag on the needle:
a. Enlarge the area in back anrl
tO the !crt or the machine with
extensions, prdembly level
with the bed of the machine.
220 The Art of Manipul>ring Fabric
MACHINE QUILTING
the top/bani ngllining
has support, its weight "';11
hinder the progressive move
mcnt of the fabric and distort
the stitching.
b. Pacla\ge the top/batting/lining
before quilting interior lines.
Make a tight roll of the fabric
tO the right or the quilting line:
secure the roll with many hicy
de clips 01' safety pins. Fold
the fabric to the left or the
t luilting line, isolming" quilt-
ing channel hetween the roll
and the fold.. Accordion fold
the rolled and folded top/bat
ling/lining to the place where
quilting Is to begin . At the
machine, hold the accordion-
folded bundle in the lap. fero
ing it out with enough slack
to prevent dmg as stitching
progresses down the channel
(fig. 1019}. Re-package as
quilting proceeds omward to
the edge on the right.
. -
'
- -.
(b)
- ,..
Fig. IQ-29. (a) Large toplbartingllin-
ing rolled and clamped with bicycle
clips to the right and folded to the
left, exposing a tong chennel for
quilting. (b) Top/batting/lining accor
dionfolded Into a paCkage to hold in
lhe lap.
c. Subdivide large projects imo
two or three sections, or in1o
modular units, to
lirnit the bulk that compli-
mo,ement al the
mnchme. o.-elop a quilting
design that can be loc:alized
without losing its allover
cohesiveness.
For installment quilting.
divide the batting into
hn lves or thirds, or em the
enti re top/hatting/lining in
hnlf. Baste nnd quilt the
fitstlaycrcd section or tile
partitioned top/baningllin-
ing. I[ only the barring was
divided: (I) Spread tl1e
next section of barring over
the lining; ( 2) handsew the
buued edges of the bauing
together with l:ugc, loose
stitches; (3) baste the lay-
er> together; and ( 4) quilt.
II' the entire top/batting!Un -
i ng w:ts cut (l) Baste
the second half of t he bat-
ting to the lining; (2) sew
the bauingllining and top
to 1 he section already quilt-
ed, and trim the batting
from tl1c scam allowance;
(3) baste the top oer the
batnng!lining. and ( quih
(Fig. 10-30).
\ilodular quilting c.an be
divtded mto hahes, quarter.;,
eighths. and more if neces-
s.try. Cut t1 top, batting, and
lming for c:odt module,
ndding seam allow;1nces to the
top and lining. Baste the lay-
cts of each module together,
nnd quilt in t he desired man-
ner. Assemble the modules
U!>iug OllC o t..he: methods
t>1>1ained in "joining Modular
Units" on page 208.
(a)
Fig. 1030. Installment quilting:
(8) Divide the top, batting, and lining
Into two soctions and join together
after quilting the first section. (b) Cut
the batting into halves (or rltircJs) ancJ
insert b6tween the top and lining
after quilting the first section.
7. After llmshmg the quilting. clip
an)' dnnghng thread ends t hat
escaped pre:nous notice. Remove
:til thread except the
thread Ins ide t he seam
allownncts around 1he edges.
Trim the edges of the balling and
lining llush wilh the trued-up
edge of the top. Cover the edges
of 1bc quilted textile wit h
mnchinc-sewn, doubled binding
(refer to "The Double-Binding
Edge Finish on page 207), or
include the qutlted piece ";thin
a larger construction of unquih-
cd fabnc.
NOTES & VARIATIONS
and "pr.ctice" are the gold-
en rules of machine qutlring. On a
sqwre of IOI)/bauinljlining prepared
for thai purpose. test the operating
condition or the machine. the size of
the needle, 1hc 1cnslon selling. the
length and :oppc:onmtc of the sti1ch
in front and back, and the >l!cngtb
and vlsunl cm1ttihu1ion of the thread.
lest different presser feet. Allow
atnplc practice time for frce-motton
quilting. Machine-guided quilting
requires less pmctice because it
resembles plain muc.hinc sewing.
Although ecruoin kinds of design
arc rccommcudcd for either one
mode of machine quilting or the
other, th< si:e of the basted layer.;
makes a difference in applit'ability.
A design \\ilh deep cunes and
acut< angles Is suitable for
machine-guided quilting if the pro-
ject is small enough 10 be pivoted
wi1h0111 a Struggle when t he needle
is down und the presser fool up.
Whh frcqucm ups <1nd downs of
the foot und p:oticm top/bao-
tingllining t'endjustments, a figura-
tive motif can be stitched into a
module 12" ( 30.5cm) >quare.
Leng1hy lines 1ha1 moe from edge
to edg< are n10chine-guided
but skilled free-motion
quihers are able to compose
straight-line llllcr.; between 6gura-
the motifs spaced a short dislance
:oparc. It's acceptublc pmclicc to
quilt over a prc\'ious line when
moving from one sthching line 10
anorhe!r ne:1rhy. as long as the dou
blc sli lching is flt'ecisc.
To isolate a quilted design within
n larger expanse of unquilted fabric:
Baste a lini ng :tnd t hin balling
under lhc :trca. Usc a machine-
embroidery hoop ( fig. 10-31) to
preem the <1i1dnng from shrink-
ing the qu1hrd section m relanon to
the unquihcd 1>an of the fabric.
Thin om the cut edge of tile barling
or enclo.c it 111>1de lines of quilting
to prC\ COt the rrom showing
as u ridge on the >urfacc.
Chapter I 0 QUILTING 22 1
Fig. 1 031. Machine-embroidery
hoops are 10" (25cm) in diameter or
smaller. and shallow enough to slip
under a raised presser foot. Place
the fabric over the outer ring and
push the inner ring inside, forcing the
fabric down to be /eve/with the nee
die plate on the machine.
There are two other methods for
seeming an inLerior line of quil tiJl g
SOtcltes <II tile beginning and end
tllat may be preferable at times:
(l ) Sew backward with microscopic
stitches for w (3mm) before start
ing and after stopping. (l ) On tile
top or lining side, tic t he ends of tile
bobbin and ncc<llt tl1rcads together
with a S<\uare k'lt OI. I nscn botll ends
into a hand-sewing needle. Push the
needle into the last needle hole of
the seam, t hro\tgh the baning, and
out half the length of the ncccUe
away. Tng tile knot under the fabric
before clipping the threads. Make it.
a habit to deal with loose tluead
ends promptly. Forgotten ends
snarled in subsequcnl stitching are
difficult to pick out.
Obvious starts and stops arc
machine-quilting taboos, as are visi-
ble markings. wrinkles caught imo
st itches, and twisted surface fabti c
between lines of sdtching. Scitch-
length consistency is an allribute of
good machine quilting. Afttr wash
ing, batting depressed by pressor
foot pressure back to
enhance d1e quilted texture. Close
machine quilti ng stilfcns a three
layered texti le. Because machine
quilting doesn' t unravel like hand
quilting, a tliachutcquilted textile
may be cut apart and contoured for
assembly imo a larger application.
Similarities between machine
guided and free-motion quilting
end at the se-wing machine when
entirely di fferent working tech
niques take over. The frce-tUotion
qui her needs to establish a personal
wo-rking relationship bet\veen the
rhythmic movement of tltc hantl
guided fabri c, the speed of the nee-
dle, and the eye. Also, the free
motion <ruilter must leam to stop,
readjust to a new finger grip on the
fabric, and resume stitching with
out visible glitches betmying the
break. The reward, for the pmttice
required to master this
is an freedom while
stitching that can't be replicated
";t h machine-guidccl quilting.
A minor technicali ty- forgeuing
to lower the pres.se-r bar lever- is a
major irritant to tn e enjoyment of
free-motion qu ilting, aggra"ated b)'
having to pluck ou1 the thread mess
tltat For free-motion quil-
ters, symmetrical, rcpetirious motifs
and long, unbroken lines arc. the
most. challenging to trace without
wobbl}' deviations. Some free
motion quilte.rs ft d tll"t framing a
tnotl f in a machine-embroidery
hoop increases control (Fig. 1031).
A free-motion quiher needs to be
r-esourceful when coping with big
ness and weight, which <:onstrain
the llowing rut)VcmeniS r.sse.mial to
stitching t he designs and affen
stitch consistency.
StraightStitched tmchine quil t
ing impresses a texture into the
padded textile that's recog11izably
different from the relief 1nade by
hand-se"'n running stitches. When
the fc.alllrt'S built int o contemporary
machines are introduced, the
machine-quilted line has a unique
effect on the patterned and textur
ized $Urface .. A.s a medium for
al expression. art quilling int1udes
all kinds of quilt stitch ing and takes
full advamage of the sewing
machine's capabilities. To develop
an individualized art-q\tilti ng style:
ExpeJiment Wi[h Lhe textures of
zigzag quilting. all widtl1s, from
spread In length to satin stitching.
MACHINE QUILTI NG
Quilt with a twin nceclle. Explore
the decorative Slitthes. Lnvcm com-
bimtlions of straight, zigzag, and
decorative stitches. improvise
mcandc.r and filler pallcrns. Usc
reverse stitching for inforn1al filling
with machine-guided quil ting.
When free-motion quilt ing, unbal
ance the: reusions to creme distiJ1C-
tive thread variations. Break the
rules 10 make discoveries.
it's appropriate, pre-finish
ing medium-Sized projects or modu
lar t mits wit h an envelope edge
(refer to Fig. 1 016) saves time at the
end. f or modules with envelope
edges, the means of assembly, either
ties or tabs, may be .sewn into the
seams joining the top to the basted
lining/balling (Fig. 1032). Mini
modules for the openwork or Utbbcd
consll1.1cdons described below are
too small for anything but a pre- fin
ishcd envelope edge.
( a)
( c) ( d)
Fig. 1032. (a) Ribbon lies and
(b) tab connectors basted to the right
side of a module's top before sewing
to the lining/batting. T umed right sid9
out and quilted, modules are pre-fin
ished with an envelope edge and
ready (c) to lie or (d) snap together.
Opcnworh mini-modules are smalL,
quilted slutpcs hand-sewn together in
arrangements with gaps that become
part of the design. Using tbc
P'ttlle.n'l, cut tops, lini_ng, and batting
forthe mini-modules. Sew each set
together, rum right s ide out, and
haud sew the opening closed.
Machine quilt. Sew the mini-modules
together where they toudt, from the
back, catching only the lining/ hatdng
\\oth the mcking stitches (Fig. 10-33) .
Fig. 10-33. (a) Openwork designs.
(b) Sewing, (c) quilting, and
(d) tacking two mini-modules together.
(e) Assembled mini-modules with
completed quilling thai crosses from
module to module, strengthening the
connections.
Usc openwork compositions l o crt-
ate borders. insertions, or entire
cons1ructions.
Tabs are small, quilted, modular
shapes that hang loose from a foun-
dation in overlapping rows. The
tops. balling. and lining for u.bs are
cut from the same paLtcm. Sew each
set together, leaving the top edge
open. Trim the batting from the
scam allowance at the top and tum
right side ouL Machine quilL Sew
the tops of the u.bs to a padded or
sturd)' foundation, closing the open-
Ings in the process ( Fig. 10-34) .
Use tabs for borders or small
constructions.
(a)
(b)
\ Vith pressed tht
cd of <ta"" :and
replace.< lines of <llt<hcd 1hrod
The top is cut up mto .tnps which
are sewn together and qmhed 10
1he baLtingllimng m one oper:auon
For practical reasons, pres.-.ed quill
ing is a modular activlly. ( I) l'Lln a
design for strips of fabric. (l) For
each module, cur a hmng and
batting slight!)' larger than the fin
ished dimensions, and baslt 1ht
IWO 10ge1her. (3) CUI <tnp< of tht
required width plus 1wo seam
allowances. (4) Starling ccmrnlly
or at the left edge, lay 1he ftm s1rlp
trimmed to size, right side up on
(c)
(d)
(e)
ITIIIID (I)
Fig. /D-34. (a) Designs for tabbed coostiUCtions. {b) Sewing and quilling a
tab before application to a foundation. The seam allowance at the top of the
tabs is either (c) tumed inside while hand stitching, (d) enclosed under top-
stitching, (e) caught into seams, or (f) covered with zigzag stitching.
Chapt er 10 QUILTING 223
Fig. 1035. Pressed quilting sewn to a banlngR/ning foundation: (a) Strips of top
fabric affange<J diagonaRy. (b) Finished mocJula before trimming. (c) "Logs" of
top fabric arranged around a central square. (d) Finished "'og cabin" module.
top of the bauing. Place the second
strip, trimmed to size, right
Side down over the rust Strip.
!>httching the edges to be seamed
together, stitch through all layer..
(5) Open 1 he second s trip and
light ly ptcss the scam. (6) Continue
nclding Strips and pressing each
se:nn until the batting/lining is cov
crcd with a scam pauemed tOp
(Fig. 10-35). (7) Trim the modules
to size. assemble u>ing one of the
methods dc.scnbcd in "joining
Modular Unit.s' on page 208, and
fimsh the edges ._;th doubled bind-
ing ( refer Doublc-llinding
Edge rinish' on page 207).
Reversible pressed quilting is
hUih entirely from narrow snips-
strips for the top, strips of batting,
and strips of lining- all cut to size
before stitching. ( l ) Begin by bast
ing the nrst of the t hree-layered
strips toged1er around the outside
(2) Wit h tight sides facing,
lay lOp Strip #2 over the urst lop
strip and lining strip '12 ocr the
1\rstlining strip. Sew the matching
edgt$ of all four fabric strips and
the oomng together. (3) Open and
prc.o;s the second strips to the side.
Insert a stnp o batting, hutting the
inside edge.
224 The Art of Manipulating Fabrl<
MACHINE QUI LTING
(4) Place lOp strip I'J over the sec-
ond top stri p and lining strip :IJ
O\'Cr the second lining strip, and
sew the four fabric strips and bat
ting together. (5) Open. press, and
repeat the procedure until the
de>ign is complete. Note that. "1th
the exception of the stnps 1hat
s t>trt the: construction. all s trips
of haui ng arc cut to the finished
width plus one scam <>llowance
only ( Fig. l 036) .
Fig. 10-36. Forreversible pressed
quilling, strips of lining and lop fabric,
and batting, aro ossembled with
stitching that is concealed on both
sides.
MACHINE QUILTING
X-S- Two a l l o ~ r
P<;Uems. s(ttl1ght-
sutched and
mach,ne-guldfd_
Chpter 10 QUILTI NG 225
X-8---0esigns 1roced ...,,th free motHln !itltc.h+T'i o
border /(lsh<onod (rom """"'"" )1U<'od ,.,,ch conbonm-.
MACHINE
QUILTING
X- IQ A chon of

lJes JrtSe:{ed betv."een
-
outer cctgc IS /imbed
v.,U, co!ded PPllg.
226 The Art of Manipulating Fabr ic
X-9 Pone! of ecccntllc expenmems
n tmprov-tst:'d frce-roonon q.Nxtg.
X I 1-0..,rlappmg Ol'lllllRomenJ o{ qwltod tabs
with a clescef1d,ng fl>W o( Sfll{(ed 1<tbs {or comrosL
MACHINE QUILTING
X-/ 2- Sx b.'ocl<s o(preswJ qulong. The
cmzy-pau:hcd block 10 tho """'"' nghr corner
shows the oo;osionol hand Sl1tchmg requ1red
to ple<:e ond qu<t oddly shaped scrops.
X 13-l'he ,..,...rse side o{U>e
pressed qt.Joo
1
ring sompe'er
the assembly merhods: Concoo!ed
at the top. wped at the bottom.
with 0 sinpped COM!:Ct.ion
bet\":.'eefl r.he two rows.
Chapter I 0 QUILTING 227
I
nserted between two l a y ~ r s
of fabric and confined Wlthtn
seamed boundaries, stuffing
supports elevation. An adaptable
fiber material that yields to the
touch, stuffing upholds a bas-
relief surface configured with
low- 01 high-relief elements that
were cut and stitched into
specific shapes.
Where stuffing adds height,
it subtracts flexibility. The higher
the stuffed area, the less flexible
it is. Maximum flexibility is
restricted to the seams that
ground the stuffed structuring.
Stuffing also adds weight and
bulk to its fabric environment.
STUFFI
11 Stuffing
STUFFING BASICS .................. 229
Stuffing .................................. 229
STUFFED QUILTI NG .............. 230
Proc<-durcs ....................... ....... 230
Notes fl:: Variations ................ 231
lhlpunto ....................... ....... 232
Rc,ersed stuffed quilting .... 233
U.rcrcd stu !fed quilting ...... 233
STUFFED APPLIQuE .............. 236
Procedures .......... .................... 236
NOles & Variations ................ 238
Fr:tycd-cdge stuffed
:tppliquc ....... ..................... 238
Freezer-paper preparat ion .. 238
Eased sturfcd applique ........ 238
Stacl<ed und stuffed
applique ............................ ns
Loose stuffed applique .... .... 239
ELEVATED APPLIQUE
Gather-Elevated Applique
Gusset-Elevated App!ique .... H2
Procedures .............................. 24 2
f\ote. & Variauons ......... ..... .. ~ 5
FlC\'atccl picccwork. ............. 245
HAI.F-ROU OS .................... 247
Procedures ......................... ..... 247
Notes & Variations ..... ..... ...... 249
Raised stripping .................. 249
CONNECTED ROLLS .............. 251
Procedures .............................. 251
Notes fl:: Varintions ............... 252
Detached Rolls .................... 252
LITTLE PILLOWS .................... 25'1
Procedures .............................. 154
f\otes fl:: Variations ................ 2.56
Pcekholcs ............ ............ .... 256
Rui>cd patcbwork ................ 256
BISCUITS .................................. 258
Procedures ...... ........................ 258
Notes & Variations ................ 259
Sau>age> ....................... ....... 159
PEAKS AND VALLEYS ............ .. 262
Procedures ............. ................. 261
Notes fl:: Variat ions ................ 263
Note: This chapter begms ";th
BASICS. indicated by a gray band
located underneath t he relemm
columtu.
STUFFI NG BASICS
STUFFI NG
S
tuffing is both a noun and a
verb. As a noun, stuffing is a
loose. soft , airy accumulation
of natural or sr nthctic fibers. 1t is
used to !ill up containers of fabric.
lkfore S)11thctics, stuffings of cot
ton and kapok (fibers that collect
around the seeds of the tropical ceiba
rree) were used to All cloth casings.
Polycste Oberfi ll is todar's stuffing of
choice, nnd It Is tho stuffing recom
mended for t ho mtlnipuhuion tech-
niques that follow: II is clean,
resilient, non-allergenic, ple.-.sant
to handle, resistant 10 unwanted
clumping, and washable. Packaged
under numerous brand names,
polyes1tr llbe.rflll is \ndely a\ail-
able, but \'arlable in quality. Good
quality fibcrlill is nulfy ;tnd consis
1ently Rne In texture. without fibers
that shed or clot together.
As a verb, stuffing is the act of
inserting !'i tuffing. t11c noun, inLo
srilchcd casings. The techniques
described In t his chapter indicate
st uffing thmugh temporary open
ings left in scams or through slits
cut into linings or foundations.
When slits arc necessary. use small,
sharp scissors to cut neatly through
the backing fabric onl). At a c-entral
loc. 1tion 1nside the seamed bound-
anes, cut tht opening across the
bias or the fabric to prevent the
edges from fra)1ng out " ' ;th the
fricnon or repented stuffmg i nser
tions. Several slits may be needed to
smff around peckhok s or meander-
STUFFING BASICS '2"2 9
--
lng quilted or shapes.
To guide "pulls" of stuffing
1hrough small OJX'nings inlo larger
lnlcriors, use 1he blun1ed or rounded
tip of a s lender tool long enough 10
reach 1he limils of the particular c-JS-
ing, such as a length of dowel or
coathangcr wire. a chopstick, n
screwdriver with rounded corners. a
blunted knitting needle or skewer,
or n strnigbtcned paper clip or hair-
pin. Rela1e the size of the pull of
stuffing to the size of the area bting
fllled- "ispy bits to work ln10 lips
and comers or 10 Sluff a small .
round applique; larger pieces 10 stuff
a fat roll or plump biscuit. Begin b)'
pushing stuffi ng against the seamed
perimeters, especially inLO corners.
Continue adding stulfmg. always
blending the new stuffing ln1o pre\>i-
ous stuffing. working townrd the
cenltr of the shape and the opening.
Distribute the stuffing evenly
tluoughout. Model high-relief fonns
(elevated rolls, biscuits,
peaks and valleys) " " '" fi nger pres-
sure on tlte outside as well as stuff-
Ing pressure from 1hc lnslclc.
When stuffing from underneath ,
check results from the front. To stuff
quilted or appliqued shapes or half-
rounds softly and evenly. hold work-
in-progress up to the UghtlO check
for consistent stuffing dlstribulion
t hroughoul the = ing. Smff every
shape full enough 10 reach 1hc
!mended elevation and substamiall)'
enough for the elevntion to survive
subscquem use. Stop before stuffi ng
100 fully, indicated by 1he undesir -
able distortions that develop.
Close in-seam OJX'nings as tech-
nique directions indicnte. Close the
openings cut into linings or founda-
don fabric with hand se->ing (Fig. 1 l -1).
230
(c)
Fig. 11-1. C/Qslng cut openings aher
stuffing: (a) Darning the edges
together with over-and-under stitch-
ing. (b) OvetCBsl and (c) herringbone
stitching. two alremare but less desir-
able methods.
Afterwards, stuffi ng can be TC-
clistributcd to fi II out minor depres-
sions pre\>iously overlooked , or to
pull stuffing into points or corners
thai need attcmion. Usc the lip of a
Slltrdy needle ins.:ned inside the
area to move u.djacem stuffing into
the empty Spol.
End of STUFFING BASICS
STUFFED
Q UILTING
-tWO layers of fabric fastened
together with a stitched design con-
taining enclosed shapes that are
heightened with stuffing.
PROCEDURES
l . Dr:tft n destgn with lines that
include enclosed spaces appro-
priate for emphasis with stuffing
(Fig. 11-2).
2. With a fi ne-line, fabric->afc mark-
er, 1mcc a faim bm distinct copy
of the design onto 1he right side
of fablic that has been cut to size
(rfr 10 "Transferring
on page 205). Bas1e the marked
top fabric to lining fabric identical
In size. An option for a design
1hat will bt running->litched:
Trace a mirror-image cop)' of 1he
design omo 1he Uning before bast-
Ing it to 1hc unmarked top.
(d)
<.. ........ :"!

:---......_.:
........ -"'\
: ........... ;'
..... '\

./
- .. )\

I
,:
....... -'\
(.>l
.. .. 1
(o)
(f)
Fig. 11-2. For hand-stitched
stuffed quilti ng, designs entire-
ly composed of stuffablo
shapes: (a) Borcfer. /b & c)
AllfNer. For hand and machine
stitching, continuous Une
designs that include enclosed
shapes: {d) Border. (e) Grlddod
allover. (f) Wandering leal.
3. Sew o,er the marked our lines:
Hand sew \\ith Lin)\ uniform.
running or back stitches. Jr
handscwing O\'er outlines
tn1ctd onto the lining, moni-
lor the appearance of the run-
nmg stitches from the [ront.
checking for regularity.
sew. covering the
lines wllh straight or sa rin
stitching regulated by presser
foot/feed dog action or with
free-motion stitching, which-
ever is the mosl appropriale
f<>r the design ( review the
procedures discussed in
"M.tchine Quilting' on
page 218).
+ \\'hen hand stitching or free-
monon machine stitching.
stretch the fabric in a hoop to
prevent thread tension from
dra"i ng up the fabric.
-1. Cut small slits intu the linit1g
ln<lde the outlined shapes. Push
bits of s tuffing through
the openings. elevating each
s hape soft. evenly dis trib-
uted stufring. To deter oversmff-
ing. :1 problem with larger
<hapcs, stretch the srlrched fab-
ric, lmlng side up. in a frame or
hoop large enough to expose the
design (Fig. 11-3). Hand sew the
openings closed. (Refer to
"Smffing on page 229.)
5. Stretch and pin the ;ruffed quilt
ing to a padded surface. Steam
\\1th an iron held abo,e the fab-
ric. Allow to cool and dry before
Hnrng the stuffed quilting to con-
ern! and protect the openings.
Tack the outer lining to the
Inner lining :11 frequem intervals.
N OTES & VARIATIONS
Oullil1es lh<ll are hand-sewn with
n muing stitches have a distinctivel)
cri nkly. pricked appearance which
rends 10 blur intricacies in the con-
tours of shapes. Smoothly Oowing
contour.. wit hom flnicky details arc
the best for runnmgS<itchcd om-
lines. u..., continuous-thread stitch-
ing. either hand-sewn backstitching
or machine stitchmg, to outline
sh:tpts wilh detailed contours.
As shapes i nuease in size. the
amount o s luffing the interior can
nccommodmc c.xpands. and so docs
the rcmptmion to overs tuff. Too
much stulnug produces distracting
waves nnd s1rcsses in the: surround-
Ing fabric The s tufred quilling goal:
Raise rhe design without disrurbing
the le\'el fabric between the stuffed
shapes. Struclung the design in a
frame or hoop discourages over
Rg. 113.
Stuffing a
design, out-
lined with
running
stitches.
through
sBrs cut into
the lining.
stuffing, hut prc\'Cnts 11 onl\ tf
the ;.tufftng s moved mto post-
lion "ith gentle pressure. and 1f
the total amount of stuffing insened
into a shp is moderated. With
control. small-llgured designs
be sruffed without srrctclung
beforehand, c>pceially if sarin-
stitched by machine. The dense-
t hread outhne of sarin slitchmg acts
as a kind of s tubillzcr 10 the fabric.
n design is too large for the
size of nn ;1\'ail:tblc hoop, stretch a
portion of the design and stuff the
exposed <hnpcs. Wit hout closing the
hoop over anytlung previously
stuffed, frame up another section of
the design. >tuff, and continue until
hoop lS no longer poss;.
ble. Maintainmg the s;tme density.
smfT the lefto\'er shape>.
\ViLhan ouler lining O\cr an
Inner ilnlng t hat IS underneath the
top, " stuffed-quilting textile finish-
es with t hree b yers of fabric. If the
st uffed clements are separmed hy
borders, fillers, or mher designs not
intended for ruffi r1g, the inner lin-
ing cnn be limlled to the areas
where It's needed. After s ti tching
those port ion< of the design desig-
nated for stuffing. trim the lining
W' (6mm) from the stitching that
surrounds the Stuffed shapes.
Chapter II
STUFFING 231
Add the outer lining and fasten it to
the top b)' stuching those portions
Of the design not meam lO be
stuffed (Fig. ll-<1). If it's practical,
an isolated figure or motif can be
outline-stitched to a trimmed lin-
Ing. stuffed. and left nt that.
Three nllernativc sluffing mclh
ads elhninnLe cuts into the lining
nnd t he ncctl for an outer lining:
l. The first met hod requires a
loosel)' wo,en lining fabric. Push
the of the lining apart to
create tiny openings through
which wisps of stuffing can be
in,ened. After stuffing. tease the
threads back togNher with a
needle and nngernail scratching
Fig. 11-4. Design
with stuffed ele-
ments inside an
unstuffed border.
Stitch and stuff the
underlined inner cir-
cle first; then line the
en/ire dJsign and
stitch the border
scroll.
((a) in Fig. 11-5). In the past,
quihcrs rehccl on shnnkage after
wnshlng 10 ugh ten the weave of
the lining behind their smffcd
work-a u;.cful strategy if lining
shrinl<.1gc coorcli n31es wi th
Lhe s hri nkage o( Lhe lop.
2. The second method requires a
plan of approach to the stitching,
which must be done by hand.
Each shupe Is stuffed through an
accessible opening in the outline
>tilclting. before tltc stitching is
completed. To shorten the p:uh
the stuffing needs to tra\el, the
lining and
up close to the shape ready
for stuffing ((h) in Fig. 115).
Fig. 7 7 5. To stuff stitchingoutlined shapes undetectably: (a) Stuff through
openings forced between threads in the weave of the lining. (b) Pause to stuff
between the layers while stitching; finish stitching after stuffing. (c) Pad with
rows of acrylic yarn.
STUFFED QUILTING
To utilize this method efficiently.
prot-ccd from tbc cemer of the
design outwMd. Gauge the besL
loomon for each stuffing open-
ing. Stitch ;lutpes ,_;,h neighbor-
ing and openings at one
time. using different needles.
Pu<h <luffing on the end of a
long tool. between t he rolled
back top and lining. into the
st itched enclosure. When filled
to s:uisr:1c1 ion, rinish the omline
s Litching. Stop licquent ly to
smoot h and tc-align the top and
lining, pinning with safet)t pins.
J. The third mcthotl uses loosely
spun, Ouffy, acrylic yarn to fill
>mall shapes. Each shape is
stuffed with rows of yarn laid
next to t-ach other inside the
stitched outline. Thread doubled
yam into a tapestry needle. Enter
and xn the llmng through holes
forced into the wt-n,c the
guiding needle (a,oid breaking
thrcncls In the fabric witl1 a nee-
dle that's too large) . Trim the
ends of the )'Rrn close to t he sur-
fncc where they clisappear. Coax
1 he ends Inside by stretching the
fabric ond nudging with the
point oln m:cdlc inserted int.o
the hllerior. Clo>e the holes with
gentle scr:uching. liold the yam-
stuffed shape UJI against strong
background light 10 check the
c,enncss and closeness of the
strands ms1dc ((c) In Fig. 11-5).
WiLh c:tre, shopcs c.tn be padded
from Lhc front U>ing the string-
guided method of yarn insertion
(refer to f'lj:. 9-5 on page 190) .
Stuffed quilling and corded
quilLing nrc cumplcmcm:uy tech-
nique>. When shapes lor stuffl ng
fll1d 111l1TOW t:h,,nne)S ror cording
are included ill the same design, the
technique combination and the
result arc called ll'Of>UIIIa. Stuffed
quilting and corded quilting can be
worked O\'er a hning p.tddcd witlt
thin bauing. and surrounded "ith
regular quilting.
Reversed quilting is out-
lincstltched around cutouts of
padding Cut the shapes from bat
tlng, fleece, felt, terry cloth, or
other thick material, and arrange on
the wrong side of the lining . . .\ftcr
setung the nrmngcmcnt with dabs
or fabric glue or basung, baste the
10p over the lining. The top fabric
needs 10 ridge o' tr the edges of Ute
cutouts \\1t h enough clari ty w indi-
cate a for the hand-stitched
outlining that follows. I r the top
fabric is sheer enough 10 expose not
only the outlines htll also t he colors
of the ClllOUIS, reversed Stuffed
quilting Is called shadow quilting.
Ftgurcs with foreground and
b.1ckground components benefit
from laytrctl rtulfrtl quilting, a bas-
rchcf technique that accrotuates
advancing fonns (Fig. 11-6).
Fig. 116. Layered stuffed quilling
adVances designs with distinct fore
ground elements: (a) The head/neck
and the legslfoet of the peacock. (b)
The squigg/8s that overlap the cirr:le.
(I ) To prepare tlte original design,
number the foreground shapes
-=1. After stuffing, these shapes
will appear on top or in [ron I.
Number the middle-ground shapes
(b)
(c)
(d)
, .. ,
(' .

