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AR1 0~~
Manipula tin ---
~ Fabric

Colette Wolff
 l
The Art of
Manipulating
Fabric

Colette Wolff

r
~ lir~mse
~ publicntions
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U'C4.'l • I 0 I ll , 1\'1 5• 1'l'Xl.OIIOI
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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 pcrl111!!>~100 £rom the
pubh,her

Eduor> Robboc l·.mning. Rc".1hc Cooke

Producuon Ro,,thc took<
Book dc .. gn: Ro,,tl)'ll C.u,on
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l'h01ogrophy· Mcchacl Kagan
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~bnufacturcd m the l·nncd States of Amcnca

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Wolff. Coltllt.
The an of mancpuiJtong f.>bnc I Colcnc \\'t>lff
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 Otlrcr Boohs Available from Krause PublicaLions
,,,., , 'UP{.Ut,lchl) ....l.I,Sl\, H~,.ltl'Jt"
\c ,, n v.z~.h nt h\ j.ln s~tunder~
\ •H,. ,r-. ".,,1) r't,lllrflaa®. by :\.lnc\'
"-llrn\\dl
riiJ'h.•l' t 'lit. h•'" '" /"mel&- Ma<hrnr.
h\ l~llllhn \'o:-hurg Hal1
8rhl,,l l.{)ucwc:. by ~us..1n KhalJC
( "'' ~ll,lf[ln 'F,t.Jnic St·wmgGtti,ft•. by
L •·llf< II. '-l1.1d!er
U>mrw·· Bt~t/: oj .\fdchmt Embrordc"·
l,y Rohhre nnd Tony Fanmng · '
Contor.rcttlt~ .\f~~(hmc 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• s~nwtwnal Gifts. by t'aomi Baker
and Tammy Young
Shtrlry Adana' &It Ba~aar 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 ~ary \1ulan
Tecuh rout~cl{.\1a(htnc Embroidm, by
~us:m Rock
1c;cturf wtrh To.:ttlrs, by l~nda
\ftCrrhrc
Your 'irwrn..: Ma< hrnr b)' Jan S.1undcrs
All(·, u/ \t•ry,lrtg /1y lam my Young and
I 1<11 llollotn
Dhtm(l"' :>trgtt c;r/h & Crafts, by Cor~l£mpor~•) Qutlri!.g TtU""f.US, by
"\.:''"l1 S.tkcr .mc.l Tammy Young P;nnu;~ C.anns
1""''''<HI\t 5<'X~'1h· hv Ga1l Brown :md
r.unmy y,)Ung · " Crt~tlw lrwnglcs Jor Qullr<rs. by Janet
B Uwrn
Nt'\\' C tt'<lllv_c .Scrgm~ lllu\ltatcd. by P~m
• Dyr·lr• Pwntlt' Qurlr It' by Joy<e Mon
f'alml'r • G.trl llrown and Sue Green .rnd Cynthia M)·erberg
J\ Ntw Sn!(r Ill Wearable Art, by Ann
ll<lycc l'asl Patch® Kids Qurlrs. by Anua
Hallock
Sc·w & Scrgt Ptllowsl Pillows' Pillows', by
Jackre Dodson and Jan Saunders fa•l Patch®. by Amt<t Hallock
Sa~tc a SIIIIJ~< ProJW. b}' Tammy Hnrloom Qu1lts, b)· rhe cduoro of
Young and Naom1 Saker Workbasket
Scrg.- rt m un Hour or IL<S. by Cindy )apunt>e foldrd Patch,.~rk. by \lary
Cummm~ Clar< Cl.uk
Scr~c Somohmg Suptr for Ym.r Kids. by
Mogt< of Cr"'y QuriMg. by Mama
Cmd)· Cummin> \hchler
S.·" & Scrg,· Terrific Tocrurcs. by Jack•e
Dodson and Jan Saunders NCI\ Work of Our Hands. h)· Mac
R<xkland Tupa
Sergcd Garments m Mrnutcs. by Tamm)·
Young and Naomr Saker Pmhwn l'lc«d Qrulrs u.srng rht
found<uron Mtthod. b)· Jane Hall and
Vlumatf Sal(p Answer Guide, by i)rxre ll.iywood
Naomi Baker. Gail Brown and Cindy
Kacynsk1 Q111lr As You Go, by Sandra tl-hlleu
Sadnko and Beyond. by Sarkoh Takano
RIBBON ART Scrap Q111lrs Usmg Fast Patch®. by
,-\nua Hallock
Glorious Rlbbons. by Christ.ine
Kmgdom Shrrln &~,f,nd's Daddy's T1<s. by
Shrrlev Bot:.ford
Morr Rrbbon Embro1dtl) by .\fachmc. by
\1anc Duncan and Betty Farrell Stars Gcllorc and Ewn \lore by Donna
Po<ter
Qut(k and Edsy \\'ays mrh Ribbon, by
Cen Johnson Stot<h ·n Quilt. by Kathleen fawn
Rrbbon f:mbrordrry by Machme. br Super Stmpk Qurlb. by K.1thleen E.lton
Mane Ounc;tn and Beuy Farrell
Tt<hniqu<> of )aponese Enrbr,,.da~. by
Sea<Oncd Crtatlon,, by Marie Duncan ShuJ• Lunur.1
and Bell)' Farrell
Tlua-Dtiii<'IIStonal Prw•c/ Qrulrs. by
Sec ret\ of Ft~<luomng Rrbbon Flowas, by
jodre l);wi>
llclcn Glbb
Tmrllllmlcll Qurlts. T,><lav's Tt(hmtfU<".
by O~bra \\',r~ncr
QVIUING
l'lttmate :>oar Qurlt. by Joyce \\on
All Qutlt Blc~ bar.- \ot Square, by
!Xbrot Wagner
Bnt-f.tn.-d O.·")l."<'". U>IIC<llon Quttk· ADDITIOML TOPICS
_.,..,.. Qur/1<, by Amends Top
( 1.1fh ( l,lllln~ \\ llh f'I,"Wr> ,&
r>.:~rgnn>
~.nur,·- Cn.tm~e>- £\'ll (\.'lhm~ -
(crt Qwlh ctll.l (rcrfts. hy Ll\'cr.l n,-...,d,,th, - t'-•lhn.1km~ w11h
l . . tf'l~~:lll.Ul l'.lllll'f \l.ldl<' .md r.lpcr~l.l\ -
(<llllf>ll'tr /ltk>ll of M<l<htn<" Qwltlll,~. b) lk.l.l\\tllk -ll.m<hlt;ldc r.1p.:r-
f!uhlur .md Ttlll)' I ,utmng ll<>mr 1\·,-.>1,\lm~ J<'wclrv- K1ds
( omtrlr·tr· Mlni<ltrll<' Qurlt B<~>h, hy C r.llh Kmlh1.1h- r,nnted Wood
llm,rh lr,l\'1' 1\>tlrn 1'.11"-'1' (ra[\s
 Acknowledgments
L
ookmg b.lek. I rcmemb.:r
wnh the detp<"-1 gr.unudc ;~II
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 p~o.:cupauon \\'lth 1hc
subJeCt ol cloth "' mampuhtt•o•"·
.md ;~II 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 Danlcy·Br<>wn. Norma Ellman.
Sylvia 1'1>hman. Alnnnh Palinka>.
lv
Su>;~n 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 didn·t
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 con«•tntiOIU
ednmg challengtd me 1o 'go llut
' u~·
extra distance· to Ro..al'n ·~n.
who a,.;:mbled the ma1cnal ,. 11h
computer mag•c 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
 Contents
ACKNOWLE DG~I ENTS ................. i v PART T HREE Chapter 10- Q u n.TI NG.. .. .. 20S
SYSTEMATIC FOLDING • Quilting Basics
FOIIUWORD ..................................vi
• I lund Quilling
C IIAPTO\ 6 - PJ.EATING ........ 89
PRI: I'ACI! ... .. ... ....... ... ... ... ........vii • ~laclunc Quilting
• Plca1 ll.1sics
GETm\v Til E M OST fRO~I • fla1 Plca1s Chapter ll - STUFFING ...... 229
T li!S BooK ............................viii • Paralal Pleats • Stuffing ll..sic.
• PrOJCCiing l'leats • Stuffed Quilting
PII RT ON~ • Accordion Pleats • Stuffed Applique
(O'\TROLLED CRUSHING • Wnnkled Pleating • EJe,·Oied Applique
Chapter 1- GATHERING ..... ... 3 • Double-Controlled PleaiS • llnlf-Rounds
• Ga1 hcl'i ng Basics Chapter 7-SMOCKING ......125 • Connected Rolls
• Singk -Eclge Gathering • Smocking 13asics • U itk Pillow>
• Opposilc·Edge Gatbering • IZngllsh Smocking • Biscuits
• All-Sides Gathering • Dirccl Smocking • Peaks and VAlleys
• NorLh American Smocking
Chap ter 2- SHtRRlNG .......... 19 PART f i VE
• Shirring • hall:m Smocking SntucruRED S u RFACES
• rauem Shirring Chapter 8 - T UCKJNG ........ H 9 Chapter 12
• Tuck ll..s•cs - USING D ARTS ............. - .. .267
PA Rl Two
• St.1ndard Tucks • D:m lktsics
SurrLE~l EI\'TARY F ULLN£55
• Cur\'cd Tucks • Single-Pornted Dart
Chapter 3 • Shell Tucks • Double-Pointed Oar!
- M AKING R UFFLES ..............43 • Contoured Tucks
• Ruffic Basics • Sln,hcd Tucks PART Stx
• Gathered Single-Edged Ruffic • Cro..,·Stitched Tucks M IXED MA,' \IPUl.i\ TlONS
• GaLhcrcd Double-Edged Ruffic • Cross· Tucked Tucks
• Plc:11cd Single- or Doublc- • Purtiully Seamed 'li•cks Chap lcr 13
Edg.:d Ruffle - COMlllNArl ONS ........ ...... 283
• Seamless Tucks
• Pa1LCI'I1 Tucking • Technique Variations
Chapt er 4 • Crc:ttivc Con1binations
- M AKING fLOUNCES .......... 67 PA RT FOUR
• Circular flounce APPI!NDIX ........................... ....... 29 5
Fll.LED RELIEFS
• Controlled flounce • Hand Stnches
Chapter 9-CORDING .......... 187 • Gloss.1ry
Chapter 5 • Cording Basics • Selec•ed Blbhograph)
- MAKING G ODETS ............ 81 • Hand-Se\\,. Corded Quilting • CosiUmC Exlubitions
• Godet • ~lnchme·Sewn Corded Quilting • Endnote
• Surfoce Cording
I NDEX .......................... .... .. ..304

T he Art o f Monipulating Fa bri c v

/.
 Foreword
Uke the boxes. the book greo. and
oiled the book Falmc 111 Relief.
erh•'l" you·re f.llluh.u wnh

P
the volume of lcucr. !><tween
""w ell 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 pubh~hed
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 cxn·ptttlnall) dcM
wnter and ;Ill oui\IJndtnl( Itil< her
In the tmddlr I <)ll(h I tnlltatcd ,1
.cnc~ of huuk' for Cluhun lluok
Company N•tlltrally, I appro.ll ht·d
Coll"llc .1buu 1 dout~ ,\ l)(mk ~ht•
had Wrtlttn ,1 """of quth ,llltllt•'
nn thrt·t.··dllll('ll\1011:11 f.tb l l\
and felt th.u wr nrcdt•d ,, hook
•hi>WIIIJ( ,tll!lll' Jlll"lhthlll'' uf
tnallti>Ui•llll~ f,ohllt IIIJl.lllllt"d hy
lt"duwl 01 ' In du· 1 .uly ~~~IW''t, WI'
undoub~rdl) d forcshadowong or
uur £cchng ,.,~hen 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 the 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,
Olll~Canding 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 .~rt? 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 pulll•d
uul ...unH' \O,&mpk., Ae tml' pomt
rmltl'-
'""ll'<llll' .11 ( luhun a,ked her to
, lupl ct'l ,,unpk' lo l'luladt'lphut lt>1
.o otll'<'lilll(. Colt'lh' puhh·l)' ,l,k<·d,
"A ll ll hnM·,I"
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 ;~II 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 undcrh-m~
grid Look how ,he nude pk.u' o>n
a Perfect Plc.uer, backc<lthrm ""h
iron·on lmrrf.lnng. (Ul thtm mto
squares.•1nd rca-..'i(mble.lthtm ""~
a block on Jlii):C 123.
But I tuU!ltt return tc.' m~· \\<'Irk;}'
''" ednor The foN ncm ''" the
agcnd.1 ,, 10 rcuund ( <>kllc th.ll
t\pnl 8. I ll&\. ,he" n>lC. ' Rehd
t~chnutut:' t.tk\~ tlw <l'"h U\ ''":h 1
new dncw<>n' th.ul kcl h>ll''"" ~
1
htb1u "' Rrli<1 "nh .t '«''"'t.u••
"ll,tlkr hll<>k J>,UIIlltl,\1 h (<ll lJIIII
trr' 1... ,, rip\' u\(.1 \hu~.~ ~'" th.tt ,\l ·'
(,\h'l llllW "
Robbit· Ftmnin!t
"''Ill'' 1-thll>l

VI Tht Art <of Mauljwlalln& f abrlt


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 .
Mo~t 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 longeV~t) 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 -,.c~tttrcd 4111
over the pl•cc tn pnntcd matertab
and actUal ;.cw n-cloth ex;Jmplt'
Some yea" .1go. I nredcd to
re.carch tutk' for J prOJC<I and
confronted ,111 o'er the pi:Kr
when 1 >tarlt·d loukong Abu from
th" bonk, a lot from that houk .
due' [rum "'cong ,lttual .oppht.o
uon..-<·vt•ntu.olly 1 tnllt·rtcd ·' m."'
of tnfonnauun A ft•w uf thr turk' I
dt"OV<rt!d dtdn't 'CI'II1 like Ill( k'
JcJ undt'r~lo.uuJ dJ"-IIIlfUOii,, I 111Vt' ..
11)¥ttcd plt·.ol\, thnt kd "' l lll 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 ~ourccs 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 objecth·e: To
ca1alog fabnc manipulatton tech-
mques, emphasizing what they are.
"hat the)· do to a ptecc of cloth.
and how tt'> done. de~nched from
.b~iations , .. 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
t.•x.unplt~., or lhr tc:-chmqut~s wuhout
rcvtillm~ any parucul:ar envmJI\·
11H'nt II ~•l'u nu-.Ull fandang ·' ~urro
g.&h' for ahe ovct ,, lu.·lnung 1o.mp.r ol
Juluk pm.'>tiHIHk-.. om· P,l'IU..~rk fo\b·
The Art of Manipulating fabric
nc that would adju~t 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.geab•ht)'• It was
washed with dcu:rgem. ~put-dncd,
dampened, and oroncd before U>C.
When sewn lnto samplts. it~ plam.
smoothlr woven surface doesn't di~~
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 Procedurt~
whtch arc 1hen amphftcd wnit
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\ t:\pl.unm~ ccn~
MMICIIOO ..tn• group<d t~;1gtlht"r tn
~utnC"t-.., that rmph..t-..a:.t rtl.mc.\n·
~ht(kt- 1 ,, ,mttd to rn.tke: u "'uJ.lh
convcntrnt for \'(Hl tP c.\h"'t~l'\ t ~\
p.uucul.n nt.mtpul.uu.ln ·'' n tiC'' d ·
<,~ .md dMn~W'· w th.n '"-'" ~;; .m
m.tkr dt,('()\'l'11l'' \)r \(.~\l( ~;\\\ll
vii
 Getting the Most from this Book

111<'1')\Cr of f.lbnc and ttchnique for Skill.

tart with the pu.:turc-... R•ffic

S through the P·'f.e< unnl om·

or a c\u,ter of the photo
graphed nl.lmpul.u1on' l.Udle'
~m unr.xpcctcd and umquc result.

vour eve '-'top. 'on,1dcr. t•wn l<l<lk
at the dr..\wmg... relc,·.lnt to y1.Htr
unmedi~lll" mtcrr't
hnd out 1£ 1herc .uc -.uml.u
mampuhuion"' C'l-•cwher~ in the
book. Comp.ue S.ilfch for connt·c·
tions and conlr;l~h that 'Polfk each
other Bmld combinauon<. When
)'OU need to know. rrad the mstruc·
tlon~ 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 tdea~ 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,
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 1he 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
Sewmg craftsman~h1p ~fleets tit(
mstallanon of a ttchmquc for
bttter or worst !VIt>haP'
inevitably occur. but wh•n th~
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 di~overtd
Invent )'Our own modtlkauons.
Imagine •·what would happen 1£....
Test and experunent. Cloth and
what we do with it i\ il rc~lless
study. as restless as the cloth 11"'\f
Approach wuh a <pmt of ad\'tnturt

or :,IZ.C requared • I:Ht\ fr<htu'lur m d"torung the customan· rela·

thiS book h Jll bt~ c lwngnl, mMt' m
In~. b) hh(U )CIU IHIII~ 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•
unhlc.rd~<·d 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
o,cuJit•thlfiH "tl>t't ml OJ
fiiC{Ul' lUlU
you t ould m.ln.tgt' .UI Ullti,U,,I
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> ~'ill normal han
dhn~. 'lf.lltt, or prc'!>urc .1ffcct
tht• tnhruquc .od,cN•h? \\'rll 11
'm' •' c l.nmdcnng or dr)· dC'.m·
mJt' '"'llltht• hrmnr..~. •n~ut-.~
'"'"·"' '"'tl(ht .oddt'<l hr the
lt't hlll<jlll' «llllrthtlll' l<l tht• (lUI
"""' llllt'lllkdl

vui Jhe Att of Mtnlpulatln& fabric

 Controlled
Crushing

PART
 a thering convert~ t~e edge
G 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
Founda~lon Stn)' ...................... 7
Star ...................................... s Circular opposite-edge
f:lting ...................................... 8
Ru(llcd edge ............................8
Stops ...................................... 9
FuiTO\Vi ng ..................................9
SINGLE-EDGE GA1'11 ERING .... 10
Procedures ................................ I0
Notes & Vnri~tions .................. 10
Draped single-edge
gathering ............................ ! 0
Contoured >inglc-cdgc
gathering ............................ 10
Sta) cd single-edge
gathcrmg ............................ !!
Tiered single-edge
gathering ..........................!!
OPPOSITE-EDG E
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
gathering ............................17
ALL-S IDES GATHERING ............ 21
Procedures ............ .................... 21
Notes & Variation.s .................. 21
Puffs .................................... 21
Puff gatl1cring ........................ 22
YO•)'OS ....................... ..... ... ..... 23
Note: Th is chapter begins with
BASICS, indicated by a gray band
loc;ntd unde:rnealb 1.bc rclevanl
columns.
G ATHERING
B ASICS
G ATHERING M ETHODS
T
here are flve ways to gather:
by hand, by machine. auto·
matically, wllh clastic. and
Lhrough channels. Ihtndt 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 mim·folds 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 o r c~tm-strong
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).
GATH ERING BAS ICS 3

LhrNd·g.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 ~inglc 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 1he other, stroke 1hc
groove; behind adjacent s titches 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 mo1·c c:~sily 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)' shortm~;burc mcnL Ooluging
stitches nrc une,·cn----shon on the
1iglll side and long on rhc wrong side
of the mmcrial. The Sl itch in
4 Tho Art o f Manlpulacing Fabric
• hand g•thcring. Like hand gather-
F.g 1·1.
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)'
JX•cked, unifom1 folds Lhat collapse
10 one side in naucn•d 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 p.~gc 107.)
Fl(l. 1·5. Two
rows of zigzag
stitching encas9
one gathering
cord caught with
stirchos where
each row srarts.
GAT HERI NG BAS ICS
Me~chinr gntltc,.lng is fuslcr than
mg. SLnch length affects fullness.
longer sutch len~:ths g:11hcr imo
deeper mmi-fold~ "hLch rei=
more fullness in Lhe fobnc berond
the sLhclung. For s traigbt-sLiLched
machine gathering. gather the fab·
ric onto Lhe bobbin 1hre~d of one,
tWO, or t..hree rows or:,.1 raight Stitc h-
ing scwu wilh the llpper Lcnsion
loosened. Use cxtrn s <rong thread in
the bobbin 10 improve 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 ga~hers on sturdy
string or cord loosely confined
instdc a Lunnel of :ig,.g smchcs
(Ftg. 1-5). To increase the cfficiencr
of ~igzag gathering: (I ) Color-mark
the su-ing OJ' cord wilh after-gather·
ing rargcl me:~surcmc:nts, 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. 1·4. The deep
gathers produced
on I/Jr99 rows of
gauged hand
srltching look /Ike
fine pl9ats.
o n the soing or cord appeaTs.
Another :ig:ag-gathcring method.
IC>S strong than the abon•, utilizes
bobhln thread: { I ) Sto p 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 the
bobbin thread; (-t) gather on the
bobbin thread.
W hcthor gathering on hand or
much inc ~thching. fabric can be
pushed alo ng from the unsecured
end of the s titches to the beginning
w here 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 fro m the stitching, notch
Lhe scam allowances to the point
where machine-sewn gathering
stitches cross, o r ;uspend machine
<ewing o n 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
bo hhln thread to the needle thread
(machine sewing) . including any
zigzagged suing o r cord in the tic;
OJ by " 1nd ing the thread figme-8
style ~trou nd n pin inserted into the
Iabrie at the b st stitch (a tempo rary
fnste nmg). Gathers an: usually dis-
tnbutcd C\'enly along the length of
the stitching, but ouay also change
from hglu to hca'')~ tf desired.
GJthcnng rtmains adjusmble with
its thread ba.<e susceptible to breaks
untilu i> pcm1ancntly stabiliz<-d
(refer to "Stabilizing Gathered
Stitching" o n 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
conncc~< the gathered edge to anoth-
er piece of fabric runs hev.veen l\\'0
" ' " "' nf gathering, o ne (or two)
inside the sc"m allowance and o ne
just outside the se:am allownncc.
After <eaming, remove 1he gathered
s titching thread that shows in fro nt.
For some purposes, automatic,
elastic, and channel gathering 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 gm hering foot (Fig. 1.-7) and
the onort cnmplicatcd, but versatile,
rulllcr (Fig. 1-8), com•err Oat f:obric
Into gathct-ed o r 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.
Chapter I
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 o r ruffier
tounched to the machme, sew until
the automatic:oll)' gathered fabric
reaches target size. To estimate the
fabric rcqulremem, automatically
gather a short sam ple of the fabric.
measure bdurc and after ga1hering,
and use 1hose measurements in this
for mu la:
(ungatheoed sample length
+ oathe•od 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 \\~th tin y
dabs of fabric glue. Although auto-
matic gathering traps extra fabric
wi thin the slitches, the gathering
retains some ndjustabilit)' until sta-
bllim.l.
Elastic 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 thread In the bo bbin gathers
the fab ric 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 o n the dastic • fter stitching.
GATHER ING 5
 ci~ cnttoor
-""'"' ~ lm.:th
!he &bot ,.,th
-:f=ac. p:b<r; if !he ci:L<-
bl->c lcns:rh d ur-
~~ Fig 1-9
• 1-a!>rk """ .1...,
be gath<red on
dame bbatai mto a cl=md o f
bbric
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-
m o,•ed througb the hem or tape
casing. To fadll t:llc gathering. the
ca<i ng channel should fit loo~ely
around the element inside.
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 th rough
which t he gat hcri11g clcnmil moves
in nnd O UL Two reanucs exclusive
to all channel gathering: The gath-
6 The Art of Manipulating Fabric
··- ... -······. __ .......... ______.
(d) ~========::::=::::::==::::::1
' I '
aGIDODDDB
..1...---·········--,-- -····- ·------H
'
et·s may be adjusted an<l re-adjusted
at any time, ond the g,•thering cle-
ment may be removed a1 any lime,
returning the fab ric to its ungath-
ered s tare. ( Fig. 1-10)
STABILIZING G ATHERED
STITCHING
Su>bilizing fixes hand und
machine gath<ring. It ends chc
shifting of gathers on the thread.
prevents the gathering th rcnd fro m
snapping, and conceals the gather·
ing stitches.
Stabilizing mar be 'isil>lr-a
hlndil>g, extension , foundation stay,
o r •·ufncd edge, o r i11visiiJit~a stay
o r facing. Where t hey connect. the
stabilizing fabnc matches the gath-
ered stitching in lcngtl1 and shape,
nnd the stabil izing fab ric udds o ne
or more Inver-; 10 a fabric :.drcady
thickened by
bunched gathers.
During the stabilizing process, the
gathering .rhches d isappear from
s igh t.
GATHERING BASICS
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 o ver a rod and
pushed closer to gather the
fabric. (d) Hemmed edge
prepared for gathering on
ribbon woven through but-
tonhole perfora tions.
A binding visibly stabilizes t he
gathtring and encloses the stil.c hing
ond seam allowances front and back
inside a tunnel of smooth rnbric. A
bou nd edge is neat and firm , 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 alon~: one
lengthy edge 10 the back nnd press.
For method # l , sew the umum ed
edge o{ the binding to the gathered
edge with right sides together. Bring
Lhe binding up and over the scam
" llow"nccs, Lhcn bandscw 1he t u rncd
edge of the binding to the joining
se:tmlgathering in back (sec (a} in
Fig. 1·11 ). For method #2, sew the
unnm1ecl edge of the bit1ding, wJvll.~
side u p. to the wmng side of the
gachering. Bring the htnding up and
over the sc-nm allowance~ 10 lhe
from~ 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 rcmm·es one layer of fabric
from the binding. serge one long
edge of the binding strip. \'\lith
nght sides together. sc"· the
unse~&td tdge of the binding to the
gathered edge. Fold the se~&ed edge
to the back. pulling it dom1 below
the stltchmg. \\~th righ t side up,
~•itch in the ditch, against the fold
of the bind ing. catching the scrged
edge o l the binding in the seam
(sec (c) In Fig. I - l l). Note thm a
fin ished binding wider tiHtn the
~cum ~•llowaoce-s will feel empty
above the 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 cxtc~;on
plnced on top of the g<~thcring
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)
(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 emp hasizes
the outline of the cutout; for more
emphasis, satin stitch over the
edge stitch ing.
After gathering, blinds titch the edge
(b) to the om llnc: Catch the gathering
thread and scvct·ai th reads of the
Fig . 1-12. Gathering stabilized by a fab ric In the needle befo re pushing
fabric extension attac/1ed (a) wilh an
it through the fou ndatio n and out
Invisible seam. (b) with visible
edgestitching. V." (3mm) ahead, just in fro nt of
the gathered edge, ready for the
A foundatio n stay surrounds a con· next smch (see (a) in fig. l -H ).
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 o•·er the g<~thered
edge or the insert ion with
edgcstitchfng by machine o r blind-
stitching b)• hand (Fig. 1·13).
For Method #2, fabric shapes
gathered 0 11 o pposite sides or all
around nrc appliqucd to matching
<mtli ncs marked on the surface of a
foundation ~Lay. 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. (b)
Fig. 1-14. Gathered applique options:
(a) Blindstltch an edge gathered on
machine stitching. (b) Flute an edge
gathered on hand stitching.
Chapter I GAT HERIN G 7
 Flu1ing is a hand-applique tech·
mquo unique to hand-gathered
edges. It aiTanges gathers into
gTOO\'CS betw«n standing folds.
G•thtr 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 1he groove with a needle
from 1he inside out to the edge; at
the edge, catch several threads or
the labl'ic in the needle before stab-
bing It through the o utline o n 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
groove~ 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 the 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 fo undMiun May (Fig. 1-15).
When the layer of fabric added by a
permanent s tay is undesirable. use a
temporary st.~y- paper or a com·
mercia! product de,-cloped for the
purpos.:-whu;h can be tom awar
whtn ItS usefulness is o\·er.
8 The Art of Monipulo:rcing Fab r ic
(a)
(b)
Fig. 1·15. (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 stabilizes;~; wcU as finishes a
gathered edge. Sewn to the gathered
f:tbric w lth edges matching and
right sides together, a facing, wben
turned over to the hack. also turns
the gnt he red seam allowance to the
insidt~. 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. 1·16. (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
~athering stitches nhd remove the
gathcling Lhn:acl ~titer 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 decorath·e 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 satfn·Stitched 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
C::.~=it. 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 fas ten-
the f,tbric, o r 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. \\'1~. dowel. or rods are
,d "uh suitable hardware
• 1·18. 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 (a)
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 t·idges 10 1he d••,•cloping maze.
Mnrl< the surface of a fou ndation
stay wit h the o utline of the gath-
ered slwpc 10 be furrowed. Cut the
(b)
fabric 10 be gathered and furrowed
two tunes larger than the oUiline on
the foundauon. even larg~r for
dense furrowing with deep crc,1n-s.
Dot lhe fabric in the center and at
equally ~paced points between the
Fig. 1·19. (s) Furrowing a puffy. gath·
center •nd the edges. Mru:k the ered app/iqu6 with double-tacks.
back of tl1e foundatio n s~1y. behind (b) When tha furrowing is finished,
the om line. wi th similarly spaced thread crisscrosses the foundation in
dots. Stretch the stay in a hoop. back.
Gather the fnbric and applique it to T he height of the crests bet ween
the outline marked on the s tay. funows diminishes as the number
r ush" threaded needle straight of ln~ks Increases. With a densely
up and out 1hrough the center do t furrowed surf::tce, the crests h:wt·
marked 0 11 the smy in back and the JiuJc 1'00111 [or collapse, but 3 Ja)'Cr
center doL marked on the swelling of bauing or loose fiberfill insencd
fabric above. Take a stitch three or between the guthcrcd fabric and the
four threads-of-the-fabric wide and foundation sta) adds suppon.
push lhc needle str•ight down
through the St3) and out the back.
Pull on the thread 10 bring the fab-
ric down to foundation le,·el.
Secure \\~th a second stitch m·cr 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)
End of GATHERING BAS ICS 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
flooting lower edge.
PROCEDURES
1. Decide how much fuUne.ss the
r~hrlc below the gathered edge
<hould displar-<light. moder·
ate. generous, abundant. Set an
aftcr·gatherlng 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) the rarget
1
me-asuremen t 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
le ngth for the tongathercd fabric,
<tnd cut the fabric. If necessary,
piece the fabric to achieve the
necCSSIITY le ngth.
3. Di\1de the edge to be gad>ered
into halves, quarLers, o r 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.
10 Tho Art o( Manipu laring Fabric
4. Gather the edge (refer to
'Gm hering Methods' on page 3),
segment b)• scgmcm. to fit the
target mea_~uremem. Distribute
the gathers as desired.
5. Stablli:e the gnthcrlng ( refer to
"Stabilizing Gathered Stitching"
on page 6).
NOTES & VARIATIONS
The <tnndard fo r •lngle-edge
gath e ri ng Is "cut , s titch, a nd gather
on t he strnightgrnin of woven fab-
ric: stabili:c h orlzon uolly ;m d
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
FI!J. I -20. Single·edge gathering vari-
folds from lengtl•grain gathering.· ations: (a) FOlds released from adja·
tlowc,•er, de,1atlons from these cent·edqe gathering drape.
:aandard~ to ~uh spedf1c circum~ (b) Straight, gathered edge stabilized
at an angle. (c) Straight, galhered
stances are normal for gathered
edge stabilized to cutve. (d) Straight,
applicnrions. l'or example: gathered edge stabilized in a flat cir·
Drtopetl shogle-rdge gathering cle becomes e ruffle.
extends to two adj<Occnt edges of a Stabilizing n straight , gathe red
squ:orcd piece of f:obric. As a result.
edge to clip in a curve stretches
the rdea>cd folds tlmpe toward the folds Olll o f the 0onting tdgC, more
center, and che n()ating edge, wi tb - so as the dcplh or the curve increa.s-
OUI the ripples and w.-·cs ty pical of
es. unless (1) the fabric Is le ngth y
straight-hanging folds. descends to and weighty enough to hung
a point (see (a) In Fig. 1-20).
straight down from the gathering.
Stabili=ing tl1e gathered edge at an or ( 2) rhe \\~dtnlng silhouette of
angle tighter or ,,;dcr than tht orig- che floating edge 1S considered in
inal angle alters the curYe of the advance (see (c) in Fig. L-20).
draping •nd the length of the point. Instead of the gathered-edge target
For concourrd slngle-«lge gatlo- measurement, u~ the silhouette of
tring, the gathered edge veers from the noacing edge us the target
the straight uncl horizontul while measurement to estimate the
retaining. noating edge that ripples length of ungathcrcd fabric needed
and waves. A straight, gathered to produce t he desired fullness i n
edge may be swbilized to slant up a floatin g edAe hanging from con-
o1· down , and , hecnusc of Its ilcxi- cave srnhili zing.
biliry, to c ur\'e: o r angle . \Vhen a
When ao1 •PilliCntion requires a
straight, gathered edge is stabilized
straight. on-grain. lloaung edge
to arch or angle upward, the folds
wuh the desired fullness hanging
releoscd fro m che contoured stabi- perpendicular and even from a
lizing deepen and swell. and 1he sil-
contoured gathering {-dgc. the fab-
houcnc of che noating edge imitates
ric needs to be cue from a pattern.
in reverse the contour at the top
(I) Mak• • full-slu p•ttcm. ";th-
(sec (b) In Fog. l-20). Straoghtening
out a scam allowance. of the target
the floating edge br tnmming
shape the gathered fabric is co
places it o ff-gr.un. match. (2) Slosh • copy of that p3l·
tern inl o strip~. cuuin$; in the tlirec-
rion the folds wil l h nng. (3) Tape
SINGLE- EDGE GATHERiNG
the \ tnps to another piece o[ paper,
'P"'~d ~p•rt I() stretch out the pat-
tern ~nd add the desired fullness-
a! cr·gJlhering to the target edge.
~ (omtl-.:ting the separated strips
"'"h 1m~. 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. 1-2 1). Add a seam
.tltownncc tO the fi nal pattern.
ror applicaticms so large that
·' orkmg with a £ull·sizc targcLpal-
tern ts unprnnical. reduce the target
dtmcnsio ns and s hape to a work-
l>te ;cole for panern dr-afting pur-
Record actual-size measure-
. "'"PC"S
··1rnb on the ~:tied-down gather-
'"~ pottem and opply those mea-
...ur.:nu:nb when cuuing the fabric.
StaJ rd singlr-ttlge gatlreri11g
dcx.~n·t hxwe a lloating edge. The
dtmcn<ional folds released from the
1\Jthcrinp. stitches d iminish 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
~•thcred only up to the point where
the >1dcs begin to drag the stayed
edge OUt of nlignmcm. Too much
~athcring \\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
cuto ut in a foundation, the opposite
rdge. tightly gathered, closes the
ctrcubr opening with folds fhat
r-.1dinlc from '' cennal poi.m-pro~
mled the wid th o f the tu be equals
the rndi us of t he circular cu tout.
Lc>> than tht' radius-an opening
'urr~unded by gathers: Mo re than
the mdiu<- thc gathering closes but
p uff; ( rig. 1-12).
(a)
(a)
. .-« -IS
/~ ~ 8
-~ ~-!!. ~ ~ ~
/~ ~ ~ ~ ~ ~ ( b)
(b) r ::::~s::: t:: ~
~ ~ ~ ~ ~ ~
~ ~~~~~~
~ ~ ~ ~ ~ ~
(c)
(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
Fig. 1-21. Slash-and-spread pattern close In the center when tightly gath-
drafting lor an Inset gathered on a ered. (c) Tube stayed over a rigid
contoured edge: (a) One-hall of the form with the end of the tube closed
miffOr-lmage target pattern by gathering.
(b) slashed imo narrow strips which
are sp~ead out on folded paper. The
re-drawn outline is the gathered inset
pattem. (c) Adding optional flare to
the floating edge by increasing the
sp~ead at the bonom.
Fullness multiplies with each
addition to a buildup of tkrecl
slngle-eclgccl gatltering because rhe
ungathcrcd edge of o ne tier stabi-
lizes the gnthercd ed ge. of the next
tier. Tlte gutlterecl edge of fab ric
strip #2 Is sewn to the u ngathered
edge of strip #I: gmhorcd tier :;3 is
sewn tu the ungathcred edge of (icr Fig. 1·23. From tightly gathered
#2: and 'iO on. Each tier increases stitching at the top, fullness increases
the length of the gathered edge for gradually but dramatically when gath-
the next tier {Fig. 1-13). If the ering is tiered.
11ghtnc~s of the gathering is also
increa~ed for successive tiers, full-
ness wi11 increase e:xrravag.antl}~
Chapter I GATHER IN G 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 followed 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 1he edge to be gmh-
crccl. Stlckl11g the slashed wrgt l
paucrn LO :mother piece of paper,
fan <>Ut the strips to enlarge the
edge designated fo r gathering.
Filling in the spaces. outline the
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.