c(.
(f'
Ptg. 117. (a) Design for layered stuffed quUting with areas numbered In
adVancing order. (b) Circles in layer #I stitched and stuffed whi/9 stitching.
(c) Layer /12, when stuffed, pushes layer Ill forward. (d) After stuffing, layer 1!3
recedes behind previous /ayets.
"#2." After s1 uffing, these shapes
will appear to bo behind the fore-
ground s hapes. The middle ground
1nn>' be split in1o cwo levels\ or
omitted altogether. Number the
background shapes "#3." Ahcr
stuffing, the.<e <hnpes will appear to
be in back of all the other shapes in
the design. (2) Trace the design on
the right side of the top. (3) Pin
thin lining CUI larger than all the =I
shapes underneath the design. Wtth
running or back stitching, outline
the shapes. Stuff through cutS in
the lining or th rough openings left
before Onishlng the outline s titch-
ing. Trim 1 he excess lining around
the shapes. ( Cut and pin another
piece oflln lng,lnrger than the ::2
shapes, u11der the top. Outline the
112 shapes. When s tltchinA an out-
line intemtpted hy a foreground
shnpe, LUI'n 10 the hack and comin
uc stitching through the lining only
until the Otllline in front resumes.
When stuffing. extend the stuffing
behind foreground shapes that ha,e
already been stuffed lo crt'llte the
of diStinct foreground/
background le,els. E.1se the stuffing
out be lund the hump of larger fore
ground shapes. 1 rim tlte lining
around the =2 shnpes. ( 5) Repeat
for the 113 shapes (rig.ll-7).
Chapter II STUFFING 233
.
iJ
STUFFED QU I LTI N G
l
234 The Art ol Mani pul ati ng Fabr ic
borde<
lhu! .ndu<los a loop} ro.
o( cOit!td bor"een rhe
(lmP.,.'\!0)
stm<gtw
sb<dled by rnochn1e """ cettaon spaces
on the g..d seleaed (oi Rff"'2
Xl-:1- Composmon wuh shapes
ou!lmed by hand wrch nmnong and
b<Jc:i<sorchlllg. and by machont With
S(lll.'1 00<! satJn sntching

- ..

'

.
. ,

.

. .....
"'

.
X/4-/ltver-sM stuffed qoJolong oud:ned wolh """''8 sorches (fir;m tho U>P} around Clilll<JtS
of i<Ju:x (oom. around cutouts o(bcwng, and atO<;nd a {tit ctJrout for tho cononuoos booier
XI 5-0tsif' boci:s<oched ond stJ.Jffed ;n rhree laye1s. The qwlted
scams l.hot btsea the Jorgesr and bwest layer bmit bu!I:J'ne.ss
STUFFED QUILTING
XJ.6-Fiorol <Jesogn bccks<olched and Stufftd on mt layers. Set IMf 0
stuffed bocJ<gt<>und dmded Ofl!O noee SqoJOfts Center 0( the lo"?-
ffowcr was inde:'!tCd w1d1 neecJ,'e modeJJ,ng.A borde,. of runmng-smchea
fiat sorrouno:ls !he stuffed desRn
Chaptor I I STUFFI NG 235
STUFFED
APPLIQUE
-fabric cutoutS stitched to a foun-
dation with stuffing inserted
tho layers.
PROCEDURES
L Create a design composed of
shapes with simplified outlines
suhable for cutouts (Fig. 1.1-8) .
WII h a fabric-safe marker. trace
ful111 but distinct outlines of the
enl ire design onto 1he right s ide
of founda1ion fabric 1hat has
been CUI to size. For designs that
require extensive stitching and
stuffing. the foundation
lemporanly. choosing a stabiliz-
ing method appropriate to the
sUtching method.
2. Cut ap"rl a copy of design to
make patterns or templates for
cuch shape that will be
With a fabric-safe
marker, trace a faint but distinct
outline for applique onto
1 he right side of the appropriate
applique fabnc and cut out:
For appliques that will be
hand->titched or machine-
stitched with stitching
or hcmslhching. add a scam
allowance around the mtccd
outline.
For that "ill be
sattnstitched b) machine, cut
on the traced outlines. adding
scam allowances only to those
edges tlwt will be slipped
underneath adj oining
:tppliqut!s.
3. Stitch the :tppliques to the foun-
dation. matching the applique
outline. to the foundation aut
line. Bcrorc turning an
seam allowance to 1he back. dip,
notch, or trim the seam
allowance at all curves and
angles (Fig. 11-9).
.-
...

(c)
... -
.. -
..
(d)
._
Fig. 11-9. To turn non-straight seam
allowances smoothly: (a) Clip con-
cave curves and (b) notch tXJnvex
curves at Intervals, stopping short of
the fold line. (c) Clip inside angles
to the fold line. (d) Taper-trim to the
tip of an outside angle.
When two or more appliques
shan: a common oudine, auach
the background applique first, but
don't stitch the sbared edge. Then
apply the foreground applique,
(Overing the loose seam allowance
or the lxckground applique with
the edge of 1 he foreground
:tppliquHFig. 11 - 1 0).
Fig. 11-8. Designs for stuffed applique have enclosed shapes to cut out andre-
apply with sluffing underneath.
236 Art or Manipulating Fabric
STUFFED APPLIQUE
.0.-" - ..
(I)
... ---' (b)
Fig. 11-10. (a, b, c) Motif applied in
throe stages. /Each successive
applique covers the loose edge of a
previously attached applique.
a. Hand sew appliques with blind
or lnddcr stitching: the
appllqut in place. or pin from
the back so that sewing thread
won't snJg on projecting pins
In front. Turn under and pinch
crease a small portion of the
scam allowance.
concealing the trnccd outline
on the fol<l. Stitch that portion
to and over t he marching out-
line on the foundation
(Fig. 11-11). Continue to
pinch crease ahead of the
using the needles tip
to tease stroy and
rcluctMt folds into place, par-
ticularl) at outside comers and
inside angles.
h. lllachine sew \\lth the needle
slr-;ddling the edge of the
:IS it swings back
and forth, piercing tbc
nppliqut and t hen only the
roundntlon right next to the
edge ( Fig.ll-12).
Stabilize t he foundation with
typing or freezer paper, a
commercial stabilizer. or
Slrtlcll the foundation in a
hoop. Cover the traced out-
line on 1hc foundation with
the edge or the applique:
(I)
Fig. 11-11.
(8) Bllnastitch/ng an applique threaeloasteel to the tounelation. In front, tiny
tacking stitches straeldle the fold. In oack, tile stitching lllfeael moves fonvard.
(b)
-
T -..........
I
(D) Lsc/Cier stitching an applique pin-lulsteel to the lounelation. In front, the nee
die takes tiny sritches through the fold, alternating with tiny stitches through the
founelation. In oack, lac/Cier stitching looks like running stitches.
To prcptuc an applique ror
t lgzag stitching or hcm-
Slitching. turn under-.
pinch crease. and heat
press the seam allowance,
Concealing tl1e traced Olll-
lme on the rold. Pin or
baste the applique to a
roundanon.
For satin smching. baste
the applique in place with
stnugln s titching next 10
the cut edge. Satin stitch
over the s tmight stitching
and the edge (Fig.ll-13).
Fig. 11-13. For satin stitching, a
presser loot wirh a groove in the
oase arches over the buildup of
thread.
(b) (c)
Fig. 1112. Options lor machine applique: (a) Satin stitch with an open-toe
embroielery loot. (b) Stitch with a narrow zigzag. (c) Hemstitch. Use an embroi
dory loot if the zigzag loot hampers visibility.
To satin stitch a corner or
onglt. ;utch up 10 the
polnl. stop to pt\'Ot with 1M
needle Ill the roundauon.
and conunue sutchmg
when the next side is in
posmon. When satin stiLch-
ing n curve, pouse [requcnt
ly with the ncecUc down to
turn the applique a linle at
a time ( Fig. 11 14).
vv
(c) (d)

Ftg. 1114. Choices ovhen satin
stitching an applique: (a) Tum =
ners without changing slifch wi<flh.
(o) Decrease to narrow when
approaching ana Increase to vfele
when leaving a comer. or (c) an
insiele angle. (CI) Hanel guiele the nee-
dle to fan out stitches arounel an
Inside angle, always returning to a
common pivot point in the founelation.
(e) Swivel with the neeelle in 111e
lounelatlon for outsiele curves, (I) with
the neeelle In the applique lor insiele
curves.
-1. Stuff the :1pphquts sortly (rtrcr
10 "Stuffing" on page 229):
lmerrup1 the stitching to stuff
an apphquc bcrore endosmg
h "ith surchcs. Stuff a back-
ground appbquo: bcrorc apply-
ing the roreground applique
over the oULlme they both
s hore ((3) in Fag. 1 1-15).
Chapter I I STUFFING 237
After stitching, stuff an
through a slit cut into
the foundation behind the
applique ((b) in Fig. 11-15).
Hand sew the opening dosed.
If the foundation has been
tempomrUy stabilized
paper or a commercial prod-
uct, don't remove it. but cut an
ettlargc'tl opcrling in the stabi-
lizer to get at the cloth.
Fig. 11-15. (a) Stuffing appliqued
petals through openings to be closed
when the center circle is
(b) Stuffing the center circle through
a slit cut into the foundation.
ltcmove the temporary stabilizer.
Snetch the fouud,u ion and pin
around the edges to a padded
surface. Steam with an iron held
above the fabric. and allow to
cool and dry before mo,-ing. Une
a stuiTcd-oppbque design that
was Stuffed from behind.
N OTES & VARIATIONS
Shapes for opplique may be as
delicate and intricate as the stitch-
ers technlqu can manage success-
full): Sharp, slender points and
deep. narrow :angles with minute
seam allowances present the great-
est challenge. Simplified shapes
with :tdequate seam allowances all
around arc the crrsiest to applique.
To make the UJ.>pliqul! process
even easier, ' isualize frayed edges
as desirable s urface texture. For
fmyetl-cclgc stuffed applique, tTace
simple, preferably straight-edged
shapes onto fab1ic with a loose
wea\'C, and enlarge all around when
cutting out. Machine sew each
apphquc to the foundation or hand
SC\\ wilh straight stitching. follow-
ing outhnes traced on top. Before
swffong, brush out the edges or
machine wash and dry the entire
foundat ion to encourage fraying.
Another option. not as fast as
frnycd.cdge applique btu less fussy
th:m stnndnrcl applique: Auacb
tl ppllques prepared with turned
edges 10 t he foundation with
machine-sewn edgestitching, or
hand sew the fold with
straight
For appUques with SC'dm
dllowanccs,Jreczer-paper prepara-
tion assures turned edges that arc
smooth and accurate. For each
appliC(ut, rrace the outline of the
pattern onto freezer paper and cut
out on the line. Heat bond the
frcezer-["flCr shape, shiny side
down, to the wrong side or the
applique fubdc. Cut out , adding a
seam around the edge of
the paper. Folding over and agains t
U>e edge of the paper, mrn the seam
allowance tO the back and press
fim>ly. For appliques to be stuffed,
remove the freezer paper before
sritching to the foundation.
238 The Art of Manipulating Fabri c:
STUFFED APPLIQUE
Standard stuiTed is per-
fect I) executed when tl1e fmished
product duplicate; 1 he original
design on papt:r, curve for cllf\e
and point for point.: "hen all traced
outlines are tmislble: when threads
from tht aHowances,
or stuffong arc securely confined
underneath the neatly stitched
edges of the appliques; and when
tltc foundation around the softly
stuffed rcn"ti ns smooth
and level. and retains its original
dimensions. If an applique is t OO
large. the soft s tuffing ins ide may
shift or clump when cxtenshely
handled. After sewi ng a large
applique to the foundat ion, dh>ide
it into smaller segments with seams
topstitched by hand or machine,
and stuiT the segments.
Easing an appllqut to match a
slightly smaller outline on the foun
darion results in a little more interi-
or space to stuiT; therefore, eased
stuffed llpj)liqut Is somewhat loft ier
than t he same ltppliquc would be if
it weren't eased. f.: nlargc the paLttrn
for an eased applique about W'
(3mm) all around, even less if the
s hnpe ls vel) small. llecausc bias-
cut edges absorb easing better than
edges. cuL as much of
the edge on the bias as
possible. When sewing to the un-
enlarged outlint on the foundation,
work bit of the excess into each
stitch. After sturnng. the applique
should he smooth and without any
ripples "' the seam to bctm)' the
casing.
For swelled nnd swffed applique,
cutout shapes ttre st itched one on
top of the 0 1 her in grndtmtcd sizes,
wit h the largest anchored to the
foumbtion (Fig. 1116).
Fig. II t 6. Designs tor stacked and
srvffed applique.
When machine S<!Wing, stan stack-
mg the "Ppliques rom rhe top:
( t) Stitch the smallest applique w
a medium-sized applique and smff
the sm:dlest upplique; (2) sritch the
medium-sized applique to the
largest applique and stuff the medi-
tlln-slzcd applique: (3) stitch the
largest applique to the foundation,
ond s tuff it. The order of assembly
is optional for hand-sewn stacks:
either Start at the top, as for
machine se";ng, or stan at the base
and proceed upward to the smallest
stuffing through openings
in the sutching. 'lote that stacks of
more than three layers tend to
enlarge too much at the base, end-
ing as a pillow that bulges below
t he level of the foundation as much
:'1.5 it rises above the foundation,
unlcs> the base applique is subdi-
vided and s tuffed in segments.
_..-....
\
{
!
/-........
I ;
i :
/
r
(a)
/
- W
' I . \
I .
\ /
(
\ I
' '
. :
__::,..._;_
:>--1
( b)
(c)
Fig. 11-18. (a) Loose applique pattern with lopstlrching ourllne/ndicated.
(b) Patrem outlines stitched when sewing /he lining ro the applique fabric.
(c) Cut-oul appliqut! ready to tum right side out through a slash In the lining.
The stash will be enclosed Inside the topstitchtng that attaches the stuffed
sppllqull to a foundation.
The unattached edges o( loose
stuffed aPI'lique spring up from the
foundation, adding more elevation
to shapes that arc already puffed
Mth stuffing. Loose stuffed
appliques are faced and lightly
stuffed they arc centrally and
vtsibly stitched to the foundation
(Fig. 11-17).
Fig. 1 t -17. Designs tor loose stuffed
appllqull include Internal ropstitch-
lng/appllqull seamlines.
( l ) Trace the outline of each pat
tern onto the \\TOng side of the lin-
ing. ( 2) Place the luting over the
top fabnc wnh right sides together
and S<!W on the traced outlines.
(3) Cm outsodc 1hc scams
( Fig. ll - 18). Turn right side out
t hrough a slash Ctll into the lin-
ing.(+) Trace faint but distinct
stitching lines on the top with a
fabric-sure noarkco. Stuff lightly
before sewing to the foundation
wiLh decorative hand or rnacJ:1lne
stitching. Padded loose applique
is thickened with batti ng placed
underneath the top when it is
stitched to the lining. and plain
loose applique is not fllled at all.
Xl-7 <Jes,gn wuh satm-sotched
vo.n.ng (or the li!O',.,S. Stv(fing dlsMgu.WS berween
IC<egtound ond oosturfl!d boci<groond elements.
STUFFED APPLIQUE
appl1qu6<1 1th by
nand ond sooo l>t Tho two
,.,.,,er fleto!s of the fio.,r ond rhe cernrol CJ!de
cr the oose 'f\-'fre (!K eJMtJOn
XJ-9-1-',ond-sw:hed. srockec:( ond sruffc<J
design WJth the lorgost shape CJl the "'"'
re<M:ed by sorchmg the shape obOW> rllrough
to the (oondat1o.1. Tho po.ntcd s/lapcs !!lot
appear to drape v.e"' rurchcd ond sruffoci
when \he other layers were pn,shed.
240
The Art ol Mani pul ating Fabric
STUFFED APPLIQUE
XJ-11 - (lefc) Bowng-pcxided loose (ng}lt) FloroJ
executed 111 loose swffed wod1 ont unSW/Ted leaf.
STUFFED APPLIQUE

and sw(fed (rom !he rop doM Tht
(ourtJ> ..as oudott<!d ,.,tJ> rop-
sotch:nR to reduce the srze of the
hexol!On o! the bcsc. The e<>mers o(
!he were needle mrxlelled
ELEVATED
APPLIQuE
-small fabric shapes, supported
with stuffing. that rise above the
foundation t o which they are
stitched:
GATHER-ELEVATED APPLIQUE
from the founda-
tion by gathering, that stuff into soft-
ly rounded forms with pucker y
sides.
GUSSET-ELEVATED APPLIQUE
- appliques. boosted above founda-
tion level on a perpendicular fabric
insertion, that stuff into smooth.
boxy. fi at-topped forms.
PROCEDURES
I . Derelop an applique design \\ith
elements t hat are comp.1tiblc with
heightened relief. Simplify the
contours of the shapes selected
for elevation (Fig. lt-19) . Cut
apnrt a copy of the design to iso-
late the dements t hat will be clc
vatcd with gathering or a gusset.
F'l(l. 11 19. Arrangements of stream-
lined shapes for elevated applique.
2. To draft a pattern that elevates
all sideS of an applique:
With gathering:
Enlarge t he applique all around
by an amount equal to one-
half t he desired elevation.
When enlarging an applique
with a concave edge or an
angle. slash and spread
the enlargement of that edge
to enlarge il C\'en more, so
that it wm surpass the mea ..
su rernem of the original
curved or angled edge enough
to be gathered ( Fig. 11-20).
Fig. 1120. TWo shapes enlarged all
around to create pattems for gather-
elevated applique. The concave edge
of the lower shape was slashed-and
spread to expand the gathering
length of that edge.
With a gusset:
A Measure all around the shape
10 be elevated.
b. Draft a srraight gusset
two parallel lines, each as
lung as the total measurement
around the original shape,
and as wide apart as the
desired height of the ele\'ll
tlon. Connect the parallel
lines with perpendicular lines
Ul the ends ( Fig. 11 21).
Original Shape
Mlrror lmage
Sogment
I
Gusset
Fig. 11-21. Gusset that wHI surrotllld
and elevate an oval shape, dra/led
from the measured length of one mir-
ror-Image segment of the oval's con-
tour. The gusset shown was drafted
on the fold."
ELEVATED APPLIQUE
3. To dmfr n paucrn that elevates
all bUI one s ide of an applique:
gathering:
Enlarge the selected sides of the
apphqut by an amount equal to
the clevallon. Grnduallr
cunc the enLugement mto the
original shape at the points (the
of t he side) where the
enlnrgement ends ( Fig. 11 -22).
Fig. t t 22. Tapered enlargement/hat
will elevate all but one side of an
appllqutl with gathering.
With a gusset:
a. Draw two parallel lines. each
us long ns the total measure-
ment of t he sides to be devat
cd. spuced as wide apart as
the dcslted height of the ele
v:uion. Divi de the space
between the lines into scg-
mems wtth each segment
equal to the length of the side
it will clc,ate. Taper the ele-
vated line into the baseline
\\itlun each of the segments
at the end.
b. the mpering line.
Compare with thc baseline
measurement for the same
which wUl be short-
cr. and subtmct to find the
dllfctcncc.
c. Tu compensate for t he
caused b) t he taper-
il>g, cut the original shape
apart between the sides that
\\111 be SC\\11 to the tapered
edge of the gusset. Spread at
the cut 10 mcrease the length
of each s1dc by the difference
(Fig. 11-23).
Elevated Line
Elovoted
Shape
Fig. 11-23. Drafting a gusset that elevates three sides of a shape with four sides.
The gusset is divided into segments, each one matching one of the three sides
In length. The edges of the slashed and spread shape Intended for elevation
11ave been re-drawn to smooth out.
To dmft a pattem that elevates
two opposite sides of an
appli'lut:
With gathering:
a. Oi\'ide the applique in half.
cunmg straight across
bttween the sides to bt ele-

b. Spread the parts to include an
expansion as wide ns the
amount of the desired eleva-
tion.
c. f.:xtcnd ench of the s ides I () be
clevutecl by an amount equal
10 lhl' desired elevation.
d. Curve the extensions into the
origmal shape at the comers
(Fig. 11-24).
(a) I Applique I

Fig. 1124. (a) Applique to be elevated
on opposite sides With gathering.
(b) Applique slashed and spread to
include the desired elevation. and
curved outward at the slashed ends by
tho amount of the desired elevation.
\\"tth a gusset:
a. Draw two parallel lines, each
as long as tlte measurement of
one of the sides designated for
eleva (ion, and as \\1de apan as
the desired height of the ele-
vation. Taper tht elevated line
into the baseline at each end.
h. Meas ure the elevated line to
the baseline. Measure the
baseline, which "ill be shoo-
cr. and subtract to fwd the
difference.
c. Cut straight across the origi-
nal shaJX, bisecting the sides
10 he ele\'ated by the gusset.
Sprt:td the cut by 1hc amount
or t he difference. assuring a
march when se,ving the gus
set 10 1hc clevutccl shape
(Fig.ll-25).
5. lo draft a pattern that elevates
one. side or two adjacent sides
or l\11 applique:
With gathering:
a. Slash the applique. cutting
Straight across &om the
edge(s) to bt ek\'atcd to the
oppoSite side. stopping Yi"
( 1.5mm) from the opposite
edge
b. Fan Olll the cuts to e>:pand
the sidc(s) to be elevated by a
lotul amount equal 10 the.
desired elevation.
c. Enlarge the outhne or the
expanded stddsJ by an
amount equal 10 the desmd
clc\-auon. Curve the enl-uge
mcnt into the ongmal shape :11
the pomb "here the tnl:uge-
ment end< (Ftg. 11-26).
Fig. tt-26. (a) Applique to be elevat-
ed with gathering on one curvy side.
(b) Applique slashed and spread,
and curved out at the slashed edge
with a line that echoes the origfnaf
cantour. Th" pattern was drafted on
the fold."
With a gusset:
a. Ornw IWO parallel lines, each
:ts long ns 1he measurement of
t he slde(s) to be elevate<l. and
as wide apart as the desired
height of the cle\'alion. Taper
the cle,ated line into the
basdine at each end.
b. Measure the t.a]Xring line to
the baseline. Measure the
b:l!eline, which \\iU be shon-
cr, and subtmct to find the
difference.
F'rg. 11-25. Drafting
patterns for two gus-
sets lhalwt" elevate
11'10 opposite sides of
a shape unequally,
end the elevated
shape that 1vfll be
sewn to the gussets.
Chapter II
STUFFING
c. Slash the original shape, cut-
tmg straight across [roJU the
sldc(s) to be elt\a1ed 10 the
opposite side, stopping V."
( l.5mm) from the opposite
edge. Fan out the cuts 10
e;o.. 'J"lnd the side(s) 10 he ele
vatccl br an amount that
equals the difference- to
assure a march wben sewh1g
the gusseL to tbc elevated
shape (Fig. ll -27).
Fig. 1127. Drafting a gusset that efe
vates one side of a triangle, then
slashing and spreading that side of
the triangle to match the elevated
edge of lite gusset so that the two
can be sewn together.
6. To make final patterns or
tconpla1cs for elevated appliques:
Gather-elc,atcd applique
pauerns:
Make patterns \\ithout S<'am
allowances. Use 1he original
applique for the pattern oo be
traced on the foundation. As a
gmhtring aid, indicate mat<:h
point.> on the gaohercd applique
paucrn 1hnt correspond to mmch
poinos on 1hc foundation paucrn
(Fig. 1 I -28).
Ftg. 1128. Patterns lor a gather-ele-
vated applique with match point indi-
cations. The applique's outline is its
fold ond stitching line.
Gusseo-elevatcd applique
pn1cerns:
Add seam aUowances 10 each
and applique pauern. Usc
the original s hape for the pattern
10 be 1rnced on the foundation.
For .1ccuraq while sti1ching.
ondlca1e match points on the
shape that corre-
spond 10 ma1ch points on the
baseline side of the gussel.
lndicn1e d1fferem match points
on 1 he elevated side of the gusset
thnt correspond to similar march
poi nts on the elevated appllquc
(Fig. 11 -29)
7. Wioh a fabric-s.1fc marker. Lnlcc
fai nt bu1 disolncl outlines of 1he
en lire design omo 1he right side
of founda1ion fabnc thao. has been
cu1 to siu. lnclicale match poims
for the shapes to be ele,-ared.
8. a labric-.afc marker, trace a
fam1 bu1 distinct outline for each
applique and gusset on the
appropriate fabnc. Mark all
ma1ch points.
Gathcr-<>lcvatcd appliques:
Tmce appliqtoe outlines onto the
right side of the fabric. Cut out,
addi ng a allowance arotmd
ohe ouolincs.
Gusset-elevated appliques:
Trace applique 3nd gusset oul-
lincs on1o the wrong side of the
fabric (oplional: 1race the seam-
Jones as well). CUI out on the
oudines.
9. Sew the ele,aled 10
1he foundauon:
244 The Art of Manfpulacing Fabric
ELEVATED APPLIQUE
F'tg. 11-29. Patterns for an
applique that will be elevated
on one side with the insertion
of a triangular gusset. On the
gusset, match-poinJ symbols
( <liflele sewn to the elevat-
ed app/fque ... where sewn
to the foundation}, lith ccrre-
spondjng match points on
the foundation and the
appliqu6, indicate where to
Insert the gusset.
GathCI'dcvatcd appliques:
" For each applique, turn the
scnm allowance under and
pinch crease or heat press,
concealing the traced outline
on 1he fold.
h. S111chlng next 10 the fold,
1hc edge from one
m.1tch poinl to the next,
motchmg that section to the
correspondmg position marks
on the foundation. Secure: the
gathering and continue to the
ncx1 match point, and so on.
c. When t he uppliquc has been
gmhcred to fi1 ohc outline.
blindstitch lo the foundation,
m:otching the match points
(Fig. 11-30, and also refer ro
Figs. 11-9 and 11-11).
Fig. 11-30. To applique a hand-gath-
ered edge with /Jtindstitching, distrib-
ute the gathers evenly and tack each
furrow to tho foundation. Remove the
visible gathering thread wl>en finished.
Gusset-elevated applic;ues:
a. l'reparc a gusset that tlevates
nil sides or an applique by
stilchlng 1he ends 1ogether
with right sides facing.
b. With right sides facing. sew
1he ele\-atcd edge of 1hc gusset
10 each apphquc. clipping the
scam ullowuncc of the
Slraightcr edge to enable edge
alignmcm. nnd malclting the
match poinls.
c. Fold under and pinch
Lhc allowance at the
baseline edge of the gusset,
and on the unelevntcd sides
of the applique. \VI th the
right side outside, matching
all match poittts. blindstitch
tl1c gussellapplique to the
outline on the foundation
( Fig. ll-31. and also refer to
Figs. Jl-9 and ll-11) .
Fig. 1131. Gusset with seam
allowance clipped ro a/low sewing to
the edges of a circular applique. The
rumed and prossed seam allowance
at the base/lne edge of the gusset is
ready to stitch to the foundation.
I 0. St retch the foundation in a
ht:>t:>l> or fmmc large enough to
expose the design. Smff the ele-
vated appliques through slits
cut into the foundation (refer to
"Stuffing" on page 229).
11. Stretch and pin the edges of the
foundation to a padded surface.
Steam with an iron held abo,e
the fabri c; allow to cool and dry
before unpmning. Une the
apl>llqut' design, tacking tb.e
lining tO the foundation at
points where the stitches will
be invisible in front.
NOTES & VARIATIONS
The choice between gathered
dt!valion rmd gusset elevation is a
maucr of designer preference, influ-
enced h)' which type of elevation
would be the most appropriate for
the design. Two other factors to
consider: Sewing small gussets
between a small shape and the
foundation tests and patience.
Gt"SCtS allow conrrollcd variations
in the stulfcd slmpc, and gathering
produce> simple, rounded forms.
Gathcr-clcl'tlted appliques oftcCL
stuff higher thnn the nnticipatcd de-
'"' lion, particulnrly if the stuffing is
mounded tn the center. An applique
gathered all around will stuff into a
roundt-d fonn. To keep the middle as
Oat as p<Xsihlc, push the stuffing
toward tl1e elc,-:tted sides. The pucl<-
cring at the edges that denotes gath-
ering becomes more obvious as l hc
elevation or the applique increases,
although s tuffing modifles the puck-
eri ng somcwhnt. To subdue the
puckering, replace hand gathering
with bobbin-thread
Machine stitch over the outline on
the appliqut. gather, fold on the
gathering Stitches. :tnd band sew to
the fuund.1uon.
To preserve the boxy definition
of a gusset-elevated form, push the
seamed cdgt'S and comers up and
out with stuffing, pinch them alter
stuffing, and Onuen and smooth the
to(> and sides with outside pres-
sure-or fill up a Oat-topped fonn
with n stack of batting and finish
with Muffing underneath . Use t he
founda1ion to t'llt enough
batting pi eces to stack to the height
of the elevation. Tnck the layers
together loosely with needle and
thread. Stitch the gussctted
to the foundation with the
balling stack inside. To b3nisb slack
in the surface fabric, push stuffing
beneath the batring through a slit
cut imo the foundauon.
Gusset concepts are more diffi-
cult 10 understand than 1heories for
gathered elevations, but they are
worth !mowing. To restate: When
an elcvncd line changes direction
at both ends to connect with a
baseline, t he elevated line will be
longer than the h3sclinc. Therefore,
the edge of ,t >hapc t hat matches
the baseline won"t match the elevat-
ed the edge is adjust-
ed. Slash the shape to spread out
the edge so that It will match the
increased length of the elevated
line. Gussets can be drafted that
will cle,ate 311 applique on a slam,
or into a peak or arch, with pre-
dictable results.
To measurr the perimeter of J
shape with cur\'ing contours. follov.
the contour with a utpe me:lSUre
standing on edge: or stand narro"
strip of paper on edge. mark the
length of the contour on the snip,
and measure the distance benveen
marks.
For sm3ll, low-relief appliques or
appliques wi1h a1 lc:1st one un-ele-
''ated edge, stuffing through an
opening in the Stitching that allach-
cs the to t he foundation is
an ahcrnnLivt!
1
but, in general, i['s
easier to di.>tribtllC t he stufflng
and COnlY()( t he s haping or
nn elevated fom> hr stuffing it
through u ccntrnl slit cut in the
foundation. A design with many
de-ated appliques top-
hen')' and needs a sturd)\ substan-
tial foundation for a base, such as
stili, heavy fabric: a batting-padded
lining: or fabric secured in
stTctchcd condiLion.
ElcwnctljJicccworlt applies 1he
concepl of gathered or gussc11cd
fomlS to pieced patchwork designs.
Stlectcd clements of n design are
ele\ated wi1 h gathering or
"ith each elevation basted to a lin-
ing before the pieces are sewn
together in the usual, right-sides-
facing fasluon ( Fig. 11-32). After
asscmbl). the ele\":ltcd clements are
stuffed through slits cut into their
lining;.
F"f9. 11-32. (B) Parchwork design with
trianguler e/emenrs suirable lor ele-
vation. (b) Triangle with one side
gathered and basted ro a lining, prior
to assembly into the block.
XJ./2- I'ufi<Ms ch<ll!laenze god1tred ;o.m.. 111<
01 II>< !op .. s.mple Si.-,'jeo
ELEVATED APPLIQUE
Xl-14-((rQm lire cop down) Apphques g>.."Ssetelevcncd on one Slde
O<llf, on rhreo and on oppo;!re sKies. The raps of rhc rwo lower
forms were $/lffencd wilh inte<faang.
246 The Art of Man ipuloti ng Fabric
I 3-Peccd dcs,gn wrlh scleaed rnangulor
elemeni.S e'ewllcd on one Side v11rh golhenng.
XI. I e!e-.otcd shapes
fi cd w<h SloO<s of !><livg.
...

=-
<

>
I<
b..
I<
>
-
Fig. 11-33. Hall round designs meantto
be continued or repeated to a larger size.
The shaded areas will not be stuffed.
HALF-ROUNDS
- long. slender strips of fabric
stitched side by side co a foundation
with scuffing enclosed between the
layers and seams.
PROCEDURES
L. Crcalc an nrrangcmcnL of narrow
that are parallel , imerrupt-
ed, overlapping, or skewed. Add
uiungular and tapered ekments,
and unstuffed areas, for ' "'riety
and contTaSt (Fig. ll-33).
Number the pariS to indicate the
sequence of application (the next
hnU-rowtd applied cover5 the
seam allowance of the pre,iously
applied half-round, or half-
rounds). Enlarge the design to
actual size.
2. For the foundation, cut a piece
of lintng fabric shghdy larger
than the design unit requires.
a. the lining wilh freez-
er paper heat-bonded to the
back. with typongweigbt
p:tper or commercial stabilizer
machine-basted to the back
ili'Ound the edges, or by heavi-
ly Starching lhe fabric.
b. With a fabric-safe marking
tool. trace t he enlarged desigu
onto the foundation- these
lines are the scamlines. Wlth
a marker or another color,
outline the edge or one seam
allowance beside each S<alll-
lint, generally the seam
allowance to lhc right. as
indicated by the order or
nppllcation. These are the
edge-marching guidelines
(Fig. l l -34).
1 2 3
t--r-!_
, ..... , ..... . ....... ,
: : :
l : ! ... :
Fig. 1134. (a) Half-
round design with
components num-
bered in sewing
otrJer. (b) Design
enlarged and out
fined on the foun-
dation. Dolled fines
indicate seamlines;
the cut edges will
be matched to the
solid lines.
5 6 7
. :
L, __ j.J..:i ... : ..... ... ..
'\:._ ............................. /!:
4 9
\. 10 7
12 \. 1 13
(a)
! '\. ........................... ,-/
c .... :-,.; ........ ........... /.J. ... .. :
(b)
3. To detenmnc the appropnate
width for half round fabric srrips.
the width of a strip on
lht found3llon, add enough for
1wo scam allowances, and
includt an extra amoWlt equal to
the desired height after smffing.
The mount .tdded for stuffed
height should not be more !han
one-third the foundation \vidth
of the strip. Measure and cut fab-
ric strips for the half-rounds.
continuing to cut more as needed
while sewing proceeds.
4. Draft pnttcrns for any rapered or
triangular clements included in
rhe design. Estimate the height
after sturnng at the poinr
of the clement. Slash a cutout of
the clement from its widest to its
nnrrowest pornt. stopping about
Y,(' ( 1.5mm) From the narro\r
end. Spread the slash to equal
the C>limntcd height after stuff-
ing. Re-drnw the split our line
generously; add a seam
allmvancc ( Fig. 11-3.5).
Rg. 71 35. (a) Cutout oftrlangular
elements #4 and #8 In the design
sketched In Fig. 7 7-34. (b) Cutout
slaslled and spread to include an
allotment for /Jeight after stuffing,
with soam allowance added.
(c) The hallround pattern.
Usc the pattern/template to trace
and cut as many tapered or rri -
angul3r half-rounds as the des1gu
requires.
......... .... .... '+
I I I
I
......... . ...
:
!
II'
! .......... l i
I l i
l
13 i
:
'
2
I I l ,,
lj , !
#1 12
l
: L . ._::: :,:.
. v . ' i!e?:
...__ i ,,.J . .... l
,, -.... . ' . .. ,.
. lip;;..... .. .......... - ....... : . ..
u--- _ .. __
(a) "'ll>T (c)
,,
12 #3
(d)
(a)
Fig. 1136. To sew llallrounds to a foundation marked as shown in Fig 1134
(a) Baste strip lf1/n position. (b) Sew strip 112 over the edge of strip #1.
(c) Sow edge of strip 113 over the edge of strip 112 and the other ed e to
(d) Ease fullness at the ends of the strips into the seam
,e, ew tnangutar half-round lf4 in place.
5. To sew half-rounds, adapt the
following steps to the needs of
the specific design:
a. Cut enough from a holf-round
strip to cover the flm half
round oUllined on the foun
dation. Matching the edges of
half-round If l to the edge
matching gUJddines marked
on the foundation, machine
stitch both of the long sides to
the foundation whh seams just
inside lhe scam allowances.
Trim the ends of the hnlf
round to correspond the
guidelines on lhe foundmion
((a) in Fig. 1136).
248 The Art of Monipulatlng Fabrle
b. Cm enough from a half-round
snip for half-round i/2 as out
lined on the foundation. Place
it right side down over half
round *I. Matching the edges.
sew one long side of half
round =2 10 half-round ,.1 on
th..- S<!allltine they both share.
Tum half-round =2 rtghtside
up; mm the ends to corre
spond t.be guidelines on
the foundation. Baste the
remaining long side to the
founwuion, matching the edge
to the guideline and stitching
inc;ide the seam or
sew half-round ;;3 to half
round .:2 on their shared seam
line without basting #.2 first.
Continue adding half-round
strips, following tl1c numbered
sequence of application ((b)
and (c) in Fig. 11 36).
HALF- ROUNDS
c. To baste t he ends of a half
round to the founcL.nion. ease
the excess fabric into the
stitches as sewing proceed,, or
gather "ith hand >litching first
and baste over the gathering,
Sew j ust inside the seam
allowances ((d) In Fig. 11-36).
6. Stuff the half-rounds 5ofrly (refer
to "Stuffing" on p.1ge 229). using
either of l.be following methods:
Leave one or both ends of a
balf-round or a group of hnlf
rounds open dunng construe
lion. Push stuffing through
the open ends. \found the
soft stuffing m the center,
thinning it out tow:trd the
side seams and ends. Close
the ends by easing or gather
ing the excess fabric Into
scams (Fig. 11 37).
::
:
r
Fig. 1137. After pushing stuffing Into
half-rounds through the open ends.
ease-and-sew or gather-and-sew tha
ends to the foundation.
StuiT while SC\\ mg each half.
round to th< foundation.
(1) Sew the first side of the
half-round in l>lacc. ( 2) Ea;e
the fullness at the upper end
of the half-round while se-'ing
it to the foundation; at the
comer. pivot \\ilh the needle
down and sew the oppone
side of the half.round. pau-;c
frequently to mscn stuffing.
At the lower corner. turn with
the needle down and stitch
across tl1e end to enclose Lhc
stuffing, easing the fullness
into the stitches (Fig. 11-38).
Sew all seams inside: the se:un
allowance.
Fig. 1138. Simultaneously sewing
and stuffing a half-round.
7. Remove the temporary stabilizer.
Assemble as many half-round
units as O\'erall size requires.
line the construction of half-
rounds. sewing the lining to the
foundation at intervals and at the
sc:unHnes that connecl the units.
NOTES & VARIATIONS
Theoretically, the foundation
\\;dth or a true half-round is its
diameter, so adding half the diame-
ter (the rndius) to the half-round
strip would pemtil stuffing into a
real half-round. Actually, that much
tleation is tOO much for a half-
round construction, unless it's part
of a design featuring half-rounds
that gradually increase to that
height. When sewing half-rounds
with more than v, the foundation
width added 10 the half-round strip.
cut the ends of the s trips in an our-
ward curve to allow more internal
space next 10 the seam, room for
stuffing to build up in heighr.
The seams between half-rounds
bring the clc\'ations on either side
down 10 foundation leveL Add a top-
stitched scam tO c.xpand tlte slim
crevice created by 1he consrruction
scam imo a broader channel. Af1er
sewing the Orst side of a half-round
In p l : ~ c c use !hat seamlinelfoldline 10
gauge " dislllnce for the wpstitching.
Unstuffed
Channel
Unoluffod
Channel
nstuffed Unstuffad
Channel Channel
ConAnc the excess half-round f.1btic to
the space between the topsritched scam
and the scam thm secures the second
side to the founda!lon (Fig. II-39).
A stabilizer prevents distortion
during sewing and discourages
overstuffing. bUI doesn't P""'ent iL
Half-rounds arc Stuffed too fuU
when 1he underside of the founda-
tion begins to bulge and curl up
between sc:uns. To stuff while
sewing, half-rounds arc fi lled with
too much stuffing when the s tufllng
impedes S!itching with a regular
presser rool on the sewing machine.
For stuffing while scwi11g, usc a
straight-Siitch sewing foot, or de-
centet the needle to 1he leh if using
a zigzag sewing fooL
Raised stripping is a loNclicl
ersion of half-rounds. h is similar
to half-rounds in all respects blll
one: An amount for height aftcr
stufnng Is not added to the strips or
1riangles Slilched 10 the foundation.
Raised stripping is very lightly
smiTcd during the sewing process.
Fig. 1139. Adding top-
stitched channels to a
half-round oonsttuction.
Chopter I I STUFFING 249
16-An oppllcalion rhot oppeor; ro we<>te Jtselt.
HALF-ROUNDS
250 The Art o f Manipulating Fabric
Xl-17- J'opsuhed dlcmeis seporll( most o( the ha(.mmds
"' a design rho! ZJgrogS h<i(401J<>d borders ot the S'd.. os
log aJl>n
oottem _IWO o( the
hcl(-<oun<!s
ond r-"> sides

I
I
I

I
:I l
I
I
I
I
I
I .
I

I
I
I
I
I
I
I
I
L....
I
I
I
r-
(a)
(b)
I
Fig. 1140. (a) Pattern for a group of rolls with arrows connecting seamlines
that will be sewn together. (b) Sewing pin-matched seamllnes together.
CONNECTED
ROLLS
-long. plump, stuffed cylinders that
sit In parallel rows on t op of t he fab-
ric in the background, from which
they are construct ed like rucks.
PROCEDURES
1. Set a clian1eter larger than 'A"
(l.5cm) for each rolL On a scale
dingrnm or acrual-sue pauem.
allocate a narrow section for the
ca>ing for each roll. Each casing
section should be three times
"ider than the chosen diameter
for the sluffed roll, and as long
a< 1he length of the fabric. The
lines 1 hal border the sections
reserved for each casing will be
scam lines ((a) in Fig. 11-40).
Scparme the scamlines of adja
ccm roll casings with bacl<
ground spaces:
Fur an arrangeme.nl of rolls
1hnt touch one another, allow
spce one diameter wide
bc1wccn 1wo rolls of equal
diameter. If adjacent rolls
h,e different diameters. add
one-half 1he diameter of one
10 one-half the diameter of
1he o1hcr and allow that much
space bel ween the two rolls.
For an arrangement \\ith
channels of background fabric
visible bc1wccn rolls, add one-
half 1he diame1er of each adja-
cent roll 10 1he width of 1he
space 10 be visible between
1hc 1wo rolls.
2. Using a fnb1i c-snfe marker, draw
Lhe seam lines for ench roll casing
0 11 the right side of the fabric. Sum
b) measuring nnd marki ng seam-
line positions across the top and
bouom edges of 1hc fabri c,
and connect opposite position
marks with straightedge to
trace 1 he lines.
3. With tht right side of 1he fabric
facing up, fold and pin match
1he seamlines tltat enclose each
machine stitch over the
line on lop ((b) In Fig. 11-40).
For very long rolls, leave l Yl"
( f cm) s1uCtmg openings in the
scams, sp:tced 9" (23cm) co l2"
(30.5cm) apart. RoUs shorter
than 12'' (30.5ctn) arc stuffed
through 1he open ends of the
stitched tubes.
'1. Push stuffing into 1he tubular
casings through the openings in
the seams or at the ends (refer to
"Sluffing on page 229). Stuff
u1111l 1hc roll is round and
smoo1h while retaining the
degree of nexibility appropriate
for the application. Reduce 1 he
amount of stuffing ne.xt to tbt
ends, lea\ing a generoll!> .cam
allowance empty Close the
openings m the seams wtth
hand-sewn ladMr sutches
5. To d ose the end of a stuffed-roll
casmg in prepnnuion for fmtSh
ing the edge with bmding or an
c:xtcnsion:
Pleat or gn1her the empt}' cas-
ing 10 match 1he roll\; srulfed
diameter. Center the emp1y
casing 0\'Cr its own construc-
tion scam. Baste to the back-
ground fabric b)' hand or
m<1chine, stitching within the
scam allowance.
Flauen the tmpty casing ";th.
out reducmg wkhh, center. and
stitch il down (Fig. 11-ll).

i.

, I (a)

S:,-o:::A;; ;: ;!,
I
(c)
F'tg. 1 1-4 I. Before basting across the
empty ends of stuffed rolls, (a) pleat.
(b) gather, or (c) ffatten the casings.
Chaptr I I STUFFING 25 1
-
NOTES & VARIATIONS
Actuolly, t he circumference of a
circle is 3.1416 times its diameter.
but slmpllf}ing to three times the
chosen diameter for !he tubular cas-
mg of a roll stuffs out close enough
to the cstimotc to justify !he easier
lormula. Howe,er, if !he fabric used
for 1he casing is tightly woven and
unyielding, nllow a generous three
times lhc dimnctcr for casing tJ'lca
suremcm.
for rolls of u1\changing diame-
lcr, 1hc scamlincs 1hat cons1ruct 1hc
wbulnr casings arc straight and
equidistam from the fold. Seamllue
vnnntions that deviate from the
standard change the shape, lhe
progress. and the size of !he stuffed
rolls: (I) Seamlines 1ha1 are
Slt:ligh< bm sbnt toward the folds
produce casings !hat stuff into rolls
!hlltlapcr ( Fig. I 1-H).

!'
I
![:

1:
I'
i
t
I

I
I (f
'

i
,:ll
Fig. 11-42. Tapered ro"s.
( 2) Cross seams break 1he rolls
into segments. For each break, Oat-
ten, center, and pleat t.hc sides of
1he unsmffed casing to reduce its
width to the diameter afrer s tuff-
Ing. Topslitch s 1raight across the
pleated mbe ((a) in Fig. 11-43).
(3) Seam lines t hat split the entire
casing, or scparale portions of
the casing. cre:ue rwo c-asings.
Center the: casing over its scam
and topstitch down the center
((b) In Fig. I I-H) .

(a)
_ ..... -----<:::_
(b)
Fiq. 11-43. Stuffed roll variations:
(a) Topstltc/1 across t/le pleated cas
lng. (b) Topstitc/1 down the center ol
the unstuffed casing.
One or both ends of a casing
ma)' be stitched dosed before !he
roll IS stuffed if access into the rube
is a\ailable m seam openings. For
rolls that cncirdc, sew the ends of
the fabric together, matching the
pre-marked seam lines. Stitch the
scaanlincs togclhcr to construct the
roll Stuff through openings
left in 1 he seams.
Closing 1 he ends of a stuffed roll
by scwmg the nauened casing to
the background fabric encases the
stuffing and also steadies the roll. If
long, fnt, horizomal rolls wobble on
thdr scams, tack each stuffed-roll
casing to the background fabric
,.;,h hand stitching on each side of
the construction seam.
Dtltlclwtl rolls are sewn and
stulfed apart from the fabric to
wh1ch they are applied. Cur a strip
or fabric three times the roll diame-
ter plus two scam allowances. Stitch
the long edges together to form a
tubular ca.sing. Stuff the casing
through the ends and/or through
openings left In tl1e sc:tm.
252 The Ar c of Manipulating Fabric CONNECTED ROLLS
For a clt13ched surface roll,
stitch the edges togeher \\1th lhe
right side of the fabric strip folded
inside. and rum the ntbular casing
right side out before s1uffing ((a) in
Fig. 11-+1). Surface rolls arc hand
stitched to foundation with con-
strucuon scams hidden underneath.
If the casing strips are cut on the
bias, the rolls can be applied to spa-
cious cur\'CS.
'1:'
\1
lfl:
j l:
'
I'
I'
I
(I) ( b)
Fig. 11-44. Detached rolls: (a)
Surface rolls stuffed after sewing. (b)
In-seam rolls stuffed while sewing.
ror a detached inscam roll ,
stitch the edges of the fabri c strip
together wlth the right side ott tl1e
outside. l'nusc while sewing to lift
the presser foot :md stuff softly ((b)
in Fig. ll+l). To insert the roll
mto :t >earn JOining 1wo pieces of
fabric. amu:h n :ipper or cording
foot to the machine. Matching
edges. baste the roll to the right
s1de of one fabric. Sew the second
piece or fabric to the first with right
sides together and the roll in
between. Alternate construction:
Sew the unstuffed casing into the
se;H11 joining cwo piece....; of fabric,
l>ullcavc stuiTing openings in t..he
seam. Slllff, nncl hand sew the
openings closed.
I
. .
XJ 2 1--<:ross-;e.:ms rJ>e
complicate the
j
CONNECTED ROL S
Xl-20-<:nns:rct'On t1>ot m-d.es oround ror:.
lhor hold (J.msy (obric upright cmd deto<toi .,.
"""" rolls ll>o< the )!) ond l><nc.
Xl-22- Detached rolls w;rh bios<tJt comgs app!te<i on
curves on t.he sur(nc:e Clnd m..seom at tr.e edge.
(a)
(b)
Fig. 11-45. Shapes with straight and curving sides arranged into designs for lit
tie pillows: (a) Joined into a solid unit. (b) Connected with open spaces as pan
of the design.
LITTLE PILLOWS
-plumped, geometr ic fonns cue
from doubled fabric, sewn around.
turned, and stuffed. Fitt ed together
Into n planned ar rangement, an
assembly of little pillows is self-lined
and reversible.
PROCEDURES
I. Compose a grid-based arrange
menl of adjoining geomerric
shapes, \\;th or wimour
through spaces between edges
thar touch ( Frg. 11-45). Sec the
aelual sizes of me componenLS.
2. Omft pallcrru, for me \'3riOus
shapes In the design:
n. Draw an outline of each
shape. Estimar e a s tuffed
heighlldcprh for each shape
(Fig. 11 -16). Enlarge each
outline by one-fourth the
height estimate. For example,
if Ill estimated depth is w
(6mm). draw another outline
Y,," (l.Smm) OUI.Side me
origmal: if me csrimared
deprh is Yl" ( 1.3cm), extend
rhe original outline by V."
Shape Enlargement
Pattern
(a)
(3mm) all around.
Fig. 1146. Utt/e pillow profile. To
estimate height. choose a realistic
measurement lor the Imagined depth
that stuffing will produce when insen-
ed Into the casing.
b. For circle$ and ovals, the
cnlnrgement is the pattern
(Fig. I 1-47).
c. For squares, rectangles, trian
gles, and o1her angled shapes.
connect 1hc enlarged outline
lO the comers of the original
oullinc with curving lines
(Fig. 11-48).
d. Cut out the pauems. lndicale
a small bm reasonable open
ing for turmng and stuffing.
For lillie pillows, the paltern
outhne Is rhe seam line. Scam
arc added when
culling the fabric.
3. With n fnbl'ic-safc marking tool,
trace, pattern outlines onto the
wrong side of the fabri c, marking
s ruffing openings outside each
outline. Allow enough space
between adjacenl our lines for
scam :allowances when cutting.
Fig. 1147. Round and oval patterns for little pillows: (a)
Enlarge lor estimated height. (b) Patterns without seam
allowances, with stuffing openings marked.
Fig. 11-48. Square and triangular paNems lor little pi/
lows: (a) Shapes with enlargements tapered into the
corners of the original outlines. (b) Patterns without
seam allowances. with stuffing openings marked.
LITTLE PILLOWS
...,....... r7"'" ..
' . '
. .....,
' . '
, . ,
' '

' '

' ' . :

. ;
. '
. :
........ _ __ ._ ..