I 1- L<)]IItly fiatncted on mrJCtooroed so<chmg.

m1.1Si1fl etllarged r 11} (1tr1t~.S tile torger dJn1Cn5!01i
npples !.O[tly ot rho fl!kolirog ed~o.

SINGLE-EDGE GATHERING
( 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.

I 2 Mu>!•n !l"fho• ed moderoteiy (ull on

macht11e sewn sr1tchng loses 50% at as
ong~..,a: length

12 The Art of M an ipu l ating. Fabric

 .. '
<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 ;«Jih•rmg.

SINGLE-EDGE GATHERING

~ J.c,oSJ> fullneSS Wlrh deep IOld$ deS<end;

hancJ.s~tdled ~ougod eorl>cnne wl>och
"'ttndenSlf.J the mus!rn tJS!d {ot rtus samp.1.e to

-
7¢: cr1cs ai$"011et>R:I>.

1-5 The drap!'d (oJds com<i I>}' ;;ct'lei.M ~~""'

edges Oj 0 mliS1,n SC'jurJre tO ha,fihcif length.

Chapter I GATHERING 13
I 6--Garheted t'M\ \\1th a cornOUI"ed r.eoc1ing sc:
(~lOfl stay (for ihe P<metn see Fig 1-71)
SINGLE-EDGE GATHERING
14 The An o f Mallipulacing Fabri c
~ruo o MM ., o
1-7--Gm/le<ed fior" <!~ tKJ~el o( mustw\ twO {Cl>-s.'l-.:>e<l
oppl,ccrJcr.s ·•..m suJyed ~es sho:>e<I•"UO ""'~ CO<>tl»led by o'le
deJoS>ty of the goth"""~·
l~ut (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
~9-T/rte llers. eoch &<'fT.-./ (t/4 than rho I>C< <lbooe, ...ctOOSe ~
"'tumterence of lhe flooong edge extro,r~gam!y '"lhout bulky galh<)rs
1!1.~kerong d1e blrl<Nnll at lho lOp.

I· I ~"Drunf<a/tJs P<lth." a 110'J,1Janol pmchwotk pattern. w•lh

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
SINGLE-EDGE GATHERING assemi>Y,(For the ponern. sec F1g. I 24.)

I 11- Stnps w1~1 one edge ser '""' a ''""'or cutout before tijihtly
gmllet"'!!lhe Of!POS'!C ecr,e.A{rer gat~><~ Coe/i) 0 SO>:> .... >~ode
than me rud...s of the curcut letMS o cc111er open•og; (ceotor) o
str•t> os wide as d1e rod:us re'eoses {old> til!lt""d•OI~ (."'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 GATH ERI NG IS


OPPOSITE-EDGE
GATHERING
--<>pposite sides of a piece of fabric
made smaller when crushed onto
pulled t hread stitching. e lastic. or
over channelled inserts. The freed
fab t·ic 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
G•thcring" on page 10.
NOTES & VARIATIONS
Opposite-edge gatherl ng requires
opposhe·cdgc smbiliting to nnchor
both gathered edges and maintain
the released folds in a directional
and taut or slack condi11on. The
folds can mm•e straight between the
gathered edges, or 1h ey c.1n drape,
puff. radime. or skew. The forma·
l iOn of the sculpted folds thm a rc
libemtcd between the gathered
edges is the primary design focus of
opposne-edge gathering.
When opposite·gathered edges
are ~!itched 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 ~nd lengthy
enough to droop o f their own weight
when the gathered edges >rc St:tbi·
lizcd closer together (Fig. 1·25).
For pujf<d opp~~sit<·<dgc gmltering.
the folds released between the g,'tth·
cred edges must be rel:uh·el) 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,
brCltking 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 u nder preswrc.
16 The Art of M>nipulatlng Fabric
Fig. 1·25.
I Opposite-edge
gathering beforo
' -:::;;: stabilizing to a
~
·- -- - - -= shorter stay-
which will cause
the long, loose
horizontal folds
--
!o;;:. ~ _ .--:;;
. to drape.
~·
- ~...,
~ ----
~ ·-
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'osilr·rtlgt gcultering
fixes tbe folds into a chagonal rela- Fig. 1·27. Opposite-edge gathering
lionship \nth the edges. After stabi· skewed by tugging the right edge
lizing the left edge by basting the down to angle the folds before bast·
ing to the stay.
gathering stitchc. 10 a stay, pull the
right edge downword forcdully Cwwd opposite·cdge g(ttltuing
before basting t hat gathered edge to arc> anU I urns. Curvature is ro1'Ctd
t he st.~)' To provem t he pulled edge by g:11 he1i n g ~ segme n t on one side
from wandt:ring whi1c topsLiLching, of the fnhric strip tightly (the in net·
match the l'dgc to n guideline curve). the segment directly oppo·
marked on the stay (Fig. 1-27). site lightly (the outside curve). and
Skewing decreases the original stabllizmg the edges according!)'
\\idth of the gathered fabric. (Fig. 1·28).
Fig. 1·28. Strip of
opposite-edge
gathering that
CUNeS when SIIC·
/iolls ol ooe edge
are gathered
lighter than the
sections immedi~
ately opposite.
OPPOSITE -EDGE GAT HERIN G
 (a)
Fig. 1·29. 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
~.llhcred. T he 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.
\\~>en none of these fh the situa·
tion, draft slash-and-spread patrems
for 1he oppo~itc-cdge 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. 1·31J', 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 p•«e.< 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.
Chapter I
Fig. 1·30. Using the stash-and·
spread method to draft an opposite·
edge·gathering pattern that will be
gathered more on one edge than the
other and stayed to a rectangle.
Fig. 1·31. Using the
slash-and-spread
method to draft an
opposite·edge·gath·
ering pattern. based
on an unusually
shaped large~ to be
gathorod unequally
along selected por·
lions of the outline.
Match points (..)
direct the adjustment
of the gathers.
After ~tob1h:mg the gathered
edges in a l'inishcd manner. arrange
the \lnfastcncd folds agreeably,
~Hre1ching ~m<.l 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.
G ATHERING 17
I-I 2-lvlusl"' garhered on and Slfocclltd berw~n <lowels ~nsenod 111to hems

1-13-Musl:r. garhcrod on and dmped between dowels

tf"'sened into he.-riS.

0 PPOSITE - EDG E GATHERING

1- I4- 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 1-15- MusJrn pottemed w)/h o c!esogn Chat conrroscs smoolh (abnc w:rh
per.d<lntlowe! eclge. rhe dime.'lSIOIJOf, dfteCIJonol (ofcls o( auromctica!Jy •.arherad ~rlsPrts.

18 The Art o f Monipuloclng Fobrl c

 f. f ~11<11\KtlOn U>U( cx,m.ts !he O•roct"'n 0(g<;!/lered (old$ lO
dlso~gwsh t>o<v.~<n rile Portt o( o p.ece<l des•gn. 8oltkr garhenng
a:ound cl>c '""""' souu~ IS s<eo~ stayed s•ngle ec'ge gathering
{lis Ull! e:gh! lncng•es OUIJ.•<Ie lhe border. Af/ P:•ces were Stayed
before ossemt>.'y
1-l 7- Generousiy gorhe1e<1 inserts fill unusvol~ 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

'
r

'
j
1- 18- Co~rugoted Ratlle""'' <lrown l1f' on motch.,g
,-o...·s o( C\o1!rlftspaced '"'MinR smdlet. Tnt! g/"00'.~
•••...,stroked and the ~s Puted ~>hen opp/HJUM
W Clle {oundar1or?

l-19- SerpenMe canstrua.-on o(gorhe:ed SlfiPS curved by a<!lust!ng

lhe gaU1ers, occ~ted \"'ith ar~ws of smooth (obnc. All ctcmenr~ we~
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' SII•PS on d-.ecen~a on' sl<""ed the stnps an Ilk'
sdes puff too ""if'' of 31•" (2cm)

1-2 t- Mcdal/1o" canstttKte<l (rom S{f(ligh< S<nps of '"vsln gathered to

rrdlate ancl enc;rc1c. 5tJfdled to a stt{(enr:d fotJndrJtton, foJds spread our
OPPOSITE-EDGE GATHERING from o c~l'l'l11 oper.ocg wOilcd ~ th c<re;> gatt-m, to <l c~'e of toPS<otd1
"'11 thot ~·-.. "ruffed e<lgc The ''""''"j..g ,,. o; "'"""gaY- •"'R
I:S purttd

~12-S:ro>s;/11 Sw,>S gmMft<1 "'"' <wo dome</ <ho~s - "" oory (abrlco!ton
of b"','ow1ng mus/ln-, rhe ocher molded cJno s£eorrHet Chef o tOI.Inde<4 sobo J4t'1Tl

20 Tho Art of Manipu l 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 o ullmes. To drnh
an all· sides·galhtr<-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 inOa~ed 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 1he 1m·get
pallern wilh comparably sp~ced
notche~.
Fig. 1·32. 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 o r
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
Method~· 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 & VARlATIONS
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 the edgc.s swbilizcd
oppropri,ucly. The air-supported
fragilil)' of the fabric that billows
up between the edges is part I heor
appeal of all-sides ga1hering. 1\o
all-sides-gathered applica1 io n needs
nn environ mcm w here such quali ·
tics arc a~selS.
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.::e·likc relief of ridges and
crevices with 1iny 1acldng sli1chcs
( rdcr co Furrowing= on page 9).
Chapter I
or
!'riffs he"d • sub Iist hand·
sewing 1echniques that limit 'Lil·
sides gtuhcring 10 >mall circles.
Gather a linlc circle of fabric very
tightlr around Ute edges. ,~.;~nd Ute
bunched ga~hers 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. 1·33). A puff finishes shglulr
less than one-half hs origmal circu·
Jar diamtltr.
(b)
Fig. 1·33. 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 1he 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.
GATH ERING 21

Massed ruffled puffs exaend the
co,·crogc of frill)' nofnc> and n<-stled
puffs to an area ddined b)' the
n um ber of rufllctl pulfs a ttached to
tJ>e foundation: The trlck-auach
so closcl)Ttl1ao 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 , cen tered inside a
larger circle of fnbrlc. With two
threaded needles. stitch o n th e 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 p uff a nd ruffic. Sew tJtc oosc to a
fou nd ation (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 o f cut·out drdcs
urr:mged on a g rid (l'lg. 1-36) .
22 The Art of Manipulating Fabl"ic:
Fig. 1·35. 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 circu lar out·
line tightly. Push the pulfs up a nd
spread out th e bunched puff f:tb ric
with the point o f o.he need le. 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
ovco·all and p revents puff-jlathcring
threads from breaking under stress.
(b)
ALL-SI D ES GATHER.IN G
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 gath ering. For p ierced sutr
gatheting, tbc dimples exp:1nd into
round openings. Pierccd·stnr·gath-
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 tr~ced
on the front of th e fabric. Wi th a
scanty seam allowance clipped and
norned under wbile se\\1ng, g.1ther
each circle on overca.~L stitching
pulled tight around " remov.,ble
gnugc like tl p encil or dowel. Usc
strong t h read and secure the guth·
crcd sti tc h ing well to deter future
accidents.
For puff gathering and ns \'aria·
nons. the coronccring folds released
b)' the gathering become longe r as
th e dlst;~n ce between circles
increases. and deepe r 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.

F.g. 1·37. To make a yo-yo: (a) Stitch. (b) Gather tightly.
and flatten. (c) Join two yo·yos together with tiny over·
fland stitches. (d) Two yo-yos start a row of yo-yos which
Mil be joined to another row of yo·yos 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
Hl·yo. Turning the senm tlllowancc
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 fabric or u·im
uniquely textured whh g:tthcrs nnd
openings (Fig. 1-37).
(b)
Appliquf<! to a foundation fabric.
)'<>· yos arc dements for surface dec·
oration. Outbne • smaller circle, the
Chapter I
perhuctcr of the finished yo-yo,
inside the circle of fabric cut for the
)'O·yo. Because the fabric between
the inner circle and the outer edge
"Ill be mmed toward the center of
the y<>·)'O by thr gathering, 1he dis·
tmacc bel ween rhe inner circle tu1d
the otucr edge should be less than
the rodius of the inside circle.
Tum ing the seam allowance inside,
sew next to the lold with ~trgc.
C\'en running stitches. but don't
gather until the )'o-ro is attached to
the founda1ion "~th stitching
around the inner circle. Stabilize
the gathered edge with fluting thnt
spaces 1he groo"cs in the gut hc•·s
(Fig. 1·38). When some-size ci•·cks
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 ~11e of the opening framed h)'
tl•e gathers. and by pl:lcing the
inner circle off-center.
Fig. 1·38. 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.
GAT HERING 23
 1-23- Three gclhere<i-cirdo
SUlJCWl'OS, (left) OM Jhal puffs
now""'r. (ntw) one moJde<i
ond st~ o.er o boo(
(ceru..-) """ l/1at pcl'.Jd>es
from a chcnnel!ed drows01ng

~2 4 Son:~<! c!OS';;n wlh p.~ffi-.gs

mCJcle from lcrger OVCJis go:/lerecl
nnd hond·strtched i.nro smaf.'er
rMJ! CtJIOI.its, above on mseroon
o{cpposou. ed5e gmne.,ng.

ALL-SIDES GATHERING

I 20-Sccmered puffs occem o design of

~15-h<ed cJcs,gn l/1ar C1liiUriSIS putted st'<Jp€S and smoorh <>=,
Except (or C/1o CW<r ofpuffs UIO:<d 11> tile sut(oce dl )/Otl>erod
p•eces •...,,.. S!o)'ed before assembly.
~0V1ercd drcular elemMts: (!op} Six ruffled
puffs. dlree wolh center~ puffs on top, d1re~
onod"ed ~•th the pvffs voxtem.?o:, , (oor
•om) 1hree stnpS " lh C.'l<li p rte<i "5"'.iy
f(Jtt>e-ed"" or.c «'<"

24 The Art of Manipulating Fab ric

1·21----(luM!< "f!!l) Massed rvt1l«< puff;. 1·28-Puffi/<Jfhem2 del'gn. H>nt ~ 0t1
(lof!) fi= ruffie<J pu,~;. (cer>lotJ puffs. r/!c fabnc lfl<kalt 1/>e ~ gn<! lilor teg-
(upper ng~t) throe ruflied puffs "" boscs ulctes thc por.wn

ALL-SIDES GATHERING

1·29----Star galhermg (the p;J/Fgathcnng

de;,-gn, te'll:lSCd).

~30 - Rod>ol deso!l" rhot comb.nes Slor and

puff fl'Jii>cnog. t( tr:e bO'denn~ 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 GATH ERIN G 15

 1-31 l'letred '"''"
~g.

ALL-SIDES GAT H ERI N G

1-JJ -Row o;yo-yos InSerted a~ an openwork barrier.

J.32- A>stmbly of yo-yos that coold bo continued lO orr ,;,e

26 T he Art or Man i pulating Fabric

 AL L -S I DES
GATHERING

j.J( -A~ )'0-)'0$ ..,,(/>

Puted stabrlizmg orovnd lhe
lo!Jer openings.

-35---funowl'g ex~ SlOtted W>!h ,.,..,;;, wt cw.ce as~ os rhe ccrger

5hope: (top left) Wrdely tp<J(I!d tacl<s rh€ d..,ptst furrows. (lower lefr) Mo•o 1-36---Appliqu~ and fUrrowed yo-yos. Exueme en\Jrge.
tackrrrg redrJCes ri1e helglu o(lh• c•e.sts (top nght) Oosely s~ed tacks-<:ICSI$ m~nc outsk!e lhe oppli<jve su"hrng outi<nes Pl&llded the
"''rh
t\'l.ci: os h•Rir as !he O'OS<S (lower rieht) '" the densely lOCked """' o bond swolling iobnc (or (IJflowirlg
o: ~"''I OfOI.If>:i rhe i~s~

Chapter I GATHERING 27
 hirring configures fabric with
S 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
Not~s & Variations ....... ........... 30
Mock smocking .................... 31
Elas1ic shirring ...................... 31
Am~m~lically ga1hered
shirrmg ..............................31
warne or cross shirring ........31
Puffed s hirring ......................32
Omped shirring ..... ... .... ........32
Skewed shirring ....... ............. 32
Channel shirring ....................J 2
PATTEllN S ~liRR1NG .................. 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
jl31hcd ng Slitchcs should diS·
play- sUght. moderate. gener-
ous. To cs1ima1e the length of
un shirred 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:
Sllghll~lness • (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.)
Chapter 2
3. !'Inn Ashirring 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-
menL~ o n a targeLgauge.
4. :o prcpar~
rng,
the fabric for gather-
cover the marked lin es with
ungaugcd. hand-sewn running
Slitches, machine·sewn 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, su ings or
cords nt t.hc ends of two or more
adj nccm rows of SLitching in one
hand: u'e the 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).
SHI RRING 29

(a)
""""..
(b)
Rg. 2-1. Fabric prepared tor shirring:
(a) Pinned at the end of each
machine~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 than
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-ur£acc. stretching gc.ml}'~ 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-
stitelling ovcr ~cach gathered row
(Fig. 2-4)
30 T he A rt of Manip ulating Fabric
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 stitching
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.
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 with 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 fab ric 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 c rosses the tQp o r
botrom of the fabric. When the
shirred section is a heading, the
released fabtic falls in spreading
folds to a floating edge.
Always locate the last row of gath-
ering stitdtcs \Vithin 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 me~sure­
mem, a recrangle of f<\bric s hirrs
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 s rlrchlng 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 stiffncss across 1he
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 \Vh~n the rows n~ 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)
(c)
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 >litebing
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-
s titched lines are gat hcrcd to the ""·
get measurement (Fig. 2-6). When
straight stitching by machine. s~;p
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
belween the rows, stretch and piJl
the em~< of 1he 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
Chapter 2
l
Fig. 2·6. 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 1he 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 1he
machine.
SHIRRING 3I

t\ vario tion of pu tTed sbjrring,
puffed trim eml>ellis hes founda-
tion fob1ic with chains of oval or
circular fabric puffs connected by
row~ of gathered stitching. Puffed
trim SLaru ,,,th a narrow snip of
fabric: (I) Press the scam allow-
anc~ on the long edges under-
neath. (2) At measured intervals
spaced out along the length of the
s trip. s titch across the strip and
gather tightly. (3) Reducing the cUs-
cancc between the gathertd in ter-
sections to puff the intervening
falll'ic, blindstitch the folded edges
to a founclnt ion, shaping scalloped
ou t line~ rm<.l securing the gathered
s titching as sewing p i'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
1he 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.
32 The Art o( Manipulating Fabric
Fig. 2·8. 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.
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
Fig. 2·9. Large, heavy application of fabric 10 size on channelled cord.~ or
draped shirring gathered on cords rods, SlOpS Ill Ihe end> ol' the cords Or
lnsirfe tapes (see Fig. 2· 11). Rigid
reinforcement from side to side at the rods prevent the gllthcring from com-
top and bottom of tl1e tapes keeps the ing undone but :11low the gllthering
sides straight. 10 be rcadjus1cd lll :tny time.
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-
merciaI product which can be tom
away nftcr the ; !itching. or starch it.)
After topstitching the first 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. Mca.~urc ns tOp·
s 1itching proceeds 10 maintain a
stmight nnd . ,·en dismnce from pre•1-
ous rows (Fig. 2·10). 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 Fig. 2· t 1. Shirring in progress on
Methods.. on page 6). The folds arc cords confined inside hems on the
released between seams stitched in outside, and in channels of tape on
pairs, cllch pair spaced lO enclose a the Inside of the fabric .
SHIRRING
 SHIRRING

t Halldstuched sro,,lflg Wl'lh eodt S(rtdwg !tnc d1'vJded it1to

oe segments. God1ered segm•nt by segmtnt "'"' tisf>dy R<Jth-
<red segments Interrupt the looser gothonng m th< ccnwr and
de segments.

1~2-M<Jch•ne sutchod slwnnK

gathered on bobb•n threads

1•--4- Sh•mng soob!llzed 'Mt/1 topes and broids ll>ot cu•er rows of~~~~
ournm(J!JCOI!y golherro w,rh o gothel'l<tg fool To apply rlM bi'O•d and zatntr
111 the same opett::t!Of\ mse:t the braid ~nto the need.'e "o!e •n the ~rhefllli
foor and brong it ovr bel>nd ti1e foot before srartrng to goth! r the iabnc.
fi-3--V.rnwl pmwcf<s. "f>ch look l'e >eams from d1e (tom.
noody ~rush <he •nds of rJ1<! god~«ed rows o($!>!Chong, and sepa-
l!l!e the sh•r~ed s!Kt10n from tho smooth fObr•<at rJ1<! ~des.

Ch>pter 2 SHI RR I NG 33
 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.

11-5-(rop) Shimng 0-adl!:re<i on cards mra1e looseWcon/ined

ins•d• zigzaggea srircf>mg. (touom) Sh1rring produced on cord's
dosely con(lne<! ins<ie 7.igzag sVrch•og •s much m~ disrma
ond c.ont.ro!Ted.

SHIRRING

11-7- Srobl•. rhid<. (~m tJ>x(}Je creored by gJ>then:,g

!he Slirchfng between ~of 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-c•rcle 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 (ound®or1 sray. fhe
""~''""/ stroJg.~t-sutchod gathering
rhreods W'fli: pulled out of the sllimng.

H The Art of Manipu lat ing Fabric

SHIRRING

IJ.9--Gn:ulcl.' om.rr.onf Rodrered oo

a:rcenmc .stromS .ruo smota on:f.es.
(le{t) r.. o ~our~ 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 ser~ed with fUrrowing.

JJ.J 0-Sculpted form shaped by.-. the g<~rhenn~

<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
~ng 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 pu~ thf f>e<r.,y "'"'it"' of u;e
,.h•med mtJSIIf\ COUSin;; slightly fooser
ROII>er"'B donng cross s"r.chlng.

Chapte r 2 SHI RR ING 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
gathe"'ckutch~ !eYe/.

~-15-Sillrring puffed when lhe guth<'red ""''~Cit ropstitched w o

surt v. >lh folds elevo"ed "·"' o dowel und o ''PP" (oo< atrocll<d l!J
1M l'l!OChine.

fi.14-Hond ~ woff.e or GO<S s'>:mflg, ~Stltcll<d on on

~ gild cell!~ bel\>eet1 bor.ds of pla:n s/1 mng

SH I RRING

IJ.I f>-H:>gt><e ef p.;fftd

!h•mng sejXJ(O{ed oy boncls OJ
ltY.v-re!;e{ plain sh•rring,

36 The Art of Manioul atin~? Fabri c

7- Puffed tnm oppl•ed 10 (Oilndotoon;oboc.

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 ofz;gzagged !/1read. create howontol folds and dropmg or
!h<! fewer edge. To seaJIC the hem/me s,.mg. !/1e channelled nbboo was
SHIRRING bawucd !0 ana!/1er /eng!/1 of ribbofl tod<ed to !he top O( eOCh C/)(lnol('l,

11·20-Shimng OfOfl<?$ between W>dely spaced. \'CI'IJCO(IxJnc/s 0( cf1onnc/

garhenng

Chapter 2 SH IRRING

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 g•thering 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
t·cqulrcs t'C:tdjusnncnt In general,
light to modcr:uc ga1hering suiIS
shining lO ~' paucm.
38 Tha Arc of M iln ipulati ng Fabric
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 f~bric required for a spe·
ciflc application, memue a sample
o£ the fabnc before and after a test
shimng of the p~uem and equate
with the wrgc1 mcasurcmeniS.
Mcm~elct· slrirring is improvised.
htSlead of following a pauern , the
deSign wand<r> freely forward and
hackwaJ·d, ~idcwa)':), 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.
PATTER N SH IRRING
stitcbing-"nd-gulhcring proceed.
Variations in the spacing and irrcg-
ularilies in the Slitchmg path pro-
duce dh·ersit)' 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 fullness, 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 b~ck 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.
 1~22-The 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)

~-21-The CllfV<S of dl• """" pG!".em re<p~< sfo-·, """"""tl< g<W>-

tmg ((« rt.e po~rem. 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 ofgoll>eong
red•"• the puffing •ns<Je !he Cllcles
(li>r dle potrems. !A!e F•g 2·12)

Chapter 2 SH IRRING 39
 1~21-The 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 It 26-MOOilder shlm'ng I! improvJsed as
on the fObnc. The sqJ.rares. which have an uneven number ofouromad- <Jutomatic gathenr:g proceeds
cally gathered llnes. ar~ completed in d:agot1al sequence.

40 The Art of M an i pu l ati ng Fabr ic

Supplementary
Fullness
 ruffle is a strip of fabric
A 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 SINGLE·EDGED
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
M~sscd ruffies ........................56
layered double-edged ruffles 57
Pllffed double-edged ruffle .... 57
Tucl<cd rufne ..........................57
H'Cadcd ruffle ........................ 58
PLEATED SINGLE· OR
DOUBLE-E DGED RUFFLE ......62
Procedures ................................62
Notes & Variations ..................()3
Box/inverted pleat ruillc ........ 63
Note: This chapter begins with
BASICS, intlicated by a gray band
located undcrueath the relevam
columns.
R UFFLE B ASICS
EDGE F INlSlfiNG F OR
R UFFr.ES
C
boose an edge finish befort
making the rurnc. Anything
imposed on the rufne Strip
co finish lhc edge, whe<her it's a
layer of stitched thread or another
layer of fabric, not on ly 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 1he least
effect on the float; a firm . layered
edge finish changes the sweep of tltc
Ooat (Fig. 3·1).
Pinked Ed go Finlah
Double-Fold Maehlne·Stltehod Hom
Ftg. 3·1. 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 o r doubkd fab-
ric) , it can blur the edge (a fringed
or doubled-and-puffed ruffle), or
naur'll il (a smin-s tilched or c;:on-
LOurcd-and-faccd ruffle) . A few edge
finishes have no righL- or wrong-
side association. There are no-sew,
fo lded-and-seamed, and thread-
bound edge finisht-s. Wilh some,
lines of stitched thread arc ob,'ious
o n both sides of the ru ffle.; with oth-
ers, the stitching is inconspicuous.
CooJtlinare tht edge jlnish with the
nawrc of the fab•·ic, tile "'idth of the
mffle, the de1•sfty of the gmhe1i ng or
pleating. and the practical require-
ments ofthe 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 no thing to the
definition of the ruffle's edge. Cm
from woven fabric, an edge straight-
cut on the grain withom additional
finishing quickly star~s to unravel.
I( straight-cut on the hias, the edge
will evemually fuzz.
T he 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 ru fllc, th e
edge is self-finis hed. The combina-
tion of a selvedge, which is fi nuc.r
thau the w~a ve between selvedges,
and fabric cut on the leng thgraln ,
which is finner than the crossgrain
of the fa bric. pcsl<s up the noat of a
rufne.
The soft, indetluitc quality of a
ruffle with a fringed ed ge increases
with the depth of the fringing.
W hen the flinging stops j ust s ho rt
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 Manfpu l:a ting .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
intoman.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 the ed ge, a snip-
fringed rufne is slashed in to tiny,
uniform st:rips along its entire
leng th (Fig. 3-2), After gathering,
deeply fringed ruffles tend to twist
and need patient un\vi nding as
applicatio n proceeds.
~~
y'VV
(b) v"
' sharply creased or, if the rulllc strip
I is cut on Lite bias, unpressed and
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 the 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 stiffe ns the Aoating edge
of the rufllc.
RUFfLE BAS ICS
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 finishes the noating edge
o r edges of a ru ffle made from
<lou bled fltbric. Doubling adds body
to the w hole ruffle and bulk 10 the
bunched gathers or pleat folds at the
slitching line. Cut a single.. edgcd
m ffle snip t:\\'ice as wide as the mffle
plus two seam allo,v;mc.cs; match
the long edges to do uble the rufnc
strip. Cut Lhe strip fo r a m fAe with
two siMs (a double-edged roUic)
twice as wide as bo th ntffles 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 tbe ruf-
nc s trip (Fig. 3-4). Edge folds can he
soflly rolled. After applica1ion , a
doublcd-and·gaihered rufne with
un pressed edge-folds may be puffed
by pulling the 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/p leating 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. St·w lhl' lining to the n1fne
,.uh nght sides wgcther, turn right
...,u]c ou1with 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.
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. 3·6) (a)
I
;
I
(a) :==~-~(b~)----
Fig. 3·7. Three ways to bind the edge
of a ruffle strip: {a) Machine-stitch the
(cl r v v v v binding to the strip with righl sides
together. Either {b) hand stitch the
folded edge to the joining seam in

(d) tv;;;;; back. or (c) puR the binding's iokfed

Fig. 3·5. 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 fono~hed ";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
the Oo"ing edge; cut the facing
s horter than ruffie·wtdth plus two
ocnm allowances. Application is a
lWO•Seam p i'OCCSS: ( 1) Sew r.h e fac·
mg to the noat ing edge of the rufne
.mc.lturn the facing righ• side ou t,
folding it on the seam. (2) Wilh its
~am allowance turned under. sew
the other edge of the facing to the
ntfne strip. enclosing all seam
allowJnce~ U1 the process. An im·is-
ible facing 1s S£\\, 10 the ruffic
~trip with rtght sides together and
then turned 10 the back or the rurne.
Fig. 3·6. {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
the •·uffie. sew the folded edge of
the binding to the rufne (Fig. 3-7) .
edge beyond the joining seam in
back; from the front, machine·slitch
· ;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 ~nm neatly catches
both fol~ (fig. 3-8). Variation:
A no-sew hmdlng. cut \\;tltout
scam ~llowances. backed with
fusible web. folded and bonded
over the edge or the rumc.
Fig. 3·8. Th6 binder attachment
applies foldad binding to the edge of
a ruffle strip in one operation.