\ ...... .... _,...., _ ... _,..J.
4. With right sides together, pin the
fabric wilh traced outlines over a
second piece of fabric. Straight
stitch by machine over e.1ch oul-
11 nc, Starting and ending with
backstitchu1g on either side of the
stuffing opening. Add a small but
adequate seam allowance when
cutting out the pillow casings
( Fig. 1 H9). Trim s.-am
allow11nces diagonally across cor-
ners. Tum right side out.
5. Stuff each pillow until it is
suilabl) plump, substantial,
and stable (refer to stuffing"
on page 229). Stuff pillows
wi 1 h stmight sides until the
edges straighten om. Stop
st uffing round or oval pillows
before the surrounding seam
begins to buckle and pucker.
Hand sew the openings closed
with ladder stitching or tiny
overhand stitching.
6. Arrange and join the pillows into
the lruger. pre-planned construCtion:
For a closed arrangement of pil-
lows "ith strnighr sides: (I) To
make sure that comers and
edges abut precisely. especially
on long scant<, tack at intervals
or baste with large ladder stitch-
es before sewing rogethcr per
mnnently. (2) Wbip the edges
together with tiny sritches itwis-
iblc in or machine sew
wiLl> zigzag, satin, or decomllvc
stitchil>g (Fig. ll-50).
For an open arrangeruent of
round, oval, and straight-sided
pillows: Hand sew the pillows
together "ith tiny whipstitches
Ill lhc points where they touch,
or attach \\ith ties. Connect
Str.tight-sided pillows ties,
faggotting, or tabs (Flg. 11-51).
\..,...... /''\
r ., / \
\ : , \
\ I I
\ ' I
\ / ,' \
\ ' I '
' I I
'\ / :
. ' .
\ / ..,!_ .. ___ _
'yl
(8)
(b)
'
-
'I .,
t
-

(c)
.f
,, J
I
'
(b)
Fig. 11-49. Pillow outnnes
stitched, except for the
openiflgs. and cut out
outside the seams.
11-50. Sewing straighl-
s/ded liltle pillows
loge/her In closed
arrangements
(a) Catch fabric from
the back seam of the
pillows with tiny whip
stitches. (b) Zigzag or
saun slitch over the
butted edges.
(I)
Fig. 1151. Open attachments for little pillow arrangements (a & b) String ties.
(c) Faggolting. (d) Ribbon ties. (e) Whlpstitching at contact points. (f) Tabs that
start with curved projections added to each side of the pillow pattern.
(a)
Fig. 1152. (a) Little
pillow design.
(b) Enlarge for
estimated heigh!.
(c):--------
Add to the tong sides
the amount deleted
/rom the short sides
(dashed line). Curve
the corrected enlarge-
ment into the comers
of the original outline.
(c) Pattern with stuff
ing opening marked.
N OTES & VARIATIONS
When estimating depth for little-
pillow pauents, vary the estimate
whh che overall size of the shape:
Larger shapes arc c-apable of more
depth chan smaller shapes. Designs
chat include shapes of various sizes
will have_ different ele,ations when
chc stuffed pillows are assembled.
After scurnng, pillows are usually a
linle plumper than the estimate. A
con;Ltuction that includes too
mnny pillows wider than t" (lOcm)
Lends to become clumsy and
cumbersome.
When devising pancrns for
shnpe. wil h sides thm are dramati-
cally different i n size (elongated
rectangles, triangles, and ovals),
enlarge as usual. but reduce the
enlargement of che shon sides and
add the amount eliminated from
che shon sides to tlte enlargement
of che long sides (Fig. ll-52).
Two little pillow variations:
(I) Afcer turning che casing but
before scufnng, outline a small
s hnpe In the center- a circle, a dia
mond, rectangles, a clover-
& It; >----- .. r,-
o Ill l@f
lcal'- topscilching by hand or
machine. (2} After stuffing, add a
decorative Lie or bu11on in the tc.u-
ler. auached by sewing down and
back through the stuffing.
Pcchholcs straight-sided pil
lows see-through openings.
Panerns arc developed in the lilllt
pillow manner, but \\ith seam
allowances added around the out5ide
and a "hole" outlined in the <:enter.
( 1) Tmce the outlines of the panem
on the lining, marking peekhole
outlines. (2) For each peek hole,
cue a front with che li ni ng
(3) Sew the front 10 the li.ning
with right sides cogether. stitch-
ing over the peekhole outli ne.
Cut out inside the scam, clip the
scam allowance, and tum right side
out. (i) Matching all edges, sew the
two-layer pcekholes togethn into
che pre-planned arrangemenr. For
accuracy, stitch over seamlines
marked on tlte linings ( Fig. 11-53).
(5) Scuff each peekhole through
one or two slits cut into the lining.
(6) Unli ke standard liule pillows,
an assembly or peekholes needs an
oucer lining to conceal and protect
I
i 0 U
L....L.......Jt.........;<>=-\ \ Lining ;J
(a) \......_ ___ ___ .... ) c)
"-.. Lining
(d)
( b)
Fig. 11-53. (a) Design for li!tle pi/lows with (b) Pattern with seam
allowance around the outs1de and peekhole m the center. (c) Peekhole pre-
pered when the front and lining are stitched together. (d) Sewmg the edges of
lwo pil/ows-withpeekholes together.
256 The Art of Manipulating Fabric LITTLE PI LLOWS
che seam allowances and darned
openings visible in the back. Tack
tltc ouccr lining to the peek!tole
unit ac intersections. From the
front. che oucer hning will be ,;sible
through and bchmd che peekholes.
For \'aricty. uncover a peckholc by
cutting the omcr lining away
behind chc opening. stitching the
cut and turned edge to the inner
lining amuncl the peckholc.
Compnrecl 10 1 he plump finn ness
of liulc pillows. raised patcltworlr
seems clenated and soft. Raised
patchwork is composed of straight
sided clcmcob a>scmblcd with
hand sewing or machine stitching
imo closed units-just like little
pillows-except: (l) The patterns
are nm enlarged co compensate for
height afcer stuffing. and (2) rhe
amount of scuffing mscrted inside
the casing IIIUSI be COIIlrOUed tO
prevent the straight sides of the cas-
ing from curving inward- which
would complicate closed assembly
(Fig. 11-54). Because light stuffing
discribuced throughout the casing
Lends tn inside large interiors.
raised patchwork have
smaller dimensions. Casings may be
prcpored as described for little pil-
lows; or they can be made by fold-
ing rectangles into >quarcs and
squares into triangles or rectangles.
seMng cogether only the cut edges.
Fig. 1154. Pillows with sides con-
caved by too much stu/fed eleva/ion
In the center are difficult to sew into a
closed constroctlon.
{
I
j
..

I
I
l
j
l
"I
..
XJ. 23-0c:rsed am3r1gemet!! o{ sqc.oares, at1<1
reaa.1g'es j(>t!eo w1lh /lalla satd>og ooa satrn st>td>tlg,
)(1,25--f'lutr.p t,O:ows v.'<h sas fii(Jt cur-co lft,OO'd
b<Me lhE porrem was- enlarged (or
Oes'ii"S !DpSilld!ed on !1-,e re11er l'l!d.oa! rh<>
.p/<Jmptless cf (oor of il'e
LITTLE PI LLOWS
Xl-21 -On:les and ovals handsmchcd
together into on openwork border.
1 r

XI-26-S..rHt> squores; 3 ururuffed.
5 sruffed llU) p.1Jows. and 8 WTth peekho!-es
Lm.ng cut ow<ty bel11nd the rnangu!or peek
llolc opens 11 up 10 the space beyond.
Chapter II STUFFI NG 257
BISCUITS
-<ushiooy mounds of fabric elevated
from smaD. squared foundations that
are sewn together. Pleats caught into
the seams that edge each biscuit make
room for the suppor tive stuffing.
PROCEDURES
1. Draw a square, adding scam allow-
ances, for the base of the biscuit.
Increasing the me of th.! IXl5t by the
tstimated height of the biscuit
stttffed, draw an enlarged square,
including tbe seam allownnces. For
tlte bismit pattcm. For example: For
a biscuir l" (2.5cm) high, enlarge
a base 3" ( 7.5cm) square to a 4"
(IOcm) square. for a biscuit W'
(1.3cm) high, enlarge a 3" (7.5cm)
base to 311" (9cm). a ccmcr
point on each stele of the base and
biscuit and CUI OUI the
paucrns (Fig. ll-55).

:
!
Base j
----------

!
i
:
:
Biscuit !
'
I
... _ -----............ -.. .-
Flfl. 1155. Base and biscuit panerns
with center points IMK:ated.
2. From lining fabric, cut n base for
each biscuit required for the
planned consrrucr1011. l'rom the
top fabric, cut a biscuit lor each
base. On the right side of each
bas<! and biscuit, mark the center
points mside the scam allowances.
3. Matchmg comers and sew
c-.tch biscuit, right side up, to its
base, stitching inside the scam
allowance. :VIake a pleat In each
side of the biscuit to reduce the
biscuit to the size of the base:
For a biscuit I" (2.5cm) larger
tlmn the base or less, make a
single-fold pleat in Cllch side
( Fig. J 1-56).
For a biscuitl" (2.5cm) larger
than the base or more. make
an inverted pleat in each side
(Fig. 11-57}.
(a)
---
(a)
s..-,, coch plc-Jtcd side in tum.
At the final side, stop Sl:'ing
after felling the pleat to allow
rut opening for stuffing betwe<:n
the plem Md the comer.
4. Assemble the biscuits in rows.
Sturr the biscuits 10 the soft I)'
rounded height aU owed b)' the
loose fabri c released from the
pleats (refer to "Stuffing- on
page 229):
With right sidts facing, sew
two rows of biscuits tOgether
with all openings located on
the outside of each row. Sturr
the blscul!s. Topstitch the
openings closed with a zipper
foot. \\r,th light sides together,
baste and sew an unstuffed row

.
.
l
'
BI SCUITS
II
(b)
(b)
Fig. 1156. To sew
biscuits to bases
with single-fold
pleats {a) Ptn as
shown. making a
pleat with its outside
fold meeting the
center marl<.
(b) Biscuit after
stitching, with an
opening for stuffing.
Fig. 1157. To sew
biscuits to basos
with inverted pleats
(a) Pin as shOvm,
making an inverted
pl eat with both out
side folds meeting In
the center.
(b) Biscuit alter
stitching, with an
opening tor stuffing.
of biscuits to the stuffed row of
biscuits, locating all opening:.
on the side opposite the scam.
Stuff, and continue adding
rows with openings Dcccsslble
on the outside (Fig. 11-58).
Anotl>cr method defers stumng
ttntil all rows of biscuits
been sutched together.
Eliminate the side openings
when preparing the biscuits.
J\s;crnblc and stuff the biscuits
through slits cut into bases.
After stuffing, hand sew the
openings dosed.
5. Line the biscuit tonstructiOI1 to
cover the exposed seam allow:lllCCS
in back. Tack the lining to the
stuffed top at the cross seams.
Fig. 11-58. Two
rows of biscuits
seamed togothor
with cross seams
matching and
openings located
on the oursid9
edges. Alter sluff
ing. add more
unstuffed I'WI$ to
each sido ot the
central unit.
N OTES & VARiATIONS
BiscuilS are cushiony mounds,
softly s tuffed. To es tablish the.
roundness of a biscuit. never push
stuffing imo !he comers of the
squared base.
Sewing unstuffcd rows to st\tffecl
wws of biscuits becomes a clumsy
task as the assembly incrcascs in
stze. Section large consll'Uclions.
leaving unstuffed rows where rwo
sccuollS wlll be joined, and st uff
those rows t hrough slits cut into
!he b:tSes.
An alternate and speedier
method of biscuit preparation
s tarts with patterns for a block of
biscuits: (I) Draw a grid of sq_uarcs
!hat combints !he b:tSes for four or
morc biscuits. Draw another grid of
enlarged sqttarcs for the pleated top
of the biscuits. Mark the pleat locll
lions and add a scam aii<J\vance
around both pauems. ( 2) With a
fubncs:1fe marker. trace aU grid lines
(scamlincs) and pleat markings onto
the fabric cur for the and the
top. (3) Sew the top to the base. Pin
match all parallel and
pleat markings in one direction.
Machine sew, fonn lng pleats at C\'Cr)'
pleat location. Repeat In the cross
dirccrlon (Fig. 1159) . (4) Assemble
!he entire biscuit construction. Stuff
each biscuit through a slit cur imo
i ts base.
Although the traditional biscuil
has" square foundntion , a pleat
on every side also enables biscuits
to riSe from non-square bases
( Ftg. 11-60) . Enlarge the base pal-
tern all around by an amount equal
to onc-haH the dcshed elevation.
t
1
I
1
1
MultJpte
Biscuit! Mult i ple
Base Biscuit
-
(a)
-
Top
(b)
(c)
Fig. 11 59. To quick-sew a I>/Ock of biscuits (a) Base and top patterns combin
ing multiple biscuits, with pteat tocations marked on seamlines. (b) Top and
base stitched together In one direction with inverted pleats at marked locations;
(c) slilched in /he opposite direction. Seams are stitched as numbered.
Additional textures and le,els
may be introduced to n biscuit con-
struction by induding smooth, Oat
areas between the biscuils, leaving
selected biscuits unstuffed and
crumpled. and furrowing the bil
l owi ng fabric in th e center (refer to
"Furrowing on page 9).
Saus<rges are a biscuil variation.
To justify !he name, they ore rectan
gular- long and slender but
plump. They are consmtcted like
biscuits in all respects but one:
Fig. II -60. Two
unusual construe
lion fonnats for bls
culls: (a) ClusteTS
of diamond shaped
biscuits separated
by ffel hexagons.
(b) Circle sur
rounded by a ring
of biscuits.
Instead of a pleat on every side,
only the two opposite sides hnvc
pleats. and those pleats arc always
centered in the smaller ends of !he
rcctallgll'S. For a saUS:1gc pal! ern,
enlarge the base pattern in one
direction , increasing the length of
the short sides of tlte rectangle by
the amount of the desired elevation.
BI SCUITS
XJ.l7- TfCJ<$noool
constn..cLIOn o( DI$CUIG
!hot fooj:s e;, "' name.
260 The Art of Manipulat ing Fnbric
Xl-28-{Jnslvffe<f ood ;utro.W?d
bcso.ors. ood / e ~ $llU<lf5 of
(cbt' e ~ pottem of
r<le(s .., o bisal>t CO'ISINCI>On
XI 30-Sovsoges YOo'iEd ,.m,
unp'fole<t sofily swFi tee
~ s conre<edlrl5lde P... of
the lll<H-S<>Mge S<)JOra.
Chapter II
BISCUI T S
STUFFING 261
PEAKS AND
VALLEYS
- small, cone-shaped elevations of
fabric, supported with stuffing. thor
tisc from triangular ot square founda
tlons.Assembled into orderly
arrangements, valleys caused by the
construction seams separate the

PROCEDURES
I. Create a design of adjoining tqui-
l:ueral [riangles '";th connecdng
squares (Fig. 11-61). Set the
actual size of the components.
2. Draft a base pattcm, without
seam allowances. for c:tch 1riungle
and square in the design. Draft a
peak pattern. without
allowances, for each base pauem:
For a triangular base pauem,
the peak pattcm is a square.
Each side of the square equals
the measurement or one side
of the tl'iangle (Fig. 1162).
For a square p:ntern, the
peak pattern is a [>Cnt:lgon.
Each side of the pen lagon
equals the measurement of one
side of the square (fig. 11-63) .
Add seam and
sewing notations to each base
and peak pattcm. Cut out the
patterns.
3. From lining fabti c, cut a base for
each peak in the design. From top
fabri c, cut a peak for each base.
On the right side or each base and
peak. lightly mark the points
where the seams tum comers.
Sew each peak, right stde up, to
its base, stitching inside the scam
allowance. Matching comer
points and edges, sew from cor-
ncr point to con1cr point around
all sides of the base. t\l cor-
ncr, pivot with the needle down.
adjust the next side or the peak
10 match the ne<t side of the
base, and to the ne.'(t
point. At rhe final comer, the
extra side of rhc peak will form
a loose fold ( Fig. l I -64).

("

Fig. 11-61.
Designs for peaks
and valieys:
,--

v

>-<"' ..... r- c" -r;: 6
> r- <-, <""' r- .._, 'f'.,
v

'1\v
(a) With rows ol
squares Intro-
duced for variety.
(b) With squares
needed to main
tain a level con
struction. (c) With
large triangles of
ffat fabric separat
ing triangles com
posed of peaks
and vaJteys.
.._, ',.., 0,.
<, <""' "t") /' IZ
r- /1 1./ "\
.._, - k-' .._, r- < 1'1 1.:1 '\J ('..,
- I
( a)
(b) '\j ()

(a) (b)
v
'
rx>

(c)
...
'
'
'
'

'
'
'
'
Poak
' ' o I
' .
' '
' '
-------------
(o;J
Baso
Rg. 1162. (a) With a compass set to the measurement of one side of 1119
peak's triangular base, draft a triangle with throe equal sides. (b) Using the
same measurement, draft a square for the peak. (c) Patterns with seam
allowances, and circles ( ) to mark the corners.
(a)
Fig. 11-63. (a) Draft a square base for a peak. (b) Using a protractor, draft a
pentagcn for the peak with sides that match tho sides of the square.
(c) Pallems with seam allowances, and circles ( J to mark the comers.

(c)
Rg. 11-64. (a) Sow one side of the peak to one side of the base. (b) Match and
sew the next side, and (c) the next, leaving tho extra side of the peak as an
open fold at the corner.
262 The Art o f Fabric PEAKS AND VALLEYS
5. Assemble the peaks as pre-
planned, and stuff (refer to
"Stuffing" on page 229) :
Whh right sides lacing, ..-w
the peaks together in rows
with all loose folds located on
the outside ((a) in Figs. 11-65
ond 11-66).
Fig. 11-65. Sew two peaks together
with a seam Just to the left of the first
seam.
Push stuffing through the
openings in the folds to smff
the peal-s. After srufllng, pull
down and match the edges of
fold to the outside edge
of its peak and t.opstitcb the
foltls down with a zipper foot
((b) in Fig. 11-66). With right
sides together, baste and sew
more unstuffcd rows of peaks
to the stuffed row of peaks,
locating all loose folds on the
outside. Stuff and continue
odding rows.
\
\ !

.
'
I !
.. ... ............... -..... .. .. .............. ----
(a) (b)
Fig. 11-66. (a) Peaks sewn together with open folds on the outside. (b) Folds
topslltched to the sides of rhe peaks alter stulfing.
An altcrnote method schedules
stuffing after all the peaks arc
nssemblcd. When preparing
the peaks, continue SC\\;ng to
secure the fold of the peak to
the bose (Fig. 11-67). Sew the
peaks together into the pre-
planned ammgemenL Sntff
each peak through a slit cut
into 1 he base. After sruffing,
haml sew the opening closed.
Fig. 1167. Unstuffed peak with told
stitched down.
6. Line the liSsembly of peaks and
valleys to cover the exposed
scam allowances in back. Tack
the lining to the stuffed top ai
the c1oss sc-ams.
NOTES & VARIATIONS
Sewing rows of unstuffcd peaks
tO rows of stuffed peaks becomes
cumbersome as the assemblr
increases 111 size. Divide large con-
strue Li ons lmo manageable sections,
lr<wi11g unstuffed rows with folds
sti tched down where the sections
will he joined. After sewing the sec-
tions together, st-uff the peaks on
dthcr side of the scam through slits
em into bases.
Stuff 1 he comers at the base of
each peak as well as the rip of rhe
p)'l':lmld. After s tuffing, point each
peak by mO\'utg adjacent stuffing
up mto the tip on the end of a srur-
dy needle Inserted into rhe srufllng.
A square peak will stuff higher at
the tip rriangular peak \\ith
the same side mcasuremem. The
larger the peak, the higher its eleva-
tion.
When assembling peaks and
leys, regulate 1he dirccr ion the folds
face when stitched down. The folds
arc part of the overall design.
PEAKS
AND
VALLEYS
XI-]/ Meda ... an of
cnangular and sqlKlre
peaks and val+'eys
shC/11! 2" (Scm) SJ<!es.
264 The Art ol Manipul ati ng Fbric

OIOf \\lth the
txlended 10
f1or '"""":"" between
rite peoo<S.
Structured
Surfaces
D
arts sculpt the fabric's sur-
face into highs and lows. A
shortened fold of fabric seamed to
a point or between two points, a
dart causes the level of the fabric
to raise or drop in direct ratio to
the amount of fabric it removes.
On the fabric's surface, darts
appear as seams or as folds.
Allhough the doubled layers of
fabric that darts produce brace
the structure they shape some-
what , darted forms are hollow,
as if inflated, and collapsible-
unless supported by other means.
RT
12
DART BASICS .......................... 267
Securing Dan Scams .............. 267
SINGLE-POINTED DART ........ 268
Procedures .............................. 268
l'otcs & Variations ................ 271
Dans conven ed to seams .... 272
Surface dans ....................... . 272
darts ............. ...... ... 272
DOUBLE-POINTED DART ........ 275
Procedures .............................. 2 75
Notes & Variat iOlb ................ 275
Dart pattcrn.s ........................ 276
Dart ....... ..... 276
Note: This chapttr begins wit!>
BASICS. indkated by a gray band
located undemeath the relevant
columns.
Using Darts
DART BASICS
5ECUR1NG DART S EAMS
B
ecause dart scnms end and,
with double-pointed dans,
begin within the fabric, the
cut thread where the seams stop
must be secured or the stitching
ma}' unravel. Where its appropriate:
I. Tie me needle l O the bobbin
thread with a square !.:not:
After stitching a dart ou the
wnmg side of t he fabric, tie the
threads where the seam nms
off the fabric.
After stitching a dan on the
right side of the fabric. rum to
the back. Snag both thrcnds
from the fi nal stitch with a
needle and pull them through
to the back for tying.
After s titchi ng a clan on the
right side or the f.tbric, tic the
thmlds together in fronL
lnsen both thre:>d> into a nee-
dle, insert the needle into 1he
final m"chinc-ncedlc hole,
-push it through 10 the back,
aml pop tltc knot through the
fabric.
Trim tied thrc:ods at least
(l.3cm} from the knor.
2. Reduce stitch length;
Whcu sewing t1 dan on the
wnmg side or I he fahric, start
reducing the stitch length
before reJdting the end of the
seam. arri\'ing at 0 the
seamline tapers out. Take 1hree
or four stitch.,; a1 0 before
clipping tlte To bcgiJl
a double-poin1ed d:m. reverse
the procedure: Stan at 0 and
mcrease rapidly to regular
stitch length.
WOcn seaming dml fJalle-rns on
rltt wtt mg sicft of 1 he fabric.
sew all dan scams wi1h unusu
allrsmall , tight stitches.
Clip the t brcnds 0." ( 1.3cm)
from the stitchmg.
3. Sew with a single thread when
stitching a single-pointed dart.
( 1) Tie dte end of 1 he bobbin
thread to the end of the ncccUe
thread with a very tight, square
knot. (2} Pulling on the needle
thread. tug the knot through the
needle. Rewind the needle thread
onto the spool. mo\1ng the knot
nnd the bobbin thread up through
t he threading gttide$ and tension
until the knot reaches the spool.
(3} Begin stitching with the dan
fold placed up against the needle,
which should be do" n. At the
first stitch, the thread \\111 wrap
around the fold, k:Mng no ends
ro Lie or t.ritn.
To s titch dan pancrns efficiently,
fold and pin a row of darts and
Stitch without StOpping tO CUI the
threads between dans. After finish-
ing one dan. puU oul scvcrnl in<:hes
of thread before stantng the next
dan. Afte_r seaming nn entire rov.. em
the Lhreads bcLwccn 1hc clans.
For a dan pan em or dart impro ..
visaLion seamed into the rlglll side of
the fabric, und lpped threads deliber-
ate!)' left to dangle or feather out
from the ends of sc-.tnlS add their
own kind of texture over the top of
the dimensionalized
DART BASICS 267
SI NGLE- POINTED
D ART
- V-marked segment of fabric fold-
ed in half and stitched from the
mouth of the V. which is always at
the fabric's edge, to the vanishing
point of the V, where the fabric ele-
vates or dips.
PROCEDURES
L patttt11 of the fiat shape
tO be dimensionalized, draft a
pattern that will model the nat
shape into a
forn1 ";th one or more singie-
pomted darts. The ,.;dth at the
mouth of the dan and the shap-
ing or the dan seam-straight.
cuncd mward. cuned out-
WJrd-affi!Ct the contour of the
StrUClllred form ( f'ig. l2- l).
1\dapt one of the foUowing
methods:
Guess and trim:
fur each dan, fold the pall ern :u
the chosen dan position. Draw
on arbit rary dan stitching line
and cut on the line. Abut the
sides of t he cut and tape togeth-
er. Tnm t he darted edge to con-
fonn to its pre-dan contour.
Not<: After the darted edge is trim-
met/. I he. ower mrasull':me:nrs of
rhc darttd shape will no longer
nwtcl1 dre prr ...dan measureme11ts
of lite origilllll pauem ( Fig. 12-2),
268
'
'
'

\
.

.
\

.
.
.
.

.
'
'
\
\
.
.

Th Art of Manipulating Fabric

.

(b)
(C)
Slash and spread:
Estimate an elevation (or depth)
Cor the darted pattern to achieve.
For cuch dart, mark a point on
the 11m pattern where the eleva-
tion (or depth) will culminate at
the end. or apex, of t he dan.
Connect the point to the edge of
the pattern with a line that indi-
cues che location and length of
the dan.
a. For a s ingle dan: (1) Excend
the dart line dra\vn on the
pattern straight across to
che opposile edge. ( 2) Cut
the. pattern on the: line,
\,

.
.
.
.