Chapter 3 MAI<,ING RUFF LES 45

 The nristocnu of double-fold
edge finishes, a tmy ltand-mlled
Item turns the edge soft!)• with 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 ruffie, add
w· (6mm) \0 ruffle width for the
hem allowance and :•dd a was te
rtllowancc to be trimmed away after
su•ystllch ing. The stitching process
rolls the hem (Fig. 3-9}.
Waste Allow ance
I e: --· -----
:::::
...~...... .'~~~~~.f.~~~~·~·J!~~~~~~.
A tey Slltching '- .............._ Hemline
Ruffl e
Width
t (a)
( b)
( c)
Fig. 3·9. Hend·rolled hem:
(a) Prepare the ruffle strip.
(b) To slips/Itch: Turn the hem
allowance down w·
(3mm). Take
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.
Th e Art of Manipu l ati ng Fabr ic
A shell Item finishes the edge
of a ruffie with a dainty scallop.
Preparation for a hand-stitched
shell hem im·olvcs 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 :motherw· (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 nt~lldle 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 machint·St\\~l 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 strnight·smched double-fold
Item is n ne:n and sturdy edge finish
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 o f the stitching
nuchme sewing with a dccora-
~ ..tnc:h or, i£ a no~seam look is
~tr.lblt 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 o nt smooth and consistent
'l'Cr'Jtio n (Fi~. 3·13).
Fig. 3-13.
Hemmer
toot.
A machine-stitched flat Item
<tlges ruffirs with one seam visible
m front. one fold. and one additional
~)Cr o f fabric. In back, the single-
fold hem stops at a cut edge which
needs appropriate auention to dis-
courage fraying-unless the fab ric is
ftnuly non-woven. C u t rurnc strips
w1th a hem :>llowancc added to ruf.
fle 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
thrt:~d, or anach tape to the straight·
cut edge before turning, pressing,
and ~titchlng 10 secure the hem
(Fig. 3-15).
(a) ( b) (c) ( d)
Fig. 3·14. 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.
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
(I) (b) (c) over the cut edge and
the other edge Jo the
ruffle.
A solid covering of thread wraps (l ) The one-seam/one-layer method
the straight tdgc of a ruffle strip fin- la)S satin stitching directly o,·er the
IShed with sarin-stitcltcd edging. The stratght-cut edge of slftble fabric
tidy, smooth appearance of pcrlect '\oith n close weave. To contour the
satin ~tltcltlng depends on coordi- edge with thts method, choose a
nating the method of application decorative stitch appropriate for
with sewing thread a11d ruffic fabric. satin smcblng. such as the scallop,
Using scrap r.,bric, test first. Select a and trim on the outer needle holes
med ium-lt>·wide zigzag, reduce o f the stitching. (2) The two-
stilch lengt h ro 0 or almost, and scam/one-layer met hod primes t he
guide the rurne strip under the edge with tlgzagging. Satin stitching
presser foot so that the needle j ust co,·ers the zigzag stitches. (3) for
misses the edge when it •·wings to fab ric that tends to mvel. the one-
the right. As tht chosen method seam/two-layer method replaces the
requires, CUI rufOe Strips WithOUt cut edge with a fold and bolsters the
any allownncts added to ruffle l'<lgc with a second thiclrness for the
width 31 the floating edge, with a satin stitchrng to envelop. (-f) The
waste allowance onl)\ or with a ht'IIl two-scam/two-layer methods control
allowance and a waste allowance.
Chapter 3 MAKING RUFFLES ~7
 :
j Fig. 3-18.
: tiny frac·
(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"ic with straight The Rnest of the thread-bound
stitching that Mabilizes the folded edgings. the lwlrline edging, is tiny.
edge before s.•Un stitching ca,·crs firm. and secure. Select a medium-
all. (Fig. 3-16) To pre\'cnt the cup- tO·\\~dc dg:ag stitch and mise the
ping that occur.; when satin stitch- upper- thread tenston to 7. 8. or 9.
ing. ~\\' with an 0\'('re:dge: root With the ntffic stnp \nang stde up.
anached to the machine (Fig. 3-17). sew with the needle JUSt missing
the edge "hen 11 ;wings to the
nght. As the need le S\\~ngs back to
the left, the tightened tension
Fig. 3·17. brings bohhin thread up and
Medium-to-
wide satin- m·ound to the top Mtd the fabric's
stitched edg- edge wit h h. trapping a fold inside
ings lie flat Lhc s tilching. A h"i rline edging
when sewn emerge< hnlf the width of the medi-
with an
overedge foot. um-tn-widc :.lgz.ag seLling on L.hc
machine (rig. 3-18).
48 Th• Art of Manipulating- Fabrl< RUFFLE BAS ICS
Ruffle strip
finished
tvilh half-
line edging
loses a
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 firmnc~; 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 o f a hairliltc
edging enahlcs the Ooating edge of
the rufne to he curved, twisted, and
angled into ecccn lric conngurations.
While sewing. guick lhc wire under
t he presser foo t,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
s:~lln stitchmg (Ftg. 3-19). Options:
For an extr:1-flnn edge mthout stiff-
ness. substitute thin cord. c.~tm­
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.
 d~< brushes a ruffie s trip
a lc~u wnh a [rilly. fluttery
.,.1111'!1. " " "'"' tdge finishes a ntf-
"" the bias Of WOI·en
.,_ 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 th e fabric
' 1 and back of the presser
'>lop to stretch o u t t he section
"~ up when i L becomes ne:ces-
The zigzag-stitc.bed edge will
ftUln the stretch while the bod)' of
ntffie strip returns to its
rrctched condition ( Fig. 3-20).
II )
I scrgcr version of hairline edging, th~
\ zigzag finish described p reviously-
(b)
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 c hain onoopr
threads ( fig. 3-21). \\lth stitch
length shortened for dense thread
co1·erage. the satin-stitched edgmgs
described and illustrated previous!)'
can be duplica ted 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
with a proceduml dilfcrencc. A rolled
ovcrlocl<ed ed ge 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
G ATHERED
SINGLE-EDGED
R UFFLE
-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. Choo~e an a ppropriate and cffec-
livc edge fi n ish for the ruffie
( refer to "Edge Pinishin g for
Ruffles" on page +3). To set a
width lor 1he n•fne 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- oTHim AiiOwanCc(if n; eded)
-;,~~;~;~~~~----r -
Fin ishod
RuHle
Width
_ ~ot~.'!'~g~Aep~c~u_en_S!•!.." _ _ 1_ _
Soam Allowance
Fig. 3·22. 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-
sligh t, mndcratc, generous,
ubundunt. Set an afler-1he-gath·
crlng target measureme n t for the
ruffle. To estimate the length o f
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 = (~arget) x 3
abundant tullne., = [targel) x 4 (t mo<e)
MAK ING RU FFLES 49
 To eva)u,ue fullness, gather
matching lengths of the ruffie
fabric, 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 thre:~ds 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. 3·23. 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 seamlines
matching at the ends; press
the seam allowances open
(Fig. 3·24). (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.
50 T ho Art o f Manipulating Fabric
- - - - - - -- - -
Fig. 3·24. 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 s titching, 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
dh~slons 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 s titches. Machine
sew the Onat seam immediat.e ly
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. 3·25).
GATHERED SI NGLE-EDGE D RUFFLE
-
_____..__
...................
( 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 ruffle that lies ou
top of the fabt"lc 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 facing
(refer to Fig. '1·9 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.

Fig. 3·26. 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 foundru lon 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. Th~ rulllc at the
bottom muy be treated as nn
extended hem rufOe.
Frg. 3·27. 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. 3·28).
(c)
Rg. 3·28. (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
s ti 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
Fig. 3·29. 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
rufOc Strips need gat herlng, UUIO·
malic gathe1ing using chc gnthcri11g
foot or ru£ner 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 allo"~tnce
(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 scw·n uround n curve,
circle, or angle wUl su·ctclt out and
curl tu the floating edge unless it Is
gathered Cx lm tightly at the SOlii'Ce.
Add length to d1c t•uflle 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 I~
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).
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 that stop within
the foundat io n fabric >hould taper
or fan into the application seam
( Rg. 3-30).
~--
........... .. ...
~
(b)
(c)
Fog. 3·30. (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
ou~line thnt angles and cun~es. Ha
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. 3·31 ).
52 The Art of Manipulating Fabric
- ----- - ---
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
cun·es, making the gatltercd
slltthingta;,plication line <traight-
nnd making the floaling edge scal-
loped to rcllcct the silhouclle o rigi·
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.
~.
-·· .- (a)
~
. 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 o r
more ruffles, gathered scparatcl~- 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 the folds of the ruffic
below, increasing the total elevation
of the fl(),lt ( Fig. 3-33).
GATHERED SINGLE -EDGED RUFFLE
---
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·
glc·c<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
the 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 no~ting
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 o r
more puff with the most buor•mcy;
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•, ga1her around the wbulnr
opening, nau cn, nnd basce to the
c;cam allo,vancc.
~ y-----..~-------------7
2
y,.,
~
Fig. 3·34. (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.
-
 14-1 Ruffle; gu.T.-ci (rom Slllp5 cut 200% longer lhon (/10 !Oige< ~
. . - LThe bottom rvff1e IS r.,;ce rn. .oo:h cf tile ruffle on lop ond
ap~rs len fU!I. The edge (lrnsh. o s1ngf•{oltl ilar ,,em .SCIUn-s~tched <Ncr
!he (oi<J, s~(fens ""' edge and ggnifrcnnrly affects dw qor~JI(y of !he ~=

._, Ruflie d10ti !hat <>splays !he etrea o; lllCte<lSU1g (U '""' on

., •J~Tes of tdcniiCd ...ad! gotheted ro !he same <argct
.~menl (top) RuiP• gmt,ered (rom o $Urp cut 201J11.1onger
171011 d1~ torgeL(center) !he rufile scnp ""' 300% longer rhon GATHERED SINGLE-EDGED
!tie WROt (bouom) 400% long!!f. Tl~e p111~d edge finiSh doe.,,·,
' ~-ence tJre (iooc.. RUFFLES

111-J- /J!os-cut ruffles cJpplicd N1-seom <md

orrcn~ed :n ovelloPP•A8 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·
... ~sh on tile 0.9$ S:[(lps conwbttre-s on excta
Pip to the f/Qor o("'• ruffles.

Chapter 3 MAKING RUFFlES 53

1/1-4-Norrow rv(fles sewn orovnd etrdes and to each socfe of o curved bJa; stnp /1~5- !Wws of N(f1« chor.grng (rom SJtojl/~she/1 ruf-
~lOre edgc"'rcl>ed app.<a!IOn The PocMi ecJse; of !he ruff1es botdtnng the f.es 1111.he cemer. to ruffles thot taper OUl in-.stom
~stnp Of'!' S(C!iopeci(he Otf[f.r rufft Wlih SIJ[ln Sllcdw;g. Jia IMef" rujJ;:e bot<'.em;: ru/Pc golhe<OO OKtm ·~ 0! !he
(0 0
Wo!h o machone sntched snell hem.A ho,rl•r.e edgong (.noshes !he fll/res SVffOO,"l(j comer Cllrve~ A hclorlone edg•"'! (.,.,.shu a' fll/Pes.
•ng t.he dJdel,

GATHER ED
SINGLE-EDGED
R.U FFLES

11~6-ta,..re<J111/11es. The norrow 11J(fle on lOP, gorhere<l

(rem o SlflP cur rv.o omes rhe ~t lengrl\""' ~n­
<'hed"-.h (I~ (.or""" The~~~.. U'dir-
rwtn gotr.e<ed (icm o WIP CUI !/vee 011.s the «>get
length. """ (111oshed ""lh o laced scoto:;<!d edge

11~7- Pvlfed ruffles (top) Three ro"'

plle.-ed from ~ SlllpS (okletJ !0 0
I • (l.Scm) wx!ift (bo«om) Two rows
gathered (rom stroJgilt<ut strips fi>ided
ro o width o( 2 V• • (5.8cm).

s.. The Art or Man ipulating Fabric


GATHERED
D OUBLE- E DGED
R UFFLE
- strip of fabric gathered to a
smaller target measureme nt o n cc n-
rered stitching. Applied to a founda·
with both edges free to float in
1:>011
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 finish 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. 3·35).
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
_ _ - - - ·- - - - - - -
Seam or Hem Allowance (if needed)
- -- - --- - - --
F ini shed Edge o f R uffle
---
__o..?'!':'~~~·~~t~~~g-s..?:m__ __ _
Finished Edge of Rutile
- S8ani Or Hem Allo'Wniito(i~.;;ded) -
-- ----- - - - - -
Fig. 3·35. Fabric strips cut tor gathered double·edged ruffles must include mea·
surements fo r 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.
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, s titch and
gather to the target measuremen t
(refer to "Gathering Methods"
on page 3). To deal with a
lengthy ruffle strip gath~red on
pulled thread s titching. 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 n•f·
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
s titches to att.1ch the ruffle to the
foundation. Use straight or appro·
priately decorative srirching when
sewing by machine (Fig. 3·36).
Usc the half backstitch for hand
sewn applications.
- - - _ _ _ 1 _ Waste
Allowance
t
--- - (if n eeded)
Flnl&hed
R uffle
t___ _
Width
Finished
Ruffle
Width
~ Waste
- - - Allowance
-- - - - - ......-- (lt needed)
Chapte r 3
Fig. 3·36. Topstitched application for
double·edged 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 & VARIATIO NS
Edge fulish, gatheri ng density,
fabric characteristics, and mffie
\vidth interac t to gcncraLc the wavy
dimensionality of the noating edges
at the sides of doublc·ctlgcd rufnes.
The standard double-edged ruffle is
gathered with hand s titching, with
str•ight or zigzagged machine
stitc hing , or \Vith a1nomatic
mach ine 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.
De,~ating [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. 3·3T. Spread-seam ruffle with
shirred folds between two rows of
gathering. Add extra width tor the
expa nded gathering area when cut·
ling the rofffe strip.
MAKING RUFFLES 55
 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-s hdl
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)
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 ruffles with rippli11g
edges and s mooth 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. 3-41. Double-edged ruffles top·
stitched with edges toucl•ing, 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
Fig. 3-39. Narrow. double·edged ruf- about one-ruffie•\Vidth above founda-
fle scrolled in a repeating wave tion level. burying the topstitched-
design. and-gathcrcd seams (f ig. 3-42).
An allover ruffie design patterns
the surface with a meandering,
unplanned application of ruffles
(Fig. 3-40).

Fig. 3·38. (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 flexibility 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 outs ide 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 ou t and
turn up unless the gathering at the
source is especially light- which
will cause the fullness released on
the inside of thCcunre_ Lo swell imo
bulging folds. Only narrow rufOes
l" (2.5cm) or less from edge to
edge are used for ruffle designs.
Fig. 3·40. 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 Ihe
re-deSigned surface (Fig. 3· +1).
Fig. 3-42. Double-edged ruffles top-
stitched in congested rows re-surface
foundation fabric with 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 n tffie. A
coihl application will11eed hand
sewing, at least at Lht start To pre-
vent distortion, stiffen the foundation
fabric with a temporary stabilizer.

56 T he Art of Mani pulat ing Fabric GAT HERED DOUBLE-EDGED RU FFLE

 Layerrd cloublc-cdgrcl ruj]lcs :1re
sucked one over the o ther with
then g•thering 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
~U~~ght, rising high above lhe top·
SLtched golhering.
\puffed doublr-cdgecl n@e must he
cut Jnd stilched from doubled fabric
\\1th unpressed fo lds (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 th e 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 th e e nds of double-
edged rurnes that stop within thc
fou ndation fabric. Tapering im·olves
folding the end of the ruffie strip on
the stitch ing 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, ~w the ends
o f the side ruffles together w ith
edge; mutdting and right s ides
together. open, pull down, and tack
to the foundation (Fog. 3--15).
(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.
(d) To a linch to a foundation , topstitch
next u-. the gm lll'l'ed seam wlth the
3-45. Two ways to end a dOuble-
F'~g.
side or ;l zipper foot up against the
edped ruffle: (a) Teper the end of the center ruffle, anti then topo;titch
strip (b) before gathering. (c) After gath- n ext tO the other side of the !Plh-
ering, join the ends of lhe side ruffles ered senm. By ha nd. sew over th e
(d) and fan down to foundation level.
gathered seam with stitches that
A tucked n@e has thn:c floating alternate bc1ween a stitch on one
edges and one gathering seam. The side und a stitch on the other side
ovcmll wiu th o f the ruffle strip o [ the ccmcr rufllc. Tucked nofflc
includes three ruffle widths, two at options include enlarging or decreas-
the sides of one doublecl-fabric ruf· ing tht \1 idth of the center rume.
flc in the center (Fig. 3--!6). The snip-fringing o r puffing the center
!loating edge o l the ruffle In the ruffic. a nd gathering the ccmcr ruffle
center is always on the fold. The over a cord inscm-d inside the fold.
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, w h ich is under
t he cen ter ruffle ( Fig. 3--17).
_ _ _ ___ _ _ _ _ _ _ __ _ _ _ - 1 - \Vasto Allowance
!_e~ ~ .!:!,e!!!, ~~a1!_C!_(I!J'I!!d_!dL _ _ _ _ _ (If noodod}
f inished Edge of Sldt RuHle t
Finletted Side
Rullle Width
Gathering Soam ~ Fig. 3-46. The fabric
--- --- -----------------1--· srrtp cur for a tucked
rufflo must include
Center Aufflo
Width measurements lor
Folded Edgo of Center Rullle .S. side and center ruffle
- - ·-- - - ·- -- -- -- -- ·-· - f - " widths, with addition·
Canter Autllo al allowances on
Width each side as required
__ ___ ____________ ____ t ____
Oethering Seam ~ _ by rhe chosen edge
finish.
Finfahcd Side
Ruffle Width
Finished Edgo of Sldo RuHle ~
SHmO;:HtmAttOwan~!!.!f M'c.dedi - - - - -
-- - - -- - - - - - =t- - - --, ~~ (llnttdtd)
Waate Allowance
Waste Allowance (It needed)
Chapter 3 MAKING RU FFLES 57
 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 do uble-edged ruf-
Oe will d rape £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 bene~th.
tleaded ruffles, double-edged
rufncs gathered off-center between
Jll-8 Two ruWes w~n-slltched 10 o (oundauon. The '""""i roffle has strorght·sulched
a wide ruffle and a smaller heading. clouble-[old /lems; 1/>e ru/Pe '"Jh rl>e (OllCJ[ul. "''"'>' Poot has wired edges.
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. 3-~8). G ATHERED DOUBLE-EDGED RUFFLES

Fig. 3-48. Headed ruffle.

l~eaded ruffle options involve com·
blntu lo ns 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 plc~ting,
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 head ing may be
stitched to opposite sides of a band
before topsti tching to 1he founda- 1/1-9- Ruffles. fimsh~d wrlh halrlkle edging. opplted rn rows with edges touchi<Jg
(low massed N(fles).
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 Man ip ulating Fa bric

 1o-(lt/1) r..o tONS of
tl. -~... ~: apc1'lfiom eoc:h
cttw:r. (n2hr) ~ some rv(.
'ies o.pplted In 10'-"'$ so
close~ tho! cqo.
cent ed~ 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 e»erlod<ed.

GATHERED
DOUBLE-EDGED
RUFFLES

Nl-11~ pottemed alb.,..-•Mth 0 ~

""'~"'>·~ <Jesign o{ ptn.l:od nf,fes 31•" (2an)

lr/.f 2-MUS!on ~t~f1!es

apol+ed Ill tliht co•fs: w;rh
edges (oniShed (left ro
llflhl) w!lh son•if'r·
swched dpubfe.(olo
hems: wolh hoorllne ecfg.
ong; w1ff> one ed~ ponked
rJr>d one edge selvedRe:
wnh ravelled (r/OJie

Chapte r 3 MAK IN G RU FF LES

 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 C~"ght fiower-1 !<t C0'1.

GATHERED DOUBLE-EDGED RUFFLES

li~ 14-Four {ana(ol rufll•>. all fi<JII>orlld VOm rufl1e stnps CUI s/i~nt/y
lan~et tilon twoce rile "''ll~t lon~tll. (1~(1 to rojlht) Ho•rl•nc edged rufllc
sprooo s.om garhct!ld on twO corded scam~ smp-{nngcd ruflic layered
over a ruflie 1vM (trm, doub!c-(old ho•rl.nc edg ng: tuc~d ruffle Wlrh a
sna!Jow ruflle centered between Side ruffles fmhed w•t/1 deep. smgle-(old 1/J J5- Unoacochc-rl ruffles ga!hercd 1ntc long. #e>~ble, {lufft cyl n
hem>· tucked ruffle Wlrh tht centtr rufl1• puffed and Side rufl1es ~nr;hed ders on seams zigzagged atcr suil1g. Far each cyfu1der. tvtO rufile
Wirh ON/floOeediNU/£he<J, SIM81e.(ofd hemS slftps il1a1 111plcd !he torgct lcngrh we"' galhe,.d m 011e.
(righr) Smp·C1ngcd edge (irosh. (lef!) Douhle·{old fx,,/,ne tdR•"R·

60 The Ar t of M nnipu luln& Fabric

 111-17-Hcaded ruflle with 0 band orsnmmg sepa'Utl11g d>e neadon~ (rom d·e rut·
11e. The edges .veto {lmsned woth s!!'O.ght·SUtchec:( dooble;olcl hems.

GATHERED DOUBLE-EDGED RUFFLES

Il-l b-S•<Ie n;ftie> ; \.'l " (II Scm) •M<Ie jl<Jiled OC>..r>-
~<1'11 by~ weogltt o{tJ>t rrll45n

111-18-Splot headed ruffle. The gaihered seam allowances o( tile ru/Pcs and the
levered neod;ng pad the edgesiJ!Ched wpe with the~r bulk.

Chapter 3 MAK ING RU FFLES 61


P LEATED SINGLE-
OR D OUBLE-
E DGED R UFFLE
-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 ruffle float in regular, orderly folds.
P ROCEDURES
1 . Choose a pl c;~ti ng arrangement
for the rufllc (Fig. 3·49). Decide
wheeher 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).
Knife Pleats
( Top Row Unpressed; Bottom Row Prossed)
r..-..-...-.......-........ .-. ' ·'· ·' · '··' ·...,.,
Inverted Pleats Between Wide Box Pleats
......... ····---
Spaced Out Box and Inverted Pleats
Fig. 3·49. Pleated ruffle arrangements.
62 The Art of Manipulating
3. Determine the width of tbe
pleated n tffie 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
targcLmeasurement: Make a
folding gauge from a short strip
of paper marked with dots
spaced W' (6m m) 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:
(prt·foldmg leng;h/paper
- aftcr·loldtng length/paper(
x C<lrget measurement for pleated ruffle
• Escltnaled Length of RuHle Strip
Box Pleats Inverted Pleats
· . ·--+- ·-·· ... ..... r __
..,..__-__-_-_,_-__- -_,
Clustered Knife Pleats
. . --· r ···r-··· ........ ·-
Closed Box/Inverted Pl eat s
F ab r l~; PLEATED SINGLE-O R DOU BLE- EDGED RU FFLE
5. Cut noffie srrlps to size on the
s~n~iglngr.tin of the f;~bric, 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
ruffic Strip, sp;t~C dots \!..''
(6mm ) to !li" (l.3cm) apart. as
pre-planned. along the unfin .
ished edge for a single-edged ruf·
fle, 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 f~bric limp.
hand form, pm and hand baste
the folds before machme smch·
ing over the dots. For ru£fle
strips of rnann~tenble width and
fabric, form che pleuc.:. while
machine stitching (Fig. 3·50).
For a t>lcmed rufne \\ith s harply
creased folds, pt·ess the folds
from sentn to finished edge.
'r-'
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.
7. ro nunch n pleated single-edged
rume to Oat fabric. conceal the
...:;~m 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 • gt•iddine marked
on the fab•ic (refer to fig. 3-36
on pugc 55).
NOTES & VARIATIONS
Beneath the application seam,
pleated rurncs nrc smooth "ith dis-
c•phned 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 foundatio n 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 o n 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,
particularly If tloc pleat~ are to be
pressed, marl< 1he edge or edges
with a d uplicnte 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 n•fnes, 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).
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· o r double-edged ruflles.
Simple adjustmen ts change the
attachment [l'Om gathering to pleat·
ing mode and o·egulate 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. 3·52).
Rg. 3·52. The ruffler, a sewing
machine attachment, looks more
complicated to operate than it
actually Is.

Fig. 3·51. The plealing of a narro•v.

inverted/box pleated ruffle alternately
stretches and flattens on the outside,
and ccndenses and heightens on the
inside as it negotiates a tight cuNe.

Chapter 3 MAK ING RUFFLES 63

Ill- I 9- 0wrt of ro(/les ~~wmc~colly f<ni(e-pleoted wtlh o ruiiler
mrorhment (top) R11fl1e p!Mced on every I 2111 s~tch. (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.

/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.

PLEATED SINGLE-EDGED
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.

111-21 - 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 eitro<l~sirJe; close kll1(e pleoung w11h ihe folds
sroomcd ro OO.'d.

64 T he Arc of M anipulaci ng f abric

 PLEATED DOUBLE-EDGED RUFFLE

111-2 3-(le~) Klll(e pieal' Wolli o bllfl<l o( «•nt•rNJ (olcls that

reverse d:1ec1Jon between topslltd1ecJ s~ns
(r~gilt) Atron~ement o( bo<. kno(o, and orwertod plecus wttil a
ccmctcd ladder of folds botwoen •oun-sto<<hod scams.

111-24-8oxi•11W'£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 a~'erlays rho deop. p'c<Ited ruffle. A double ..d~d ruffle
gathered off<enre.r CO'Iers the spirt
111-25 Hcodod rufflo wt<h box pleats b~<lweon deep poonts can-
tow·cd miD each faced edR•· Two laye~s o( boxhnvettcd pleat Nffles,
notrltno edged. covtr !he appiiCOtoOn seom. nte
"W<os" of !he ruffle
on wp are tack~ cogcthCt 11'1 clle center:

Ch• pter 3 MAKING 1\UF FLES 65

 flounce is a flowing attach-
A 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 flou nce 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
C IRCULAR FLOUNCE .............. 67
Procedures ................................ 67
Notes & Variations ..................70
Spiral·cut circular flounce .... 71
Layered circular flounce ........ 72
Tiered clrcular llouncc .......... 72
Double· edged circular
flounce ........... ..... ..... ......... 72
Layered doublc·edgcd
circular flounce .................. 72
Massed do ub lc·cdgcd
circu lar flounces ................ 72
CONTROLLED FLOUNCE ........ 77
Procedures ................................ 77
Notes & Varia tions .................. 78
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
2. C hoose between a flounce with
inner, sho~est edge. The longo>st
edge floats in waves and folds.
PROCEDURES
1. A refresher vocabulary:
Circumference- th e distance
around a circle.
Oimnewr-any straight line
passing through the center of a
circle from o ne side of the cir·
cumference to the 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.
maximum. mocle:nue, or mlnimal
narc as controlled by the radius
of t he ro und c uto ut In the mid·
dlc of a circular no uncc pattern ,
nnd the length of the nounce:
• T he smaller the radius of the
central cutout. th e g1·eatcr th<:
flare at the floating edg< of n
flounce after it i.s appUcd
(Fig. 4· 1).

Fig. 4·1 ..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 MAK IN G FLO UN CES 67

 • f lounce depth as it increases
also increases the flaring. As
the d ifference between the cir-
cumference of the ceno·al
<:uLouL and the circumrcrcncc

®
of t he floating edge increases,
the folds at the edge becomt• I
mo re voluminous (Fig. 4-2) .

(a)
Fi nished Edge
Of Flounce

Circular Flounce Pattern "'

Fig. 4·3.
(a, b, c) Using
a string com-
pass and a
ruler to draft a
circular flounce
(c) pattern.

Fig. 4-2. Three flounces cut with

identical circular curves at the top.
but increasing in depth. c. 1ndicate. one or more side a. Calculace the length of the cir-
open;11gs. Align side. optnings cular seamline on Ihe paucrn:
To evaluate a Uouncc.) sampJe: tJ,e
to a mdius o f the outlined cir-
effect of central cutouts that vary cles ((c) in Fig. 4-3). Cut out (2 x radius) x 3.14 (•I
in sire. on a llouucc Lhat remains the circular nouncc. pauem . • whole circular seamline length
the same in depth and straightened
length aL the application Se<llll. 4. To estimate the £1bric require- whole circular seamline length
ment for a particular circular - side opening seam allowances
3. To draft a circular flounce pat-
flounce application (Fig. 4-4): = Circular Seamline Length
lC.t'tl, establish two measure-
ments, one for the radius of the
centra] circle and a sc.cond for
the depth of tbe flo u nce:
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 F ig. 4-3).
b. To provide a seam allowance,
draw a smallet ~.~irck·. inside
the center circle. To include a
hem allowance fo r a finish Sid e
applicablc.J.o a curving edge Opening
Sea m
(refer to "Edge Finishing for Allowances
RufOes" on pag e 43) , enlarge
the outer circle. 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 M ani pulating Fabtic CI RCULAR FLOUNCE

 b. Figure out how many circular • With an appropriate surface
flou nce pieces will be needed
to cover the applic:ttion's
seamlinc(s):
..
0
0
0
0
0
:'
:
applicalion- Using a fabriC·
safe marker. dmw sc:~mllne
'0 .! nnd edge-matching g uidelines
I .' on the foundatio n. Matching
total length or seam lines on application I' the guidelines, stmight stitch
- c~rcular seamlme length :' the flounce to the fo undation.
• Cirtlesto Cut I' '
• 0
'0 Zigzag stitch over the edge of
c. lktemlinc how much fabric '' the scam allowance, or CO\'Cr
'
'' the seam allowance whh an
will be needed to cut the
required number of circular (b) (c) edgestitchcd bal1d of rabric
flounce paucm pieces: (Fig. 4-7).
Fig. 4-5. French seam: (a) With
wrong sides together, march the
fabnc: "'dlh edges to be joined and sew down the
• diameter of crcular flounce pane<n center of the seam anowance.
(b) Trim the seam allowances next to
• Corel<$ fin1110 CIOS$01310 the seam. (c) Fokiing on the seam,
cirtles to cut
tum Inside out with righr sides togeth·
er. and sew on the stitching lines.
- circles hUing aossoraln
: lengthgrain IOIYS or CirtiOS
(a fracuon counts as a row) '0
1
lengthgrain rows ol circles •
x drameter ol circular flounce pauorn
• Fabric length Required

5. Cut each cin:ular flounce from

fabric fo llo\\1ng the pcl'imeter of
the p~per pnuem or ItS U'acccl
outline. Locale 1he side opening (d) (e) ( f) Fig. 4·7. To apply a flounce to a foun·
thttt cutS each cirdc npnrt o n the dalion: (a) When rows of flounces
stmig htgrnin of the J'ubric. When overlap the flounce below, sew each
Flal-fe/1 seam: (d) With right sides flounce right side up. (1:1) Sew a
se\\oing two or more circles togclh· together, march the edges to be flounce wrong side up and 11/p it over
er to extend the sc:unline length joined and sew the stitching lines its seam allowance. (c) Sew right
of a flo unce, join with n reversible together. (e) Trim one seam side up and cover the seam
allowance by half; told and press the allowance with an applique.
French or flat-fell scum. espccinlly untrimmed seam allowance over the
if the S\ving of the floating edge is trimmed seam allowance. (f) Open
Likely to rcve<1l both sides of the up the fabric, right sides down, and
fabric (Fig. 4-5). edgestltch next to the fold of seam
allowance.
6. Apply the selected Anlsh 10 lhe
Ooaring edge of c:~ch Oounce.
7. Allach the Oounce or Oounces to
the stabilizing fabric. sewing on
the designated seam line. To
enable straightening the eur\'ing
seam allow·• ncc/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 Fig. 4-6. Seam allowance of flounce
seam allowunce: clipped ro straighten for the applica·
tlon seam.

Chapter 4 MAKING FLOUNCES 69

 • 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
I\ \
\
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
(c) \
Fig. 4·9. (a) Alter machine-basting the flounce over lhe underlying fabric. {b)
Fabric • 2 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.

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
s trip of bias-cut binding, right
side down, over tl1e flounce;
mrn the bi nding over all seam
allowances to the back, and
hand ~titch its turned edge to
the fabric under the nounce
((a) and (b) in Fig. -t-9).
(b) Face the edge when a
Oounce extends beyond the
fabric to which it is aunc:bed.
Sew a fnclng, right side down,
0 \ 'Cl' 1he back of a fiounce
which is basted to the righ t
side of the fnbric. Turn the
facing to the b:~ek 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 & V ARIAT IONS
A circular floLUlCC generates noat-
ing fullness 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 ma.~imum. moderate. or
minimal waviness at the noating
edge, but a smooth layer of Uounce
fabric at the seamline 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 stmighr~.trnin of a nouncc in the
cemcr so that grninli11e ch:mges mow
idc.mically on Lhc sides. or hang the
mre bias of Lhc fiounce 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. 4·10. Culling guide th<lt repeats
the same grain alignment for each
circular flounce segmenr.

70 The Art o f Manipulating Fabric CI RCU LAR FLOUNCE

 finishing an edge that contin u-
ousl}' curvc.s :tnd cha·nges grain i.s a
challengc. 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 Fini•hing 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 flounce that's completely
hned cnnvcns both sides of 1he
Oouncc in1o u right side, avoids prob-
lems caused by cun·e 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, ~ta)'Sihch 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
~ide~ 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 sid~ \\;th dangling
co!TI¢T< ore appropriate, eliminate the
con~ers by cun1ng the lloating fdge
mto the se-.unline of the Oounce hcforc
finishing the tdgc (Rg. 4-11).
F~g. 4· I I. Circular flounce pattern
with one side of the opening cuNed.
After finishing the floa ting 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 wiII follow curving as well
as stmight lines of upplication. The
folds ntthe Ooatlng edge of a flounce
sewn uround an outward curve
spread nnd diminish~ 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 pre•ser foot tlnd realign seam-
lines and edges before continuing.
Chapter 4
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 panern over a base
of concentric circles spaced the
depth of the flounce apan (stigluly
more for a flounce with a lining).
Finish 1he edge with ztgzag stitch-
ing or a hning bclorc cutting ou1
the flounce. Compared 10 a
MAKING FLOUNCES 71

(a)
Fig. 4·13. (a) Spirai·CUt
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.
standard circular flounce. the
seamhne on one spiral-cut nouncc
goes a long way (Fig. + 13).
A laycrctl circulur.flmutcc consists
of two or more flounces, stacked
ed~:e over edge, applied as one \\;lh
all scam lines matching. If the fabric
is cri~p or finn enough 1o remain
sepnr::uecl when [he lnyers are
pulled up.m after llc>unce applica·
tion. the flounce has an ail')~ llufTy
appearance (Fig. -1- H).
Fig. 4 · 14. Two-layered flounce.
l..ayc•·cd llounces cut Irom 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 !icr·cd 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 The Art of Manipu lating Fabric
.- . .... ·· ~- ....
-. '•,
-..
(c)
( 2) The rows of flounces are con-
nected. The second Oouncc ls
auached to the lloaring edge of the
Hrst nouncc, nounce *'
the Ooa1lng edge of flounce #2, and
~~ Se\ Vll to
won. The measurement around the
top edge a£ each SUCCCSSI\'e flounce
mcrcases s >gniflcantl)' to the final
floating edge which "~II be exrrava-
gantly culargctl. way beyond the
Oaring potential of flounce PI even
if its length were extended to the
total length of the tiered Ootltlres.
A cfouf>k-crlg e<l cir·culm'}Jounce
begins as lWO Oounces sewn togeLher
with right >ides facing before applica-
tion. Opened and topstitchcclto a
foundation, the doublc-t'tlgcd Oounce
flares Olll Into spreading folds at each
side of the seaniline both flou nces
>bare (Fig. -1-15).
CIRCULA R FLOUNCE
Before joining the seamlincs of tltc
two nounccs, piece extensions (0
each flounce togetltcr and finish
the edges. If lining is the flni>h
o( choice, sew the lining to the
nouncc artcr ~ewing the two lmings
and the two flounces 10gerher
( fig. 4- 16). Sew the lining l~ the
flounce on one of the side openings
before tunung nght side out: after
turning. tum the s..-am allowances
on the 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 1han
the dep1h of one Oounce apart. the
noating edges of ma.<Se<l doublt·
edged cii'Cirlar']lounccs stand
upright because the seam lines are
crowded together so closely.
F'tg. 4·16. Lined dou·
bte-edged circular
flounce before tum·
lng right side out.

I'< I -O!ctt o(,.,.,.., ilcunc•~ df 3 • (7 5<m) ~~(rep) Mnmum fiore
"' rhc floor<>g cdl;e of a r.ouoc• cur V.11h ()11 .,,., orr:ie rhar hos a 4 1·~­
(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
oI 'n" (4cm) rad•us.Abo~ (/le foUJ' cm:rlapprt~g 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
~r~red wrfh o dot.'b'<:!
(old hem.

Chapter 4 MAKING FLOUNCES 73

 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

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 <~ppl.•ccwon
one! $<urcJy. dooble (oklllems lntcn
Sift Ill< (oJds oc the fioating odges
o( c/lree l'n<Jdc•vrefy·f/arcd flounces.

74 The Art ol Man i pu lating Fabric

 r -

IV-6-l'NO sp1rol~ut Poonces 2 • (Scm) deep. 'M!h a ''IVOI/ECd edge (on>sh. SIJI(Ound
a poc~•t·shoped af>PI•que. The Pare of each P<>Jnco g!Vduolly dll'll•OJs/les from maxi-
mum ot the futcre<J lower edge 10 mirnmum /Of' the ~Je<r:d lOWS on tcp.
CIRCULAR FLOUNCE

IV-7---fou< OO<II>e-Edged
""'*' f<JOO<e;, modero<e.y
flcncl arid sel(looed float·
•M{/1
"'8 ed-0es !hot srond m srately.
stu.•p:.ured .,.,'0'..es when applied
•n dose rows-.

Chapter 4 MAK ING FLOUNC ES 75

IV.a-&o,alt appl;coooo of'"' doul>'e-edged musl.iJtbK>ces ser .., $1.ihOy IV·9-P.eJ<0. ~ 01 t""""¥ eJOdng ~ !hot
"""'~ ,...~ spo:ed ~ do5e rogt!!w Tne ed,<.s are fin.$hed ...o> o . . . S"""& from 0 ~ ~ /loonce Tile 1Jom.
(Old Item. bomd flounces roper 110m J~ ~- (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.

Cl RCU LAR
FLOUNCE

IV- /~TiffEd Poonces Tne O<OJm(er·

ence at the ~ edRe IS 10 tmes
gre<)!er than r/lc Olt~e orrhe
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).

76 Th e A rt of M an ipu lating Fa bric


CONTROLLED
F LOUNCE
-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 1h< size and shape of the
nren the llountc will cover when
Its npphecl. If one s ide of the
art:a is a mirror imagc or the
4 indicating fold locations (b) slashed
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. 4·17. 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 ~Il!l
(d)
Fig. 4-18. (a) Target pattern w;th lines
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
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.
Chapter 4
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
curve~ smoothly across t.he
Ol>cnings, always recaining the
length SCI by the target pat-
tern. Add n seam allowance to
the scamline 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 cl•c sc"m allowance abo\'C
to enable returning 1he
nounoc to lLS target scamline
con1our, nocc the apex of each
opening wirh n ma1·k inside
the ~cmn allowance 1hat indi-
cates n cl1p. Cut out cl1e
fluunce paucm ((c) in
Fig~. -+-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. ~ln<ch che lcngthgmin
of the fabric co a cencral and bal-
anced posicion on the Oounce.
Sew the sections of tllc flounce
cogctbcr
MAKING FLOUNCES 77

(a)
' :•
4. Apply the selwed finish to the
floating edge ( refer to "Edge
Finishing for Ruffles" on p.~gc -13).
but if the nomiC~ 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
finish the edge.
5. Sew the flounce to nat fab ric,
clipping the seam allowance
where the patttm indicates to let
the flounce seamline match the
sc.am llne 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).
78 The Art o f Manipulating Fabric
The amount of spread to allot to
a slash involves info nucd 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,
Fig. 4·20. (a) somewhere in belween. Acldilion-
Target pattern :tlly. the d'"ractcristics of the
with lines Indica/· mtended fabric and the finish
.--.. ,----·-··--: ing fold /ocatiollS,
applied to th~ Ooatmg edge will
(b) stashed and
• widely spread. uffcct lhe appe.nrance or any nmount
/ The half·widlh of nared fullness. l'tst bcfot·e final·
/ section on the leh !zing a controlled Oounce puucrn.
edge will be full
......~/
_
... size when
seamed to a
To continue controlling lhe
flounce after It ts applied. arrange
duplicate pattem the flaring at the noating edge to
piece. (c) Final
pat/em with reflect th e Intentions of the pattern
stitching line, clip· while the flounce is hanging, or
ping, and grain- arrange and pin to a fiat surface.
line oorations. (d)
Controlled flounce Steam. Wail until the fabric cools
mado from the and dries before moving.
pattern. like circular llo~mc«, comrollcd
nounces may be layered (two or
more Oounca applied one on lop
or the other) and tloublt'-edgcd (two
NOTES & VAR IATIONS Oounccs flaring out to the sides
Irom a s hared seamline).
For situnlions where a circular
flounce ''"'on·• work. a controlled
nounce can be custOm·dCSigned tO
fit and fill the special requirements
of <1 pnrtlcul:~r appllcat.ion. Using
the slash-and-spread technique of
pattern devtlopmcnt, a controlled
flounce can be variably Oared ";th
deep fold~ fnr one pan of the noat·
ing edge nnd delicate ripples else-
where. With a comrollcd flou nce.
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 flou nce can
be devised to fall with equal flare
from all pomts of a convoluted
scamline.
CONTROLLED FLOUNCE
 Pl-11--iloorn:e designed co Pa•e 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 L ED FLO U NC E

/V-/2-flowxe tha< srarts oot ~mat cl!e rap <md

gtockJCJIIy de<elops deep folds ar !he bottom of
the arcufar oper.-,1ng. 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 fioa~ng edge

Chapter 4 MAK ING FLOUNCES 79

 odcls arc triangular inserts
G 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 ................................ 8 1
"'o tes & Variauons ..................83
Handkcn:hid edge ................83
Mock god<I. ........................... B-1
Fig. 5·1. (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.
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.
P ROCEDURES
I . For each godet. select a point
inside the pattern or the fabric
where the godct will bcgiJl its
spread. The d istance fro m poina
to lower edge equals the length
or tl1c godct, and includes a hem
r~llowancc.
• lf the fabric is unscamcd, con-
nect each point to ahe lower
edg e with a straig ht slashline
pcavcndicular to the edge.
•
' '
''
' the width will mea~ure .son,e-
''
''
/ ancc to the strJight sides of the
Chapter 5
~lark the pattern, then the
"rong side of the fabric "ith
slashlines that follow the
gmin, o r mark directly on the
fabric ((a ) in Fig. 5·1).
• If the fabric has n vertical
seam ar gode t locmio n, posi-
tion the po in t o n the $Cam.
The stam remains open to 1he
lo wer c.dgc lo r god ct I n~c rtio n
((b) in Fig. 5-1).
2. Using a mechanical or string
compass set to the leng th uf the
godet, draft the godet pnttem.
Draw a ci rcle or :t po•·tion ora
circle. Estimate how m uch of tltc
circumference the godcc s ho uld
add to the edge w here it will be
inserted to achieve the dcsircc.l
noat. Iso late that amo unt b)•
connecting the ci i'C'umf.:rc:nce 1o
the compass point with two
straight lines. establishing the
wid th or the godct at the lo wer
edge (note that after hemming
what less). \ dd a scam allow·
circular segment ({c) and (d ) in
Fig. 5- I ). The pattern as ready to
cut out and use.
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 the godct's wrong
side, mark the point wltcrc the
side ~cam lines meet at the tip.
for InseT! io n into a slash, mark
Lhc side sc.amlines as well.
4. Insert th~:godet:
• 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 poin t. .-\nach the other
side of the godet to the other
side of the opening. When
Onishccl , the break between
the godct scam and 1he scam
above >ho uld be imperceptible
((a) and (b) in Fig. 5-2}.
82 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 o n each
<ide of the slashlinc. Hand
b:tstc a 2" (Scm} o r 3"
( 7.5cnl) Stlu;.tre of o rganza
o r lining material to the
fron t of 1ht: fa btic behind
the top of the s lash line.
Swn ing at Lite oonom of
I he squao·e. machine stitch
up to Lhe: point on one
side: pivot on the needle:
tak~ a horizomal slitch
ncl'IXS the pomt: povot and
sew down the other sule to
the bonom of the square.
Stitch nght beside the
scam line with very small
stilehcs ((a) and (h} in
Fig. 5·3).
GODET
Fig. 5 ·2.
(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 rein forcement as an
extension of the se-am
allowance. With right sides
together, pin mmch the
ho•·izonial stitch at the
point of the o·dnforclng
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 rcrnov~: 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 the point, cl ip
and pre.'i.< 1he sc~m allowances
open {(c) ond (e) in l'ig. 5·3).
6. Hem the noating edge of the
godet and the fabric on the sides.
 NOTES & VARCATIONS
Ahhough triangular goders arc
~- --, Fig. 5-3. ttSual, godcts as wide as a half circle
1,
·- __ I
(a) Reinforcing
square basted, and
{b) opening machine-
and as large ns a full circle are feasi-
ble when exceptional!,- lush. luxuri-
stitched (c) before ous folds arc the desired rcsuh. A
Slashing and puHing wide godet of fabric with sufficient
the square to the bod,- to stand out and awa)' from
back. (d) Pinning
and basting the the insertion fnbric will rise ar the
seamline beside the noating edge as it projects unless
slash to tile godet the lower edge ls elongated when
seamline on one
side. (e) The inserted the godet ls designed ( Fig. 5--t).
godet with seam If the godct is w ide and long.
1-...J-1'-- allowances pressed. hung the upplication for 24 hours
(a) (b) (c)
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 2~ 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 o f the
godet, the chnrncteristics or the illb-
ric, and the effect o f an edge fmisb
on the sweep of the Ooat. "Edge
Finishing for Ruffies• o n page 43
{d) (e)
describes possibilities: For large-
scale gndeL~. ndd to those choices a
deeper. single-fold Oat hem, eased
around the curve, perhaps with a
suiw;blc >tiffening laid inside the
fold.
Fig. 5-4. Half-
circle godet of The lomodlw·cl!ief edge is pecu-
stiff fabric falls liar Lo godets. h stan.s as a square.
into folds that usually of light, delicate fabric. One
(a) lilt at the corner o f the square becomes the
lower edge as
/hey pile up point o r the godet; each side or the
unless (b) the square equals the length o r the
circumference godcr. For two sides o f the square,
of the godet
pattem is select an edge llnlsh that favors a
gradually soft, Ouid Ooat (fig. 5-5). After
elongated to inkrtion, the un:ntached comer of
compensate. the square dips to a Ooating point
(a) (b) in the center.

Chapter S MAKING GODETS 83

 A moch godct cotwcns an in·scum
godet insertion into a onc-sc~m
tOtlSU'tttliOtl. ln;,tcatl of cutting :1
separate godet, one-h:~lf the intended
godet is CLll·inwone with Uw side fttb·

I I
"I '0 ,•'
I
'
..
I 0

I
ric, trrtding LW() side ~c.·nm:> for om:
centered seam th:u continu~ from
the seam abcl\'e (Fig. 5·9 ). Although
' 't I
:
I 0

\I a mock godct stre~mllncs cutting

o I I
o I I '
and sewing procedures. it has a
I
0 I
I • •• dls.~dvamagc: 8oth sides of a mock
I I
•I gooet fall on the bias of the fabrtc .
I
I
I
I
I
I
, •• which mar begin lo s.1g £rom the
I o • I
I I
•• '
••
firmer stitching in tltc .c.m1.
I I
• ••
I
I
•'
'-'-
(a) (b)

Fig. 5·6. To relieve lhe squeeze at

the point of a slash, (a) move lhe a•
seamfines farther away from the ''
slashline at the lower edge, or
(b) locate the seamlines beside a ''
Fig. 5·5. Square godet creates 8 V·shaped cutour.
'' '
IJandkerchief edge. Tile 1/oetlng cor· ',
ner and sides of the godet can be
''
adjusted for fongth .
''
''
',
l n~enion in :'1 s lnc;h is mon.~
troublesome: rhnn goclct insert ion in
a seam. Even wit h a J'dnf!H'dng
;
.-···.~ ,....
square. lh(' minbcuh: ~cum
'' .' ..
' \
''
allowance nl Jhc lOp of th¢ $lash
makes ntm ill<cnlon trick)'. Tilling
''
'' . '
/
'
Fig. 5 ·9. A "cut 2' mock godct pallom
has one seam down the middle. A
the seamli ncs further "way from the '' '' circle (• ) Indicates the point wllere a
slashline helps. Cuuing a vcc·y n.tr· '' true godot would have pcakod.
''
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 ~l anes Fig. 5·7. The seam allowanc6 around
of the bias. That mar ca•l5c strcrch the cuNe of an arched cutout will
problems. a consideration before need close clipping to accommodale
selectmg rlns option (rig. 5·6). godet insertion. The rounded lip of
lhe godet matches the arch of the
\\"rderung the slash to J narro". op611ing.
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 Fig. 5·8. A stay slilched
tip with a stay in back forces godet to the seam allowances:
(a) Holds the top of an
fullness forw:trd :tnd prevents soft, m·seam opening closed.
slippery, godct fab1ic from <lidlng (b) Restricts the opening
behind the insertion sean" (Fig. 5·8). at t11e lop of an in·slash
godot.

84 The Art or Manipulating Fab r ic GO DET

 "'''m;
V-Z. fight slim JIO<Ie<S on,ortcd ltlta e.gh< sr<Jpe o t•.bu'ar
mus!n cons~ruct.oo ""'' ~ !lore ,..,.,., !he JI0(1ers 5tclll-

... "' "'""' ROIJCIS TWo ;hM£1, lfiOflgu.'a• RodelS [lank a tall. hal{
~ode ' thor prOjem. 1ro1ni:ke, (rom 11s msc.-oon seams.

GODETS

\1. J ( OLtt musl:n godetS 1/lSertcd Jn(O S(CJShes.

Chapter 5 MAKING GODETS 85

 V 4-fNO godeu set onto s!os~es
Slepped on l""grh.Airhough each
RO<i<>t rs OJt (n>m the some
5~ sect/On o( a c.'tle.
I'Jetn ~«TeaSe OS
!he go<ku ~ on length

GODETS

V·S-Quor.cr-otde godet
wnh 0 I1XJtJded Ill> "'se<ted
""" o wndo< ll'thed cutout

86 Th,e Art of Manipulating Fab ric

Systematic
Folding
 Ieats are measured folds
P rormed at the edge of a piece
of fabric where they are secured
with stitching. Beyond the stitch-
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 ........... ... 9~
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-Fo ld ~nd 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> .............. 106
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 Accordio n
Pleats
• Mini-Accordion Pleating ...... Ill
l'roccdurc;; for hand·
fo m>ed accordion pleats .. I II
Notes &: Variations .. .......... .. ll2
Procedures fo r mini-
accordion pleati ng .......... .. ll 2
Notes &: Variations ........... ... 113
WRINKLED PLEATING
• Droomstlck Pleating
• Contortion Pleating ............ 115
Procedures .... .......... ... ....... ..115
Notes &: Variatio ns .......... .... 116
DOUBLE-CONTROLLED
PLEATS .... ............ ..... ... ....... ... 118
l't·occdures ........... ............... 118
Notes &: Variations .............. 118
Crossed pleats ................ .. 11 S
Fixed plcats ........ .............. ll 8
Needle·fonned pleating .. 118
Solid mini-accordion
pleating .. .. .................... 118
Note: This chapter begins with
BASICS, indicated by a gray band
located tllldcrneath the relevanl
columns.
PLEAT BASICS
PRESSING PLEATS
t o ne time or rmother d uring
A
the formation of pleated fab-
ric. the iron becomes an
essential tooL Somet imes heat,
steam~ 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.
There~ mo re 10 pressing the folds
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:ttio ns 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 foil. If using a rcgu·
lar ironing bnard , bacl< it u p agains t
a table or chair to suppon o\·erhang-
ing fabric.
To prevent irnprinclng. remove
all pins and basting threads from
the first group of pleats to be
pressed. Arrange these pleats o n the
pressing sw-face, smoo thing,
strnightemng. and aligning into the
correct posil ion . To prevent the
otHer folds fro m 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 the under·
fold ol each pleat to be pressed.
PLEAT BASICS 89
 been pressure-and-steam-creased,
Knife
f ·f _[ I r--F·f·
.I rum the fabric to the other side and
repeat the process.
for extra setting power. dip the
Flat Pleats Box
I I (·····t· press cloth into a solution of one
part whhc v;ncgar lo nine parts
Inverted -----·-··· water. Usc two press cloths, one
! l under the pleat.' and one on mp.
To complete an application of
Single Box unpru5ed pleats. tug the folds into
an equalized arrangement while
···-- 1··--···· hanging. or arrange the folds while
pinning the edges to a padded
board, <lab pinning imertor folds, if
Doubled Box
neetSSM)'. Sctde the arrangement by
steaming with an iron or steamer
moved slowly above the surface of
Three-Fold Pinch
\ 17 \ 17 1he fabric. f\ llow to cool and dry
before moving.

v-wr
H E,.,IMING FLA.T &
Four-Fold Pinch
'f PARTIAL P LEATS
~

,
Projecting When pleating lengthy fabric,
Pleats the scams that join two pieces of
fabric :ore always s ituated unobmt·
Rollback Pinch

IF sivel)\ Unks> the application and

Plpo Organ ~~ ' plem ing arrangcmem make it

unavoidable. never locate joining
scam~ on an outer fold. When
forming n:u pleats. place joining
scams on mncr folds. or centered
behind an lm·erted pleat.
Rollback
Cartridge
~ (\@ ~ Scams on the mner folds of Oat
and partial pleats present problems
when hemming. there are two

Cartridge
~ "1 - ! option< when dealing with the scam
:lllow:lllCcS: ( I ) Press the inner-fold
scam allowance open and fiat rrom
~;;-.j ' ~ the lower edge 10 the depth of the
hem. lum up the hem and stitch .
Accordion Pleats
• ~ dip the scam allowance at the top
of the hem to free it from confine·

Broomstick Pleats
Fig. 6·1. Pleat profiles.
Im merse 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. Don·t slide the iron;
pick il up and re-position. Remove
~
the dry cioLh but let tht r:1brit COOl
and dry thoroughly bdot·c 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 ple~ts until
they cool. When all the pleats ha\'c
ment, re-fold the pleat, and steam
press the hemmed pleat fold.
(2} II em each piece of [abric first.
then sew 1he pieces together,
matchi11g the 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. 6·1).

90 T he Art of Manipul atlns Fabric PL~AT BASICS


(a) - - - . . . L_ _ _
I
'
!
:
rl
(b)
(c)
Rg. 6·2. 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 angle·trlmmed seam allowances.
To cope with t he fo ld s o f
edge>tit checl pleacs when hemming
the floatm!\ edge: (1) llcm the fab·
ric fma. then edgcstitch the pleats.
(2) Stop edgestildting at least I"
( 2.5cm) above the upper lc\CI o f
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 o f 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, p ush the needle inside
the hem fold and bring it nut half-
its-length awar before cuuing the
threads.
Folu and !(team press 1he 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 Sid~. 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 d irections.
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 reductio n. Specif)'
the t)'pe of 'Oat pleat each fo ld
pos ition reprcsct11S ( Fig. 6-3).
3. Calculate the amount of fab ric
required fo r 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
Chapter 6
(o)
j Placemon1
- . . L_ _ _ _ _:::::""{,..._Lino
._outer
Fold
'-4- Pleat Depth
(b)
Fig. 6·3. (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 1he plcntcd fabric require·
ment, or a gnoph·paper reduction,
make a pleaung pattern with
measured undufold spaces sepa·
rated by perpendicular lines. On
consctlll ivc Unes. indk~ne a n
o uter fold for every pleat fold
marked on the original plan, next
to an inner fold •nd a pl•cemem
line for each pleat. Arrows con·
nccting omer folds to placement
lines. indicnting directio n, 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 ho ld a sharp
crease pcrmanendr ((a) in
fig. 6-i).
PLEATING

(a) (b)
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.
• With 11 lowered release point:
Pleats stitched from the wp of
the fab ric down for a specified
distance, either visibly by
cdgcstitching next to th.e [old
through all la)•crs, o r 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 o n the right
side of the fab ric. Using a long
straig htedge, indicate an o uter
fold and a placement position for
each pleat (the inner fo ld 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 d irectly opposite with
lines, following 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 co l·
ors of tluead.
• Basting seams using different
stitch lengths ((b) in F ig. 6-5).
• Pin-marked lines, changing
the head color of the pins.
92 The Arc C?f M anipu lating Fabric
;;;-~ pleats marked and formed on
;' the wrong skk of the fabric
;
open in the opposite d irection
i
i on the Tigh t side of tl>e fab-
ric.) f o r inverted pleats,
baste the o uter fold lines on
adjacent pleats wgcther: cen-
r ter the shared placement line
(c)
I over rhe basted seam and pin
the undcrfolds. To lowcnhc
I
release point of any pleat·
invisibly~ 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
8. Ft>rm the pleats : o n its o uter fold line and
• When working from the back bring tl1c folded edge to 1he
of the fabric on a knife or box placeme.m line; pin, and then
pleat arrangem ent, lJaste each baste through all three layers
outer fold line to its place- of each pleat. lf the fo lds arc
ment line, sewing through to be edgcstitchccl, distance
two layers of fabric. 1\.ITn the the basting seams fro m the
under[old to the appropriate outer fo lds (Fig. 6 -7).
side and pin. (Note that knife
r
1 : I I
I I
I
I
I I
I I I
I I
J I I
I I I
I
(a) .___.,.I I
.....__.. l
I I
I I
I I
I I
I I
I
(b)
~.,:._- .__:.,o-f-
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.
FLAT PL EAT S
 1, 1,T, I I I
r-
d, .. I NOTES & VARIATIONS
II II ll tI l : J I
ArmngemcniS of Oat pleaiS fca-
I I
I'
II
I, I I I 't\ tI ! k
rttre 1he repetitive, ordetl)• organiza-
tion of parallel folds 1bat open
1! I• t Il I I
I II I
when dis wrbcd. Variatio ns in plea!
I, I I I depth, in the spadng between
It
I
I I I. J I Jl , I
I 1 I pleats, and in the combining of

II II Il knife, box, and inverted pleats are

II I
II l, I, I I l II
I I
I
I
I l
I
the design components of flat-pleat
arrangements.
I lI l ;_11 I..___.
= I
I I I
I Gronpings of knife pleaiS may
(a) (b) (c) be turned ln opposite directions.
Sometimes at11hori1ics define knife
Fig. 6-6. Forming pleats on the back of the fabric: (a) Knife pleats with fold and pleats as pleats lis'' (!.Scm) deep
pla cement lines basted together. (b) lnverled pleat centered and pinned after facing in the same direction. and
(c) bas ling the fold lines together and lowering lhe release poinl wilh machine
stitching. pleaiS with a depth greater than
W' (1 .5cm) as side pleaK Kilt
ple<1ts arc deep k nife pleats with
T
I
I
i i i
I I I
I I I
'
i i
I I
I I Release
Point
~: y::. . . . . . undcrfolds that o verlap .
Pleat knninology in action may
be easier 10 remember than pleat ler-
minology from a diagram. From the
I I I I I I side, push a ruler under the fold on
top ( the outer fold) . When it is
I I I I I I stopped by the fold hidden under-
I I I I I I . Edgestitch ing neath (the inner fold), note lhc mea-
surement on the ruler at the omer
I I I _I, I I
_c
''' fokl. That's pleat depth. Pkat.dcpth,
' -'
" ' '-
doubled, is the underfo lcl. The spac-
ing between pleats refers to the dis-
Fig. 6-7. Pleats formed on the righi tance between two pleat folds on top.
side of the fabric with basting holding
all/ayers together. Fig. 6-8. lnverled pleat edgeslltched When pleating, work o n a sur-
!lt6• (1.5mm) from the folds through face tl1at allows large sections of 1he
• Lightly stc>am press all folds three layers to lower the release fabric to be spread out from Lop to
that will be creased. point, and through two layers to lower edge. Use a g ridded cutting
crease the pleat folds permanently.
9. If desired. choose. one of !he fo l- board to hold the fabric straight
lowing to edgcstitch the pleat • Edgeslitch from the top to il>c and assist when marking the pleat
folds: designated release points o nly. lines. Where lengths of fab ric arc
• Starting at the Lop, cdgcsti.tch 10. Sew the pleats down across the joined, place the. seam at the inner
through two layers ne><.t to the top inside. t.he seam.allowance. fold of a pleat unless the joining
omer fold, the inner fold, or seam can be located on the place-
.II. For <tll bttt unpressed plc1us,
both. ( Refer to "Hcnuning ment line behind an inverted plea!.
s1e.am press the folds into .sharp
Flat and Partial Pleats" o n creases (refer 10 · r ressing Flat Topstitching that crosses an
page 90.) and Partial Pltats' on page 89) . arrangement of pleat folds controls
• For pleats with edgcstitched 12. Hanel or machine. sew a single-
folds and release poims also fold Oat hem into the Ooating
lo\-v.,;-.rc<l wiLh edge'sLftching: edge (refer to "Hemming Flat
(l) Edgcstitch each pleat fold, and Parlial Plea1s" o n page 90).
starting at the release point. Press again. Bind the top edge of
(2 ) Edgcstitch fro m I he lop the pleated fabric, or scam it LO
10 .1he lowered r elease point an extension (refer to "Stabilizing
th rough all 1hree layers, encl- Gathered Stitching" on page 6
ing With !he needle fn Ihe [irs! for applicable directions) .
of the previous cdgesLitches
(Fig. 6 -8) .

Chapter 6 PLEATING 93
pleat rclc:tSc in an unusually deco-
rative fu.lliou. Pleat ropstilclting
pauem~ the area above the released
ple3l5 ,.;th a hnear dL-sign that
combines \'crticnl rows of folds "~th
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./
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) .
spaces behind 11 .uccession of cloth-
covered louvers. cmcrgcs knife or
box ple3ted when steam pressed
while in the plcatcr. Skipping lou-
,·ers-pu~hing 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 o f any length. the
II" (28cm), 22" (56cm) , or 27"
(68.5tm) width of a pienter limits
the wid th of the fablic it can convc-
nicmly pleat, and 1he pleaters restrict

,, ' ,· ··.
. , / '•, .., , ' ...... , / , ' ·... .'
pleat depth tow· (!em) or lilo"
.....
,' ·.... ·· ·. ·" ....
'-.., ,/ ' '·
.... ,' ·.., .... ,• ', ... ,' ..... _,,. ·...
/ ,' /'
i ; :'
:•
' (3.5cm). \VIthin those hounclarie.s,

.:i'
'
..: ~
the Perfect PIcater is an easy-to-usc
.
,' /
.. ,, ' ,/' .... ,.' .., ,' .., ..· .... .· • and time-sa,1ng tool (Fig. 6-12).
,
. , /" ,· .... / !'-.. / ·.., ..·i\-.. / ·.. i ... . :'
.•'
.: •
:• ' ..:
: !
• .:. •
! ;
• ' :•
I' I 0 •.•

_
I
!
:
I
' .
! 0
l0
ir-l ~~
Fig. 6·9. Diagonal topstitching that
towers release points and becomes a Fig. 6·11. Two inverted pleats with
design element In combination with underlays replacing the back of the
the folds of the pleats. underfolds.

Doubled or tripled pleating pro- T he Pcofcc/ Plcater is a simple

duces extravagant folded full ness at
the Ooatmg edge. To double or
tnple a pleat. stack the undcrfolds,
matchtng the layers m depth or
but ingenious device that sets shal-
low pleats into a length of fabric Fig. 6-12. A Perfect Pteater for knife
pleats.
without prior marking and basting.
The fabric, pushed do" n lmo the

Fig. 6·1 0. Box pleats with the two

side plsats doubled, the center
tripled. and pleat depths staggered.

91 The Art o f Manipulating Fabric FLAT PLEATS

 Yl·2-f'res;ed knife ploars. duswcd rn grovps of U!reo.

FLAT PLEATS

'1/.J - Pre<sc<l knife plecrs wi!hlowered ~eleose po.nrs ihor

d!reCIIOn on e:rher side of o cerurof box plem.
'"'I""" Vf.4-f our box pleors edgesr•rched 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.

Vl~rnree 1nverted pleats WliiliMiercli release

FLAT PLEATS 'XIinls and mnet and ovter (Clds edgcsritdled

Vl-7- lnverted pleors

swd<ed throe deep
wr111oil [otds matchir.g
a,·{d t.mpressed.

96 T he Art of M an ip ulacing Fa bric

'/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

FLAT PLEATS

Y!-9 K:>(e p/eols (atmed

on o Perfect Pteot!<

Chaptor 6 PLEAT ING 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
specially 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
remo ved from the lower portio n 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
Poin t
(I) Pleat depth. (2) Sp•ce Frg. 6-14.
between pleats (pleat depth plus (a) Cutout ro
be filled with a
an add itional amount for extra pleated insor-
spread, if desired). (3) Length of lion. (b) Pattern
a pleat from the top 10 the lower lor/he pleated
edge. ("I) length of a pleat from insertion, cut
from folded
the 101> to the release poinL paper, thai will
Inverted extension pleats: be set Into the
cutout. Add
Add a S«ond pa11em for an under- seam allow-
lay that duplicates the underfold ances to final
extension; at the sides of adjoining patterns. (a)
' - - -..J
pleat sections ((b) in Fig. 6-13). Cutout
(b)
Set-in 11leats:
(I) Draft a pa11ern for the shape
10 be cut out £rom the fabric. :Pleat! Pleat
I
Pleat ! .Pleat;
( 2) f'o ld a length o[ paper,
slightly lo nger and much wider
=-·
: I f- j ~:1._f
I
than the cuto ut shape, into an
arrangement of knife. box, or I
invened ple:~ts. (3) Posiuon the
cu to u t over the folded pleats;
nace and cut on the outline.
Open and pencil folding guide-
lines on the pleat insen panem
Pleat Insertion
(Fig. 6-1-1). A'·oid locJtmg pleat
underfolds too d ose to the sides 2. Cut and sew the pleats:
of the c ut<llll when trueing its
Knife or box extension pleats:
shape on the folded pleats.
many pleat ~cd.ons as
( 1) Cut 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 1he pll"t
sc.ctions 1ogether. Open and
spread out. (3) Measure the depth
of each ple:~t to assure a match
when folding and tuming th<
Rolease pleats in 1he desired direction.
Point lla.<te each pleat through nil layers.
(4) After clipping scam allowances

/ to the release points, prt'SS the

Pleat
Depth
Speco
Between
Pleats
""
Pleat
Depth
Longth
Of
Pleat
I
Pleat Pleat
Dtpth Depth
scam ~dlownnces above the plcm
extensions open a nd Oat. Ughtly
press the pleat rolds (Fig. 6- 15).

Pleat Soc tlon Underlay

(o) (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 M an ipulating Fabric PART IA L PLEATS

 3. Secure the loose underlayers of
extension pl~ts h)' topsritching
through all layers from the l'cle.'!Se
point to Lite edge of the undcrlar·
er extensions (Fig. 6-18).
"'"'...... ,.··
,·..., / •'

l Fig. 6-15.
. Extension pleat
sections seamad
!' together, tumad
tofotma box
/
/
!
pleat on the left
.
i
!
and a knife pleat
on the right
.
! .

.. .
Inverted cxten-.;lon pleats: Set-in pleats:
\1) Cut as many pleat SCl'tions (I) With a fabric-safe marker, Fig. 6-18. Extension pleats fin/shad
and underlays as needed, cut- trace t.he scamlinc (the outline with tops/itching that secures the
un~ around the outlines of the of the cutout) omo the right side angled pleat extensions underneath.
p.lltcrns or followingtrneings o f lht fitbrk. Cut out a seam~
4. Steam press creases into the
of the pa11crns. (2) With right nllownncc-distance inside the pleats (refer to "Pressing Flat
s1de.s facing. sew lwo plc:u sec· s.::unline. Clip the scam allowance, and Pnrlial Plc.nts" on page 89).
Lions tog"thcr f1·om the IO[> 10 Lurn iL to the back on the se.am-
the rclc;~sc pumt. (3) Sthch an llnc. and baste. (2) Cut out the 5. H'md or machine sew a single-
tl nderlay between the two pleat insert following an outline fold Oat hem Into the Oonting
adjommg plc:u ex1cn~to ns, traced on the f;~bric. Mark the fold edge. (For extension plea~~. refer
~cwlug cac.:h side from 1hc and placement lines. Fold, baste, to "H emming Flat :mel l'anlnl
release point to the lower edge. and lightly press the pleats. Pleats" on page 90.) Press again.
(4) Press the scam nllow;tnccs (3) Pin and bas te the pleatecl
above the rdea•e point open insertion behind the prepared NOTES & VARIATIONS
•nd n.,t.Ccmcr the underlay opening. Edgcstitch next to the Unpressed folds are an option
beneath the converging pleat fold around the opening for an application of set-in pleating.
folds, ha.<te , and prC>> lightlr (Fig. 6- 17). Other options include cdgcstilching
(fig. 6-16). 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 cun·cd. stroight, or
·..~ pointed. and the cutout can be wide
! enough for one pleat or a succes-
; sion of plc.ts.
1 A sta)' t.hm secures the loose tops
'' of extcostons and undcrln)'S invisi·
! bl)\ replaces the topstitched stabiliz-
i 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
Fig. 6-16. Underlay seemad between Fig. 6· t 7. Knife-pleated insert set the top.
two adjoining pleat extensions with Into a cutout (see Fig. 6-14 for the
Inver/ad pleat folds centered In front. patterns).

Chapter 6 PLEATING 99
 ---··...·········- ···- ··..··-·- ·-·· ·-·

Fig. 6 ·19. 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 1he
unntn1ed ed~e of the stay to tht top
of the joined sections. Hand~ritch
the tnrnc.d lower edge of the stay to
the scam allowance.s at the top or
each pleat extension (Fig. 6-1 9).
Extension pleating is generally
crisply pressed because the seams in
the underfolds already function as if
creased.

PAR T IAL P L EATS

Vl-1 0-/:Jght pleat seaions 1otilf> exr,en.;~OilS

r/lat create seven kllife pleats. If the skies of
rile sampfe we~ seamed rogether. anmher
plea; would be formed.