\
l,
Fig. 12-1.
Single-pointed
diJrts.
SINGLE-POINT ED DART
Fig. 12-2. Guess-and-
trim dart pattem tor a
square: (a) Cutting the
dart. (b) Dart sides
taped toget11er with the
darted edge restored to
straightness. (c) The
pattem.
sropplng Yi" ( I.Smm) short
of the opposite edge. (3) Spread
rhc cm until the opening at
t he edge equals the estimated
elewttlcmlderJt.h. Sc iclc a Strip
of paper behind the gap.
(4) Using a compass, draft a
dan as wide as the opening at
the edge and as long as the
original dan line (fig. 12-3).
A
Fig. 123. To draft a balanced dart,
sot a compass to match the length of
the dart. Place the point of the com-
pass at A on one side of the mouth
of lha dart and draw an arc; repeat at
point 8. Connact C, whara the two
arcs lnters6Ct, to A and 8 with lines.
(a)
(b) r----1
Cut out the dan. (5) Abut the
sides of the dan and rape
together. Sticking a strip of
paper b<:neath the darted
edge, re-draw it from comer
to corner to conform to the
pre-dan contour. (6) Cut the
dart open. Restore the extend
cd and slightly enlarged dart
opening LO au opening equal
to I he estimated elevation/
depth (Fig. I 2-4}.
Fig. 124. Slashanci-spreaci pallern tor
a single dart: (e) Location anci length
of /he cisl1. (b) Pattern slasheci on the
ciart //no straight across to the opposite
Beige anci (c) spreaci to eqvat the
deSlr8d elevationlciepth. with the dart
dralteci on a paper patch. (d) Dart with
cvt sides taped together anci the edge
straightaneci on a paper patch.
(e) Corrected cial1 (the ciotleci line).
(c)
(e)
'
...
. .
. :
'::'
b. For two opposite darts:
{l) Connccung the dan lines.
cut the pattern apart from one
edge tu the opposite edge.
( 2) Stick the pieces. separated
by a distance equal to one-half
the amouut of tl1e desired eleva-
tlou/dr.pth, lOa Strip of paper.
(3) Draft t he darts with a
com(>nss. making each dan as
wide til the base as the separa-
tion of the cut. Cut out the
dans. ( -1) Abut the sides of the
dans and tape together.
Sticking a strip of paper
b<:hind each daned edge.
r.store the edges to their pre
don contour.;,
(5) Cut the dans open. Restore
the now >hghtlr enlarged dan
opcnmgs to correct "ldth
(Fig. 12-5). (6) To make chns
on the other two stdes, slash
from one edge through the
center extension to the oppo-
sue edge and repeat steps (1)
through (5) .
Note: After the flrw!
rhc cXh.'l iur Ult'<lsurrmt:n.ts of
iltc p1111ern willm11tcl1 the e;ac
rior measurement.'\ of the origi-
twl, but
ncmss tl1c tapcd-cogether dan
or dat t$ will increase, and the
dw IS will IX' longer than origi
nally plar'"cd.
(a)
(b)
Fig. 125. Slasfl-andspread pattern
for two opposite darts: (a) Pattern cvt
apart anci spread to equal one-half the
cieslreci elavetionlciepth, with the dans
cirafteci on s paper patch. (b) Pattern
wilh the contours of the darted eciges
anci dart wiciths correcteci.
Chapter 12 USING DARTS 269
Orlgincll Silhouette
Enlargement
Enlarge and equalize:
Choose a desirable elcvauon/
depth for the pauem to reach "
the ends of the dans:
u. To lift/lower a panem with
stmight sides on dans at the
corners: ( l ) Trace the silhou
cnc oft he pan em on paper.
(2) Enlarge the si lhoucuc all
by tltc cunowu of tltc
desiml rle\' arion!depth.
(3) At each comer point. con
ncct the paLtcrns silhouene
270
to the enlargement with lines
at 90-degree angles to both,
thcrebr equalizing the lengths
of the silhoueue and enlarge-
ment between the comer
lines. (4) Cut on the lines,
which become the seamlines
of the dans (f ig. 12-6). These
corner darts change the origi
nnl straight-sided paltc1'11 imo
a bo.<-likc form. Tf the corner
darL"i proceed w a vanishing
point in>ide the sil houetLe,
the corners and sides will no
longer be squared, bm will
slant inward.
Fig. 126. Pattern with darts
that will convert a triangle (or
ot11er straight-sided shape)
Into a boxy form. with side
depth set by choice.
b. To de,clop a rounded form
from a circular pattern using
spaced dans: (l) Trace the sil-
houwc of the pattern on
paper. On tht tmced silhou-
ette, outline a central area
where the three-dimensional
rorm wHl reach maximum
roundness. (2) Enlarge 1 he sil-
houene all around by one-lwlf
tire 11motmt of tltc desired dcYa
lion/tlcpth for the rounded
fonn. (3) Divide tl1c silhoueue
ond enlargement into segments
with straight lines that radiate
out from a centml point, not-
ing that each segment "ill con-
toin a dan. (4) Measure the
length of the pattern's silhou-
ette bctw<cn two adjacent scg
ment lines (usc a measuring
1npe or stri p of paper set on
edge) . (5) Compare 1hc silhou-
ene measurement with the
enlargetncnt measurement
between 1 he same two segmem
lines: The enlargement "ill be
longer. The dtJJcrcntc sets the
\\'ldth or the dan where it
begin> on the enlargement line.
(6) For eacb segment, draft a
dan ''"th side scamlines ihat
curve. inward to a vanishing
point at the previous!)' outlined
central area .. Inward-curving
darts produce outward-curving
rcsu1ts that case. out aL the van-
i,hing poims (Fig. 12-7).
SINGLE-POI NTED DART
Fig. 12-7. Dart with seamlines draft-
ed to curve inwerd or outward rela-
tive to straight guidelines (also refer
to Fig. 123).
Otnward-cuni ng dans pro-
duce inward-curving results
that come to an abrupt stop ao
the \'3nishing points, and
Strni&lll-o.tdt-d darts, which also
stop abrupt!): make a fonn
\\1th stmtght Stdes. 1[ each dan
ended at the silboueue rather
ohan Inside the silhouette, and
wa. draf1ed with straight sides,
the result would be a round
box ral her than a
dome or bowl (f ig. 12-8).
N01e: Parrr. rns de,,cloped wirh 11tc
met/rod
willtJroducc fonus with txlcr'i
or mrn<wtmcms rltm mmch rhr
original sltapc. and intcl'ior
mcru:uumcnts t11at maid1 Ll1e
original sltapc plus the amount
added Jot clcwuionldcpth.
2. Trnce the darted pauem, includ-
ing the dan seamlines, onro the
wrong side of the fabric. Tf the
dMtS are to be visible on the out-
side ol the form. tmtc the scam
lines on the righ1 side of the fab-
ric with chnlk, disappearing pen,
or fai111 lines. Folding wilh seam-
lines mnochcd, stitch each dan
from the edge to the vanishing
point (refer to securing Dart
Seams" on page 267). For darts
on the wrong side of the fabric,
trim CXCCSSl\C fabnc OUI of wide
darts, and clip darts "ith seams
that curve inw.ud ;,o tllill thcr
turn right side out smoothlr
Ori ginal
Silhouette
Enlargement
Fig. 128. Pattern with darts that equalize the circumference of the enlarged cir
cle with the circumference of the sllhouette circle, segment by segment (A to 8
equals C to D; D to becomes the base of the dart). In comb/Mtlon. the num-
bel, length, and cuNatu/8 of the darts shapes the nat pattern into a dome or
bowl.
3. Press the dans, opening the
scam nllownnces of trimmed
dans. ! lent rrc.ss ou a padded
board; usc a ham, a poim press
er. or any other pressing devcc
that will >Jd he shaping or the
fabnc form Finger press dam
too small or abrupt for the iron.
4. To finish the edge of a darted
fom1 , hind or face the edge. li ne
wit h a duplicate of tb c darted
fabic. sew the edge to exten-
sions. or hem before stitchmg
the daru.. To the outer
shape of" darted fonn. sew the
edges to a base cut from the
original pattern.
NOTES & VARIATIONS
Use the guess-nnd-ll'im method
for adventurous fun with dans.
With one guiding principle in
mind-elcvauonldepth increases
with the amount remo,ed by the
dans-practice with paper and
gummed tape. Try working sponta
neously with the fnbtic 10 create
experimental forms dimensi.onal-
ized straight and curving
darts. Forego trimming and allow
the edges 10 be une,enly contoured
by the dans. Exploit the unpre-
dictability of the method: exl'lore
what would haprcn i[ ..
\'\'hen control is nn issue., use the
slash-and-spread or enlargc-aud-
equalize methods to develop pat
ems for three-dtmensional forms.
For refmed fonus ..:ulptcd with
multiple dans, enlarge and equalize
produces the mo>t precise and rcll-
:tble resuhs. Sla>h and spread lies
somewhere in bel wec:n c he guess-
and-trim and enlarge-at1d-equalize
methods. Its neither as unpre-
dictable as the fonner, nor as pre
cisc as the latter. It IS tltc only
method that adds around the dans
:L' it reduces inside the dans, which
causes an expansiott in the middle
or t he darted form-an effect that
cnn be advantageo<Jj when ppro-
primdy applied.
When drafting dans by slashing
and spreading, the wtdth of the
desired cle' "tion may be divided
hc1ween two or more dnns sharing
the same edge. When plnnnlng 1l1e
dans for a circular s hape. to be
enlarged and equalized. more darts
produce a more perfect!) rounded
fonn than less darts. and a silhou-
ette \\ith deep cuT\'CS requir<-s more
d>m to modtl into a smoothly
rounded fom1 1han a slightlycurv
lng silhoueu e. Fo cxnmple. oval
c; h:lpc.s require dllrlS at the
s teeply curving ends than at the
curYes on the side-s.
To understand the enlarge-and-
equalize method beuer, visualize t11e
original pattern shape as I he silhou-
ette or shadow of a tlm:e<limen<ion
nl form. lmagine the darts elevating
or lowering t he area of t he pancrn
shape while kecpmg the outer size
and shape, the sUboucuefshado'v.
the same. For that re.<ult, a combina-
tion of basic principles apptics
to da11 for ma tion; ( I ) Enlargeme111
equals half the desired elevation/
depth. (2) The amount of fabric
removed by a dart at iLS widest poim
regulates the elevation/depth pro-
duced by the dan at 1ts vanishing
poinL ( 3) After dntftlng the dans,
1hc enlarged contour hecween any
two points nwstmntch the size anrl
reflect the shape nf 1 he original pat
tem betwe-en those same two points.
Chapter 12 USING CARTS 271
1\eitltcr tlte slash-andSI>rcad nor
enlarge-and-equalize methods guar-
antee that the eiC\'lllionldepth speci
ned before d rafting the dans will
stitch om exacd)' as anticipated. A
single dan (slash and and
dans that stop at the silhouette
(enlarge and equalize) are the most
(tCctrratdy prcditlllblc. Don\ assume
that a rounded fom1 will be perfect
ly arched after the first pattern:
Expect to test and readjust the cur
ature or length of the dans at least
once. Uule: alterations make a cru
cilll difference. Aft er each test.
record adj usnnems on the paper
pattern. Seam allowances, Ignored
when dmfting the darts , :U'c lidded
to fi nal ]>ancrns or included whcr1
cutting rl>e fabri c.
If the vamshing points of two
on opposite or adjacent edges
arc the can be
chJngcd to a seam. For dan that
require gradual, curved t>pering.
which becomes <Ufficult to sustain
when dan width wpcrs clown to
Lhreads of the weave, dmu COtt\'CI'L
ell to seams solve::; a slitching prob
lem. Tesr and evnluatc t he >CUttlli.nes
crossing ilie structured surface for
their dt.-coralivc dfcct , and tmprove
1dth slighr alterations (Fig. 12-9).
272 The An of Manipulating Fa bric
(a)
Surface tlaru. which appear as
tapered folds on the outside of t he
dimensionalized fabric. decorate as
well as mndcl the form. The dans
1nay be turncciLo Lhc sillt\ or ccn
lercd and llnttcncd. 1\t the base,
side-felled duns slant upward, unci .
if wide, m.1y continue beyond ilie
seam allowance unless ilie seam
allowance inside the dart is
increased on ilie pattern, an adjust-
ment recommended for inside as
well as darts ( Fig. 12- 10) .
!
I
--""""' --
(a)
( b)
Fig. 129.
(a) Pattern vtth
comer darts
connected wirh
seamlines.
{b) Three-piece
pattern with
conrours adjust
ed to match
when sewing.
After testing, add
seam allowances
to the pstrerns.
Projecting darts. pres.-;cd or
unpressed, arc not sri rched dmm at
t he base and ex<end out from the
s urfucc (clip and turn the scam
allowance 'II the base. to the i nsldc
of the da n). Unsuitable for s ul'l'acc
darts: Curved-st.-am darts that
require d ipping to accommodate
tl1c roundness of the fonn
Tite seams for released dar IS
stop b<fore reaching the pcx of the
darts. rclc-J;ing folds that compli
c:ttc t he configuration of the fll bric.
(c) (d )
Fig. 12 10. Surface darts: (a) Felled to one side. (b) Adjusted on the pattern for
matchmg edges at the base. (c) Cenrered over the dart sr;1am. (d) Conosllapod
pro,ectlng dart hemmed at the base.
SI NGLE-POI NTED DART
dmJred around srllloueaet ]I, l' (9cm)
square: Parr em A (slash ""th da<ts
(Zcm) wrde "forrtr I Yr (4cm) hrglr, For Pal
rems 8 0!1d (, srlhotreues Ml<lrJil l, (Zcm) a,.
e<iua/17e<! with comer daru thor erd rnS>!Ifo rhe srlhoueue
(B) <rncl nr lite silhouette (C). Partem 8 crwres " slant
srde<l form rhor ele>()rcs ro I r;, (4cm). P<mern C
mol<es a strnight-sided tarm rorscd ro Y< (2cm).
XII-1- Squores of
SIJ(fet>e<i muslin
ele.ore<! by darts
1.1" (2r:m) --
0( die ed;le. Four
darts (upper le[l)
e/Nne to f'q.
(4cm): -.!h
darts (upper
"8"1). one} " Ch
r..o opfl051<e delftS
(lawet /eli). die
center elevation
reaches fl ;,
(Jcm): one dart
(lower nghl) clc-
w:ncs to 3/ ....
(2cm) at rhe tip.
SINGLE-POINTED DART
XU-J-Two pallilms d10r dMdc rhc csomatcd cl"""uon borweM
two onglod dartS (pmmm A). and f'IC darts on ono Side nnd (our
dons en rile oppome stde (pattern B). !he sr/ffMod mu<lrn forrn
elu.'3te to :V< (2cm) (Or pottem A and 2" (Scm) (or p!llrem 8
Chapter 12
XJI.,I SI'I/1Ctl<d
""""" /OI'nS

OOCM1S (the
ongrnal rxnrem
snafl6) thor
COIIltOl r/'ltJt
contouts ot liW!
edges,
USING DARTS 273
canstructloo of dartSWCWred
muslin (om>s For d1C l>gh..<Jomed ,,
(I Ocm) comer dans !NE!r.e convertOO ro
scoms. o;maHer squaros wtlb
dnrrs sMc.hM (rom unrojfe.1cd musfin
XJ/1 Fr<lf.'IC mvshn bCYol 6 (!Scm) m aiamEwr 4 (/Clem)
*P. '"'h I o lnwor<l rumng dartS /klttened by ZJR'"8
274 The Art of Monipulating Fabric
M<JSiin 'Y''"*' WJ!h jllo;o<rng datu. rr<Jde fiom a
DOttem w1rh a cowJor s1!houene 3 .. (7.Scm) 111 d.ocmeter: enforge-1
17;4" (lOan), and equol,7ed w.rl> r 2 dans endng ot 11-.e s<nooer.e
ourJ<>e. (ngh!) l.or!;1 musf<> Jtnp modCIIfd wth do:ts along
.... edge """ 0 rouod. bo.y
SINGLE-POINTED DART
A=mblt o( I o bo.y cells. Each ctlf s 2 (Scm) squa'<
surnJur.ded by Sides + (2cm) '"''"g 1M ckms,
rhe edges of "boxe-s .. 'vcre hotlcf..strtched togerher, and
eoch box \'105 pushed dtM!n (O <ttO!e 0 CeJI. The aps o( COtlver_glng
darts .vere ocd roge1her m back.
D OUBLE-POINTED
DART
-a diamond-shaped segment of fab-
ric folded in half lengthwise and
sewn from tip to tip. Double-pointed
darts structure internillly, raising or
lowering the fabric at both ends of
t he dart seam.
P ROCEDURES
Re,;ew "Single-pointed Dan on
page 268, particularlr the slash-
and-spread procedures.
NOTES & VARIATIONS
The principle thnt rchllc> the
width of n dan at hs cross-
scclion 10 Lhe amount of cltV3ciOn
or depth achieved at the end of the
dart applies-in duplicate-to dou-
ble-pointed dans ( Fig. 12-11).
When the fold of a double-point
cd dart remains undcrnctuh . the
dan will pull the fabric down :u
each end unless the darl scam
allowance is clipped. releasmg the
dart to open and move upwnrd
toward the tips. Because dipping to
the stitching wc-J.kens the seam.
reinforce [be stitching to pre,em
breaks, particularly when usage
imolves s train. Double-pointed
dans on the surface of a conMruc-
rion form a bridge between eleva
lions al the ends.
.
.

'
'
'
'
'

'
\

'
'

\
.
.
,/"
'
I
'
'
'
'
'
!
'

',

\

Measuring from edge 10 edge
across the seam, 3 douhle-poimed
dan reduces fabric measurement
beside it.s seam, and releases the full
measurement of I he fahric 31 each
end o[ the dart and o ul 10 an edge
that Ooats in wnvcs. A row of dou-
ble-pointed dnns in soft fllbric grad-
ually rcle.1scs fullness in a manner
similar to gathering, but
reductton by fold>. If the fabric is
stiff, the waves at the edge will be
sculptuml- regulllr and as deep as
the width of the dans. Double-point
ed dans shape a cylinder of fabric
like an hourgloss. For the occasional
application, where it$ necessary 10
e."< tend the s ides 10 compensate for
wbat the dart removes, add hall
the width of t he dart to the edges
that parallel the dart scam ((a) in
Fig. 12-12).
For sculptuml purposes, double-
poimed the mterior of
the fabric, and singlc-poimed dans
deal with the fullness of the fabric at
the edge. 1\vo sinl\le-pointcd darts as
wide as the dnuhlcpointed dar1 in
the center reduce the measuremenLS
at opposite edges to the measure-
ment across the center of the dou
ble-pointed dart. To gauge coofomti-
ty ea<il)'. dmh a double-pointed dan
in the slashed spread between the
\1'nishing points of single-pointed
dans ((b) in Fig. 12-12).
'
'
'
'

'
J
I
'
' I
'
'
Fig. 1211. Double-
pointed darts with
seams contoured to
ollect the modelling of
the Iabrie form.
'
'
'

'
'

\
',

.
.
(0)
(b)
Fig. 1212. (a) Ooubtepoint8d dsrtln
a rectangle with sides entargad to
compensate for Iabrie removed by
the dart. (b) Curving doublepoln/Bd
dart drafted between two slashed-
and-spread single-pointed darts.
U><:d together. single- and dou
ble-potnted dans create involved
thrr:tdimensional configurauons.
When 1 he darts are varied with
!ncurvrd and outcurvcd scams
(Fig. 12-11), comouring posslbili
Li es Increase. Adding to the SJruc
lural poss ibiliLics, one double
pointed dart can be seamed across
the center of another, shaping four
pe.1ksldips around a low/high in the
middle. Also, a doublc.-pointed dan
can cross the tip of another dart
like o T, spreading out the Oare at
tl1e end of !he dar1.
Dart pattenrs structure- fahtic
into allover, three-dimensional
de-<igns. The wider the clans, tl>c
greater the dimensionality of d1e
fabric co11Struclion. To create-. a dart
paucm. use griddcd paper 10 devise
a repeating tll'J'angcmcnt or hmall,
douhle-pointed darts, cqmbined
with single-pointed darts at the fab-
ric's edge. Cut out each dart on its
scam li ne, convening the pattern
into a stenciJ to use when tracing
the. design on the right or wrong
side of the fabric (fig. 12- 13).
(a)
{b)
(d)
Because d ipping the darts ill a dan
paucrn weakens the strength of the
dartctl framework, darts stitched on
the wrong side of the fabric pull Lhc
fabric down at the ends. When
stitched on the right side, the visible
folds support height at each end.
(Refer to "Securing Dan Seams on
page 267). To evaluate a darr pat-
tern. itS e:sscntial Lo tes1 wilh a
square of fabric. Look at both s ides
of the stitched sample; they will be
quite different. Measure the fabric
before and ~ f t r stitching the darts.
(c)
Fig. 12- 13. Four stencils used to
trace dart patterns on fa/:lrlc.
276 The Art of Manipulacing Fabric DOUBLE.-POINTED DART
The before-dart mcasuretnc.nt and
the after-dan measurement yield a
fraction to use when estimating the
fabric required for dart patterning to
a targe1 measuremem. After stitching
a dan pattern. set wirh steam. Pin
the low poiJUS of the relief o ~
padded surface and steam with an
iron held just above the fabric.
Allow to cool and dry before mov-
ing. To stabilize immovably, tack
the low points of tltc. relief to a stay.
Unusual formati ons result
when s1ender darts are s titc hed
i nto the fabric at random. Dart
i mprovisatiOliS arc spontaneous I)'
sculpted. The length, width, and
di rection of the da rts, the separa-
tion berwec.n the darts, and
alternati11g between right-side
a,ncl wrong;.side stitching, com-
bine to control and diversify the
relief that develops as the dans
accurnulare.
With dan pa11crns and iJ.nprovi-
sations, folds on the surface become
figurative design clements more
conspicuous, sometimes, than the
sculpted fabric that ttnderlies the
folds. Thread ends left to dangle
after knoHing add a feather)' flour-
ish over the top.
Mustm elei'()IOO I
1
/;" (4cm) or Mel! encl of a
d<luble.pomred dott Yr ( I.Jcm) Ill dle center, wrrh seam
onOW!Jnce dIJI>ecf. (bouom) The same darr com/)ned wlrh sin
gte-poonred clorts or lhe edges sculpts !lle muston omo o poor of
pyrorflJdlrl<e shapes. Each mustrn samptc rs ro
oswy.
XII-I 0-{ie(l) Musl:n srnp worh o ro.v o( ldenl!<ol dans As rhe clopped
dor.s roper our. rhe {obnc {oils '"'" folds lk a
:vflle. (rrflht) Double-pomred dalu Or> rhe surfat Mod
by o cenrered seam, and singie-pomted dons <it rhe edge COtrte rhe
fobnc rhe rows co puff and peak onto ndRs
DOUBLE-POINTED DART
XII I I -Cylinders of mllslrn wffencd wrrh "'"' 011 llllerfoconR. shaped
WJ(h doub!e-pofnled dartS 1ntemally. and SJng!epolnted daru lllol
rerfflce the drameters of the openmgs on two of tho (orms.
Chapter I 2 USING DARTS 277
DOUBLE-POINTED
DART
+
Xlf-12-(top) Darts rhat cross .each adler and (bottom) cross d1e li/>S o( othm do11s
change the con{oJ1Urotion o(fi>rms groanded or d1e edges wrth Single poontccl duou. Bodo
eamples arc seamed ro sroys.
Xli-13-Mus!on potteme<l Wl!h o domensoonolozed <ie"Rn
(sec (a) '" 12; I 3 {or the pwem).
<ode of photo XII t 3.
278 T he Art o f Mnipulotlna Fabri c
+-+

+ t.
XII-IS Musi.n SlflKtured !0 loOk 1/<e marshmallows In 0 box
(see (b) In F;g 12 13 (or the pclltem).
XII 17-Mv<lm "'"' o 11t.lco,110n of <forts
(see (c) ,n Ftg. 12-13 for the pattcm). n., law Ootnrs o{dte <elief
were xked to o
XII-I <r side o( I 5 w,rh poaks ""'"ad of hollows
bfw,teen the ups o( rhe darts.
DOUBLE-POINTED DART
XII-18-Muslm su:hed imo o rel.e( (.rooter! Wi!h Clt>Ssed douale
poimed <lati.S (sf<! (d) in F1g. 12 I 3 (()( th pattcm).
'
-
DOUBLE-POINTED DART
280 The Ar< of M>nlpul oti ng Fabric
X8 I 9 Musbn recons.tll.K!c-d amo a comp'ex ~
...-.n an llllpro\ ,,oo romp<,.'llO!'I of ""l'oce da!u
p
Mixed
Manipulations
T
here arc two kinds of
combinCitions, combinations
of technique!> that synthesize
into singular technique variations,
and creative combinations that
link two or more techniques into
constructions that serve a func-
tional, decorative, and artistic
purpose. The first is a more
limited group than the second,
which is limited only by the
desire to invent.
TECHNIQUE
VARIATIONS
13 Combinations
XI!.- I 5.'.10CKD l1JCKS
ilo<ld IUC4 >mOC.'<ed ... til
honcycoml> s"1ch:ng 11110
cellular over
brood. ffot charnels. Tho
sample IS stob'c. a1'most fllrf,<l.
Xlll-2 SHIRRED TUCKS-
uld<s 1'41h goU!<rcd
""""" be$'de o certc.'l?d
band of ploon
Chapter 13 COMBINATIONS 283
XI/I 3 SHIRRED SURFACE (CORDED SHIRRED TUO:S)--COt<ls mserred and Sblc/led m
one opcrooon, and bobb1n-ihroad garhered as thr! cosmg fabnc wos garhetcd CNCt lhc cord.
Xlll-1 GAFHRD CORDED TUBING Trgnt- and loose{ll-
vng COS!Mg.S BOthered OVCr C:Ofd) wh,
1
Te IIJtfllfl_g fight $1de OtiC.
For (amrost a srulfed ball ends " lengtll of smooth. corded
wbmg
,b_
.I.l'"'
t!:'l.

\trnb.
.,.