100 Tho Art of Man ipulating Fabric

 t I
'4• :a.
• •
•
~
.. 'J •• t
l
f •
• "'
PART l A L PLEATS

..,_,, The back of me

i<ni{e p/MMg sample sh<>N·
•ng its tearned constructtOn.

'"-! 2- S.X pltot SectiOnS

combot>«i ot>d (ol<kd ll!to
five •nvertec/ extens•on
pieau ~ With onder·
lays A COOMUO<Js 10~
$0(C/Ied SI!Om $10b<I.>N!S
Chc !ops of rhe e<rcn"""s

Chapter 6 PLEATING 101

 VI I 3- Thc bock of (/1e
""e<ted pleat somple
show>ng (he ~tnderloy$

PART I AL P LEATS

.,
•

VI 1~The back o; dle ser-!fl pleat sample Pleat un«rfold$ ""'

caughc ana> dle: cor.slltlction seam ooo/ at the toP

VI/ ~1\vo ""'""ed plem insetiS set mto curvcd-<op Clltouts.

I 02 T he A rt o f M>nlp u/o t l ng Fa bri c


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
~d 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 o r four smaller pleats.
ROLLBACK PINCH PLEATS
- have an additional turn on the
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 to 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 pag~ I 06.}
1. Decide which type of pleat is the
most appropriate for the project•
Set n target measurement for the
pleated fa bric to match at the to p.
2. Calculate the am ount of Jabric
required for 1he pleating:
a. Set n pleat allowance mea-
surement for each pleat. As
Indicated by the indi\'idual
instructions th~t 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 the head-
Ing. nnd release deeper, more
spacious folds into the f~bric
below. Using a s trip of fabric,
pin test pleats consln Lc ted
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 me<~Surement, using either
of these methods:
• Plel< n number fo r tl1e
pleats 1he target measure-
ment can be e.xpeered 10
accommodate. Divide the
target measurement by that
arbit mry figure to get the
space between pleats.
Chapter 6
• Using n strip of fabric, 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 fo r the
pleat.> tltat will fit \\~thin
the target measurement.
With projecting pl~ts, the
wldt.h of 1he space between
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 les~r 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 ple~ t allowance
target measurement
+ total pleatallowance
• Esllmatod Fabric Requirement
d . Add the 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 the back; press. The
pleat he:lcling sho uld he at
least hnlf-thc-ple:u-allowance
deep. If needed to brace the
StniClllrc of the particular
pleat. Stiffen the heading "~th
mtcrfacmg.
PLEATI NG 103
 Pleal
Allowance
I I
Allowance
·"'··~\::::,::o~·::r.~:f"" : ;:~;:::lee•·
(a) Depth
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.
Mar~ing \\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
exte n d~ 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
th e pleat nllowance into two
1>nns whh a secondary seam as
long as, unci parallel to. the 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.
(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
104 Tho Ar t of Manl p ~ lati ng
Pleal
Ploat
Allowance
I Si ngle box pleat:
(I) For each pleat, nallen the
p)cat allowance. centering the
fold over 1he primal)' scam.
{2) Top>titch str.ught across the
base of the plc.tl where the prima-
Pleats Pleats l)' ~eam ends, or tack the wtdtr-
folds to the fabric behind ";th
invisible stitches (F~g. 6-22).
Fig. 6-20. (a} Heading marked with
seamllnes at the sides of each pleat I
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. 6-22. Single box pleat.
(Fig. 6-ll ).
Three-fold pinch pleat :
( I ) For each pleat. divide the
r., i
I '- '
folded pleat allowance into
thll'ds, rnnrkmg the third next to
t Primary~
! Saom l ;he fold with a row or pins that
l #i parallel the fold. (2) Pushing the
I / •
pitt-seam down to the primary
(a) Secondary scam, open 311d narc the pleat
Seam
allow:>ncc below the pin-seam
ouL to Lhc ~ides. making three
equ~l plents, two 0 11 either side
of the 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,·-
(b) ing the pins. (3 ) At the base.
secure the folding ";th machine
Fig. 6-21. To form e doubled box sTitching that crosses straight out
ptear: (a) S11tch the secondary seam. or
from the end the primary
(b) Re-fold the pleat allowance, cen- scam to the m:ttchcd pleat folds,
tering seams. Topstitch across the
base of the pleating. or hnnd tack the folds together
( Fig. 6-23).
l
: I
l Primary l
; Seam I'"""
: l )
X
Secondary
Pln·Soam
(a) (b) (d)
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.
Fabric PROJECTING PLEATS

Primary
Pleat
Fold
(a)
\ Second
I (b)
Creases
Ftg. 6·24. 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
j
Seam
__..-I
l
I
I
Secondary I the fold of tl~ pleat allowance.
Pin·Seam
(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:
(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 th~ primary seam out to
the sides. The pleats formed at the
sides owill be twice as derp as the
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
X as long as the heading. To swbi·
lize. tack the cylinder. at the top
(c) (d)
and base, 10 the fabnc behind it
for a shon distance on both sides
of the primary scam (Fig. 6-26).
Fig. 6·26. Two pipe organ pleats.
Rollback cartridge pleat:
(I) For each pleat, finger crease
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 1he pin·
scam upright, col~1psc the pleat
allowance above the pin-seam.
center pleat. At the top edge, tack matching the linger-creased fold to
the two inner folds 10 the primary the pin-seam. Anger press the new
seam. Finger crease all folds before folds at the sides. (3) Remove the
removing the pins. (3) i\t the base, pins, releasing two interior pleats
hand tack through all three pleats. thnt fonn a support for the wide
catching the fold of the smaller exterior pleaL which curves uround
pleat in the center. (4) Turning the interior pleats to the hack. On
the folds of the side pleats down both sides, slipstitch tht outer
to the heading. tack each outer folds of the sunounding pleat to
fold to the primary seam at the the primary seam from the base to
base of the pleat (Fig. 6-25). the top (Fig. 6-27).
'
1
Slip· Slip·
I
/
Pri mary
Seam i~dary
Pln·Seam
Stitch SUtch
(a) (b) (c)
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. Finl~h 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 p leats,
single bo., pleats <tre the leas t
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 s truc-
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 lh·c 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. 6·28}.
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
106 T ha A rt o f Manip~la cing Fabri c
Fig. 6·28. 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 stl'lp~.
To be inconspicuous. seams join -
ing lengths of fabric should fall on
or ncx1 to the primary pleat
allowance swms.
PROCEDURES FOR
C ARTRIDGE P LEATS
(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..1rgcLmeasurement! or scale
1he t~rgeL 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
cun•ing projection for each
pleat, test by pinning a strip
of fabric Ot' paper to a pleat-
PROJECT IN G 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 s Ut)' 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 spa~ 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 tum back (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.

C•l Space Botweon Pleats
( measure 1hc plea1ed fabnc needed to
I : l \ i :
I
l\l .J..f L
.ll'!
Spa co Be1ween Pleats ······· ············ ··· ······-· ·-··· ·· ··· ·
Heading
Depth
(b)
(c)
:VOTES & VARIATIONS
ln>tcad of a Slay nligned ICI the
wp of 1he pleated fabric, f~brlc may
be plea led 10 the lower edge lublit or
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 \~Sible behmd car-
mdgc plcaiS. Sta)' fobric >hould be
d~omtivc 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 cw~ a shnrp
valley between the bulging curves on
either side ((b) in Fig. o-30).
creating a packed mass of folds whh
a thick edge ((c) in Fig. 6-JO).
Bullet! carrridgc plcn1lng rcquir~ 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;
:: I I cover that distance and compu1e
I
I I
l 1
I I l
.L 1
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 ple~tS. (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
I 1 I
1 I I over a stiiT, sturd>· st:t}~ r:~ck che nam
I I I or c!ICb fold to the Slay, nrst along the
-' L L L
lOp, then at the bOllOnt (Fi,~t. 6-32).
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.
(a) Standard
Fig. 6-32. Tacking the rops of butted·
cartridge-pleat folds to a stay before
tacking the boNom of each fold to the
(b) Continuous stay.
To t-qualizc 1he spacing of 1he folds,
mark 1hc St.1)' with two dotted guide-
(c) Butted
lines, a dot for every >tilch hue> a
fold. Canridge plea1ed fabric buued
F"lfl. 6-30. Cartridge pleat profiles to a stay proJe<:L< outward before
from the top. t1lling fn lavish folds 10 the Oonung
Butted cami dgc pleats seem like edge. The silhoueuc i; bcU-hke when
a misfit in 1hc canridge. category. the stay encircles a soltd Conn. If the
The pleaiS nrc formed on gauged fabric is very stiff and the pleats fairlr
gathering lhrcads (refer tO deep, bu11ed cartridge plea IS nr< self-
"Gathering Methods· on page 4), 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 PLEAT ING 107
 VI-17- Three-fold pinch pfeats rhar (an our abtJ~e
Vf. J0--Doubie:<i box preals a/ternatmg wir.h sing:e box pleats.
avet fh~ ·(olcf rad<ing sri!cr...s at rhe bose.

PROJECTING PLEA T S

VJ./9- The wmg·like wmbacks <~f ro#bcxk pinch pleal.S

requrre more {abnc 0'10n rhrec-(Ofd pmch pfea!S, and the
Vl-18- Four-{Oid pinch pl<'<liS. {abnc fa/Js in wider. deeper columns below the heading.

108 The A r t of Ma nipulat ing Fabric

 .... ' '
I
' 't
I

,_

Vl-7{}-0osely spaced pipe organ p,'<ats pro1ec! ~· Vf.] /- The cldt s;ruccur;roR o( rol!b<Jd< cortJidgc p.'oats. a ro11nded e><le·
much as chc di<Jmerer of the tubular sho)l<!S J11 the rior concealing wpporove f~eaiS insido. reloascs urtCXpocred ful!ness.
hea</mg

PROJECTING PLEATS

Vl-23- Sof! carrndge pleots sewn co a sray VISJble bch1rld lhe dro[Jed
Vl22-<:orwrl<Jous Wnridge p!eacs. ammgemcnr o( folds lha1 head cacl> p!eo~

Chapr•r 6 PLEAT ING 109

 PROJECTING
PLEATS

VI Z.i-!Mled cnrmd~
plcov.~ 'a· (lan) tNck
01 rite Slltd>ed edRe shu..-;
tile~~
cho•octer.soc o( U.S
tri()/J!od 0{ OlrocilmmL

VJ..2.S· Mus1,n s~~ffc-tlcd W'Wi

o(f)(><)(lsnt~foong ard cor.r<lge-
,nared on fiOUied ~ "';;;
..,. tlw:* . . bu."ted and
todct<l co o stay 11-e se(-~
potl"'e (old$ pro,ect sun'S!' · our
v.r>e<> rht CO<lStrucbO<l IS ~lied
ol»e rite S<lt(oce

II 0 The Art o l Manipulating Fabric

ACCORDION
P LEATS
- 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:
....... j ......... ~.- ....... ~. . .... .
HAND-FORMED ACCORDION
PLEATS
(a)
folds spaced at least 1>1• (l.lcm)
apart. marked, formed. and steam
pressed by hand. Fig. 6·33.
Accordion-pleat-
MINI-ACCORDION PLEATING ing a length of
folds spaced no more than W' fabric: (a) Press
the first creases
(3mm) apar t. mechanically formed

..
in the same
on a smocking pleater. Align direction over a
reases paper strip that
Refer to 'Pleat Profiles" on trues the creas·
page 90.) es. (b) Matching
adjacent creas-
PROCEDURES FOR es, press the
second folds In
HAND-FORMED between.
ACCORDION P LEATS (b)

(For Mini-accordion l'lenrlng, refer

to page 112.)
I Set a target m~urcmenr for the
fabric 10 match after il Is pleated.
Pick a pleat depth wider than 1>1•
(1.3cm).
2 eo,· er all o r a ponion of the tar-
get measurement with a st rip of
paper folded ahemnrcly In and
o ut, equating the dis tance
bctwcc.n folds to plc"l depth.
Spread the pleats equally ..s much
as desired. Measure lite test strip,
and estimate the amount of fabric
required for the pleaung nccord-
mgly. Add the OC«SS.11)' length.
pillS allowances for a heading
tumback and hem, to th< width
required for the plc:~ting. Cut 1be
fabric.
3. I lead the top of the fabric with a
turnbatk and hem the lower
edge of the fabric.
4. Measure and mark a succession
of fold Indicators spaced two
pleat dcr11hs apan. lnsen pins
p¢rpendicular 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
pap¢r 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 g uide, and
crease the fold witlt a steam
iron and pt·cssure. 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).
b. Turning the fabric over.
form new folds between th<
previous folds. Matching
the first two folds. steam
pr<ss the new fold created
in the middle. Align the third
fold to the second fold, creat·
ing anothe:r new fold~ Slcum
1>ress. Continue aligning folds
and pressing. stacking pleat
over pleat, unt il allln-and·OUI
folds arc shar ply cre:~scd ((b)
in Fig. 6-33).
6. Co ntrol 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 through
holts that perforate the 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).
! blc in the directio n of the folds, bm
NOTES & VARIATIONS
Steam creasing accordio n 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 1hat develop
as the extra byers o f L1bric at !he
tumhack and hem build up. use the
selvedge for n hem. serge the edge
o t· edges, or fo ld and sew the hem
after pressing and re-set the pleats.
Folds may be pennanemly fixed
with edgestitching. Rg. 6-35. Accordion pleats, lighrty
Accotd io n-pleated fabric Is fii!Xi- compressed at the heading, spread
out to a curving edge.

II the in-and-out folding impans slifT-

F.g. 6-34. Accordion·p/eat spread
ccntrolled at the top when back
creases are topstitched to a stay.
To hang the pleati ng, auach
1he stay with appropriate
means 10 a fimt s\lrface. An
option: Use the lower edge of
a piece of fub ric that extends
above and beyond the pleated
fabric as a sta)\
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 u nplcat-
ed fabric \\~Lh starch or an iron-o n
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
o f fabric on a back crease.
PROCEDURES F OR MiNI-
AccORDION P LEATING
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 b y
the stabilizing mtthod:
• For a pleated edge. fold on
thr final row of pleating
thread. Make a tiny double-
fold hem that fits inside the
space before !he next row of
pleating thread (Fig. 6-36).
Re-pleat the Fahric o n its
thrc11ds, including t he hem.

Fig. 6-36.
Machine-stitch-
Ing a hem into
fabric spread
out after mini·
- l- - accordion pleat·
...!,. __ _ lng on a smock-
- Ing pleater. The
' Iabrie will be ro-
pleated after
hemming.

112 T he Art of Manipulating Fi:bdc ACCORDION PlEATS

 • For rt [rilly edge, hem just
ou~ide 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" o n page ·f3.)
3. Pushing all the pleats together
tightly on the pleating threads,
steam wi th an iro n 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 extensio n 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" o n page 6.)
Fig. 6·37. Hand stitching a stay over the back of mlnl·accordlon
pleats stabillzeci with three rows of backs/itching.
b. F~pose the finished edge of
the pleating. attaching it to an
c..rcns•on 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
o r pleating thread, catch
the Lip of each r ib witb a
backstitch. Add o ne 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 1he final row or
rows of pleating thread,
bltStc the pleating to the
fabric undemeath. Edge-
stitch a length of ribbon or
~•pe over the basted pleat-
mg. crushing the pleats
under the stitching.
5. Remove the pleatmg threads.
Chapter 6
NOTES & VARIATIONS
Estimate the fabric requirement
for mini-~ccordlon 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 that a
smockin~ 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 o n the 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" o n
page 129).
PLEATING 113
 ACCORDION PLEATS

vt-26 Hand-(orrnecL shorply creased plcors spread oot on a rod 1nscrccd

through holes punc/1!~1 111 lhc lwJad,ng. Tho orronp,ement Js movoble and
temporory.

2& I ~\~ I{ aa aU rtla ~ r55 #;

I
!

·.

: "·
)
I,
li
:'
VI-18-M m-oaordon P""""E '·s· (.Jmm) deep, fJ'OdiJC<d""
" 2~ So'fy Sron:er p'-a SIDbol·m ocmss ~~w> ""' "':~?
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 ex~nd 1ts lenglh.

Ii l
I•
vt-27 Arrrm~~"""'"' o(hand (orme<l p.'eats permon~ntly attached
ro o sray wirh u short scam o~er er}dl bock. foJd.

114 T~c Art of Monlpu l atlng Fabric


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 one·directlonal.
Refer to "Pleat Prollles" on
page 90.)
Fig. 6·38. Winding a strip of moist
CONTORT ION PLEATING
fabric tightly around a broomstick.
~amp fabric twisted into a rope.
coiled, knotted. and dried in a
microwave oven. When opened out.
the wrinkled folds are multl·dlrec·
tronal.
PROCEDURES
L. Sew~' narr()w hem huo one or
111orc edge> of the fabric, If and
where the :~ppllc:u io n requires.
1. Prepare the 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
;~boorb c.xcess moistun:.
c. Stretching bet" ecn the gath·
ering, roll the fabnc ~round 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 the rolled fnbric
is emircly covered (r:ig. 6-38).
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
nylon ·>~ocking snips or cord.
Contort ion pleating:
a. Immerse [he fabric in water.
wdng it Olll, and roll in lOW·
clling to absorb excess mois·
lure.
b. Fold the 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.
C hapter 6
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 ~Tcommended
for contortion pleating. unless
on I)' a small amount of fabric
is invoh·ed.
• \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
the air.
• A minute al a time in a
mkrow{we oven, untll the
mo isture inside the oven
evaporates. M icrowave heat
dries hmh broo111sticl< plc;\1·
ing in a nylon stocking and
contortion pleating thOI'Ough·
ly and quickly, bu t requires
care ;md tntcntlon.
4. Untie. unwrap. open up. and
spread Oil! the fabric when ills
completelr dry. Remove any
gathering thn.>ads.
Fig. 6·39. (a) Thick cord Of
tightly twisted, damp fabric,
looped before releasing In
tho contor to cvrl srovnd
itself. (b) Coiled. knotted
ball of Iabrie.
PL EATI 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;· ~4, 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 the.~ 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 ~ides of
colttortlon-plcaoccl fabric 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 m~Htncr. WJth
con1or1 ion 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.
116 The, Art of Manip.ulat\nc Fabri~
When dry and unwrapped,
wrinkled pkati ng retains the
imprinl of ils prcpanu ion. 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. Lea~·e 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 proccduo·cs of
tontorlion·pleatlng pre:p11fi.1llon.
for maintenance, hand gather
and twist broomstick or contortion
pleated fabric into a roll and store
inside a nylo n 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 c~m be reset
by repeaLing the prepar:nion and
drying procedures. The rcsuiLs will
\111)' \\ith every repetition
WRINKLED PLEATING
 vr"Z9- Trn! voroobre,
'"~ pleoung resul!·
mg (rom !he broom-
slick prouss.

WRINKLED PLEATING

'/1.30 Conrornon"pleoted
sqoate o( muslrn

Chapte r 6 PL EATIN G 117


DOU BLE-
CONTROLLED
P LEATS
-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
pu•l'ose. Fonn the pleats on oppo·
>itc >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·
pt·iatc 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:
Su·c tchcd out over a stili underlin-
Ing or held taut between stationary
edge.~. 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
puft~ 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
118 The Art o f Manipula ting Fab ri c
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
befo~ fintshed application_
3. Settle tl1e orrangernent of folds b)'
stcal1ling wit.h an iron mo,•ed
slowly abol'e 1he smface of the
fabric. Allow tO cool and dry
bcrort> rnovln~.
NOTES & VARIATIONS
Thorc :~rc 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 dll·cct 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 l7.)
Pressed Colds. accordion pleats, and
wrinkled plearing 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" 1nazc·likc 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<: ~t'tlucllon 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-
DOUBLE-CO NTROLLED PLEATS
pie: fusing an :trrongemem of flat
pleats to iron-on mtcrfacing converts
the pleat folds into unstitched, f.lke
tud;s. \\'1ten l11e b.K:k·folds of car-
tridge or hand. formed accordion
pleatS are mochine-stitched to a finn
stay from one end to the otl1er, lite
pleating enablcs ~lf.supponing.
sculptuml consmtctions. ~ini·accor­
dion, broomstick. or contortion pleat-
ing, secured to a stuy Wilh riny hand
stitches sp:•ccd out and buried in the
comtgarlons, suggest smocking.
While srnbilitin~:. 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 prt\iou~ 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 hack~tlrches. Push and pull
up another fold beneath the first fold;
secure. ConLinuing row by 1'0\~
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 proct•c:ds. the securing stitch·
cs recede into the gTOO''es between
succeeding row~. Needlc·forrned
pleating may be adjU>t<-d to cover a
stay \\1th a modelled surface.
SoJi,lmini·llCCOrdiollpfenting
restntcture.s fabric in to a different.
finn tc;o.:tile ~s 1hick 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 ~cunry. !'or additional
texture, run fobric with wrinkle-s
through the pleatcr. (Refer to ·Using
u Smocking Pleotcr" on page 126.)
 YI-J 1-uo~seo kJ>fe P'C<lts
Chot Omnsh ood dsoppeUi
ot l/lc OflllOS'!e ~e.

DOUBLE-CON TROLLED
PLEATS

'JI.Jl-unprtr.sed kn•(• p~ots rllor

start and srop on od,•oce-m tdg~s

V~JJ.-i<Jl•(l> pfecrs
;u~ a< !xJU. ends look
Jok• hoozomol lo!NetS.

Chapter 6 PL EATI NG 119

 V/-34 Draped knife pleots.

DOUBLE-CONTROLLED PLEATS

'II-35--Anoogemenl o{ """rtO<t box.

and i:nJ{e p'eau vert.oeOIIy SltelehM
beM'<'en SU>ps of (ob<ic Tho (o1cJs 01
rne mfe pleot3 "' the center I>Pf>le
because 1~ey chonR• d•recnon

120 The An o f Monipulotlng Fabr i c

...,.Jb-~mentS
•
o{ kn(e. box Of1d
.,.;erte<t pk<Jcs sec
lllolO CUfOUCS.

D OU BLE-CONTROL L ED PLEATS

Vl-37 ThfH.(old p.nch

pleca consoucced orxi
suJyed oc oppos.ce erxls
of tile (aoric.

Chapter 6 PLEATING 121

 D 0 U B LE-CO N TROLLED
PLEATS

"'-38--Coo:Jnuotls c~ ploot~ scomcd

to a $0(fSlay ;rom end to end. form a se~­
sup_oortlng. coJt.rmrt-likt suuctufe-.

'tl-39--ActotOon p/eo!S. {wm!y rod<t<liJlrough !he cetiiCT. spreod

out 1'110 a Clfti""~ lhe $ide pleats = seemed ~t/ler. AI lhe
ptntTKH,t!r. tile IOSidC CII!'CI~S ate Seruft!d (0 0 Sft{f Stay W.(tl My
1000

V~40-Accorc!JO<I ploors monrpulatcd rnto a conc.nuOlJs band oi fans

ond se<~Jred wrth uny rocks 10 o Sfir/ sooy

122 The Art of M an ipu l~ti ng Fabric

 YJ.42 Ptr.droNOI'o< w:d! cro<se<J.p.'<ot t'.,.,..,IS The three ~
squares. and 01f' rec-umg'es C1!l! fl.Jff'O'W~ ;n rht anter:

DOUBLE-CONTROLLED
11··1 J- f>leall {ormecl 011 a Per(ea f>leoW bocke<i w1(h Iron-on IMler· PLEATS
'0001) cu1 mlo squares. and assemblecll"'r:cl!work·sryle m1o o block.
rwo of the squa1t:s. the (o.'d o( occh plea' snagged by o sr rch,
'''" P<J'oe<l bocl< ond to~W ro troe bose of the ploct boh.od.

; - Z?

---
. ..-.....- r

~ - : :

s. t • :_ ~

-
·-= -
•
'11·43-Neea.e·iormecl p/e<IIIOI/Iho<
laol<s l.ke warer nppled by a breeze.

Chapter 6 PLEAT ING 123

 mocking secures and adjusts
S 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,
organ izing 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
O utline ............................ 127
Mock chain ...................... 127
Cable ................................ 127
Do uble cable ............ ........ 127
Wuvc ............ .......... .......... 127
Trellis ...................... .......... 127
Diamond ·............... ........... 127
Ho neyco mb ...................... 127
Surface ho nc)•comb .......... 128
Vand yke ...... ..... ................. 128
Feather ......... ................... 128
Spoo1 ................................ 128
Cable Flo wcrcucs ............ 128
Managing the Smocking-
Pleated Edge .................... 128
Crushed and nauencd
pleats ............................ 128
Standing pleats ................ 129
El'\GLISH SMOC KJNG .............. 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
sm ocking ......................139
Experimental d irect
s mocking ............ ..... ..... 139
NO RTH 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 fo r Shirred
Italian Smocking .................. l45
Notes & Variations .............. l46
Note: This chapter begins with
BASICS, ind icated by a gray band
located underneath the relevant
columns.
S MOCKING B ASICS
F ABRIC REQUIRED FOR
SMOCKING
radilional wisdom advises
T three to fo ur times the target
width o r the smocking as a
basis fo r cstinlilting the amo unt or
fabric required fo r a smocki ng t>ro-
ject. That's a fairly reliable !,'Uide for
thin fab ric prepared fo r Englis h
smocking on a plcatcr o r huml
pleated on do t-picku p sti tches
spaced '!.!'' (6 mm) apart. but inade-
q uate when o ther facw rs npply.
• Type of fab ric. W hen pleating a
thicker litbric such tiS wool, each
pleat fold will be mo1·e e.'pansivc,
consequently, the pleating "111
match the target mcasurcmcm
with less fa bric 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 that fea-
tures the pallem ing or m assed
pleat folds requires more fabric
than other type.s o r pleating.
Shi rred Italian smocking U>CS the
most fabric. with contoured
Italian smocking a dose second,
follo wed by English smocking.
SMOCK ING BA SICS 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 sh rink slightly
along t he length of the pleats.
The multi-d irectio nal p ull of
Nor1 h A mcrican and con1oured
hnlian stllchinp. reduces measure·
m ents in both directions sig·
nHicnntly.
To estimate dte fahtic require~
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 equatio n:
!sample measurement before smocking
+ sample measmememalter 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
rtquirc~ 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
P LEATER
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. hand·opcra~ed appliance thai
pleats )'Ords of fab ric quickly and
easil)'.
Ph-a1crs have gears thm me.sh
tugether when 1urned. and a long.
s tmigh t row of delicate needles 1hal
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.
Stand ing behind 1he plcatcr. mm
tht: handle 10 move Lhe fnbric
througlt the gears and o nto 1he nee-
d les. 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 1hrcads. CUI the threads
nextlo 1hc needles 10 free the pleat-
ed fabric.
Smocking plca~ers 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 o f fabric,
depending on the manufacturer
of 1he piCIItcr. Also depend ing on
1he manufac turer, the fabric wid t h
n plealcr tu.:ct:pts varies from 5 Yl'~
(Hem) to 11" (30.5cm) . A second
run through the pieater doubles the
wlchh o f the fabric that cao be
pleated. Open and spread the pleat-
ed porlion of the fabric on iiS
SMOCK IN G BAS ICS
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 need le fo llowi ng the
lnst llne of ;>lculing 1hrcad and, if
possiblt, pien:ing the s:mtc holes.
CuLt hc liHcnds holding the fab ric
to 1hc needles. Re-plcat the na~­
tcncd fabric on its th rc.tds.
Umhrcadcd groups of needles
creal< sn1JX of ga1hering be~ween
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.
W hen one piece of fabric isn't
lo ng enough. pleat the pieces sepa-
rately. Matchi11g 1he plc•n ing
threads. sew the p re-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 1he plea1er. During
pleating. guide 1hc seam to move
between two needles. Angled or
curved sc:nm ollowances musl be
basted clown . The cxu·a 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• decorati••e 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 o r 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. E••eT)· stitch fol-
low~ 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 o f 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).
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 7·3).
Fig. 7·3, Cable stitch.
Spaced rows of double cable stitch·
ing change Lltc alig nrncn1 o f 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 com posite 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).
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).
F~g. 7·7. Diamond stitch.
Double rows of honeycomb, sur·
f•ce honercomb, and V•ndyke
stitchmg reorganize the tubes of the
pleating in1o a substructure of d ia·
mond·shaped 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).

Fig. 7-1. Outline stitch.

Two ubuucd rows o f o mline stitch·
ing. wit h tlll'ead direction reversed
for the second row, produce the
moclt elwin Slitch (Fig.7-2}.
Fig. 7·5. Wsve stitch.
Two rows of wave stitching, iden-
tical but reversed to meet at the
end of a w:1ve, combine inlo t.hc
u·cllls >litch ( Fig. 7-6).

F'tg. 7·2. MOCk chain stitch. (c)

Fig. 7·8. (a) Moving down inside a

tube. (b) Stitching two tubes together,
Fig. 7·6. Trellis stitch. and moving up (c) to create rows of
honeycomb stitches.

C~apter 7 SMOCKING 127

For surfare lroneycomb, the thread
wraps O\•er the tube when mo,~iug
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 fo r 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.
129 Tho A~t of Manipula_<ing Fabric
5r>ool (Fig. 7- 12) and cable
flowcrcrtcs (Fig. 7-13) are spot
stitches. Borh bind tubes together
in i<olatcd locations.
Fig. 7·12. Spool stitches.
F~g. 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 finuerrs th~ wbes under a
mnchinc·scwn scam or preserves
the stand of rhe tubes with hand
s titching. Whether flattened or
s t.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 gut ht~rlng 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
machinc·Sllldll't.l ~m in between
tire pleating. g.1tl>eriJ1g. or basting
thread and tho final row of smocked
sritching (1-ig. 7-14).
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 orgathering or
ba$ling stitches. Slipping u fabric
extension or 11UI'rO\V wpc under-
neath the edge. topstitch with
straight o r decorative st itching over
the stitches holding the arrange·
mem ( Fig. 7-l~).
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 the ruffic
wilh narrow Lape or ribbon top ..
st itched across its hase.
When the 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-and·p/eated
edge over a fabric extension. catch·
lng the groove of each pleat with a
tiny stitch.
• Use n fab ric-safe maridng tool
ENGLISH to mark the fabric direct!)'
SMOCKING whh • grid or dots:
• Place a dot paucm under
-a cwo-stcp procedure that
ohe fabnc, using a ligho box
Involves structuring the Iabrie into
for enhanced visibilil); and
shallow pleats with rows of stitching.
orace.
and regulating the tubes of the
Tmcc through a doo socncil
pleats with rows of embroidery.
placed on top o( the fabric
Elasticity is an English smocking
((a) in Fig. 7-17).
attribute.
• Mark dots as directed by a
PROCEDURES SUW•tOOthcd template ((b)
in Fig. 7- 17).
I . To csolmuoc the amount o f fabric
required, refer to "Fabric Rc.q uircd Space :tnd mark dots
for Smocking" on page 125. act-ordlng to the measure·
mcnts indicated on an L·
2. l' leao the fabric mechanical!)•
shaped ruler aligned, row
(rdtr to "'Using a Smocking
by row. lo ohc straighograin
Plcatcr" on page 126). Skip steps
of woven mbric.
.:3, =4. and =5. continue with
soep =6.
3. To plea1 ohe fabnc by hand. mark 0 0 0 0 0 0 0 0 0 0
I he
wrong side or ohc fabric with 0 0 0 0 0 0 0 0 0 0

To Stabilize a ruffied edge and also u grid of dots aligned to the 0 0 0 0 0 0 0 0 0 0

keep the swnd of the pleats. hand straightgmin of woven fab1ic. 0 0 0 0 0 0 0 0 0 0

The spadng betwe:eu the dots in 0 0 0 0 0 0 0 0 0
Slilch n fahlic extension or tape ro 0

the ple.1t fnlcl• in back, behlncllbe

nnal row or rows orsmocking stitch-
es (refer '" Fig. 6-37 on page ll3).
T he 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.
a row determines the depth of 0 0 0 0 0 0 0 0 0 0
ohe plent ing mbcs. C boose an
(a) ' - - - - - -- - ----'
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
(b)LWW1
Fig. 7-17. (B) Stencil and (b) saw-
bcoween the fabric and a toothed template used to mark fabric
paper patlern of the do1s. Use with rows of smocking dots.
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 1he
soltching is done.)

End of SMOCK ING BAS ICS Chapter 7 SMOCKING 129

 - - - -- -+-·-·-·-·-·-·---·- ·- ·- ·- ·- ·- ·-·
-==
--
------1'-·- ·-·--·-·--·-·-·- - ·-·--·
-::::::±·-·-·-·-·-·-·-·-·--·- - ·- - ·- .#
·-·-·-·-·-·-·-·--·-·--·- ·- ·--- (a)

___,_._:-_·-_.:::::~_·: :=-·---
(a) •.•• - -~

(b) Ploatlng Profile

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 founda tion
(c) - - 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'.< 1he needle
through the poak or Ci\Ch SIIC•
'> 1)/\A/lOOA/"'
VVl/0 vVVV cceding mbe as 1hc panlcul:~r
(d) Pleating Profile embroidery stilch direc1s, main·
tai11ing a s~ad y 1cnsion on 1he
Ag. 7-18. To prepare dot-marked fabric for pleating, hand sew (a) with dot-pick· thread (refer 10 "S111ocking
up stitching or (c) dot-In dot-out stitching. From identical grids, (b) dot-pickup Embroidery Sfitches" on page
produces two times as many shallow tubes as (d) dot-in dot-outwith its deeper 127}. Follow a s tnching pauern:
tubes.
• Prepare a de.<ign on graph
paptr. Bis<!ct 1he printed vcnl·
4. Hand sew each row of dots with The threads of dot-in dot-om cal line.<. which represent the
running smchcs U>ing s1rong gailiering. run ilirough ilic pleating tubes, \\lili broken
ilircad cut ns long M the row center of the pleating rubes horizon~allines spaced out 10
plus 3" (7.5cm), knoucd at one ((c) and (d ) in fig. 7-18). indicate the gathenng1hreads.
end. The stitches in each row 5. Graspmg the ends of the threads. Using another color or colors.
should line up ~xnctl) under the push the fabric imo itself, gaili- outline the paths follo\\ed b)
sri1chcs of ilie row •bo,c. ering h into pleat.-;.. the "•rious stilehe.s as they
• To make pleat< "uh mb<s cross ilic tubes, drawing
6. Pack ilic pleats 1ogether tighd):
one-half •~ deep a~ 1h~ space strctchmg length\\iSC to straight- short. cun')' line• to Indicate
bem een dms. pick up each en the tubes, and steam wiili an the lay of the 1hrcnd between
dot with a 1in) stitch. The stitches (Fig. 7-20). When
tron held just abo\'e the fabric's
1hreads of dot-pickup g•thcr- surface. After the pleating is cool stitching, count the tubes to
ing C01Ch lhC tube; or the copy the design. fo center a
and dry. spread d1c tubes of 1he
pleating 01 1he base ((n) and balanced design on the pleat·
pleats 3pllrt just enough to reveal
(b) in Fig. 7- LS). ing, baste the centor rube, nnd
the gathcriJ1g threads between
• To make ple:u.s with tubes as the rubes. Secure the loose tubes aL counted imcrval~ o n
tlccp as the S('llte bctwcc11 dot•. thrt~lds a1 1he ends of the scams, each s ide, wil h colored
push 1he needl e in to ouc in pairs, by tying or wincling thread.
d o l a nd o ut of I he 11CXI dot. around pins (Fig. 7- 19).