SHEllS -(left) Gtad""1ed oval (l<ITU>ms. Foi<IO<Itn hal{'""'
ga-thered unoJ suatght. shet:s ate lll:)em;d n mlo
a large ffCN.ter-15: dn:Je. and toUcd lii'I!O tftte.e bud like
(]11 oppltqued band and sruffOO border lh<> sample
284 Tho An o r Fabl'i c TECHNIQU E VARIATIONS
Xil/6 DeTACHED BAlli from upp., ng/lt)
FoUt' bcl!s (puffS w.ll> sruffing); three r.eS!ed bells (ruffled pu/fl.
nuffod. w1rh igcs gatheJed and rad<ed <mdeme<llh}; (our rufllod
balls (rufllcd puffS. swffO<!); four ruffled balls on !mes (ruffled
puffs, swf(ed. 011 a base). and bol/.cenrered, puffed cm:ulor
sh.mng.
XW 7 BALL GATHERING-(top) Two "'"'"pies o{ spaced be# gath-
cnng (pll(f garhenng stuffed) mclude (olds tn :he o"'ro/1 design
(botwm) 1i"1> examples of massed gothenoli wid> very dosoly
spaced bells Qlr\ing one oi the scmples
XJ/1-8 BALL GATHeRING-
Heao.ng of stpamted ball>,
hand cpp/iqti"-<J 10 n txncl.
ga!hers o lc.'l!llh o( ftb"c
Chapter I 3 COMBINATIONS 285
286
Xl/l-9 GATHERED DART PAT
TERNS o( <looble pointed
clarrs. gotJ>e"'d on f!a,1d sr.rching, con-
('llure ll>e robnc W>tll Irregular (okls
pfqi.lor'IS
XIIT- 10 GATHERED DART PATTERNS
(wp) Sepott:ted clusters o( (our
gotheJe<J <kitts "' o squared
mem w'fth powlted C"nds t.ouc.fwtR
(boacm) r..., samples sta)i v.>lh
lnrlgs. ready {ct nsettoon
TECHNIQUE VARIATIONS
XIII-II DARr GATHERINC- Row
o; gcrhe,e<l r/ooblc-pointed clan<
creates '" rhe (l>bnx:
cmd 1'iMI-es edge "'Ill
XNI-12 GATHERED SWC!.E-POINT"cD DARTS
(le(r) The pcl!Hn (ngll!) AI"'-'" lest " th - leg Of
(wO oO]OCent dmt< go-J1C1od be(011! che dort
CREATIVE COMBINATIONS
XIII I 3 E/e-.ea form Cll!ISUIJCifd jrom a Clfdc o( moJ1hn tNe<
podded shaped '"' pootred d<wrs suf(n
'"""""" "'lh a"d rnodrU!e <!'""""'& alld (in.sJ>od ""rh
g<J:hercd popong and o ruffled bale
XIII I 5 l'l!.ck. hecvy.l!rgl>re<e{ meOOfloo Nilll 11 sruf(ed
(g.JSW <>'<Mre<J {crms) lhcl Sl<lft Ja.., on tile ltiSide and (inosh
o< !IUl and o <luffed no:;:balr on rhe cenlef (shaped wolh
smglpomrcd don.s >""erted mtc seams).
X/11-14 Ei"""ted fom> creored from n mus .n m:le moci>nf
co a batting-padded lll'llfl! With t11fle. Pto.MJ. StrJi'e-(:lonl.ed dartS;
wirh an """eJope-sry1 * (.nosh nne! a ball on rap.
XIR- 16 Olg<moc-Jool<ing {omu /ormed lh den; con-
>e:ted""" sean<. SlUffed and ped W'fO 0 h i/l.,....i C<JMn.COO(l.
288 The Art or Manipulating Fabric
CREATIVE COMBINATIONS
I 7- Broomsuck pltoMg
rocUd (0 0 Sl<ly <Net stuffed {ctm$
of oppi<JU"
Chapter 13
Xlll-18-fabric: wop< meander-sf!Jrre<l
"'rh 0 gotherot>g (0 0
toplbclrtingf'"""!' (oundo6on """ sotf'
stJtCh:ng, whtd1 a:so qwfts l.he raters
COMBINATIONS 289
XII/ I 9 Bonds o{ d1ogonol lucks otlernaring wilh bonds of
edR fllllhenng. separated 1>1 rows of in seam
Xl/1.21 (irom me <op) Cabled tuck M!h ba''s """"'" mode opcnJ
(aids. sn 1>-!Mi<d ruff.e, band of pleolS formed on 1he P,r(cct
and o battmg-pa<fded machi:ic-quJu:d cuff.
XIII 20 Tr.ree connected rolls w<h do<Jbleedged ruflles '"
belween. 1/Jpped ""'h em overlay o( mpt<Wsed pottem
X/11.22 Keyhole lucks Wtlh balls at connca.ng potms rcvrol on
of meander shlt"Mg; or s.ides. k1N massed ruffles bctv.-cen
standing wO:s.
CREATIVE COMBINATI ONS
Xlll-23 Slumd bort.'r on svrt<;e<ordod seams; ><Juore o( wafflo
<hrrmg "' with a P:mly stuffed. clewchd roll edRe.
-- --
rm ..... t
XJII2 I &<de<> Otr>elrwndacd w<h oo.-.-lrf<!rud<s Ofld Ofld
t'1Stu/1'Y:d <C!)tc:ed Wd<s. rutaned " !h p.p.ng and mort WOO.
Xl/l-25 Bo!d<r o( pcok$ and wlh IIJ<:ked separoWlS.
edged wrlh P'Png.
\
XIII 26 Coosvuction of I" (I Ocm) SQI)(lteS vcnovsty pouemed 1vo1/t pe.klloles. sw/fed
and mompulat1ons, and o wcwlt.ring poeh of opposite-edge galhering.
X/11-27 Yo-yos opploed to a pleated (oundooon
Xrtl-28 R.,..,.,..,;e<J n:cks acceflled w11h puffs.
292 Art of Manipulating Fabric CREATIVE COMBINAT IONS
X/1130 The
flower'S:. .SE)en
made (rom coiled
ruflle-s
""" 0
(!()ISh. M> from
ba/! S!JI70UI)(Jcd
W1lh ,._.w'tfO /W from
Jl"lheted dorls Loose
Jeoo.-.s, cone.,.,.,.
X/11-29 Loose appl.que leaves,
applfCIUI!d yo-yo Fowers. one
/klwet "''th o ruffled edge
sufl1llJOCing o (llnov.-ed
Cetl!ff. and 0
swffed c:omo<nc<
o(tltldJia!.'>g
tuc.l:s.
Xllr3, T/11T)e-
,
drne0<101 floral compoSirlon buflc w1th
o 'IOrety of mofllpulorecl
rechfllqtJes:
JU{fles. sngle edged ruffle. yo
yos, boll gcrhenng. (urrowillg. puffs.
bolls, loose opplque. ond ru<Jcr
Xfii-JJ Five iiOpezoid-snape<l l,ule
ptrlows with ClJfWlg upper etiRi!S-
ottached co a pentcgon-snape<l hule
pif,'ow ,oJilh (i dfde topsuoched n the
center Inside. o,I(Jnous maf'l+pulouons
sewn co one Side of olt llle pr!'!ows.
Xlll 33 MfJfl;rpufaoons integrated mro absrroa conscruCOOns: of tflre(s and texttJf.es. Elld1 sur(or.e brtit
ove,. a lO(>IbrJtllnglltnlng (OOndar(on. w1rh rhc StlrchifiR r.hor secures the mrJJll(lUfations incorporml!d rnto lhe
294 The An o( Mani pulating F1brlc:
CREATIVE COMBI NATIONS
HAND S'fiTCI-LES .............. ...... 295
GLOSSARY ..................... ... ........ 298
SELECTED .... 300
Books .................................. 300
Article> ................. ................. 301
EXHlBlTlOl\S ....... .303
............. ................... 303
Appendix
HAND STITCHES
B ACKSTITCI-1
-Strong, versatile hand stitch used
where firm sewing is required for
structural seams, for mending breaks
in machine-stitched seams, and for
hand quilting. Bad<stitches are also
used to secure sewing thread at the
beginning. replacing a knot in the end
of the t hread, and at the end of a
row of stitching, Work backstitching
from right to left (reverse all direc-
tions if left-handed). Bring a threaded
needle up to t he surface: Insert the
needle back Into the fabric Vs"
(3mm) to the right of the emerging
thread. For an eve n backstitch,
make a stitch V.." (6mm) long under-
neath and bring the needle out Vi"
(3mm) in front of the emerging
thread. For all succeeding stitches.
insert the needle into the needle
hole ending the previous stitch and
bring it OUt \lo'' (Jmm) in fronL Even
backstitching looks like straight
machine stitching ((a) in Fig.A I ). The
half backstitch looks li ke running
stitches. Making a stitch Yi'' ( 1.3cm)
long undeneath, bring the needle
out V<'' (6mm) In front of t he emerg
ing thread. Insert the needle into the
fabric \11" (3mm) to the right of the
emerging thread and bring it out V.."
(6mm) in front ((b) in Fig.A-1). For
securing backstitches, wm tO the
back behind the seam. Make two tiny
backstitches. one over the other.
looping the thread over the needle
figure-eight style on the last stitch
((c) in Fig.AI).

( a)
Q
( b)
(c)
Fig. A t. (a) Even backstitch. (b) Half
backstitch. (c) Securing wfth back-
stitches.
BASTING
- Temporary hand stitching that
holds fabric layers together in the
desired alignment unt il permanent
stitching is In place. Baste from r ight
t o left (reverse all directions if left
handed). For even basting, make
Appendix HAND STITCH ES
long running sticches the same
length in back as In front ((a) in
Fig.A-2). For uneven basting. take
small s<icches with the needle sepa
r.ued by longer lengths of thread
on the surface ((b) in Fig.A-2).
-l ,....;
(8)

(b)
Fig. A2. (B) Even basting.
(b) Uneven basting.
BLINDSTTTCH
- Scrong. inconspicuous hand stitch
used to applique a folded edge co
the right side of another piece of
fabric. Blindsdtching is worked from
right to left (reverse all directions if
left-handed). Bring the needle up
underneath the folded edge of the
applique. through two or three
threads of the applique's fold. and
pull out t he thread. Insert the needle
Into t he foundation fabric directly In
front of the emerging t hread at the
edge of the fold: bring it out under
the applique's fold V." (3mm) ahead.
catching two or three threads of the
fold In the stitCh After four or five
stitches. pull the thread taut ((a) in
Fig.ll-11 on page 237).
CATCHSTITCH
- Flexible hand stitch minimally visi
ble In front, used to fasten pinked or
taped single-fold hems, to secure the
edges of faci ngs. and to hold seam
allowances Oat against linings. Work
fro1n left to right (reverse all direc-
tions If left-handed) on the wrong
side of t he fabric. Bring t he needle
up through the fabric layer on the
top. burying the knot between the
layers. Moving forward at an angle.
alternate between a backstitch in the
fabric underneath and a backstitch in
the edge of the fabric layer on wp.
Catch one or <Wo threads of the
fabric underlayer in each stitch; make
a larger backstitch in the fabric on
top. Catchstltching looks like her-
ringbone stitching (Fig.A-3).
Fig. A-3. Cetchstltch.
L ADDER STITOI
-Concealed hand stitch used to
dose stuffing openings left in seams,
and to attach the folded edges of
appliques to foundation fabric. Ladder
stitching is worked from right to left
(reverse all directions if left-handed).
To c:lose openings in seams. bring
the thread out through the fold on
one of the abutting edges. Crossing
directly over tO the opposite edge.
take a stitch V." (3mm) long inside
the fold. Moving straight across. take a
stitch V." (3mm) long inside the
opposite fold. After five or six stitches
in opposite folds, pull t he thread taut
((a) in Flg.A-4).
(b)
Fig. A-4. Ladder stitch: (a) Closing
openings. (b) Applique.
To applique, bring the needle up
through the foundation just under
the folded edge of t he applique. Take
a stitch V." (3mm) long inside the
appliqufs folded edge. Without
moving forward. insert the needle
into the roundation and bring it out
V." (3mm) ahead. keeping the
emerging thread just under the foi<J:
ed edge of the applique. After five
or six stitches. pull the thread taut
((b) in fig.A-'1). and refer tO ((b) in
Fig. I 1-1 I on page 237).
296 The Art of Manipulating Fabric HAND STITCHES
O VERCAST STITCH
- Slanting hand stitch used to pre-
vent cut edges from ravelling. to fell
seam allowances. and to se<ure
hems. When the stitches are pulled
tight. overcast stitching gathers and
rolls the edge tO the back as the
depth of the stitch collapses. Tiny
overcast stitching Is also used for
pattern tucking. Work from right to
left Ol' left to right. To pYevent rav
e lfin g. boing t he needle out about
Vs'' (3mm) below the cut edge:
move ahead w (6rnm) for the next
stitch. wrapping the edge with the
thread (Fig.A.S) .
I
Fig. A5. Overcast stitch.
To fell seam a llowances, catch the
lining underneath before emerging
Y.," (6mm) ahead, and Vs" (3mm)
to \l.o" (6mm) Into t he seam
allowance. To secure a single or
double-fold hem. catch two or
three threads of the fabric under
neath before slipping the needle
under the edge of the hem. To
gather, start tuming the edge to
the back with a ony. finger-creased
fold before overcasting the edge
with five or six stitches. Pause to
gather and enclose the fold on tight
ly pulled thread before continuing.
OVERHAND STITCH
- Close, firm hand stitch used to
join two folded or finished edges. or
to applique a folded or fi nished edge
to the fabric underneath. Overhand
stitching can be worked from right
co left or left to right. To join two
folded or finished edges, align the
edges with right sides facing. Tug t he
knot at the end of the t hread inside
a fold, or secure unknotted t hread
with two or three overlapping
stitches. For each stitch, angle the
needle forward Vs" (3mm) in the
same direction, catching a tiny bit of
each edge with the needle.'When
used to applique a folded or fi n-
ished edge to the fabric underneath,
overhand stitching Is sturdy and visi-
ble (Fig. A-6). .
/
Fig. A-6. Overhand stitch.
RUNNING 5TTTCH
- Basic hand-sewing stitch used for
construction when seams will not be
stressed, for gathering and shirr ing,
and for quilting. It is also used to
applique, copstitch, and hem with vis-
ible, decorative thread; and to sew
tucks when softness is desirable.
Working from right to left (reverse
all directions if left-handed). load the
needle with a series of forward
moving. evenly spaced, in and out
stitches, penetrating all fabric layers
with each stitch. Pull the needle and
thread out. and repeat. Unless the
particular application dictates other-
wise, stitch length and the space
between stitches should be about
W' (3mm) (Fig. A-7).
Fig. A-7. Running stitch.
SLIP STITCH
-Hand stitch used to secure hems
and facings in a manner thac's barely
visible inside and outside. Slipstitching
is worked from right to left (reverse
all directions if left-handed) on the
wrong side of the fabric. Bring the
needle out through and under the
hem fold, or next to and under the
edge of a single-fold hem or facing.
Moving forward \Ia'' (6mm). pick up
one or two threads of the fabric
immediately underneath and draw the
needle out. Moving fo1ward \14"
(6mm), pick up two or three threads
of t he hem or facing and draw the
needle out. After five or six stitches,
pull the thread gently co secure the
hem or facing (Fig.A-8).
Fig. A-8. $/ipstitch.
5TABSTITCH
- Hand stitch accomplished with
two actions: (I) Push the noodle
down and draw it all the way out of
the fabric. (1) Push the needle back
up to the surface and draw it all the
way out of the fabric. Stabstitching is
used when tacking and quilting.
T C K J J ~ G
- Very closely spaced o overlapping
hand stitches. often stabstitched, t hat
join one element to another at con
tact points.
TATWR TACl<S
- Hand stitching used to transfer
fold line, seamline, and other sewing
notations from patterns to fabric
with markers of t hread, a method
recommended for fabric that could
be damaged by other marking sub-
seances. With sm-all. sharp scissors,
cut a hole in the pattern at every
point to be marked on the fabric. Pin
the pattern to t he right side of the
fabric.Working from right to left
(reverse all directions if left-handed)
with ext ra tong doubled thread.
unknotted, in the needle, make small
stitches inside the holes cut into the
pattern, leaving loose loops of thread
between the stitches (Fig.A-9). Cut
the loops in t he center and gendy
remove the pattern. To mark two
layers of fabr ic at once, leave very
long loops between the stitches. Cut
the loops and remove the pattern.
Separate the fabric layers about %"
(2cm) and cut the threads between
the layers.
Fig. A-9. Tailor tacks.
WHIP 5TITCH1NG
- Hand sewing two folded or fin-
ished edges together with overhand
stitching.
Appendix HAND STITCHES 297
GLOSSARY
APPLIQIJE
- (I) Sm>ller, shaped cucouc of fub-
ric applied to a larger expanse of
fabric. {2) To attach a small cutout ol
Iabrie to foundation Iabrie with hand
or machine stitching.
BIAS
-Direction that slants diagonally
across woven Iabrie. The true bias
moves at a 45-degree angle to the
crossgrain and lengchgrain of the
weave. The bias of woven fubric is
stretchable.
BODKll\'
- Slender, blunted tool wit h a large
eye or a tweezer grip, designed to
draw tape. ribbon. string. cord, or
elastic through a casing.
CROSSGRAIN
-Direction of the welt yams or
threads that span woven fabrics
from selvedge to selvedge. The
crossgrain Is more adaptable than
the lengthgrain of the fabric.
EASE
- To match two unequal edges, one
slightly longer than the other. and
sew t ogether smoothly by catching a
tiny bit of fullness from t he longer
edge into each stitch,
EDGESTITCH
- To machine stitch through alllayeos
V.6" ( I.Smm) from a folded edge or
seamline with the Iabrie right side up.
FABRIC-SAFE MARKER
- Tool, device, or substance used to
indicate seamllnes, fold lines. match
points, positions. and trace outlines,
that does not deface the visible sur-
lace of the Iabrie in any permanent
manner. Always test !he permanent
removability o( o substance on d1e
intended fabric before using. Markers
include: (I) Pins and lightly pressed
folds. (2) Scissor nips and notches in
seam allowances. (3) Basting and tai-
lor tacks. (4) Blackboard chalk. chalk
298
The Art of Manipulatln& Fabric
pencils, chalk wheels. and chalk li n-
co's. (5) Air-erasable and water-
erasable marklng pens with flne-line.
felt-tip points. (6) Colored pencils
especially manufactured lor usc on
Iabrie. or atlst's pencils recommend-
ed as safe lor fobric (e.g .. pencils
made by Berol), with a sharpener co
a point, and appropriate
erasers. (7) Mechanical pencil with
hard lead, or an artist's hard-lead
drawing pencil sharpened co a pin
point, with a white, faboic eraser or
an art gum eraser. Never use o soft
lead pend!. (8) Slivers of soap.
(9) A crack pressed into the top with
a hera or the blunted point of a
needle--which requires immediate
stitching be lore it fades. {I 0) Lengths
of narrow masking cape.
FACING
- Fabric seamed to a cue edge and
turned to t he back in order to finish
the edge with a fold. Facings also
function as scays.A decorative
facing is turned to the front.
FINGER PRESS
-To flatten and open a short seam
allowance during the construction
process by pinching between the fin
gers or bearing down hard with a
fingernail.
FLUTE
-To applique an edge hand-gath-
ered on even running stitches in
such a manner t hat the grooves
between folds. each anchored with a
stitch, are regular and distinct.
FOUNDATION
-Base Iabrie to which manipulated
elements and appliques are sewn.
Foundation Iabrie is visible between
and around tho applied clements.
GLOSSARY
G HAIN
- The weave of woven Iabrie. Fabric
is on grain when the crossgrain and
lengchgrain yarns or threads inter-
lace at a 90-degree angle. II t he fab-
ric is off grain, tug it across the bias
to restore the crossgrainllengthgrain
to a 90-degree relationship. Iron
with steam to set the corrected
alignment.
H EM A LLOWANCE
- Fabric width to be t urned under
when finishing a floating edge.
I RON
- To use an iron with forward and
backward. gliding movements,
removing wrinkles smooching
t he surfuce of t he fabric.
LE 'GTHGRAI
- Direction of the warp yarns or
t hreads that parallel t he selvedges in
woven fabrics. The lengthgrain is
stronger and firmer than the cross-
grain ol the Iabrie.
LmJNG
- Fabric that underloes the surface
fubrk and matches it in size and
shape. A lining conceals and protects
consuuction decalls. functions as a
stay, and, when sewn to the surface
fabric with right sides together
before turning co the back. finishes
edges.
NEEDLE M ODELLING
- Hand stitching using pulled thread
to create dimpled or extended
indentations in a stuffed surface. To
make one stitch or :1 series, use the
stabstitching technique to bring a
long needle up from the back.
through the stuffi ng, and out at t he
desired point o n the surface. Taking a
tiny stitch several threads-of-the-lab-
wide, return the needle to the
back. Pull on the t hread to mai<e an
appropriate indentation in front. and
secure the tension on the thread
with several backstitches.
NIPS
- Tiny cuts at fabric edges, Inside
the seam allowances, that mark
points to match or fold positions.
NOTCHES
- (.o.) markings on the edges of pat
terns that indicate pointS to match.
fold positions. etc. When transferred
to Iabrie, notches aro tiny V-shaped
cuts inside seam allowances or pro-
jections outside seam allowances.
PIN MATCII
- To stab and pin twO layers of lab
ric together at spec.ific points: to
synchronize and secure two seams
or markings t hat must coincide
exactly when stitched together.
PRESS
- To use an iron with pick-up and
put-down movements. flattening and
smoothing 01 limited area without
disturbing previous manlpul>tions or
mussing seam allowances.
QUILT-AS- You-Go
- Method of quilting t hat staots by
subdividing large top/batting/lining
projects into smaller segments which
are quilted one at a time before
assembly into the whole. Also called
"lap quilting," "apartment quilting,''
and, in this book, "modular quilting:
RUCHE, RUCHING
-closely gathered or finely pleated
strip of Iabrie applied as trim.ln con-
tempor.lry lash ion writing. often
used as a synonym for any form of
gathering or shirring.
SEAM ALLOWANCE
- Space between the cut edge and
the seamline.After sewing two edges
together, scam allowances are
pressed in opposite
directions, or closed-turned In the
so.me direction.
SELVEDGES
-Lengthgrain edges of woven Iabrie,
loom-finished to poevent unoavelllng.
STABILIZE
- (I) To secure gathered stitching
or pleating by sewing to another
piece of fabric: to prevent stretching
or strain from disturbing a manipula-
tion by attaching it to another piece
of fabric; to stay. (2) To add firmness
to fabric. preventing extensive stitch-
ing from pinching, drawing, and dis-
torting the fabric.
STABILIZER
-Material substance. or device used
to add firmness to fabric. (I) Perman-
ent stabilizers of woven or non
woven fabric, such as muslin. organdy.
commercial interfacing. or batting-
padded lining. are basted to tihe back
of the fabric before stitching. Fusible
lnterfaclngs are heat-bonded. Starch
as a stabilizer is permanent until the
Iabrie is washed. (2) Tempor ary
stabilizers include typing-weight
paper and specialized commercial
produces developed lor that pur-
pose, which are basted to the back
of the foundation before stitching;
and freezeo paper which is heat
bonded to t he back of t he founda-
tion with Its shiny side down.After
sowing, temporary stabilizers are
carefully tor n away from the stitches
without distorting the even lay of
the thread. Stretching the fabric taut
In a hoop or frame also
temporarily.
STAY
-(I) To prevent a manipulation
from coming undone, stretching out
of shape. or moving out of place; to
scabilize. (2) Stabilizing fabric invisibly
stitched behind a manipulation.A
full stay underlies the entire manip-
ulation from edge to edge; a partial
stay underlies the manipulated sec-
tion of the fabric. A foundation. a fac-
ing. or a lining can aJso function -as a
stay. A decorative stay covers the
source of a manipulation in front
(e.g., a strip of Iabrie, tape. or ribbon
seamed over rows of gathering or
the head of a pleated arrangement).
STAYSTITCHING
-Straight stitching by machine
through a single layer of fabric,
beside the seamllne within the seam
allowance. Staystitchlng prevents the
edge from stretching and. when the
openings left in seams for turning
right side out are staystitched. faclli-
ta.tes turning the seam allowances
inside for hand-sewn closings.
STEAM B LOCK, STEAM
PRESS
-To use steam to reshape. set.
smooth, and refresh a foundaoon
fabric with manipulated elevations.
or a manipulated construction that
would be flattened under the pres-
sure of an iron. Stretching to the
desired size and shape. pin the foun-
dation or construction around its
perimeter. and at critical 1nterior
poinu, to a padded surface.Arrange
the folds of loose fabric. pinning to
hold if needed. Steam with an il'on
moving slowly over and 3bove the
surface. Allow to cool and doy
before unpinning. Foo hanging inst.,l-
lations. adjust t he folds and use a
steamer.
STITCH-IN-THE-DITCI 1
- With the right side of the fabric
up, to sew in the groove next to the
ridge made by the fold of n closed
se:am allowance.
STRAIGHT-GRAIN
- Either the crossgrain or the
lengthgrain of the fabri<:.
STRAIGHT OF THE
FABRJC
-lengthgrain of woven Iabrie. which
is indicated on patterns by a long,
double-pointed arrow.
SUFFOLK PUFFS
- English term lor a form of patch
work composed of circles gathered
into smaller circles. In America and
in this book, Suffolk puffs arc called
yo-yos.
Appendix GLOSSARY 299
T EMPLATE
- Pattem or guide. Sturdy templates
are cut from cardboard. plastic, or
other substantial material resistant
to the abrasion of repeated use.
TOPSTITCH
-To sew one or more rows parallel
to an edge or seam on the right side
of the fabric through all layers, using
plain or decorative hand or machine
stitching.
UNDERSTrrCH
- To straight stitch by machine
through a facing and all seam
allowances, but noc through the sur-
face fabric. V.6" (I.Smm) from the
seam. Understitching prevents a fac-
Ing from rolling co the front at the
edge.
WADDING
-In Great Britain, a word meaning
batting.
SELECTED
BIBUOGRAPY
BOOKS
W
hile researching chis
book, I looked through
any volume. with a tit]e
chat seemed appropriate lO mr sub-
ject nncl considered it worch chc
'ttrnc if I found one liulc technique,
idea or even u h_i n l that increased
my ,;,:lllij>Ulution data base. The list
chat follows d<>esn't include any of
the numerous entries in my no1e:-o
that consi.>t of nothing more than a
sketch or a deAnition- invaluublc
10 me, buc not enough to jusliJ'y a
reference for readers to consult. I
do rccommend the following:
Andrtw. Anne. Smocking. london:
Merehur.n 1989.
'fhr An 'if 5.1rwing. The Edilors of Time-
Life Uooks. 16 vols. New York, NY:
Ti me Life ijool;.,, 1976.
C:nn, Roberta. Couhrn; The A1t of Finr
Scwhrg. t>onlnnd, OR: l'almc:.r/Pic.sch
Assoclote>. I 993.
Carroll , Allct. 11 GOO</IIousc/:ecping
Nttdlecrafl l'ncycloped!a. Sandusky, Oh
Stanford House. 19-17.
Caulfcild, S. r: A .. and S.watd, lll:mche
C. Encydopt'dla uf \'icrorian
2 \'OIS. York. J\Tf Dover
Publications. ht<.: published
by A. \V, Cowan. London, 1882..
Ctwe, <Enonc, :1nd tlodgcs.jean.
frmfftftnwr & i\fodem
Al>fJmnclccs. l.ondun: O.T. ll.11sford l.cd,
1984.
Clnbburn, l,amcl:1. Tt1e
J>(CIIonary. New York, NY: Willhtm
Morrow nnd Comp:my,lnc .. 1976.
Colby, 11\'cril. Quilling. New York, !'oi'Y:
CharlO$ Scrlbnrr5 Sons, I 9i l.
Coleman. Flltobclll Ann. The Or>ulcm
ra. Fnshlom of ll'orth. Dout<t and
Pingat. Orooklyn, '<Y: The Urooki)'D
Museum 1n :a''inemuon \\itb Thamcs..-
and lludson, 1989
Tltr Complc1c Guitk 10 Nttdlcwotk
Ttdlniqut'l' lind Mntcrials. Mat)
(iostelow, Editor. Secaucus,
NY: Clwlwtll Books Inc. Firs< pub-
lished b)' Quill Publihing Limited,
London, 1982.
300 The Art of Manipulating f abric
BIBLIOGRAPHY
Cunnlngh:tm, Singer Sewing
New York, NY Golden Press.
1969.
Cunnmgton, C. Willett. Eng/ish 1\omcnl
Clothmg tn rhr Ninc'lrcnth Century.
York. Dover PubhC'3nons. Inc ..
1990. Unabridged repubhcalion of
"ork originally puhli<hcd hr Fabcrand
Fober, Ltd., Lt>ndc>n, 191i
da Conctl('<\0. MnrM. \Vearcrble Art. Nevi
York, NY: Tht Vllong Press (A Sllldio
llook) , 1979: Pnguin llooks, 1980.
Durand, L)lnnnc. Smm:lli11g: 74:dmfque,
hojuts Dt:srgm. Yuk. NY:
Dover Publlcntiou.lt, Inc., 1979.
Dyer, Ann. Hnu 0hfH Swffr.d
fO)S. U. S. Edi1iun. Newton, MA:
Charles T. Brunrnrcl Cmnp.tn)'. 1970.
Eric..nn, Lmto Tr.\t&Ut ... a do.u, look.
Sdf-l>uhh,hcd b)' the author, 1987.
f>r') Kind of Kit Pyman.
Cduor :-.e" York, XY: Hcnt) Holland
Comp;tn). Inc .. 1\1!17.
F.mmng, Robbie and Tony. n tc
Compfc:tc Book of Quilring. 2nd
Edition. Rodnor, PA: Chilton Book
Comp"n), 1994.
Fons, Mnrtannc, nnd Porter, Li=.
Compli'ft! IJirnlingharn.
AL: Oxmonr I louse, lnr .. 199:!.
Gihbs-Stnlch, Chnrlc; II. The
Fasllinnablr Lndy 111 1hc 19111 C<nwry.
London; Her \lajescy's Scacionery Offfce
for tile Vlecotio ond Alben Museum,
1960.
Gi<>ello, D<bbte Ann, and Berke,
Fasluon Prucluttron Terms New
York, NY: Fnlrchlld P\lbhcanons, 1979.
Guild, Vern P GtKKI llousckctping Nc'\
Camp/tic of Nrcdlecrafr. New York.
NY: Good Jlou..,kccping Books, 19il.
f.l:tight, f!mrst n. Prm:lictll ...
Quiltingfm Jhr Davtd Ctl)',
NE: <ell-puhli<hed by amhor, 1974.
l lall , Cnrolyn Vo;bUI'gh. Snfl S<ui(Jitll'(;.
\\1orcrc:1er. MA: O.wis Publications, Jnc .
1981.
. T11c Srwing Mru:bfnc Craft

NY: \ 'au
Reinhold Compan\'. 1980.
HafRrau:. Htf1loom Ma(hine:
Qniltlng. U.fo)'Ctle, CA: C & T
Publishing. 1995.
Huumt, jcssar. ;1nd Cunningh:.un..
Gbdp .. Singtt Stwfn,'( r!l)()h, Nc'"' York.
NY: Golden Pres>. 1972. E3rlkr cduions
by Gbdrs 1969: and
Mary Drool<>; Picken, 1953. 1949.
l1, .uul l 0 \ ..:\, l1: , I he
1 HI' fl ,uhfJo.,'tll:
-:.. 'll lkmon.mn
(\.,"h. '\k ... '"' lQQ2
rJtrh h c.lf
I)(IJ f.. b"'1hl<'n 8 T R."lbford
ltJ "-'
b.ltl k.m.t 1ng . .r\ Ghtdt
t "' 1f,
1
n.l (>utlnns llothdl, \\'A 1 h.u
h
" rl.t<<. Inc. 1992

1
tnlJil, '""''"t Quu a: and Eosy
, (ot'\'.l1 Neck. '-'Y llcMd\Stdc
\;U '
l'fc.''' 1\) l
' c1k Srnodung and
htht t(
11<rkdc<. (. \ 13<'' 1987 Ongonall)
rubh-hl under the mle Stttchlngfor
'" .f 1 al-t \ lontpulauon for Self Trim
,, .. \,rk " l l\cright Pubhshong
l 1
1
H8.
P Th< Enndopcdta of
loJrden ( ttY -.;y- Doubleday &
Inc 1987.
\l,mm, Rochanl and Koda. Harold
'\r w York. NY: The
\lctl<pc>ltt>n Mu<eum of Art, 1993.
--- HatUe Couturt. New York,
'I' The \l<tropoluan Museum of An,
IQQJ
\1,-veh, Ltnoo F >+ith '/r.xnles.
<.hrr<rpt>n. Lo\ ,.,1f. published by the
authvr. 1991
\lnbch, Don Z 5oft Sculp<urc and
Orlt< )djt Art Forms -.;e>\ York. :-;y
(ro-. n Pubh,htrs. Inc .. 197'1
\INj;oin. ''"" and Mosteller. Dee
Other Forms of Rntstd
Qutlttn,t: '"' York. Charles
'wbnrr' """' 1977
Ihr .\'c'"' 8tdft rrck Drtssmaku Nt\\
\ork ' ' rhe Buuertck Pubh,htng Co ..
1927
l't:nn lr\'lug h\t') Mt)ukc .!'t" York
(,r .. ph&l. ')o.. etl) 1 mle. Brown and
(otupdnl li ne) JQSS
R<<td<os (omplctt Gutdt to
l'ltant<tllt, -.;y
l>t.<M As,.,. UIIon 1'176,
ltodgrs \ur II 1 ht /Iandi'<>< of \tuJJrJ
(/i;Jlll'll '\\. t1f';,l ( 0 lcnuu
f l.lk,.la.t: "' lu< I 'NO
lcml ll1r ( omt'lcu IWc,lf C
1
/
fk}fr,J,._mli

MA lluuxlatul1
M1fJIIIi f .ltnp.m)' I
1
17H
ht II I If /lllwtiUI III,K \lufhlltX \\
y,,, N r t l1.u h r rim 1\ "Hrtlt, JIJ71
'ltllkttWI(l. r11 ,
lllc,;,nl\ Appllqut
Lll>ttc CA C &t ttmorc Bordm
T Pubh<htng, 199}
\lmm,, Amt fo I
Quthtng Fl lO..r
1987 tnt, I Mallei) Pre->,
I he Rr'
l he hhtol'> ol C '""'library
.yOc<:o.sc
tn too
ldttcntion o!'<l'ahon Wlth the
Minnotonka "N C 31 vol
.., Y OeCo.se
Incorporated, 19&1.
lhom, Mnrgaret Smoching In
New York. NY Drake
u o<ht" Inc . 1972,
1 homp\On, Sue. !Hcon:unc
Emmaus. PA: RodJJe
Pre.. 1985.
\'tCtO tan and Costumes from
llarpcr>llalaar 1867-1898. Stella Blum.
fdnor York. !\'\' Dover
Pubhcauons. Inc, 1974.
The Stcpfrystcp Guldt
to Stwlng Ttchniqurs Ednors of Vogue
and Bunerick New York, NY
Stmon &t Schuster, 1989.
Tltt Vogur Sewing Book. Vogue Pauem>
New York. NY: Buuerick Pubhshmg.
1975.
Waugh, Norah. The Cut
Clothrs 1600-1930. New York. SY
The:nrc Arts Books. 1968.
Women\ hlSUtUit of Domesoc An> &t
Scttnces Dtcorari< t Sntch<s and
Tnmmtngs Scranton. PA. lntcmattonal
Edue>liOtUI Pubhslung Company. 1929
IXStgntng and Otcoraung
Clothrs Scranton, Pi\ lnttm:tUON.I
1-.du<JuOnal Pubhshmg Compan)', 1929
Orrssma,ung. Tnmm1ng,
PA: lntcrMtional
Publtshmg Company. 1930.
v ood Oort'ctt l ht Ent)tlor<dto of
"""'' v:
1
NY BooJnt.J
\\'orld Cchlum(- Nt\\
1
llOOh I onj\tnaliy pubi<>hl b)
ChJrl<' xrtbntr\ Sons. 1978
ARIIC/
I
h.o-. bulpng ru. call.d
ours with tcarlbtt!.
!rom nugoztnu and lk'Wlpo
ol &ormtnll wuh
mtngumg detatls, tuuln tn bomt
decoraun
11
sllu.auons, bot> and
about protcs.-and scnbbl..d
notes. Sources I dtdn't crecllt otlho
ume provtded mlonnation lor this
book Matenal popped up wbm
<Xptcted, and where 1 exptct
ed to ltnd u tn the follo .. mg Jlm
odJcals.
Allen, AIKe 1mpr"""'3lbt -
ltnc: H.,.. to cboo>< h,u,6. .md
mxhuv.-n bcm fmbll<s J1urMo
\'ol 16 t'pnlf\by 1988 pp -10-49.
Avtr)', Eml>dlnb ilh
ScT1p< i\01Ct1tt111 Qldhcr \01. IL ,...
(Wtnter. 1986): pp 21-H
Brtbnd. :-.ant:)'. and \l'emnch,Jud)
f1'> lnmc Up' Taktng lbt J>rud&cn
out of &sting Ammcan Qut!ta. \01.
XI, I (Spnng \995) p. 46
C:albW>y, Gr.tct Haflds<,&-mg Surdlcs.
Whtch to u.< ,.!Kn and hooo to,....
thtm Thmtds \'ol 12 .Allj('S<p<
19871: pp 53-)7.
c.rr. RDbtru co.uurt Qutlmtg
Gcolltn Bttn< odd. >U1>(1'IIrt .md dec
orat.on to both cby and t\-cu&ag ear
,.,th dwmtl T\mld5. 'IOl
H (.,ur/"<1'< 19921: W Jl.\.3>
'Dior R.....-.. .U! ...,.It
-o-1 hJ-u-tc_cou_turt TTtrMI>. ''"-
34
(Aprl\bl 19911' 1'1' 7273
\It> th<
Fin l-1'-' h.' ... hapc labn.: Into -
. h "' T\maob '"
..-.nh t t t"'c .. tct -
lb (ll<cl}>n JQ<ll.ll PI' j<\.)S
. "hl " n .. , ThiJoS
t "\1\ll't
c ,uc<J \t>l.
-' n
PI' >+
l.)ul!n;. Judith "('ud1
r..IJu>j; "" '"'
-.uh "''"'
1992 PI'
IIILIOGIIAI'MY
)01
lnt.."'" hH' \"'"PI hun ullht
rlua ''"'}\It h't'hllhl""' fot 1;1du1
,tf\1\'th'll\ .uu.l r.1hm 11\.lUIJ'UbUon
lllflJ\ \,,] N (1 C'hl\1.tr._:h 1\Nl)
rr n
----- "\1.\mpul.HIUJ: f .1hm
-\m(u<u" \ttl \ l ('-pnng
lO!W) pp lO.
rlynn, john o.,,1, .snd (),a,hc'
C'ptnmcnt' m the ;an o 'Up
phng Thrrold> \ 'Ql Uuncl)ul)
tOOl) pp
Fon' \brunnt -,)mllln)! \bkc .. the
Qu1h Dc'tgn 'lOUr""" wholtdulh
qurlt" ThuoJd, \'ol H
11191): pp 5(1-5)
Gugcl. ll.ub>n Contr \I)
.\ Tou<h of
QUilter \'C"I IX. of (\\"mtcr
1993): pp. 18-IQ.
Goddu Carol 'Rrhd Apphqut for
Prc10nal Qurhs tlmrncan Quiltrr Vol
\1. I (Spnng 1990): pp. 48-50.
Hanman, Sember "Sew Rrj\ht
1
Mastenng the Quilt Sutch." American
Qurlter. Vol. Ill. I (Spnng 1987):
pp. H-45
jackson. '"Drawmg a Lme
Wuh a Scwmg Machine: Fl\'emotion
embroidery ror creative qualting ...
Thrtads. Vol 20 (Dec/jan 1989):
pp. 30-33
Khng. C:>ndace. oecorauve Rtbbon
Work: Foldmg and stttchmg method<
for tumong fabric onto Otghts of fancy."
Threads. Vol. 12 (Aug/Sept 1987):
pp. 58-61
LaPoerre. jeanne E "liow to Stretch a
Quoit." tlmcncan Quolttr Vol Vlll, 4
(Wonter 1992): pp. 6-1-65.
Loeb, [mrko Toda on the Revtrse
Stde Amrnran Quolttr Vol IV. 4
(V.'&mer 1988): pp 33 35
Lotta-Sellar>. jeanne "Textured and
Taolored How to m>chtne quoit
menb wuhout )3UIacmg
Threads Vol. c55 (Oct/No 1994)
pp 37--11.
Mattfoeld, Elizabeth Pr>cucal
Smockrng A fuung approach to fullne\S
on d<"l!" and embelhlunent
Thrtadl . Vol I'! C0<t!NO< 1988)
pp )6 311
Mornwn, J.OI\. 'I..Jycrrd tn1punw A
lt<hruqur (or rtli\C'd <IUIIIIng th.u you
<fltt '\cttlt"h ""d lr.unr or "tJHr.uJ on 1hr
hrd I hlfml Vol nil (Aul><1>t
l<iH7) 1'1'
N.,Hhlon ( tln.,I.H14.C. 'Quih
\\'lmh Ont, rot YtHa?'" 11ufod\
\<>1 >llt.\uW'><r t995l: pp. 65-67
,,unll'u.nc \dritnnc Embcllishmg
\\llh l.thnc Tum\ adapted rrom the:
<..:ntuf)' dtcorate dothmg in
lhl '" l'l111l"lh Vol. SO
(l>nllan 1004): pp. 66-69.
C:l:ure clothing
Connccuon .. on a s.tam ...
lhtud.< Vol c22 (Apr/May 1989)
rr H-29
sh.;mk ... Droll. tong Li'\'e
\Vnnkks! Add ttxture and shape to tht
... g.tnntnts Wlth JUS.l a twist.'"
Thrtad!. \'ol 58 (Apnl!May 1995):
pp. 58-61
Slurtr. Mane ... A QuiherS Ptc:tu.re
Doctoonary: Hand Quilung." Quilter's
.\lrwslerrtr. Vol 227 (Nov 1990):
pp. 53-59
--,---- "8.'1Sting Lhe Quilt layers
wtth Running Stitches." Quilrer's
Ntwslwer. Vol. 268 (Dec 1994):
pp. 32-33.
-,..,--:::---, "Basting the Quilt Lyers
with Pins or Tacks.
Ncwslwcr Vol. #269 (jan/Feb 1995):
p. 39.
Sacnkicwkz, Elly ... Flowers from
Baltimore Album Quilts: Tucks and
gathers unsform ribbon into lifelike
blossoms." Tioreads. Vol. #44 (Dec!Jan
1993): pp. 40-43.
Simms. Atm. "Toward Smaller Quolting
Sutches: ln>prove the variables of your
then learn to needle
anew." Tiueads. Vol. "21 (Feb/Mar
1989): pp. 63-65.
Smoth. Barbara. "Machine Quilting lips;
Usmg Lhe Walkmg Foot. Quilttr's
. '>:rwsltutr VoL "251 (Apnl 1993):
pp. 38-40.
_ "Machme Qutlting lips:
Usrng the Darmng Foot Qutlrtrs
NtMitlltr Vol "252 (May 1993):
pp. 29-31
SteYoart. Btlma S. "rlorol Appliqut:
Makmg a I hree-domenstonal Rose.
tlmrncan Qutltrr. Vol. VII. "1 (Spring
1991 ): pp. 13-22.
Lot>. "Machme
G.uhcrrng for Surface rexture."
Qulll<'r \ Nrw<lm<r Vol 205 (Sept
1988) p. 51
fuwn-...nd. I ouhe 0 . '"I land Qualong:
Whut llm, the Quilting Do?"
Nrwlrlln Vol #229 (J,ut/1 rb 1991 ):
p 4H
102 fh / \rt of Martlpulotlrtl Iabrie BIBliOGRAPHY
_ _ und <luhnl\
[r<lno,ftrnng the to theo Quilt
Top. Qullur":. 1\'tw)ltHtt Vol l"SO
(Mar 1991): p. 52
____ I land QulltlnJI
Prcparauon fot Quthmg Qtdhtr\
Nt .. slmrr Vol 231 (Apr 1991): p. 54
Hand Qurlung
Choa>mg a frame. a Hoop. or On<'>
Lap. Qullttrs \'ol H2
(!<lay 1991): p. S2-S3
"lund Quolttng. Ahoot
Lhe Quohing Sutch." Qllrltrr'>
Ncwslcrur Vol 233 Uune 1991):
p. 41
.,.----- "Hand Qurhmg Tbe
Quilung $<11ch from Stan Lo Fonuh.
Qurlttr1 Ntwsleutr Vol 234 Uuly/Aug
1991): pp. 44-45
----- "lland Quoltrng Tools for
Destgning and Draftmg Quohong
Patterns." Qurlter's Ntwsltrtcr Vol
=235 (Sept 1991): p. 52.
----- "lland Quohmg U>ong
Traditional and Printed Pautms.
Quilter> Newsltrter. Vol. #236 (Oct
1991): p.60.
::--.,.-.,.,.- "Hand Quilting:
Designing Your Own Quilting Pattern."
Quilrers Newsletter. Vol. #237 (Nov
1991): p. 52
----- "Hand Quohong:
Desigmng Alternate Block and Border
Quilting." Quilter> NewsltUer.
Vol. "238 (Dec 1991): pp. 50-51.
Wagner. Debra. "!Xbm Wagner !Xflnt>
Machine Quiltmg tlmtrt(an Quolrcr
Vol XI, #2 (Summer 1995): pp. 26-32
Wakefield. Lmda on Popong The
Bastes ond Se)ond Threads. \bl.IJ50
(Dec!Jan 1995): pp. 40-43 .
( <. t \lE
E:\HIB noNs
I
mlr'"d to the muS<'ums m
''" ell' th.u ha,c textile and
"'""nunc: collections. I can'l
unagor h." mg done this book
",, 111 .teccss 10 such primary
.. moucrial. ln particular, again
,oml ):"'" striking exhibitions
,
11
gave 1ne infor-
m.llion. wnfication. and the inspi-
r.uwn to persevere:
Th< C.allcne. at the Fashion lnstnute of
fcchnt>10j:'- Shorlcy Goodman Resource
'\:t" York. '\Y
The Museum of An. The
Co-.tumc l(l!)Utute. York. l\'Y
ENDNOTE
E
ach ol the
lor
Alter lor the catnerav.as
w or SttaJni
ere Stretched and ng, samples
pmned to a bat
1
txttnsively
or arranged :&padded board,
a neutral back !Splayed against
lor all this purpose
each manipulat d n. To show
advantage for surface to best
with the light e :;;ran to te\eal
and-whue photo s h ow of black-
Its apparent on The speck-
alto unbleached muslin c are natur-
Work-in-progress on this refer-
ence came to a halt when I real-
tzed that t! 1 continued on to the
end of the outline 1 orioinall
d
o y pro-
pose the stze of the manuscript
would scnously alarm my patient
pubhshcr. Robbie noticed that
prairie points weren't included
in the text. They were pan of the
chapters that would have followed
t f I hadn't decided to stop after cov-
ering the classic techniques, an
appropnate and sufficient focus for
one book. The rest could wait lor
another time.
Even so. letting go was difficult.
There's alway one more sample
that could be made, not to mcnuon
that naggmg questton. Have 1
overlooked something? Constroc-
uon dctaol. variation, tip?" I tin-
kered through the final proofread-
ing. Out. eventually, the author has
to say rnough" and give it to
the reader. Now it's your turn.
1
d
hke to know what you discover.
d
T
here's no such
mvcnt . an crca1e. .
the last word about mantp-
1
. that's 11 unnl
ulaung fabnc. on>
ENDNOTE
JO]
P
(r;"f ,,.,. IIANI> STITCHtS.
P'!tC' lQ5-297. and
GtOS)ARI. pages 298--300.
for C'pl.mallon' of addtllO!Ial terms
not rdcrenccd tn thiS Index
All p.lgc number; appearing m
bold l\ pe refer to p.1gcs with pho-
togrnph; The numbers m parenthe-
( ) muncdtately the
bold page numbers indicate specific
pictures on that page. Subheadings
marked wuh an asterisk appear
elsewhere as main headings with
support tve references.
A
accordiOn plea". 111-14
deftmuon. Ill
hand-Conned. 111-12. 114(26,27)
mmt-accordton. Ill, 112-13.
114(28), 134(2)
Set ai'O double-controlled pleatS
all-stdes 21-27
dcftmuon. 21
puff gath<nng, 22, 25(28,30)
puffs, 21. 24(25,26). 25(27),
292(28). 293(31)
ruffied puffs. 21-22. 24(26), 25(27)
swndard, 21, 24(23,24,25), 27(35)
s1ar gathering, 22, 25(29,30), 26(31)
yoyos, 23, 26(32,33), 27(34,36),
292(27),293(29,31)
a/-.o ball>. rurrowtng
pphqut 298
rlrvlrd', 242-46
Ouung, 7-11. 19(111). 27(34)
lwtd.,.,lllthrd, 7 H7 2H
mdunrIIUhr<l, 12<1, 150 237. 2'15,
li!YCJ II)
)111")/.lldiUJII HI> H7, HH
,lulfNl', 1 Ill -'II
\rr uho II .,,.1 Wlfll'rtttg, yo Y'"
lurtIWIIIH
J04 ff1e Art of 11nlpulallnl (
Index
B
biOih
dcl.lchcd, 284(4), 285(6),288 (13,14),
290(20.21). 293(31)
8
.,herms. 285(7,8), 293(30. 31)
b.,,._
balling. 206--7
cord> for cordmg. 187
double-btndtng edge finish. 207.
215(2)
edge fini;hing for rumes. 43-'19
ex1cndmg 1he lucking fabric,
149-150
fabric required for smocking. 125-6
furrowing*, 9
g;uhering methods*, 3-6
hemming Oa1 & partial pleaiS. 90-91
JOtmng modular unils, 208-9,
227(12,13)
managmg 1he smocking-pleated edge,
128--29
pre..>mg pleaiS, 89-90
>ecunng dart ;cams, 267
smockmg embrmdery stilches*.
127-28
>labthzmg ga1hcrcd stitching. 6-9
Sluffing, 229-30
""'"fcrrlng dcstgns. 205-6
U>ing a 'mocking pleater. 126
col>u hand "ilches; gloss'")'
batung, 206--7
btndmg. f>-7, 45. 70
doublr- 207, 215(2)
hnmg- 214
bt'<UII,, 258 61
IOI"lrUIIIOII 258-59, 260(27,28),
261(29)
ddllllllnn, l5H
'""'II'"' l'i'l, 2hl(l0)
hlind,illthln)l. 7, 217, 1-11, No
hlhul ltlt \1'1' wul;, 'ftnud.mi iUlk'
bowlitd wcks. Stc undtr cross
slitchcd luck>
box pleat Srt undrr Oat pleaiS;
proj<Ctmg plcaiS
broom<uck pltaung. Set undtr
wnnkled plcltng
bubble tuck> Set under cross-l<lcked
luck>
c
cabled lucks Stt undtr cross-tacked
luCk>
canndgc plcaiS. See under projecting
pleats
cetucred tucks. Ste under standard
tucks
circular Oounce. 67-76
delituuon, 67
double-edged. 72. 75(7), 76(8,9)
edge r.n.,.hmg. 71
Oared fullness, 67-68. 70. 71,
73(1.2,3)
layered, 72. H(5), 76(9)
pattern dmfnng, 68
sptral-cut, 71-72, 75(6)
69-70.71, 73(1,2,3),
74(45)
1icrcd, 72, 76(10)
vocabulal'), 67
al"i(l cuncd Luck'
du,tcr tud'' , .... urula tucb
conncncd ron,, 251-'H
ddanmun. 2-;1
d<'l.lrhc<l. 253(20.2!). 2<lH1l)
<t>thllli<IIM. I
2Qll(l0), liii(H)
\fc" ''"t '\U l1\n,
nmhll th\1\
'n ""''"
rcol uu h II> 'I '"'
:fl flufl lhl
b<k IM 11>1Ji l 7), l'IO(l!)