130 The An o f Manipu lating F~bric ENGLISH SMOCK ING

 -I
ll l 1111 11 ll I II I l IIl l 111 11
Moe k Chain
. 1-! - b-.
F;
-I- -
Surface ~
Honey comb - ~-
Spo ol

-- -
i-'
- . ...; -

-------- --- ------ - --- -- -- - ·-- -- --:;.-

. , ______ -" ----P -- ------ ~- - - -'-= -
!,.-
- - - t--
"'
- -
r..- ~ - 1-" -
I - - - • - - - - -
r-.- -
~~ -~- ~-- ~- ~~- --- ---~ - --- _·__ ___
~ ~ ~I'- v
-~-l.~.• - - - R, - lf - - - - - D., - - - - - - - - - - - - - - - - - F- -
Dia mo{j
1-T-"F -
c able
-F - - - -

t -- -- \- -
:.: - - -!= -
~ Jt -
- .

-1-f-!.-d-1~=114..1-f-1- _ - _ ~+ ~ ~ -~tt-f-1- _ rn- _ .

~*~~-~·~l~H:ot-~~~ - - - - - f~ - - - -e-··b:I-.. --'td-'h:t-~l!d-- ~~-:.:;=r- J:!!:l!-

Fig. 7·20.
Traditional . - _f-:: -
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.

Chapter 7 SMO CKI NG 131

 - --+-·- ·- ·- ------ - - ·- ·- ·--·- ·--·- ··- -
--4-·-·--- --- --- ---------·-----
~-------·-·--··-----
-
(a)
·-·-·- - - - ·-·--- - ·--·----
---t-·-- -- -·--- - ·--·---
---1 - · -- ·- - ·- - ·- ---
----~ --- -·- -·- - ·- -·-- --
----~ - --
(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
Manufacture~ 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 Ih hand-calibrated dot patterns
and hand-sewn gathering slitches.
pleat depth can he adjusted LOs uit
ntl)' COildillons. The d1sia.Itc~
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
bcc-~use thread runs Lhnauoh Lhe
" out equally a/the
middle of the pleats.
132 Tho Art o f Manipulating Fab ri c
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
- ·r dot to pick up the
next dot, and so
on. Dot-in dot-out
gathering is
another opuon.
The dots printed on transkr
s heetS 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-
pens~lbl(· unUct Lwo circumstances:
( 1) With evenly pntttrncd ging-
hams, plaods, s tripes. 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 SMOCK ING
Bccau>c of its claslitil)', a strip of
English-smnckcd fabric can be steam
set,.., cun·e ~light 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 cun·e and adJUSt the smocking
dots tO rndiate omward from the row
of dots :oround the utsidc <:Lu'vc.
Slash a dot p~llem marked on paper
or a Lrnnsfcr sheet between rows o f
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.
fabric 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 ne~;ble
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
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 n~ss
by rcmov;ng srrands, is gcnernlly
u.ed to stitch the design>.
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 Io ns. and self-supporting con-
sLrucLions. The deviations from
stnmlard tcdmiqucs that experi-
mentalists exploit include gat he~ing
o n 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 im·isiblc 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. ~ ~urfacc
honeycomb instead.) Re\·erse
smocking and right-s ide smocking
can be combined in the snmc piece.
I
I r
Lf 7 I
I ......
\
\ \ \
(a)
(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
g rooves be1wccn the 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
flow or~ plent. Because interior
smocking requires n Sla)\ it loses all
elasticity.
Chapter 7
7
\
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 fo lds released by rows of gmh-
crcd Slltching replace che m ini-
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 the
pleatS o r real smock;ng. Mock
smocking is a popular coumerlcil
bcrnusc it's fast-e ntirely machine
produced , although some mock
smockers hand embroider over the
rows 10 suggest amhemieiry. ( Refer
10"Shirring" on page 31.)
SMOCKING 133
 V/1-2-Mus!•n os 11 em<fiCS finelt pleat-
ed I"'"' a Solly $(<1tl/Cy smocking nleat.er
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

wJ 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 fab r ic

 VIJ-·1 Hooercarnt> smod<.<!g on mac:t>rre-
mode pleabng. cased mro o curve w111t the
help of the pa•o!M des,gn and steam.

ENGLISH SMOCKING

VIr- 5 exeii:J>os •o <•rculor smodong over pleal5 g"thetl!d

Jtt s.m•lor f'UdiOWlR Rntls(bwer r~ght) The mosl sua:es~(!Jl,
a modo/liOn smocked {rom a on:fe 8 • (20.5on) "'
'IOmm•r w.th a orcu!ar OJtour m ~ center 4 • (I Ocm)
~,.,The smockmg "' the olher excmp!<.'s, on
""""" on:fts v. rh smailer certml c:v10013, IS .oes, el)«~«?
Smoc~ <r~ one of the drries (top le/!J .nto a cone

VII o-R.,..rse smockmg npplcs 1hc prof, es

o{ mo~ pleou. The smodong ~as tmpm.
...,sed (iflc/ •rregviar

Ch>pcer 7 SMOCKING 135

 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<.

ENGLISH SMOCKING

136 The Art of Manipu lating Fabric

 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
ojIff p1eoler.

ENGL I SH SMOC K I NG

'1!1-1 D-Rugged f*anng hond-godle,.., """' o rondom grid.

omod<ed 111 ploces ,.;v, honeJ1'0r71b sritch:ng. w•th gathering
threacf!; assimilated •oto the mformol stJlJCUNTng.

C hapter 7 SM OC K ING 13 7

DIRECT
SMOCKING
~titchlng. 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 th•n two.
PROCEDURES
I. Review the procedures for
English smocking that begin on
page 129.
2. On griddcd paper, prepare a dot
p•nern 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 sp•ce 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 ho rizontal rows of dots
indicate stitching pmhs for botl-
cycomb, s urfnce ho neycomb,
Vandyke, o utline, and cable
stitches. Designs that include
wnve, trellis, and dinmond s titch-
" require sr.1gg<red rows of do t<.
Align the dots vertically as well
as horizontnll)' (Fig. 7-H).
Outline
4. Picking up each clot as if it were
Surface
Honeycomb
3 . Mark the l'lght side of the fabric
with the dot pattern, aligning the
rows ";tb the str•ightgrain of
woven fabric. Before choosing
one of the following dot-marking
methods, test on • scrnp of fabric
to make sure that the morking
subs~ance \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 pressm e over each dot
to tron1tfe1' impressions to the
fab ric.
• With the dot pattern under-
ne<Hh, copy the 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.
the fold nc the tit> of a pleat, stitch
across the fabric. Refer to the
wavy lines l)t1 the pattem fo r
d irection. The stitches that con-
nect two adjacent clots from the
same row (outline and cable), o r
two-St<pped but adjacent dots
(\\•Jvc and trellis). are pulled ~aut
and together to create the tube-
and-chonnel composition olthe

~-~ f,_ ~l- ~ lr t

smocking. The stitches that mm•c
up and down between the pulled

'-lL .:,,
•
~
:..._!'~ r
't+·'
'1- -~
;;_
I
•
•
•
i

tc
JIT~
~
Wave
stitches (surface honeycomb,
honeycomb, dinmond, nnd
Vandyke) rcmnin slack to main-
tain dot SCj>llrntion (Fig. 7-25).

... ':" Fig. 7-24.

~
I 1-l--
• f- 1-· Direct
smocking

~
pattern. The
•
~ cufVY lines
indicate the
J:-
I
( .l thread direc-
tion of the
1-t-----. stitches. Only
the dots are
ma!l<edon
the fabric.

Diamond

t 38 The Art of Manipulating Fabr ic DIRECT SMOCK ING

 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 mo re flexible
• • • • across ll•c pleating than English
smocking and, started from idenl:i·
cal grids, doesn't finish as thick.
(a) • • • • • • • • (b)
Unlike English smocking. it is no t
elastic.
Lf t he fabric is woven or prin ted
with n grid-based pauem (ging-
hams, checks, spotted designs),
smock b)' foUowing evenly spaced
points rep.ated on 1hat 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
(c) • • • • • • • • (d)
t he fabric, Because of t hread visibil -
ity. avoid using the honeycomb
Fig. 7·25. Honeycomb stile/ling interpreted for direct smocking: (a) Pick up dots slitch.
2 and I on the needle with two separate, tiny stitches. (b) Draw the dots Expelimentttl direct smoclling is
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 worked on a grid o f unevenly
dot 4 and then 3 on the needle and draw dots 4 and 3 together on pulled spaced dots, wh ich may o r may no t
thread. Continue moving up or down behveen rows of dots, altematlng between be marked on the f>bric:. The stitch-
taut and slack stitches.
ing changes and wanders as inspira·
tion directs.
5 Pin ll1c finished smocking 6. For finishing options. rder to
around the edges to a padded "Man3glng the Smocking-Pleoted
surfoce. gently stretching it into Edge" on page 128.
shape. Steam w ith an iron held
above the fab ric, and allow to
cool and dry before mo,-ing.

Chapt er 7 SMOCKING 139

 VII I3- Expemncntat d•rect ~mac.l<lng \vtth outhne. cabJe.
hcneycomb. and surface l•oneywmb sntdli!1g appl•ed at
DIRECT SMOCK I NG random lo an erro/Jc god

VII-14- The Pad<

become.; !he {rom
for reversed direct
smocking

140 The An ol Manipu lating Fabri c 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.
3. Following the ><itching path indi-
PROCeDURES
I . Select a paucrn from the dia-
gr:tm$ in r:ig. 7-26. ( Refer to
method, mark t he wrong side of
the fabric with an equidistant
gricJ of clots. For 1he Oower pat·
tern only. dot the right side of
the fabnc wtth a prc,1ously (a)
tested. fabric-safe. washout or
diS3flJX'3ring marker (the Oower
vari:nion 1S sutched on the
wrong side of the fnbric).
cated fo1· the pauem, smock row (b)
by t'Ow with stu rdy th read, con·
necting pnirs of d ots with pulled

JE;
~
·Fabric Req uired fo r Smocking" stllches separated by slack, knol·
1111 page 125.) ted stitches (Fig. 7-27). Por the
2. Review the English smocking Onwer and Lhe flower variation
directions for marking dots on pa11cms onl)', connect four dots
(c)
fabric, step =3 on page 129. on one pulled stitch (Fig. 7-28) .
Choosing an appropriate
. 2'~
A~
/~
(d)

' 1- i_ ,i~i..,_.......i.-i.
· - ·~

·- ··_./ ·- · •----+- •

. I·- I· ·--·
I I I.........-...I
Latllce L.ozenge

F~g. 7·27. 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 slip·knotted, and
pulled stitches.

Lotllco Variation #1 Lattlco Variation #2

,
c-1: 1- 1: nI
·-
6

.......s-~······ · ·--· .bJ 4

i7i n il
-·······-····-·
·-
1.,1 l_ l:=l_ []
i~l . ..~o
Flower
. . . .n Flower Variation
-
= ·
Pulled Stitch
Slack Stitch
F19. 7·28. 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
Fig. 7·26. North American smocking patterns. to /he next group of four dots and repeaL

Chapter 7 SMOCK ING 141

4. Whh right side up, pin the fi n-
ished smocking around the edges
to a padded surface, su-etching
genLI)• while s~n~ightening 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 & V ARIATIONS

Fabric already patterned with a
g rid-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
Yll-1 S The lcUICJl panern.
wlll be visible.
NORTH AMERICAN
Experimental Nortlt American
smocllir~g Involves playing wilh SMOCK I NG
variations: Change from an cquidis-
tnm o r 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.

Yll·lb-Ait~nacive s!J'Ucwrmg preset1ted by !he ,.,,erse Side of the lotiJCe smockmg sample.

142 The Art o f Manfp ula ting Fabric

 NORTH AMERICAN
SMOCKING

'Ill-J8- Row•r pouem worlo!d on a

gtaduollj expat>tjng grid o('*>ts.
After~ tJf {olds ex~
!hose oudoning lhe <en!1lll <lomond
were pu->hed up ro lhe ~
CI'OC!orwlhe pew141<e (Mnaoons.

Chapter 7 SMOCKING 143

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
·gQE55=:5555QQ~ QQQQQE55=:
. - - ....... ... 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 - ""

s:
Italian smocking:

..~ E:~ E:~ 5gQQQQQQgBE-~ 55EE

CONTOURED ITALIAN
SMOCKING
-fabric gathered into pleats on (a)
rows of stitching that wm and angle,
causing the pleats to bend and crum-
ple where the stitching veel'1\.
•- - === =_:
..! -
,-... --- -... --,
- - -
~ !
-.. .
- I .~' I - - -
~ ~ -
. '1 . I - - - - - - "'
I .. ~ ~ 4 . I :_ :: .: :: :: :: :: :: :::
.
J· . . ' I --- - ....,..,.._.~ ~ . . . . i - ._. -...,....,.. - - - ~ ·
SHIRRED ITALIAN SMOCKING
- Iabrie gathered into pleats on
==:; .: .: :: .; :; :; :; :; :. : -:
I :_: I • ' I ~ ~
- I . II . I - - - - - - - - - - - - - I . ~ I• ' I - "'
~ I ' . hr
rows of straight stitching with
skipped stitches that fo rm a delicate,
puffy, raised design.
---
---' I· ~ -- - ---- -- ~ ·
-- --
__ _____ '=" .' t
--- - . 1 · 1'' --__- -*"
- - " I . ,_. - - - . - ...... - - T'..,..-=- Jt ' 1· - - " '
_ ..,
' L ~...,.. ...,.. ,... _ _ _ 1 '
1 _ _ _ __ 1 ' 1' 1 .__ _ __ ..,
· ~- - - i
,.

· 1 ' ............ .,.,.. _ _ _ ,..,

•- - - - - - - - - . ~ . I - I . l ' - - - - - - - .,-
--- --- - :: ~ ~ _· l .. . ; :._ ~ =- ..,.. .... -:: -:. ~ ...
P ROCEDURES F OR I i:: i 1 ~~ =- - ,. ,. ._.,.. - ... - . . . . ~ ~ . ,. ._ . _ t t. 1.,
C ONTOURED I TALIAN
SMOCKING
1. Copy one of the designs In
:_=_· I
(b)

•- - '
1 ·1
-
1-
-
-I I'
-
.
- ' I -
-~--
- • 1- -
- - - I . - -
I - ' - - -
- - -
' 1 '~ - - b l'
- ~ 1,...
. " -"'

' I - ;.
-
~

I I =::' i:;"::l ~' :::: 1 10:-:11:::: -

I
Fig. 7-29 on appropriately : I -: I I -
scaled, griclded paper. To avoid __ ___ II _ _ - - ~--- ._.-. ~ t.,.....,..,.. -tt"
- - - - - II - - . I - - - - t 1 - - - _ ..,
conrusion, alternate between two -- I- I -- -- I I - - - I- I -- -- 1 r- - -,
1 I - - 11 '-·-' - ~. -- -- 11
-"'
different!)' colo red pens for suc- -~ ~ - - · , - -- , ~ - "'
cessive rows. Note that the short == =
-
• - -
I: _
I ' - -
_:
II -
- . I -
--
t : - - : l : '' - :: :: - : •
- - - I ' - - - - -
=:;
. I - -'
lines and the spaces in between
(c)
are equal in size, and that their
length equals the depth of the Fig. 7-29. Throo pallems for contoured flalian smocking. The arrows on the
pleating fonned when the sti tch· right indicate where rows of stitching begin. Each short line represents a sur-
es are gathered. 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
2. Mark s titching path• on rhe pattem repeat. (Dotted lines are gridline markings, not stitching indications.)
wrong side of the fabric.
Marching Lhc s titching lines ro
the suaighlgrain of the weave, 3 With strong thread as long as a 4. Grasping the ends of the threads
place rhe pattern undcrncarh the row plus 3" (7.5cm) for each two-by-IWo. push the fabric inro
fabric. Trnce rhc broken lints end, stileh each row as marked, itself on rhe stirched thread,
with a fabric-safe, fm e-poinr. dis- a surface stirch m·er e-·ery line. ga!l1cring it into dose plears. To
appearing pen or pencil. ahcr· Do not secure or dip rhe threads secure rhe pleating, tie rhc ends
nating colo rs fo r successive ar the ends of seams. of the rhreads wgelhcr in pairs
rows. Use a light box fo r nnd trim.
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.

144 The Att of M anlpu luing Fabric ITALIAN SMOCKIN G

PROCEDURES FOR 2. Mark dots o n the right side of + With 1he pauern underneath,
the fabric, alig ning the dot rows mark the dots that sho w
SHIRRED I TALIA N with the StTaigbtgrain of woven throug h the fabric. Usc a light
SMOCKING fabric. Choose fabric-safe mark- box for en hanced visibility.
ing substances that wi ll wash o ut + Mark dots through punctures
l. Copy one. of the designs in
o r d isappear, having been previ- in a Slc.nci1.
Fig. 7-30 on gridded paper appro-
ously tested on a sample of the
priately scaled for the pleating. • Use an L·shaped ruler to mea~
fabric:
The space. between two dots in a sure the separatio ns and mark
horizontal row becomes a pleal + Trace do t impressio ns fro m the dots.
fold when the stitch ing is gat.he red . the paper pattern o nto lhc
fabr ic with dressmaker's car-
bon between both.

•·- · - - o--.-..-..- o -o- .

·- -·- ---·--·----·----·--·--·- -·--·--·- - - - ·- -·- -·--·----·--·

- •- - ·- - :.: 1 1 lo.- - - - ·- - •- - X > •- - ·--·- - ·- - > X X- -·- - ·- - - - >
•X .·- •-- .c-
-·--· --->t
-- • >
• " oc x--·- - -- • oo;"' ,. ·lot- - - - ·-'1(
>
x x- -· - ··- - x x x
>- - ·- -)1.
'II •
l<

·- • ot

·- -- "' >(-
· - - X X • - -· - -)(
·- -·--:1(
Iii ..:- It )1'- - ·- - X •- - X

x • x x-~·
k l" )II- ·

·----·--·--· 'x ·-• •----- --·--·-

'It
x-· -·-
- - ·- )I( · -- ·

·--·--· .
·- I( I( · - - - - -· • · - -· • )I )( - - - ! ( 1(
" • ,. •- - · -- ·- - • • • • x- -·- -·- - 'JI -·--x -- ·
--- •-·.. . ·-x--·--·
1'1 )( )(

- ·- ->< .. • ..· ----~-·--·.

•- -·- -·- - • o: " • - - -· - -·- - ·- ·,. w •·
"' • - - x • •- -·- - < k <- - • K x- - ·--- •- -> x >--·
·-
·---·--->
• • •- -·- - - - >o:X ·---X
· - IC • K x---·---X X x--- JI V
'0: II II 1'. - - •- - •- - >o: ll. x X
lil
~- ~
11 - -K

~< ---· -- · ---)(

K x - - · - -K
1( ~
X
•
M
0(
X
I(
x -
X
)(--- · ---~
- - - •- -K
>1 W--
k X
• ·--·- -·--·- -· • ·--·--·--·- )( )(--- ·- - ·- -·- -· • ·---·--- ·- -·->< •
· -- --· --·-- ·--· --· -- · ~ --· --·-·

( a)

·-·-•- ·--·--·--·-
- ·--·- - ·- - ·--·--·--·--·-
-·--·--·- -·--· ------
--- ·---- ·--·--·--•--1(
- ·- -·- --k x-·--·--·--·--x
-·--·---·--·- -·- - ·--·
X ·--·--·--·--·--·--·--·--·-·
ll--·-- ·- - ·--·--·- -·- - •- -•
-·- -·--·--·K x--- " ·- X-·- -·--·--·- --X·--·-
·--- ··
..
. ·--·
- - -·- ·- ·- ·- ·- ·- ·- ·- ·
l( 'II.

·--·--X
·-·- - X • x )(
- -·--·--·--X
10--·- -·--• x x
)I
x ) t -·- - •- - 'IC
· - -•
· - lt
lC :.e---x
X lC- -" J t -)(
'll x - -· - -> x x- - • x •
:J( , _ _ )( X -
: . t -)( ' l C -'11.
1t ,..__.,. 11.
· IC ! ( - - -It • It · - -x K
l!f-·- - • lC--x xx- x-
x - -X X X- -x- - x
-·- ·
- K
'll • "

)II - ·
·--X X x - -X X x- - ·- -X X x - Xt-- ·- - IC )( le---W 'll ._,_ .
- x l'; )( -1( x- -x 1'.

·--· .
•- ·- -'1(. X X X It--- •- -•- -)( •- - ·- - )( )( lli X • - -" -
)I( l C -1( X 1C- -x X x - -
·- - · -- < > x--·- -·- -·- - x k •--x- - X K x- - ·- - ·- - ·--K X x--·- - ·
·- --·--•--·--·--·-
·- -·- --- -·- -·- - ·--·
-><---- -·- .• • ·--·--·- ·--·---- -,.__·--- ·
·--·- )(

·- ·- - ·- - -- •- -)( X)(-·--·--X• x--·--·- -Xk ·-l'l--·--·-

-·- - ·--·---·
-·-
- ·- - ·-- ·--·--X ·--·- - ·--·- -------·-->( k ><---- -·- -·- --•
·- - ·- - · - - ·- - )( )C )( J( " ' - - -· - - ·- - · - - · - -· -- ) ( )( X X

·--·----·--·- -- - -·- --- -·- -·--·--·- -·- -·- -·- -·--·--· K

{b)

·- -·- -·--·--·---.- - ·- -·- -·--·----- - ,- - - -·- -·- -·

·-·-
·- ---·--·---
·--·-
,.
-·- -·- -·- -·--·--·----·----
)It,. - ---- -
)(

•- ·- -)( )( Ji-J(--x )x1--·--·----

x--·- - ·- - ·- --·-
- ·-->-x
·- - - - - )( )( J( )( • ·~ )I )( )( - ·
- -•- - lt X l ( -l( x- -KIt X X X- - - - -•
x >--- · )1. . _ . ,_ ,
·- - • x •- - • x x- - • x x- -· x • .11. x- - x " , . _. )C.---)1
- x • "'- x x 11. • ~ · -.. , _ , _ . x ,c. ~)( )( w ,c •- - "A ,. ,.__,
-
·-
-
·-
1t 11.
- ·
~t-x
)(
)( • - - • •
l t - -'11:-- )( "
<--·--·--·- -•
-- ·--· ~- --· --')1.
x x- - x x x- - x x •- - ·
l( 1( I( I( )( - - ·-- ·
•- - ·- - x x · - - X X M - -•- - • 'It )( )1(- - x x ><-- -

. x •- -·- - ·--·--·- - - - • •
•- · - -· - - :.; )( • )( · - -- · - -· - - ·- - · - -- -· - - -- " 'II )( - - -- - -·- ·
·- -·- -·- - x x '><- -·--·- - ·- -•- - ·- - ·- -·- -x 11. ~ · --·-- ·

·--- -·- -·- -·- --- -·- -)1-·)( ·- -·- -·- -·---·---·--·--·-·
-·- -·--·--·--·--·--·-
x---•- - ·--·- - ·- - ·- ·1<. ·--x )I )( )t-•-- · -- ·-- ·-- · -- ~
X
X---·- - ·- -•- - •- - x
lt
K-- ·- - x • >- -·- -·- -·- -·- )( )(
·--·- )11( 1)(C-J<--·-
-·- -·--·--· • ·- -·- -·---· • ·------- --- ·• ·--·
< X X

·-·--· -·--·• ·---·--·--·-

• ·---·---· • ·---·------· -·- -·• ·--·-
- ><-- ·-- ·--·
-· • ·--·-·
)I · - ·
Fig. 7-30. Three
designs for shirred
•-
·- ·-
- ·-
- ·-·--·-
·- - ·- - ·--x x >-----
- ·- -·--·--·--·--·-
-·---------'
- ·
- ·- 1 -•. • x--- -·--·
'II' lC-
-"
- X
Jl )(
X X- - ·- - ·- - ·- - •- - • - -X X >- - )(
)< •
X
· -
~ · -- •
- · -- - - ·
Italian smocking.
- ·- -·--·--·- -·--·--·- -·- -·---·---·--·- -·- - ·- - - ·
(c) ·- - ·--·- - ·- - ·- - ·- - ·--·- - ·--·- - ·--·- - ·- - ·- -·- - ·- - ·
·- ·-·- ·-·-- ·- ·-·- ·---·- ·- ·- ·- ---·- ·-·- -- ·-·- ·- ·-·-·-·-··-·- ·-··- -

Chapter 7 SMOCKING 145


x:- ---
• Counting dotS from the top
and bonom of the design, x·
mark the dots that make up
the motifs.
3. Use strong thread as lo ng 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 picl~ed 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
IWO·b)'·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 the other side to
rhe center. To secure the pleat-
ing, tie the ends or the threads
together in pairs and rrim.
146 T he Arc of M anipula cing Fabric
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.
NOTES & VARIATIONS
Tradh lo nally, the fabrics used for
halian smocking are S<Jft and thin,
bu t, 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 the 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 the
bottOn\ Of the fabric up after mark-
ing widh chall<y-type subs~mces
that easily ruborr.
ITALIAN SM OCKING
Using one thread to stitch two
rows is cfficicnl and se:cures one
end of the pleating permanently.
Cut a lengdh of strong rhread l\\~ce
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 o n the same
thread as o ne, pushing the pleat ing
ns it accumulates from o ne end to
tl>e beginn ing, 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
lh t·cacl fo r shirred Italian smocking
becomes o visible part of the bas-
kc.t·wtttvc pleating, the decoralive
ns well as dur:tblc quality of lhc
thread should be considered.
Fabric smocked in the Italian
manner feel~ 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 des•gn stJ(c/led ~ d.'IJ- Vl/.20 .U.ntoured deslgo SlJtched os cbagrummed In Fig. 7-29 (see (c)).
grumml!t)"' Ag. 7-29 (see (b))

I TAL I AN
SMOCKING

VII-21 - Shtrred doSJgn sotch<X) as

cbagmmmed m F1g. 7-30 (sec (c)),
wilh dertcaze, basket·weav~ pltat1ng
CtOUnd rhe raised mov[s. The rt!tmed
(<Jbnc (il!ls l'liD ~ fiJ) fold<
b«duse lite p.e<nS. vn.dl .., odt
\18 • (3tm>) doep.""' so compaa.ct.

Ch•ptcr 7 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.

CKI
 8 Tucking
TUCK BASICS ..........................149
l:ixtondlug the Tucking
Fnhric ..............................149
Srams coinciding whh
tuck, ............................ 1~9
Sc.un.> perpendicular to
tucks ......................... - 150
STANDARD TUCKS
• Pin Tuck< • Spaced Tucks
• Bhnd Tucks
• Gmtluatctl Tucks
• Centered Tucks
• Doubled-and-Centered
Tuck>
• Tnpcr«l Tucks.. .................... ! 50
l'roccdurcs ...... .. ..... .. ..... ...... 151
Notes & va,·iations ........... ... l53
Designer tucks ................ 15~
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
CONTOU RED TUC KS ..............163
Proced ures .......................... I 63
Notes & Varintio ns .......... ....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 It: 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 & V<~riatio ns .............. 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
PATT ERN TUC KING ................183
l'roccrlures .......................... 183
Notes & Vuriations .............. l83
Note: This chapter begins with
BASICS, indicated by a gray band
locnted undcrnc:LLh the relevant
columns.
T UCK B ASICS
E XTENDING THE
T UCKING FABRIC
ucks reduce fabric measure-
T
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 metbods 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
\\~th a folded but unstitcbcd tuck.
addmg a seam allowance under-
neath. L•p 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}.
F~g. 8- 1. To add fabric undetectab/y.
sew the last tUCk when It is lapped
over the extension.
TUCK BASICS 149

(a)
Fig. 8·2. (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 tucks
across the joining ~am . 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 tucking pat·
tern when both pieces or fabric
were rucked with differem arrange-
mentS. or when mismatching iden-
tically tucked pieces is intentional.
Matching idcntic-~Uy tucked pieces
with Onlcky precision has a decora-
tive pu~ when the fabric changes,
or when the int:ru!tion of horizontal
scamUnes is a designer choice.
When finished rucks are pressed
Ont, nttaching an extension to Lhc
. sewn at an equal or slanted distance
.
:
l
I I
i I
(b)
To motntnm the stand of
unpr~d or projecting tuck folds
when attaching an extension. press
and stitch a single-fold hem into
the fabric before stilching the tucks.
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 tuck fold
back and then forward to keep it
between the stitches that straddle
the edge (Fig. 8-3).
···-·············· ..
.......................
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
from the folded edge through 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.
GRA DUATED T U CKS
- 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.
CEN TERED TUCKS
-tucks with two folds made by cen-
tering each tuck over its seam.
Fig. 8·3.
D OUBLED-A N D-CENTERED
Zigzag top -
stitching that
TUCKS

tucked edge Is simple: Sew the two a ttaches -are subdivided with secondary
toge1her with right sides Jacing, or ..................- .. tucked fabric seams into two par ts which, when
lap the tmned edge of the extension -· .- .............. with p roject·
ing folds to
an extension.
centered with one seam over the
othet·, form two !ltcks stacked one
over the tucl<ing and edgestitch. • • ••• • ••• ••••• ••• u • •

When tuck folds project or cause the .................. . on top of tho Other.
f~hric to puff. the edge where the ......_.. .. -~
TAPERED TUCKS
lucking ends needs preparation J - tucks sewn with straight seams
before adding the extension: which move in an oblique rather
(I) Flaucn the tuck folds with bast- than parallel relationship to the fold.
ing an a manner that continues the
pattern and direction of the folds. (Refer to fig. 8-4 .)
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 En d of TUCK BASICS
 .. laroet meuurement
! • Jwidlh +viSible space]
iI • llumber ol Tucks
I
c. Figure the tolal amount of fib-
I '' ric required for the tucking:
i

Pin
II Spacod
lUCk width X 3
• Iabrie required lor one tuck

fabric required lor one tuck

x number oltucks
.l i' i • fabric needed lor lucks
I ii
I
I
• I
! i l i
visible space
x number ollucks
I
I i I
I
l• • tolal visiblespace
I'
'
! !
i
i fabric needed lor lucks

! : l ! + totJI YIS1blt space

• Fabric Fltqulremenl
Blind Graduated
Formula 1:2:

-- --- - - --
~
-- ,~

• I
i
;
•
a. Establish measurements for
the width of a tuck ( the space
i
I
i
i
l
:
I'
.•
:'
'
between tuck scam and mck
fold) and the seom space
I
I
: I
between rwo adjacent tuck
i I ~ senmlines (Fig. 8·5).
II ! iI :
.
: I I i ••
h. Find out IHlw many tucks will
fit within the target measure·
Centorad; Doubled and Centered Tapered mcnt:
Fig. 8-4. Standard lucks larget measurement
+ saam space
• number of Tucks
PROCEDURES Formula I'll:
a. Establish measurements for c. Figure the 1otal amount of fab-
I. Estimate the amount offabnc r.he widrh of a tuck ( r.he space ric required for the tuck;ng:
required for tucking that u;ll between ruck seam and tuck
match a target measuremenL fold) and the vislblt spact luckwlidlh x 2
Apply o ne of the follouing between one tuck and the • tuck width Inside seams
methods: next ( Fig. 8-5). luck width Inside seams
UNEQUAL DESIGNS b. Find oul how many tucks "ill fit x number or tucks
For designs with unequal tuck within the tnrgcL measurement: • lotal tuck wodlh Inside seams
widths and spacing, fold paper to
101at tuck width Inside seams
uy o ut dlfferem an-angemems.
+ targe1 measuremenl
MC1\Sure a repeat of the chosen
.. Fabnc RequlremenL
arrangement befo re and af1er fold·
lng, and calcula1e from that basis: Soam Spaco Between Tucks
/"""'>, o(""o.r-.., ~ ~,........,.
(btloreloldlng + after lolding) '
x tatoet menurement :
• Fabric Fitqu•emenl

UNLFORM DESIGNS r-1 ~! - ~ -o'!?~~p Tuck

Width
F~. 8-5. Tuck ter·
m111o/ogy defi'IO()-
For uniform designs. use formu-
:
!.
:
i: i: strated In a dia-
gram with two
la :1 '" formula 112.
' ! : : spaced tucks on
:•~ ,_ -: ~: either side of three
centered lucks.
VIsible Space Between Tucks