lt>l1>4, H),
Zl>l
JntiUdJCd II>!
Jkd l)t>lltlU, 7779, 79( lf , f2, 1})
d ng. I f>f,.. .W}
<h fM wrdotoJt. 1117
oncnpuon I M
nd ..-.n Cffl'<ld qu1lung, ISB-9}
hmc_,.n wrbd quhmg,
ICJi -9!1
r. c e<>rdmg, 199-.WJ
ll<hcd h 171-72
r.cd 171, 172(36, }1), 291(2-f)
mmon 171
ulJIIng. 71 172('1-i.l,,31),
l'Jl(ll>), 2931 29)
eked rue h. 1 n- H
'nu11m 173
hhlr I 7l 174(31!)
.J,Ird 17: 114(JCI). 290(21)
IV d IU<k. I(J() ()! 161(11}) .
Su al\fJ c Jr( ul.;, r flounce
uurrrg (,hm ""I" 200, 207
/)
a.,. U>l> 1!0
de 'tA n piHJII. 2/)/)
,.rruhlrpmnrrd drr , 27$-80
W'C UfHIJI,. ddt1 'K' .. In\, JA7
Jl'lrotrd d, ,. . 261!-H
dtrrcl t.rmx Jrmg, 138-40
drfonrrum I lll
rr<l>ftudorriJJ( I !1!-}9, 1'10(12)
''l><<llrrrror,tf, 139, H 0(13)
''"''""rl I 1'1, 140(Ji)
rlmlolr,..,rrrulltd plrl, I 11!-H
I """'d I Ill, I 2)(42)
tf,.fmuum J J H
fr>o,J I II!, 122(311,}9,40), 123(41),
lHW I 7)
wrrh '''"f><'d frrld,, I Ill, 120(34)
Nlllo 111rlfrd l11ld. I I II
wrrlr ""IHII lo lnlch. Ill!. 6"2}),
I i <I(IJ Jl,) 1), 120(1'J),
I.L I (11,,17)
Vllllorurrwd (.,Jcl,, JIll, M(l}),
llU( !,), Jll(l l )
111
'''''" ''"""'" I IIi, lll('l))
II<! rrllrrl .u " " ' "" " I Ill
dnubk nrllln. ...
dtJUbk rullln; plakd dnulk

cloul.k1>01nkd <bn. 27S-I:IO
din I*Umo. 276, 278(13.1-H.
279(.,,16,17, 18)
ddlnidon. 27S
276,180( 19)
....... wllh. 27S. 277(9,10.11),
278(12)
S ...., Plhaa elmo, 5Uiglc-
poimaldoru
dnped applknloas
doublc-conuollcd pltats, 118.
120(}4)
E
OJIPO'Ik-edge 16,
18(13,14)
shirring. 32, 37(18,.ZO)
lngk edge gathmng. 10, 13(')
ooft can rldge pla15, 107, 109(23)
echo quilling. Sa hand quilting
edge finishing lor rurnes (and
flounces), 43-49
binding, 45, 76(9)
choosing a finish, H-44
doubled fabric, 4'1, S4(7)
double-fold hem, 43, 46, 58(8),
59(1 2), 61(17), 73(3). 74(5),
79(11)
facrng, 45, 54(6), 65(25), 298
Oat hem, 41, 54(6), 60(14), 64(22),
76(8), 79{13)
frrnged. ravelled. 4'1, 59(12),
293(30,31)
frmged, snrpped. 44. 60(13,14,1S),
290(21)
ru .. ng, 44
hairline tdgmg, 48. ,..(4.5), 58C
9
),
S9(12), 60(14,15), 64(20),
65(25). 14(4), 79(12)
hand-rolltd htm, 46
JeliUCC edge, 49
Jlmng. 45, 75(7). 298
ovcrloc:ktd edg<, 49. '9(IO)
pinked. 43, H. 53(1), 59CII.I2).
6'1(19). 65(24), 73(1,2)
pJJn CUI. 44
rolled uvrrlockcd cclgrng, 49
edging, 47-48. 53(2),
5'1(4). 75(6)
"" 19<1%) :1199
.... ll ....... of6 .. ,
.. ...., cdg. -ttl 'J 3()1
.. 1red cdg. -48 1e(ll)

d<uched roll. 252 l5J00.2Z).
29H23J
2i'17. 215(.1)

hmdlctrcbod, 8>-M
rut 6t putialpbl.. 91)..ql
lrrung-bindlllg .. 2H
pip!ng and ,.tltrn,:. 201, 202(14).
20305.16), 226(10), 2811(13),
291(25)
ruffled. 8 . 113. ll.S-29, 20(21),
34(8),2&1{3)
on nrllks Su edge frnislung for
ruffla
salln-<ttKhtd. 164,
..... Is. 2&1{5)
oh!mng. 37(18)
Sec also blndrng
tlevaud appliqut. 242--'16
definition, 242
ele>':lrcd piecework, 215
242--45, M6CI2,1 3),
289(17)
gus.et-clev.ucd, 242--45. 246( 14,15).
288(15)
sewing and <lUffing. 2#--'15
embroidry stllch,.
S<t smockrng tmbrotdery <ucch<>
English smockmg. 129-37
definmon. 129
cmbrodenng. 1-32, 133. 134(3)
txperimenul. 133, 137(9.10)
rntenor, 133. 137( II)
mock, 133
pleaung, lund, 129-30, 132. 133.
1 34(1), 13S(5), 136(7).
137(10,11)
pleating. m<elunrcal , 129, 130.
134(2,3). 135CMl. 136(8).
137(9)
rtversc:, 133. 135(6). 136(7)
Stt also >n>ocked tuck>
exten>ion pleat>. Su 1l.ln>Jl plt.t"
Su undtl
gllcred >UtchmJ.:
Index
1-'.<'11\\1.' Srt un1ltt
... m..-hu\i:,
O..t pltot,, <ll-97
f'\2, Ot, Ql
"''' Ol, <l2, <l1, <l5(),4)
dduutH'\0, 01
d<>ul>l<d <>r trtpl<d, <l4. 9(>(5,7)
.. <ll. <l), <l5(4), %(5,6)
omrn<d. <ll, Ql, 0). <l4 96(6,7)
kolt. '13
knofr. 'II, Ql, Q), 95(1.2.3), 97(8,9).
2'12(27)
C'rtd retcaS(' potnt .. Q2. 93. Q<f,
95(3). 96(6). 97(8)
P<rft Plcatrr. 65(26). 94. 97(9), 99.
123(41), 2'10(21)
pl'l'>St'd. 91. 93. 95(2.3). 97(8)
tcnnonolog>: <ll 93
top:.totchong. <l4. 97(8)
underlar<. <l-1
unpressed. 91. 95(1), 96(5,7)
Sec aiS<> double controlled pleats,
pantally seamed tucks, released:
panonl pleat<
noaters, 195. 196. 197(9), 198(10,12)
flounces, 66-79
circular, 67-76
controlled. 77-79
descnptton or. 66
Outing. 7-8, 19(18). 27(34), 298
Flynn, john, 190
fringtog
ra'elled, 20(21), H, 59(12), 168,
170(33), 293(30,31)
>ntpped, H , 60(13,14,15), 167, 168,
I 70(31 ,32), 290(21)
fulln<s$
Oared. 67-08, 70, 71, 73(1,2, 3)
gathered, 3, 10, 12(1,2), 13(3,-1), 29
ruiRed, -49-50,51 53(1,2,3)
furrowmg, 9. 21, 27(35,36), 35(9),
123(42), 260(28), 293(29.30,31)
G
gallotred corded 1ubong. 284( 4)
&"hmd dn., 286(9,10), 287(11,12),
288( 13), 293(30)
&"lht"d dnubldgd rulnr, '' 61
appJJ '' ,8, 'JH(H), I
f!O(l4,J,), lii(J6),l'10ClO,ll)
I
lOG
The An of fabt'lr
dellnltlon, 55
nllovcr and scrolled. 56,
59(11)
doublc-.hcll, 56, 60(13)
headed. 58, 61(17,18)
lAyered. 57, 60(14.15), 61(18).
65(26)
"''""d. high, 56. 59(10.12), 60(13),
293(30,31)
maed. low, 56, 58(9), 290(22)
puffed. 57. 60(14)
sccunng the ends, 57
>pread-scam or shirred, 55. 60(14).
61(17)
tucked, 57, 60{14)
Sec a IS<> double-pomttd dans
gathered piptng. 288(13), 291(25)
gathered songle edged ruffies. 49-54
application methods. 50-51. 53(3),
54{4,5)
cuuong strip>. 49-50
defimtoon, 49
fullness, 49-50, 51. 53(1,2,3)
layered. 52. 54(6)
puffed, 52, 54(7)
securing the ends. 52
smgle-shell, 52. 54(5)
tiered, 51, 53(3)
gathered tubing, 284( 4)
2-27
all-sides, 21- 27
descropuon. 2
rurrowing . 9, 21
methods. 3-6
opposue edge, 16-20
Ingle edge. 10-15
>tabtlizing, 6-9
gathenng method>, 3-6
au1omauc, 5. 18(15), 33(4),
35{9.12), 39{21,22,23),
-10(24,25.26)
channel, 6. 18(12,13), 24(23).
34(6,7), 37(20)
cramg seam allowances, 5
elasuc. 5-6. 35(11)
hand. 3-4, 13(4). 15(11), 19(18),
24(23,24 ,25,26). 25(27,28,29,30),
26(31,32,33), 27(34,35.36),
33(1), 35(9), 37(17)
muchlne. '1-5, 12( 1,2), 13(3), 33(2),
34(5,6,7,8), 3500),
)6( I ), 14, 1 5.16), 37( 18, 19)
Nt't'urhtg 'lltt'hcs, 5, lO
\or ahu 'hlrrllll(,
gJltogong.1. 13(4). Su alw projttlln&
pleatS, canrlds<, butted
giOSSOlty of t<nns, 298-300
gode\S, 80-86
defimtion. 81
de>enpuon, 80
handkerchief edge, 83-Sof
81-83, 84, 85(1,2,3),
86(o\,5)
moek. 84
graduated tucks.
5 under standard tucks
H
Haight. Ernest B., 219
half-rounds, 247-50
definouon, 247
construction, 247-49, 250(16,17,18)
raised strippong. 249
handkerchief edge. 83-84
hand quilung, 209-16
back.<titched, 213, 216(3), 225(7).
295
basting !he layers together, 210- II ,
214
definiuon, 209
echo, 206, 209, 210, 2 16(3)
envelope edge, 214, 222, 226( 10),
227(11)
Oat, 214, 235(6)
methods, 212-13
liningbinding. 214
running-stitched. 211-12, 213,
215(1,2), 216(3)
stabstitched, 2 n. 297
stipple, 209,210, 215(2)
t)ng, 214, 216(-1)
See a IS<> hand-sewn corded qualung;
stuffed quilting: trapunto
hand-sewn corded qmlung. 188-93
defimuon. 188
single-fabric cording, 191, l93(-t,5)
stitching and cordmg. 188-90, 191,
192(1,2), 193(3)
stnng-guided yam cordtng, 190
trnpunto, 191,232, 234(1)
Stt also Ooaters: hand qmlung:
s1uffed quihins
hand slllches, 295-97
J
1
ntttrUPicd t\l('ks. Su undt'r P.'nlally ..

1
n\tned pltatS. Sec l.lndtr 03t pleat.<>. Su undu Rat pleatS
ladder stnching. 237. 296
L
1ndc pillows. 25+-57
definition. 254
drJung pauen\S, 254. 256
)Otnmg. closed. 255.
294(32)
JOimng. open. 255. 257(24,25)
pcekholes. 256. 257(26), 292(26)
raised patchwok. 256
M
machine quilting. 217-27
art quilting. 222, 226(8.9). 294(33)
basung the layers together, 217-18,
221
dcfimtion. 217
envelope edge. 214, 222. 226(10),
227(11)
frccmollon. hand-guided,
221. 222. 226(8.9)
li1ight (Fmcst B.) system, 219
wuh a hoop. 221- 22
nstallment. 221
managmg bulk. 22G-21
218, 226(8,9)
modular, 221. 227(12, 13)
openwork mtm-modules. 222-23.
226(10)
pressed. 223-24. 227(12,13)
presser foot, 218-19. 221. 222.
225(5,6, 7). 226(8,10). 227(11).
288(13, 14). 289(18). 290(21)
secunng stotching. 220. 222
tabs, 22.3, 227(11)
Sec also hand qulltinc. Oat
sewn COrded quU ' !Dac:hin<
quilting; trapuntotlng; 5lUll'ed
machme sewn cotdrd
cording llcr
196( - 195.
6), 197(8), 198(10)
cording wltile
195. 196(7)_
dellninoa.

floaters 195
196
. 197(9) 198(10 12)
SUtgle-fabnc. IWIR--.u.'
198(11)
195

Slngle-labclc. Zlg<ag. 196. 198(12)
5 ctlso machine quilting; shining.
dwmd: stulfed quiiiiJ>g: tntpunto
m-.d applications
double-edged dmdar n
76(8) l>UDC<S,
72

gathered ruffles
56
58(9), 59(10.12), 60(13)..
290(22), 293(30,31)
ruffled puffs. 22. 25(27)
smp-frioged tucks, 168, 170(32)
meander quilting. Stt machine quilting
meander shirring. Su wulcr pattern
shirring
mini accordion pleating. Ill, ll2-13.
114(28). 134(2). 118
mock smocking, 31, 133
modular quilting
envelope edge finish. 214, 222,
226(10), 227(11)
joining modular edges. 208-9.
227(12.13)
openwork mini-modules. 222-23,
226(10)
pi!:SSed. 223-24, 227(12,13)
preparation, 213. 221
tabs, 223. 227(11)
Sa also Jude pillows. joirung:
machme quilting, installment
N
needle-Conned pleating. 118. 123(43)
needle modelling, 235(6), 241(10). 298
North American smocking. 141-'13
definition. 141
experimental, 142, 143(18)
patterns. 141. H2(15). )43(17.18)
reve.-.ed. 142. 14206)
0
OJ>I>OSUe.<dso 16-110
17, lOU! .21)
eontowrd .....,.._, 17.19(17)
cun-rd, 16. 19(19). lOU I)
ddlnition. 16
draped. 16. 18(1),1-4)
pulfed, 16. 19(19). 20U0.11)
skewed, 16. 19(16).10(20)
SWidard, S!T118bt. 16. 18(12,").
p
19(16,17,18), 24(14).290(19)
292(26)
partial pleats. 96-102
definition, 98
drafting pon<rll>. 98
txtcnsoon, 98-99. 100, 100(10),
101(11.12). 102(13)
SCItn, 98. 99. 102(11,15)
uo<krlays, 98, Q9, 101(12). 102(13)
Set also flat pleats. lowm:d ulease
points
partially seamed tucks. 17">-77
dtl'mition. 175
tnterrupted, 175,177(13,41)
released, 175. 176(10,41,12)
pattern shirring. '38-10
dc6nition. 38
desgn CJ<amples. 38. 39(21,22.13),
40(24.25)
meander, 38,10(26). 289(18).
290(22)
pauem tucking. 183. 181(50,51,52).
290(20)
peaks & valley-s. 264(31.32).
291(25)
peekholes. Set under lutle piilov.-s
Perftct Plt.ater Set wll<ltr flat pleats
pin tudes. St< tlllda "ontb.nltudc.'
pin<h pleats.
Set under projU"'\ pleat:.
pipe otgan pleats
Set under projtcltng
pipmg. Stt under surf.. (Ordnlg
Index
307
rtutrd ''"lllt- or donbletd!led nome
1>2-M
.A\uomaueally fomled wuh the naffier,
(>), M(l9,20)
box/uwenrd. 63. 65(24,25)
dcfinauon. 62
headC'd and 63. M(25,26)
>preadst"am 63. 6S(2))
or and 62,
63, 6-1(21,22). 65(23)
ph:.tttr S pltAtcr
pl<at>. 88-12)
accord ton. 111-li
descnptton, 88
double-comrolird', 118-23
fl:u. 91- 97
hemmmg n.u and pani.el, 90-91
panoal. 98-102
pressmg, 89-90
profiles, 90
projccung, 10.3-10
wnnkled. 115-17
projecung pleat>, 103-10
box. smgle and doubled, 103 104,
106, 108(16)
cartridge. 103, 106-7
canridgc, butted, 107, IJO(H,25)
cartndge, conunuou<, 107, 109(22)
C3rtridge, rollback, 103-104, 105.
106. 109(21)
cartridge. sofr, I 07, I 09(23)
deftmuon. 103
french. Set pinch, three-fold, pmch,
four-fold
goblet pleats, 106
pinch, four-fold, 103-104, lOS, 106,
108(18)
pmch, rollback. 10.3-104, lOS,
108(19)
pmch, rhrce-fold, 103-104, 106,
108(1 7)
ptpe org;.n. 10.3-104, 105, 106.
109(20)
Su alw accordiOn plea"; double-
conrrolled pluts
puffed
g,.rhwng, 21, 24(23,24,25)
dart>. 277(10)
double-conrrolltd plears, 118,
123(of2)
opptnite edge gathrrJng, J 6, J 9( 19),
20(20,21)
puff 8"tlwlng, 2Z. H(2H, JO)
puff., 21 u, 2-1(2,,26). zmn. I
ZIJUlll), .2,1))(1 I)
308 Tit Art of Manlpularlnl Fabric
ruffics, 52, 54(7), 57. 60(14)
<htrrtng, 31. 36(13.14,15.16)
trim, shirred, 32, 37(17)
Set also furrowing
Q
quihmg. 20<1-27
batung, 206-i
descnptton. 204
double-bmdmg edge fimsh, 207.
215(2)
hand'. 209-16
joan1ng modular unilS. 208-9.
227(12.13)
mach me. 217-27
erring designs. 205-6
Su aL<o handsewn corded quilLing:
mach1neSC"wn corded quilting;
Stuffed quilting
quilting frame:.. 212, 218
quilting hoops, 212, 222
R
rcleasrd tucks.
Stt under partially-St:.."\me:d LUcks
ruined puffs. 21- 22, 24(26), 25(2 7)
rufncs. 4 2-65
5
descnption. 42
edge fimshing for, 43-49
gathered double-edged', 55-61
gthered single-edged. 49-54
pita ted single or double-edged,
62-65
sau,..ge:.. Stt undtr btscuits
S<am allowance finishmg, 69
seamless rucks. I
duster, 178, 179. 180(45,46)
dtftntllon, 178
ued. 178-79, 180(47), 181(48).
292(28)
ued, mundtnng, 179, 182(49),
292(28)
<etln pleats Set parual pleats
>ewtng machine, specialized feet
nnd
binder foot, 45
bobbin''"" with fingtr hole, 154
for cording, 19,, 199-200
fom, lllgfoot, 219
d11rnlng 'J>rlng, 2 J 9
gathering foot. 5, 38
hemmer rool. 47
open-roe embroidery loot, 219, 2)7
ovcredge foot, 48
pm-ruek loor,ltvegrooved, 154
rurner. 5. 63
spring needle, 219
smnghtStllch foot, 219
ror tucking. 152-53, 154
twin needle, 154, 195
walking foor. 219
zig-zag foor. 219
foot, grooved b..e, 195, 2J7
shark's reerh. See under sl:.<htd tucl..
shell apphcallons
hem fimsh lor ruffies. 46, 5'1(4)
rufnes. 52. 54(5). 56, 60(13)
tucks, 161(20.21). 161-62
shells, 284(5)
shmed (spread seam) ruffie, 55,
60(14). 61(17)
shirred surface cording, 60(14), 28()).
291 (23)
shirred tucks, 283(2)
shirring, 28-40
automaticall)' gathered, 31, 33(4),
35(9,12)
channel, 32, 34(6,7), 37(18,20)
cross. Su waffle
definition, 29
descnphon, 28
draped 32, 37(18,20)
elastic, 31. 35(11)
pauem, 38-40
plam thread-gathered, 29-31,
33(1.2,3,4), 3'1(5), 36(14,16).
37(18,19). 283(2)
puffed, 31 36(15,16), 285(6)
puffed rnm, 32, 37(17)
shapmg w11h shtmng, 31. 34(8),
35(9,10)
skewed, 32, 37(19)
srabihzmg, 30-31. 33(3.4)
waffle. 31, 35(12), 36(13,1-+),
291(23)
Stt atw ltahan smockmg, <himd;
shtrred ruffle; shtrrcd surlace
cording; shirred tucks
I
singleedged ruffles. Str g.uhered
single-edged rumes; ple.tted
edged rume,
I
I
>'"< g:uhering, 10-15
..
,-vnoour<d. 10-11. 14(6)
ctdanit1on, 10
dr.opc<l. 10. 13(5)
fullness. 3. 10. 12(1,2). 13(3,4)
,
1
,vcd. 11. 12, H(7,8). 15(10,11).
19(16)
urr<d. II. 15(9)
Src al<o balls, gaohering; gathered
d:uts
.inglcpoimed dans, 268-74
con,.crtcd to scams, 272, 2 74(5),
288( 15.16)
clefimtton, 268
dr.ofung darts. 268. 270
th.ofling enlarge-and-equalize
paucms. 270-72. 273(2,4),
274(5.6.7,8), 288(13.14)
dr>fung guess-and-trim P"nems, 268.
271. 273(1)
drfung slash-and-spread P"lltms.
268-69,271, 272. 273(2,3,4),
274(5). 277(9,10, 11), 278{12)
r<lcased. 272, 274(5)
<urface. 272, 274(6), 288(14)
Stt also double-pointed darts;
gathered darts
>kewed applic:uions, 16, 19(16),
20(20), 32. 37(19)
slash andsprcad panern drafting
controlled Oouncc. 77-78

elev:ucd applique. 242-244
gthering. 10-11. 12, 17
sla<htd tucks, 167-70
definnoon, 167
r>vcllcd-fnnge, 168, 170(33)
teeth, 167-08. 169(28,29,30)
167, 168. 170(31,32)
smocked tucks, 283(1)
>mock on g. 124-4 7
dcscripuon, 124
dorect' . 138-40
rmbroodery stitches, 127-28
Enghsh'. 129-37
fabnc requored for, 12:>-26
hahan , 144-47
managong the smocking-pleated edge,
128-29
1\orth American, 141-43
a ;mocking pleater, 126
smocking embroldtry ...
bl
outCuco, 127-28
e, 127, 131. 132 138
HO(l2,13,14) '
cable. double. 12
7
doamond, 127, 131, 132,138
leather, 128, 13
1
, l 36(7)
Oowerenes, 128, 13
1
honeycoDlb, 127,132,133,138 139
135(4,5), 136(8), 137(10), ' .
h 140(12,13,1-t), 283(1)
oneycornb,sunace, 128,131.133.
ns. 14003,14)
mock chain, 117, 13l
outline, 127, 132, 1
38

136
(
7
)
H 0(13,14) '
>pool, 128, 131
trellis, 127. 131, 138
Vand)ke, 128, 131, 132. 1
38

140(12,14)
wave. 127, 131. 132. 138
' smockmg pleartr
Sally Stanley, 114(28), 134(2)
usmg a, 126
spacrd tucks. Set under standard tucks
square knot, 179,214
stabilizing gathered stitching, 6-9
Outing appliqucd edges, 7-S, 19(18),
27(34), 298
onvisibly woth facmgs. 8, 298
invbibly wnh Slays, 8, 13(5), 14(8),
18(14,15), 19(16,17.19),
20(20,21), 24(25), 25(30). 299
locanng the Stabilizing seam, 5
Yl>lbly with bindmgs. 6-7, 15(9),
20(22), 24(23)
visibly wtth extensions, 7. 8. 15(10),
19(19), 20(20,21 ), 24(25), 25(30)
VISibly with foundation stays. 7-8.
14(6,7), 15(11). 18(15),
19(17,18), 20(21), 24(2.4),
27(34.35,36), 298
with rumed edges, 8, 20(21)
vbibly wtth stops, 9, 24(23)
Set also circular Oounce. stabilizing;
glossary. stabiliur; shinring.
stablhztng
standard tucks. 150-59
blind, 150-51, 155(3)
centered. 150-51. 152, 153.
291 (24)
cross. 154. 157(10,11)
deOnltlon, 150
designrr, 154, 1S6(9),I59(l?J*)
292(16), 293(30,31)
doubl<daad<tnetrocl IIICb,
152.153. I 56(6)
graduated, 155(f)
gratnlme d<vtanono, 1
54
, l59(l
6
)
Dlock pin, 154,
pon, 155(1),
random,l54, 157(12)
spaced,I'!0-51, 155(2), 290(19),
291(25)
tapered, 150-51, 152,
156(7,8), 159(16)
terminology, 151, 152
S.c also conntcted rolls, sbim.d
surface cordong; shirred tucks:
sm.><ktd tucks; ... n..c. cotdiog
Star g>thenng. 5 aiiSides plberiug
"ys. 5<t undtr "abl1u:mg gotbued
MUChlng
>tipple quohmg Set hand quilting
>top<, 9, 24(23)
<trips. St< cutting fabric Slrips
stroking, 4. 19(18)
stuffed 236-41
dcOnltton, 236
eased, 238,240(8),298
fr>yededge, 238
freezer paper preparation. 238
onstntng SlUffing. 237- 38
loose, 239, 241(1 I), 293(29,30,31)
by hand. 236.237.
240(7,8,9), 246(12)
.ewong by machone, 23&-37,
240(7 ,8), H 1(10,11)
>tacked, 238-39, 240(9), 2H(l0)
stuffed quilting, 230-35
dcflnmon, 230
Inserting stu!Ong, 23 I, 232
Jayer<d, 233. 235(5,6)
revet>cd. 233, 235(4)
sewing by hand, 230-31, 23-1(1.3).
235(4,5,6)
sewtng by mac hone, 230, 231,
234(2.3)
tnlptiiiiO, 191, 232, 234(1)
5cr 411so hand qullung, hand-sewn
corded qwlung; onachne quolnng;
machtntS<Wil cord<d quilting
S ol$o os a main hfoding
Index
309
<tllfft1\l:.
apphq\lt, HI>--! I
bl'-C'\UI\. 2S8-()l
clCY-1flA cu1 opc-n'"&S 230
connwtd rolls', 2SI-S3
dC'"oCnpuon. 228
de.-ttd pphqut. 242-"6
hlfrount.b , 247-50
hul< pillow>'. 25+-S7
p<oks &r valleys. 262-64
q\lihing , 230-35
(materials and acuons).
229-30
<\lrfAC< CO<<hng, 199-203
dtfinlliOn. l99
T
popmg .md wchong. 200-201.
202(14), 203(15,16). 226(10),
290(19), 291(24)
smchang <tnd cording. 199-200.
202(13)
1\obong. 201. 203(16)
See abo connect! rolls; gathered
paping. gathered tubing; shirred
surfa cordmg
tabs. 221. 227(11)
turks. Set undtr standard tucks
ued tucks. See under seamless tucks
ticned applications
corcular nounccs. 72. 76(10)
ruffits. 51. 53(3)
songle-edge g;tthenng. 11, 15(9)
man<fcrrtng de<tgns, See also
glo>S3ry, fabnc-safe marker
trnpunto, 191,232, 234(1)
tubong. Set under surface cording
tucked ruffle, 57. 60(14)
tuck.>. 148-84
contoured, 163-66
crossscilched, 171-72
CrO>SUICked, 173-74
curved, 160-61
descnpuon, 148
e.cendlng che cuclung bbric, 149-50
p:anllllly seomed, 175-77
p:acttm cuckcng 183-84
'tam Ius, 178-82
shell. 161-62
tlashed, 167-70
150 .. ,9
u
under!). 9'1, 98. 99. 101(12), 102(13)
undulaung 1udcs
Set undtt cro,s.-smdttd tucks
w
welting. Stt undtr surface cording.
piping ond welting
wrinkled pleaclng, 115-17
hmom<tlck, 11 116. 11 i(29),
289(17)
y
contortion. 115. 116, 1 17(30)
defnlition. 115
Are you interested in
a quarterly newsletter
about creative uses of
the sewing machine
and serger?
Write to:
The Creative Machine
Newsletter
P.O. Box 2634-B
Menlo Park, CA
94026-2634
,.,. .,.., k llhacrollora Pll *(*,1)-phocog,.pho (picture "" tluu I"'&<) Src also as a
lJO The Art of Manlpulaclna Fabric
About the Author
C
olctte Wolff says that she
could write an autobiogra.
phy around the gannems,
needlework. quillS, Stuffed tO).,, and
tc'<tile an a:..>ociated with memo-
rable evcniS in her past. "My grand-
mother introduced me to cmbroi
dery at a very ~ r l y age. Before I was
I 0, rny mother taught me how to
sew on my grandmother's treadle
sewing machiow," she remembers.
"Since theot, fabric. needle and
thread, and the sewing machine
have been constants in my life.''
Although she hasn't written that
autobiography, Colcnc Woof has
been writing about cloth-related
subjects for more than 25 years,
contributing articles and designs to
most of the major craft. sewing. and
textile publications. and teaching
and lecturing as well. In 1969. she
began designing cloth dolls and ani
mals and publishing patterns for
Platypus, a mail-order busoness she
still owns and operates. Dunng the
last ten years. her mterests have
converged around exploring the
techniques for creating low- and
high-relief sculpted cloth with a
series of dimensionalized quilted
tapestries." The Arr of Manipulating
Fabric
15
the printed result of those
continuing studies.
Colette Wolff lwts and work>
10
Manhattan, 1\tw York Cot)'
311
SEWING & CRAFTS
I
T
he poSSibilities for three-dimensional manlpukJtlon of
fabric-gathering. pleating. lucking. shirring. and quilt
lng woven materials-ore seemingly endless. To describe
them all would be to describe the entire history of sewing.
I
I t I
'The Art of Manlpt.Jiatlng Fai:Jrio, Wolff hds set her-
sell just this task; and she succeeds brilliantly. Working from
ltle simplest possible t01m-o not piece of cloltl and a
threaded needle-she categorizes all major dimensional
techniques. shows hOW they ore related. and gives exam-
ples of Variations both traditional and modern. The result is
an encyclopedia of techniques that resurface. reshape
restructure and reconstruct fobOC.
Y More tnon 350 diagrams support 1he extenslve how-tos.
' '
organized Into brood general 'then specific
sub-techniques
Y Handsome photo galleries showcase the breathtaking
possibilities In each technique and old visual under-
stohdlng by emphasizing the fabric surface
with light and shadow
Y Tex111e artists ond qullters. os well os garment and home
decor sewers. will expand their design 1'1orlzons with the
almost limitless effects that can t;>e achieved
I
Colette Wolff lives dndi works In Nel"' \tprk City, studl9$ ol the Cos}Ume
Institute otthe MetropOlitan MtJseUm q} Art Inspired this book, She Is o well-known
and highly regorded quilt artist ond do/lmakei whose articles on sewing. quilting
ond dollmoking ore revered for'fhelr metiCulous. ln<Jepfh research.
S29.95
S37.50 In Conodo
ISBN 0-80198496- 3
if iii

Wolff - The Art of Manipulating Fabric

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Wolff - The Art of Manipulating Fabric

Uploaded by

Copyright:

Available Formats

= r ~ E AR1 ~ ~

Manipula tin ---

You might also like