Chapter 8 TUCK ING 151

 Note: The width of a cemered
tuck, measured from fold to fold ,
is idcmical to hs measureme nt
from fold to scamlinc before cen-
tering. When cemered tucks are
doubled. the1r combined uidths
equal the width in the formulas
(Figs. 8-5,8-1 0, 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. 8·6)- but marking all
lines is seldom necessary:
Seamlines
......---c-., ~ machine device or a wcklng
I I I I I I gauge while hand SC\v;ng.
I I I Scamlincs for pin tucks are
,- 1-,
1 : :
.-
~Tuck
bl - ,
I I I I 1 I
I I I Doubled-and-centered tucks
I I
I., I I
Fol d Lin e ./
)
Fig. 8·6. 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 fabric-s.~fe disappearing
pen. chalk, or scissor-nips.
Connect opposile edge marks
\\1th the ruler and indicate
fold Lines with disappearing
pen, chalk, o r thread bast-
ing-or fold between the edge
marks nncl crease with an iro n
(for ccnt.ercd tucks, crease
very lig htly). 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 scam li uc). Mark the
stitching line to the lclt of the
fold lln~~thc line visible on
I 52 The Art of M an ipulat ing Fa bric
I i I I I I I I
I I I
I I I
I I I F'lfl. 8-7. Preparing
I I I Iabrie for tucking with
I I fold- and stitching-
I
I line markings.
I I
~:
I I
I I I I I . I I
to p when Lite tuck is folded
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-
Width
never marked. Tapered tutks
and unusually wide tucks
Fig. 8·8. Hand sawing tucks with a
need sc:unlinc mdicalions. gauge notched to direct the seam in
progress, and to Indicate (1) /he
need two sLilching 1incs width of the tuck, and (2) the dis·
(Fig. 8·11). For slippery fab- lance between the stitching line and
rics. mark a stitching line on
fold of tho previously sewn tuck.
either side of each fold line, For machine sewing, control
lines that will be matched to needle distance fro m the fold-
prevent fabric creep and ed edge b)' aligning the fold
assure accuracy when sewing. \\1th markings on the needle
3. Sew the tucks by hand or plote of the machine, with a
machine. If not done before. fold magnelic or scrtw-in scam
on the indicated lines with allowance guide. ""h mask-
wrong sides together and crease ing tape stuck to the bed of
the folds \\1th an iron, or nm the the machmc, or by using the
length of the l.~utly held fold right edge of the presser fooL
over the edge of a table (crease as a gauge (Fig. 8-9).
centered tucks lightly). Pin the I I
layers together and stitch each -
~
• I l
tuck fro m the side that will be
seen. Turn previously sewn Lucks
''
•
I'
I
i
:
i
••
.l..
I I
away from 1he Luck seam in
progress.
a. When stitching lines arc not
:
•
I'
.I
I•
! li .i
I
;- - :.
l ..;
! '
indicated, hand sew with an
C:\'en running stitch and a card·
I
I' .
board tucking gauge ( fig. 8-S).
'
:•
•
I .i 1 -
Fig. 8·9. For precise stitch formation,
sew tucks with a straight-stitch foot
and round-hole needle plate
attached to /he machine.
STANDARD T UCKS
 ___.,. ___
Specialized machine attach·
mt•nts that assist mck
. - - -- ·-
!'
sCMng-an overedge foot, an ' .
.
edge stitcher. or an adjustable
•' .
blindhem foot- keep pin·tuck
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 befo re 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 all but centered mcks,
prtss in the wrong direction
firs t, then press in the right
di 1·ection, us ing a press cloth
tO proten the fabric. Tum the
tucked fahric 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· o n page 89).
• For centered tucks, center the
tuck fold line over the seam-
line before pressing (Fig. 8-10).
For doublcd~and-<:cntcred
tucks, center the fold line o"er
the secondary seamline, then
ccnLe:r the sccomL.try seam
o"cr the primary seam before
i' .
.
Fig. 8 - 10.
Centered tucks
l: (a) after seam-
ing; (b) pressed
with fofd lines
. centered over
seamlines.
r
!
l
(a I
l-· --·- -- +-
(b)
-- ---~--- ---
mended for doubled-and-ceo- appropriate in so me instance..c;: Draw
tered tucks. After topstitching
press agoln.
. out a thread fron1 Ute wro\'e of the
fabric, Tum the fabric to the back
6 Rercr to "Extending the Tucking and score Mth a blunt tapcsuy nee-
Fabrk" on page 149. dle. Make rows of tailor tacks.
When cre:~sing folds prior to
NOTES & VARIATIONS stitching. fold and press over the
straight edge of a s trip of hea"y
T he smooth symmetry that dis-
paper aligned to the straightgrain
tinguishes standard tucking
between o pj.>osite position marks.
demands exact measuring and
Space the seamlincs of ndjacem
marking, accurate fold ing, nnd
tucks at least a pre.sscr-foot width
scams s titched plumb-straight a
apart, ns measured from the needle
pn·cisc distance from the fold.
to the left. For the final pressing,
These additional suggestions make
avoid excessive steam which may
a diJJcrcncc in the result:
cause the fabric to pucker.
Before marking, true the grain of
Align the folds of tapered tucks
wo\•en fabnc and steam press.
tO the Straightgrain of the rabric
Spread the fabric O\'er a surface
e''en though the tapering scams
latger than iiS length and width and
slant, either alternating direction
hold it taut while marking. Use a
£rom tuck to tuck (refer to Fig. 8-4),
griddcd cmting hoard for straight·
or moving In the same direction
ness control. Optional methods for
(Fig. 8-12).
fold-line marking that may be
Seams "->1
/'I
I
I

llftsslng (Fig. 8 -11). As a pre- I

Primary I
l>ressing aid. push a dowel Seam I

inside the tuck tube to open 1":

Secondary
and spread it for centering. Seam
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 (a) (b) (c)
fo r cc,ntercd tucks but recom-
Rg 8-11 Doubled-and-centered tucks: (a) After sewing, and (b) press~d "'(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 the 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 ~quare, 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-
d•rds 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, the
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 st•ams tilt haphazardly
and cross at unusual angles.
Mocl: l'in tuc/:ing substitutes
raised cloublc·Si ilching, cre,lled
whh twill· nccd1c machine sewing,
fo r 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. 8·14). twin-needle
stitching in back pulls close togeth-
er, making a ridge in front.
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,
1fmm , 6rnm-conLrols mock pin-
mel< size and height. With a corre-
lated pin-tuck fool on the 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 fab ric changes after
it is tucked, becoming thicker by
two la)'crs. firmer. t~nd less pliant
across 1he lliCI<ing. Doubled-and-
centered tucks weight the fab ric
with four layers. Crnss-tuckcd fab-
ric loses some nc,jbility il1 both
directions.

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.

IS~ The Art of Man ipu lating F>brlc STANDARD TUCKS

LLoi - L............... ._ ... ,_... ... .......... ._ L:....... '-'

STANDARD TUCKS

VIII-J - Bind-wcked (obroc '' consosll!<l!Jy rh~ Ia~ Jh:ck

VIII-~ --Grodvored tvc!<s

Yl/1-5 Ccmcte<IIUCI<s S{Of>lozcd "'ofh togla~d IOpSlofChrnR

olrernotc wJth rucks stabl'l•zcd w•lh seams ocross tJxl ends.

Chapter 8 TUCKING ISS

WI-~«J.ond.coweted t..OO ~
w•th dose "Bl"l!i"le down the cenre

Vlfl-7- Tapered rud::s \Wth seams that sfan[ In the some 6rcct1011.

STANDARD TUCKS

VIII-9---0os•gner W<king
that c:ommsu dusters of
p1n rucks wilh'"'*' tucks

I 56 Tho Art of M an i pu l ating Fobrlt

 \111. I I -Voss nd:ing hos o more c.ornplex Mt-<Jitd'1JI>dcr 6mc:"""""'ry
when me se-g ofhorizotllal Dttd ,eJWJ} OKks Oi!emotes bocX end fDnh.

VIII. r1>-CIOSS ruciQng wol/1 hMzc,owl wcks 1/lot oppC<1T tD

STANDARD TUCKS
ll!Ce<le beh•od vorucor tucks.

'IIII-I2- Rondom IIJd(jng examples: (lef~ A """ety ofttd<s

seamed osymmetricolly in o generally vern<:al directJon.
(nght) Tucks !hot C<ISs.<ross coch other any wh•ch ~"Y

Chapter 8 TUCKING 157

STANDARD TUCKS

VIII- I J Pon Wd<s.

~ p<.1lem lilc
mu$1':11 WJL~ {cks lflaz
stand up Ike ndges.

YJII /5- Freely smelted w:rh o tw•n nee<d<. mock p;n tucks
a;rve ooa cross and appe<1r ro w<!OVC 0\'tt and under.

I S8 The Art o f Manipulating Fabric

 -- STA N DARD TUCKS

VI" It>--Tucked onstttt (!DP) lh>pressco

tucks ~ sw:t>ed ocross o sqoore.
(centet) Tapered ond cent01ed tuoo.
(bouom) Tucks Wllh siCJnt•ng fOlds

. ...,
I ~ I r- ·- .-
II ·-o:. _ _ ___ .-
"""
':
I~
I ~~
I' !
l-.1• ~· ll
-t ;; ~
I ~l

~
["
· ~ ··
IIi ,~
= ---:::e: .. - - -~
II·
='
~
"
" '"!'
~-
~-_.:.
...,
~ 81
i'- ·~

I'
I'
[
I .c."
I
._~ · llJ
• • "' I
I....
i'- ~

r·
!ill ......
'" ; ~-

-~ -- -,

\I~
-~-

~
I
f:l' t :=.
I
VII~ I~lV;o kinds o( Wcic"'l! M •nto - and reossembied
.... - I. • I. '-.--

V//1./7- Tu<kod (abric cut Into swps and reassembled to s~•r the
R ... ... •nto (ab;,c parrcmcd ,..,rh tu<k (olds !hot chonge d~

l,nes of the (o.lds.

Chapter 8 TUCK ING 159

C URVED TUCKS
-blind. spaced. or graduated tucks
that follow a curving path w hich
usually parallels the curving lower
edge of the fabric. Fabric flares
below a curved tuck.
PROCEDURES
I. Review t he procedures for
Sumdurd Tucks th at begin on
page 150.
2. Plan an arrangement orcurved
tuck~ that confo nns to th e circu-
lnr shaping o f 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 a n upper ancl lower seam lin e
by measuring down (rom the
center o f the circle or the a pex o f
n circular seg1nent, or by measur-
Ing up from t he c urving lower
edge of the fabric (Fig. 8-16).
Crease each fold line with the tip
of nn iron.
.
. . ..... · .
. ..... ...
. ·.. " - .. ... ______ __...
.. . - .. . . . .
~ ...... :·::::;:
..- ....:::. ...
160 The Ar t o f M arlipu lating Fabric
Creased Tuck Fold
Ftg. 8- 17. CuNed tuck
with the seam/inc under-
neath gathered to march
the upper seam/ine.
4. Scam c.:1cb tuck:
NOTES & VARIATIONS
a. Hand sew over 1hc. lower seam-
line with running stitches, o r The fabric between curved rucks
should be pucker· free and will be if
machine sew with l:uge, loosc
slitches. \\11th the tuck folded, the difference between the lower
gather and ease the stitchino
on the lower scrunline. seg-
.. and upper scamline of each tuck is
cased smoothly. The Unre o[ cur,ing
ment br segment. until it tucks is progreSSIVe; the amount of
flare incroaS<.'S wath the depth and
matches the upper seam line.
number Of the lUCk:.. fluring CSC<I·
which will be shorter. Steam
lates even mol'e when successive
p t·ess the eased stitching and
t ucks gradually increase in wid t h.
p in or haste the tucl< scamlin cs
together (Fig. 8-17).
b. f'ollow the upper seamline to
sew the tuck.
c. Remove any bru;ting and stea m
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
ang le co the lower edge•
( b)
CURV ED TUC KS
 CURVED TUCKS

Vili-19- TI•e
(lJC~·prodoced
Poring =umu-
Jotes. Wllb SUC·
cessive tucks.

Note: Pro<edures for Shell Tucks begin on page 162. SHELL TUCKS

VIII 2 1- Hand-stioched shell tucking

Vll~20-1iJd<s shelkcalloped wh<e mach•n• sewing wi<h an

overed,ge stitch.

Chapter 8 TUCK ING 161

 3. To make band-stitched shell
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
mck~:
a. On a scra1>of folded fa bric,
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).
4. Stmch and pin the edges of t he
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·
(a)
n1Cill Of spaced or blind tucks.
Mtc t· marking fold positions
on the fab ric, fold ;md tben
crcnsc 1hc folds with a n Iro n.
c. ~lachi"e stitch each tuck with
ovcrcdgc stitching as tested.
Adding a Straight-stitched
(b)
seam IICStde the o•·credgc
>litching is an option.
162 T he An. or Man ipulating Fabric
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 m~rked and then crea<e
the fold> with an iron.
b. Hanel sew each t uck with run -
ning ~thebes. stopping to
bring the thread over the tuck
fo ld from back to fro nt 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 o•·eredge poilus with
pin>. chalk. or disappearing
pen. or gauge by counting the
running stitches in between
(Fig. 8- I9).
shcll-tuckctl f:tbric, righ t 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.
SHELL TUCKS
NOTES & VARIATIONS
The width of machine·sewn 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 ha nd-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, w hic h helps to gather the
tu ck's width Into the base scorn. If
1he overedgc s1 llches are too close
together fo r the width o f the tuck,
the shells will d mg the w ck from a
level p lnne. Te<t to find the a ppro -
prime spacing.
(Sec l>ho tos of Shell Tucks o n
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
112" ( 1.3cm) with folded edges that
have been reshaped to curve and
angle.
PROCEDURES
I. Re'~~w 1he procedures for
Standard Tucks that begin on
page 150.
2. Plan tuck width and spacing using
folded p.~per, 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).
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 ir~ide), pin or
Fig. EJ-20. baste, and crease the fold
Contoured-tuck pat·
terns: (a & b) With ligluly with an iron.
cutouts separated b. Using the Lemphuc, trace the
by intact portions of conLoured S<Mnlinc down the.
Fa~ the tuck fold.
(c) Contoured to length of each tuck. Stitch
reshape /he edge C!.ach contour on 1hc line, Lrim
completely. Patterns n se:tm allowance disLancc
do not include seam
allowances. from the scam. and clip lhe
scam allowance at inside
curves and angles (Fig. 8 -21).
(c)
Tum 1hc contoured edge of
each tuck righ1 side out and
press.
3. M:~rk the right side of the fabric
for lUCking:
Tuck
Seamllna--...:
a. Using a lo11g ruler. measure off I .····--
:
·
fold posilions for every tucl< !..........
on t he top and bouom edges
o f the fabric and mark with
1
..---------
stissor-nips thai are ' 'isible o n
both sides. Also indicate a
I 1
!
t... ______
sc"mlinc position to the lc.Ct
of 1he fold position (the seam· 1
line tha.t \\ill be on top when
the tuck is folded [or sewing).
I
b. Connect the opposite seam-
linc·position marks on lhc
1
top nnd bouom edges of the
fnbric with a stmigh t line of
I
f"bric-safe chalk, disappearing
pen. or 1h read b"sting.
l
Fig. 8·21. 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 1hen 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 i~s
repealed row after row. Testing with
paper. vary the spacing between the
mck rows und ov~rlaps. stagger the
panem, or turn pairs of rucks to
face each other (Fig. 8-22).
(a)
Combine diffcrem contouring pat-
tems. When blind tucks are con-
toured. note that tuck seamlincs
"~II show unlc,s the amount of
o•·erlop 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
m iddle, the mcasm·cments for each
combimu1on mus1 be exact: Two
mcks of cqunl wi<hh after 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 the folds to face
each other, hattd sew the tucks
toget her where they touch using
clccorm ive Ol' invbiblc srhching
(Fig. 8 -23).
Sarin·Siitd trd 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 u~:~chi ne. The alter-
nate method: Follow the traced out-
line \Vhh salin stitching; remove the
fahric beyond the satin-stitched
contours by CUlling from needle
ho le to needle ho le with small,
sharp scissors, without snipping a
thread (Fig. 8-24).

I
I
I
I
I
I 0
0
0
0
I

0 0

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 ror 11'i tnming aflc.rwurd.
Conto ured-tuck edges may also be
0 0
0 thread-bo und with a sergcr.
I
(b)
Fig. 8-23. Diamond-shaped keyholes
Fig. 8-22. Variations with a contour- creat9d by bow· tying the points of
ingparrem. rwo zigzag-rontoured tucks together.

164 The Art of Manipulating Fabric CON TO URED TUCKS

 VIII 22 W.do bl•r.C tucks
with edges scalloped on
a turned seam. Tude over-
lop was calcvlated til
conceal the ruck scams.

Viii-23- SP<Xed
wcks with saw<ootb,
saiJn•s!llched edges.

CONTOURED
TUCKS

Chapter 8 T UCK IN G 165

CONTOURED TUCKS

VIII·~.~ pcltem o(notch~s. repeoted

bL't slightly :;raggered on S<JCCe<!d•ns wcfcs.
cr«rtes o SlJOI>R des-gn !hot dom•notes
or
.,.., vertKOI bnes !he bl>lld-<ud< folds.

06C

c
Wj.26 F001'111Ucks '""" o ZlgZCg d>cnne/
between l>glOg<OI>loured ~

I I
V/1~27-Keyhole 1u<!<s bor l<lcked
!ogelher where they I OUCh

166 Th o A r t of Manipu l ati ng Fabric

 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:
n. With b bric-safe d isappearing
pctl o t· cltal k, l1mrk the front
of each tuck with slash lines
between and perpeuclicular to
th~ fold and seam of the tuck.
Space the lines two times the
\\1dth of the tuck apart. mark·
ing at le.~s1 two slash lines per
tuck {two si.1Shes make one
sharks tooth. lhrct slashes
make two shark's teeth. fou r
(a)
( b)
(c)
Fig. 8·25. 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.
slashes make three, and so
fonh). Relate the lines on
,
.... ................. ..
adjncen1 tucks lO an O\rerall
design. Slash where marked,
cuning straight across from
. . !.Y..~. . . .~. . .~. :-'~. . . .~.~
the fold right up to lhe tuck
seam ((a) m Fig. 8-25).
b. Turn the cut edges under,
folding "t a 45-degrec angle to
the mck seam . Press. srroking
the new fold• into points mid- ::··::::::·::::::·::::·::.1
way between the slashes ({b)
in Fig. B-25). Fig. 8·26. Cutting Into a tuck with
uniform, closely spaced snips to ere·
c. Re-sew the tuck scam with a ate fringe.
zigzag Stllch wide enough lO
calch nnd secure the cut edges
hidden beneath the tuck ({c) NOTES & V ARIATIONS
in Hg. 8-25). Shark·, lt-.:tlt are easier to fonn
d. Ste:~m press with the shark's when the tucks are wide. and easier
Ieeth face down on a padded to poim if an extra bit of fabric is
surface. shaved from the stdes of the cuts.
4. For snip-Cringed wcks: Design options for >hark's teeth
include the obvious-identical
a. With chalk or disappearing
lucks slashed idcntic:tlly to produce
pen, drnw a litu~ ncross the
l'ron 1 of each tuck, indicating
or
rows shuri<'s teeth w itb points in
cvc1·y row aligned. or, ror more
that the >nips arc to stop a
d iagonal emp hasis, iden tical tucks
''safe• d isumcc i't'Olll tl1c t uck
wit h sb shcs staggered in succeed -
sc:tm. The •safe" distance
ing rows. Also. v:uy 1hc amount of
r(·scrvcs a scant allowance
overlap or separation br1ween tuck
between tl1c base of the fringe
rows. ch:mge ruck widths. or space
itnd I he seam.
slashes more than L\\ O·llmes~tuck­
b. Smp each luck closely. cutting \\idth ~port (Fig. 8-27).
straight in from the fold and
Stopping where indicated
( Fig. 8·26).
Chapter 8 T U CK IN G 167

Vnry "~1h 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. 8·28. 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 e.~cnping at inside angles, or
machin~ st itch around the poinu of
the folds with a narrow •igzag.
168 T he Art of Manipu lat ing Fabr ic
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. 8·29. Shaping shark's teeth by
pushing the slashed edges inside the
luck tube.
Non.. wovcn materials are partic-
ularly appropriate fo r 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.
SLASHED T UCKS
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 the straight-
grain . threads arc pickt el and pulled
out of the weave of the fabric with
the help of a long ncc<llc or pin.
Before unravelling. divide lengthy
tucks imo manageahle sections "~d1
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
tucked fabric is ~lrengtht:ncd with
lining or prcss·on interfacing l O
prevent the scams from pulling out.
Ravd led-fril1gc lUCks are pan icular·
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. 8·30. Ravelled-fringe tuck.
 SLASHED TUCKS

V/11·28 FiVe wide blond tucks

shaped Into sf>ork's teelh, above
a border o( smaller sf>orks recrlt

'1)11.29- Bind Oid:s thoz

.-.ctt(M m S&Ze ~' ih lhf'eoe sharKS
t~ cemcred"' e<Jch t1JCk

'1!11-30-Shork's teeth~ by pu$1>-

u>g the cut edges ""~ ~ tuck rubes.
!hat "''Y in angutoflty and dtplh,

Chapter 8 T U C K ING 169

 VIII 31 - Sn;p.fnnged rucks.

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 (~

Vl/!-3J.-.Rovoi'Y!d-{nnge c!ICks "'

mUSio11 w'!h o 78 • 78 Wead
coun:. To t<lObie the (ri.1g"ng !he
!l~ks were cut aporr o< d>e fo.'cis.

170 The Art o f Manipulating Fabri c

 C ROSS-5 TITCHED
T UCKS
-<~~ck folds forced co elevate
between crossover stitching that
holds the tucks down. There are cwo
types of cross-stitched rucks:
UN DULATING TUCKS
- tucks that 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 that levels the folds.
PROCEDURES
L. Rc,'icw 1hc procedures for
Smndard Tucks !hat begin on
page 150.
2. t:~wblish 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 fabric (Fig. 8 -31).
..............................___
'
!
-·--··-----.-------
..
... -·······-----·.... ~----·-···
. I
.... .. ..... ___.. ------r--------
\ and bring tt our at the left
(o) (b)
• for bow-lied tucks, 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. Com·en 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 the perime·
tcr of the tucked f~l.>ric to a
padded hoard. Set the projecti ng
tucks wi 1h steam from an iron
held just above the fabric. Allow
to cool and dry before unpin·
ning.
:::::..::.:!. ~::-:-:.s.~- ....... L
l
'
... - -~-
Ftg. 8·31. Undulating an
BffBY of tucks with
crossover rows of stitch-
Ing that change the direc·
lien of the folds .
Chapter 8
Fit;. 8·32. To hand tack
bow·tied rucks: (a) lnserl a
needle mto the tuck wbe
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
ltall·the-needle's-length
away, and cui the thread.
(c)
NOTES & VARJATIONS
The wid<r the tucks, the ,~;der
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 bow·til"<l tuck is a
linle less 1hnn half the width of the
centered tuck .
Always loc;uc rows of crosso"er
topsrltching inside the scam
allowances al the cuds of tlte lucks.
To mnkc the 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 , tffteth·tl)' panem infor-
mol. looser opplicarions of cross-
Siitched tucks.
lnste~d 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 o r 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.
TUC KING 171
 Vlrt-35- Wider. btmd rucks undukited With tapsutching.
I
CROSS-STITCHED TUCKS

VIN-37--I.kldulotJng G:!d t:Xl'"'tJed llJCI:s of WIIIOUS \Wittls """"ed 'Mill

mcondcmg rows ofZJgz<rg surdllng.

Viii· )6 Cemeted tuck$ cross-;,omed ot regular intervols

w•th bo'No{ICS rn eYef)' other Sf};ment

172 The Art of Manipulating Fabric


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
botwo~n stitches that squeeze the
folds together.
CABLED TUCKS
- ce11tered tucks that are spread
o pon and secured with tacks, mid-
way between other tacks that bind
the folds together.
PROCEDURES
l. Review the procedures for
Standard Tucks that begin on
page 150.
2. Stitch a succession of centered
tucks into a length o f fabric.
3. Mark 1he surface of each mck
with spaced tacking poims using
pins," fab ric-safe disappearing
pen , or chalk. Test for spacing
nrst, appl)'ing th e sde.ctcd tech-
nique 10 a scmp o f lucking . Wi1h
needle and thread. tack th e
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 o ut 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}.
Fig. 8·33.
Bubble tucks:
(a) Crushed
under pulled
over-the-tuck
sUiches.
(b) With folds
tacked
together and
anchored to
the tuck
seam under-
(b) neath.
• .A. flattened version for
wid er tucks: (1) h1Scn the
n eedle into t he tu ck 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
1h rcad to the next tacking
positio n ((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
each fold to the fabric behind
(fig. 8·3~ ). 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
w ith dccomtlvc thread o r narrow
ribbon, lcuving I he c ut ends dan-
g ling, nnd thC)' ai'C particulArly
effective w hen ribbon or cords are
tacked Ins ide the channels.
Cabled tuck.~ need sufficient space
between tacking points to prevent the
pull on the tuck from bo\ving the fab-
n,.,
ric nftcr h Is rnblcd. stand of a
cabled tuck equals a little less than
or
half the width 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. Bo th bubble
a nd cabled tucks can be worked o n
the top layer or centered-a nd -lay-
ered t ucks. Cmss-tnchd tucking
stiffens the fabric up and d own tbe
length of the tucks.
Fig. 8·34. 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 level. (b) Catch
6 5 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.
Chapter 8 TUC KIN G 173
 t· ·-~

1 ~
{r
:f I F
i .•

f:,
CROSS-TACK ED
T U CKS 1';
j: 1 tt :1

~ 'i f i•

~
r·
'
i·
~~- I
~-

'1111 38-&tbboe ruck;

n~ I 1
(le/l) "'!h folds =shed
under over-100-wck suldles. '[
(righ!) w'!h folds )oi~d and
oochored to 1M seom '1 I··

t:r.derneoth

l :I '

lI
:
i r-

174 Tho Art o f Manipulating Fabric


P ART IALLY
SEAMED TUCKS
- t ucks stitched with sca ms that are
deliberately incomplete. There a re
two typ es o f partially seamed t ucks:
RELEASED TUCKS
-parallel cucks w ich portions of
their seams unstitched, releasing
loose folds from the seamed folds.
INTERRUPTED TUCKS
- crossed t ucks with unstitched
intersections, creating puffs o f fabric
between the seamed folds.
PROCEDURES
I . Review the proced un!S for
Standa rd Tucks tha t begin o n
page 150.
2. Plan an arrangement o f pmtinll)'
seamed rucks o n graph p.1per,
o utlining t h e se:unlfold positions:
• For released tu cks. draw par·
allcl lin es to ind icate the p in,
spacNl, blind, grnduntcd , cen·
tcred. or capered tucl<s that
will op en imo unscnmcd fo lds
a t design.1ted poin l• ((a) in
Fig. 8-35). Specify the t)'J'C of
tuck, ruck width. the space
between rucks. and fold-pre.s·
ing directions o n the plan.
• For i nter rupted tucks, o ut line
a cross-tucking paucm.
Indicate the po hm where mel<
s titching will be suspe nded
( (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
no ted beside the centered fold
lin es. Limit tucl: width for a n
bue,nqncti-rucl: design w V4"
(6mrn) at tl1c mosr.
\ t-\ )=\ ?:"\.
\ .1 \) \} } 7 \.
j~{)
t \ \./t\\.{t\S-<1\\./
'
.'~ \ ~
>:< ~$ )·\
';( \-{ '>-7 \7
,
X)\ I \ <;.J!\ ;-
\ -J CO{
I ' : ' • '
(b)
Fig. 8·35. Designs for partially
seamed tucks with lines indica ting
seams/folds: (a) Released tucks with
broken·v lines wt>ere tuck stitching
stops. {b) Interrupted tucks with bro-
ken-fine circles where tuck stitching
breaks.
3. Using a fabric·snfe, vanishing or
removable, murking substance.
mnrk th e righ t side of th e fabric
with fold lines nnd seamlines as
specified o n the planned
arran gement. Mark the po ints
where tuck SC.1111S stop and start.
for released tucks. expand the
]Japer plan b)' adding measured
tuck w1d ths beside the fo ld lines.
For inte rrupted tu cks, trace fold
lines from tln~ pauem~ trace
seam lines ilnccded.
4 . Fold a nd sew t he tucl<s by
machine, stopping and resuming
where ind icated. Wh e n a seam
ends or ~gins inside the fabric,
pull the end of the surface thread
to the back and tie the needle
and bobbin threads together
before trim ming tl1c threads. If it
can be d on e inconspicuous!)'.
backstitch or stitch in place to
!><:Cure the seam. Hand se" 1ng
ma)' be ~asier tha!l !Wiclune
sewing for cross·rucked pattern<
5. Press the folds of released tucks
Oat in th e direction specified o n
the o riginal pla11, witl1 the
released por tions o f the tu cks
continued as pressed or
u n pressed folds. For unpressed
released-ruck applications and
interTUpted tucks, stretch aJ>d
}:\ pin the edges o f the tucking to a
padded b oard. St~am with an
r · iron he.ld just above tl>c surface
or I h e t ucks, a nd allow to coo)
tmd dry befo re mo,~ng.
).\ 6. Refe r to • Extending the Tucking
Fabric• on page L49.
N OTES & VARlATIONS
Released tucks are not purely
~ decorath•e; they functio n somewhat
\ -J
li ke pleats to crea1c and cont rol
Fulln ess in the unt uckcd scctio tts o f
'
th e fab ric, The fullness can be iso·
Iated at o ne or on both ends theor
discon tinued tucks, o r the Fu llness
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 p ressed Oat.
Un like released tucks. fabric p at·
tcrncd with an interrupted tu cking
design re mains s tabilized through·
o ut and t he result is more dimcn·
sionolized . Tuck Folds stan d. and
the puffs that replace the intersec·
tlons where tucks would otherwise
cross project C1'Cn mot(!. The eleva·
Lio n of the pu ffs is dete m>ined by
t he n u mber a nd d ep th of the tucks
t hat discha rg e the p uff. Since paper
p h1n ning for an ime mtpted tuck ing
design ca n't full y predict t he clo th
result, test first.
Chapter 8 T UCK ING 175
PART I ALLY
SEAMED TUCKS

VfJ1.4(~Pamr.eJ rocks tn dusws o( 1/lree ttle0$C loose folds

where the tlKks srop..

Vltt.41 Spocod woo, pressed., oppos~e <fzre<:(JOI!$ bes>de o CCiltered

wd< "' the rrwddle. releose loose folds of», e and btlow the Wd< seams.

Vllf-42- IJnpressed, parollol, narrow tud<s n:>lcose bands o(

foose {o!ds where wck !Wt.thinRsrops.

1?6 The Art of M an ipu lating Fabr ic

 PARTIALLY
SEAMED TUCKS

YIII-43- An imerrup!ed cross-

wckmg destjn. pln-Mked.

C hapter 8 T UCKIN G 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 the 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 c:~ch tuck in the cluster.
Decide how mnny clus ters to
include wh hln the wrget mea-
surement for the tucked applica-
tion. To f~g~tre 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.> .ocr•Y.» 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
178 Tho Art of Manipulating Fab ric
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 1he dLstancc
between vct'tlcal doL~ by the
need tt> assure d~e Shtbiliry of a
cluster along it.> length from
edge to edge ((a) in Fig. 8-35).
~uotors :ll r ro cool nnd dr) before moving.
-\----.....-
Back Fold Dots
I=
I=
1-
(a) SpaeeBotween
Clusters
--~­
.\
'
(b)
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.
SEAM LESS T UCKS
3. Working from the back and
using sturdy tln'C•d 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 fabric. Allow
PROCEDURES FOR
TIED TUCKS
1. Plan a repeanng, full·slZed 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 fabrtc 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
s ize 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 \\~th the pallem
under the matertal.

(b)
(a)
(d)
(c)
Fig. 8·37. Examples of grid·based 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 non·tucklike formations.
3. With strong t hread in 11 needle,
con nect each pair o f do1s: lnsen.
t he nc.cdlc in to one do t nnd
b ring it out at the other doL
Lcn,~ng a 1ail of thread. repeat
the stitch (fig. 8·38).
Fig. 8·39. 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. T he ends of
the clipped thread become
pan of the surface texture.
• l;:or I'Cvcrsc tying~ draw the
dots together with the
Fig. 8·38. Preparing to tie a tuck by crushed fnb ric pushed
connecting a pair of dots with repeat·
ed stitches. 1h rough tu the right side. The
end> of the clipped thread will
Pull the dots together on the remain h1dden in back.
thread. crushing the fabric of the
4. Stretching gently. pull out and
ruck. Tie the ends securely with
pin the edges of the fmisbcd
n square knot (fig. 8 -39).
mcklng to a padded board.
S~ram with an •ron held just
above the surface or the tucks.
Allow to cool and dry before
removing.
Chapter 8
NOTES & VARIATIONS
Refer to "1-stcnd mg 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 rn£rscd
clusw wclzs, reduce the stunding
width o f t he tucks to minimirc bulk
unden1enth. Conceal the starts and
stop> of the th•-cnd in back, or secure
the ends w ith deCOI'ative ties in fronL
ik>.itlc> following grid·ha<ed pat·
tems. tied w cks can dimcnsionalize
designs "id'l lint~ that curve.
dh·el)\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 p-~pcr \\1lh llnes th." nOI
only describe the design, bm also
indicntc the center poinr het\vecn
pairs or tics that mise t·he design
from the fnbrlcs surface. (l) Make a
line drawing o f the meandering
dc...;ign. Convcl't the ti.J·:-t\\"ing imo a
paucm, ~pre.,dlng 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 :~s previously described. Va•y
the distance between ties to accom-
mod;tlC lhC cur\'CS nnd dniations of
1he 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) B«ausc
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 needec~ slabilizc
with underlining.
TUCK ING i 79
SEAMLESS
TUCKS

V/li-1 5-Bcn~ o( tople Clustc; tucks

'

I
I

'1111-4 7 Rows of surf=-<•C!d tucks cros"ng the boas

of the mvs,m. boned too l•n1ni.
V/11~16-Reversed clllsl<r n:cks.

180 The Art of Manipulat ing Fabric

•

SEAMLESS TUCKS

VIII-4~Samptes 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 18 1
SEAMLESS TUCKS

Vl/149 A !led llddes;gn limllldt.<ies rutWlg. <MTng.

con.~'11'~ d11opP<anng. croSSlng and scrambled /.nes

18 2 The A r t of Man ipu la t·i ng Fabric


PATTERN
TUCKING
--fland-stit~hed pin tucking that
dlmensionalizes designs with rurving
and angular as well as straight lines.
Amid the ridges of the pin tu~king,
paccern-tu~ked fabric shifts between
smooth and puckery.
PROCEDURES
1. Oral't a full ·siz~ linear d~ign on
p~pc1·. 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 1he design onto 1he right
side of the fabric with fabric-safe
<:halk, (lisnppL~aring pen.. or
1hread basting:
• Pin tbe fabric over t.be l'aper
pattern and ;>lace on a ligh1
box or window during d.~)1iglu
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
pnu crn away.
3. Hnnd sew 1he design:
• Running~stitched 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 s titch on one side of the
line and a s urface 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
cun·cs with >mallcr stitcbe,
on the in.<lde of 1he cun·e and
lnrgcr stitches on the omside.
/ ". .,/
(,
,.
-___
ti'./
I.
\ Fig. 8·41. To pattern tuck willl over·
' ' - __ ,., ,
I (b)
Fig. 8-40. To pin tuck s curving
design with s ltemsting 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 ovcrca.~t
~thc hin g. Mal<c pulled stitch-
es !1\'' (3mm} wide tbal 11\0VC
under n II ne wi th the needle
always crossing from Lhc same
dorcc1 lon. Overcasting witll
1hre~cl embosses the design
wil h uny ridges tltat have a
rope-like t"<igc (fig. 8--H}.
'
'\
\
I
I
J
cast stitching: Bring the needle up a
scant 1/16"(1.5mm) to the lefl of rhe
line. Moving forward across the line,
(a) 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 ,~<•mly. 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
pnuem ing of 1he folds raised from
the fntll'ic, Onlshi1tg wit h a fahric
thm lies na~ Overall requires S!iiCh·
ing d•·awn up jus l enough 10 crea1e
the tucked ridge-bUI never so
much that the fnbric begins to g<lth-
cr beyond the puckering cbar~ctcr­
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 garherin~ to maintain a Jeyef
fabric. Alwny>, 1hc IUcl< i1sclf
should be tiny.
Chapter 8 TUCKING 183
VIII-SO--Rows o( arcles pln·llid«<i wrlh /a<lder sutdlrng.

VIII-51 -A nmrong s~!d>ed fforol mo~f repeated "' rM~or>aJ rows.

PATTERN TUCKING

V/11-52- Sho'low <1/frcost svtc~rng il'J~rnes 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
QU ILl ' lNG .............................. 188
Procedures .......................... 188
Notes & Variations .............. 190
- Stnng-guidcd yam
cording .......................... l90
Trnpunto .......................... 191
Single-fabric cording ........ l91
-• Mt\OIINE-SEWN CORDED
QUILTING .................. ............194
Procedures .............. ............ 194
Notes & Variations .............. 194
Single-fabri c machine-
stitched cording ............ l95
SURFACE CORDING ................ 199
Procedures ..........................199
Note. & V•uiations.. ............ 200
Dctoc.hed cording ............ 200
:-lote: This chapter begins with
BASICS, indicated by a gmf band
locotcd u nclerneath the relevant
cnl um n~.
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, the soft, puffy,
resilient , lightweight qu;~Utks of
at rylic yarn make It the contempo-
rary favor! tC. T luetldecl into a nee-
dleS eye, Insertion into narrow
channels is I'Clativcly easy. even
when tWO. 1hrcc, or four S-trands are
combined to incrc<~Se 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 sin•lc-fah-
o
ric cording, and for machine stitch·
ing with :1 zipper or cording foot
next tO the 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 L~ 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 nvail;~bk 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
t\\~n-nccdle or zigzag cording. for
dehcate cording in n.1rrow channels
or tubes. and for cords brou•ht 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 fnbrlc coverings.
CO~D IN G BASICS 187
HAND-SEWN Fig. 9-1. Designs for
hand-se1m corded
quilting.
CORDED
Q UILTING
- two layers of fa bric covering cords
conflnod w ithin stitched channels. a
combination that e mbosses an inter·
lacing design into the surface fabric. Allover
Desi gn

P ROCEDURES
I. Draft a full-size pattern for a
design that uses, as the linear
de,;ce. two parallel. evenly
spaced lines. The lines cleOnc
c hannds tha t follow curving,
a ngular. em wilting pnths thm
appear to weave over nnd undCI'
one a no ther. Where the double·
line channels c ross. one channel
stops the progression of the
o ther. and each c hannel ahe.-
nates between proceeding O\'cr
and disappearing under the Border
channels it crosses. Because of Designs
the constant interruptions. chan·
nels arc divided into short scg·
men ts (Fig. 9 - l ). Th e 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
c ue to t he desired size (refer 10 Medallion
"Transferring Designs" o n Designs
page 205}:
• For running-stitched corded
quilting, trace a mirror-image
of the design onto the inner
lining.
• For back-stitched corded 3. Cover the traced lin~ of the • When se'"ng "~th running
quilting, trace the design onto design with ttn)', uniform stitCh- Stitches, periodkall)' check
t he surface fabric using a van- es¥ Al polnts where cross-over the regularity of the stitches
ishing or easily removable cbatmels interrupt the Line being from the front.
marking substance. stitch ed, move the needle
• When backstitch ing, s tretch
Bflste the inner lining to Lhe between t he fohric layers to th e
the fa bric in a hoop to p re·
surface fabric. o ther side of the c hannel where vent thread tension from
the line cominues, taking a tin y pulling o n the fabric.
backstitch on each side of the
intrrrupLion.

188 The Art ol Man ipu lating F>bric HAND-S EWN CORD ED QU ILT ING
4. Fill the stil c:h-outlincd channels again. Push the needle o r
of the design with cord, either hodkin out o f the mner lining
cable c01d or acrylic yam (refer at that point and pull the cord
to "Cord!. for Cording" on through the channel, but
page 187), pulled through the lea••e a tiny loop exposed at
channels with the aid of a tajl<!S- the angle o r curve. When flU.
try needle or bod~in : ing a long channel unimpeded
a. With the inner-lining side up, by abrupt turns. break o ut of
Ioree the cord-threaded needle the channel at inten •als to
or bodkin into one end o f a leave outs ide loops fo r slack
chatmcl. piercing a hole to relieve the tension accumu-
through the lining only. Pu5h i(ltctl in t.hc pulled cord.
the needle or bodkin th rough c. When " seam crossing the
the channel umil its forward chon nel blocks further
movement is halted by a turn p rogress, bring the ntedk or
or a seam . Bring the needle or bodkin out of the inner lin-
bodkin out of the channel mg. pull the excess cord
through a hole punctured in through the channel, and cut
the lining. Draw the cord the cord a shon !4" (6mm)
through the channel, leaving a [rom the lining where it F'tg. 9-3. Cording with doubled yam.
scanty tail exposed at the emerged ( Figs. 9-1 and 9-3).
bcgmning. 5. Stretch and pin the corded quilt-
d. Tug the fabric along the ing to n p.1dded surface. Steam
b. If the needle or bodkin is length o f the corded channel
with an iron held above the fab-
stopped by an angle or curve to stretch o ut any constric-
ric, and allow to cool and dry
it can't negotiate, bring it out tions cattsed by the drag of before moving.
10 the surface, re-insert it into the cord. As lhe cording read-
Lhe snme ho le . and continue: j usts, the toils and loops 6. Line tl>e corded des ign. If need-
shoving It fo rward through rcu·cat inside the cham>els. ed, tncl< the outer lining to the
the channel until i t is stopped innc.~l' 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)'
Lining
interfere.
Lining ••---•••
..... ...... -\ \ ' '(dJPJJ~"r7.:;::--::------,
·"tgz
. . • • / .· ·" Lining ~-:
: ... \ \ / .... ·\- \ ~-.

. .. ........
: o :o '', I \ '
•• ' ' •, • ' ' ,.'" · '", '•,

.\.... •,~~.
o I ..,
:: \
'
:' o:'
.•, .·.
\ '
'
... :'
' .,,.
'.
'.
, '
:/
("
I I I o o o ' < , o '(.
:: ·.~ : : '( 'r :: \•
- ~- l ... . ·-·· -- - ·~ .
........ . ..... ____ ___ _:: \\' ,• .·
::· \
·~ \
,' :
.t t ', ·.
~ ~

}::~ ~~~~;;~~~)i, ~~~--~~;~-~~~fT~~~~:~~~~~~~ ~~~_:_: -_:_:_:~_::-_J\:

- --·- ·-----·- · ·-·······--~··-··~ ~-----------~-
... ----.. ··---.....--.. -- .. ___·:-a\-.------ ---'ftL.
(b) ···• -- -- -- -- --·'lll -- -
(c)

(a)
Fig. 9·2. 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.

Chapter 9 CORDING 189

NOTES & VARIATIONS
After cordtng, the fabric between
the cord-Oiled channels should be
~mooth 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.trn·corded fabric.
Cable COI'd enters and e..xit.s a y4n
(6mm) channel as do ubled cord,
altho ugh a single cord remains
in~idc, and requires larger openings
and more clfort to pull through the
channels 1han 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 the channel
ts toll loose around the 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 through it.
Relate the si:c of the shaft 10 the
puncture the nl-cdle or bodkin
tl
(I
Fig. 9·4. 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·
...----
L..-- - --1
---,
... ,;.---- ... ,
(a) ';,>-~_,...
-..... . . ,r.< \
'
- -
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 d o ubled
yarn through the loop aL the wd of
the sn·ing. Pull o n the SITing to lead
the ynm into and thro ugh the chan-
nel until the ynm bulls up against
the 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 ~11.-•e 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
the string-~uiclcd method fo r r.ord
insertio n. l ie cords intricmc
des igns from Lhc Lop.
__ .....:--- ...
,
'~,...~v~, Fig. 9-5. String-
- - ... / . \ guided cording

........
'
- __,' ,'
... '<."

...
\J I
....__, I I
, ,
/
, - ... ' "
),
'~ " I I
'- 1 I
," , ....... __ ~ '
I
I
with doubled
yarn: (a) Yam
looped into the
loop at the end
needs 10 make in the inner lining. -~ __ .... - ..,<._,' ... _ __ __
__ , .,., of a doubled
puncture. prderablr worked by string run
through a chan-
pushmg a;idc threads in the wea,·e. nel. {b) Yam
~hould be barely large enough for pulled through
(b)
rhe cord to poss through. the channel on
lhe string.

190 Tha Art o f Manipulating Fabri c HAND-SEWN CORDED QUILTING

 When corded quilling i~ 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 no n-rcvtrsiblc ym'tHMdcd
designs finish as three-l~ycr 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-fab•ic 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. \\~th one hand, hold a
length of cable cord underneath the
channel to be corded. With the
o ther 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)
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.
Cut the cord where a channel seg-
ment bcgms :md ends. Maintain an
even channel width throughouL
Adjust backstitching lengths around
curves~ wking longer stitches on
the o uts ide of the channel matched
to shorter Stitche..< o n the inside. At
outside angles, change tO alternat-
ing the hackstltchcs diagonally
across the corner" hen alternating
bctwttn the out~ide and inside of
the channel is no longer possible: at
the lip, turn to the back and tack
the Olller comer to the inside angle
wi1 h s lilchcs 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).
Chapter 9
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:m ncls with continuo us,
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 cxltltsh·c,
tends to shrink the fabnc.
CORDING I 91
HAND-SEW N
CORDED
QUILTING

IX- I ROJMmg·>Otchec!
cable-corded de>ign

IX-2-Dvpl.ca:e
des~g:ts \..1lh
chant>eJs rurr.og-
stJl.c:hed on Ule le{i
and bod<st.tcr.ed
on 111€ ngfot.

192 Th12 Art of M an ipulating Fab r ic

 IX-3 Rcrer5cS~<~eo{the
nn>ong-S!>Idled ~
shtM"'i !lie ends (Jrt(/ loops
oftlw: rol>c<Otd (l"tt

HAND SEWN CORDED

QUILTING

IX-4-SM>g'e-P/xrc """"f' bock

soo:hed ""'"' ;,50 coli• cord.

IX-5 R...,,.,. "de of <he lx.'d<sttche<l desogn reveals

!he aoss"""r th!!<!d that holds lhe cable ca<d.

Chapter 9 C ORDING 193

 3 ~"'"' h\ mudnnc . ..:o,·e-ring the
MACHINE- SEWN
CORD ED
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-
;>o~~d of >Lraight, wavy, or ang led
hands using equidistant double
lines as the linear device. The
most practical designs for
machme-,;e,"' corded quihing
4. Fillahc Slllch-oUIIined channels
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 ~cured (Fig. 9-8). The safe
width for the double lines is w·
(6mm ) o r less, althoug h straight,
striped patterns will 1oleratc
wider churUlcls.
2. Wi lh n fine line, fabric-safe
marker. trace a faint but dis·
linct mirror-Image copy of 1hc
S. S1rc1ch and pin 1he corded quilL-
design onto ahe lining ( refer
ro '"Tmnsremng Designs- on
page 205). Basae the lining to
the surface fabric.
Fig. 9·8. 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.
194 The Art or Manipu lating Fabric
lrllced lm~ ""h strnigln stitch-
mg. If 1he dc>ign requires stop-
ping a scam 10 start again a dis-
tant·c awa)~ 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 1hrcad to the bobbin t hread
wlah n S<]uare kno t. (3) insen
bolh Lhrend~ into a baud-sewing
needle; push 1hc need le into the
lining 01 I he last sti1ch of the
senm; bring it o ut half-lhc-nee-
cllc's lcng1h away, and cu 1 lhc
1hreads at thnt poin t. ( -t) Steam
press to >Ct tbc stitching.
of I he design "ith cable cord or
acrylic yam. follo,nng procc-
durt-~ 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-
Ings ~~ the edge of the fabric. An
elabornac, machine-sewn design
may have dosed interior chan-
nels ns well.
ing to a padded surface. Steam
with nn Iron held above the fab-
ric. Allo\\ to cool and dry before
removing the pins.
MACHINE-SEWN COR D ED QUI LT ING
6. To prepare the edges of corded
fobric for finishing or cxlension.
remove stilT, l>ulky cord fro m the
st~m 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
linin~: for the corded design, if
there nrc c.xposed cord ends to
concc.1l. Ease 1he ed ges emplled
o f cords to match the fablic
~:<tension when sewing t..hc Lwo
together.
N OTES & VARIATIONS
Re\ icw the Notes and Variations
abou1 "Hand-~wn Corded Quilting"
thai begin on p.tge 190.
The most efficiem designs fo r
machine-stilched cording require
sewing 1haL moves down 1he fabric
rrom top to hottom without any
need t O stt>p and re-position for a
shar;> aurn ur 1hc cndlnglheginning
o f a se-l!m. With ahc d esign rraced
o n the lining, the bobbin side of ahe
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 s hnrc the same seam,
w hich cnn be "~clencd with satin
saitching o r twin-needle seaming.
Lead 1he cm·d 1hrough straight
channels of modcrale kngth w i1h 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.
 .. Twin-needle rord1n!i! outlines -

l. .••• • '
'
- ro\\ channel; "' th 1 ""''S • <md>-
ing in front and mtrrt..~ ~tli.Chm!:
in bock. Select a finn cord that lib
'
• • •'
•.
' between 1hc t\\~n nctdles. ti5C a
' ' • prcs~r fool \\ilh a groovein the 00,.,_
' ''
'' • ' '
' .: ••
' and choose • 1hin fabric that wmp.
:

I
' the cord eiiSily (Fig, 9-11).
•': '
'
• Fig. 9-9. Sewing
: ''' I''
•''
'
• :
•• !
'
i
.Iii I~
i
Anoth er option fo r 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 c ut to size. Cut the su rface fabric
a~ lo ng a> th e lini ng and co rded
c ha nnels, but wider than th e lining
to compcnoatc for the curving o f the
surfncc f"bric over the co rds. Pin
t he ecl~;e of th e surface fab ric to
th e lining Ot1 o ne side. ( 2) Wit h
the surface fa b ric up, sew the firs t
~eom. (3) Insert " firm cord, su c h
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 chan nel.
(-I) Contmue adding corded rows,
one against the other. or with wtcord-
c..:l sepamtions to ,·ary the design
( Fig. 9 -9). Indica te measured spacing
between the cords with thin, faim
ttuidclines marl<cd 0 11 th e su rface
the channel and
the cord into the
channel in one
operation.
Fig. 9·11. Twin needlesizes- 1.6mm.
fabric. If the swfuce fabric is bias-cut 2mm, 2.5mm, 3mm, 4mm, 6mm-
and cauuo~ly cased or sm:rched as indicate the space l:>ellveen needles,
~"~ng pmctttls. the cord can he and that limits the width of the cord
sutched ln1o row s that curVe. the stitching will be allle to wrap. The
groove on the base of the presser
The humped ridges caused by foot makes a passageway for the
the cord unde m ea1h a re mo re pro· stitched cord.
no unccd whe n cord is stitched
Increase lhc machine's top.-tension
inside 1he c hannels rath er than se tting to l igh ten the thread that
inserted after the channels ~ re
crosses o ve r th e cord ln b~ck. Te<1
$t amed (fig. 9· 10) . Using either the raised result of various settings
me t hod o f inse rtion, 1he cmbos.~cd
surface will ha\'e mo re texture if the
o n a scrap or p rac tice fabric. Sr.m
s titc hing w ith 1he cord located
cord Inside the c hannels is rou gh u nde r Lh e f11b ric a nd be1wccn th e
wilh knobs and LWISI S rhat sl1ow
lowe red n eedles. Guide the cord
1hrough the fabric. Floaters of cord
under the p resser fool as stitching
dclihel"dtel)' brought OUt 10 the SUT· progresses ( Fig. 9- 12).
face in cenain places conrributc 1he
texture of cut, brushed -out en ds to
the ovcmll relief.
With s ingle-fabric machine-
slirchetl cording, a ne twork of
thread e n closes the cord. Twi n -
n eed le o r zig zag stitching subsci-
IUtcs for t he li ni ng .

Surface
Fabric
(a)
lining

Surface ~
Fabric~
(b)
Lining

Ag. 9-12. Place a forefinger on either

sido of tho cord underneath the fabric
Fig. 9·10. Profile diagram illustrates the dilleronco In surface elevation between to centralize It as It moves toward the
(a) cord insened after sewing the channels and (b) cord lnsened while sewmg. presser foot between the twin needles.

Chapter 9 CORD ING 195

Single-fabric machine-stitched cord-
ing will follow straigln ot· curving
paths. Mark the design on th~ fub-
ric with faint, temporary, single
lines; usc the pres~cr foot to regu-
late the sp:~dng 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 "~dth
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
~;stble between the crossover
threads, or, with stitch length
reduced abno>t to 0, with cord
that's im~sible untkr a solid cover-
ing of satin -stitched thread. IX 6- 5ampfcr ofmoehlne-se-Mt po!!•m; With channel' cuble<ordea alter <otd1<11g.
floaters, loop> nnd ends of cord
released from the covcnng thrcud,
add loose texture to the s urf:tcc. To MACHINE-SEWN CORDED QUILTING
interrupt a Line of zigz:og cording
with loops of cord 10 the sides, stop
stitching wh h the needle: dow11,
loop the cord back :tn<.l fon h in
from of the needle, zigzng :tcross
the center of the loops, zig:ag back
ror sccurll )', nnd conLinuc forward
(fig. 9-13).

(b)

Fig. 9-13.
(a) Zigzag-
stitched cord with
floaters that
(a) break !reo from
the stitching.
(b) Short lengths
of satln·stltched
cable cord with
both ends free
and untwisted. IX-7- 1\vo SIZes ofcable core/ ughriy enca~d as dre SO<lm$ wen;> str!ciJerl

196 Tho Ai'c of M•nipu l>elng Fa bri c

 IX-8 Mvshn tc><Wred by rhe
cord ""''* the d>o011els: ((mm
d10 top) yolf\ plost~t beods tenor
1ed twill<' smgiMtOCile~ cord.
tcnoue</ cmtlrw•Sied p.'asuc scnps.

MACHINE-SEWN
CORDED QUILTING

/X-9 -Cio~ CO/dong thor

eme~ {rom tile d101>-
ncls os knotrt!d {ronge.

Chapter 9 CORDING 197

l)(.f 0---<llom!~ 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
IX-II - T\V111-i!eetlle single {i!lmc coro/Og rmr /lrov-t crochet cotton.
CORDED QU I LT I NG

.' ,..
f '~
• ~•...

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: ~nlile-cro­
cheted, soM·S~tched cc:<i; shon lengths o{ saton sMched cord v.1th
/oo;e ends {royed.

198 Tho Art of Man ipul ating Fabric

SURFACE
C ORDING
-parallel tubular casings, raised and
stitched into the fabric like tucks,
that round o ut over the fo undation
when filled with cord.
P ROCEDURES
l. Decide how much fabric to allow
for a tubular c<ts-ing fo r the
selected cord ( rdcr to "Cords for
Cording" on page l87). Pin the
cord ins ide a scrap of the chosen
l'obric. remove the pins and cord,
and measure rhe dis tance
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.
ca~c the covering w m~1ke
room for cord movement
mside ( Fig. 9-H },
T in one ope:rm ion. add a <:enter
I posilions marked acros.> the
Fig. 9 - 14. Testing the fit of a tubular
casing a round a cord lo set the fabric
a llowance.
2. To estimate the amount of fab ric
rc<;uircd fo r a surface-corded
applicmio n: (l} Mult ipl)· the
mno unt of fabric needed to
cnColSc o ne cord by 1he rows of
cord pre-planned for the target
measurement. and (2} add that
IOt.nl to the target mea~un:ment
for the application. Cut fabric for
cording to size- up and down as
well as across tho cords.
1
•• Fig. 9-15.
(a) Fabric
1! prepared for
sewing cord
I ; into tubular
casings.
(b) Machine
(a) stitching a
!t cord into a
pinned fold.
(b)
3. With a rabric-sak marking tool
or scissor ni ps, mark the top and
bottom edges oEthe cording fab-
ric, dght side up, witl1 measured
spaces fo r each cord casing and
11,ensured sep:u ations in
between:
• For cord inserted-and-stitched
point In between theseamline Fig. 9· t 6. Profile views of surface-
corded channels demonstrate:
top and bouom edges of the
fabric (see (a) in Fig. 9-15).
(a) The difference between the
actual space between seams and
the space that's visible betiYeen the
Separations between the cas- skies of the corded tubes.
ings must be more than, or at (b) The minimum space between
seams for adjacent corded tubes
least equal to. the width of that touch.
the machines cording o r zip-
per foo t.
• For cord inserted after s titch-
lug, Lhc minimum separation
between casings equals the
ovcrlnp of adjacenl, encased
col'tb ( fig. 9-16). Fo r each
cnsing. indicate seacnlinc posi·
Lions across the top and bot-
tom edges of the fabric. and
connect the position marks
opposilc each other with faim
but di>tmct lines up and
down the fabric (see (a} in
Fig. 9·17).
Chapter 9 CORDING
 I
- I
~
I I
,.,---....., ..,..--...,..
I I I I
ric with cording >paces and separa-
tions, sew the ends of the fabric
I I I I
I I I I I I I together, m;uching the markings.
I I I I I I I I Stitch-and-<:ord each tube in one oper-
I I I r--;;;:.. --, ~-
I It
I ation, butting the encb of the cord
F~g. 9·17.
I I I '' ' "here they meet, or sew the tubular
I i '' I (a) Fabric
I I '
'
I marked wi!h casmg> and leave an ope11ing in each
I I I I' seamlines seam for cord insertion afterwards.
'''

"
I I I : I for tucks to
'' '' I be corded Unlike hand->cwn 'md machine·
I I I :'
I I I
'
' ''' I I alter sewing.
(b) Sewing
sewn corded quilling, s urface-cord-
ed c hannel~ manage cords or tmy
'
;' '
'
'' I
I I I the casings diameter (refer to "Cords for
I'
I I I :'
' I be/ore
Cording" on page I87). Patterns are
(a)
'' '
'
'
'
'
:'
''
t Inserting
cord inside
the tubes.
LimiLcd 10 strnlght rows varied wiLh
'' cording that differs In size.

(b)
'

..
:'
' l '
;'
''
f
l
Covered cortb Lhat arc separated
from 1he 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
-1. Stitch and cord the rucks: NOTES & V A RIATIONS (fig. 9-18). The cord IS machme·
• To Slltch-nnd<Ord in one oper- stitched inside the cJSing witll"
nrion; (1) Fold between Lhe When a surfacl.'-<.-ordcd application zipper or cording foot.
edge marks Ll,;tt indicaLe the encirelcs. 1hc corded rubes must be
center of a casing space and pin cominuous. After marldng the flat fab-
awny from Ll1c location of the
scant (2) Inscrt cord inside L11c
1.1lnned fold. (3) l'ushing the
cord ngainst the fold. stitch Stralghtgraln
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 Fig. 9- 78. To cut a con-
1he presser fool. (3) Threading tinuous length of bias
1he cord into a tapesu-y needle s/rlp: (a) Cut a square
or bodkin, or using a hooking on the stralghtgrain of
the fabric. Cut in half
or clamping tool, work cord diagonally. Sew the
Inside the tubular ca<ings (see straight-cut edges of the
(b) in 1'ig. 9-17). triangles together as the
arrows Indicate. (b) Mark
5. Remove cord from scam- the wrong side of the
allowance areas to prc.pare the pleoed fabric with appro-
edges of surface-corded fabric for priafety spaced paraDe/
lines. Sew the opposite
finishing or extension. Center edgas of the fabric
each Oancned casing over the loge/her as the arrows
scam underneath and baste with- indicate, (c) but offset
in lhc scnm allowance. one comer to match the
first line. and match all
succeeding lines to the
overhanging end.

(c)

200 Th e A rt of M anipulat-ing Fabric SURFAC E CO RDI N G

 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).
~ together. Re-fold the
.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 finish the basting (Fig. 9-20).
Sew the second piece of fabric to the
first wllh right sides facing and the
piping/welting in between.
Piping/welting intended for laid-
on application needs to be fabricated
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
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
seamed strip over
the /:Jutted cord, align
all edges, and
resume the interrupt-
ad stitching•
applied; sew 10 the foundation, times. Trim tbe scam allowl\J.tce
catching Lhc wide scam allowance of close to the stitching (Fig. 9-22).
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 \\~ldr. seam alloVv-ance
may need clipping, partimlarly at
the scart, but avoid clipping deeply.
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,
Fig. 9·21. Machine sewing rows of
piping/welting laid over a foundation. push the casing down lind over the
second half of the cord until it is
Sea on ullowllnces are inside corded covered with fabric right side out.
tubing. another type of detached cord- Cm off the first half of the cord
ing. To make corded tubing: (I) Cut a {4) Hand sritch corded tubing with
strip ,v;th two mnderate seam allow- its seam against the foundation fab-
ances. Fold lengthwise around a cord ric. Working from the front, slip-
with the wrong side outside. The stitch the tubing to the foundation.
~ord should extend beyond the-fabric or, working from the back, srretch
strip by a duplocatc length. (2) Using a the foundation in a hoop and back-
zipper or cording foot. stitch next to stitch Into the tubing as it is pushed
but not tightly against the cord At the up against the fabric from undct-
end of the strip, pivot on the needle ne:tth. Corded tubing is an appropri-
and stltch ncross the cord several ate medium for scrolled designs.
Chapter 9 CORDING 201
 I·

-. t- ..--
IX-I 3-Tubes that 9t on top of dlc some mvslin
!hot 11h'<lps !/le cable cord st•tched lo>s•de.
SURFACE CORDING

IX-I 4-(le(t side) Stnps o( pipong applied to o (Oundo~on In cvrvong

rows. (nglll s•de) Co•ded qvnl!ng w;th the co<ds s~tcbcd undcmcoth
mus!in OJt on the bios to O(COmmoOOt¢ t/1~ curwng OI'IOnRCmcnt.

202 Th e Art ol M>nlpu lotlng F•brlc

 SURFACE CORDING

IX- I 5 Col«! oppltco/#1

of "''""'"cc''"'ed
p.p<ng

IX I~ <mbell<shcd 'Mih
cOtde<J ubir>g oppt«J"' o ser-
- <les>gn ant/ f<1lle<1 Mill
o dou!ie rrm o( ppong/1~.

Chapcer 9 C ORD IN G 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
lines of thread. Hand-stitched
lines of th read 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 o·clcvnm
columns.
QUlLTING B ASICS
T RANSFERRING DESIGNS
and quihcd or machine
H quilted, Lhc type of design.
the size of Lhe 10p. and the
quilling procedure are considerations
when deciding whetlocr to copy the
dcsi~:n onto tl1e fabric 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
,,r
surface. when the smnll size 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 mar~;ng 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 bcfo•r 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 nuloma1ict~lly 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 sLcnciI 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 dc£inc the dc.ogn "lth
dots marked on the top through
the holes.
• Place a commercial or hand-cut
sloned stcnd l 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.
QU ILTING 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
suit~bly shaped household
object; or ir 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 fab ric.
Use an anist's tool called a ncxi·
ble: curve, which ~Lays ben1 in 10
serpcnti.J1~ shapes. co trace
repeated, cun•y lines.
• To quilt long. str.ugln tines with·
out prc·marking. 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 ;cs~ions.
• Stitch around 1he edges of " ncx-
ible, St icky tCIIIIllatc t UL from
adhesive-backed Contae paper or
pressure-sensit ive htbds. Stick·y
templates have limucd re-use
and should be remo•·cd from the
top af!er the outliners quilted 10
preven 1 residue Irom 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 che design ure continuo us
and aligned, divide Lhc fab ric into
halves, quanc•·s, and even eigiHhs
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 fab ric;
and measure frequently to check
the position of motifs in balanced,
.symmcuitnl U11signs.
206 The Art of Manipulating Fabric
B AITING
Batting is manufnctured. from
llal\lral or synthetic fi ber. whitlt
have been minglcd t.ogct her, S[>read
o ul 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
fiber content or
the hau ing 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 ath•isable 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 1he 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 s•auc-caused
nrlgmtion of batting fiber; through
the weave of 1op and lining fi•brics.
especially after washing. beard ing
leave~ a fuzz on the sul'l'ucr thai is
particularly nonccahle on fabric of"
di[fcrenl color. To eon trol tllis reac-
tion. manufacture" bond the poly-
ester fibers in banings with thermal
or resm processing, fuu;hcs that
QU ILTING 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
com bined with fab rics 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 h 11VC • mix of
couon and polyes1er fibers. 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 the quilring spaciousness of
polyester and high resistance 10
bcat·ding.
When COlton nannel or COIIOU
knit fabncs subslitute for bauing,
the barelr padded bbric i~ supple
nnd thin and the quilting lines may
he \vide!)' spaced wit hout creating
wn~hahility 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) stitching separations.
Silk Ohers make a featherweight.
luxut·ious 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 the ban ing 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 spa~~- (2) Me-JSurc the
quilted sample. (3) Pull, twist, mb.
wash, and dry the sample.
 .. ~
Straightgrain
/, _/I
St•rt to /
I I I 1
cut
I I A
(~} Mcn•ure and compare with the
original dimensions. Evaluate the
condition or the balling bc.tween
~thchlng lines, and the texmre and
loft of the quilted surface. (5) Make
adjustments accordingly.
T ti£ D OUBLE-BlNDlNG
EDGE FINISH
Binding frames a quilted textile
with a smooth, narrm\; protective
edging. A doubled binding also
incrcas<·s the firm ness 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 ( t·efer to Fig. 3-23 on page
XX), nr cu1 continuous straigJn.
gram binding (Fig. 10-1). for edges
that cttrve, cut the strips on the bias
(rder to Fig. 3-H o n 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 rrl,~c 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
I 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
tl1e length of s trips that will be
mitered at the corners. Cut one
extended hinding strip with two
~m allowances for edges Lhilt
curve. Fold the bonding stnps in
half lengthwise and press.
Stnbihze the quilted edges "~tlt
machine basti ng inside the seam
allowance. Mark long, s lraight
edges at hniJ and quam:r poims;
mnrk the binding fo t· those edges at
half nnd q uan cr points, and mark
the pre-measured length of the
Chap«r I 0
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 ;~ round curves. Miler the
binding l1t comtrs. Turn tlll· bind-
ing <.1\'cr the edges to the lining side
of the CjUtltctlt cxt ile. Blindstitch
to
the •!ready· folded edge of the bind-
ing to the lining. concealing the
machlne-~'vn •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
q uilt. turn the folded edge to tltc
fro m , and cdgcstitch through all
layer~ 10 srrure.
Perpendicular
Guideline
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: dra•v a 90-
degree·angte 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
U NITS
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 the 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 #1
Lining
. .
:Modute. l1
· L!nln.g
.: .:
.
208 Tho Art of Man ipUlati ng Fabric
.. .
. .·
•,
·....
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
the baiting o ut 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-
Mod• lo 12 ule 112. (b) Trim the loose
batting to abut/he sewn
batting. (c) Hand sew the
loose lining over the
sewn lining.
.
. ' '
''
' .. /
Module 12"
. Lining /
. .
'
'
. .. . '
'' '
.
''
•'
/ /
/
botll modules out nat and finge r
press the seam allowances open.
Co,·er the seam aUowances \\;th
tape blindstilchcd to the lining on
both sides (Fig. 10--1).
STRIPPED CONNECTIONS
Cut two strips. one for tl1c wp and
o ne 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 the
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 the lining strip to
the lining of the opposite module
(Fig. 10-5). Add quilting to the
stripping.
End of QUI LT IN G BASICS
 A~ Lining strip • 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-
~ Module 12
r,········· Lining · ··· · · ···· dvt motifs, that connect figu-
,.I .. ····-.. ----------- ... -...... rative motifs to borders, and
Inner borders to outer bor-
ders. Background fillers are
also used allover to cover the
f:tbrlc withou l interruption
Module 112 from edge to edge ( Figs. 10-6
............ .. Lining and 10-7) .

Fig. 10·5. 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 cxtenlor 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 Fig. 10·6.
Hand quilling
(refer lO "Batting" on page 206}. designs:
Contrast in the direction, spacing, (a) Traditional
and density of the Unes exploits figurative
1he bas-relief potential of padded motifs.
(b) Echo quilt-
fabric. The simplest quilling ing and
design is an allover pallern wilh (c) stippling
or \\1thoUI a border. Complex are specialty
quilling designs combine: fillers that
Ioree sur-
rounded motifs
to stand our
from closely
quilted back·
grounds.
(b) (c)

Chapt<r I 0 QUI LT ING 209

 I 1 I I
_ ...... ,..... ., ~· - ·· r - 1 r - -- - .. - .,
: I • I ! : I
: I : : : : I :
- -- ., r . ... .. . , ~· - - - -·! r· ·
1 1 I I ! I
- - - ~ - r - ~ - - -- - ~- r - -- - - ~ -
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 -
1 : : ' I
· · · · ·r- _. ,-- - -- .- - , :· · - · ·;-· "'
: I I I 1

Fig. 10-7. Designs for background fillers. R g. 10-8. Traditional border patterns.

• Out£r borders thadrarne the • Stipple quilting ((c) in
inicrior quilting, and i nner bor- Fig. 1 0-6) s urr ou nds (igur~­
ders that enclose a portion of tivc s hapes wi ~ h m eander~
the greater desig n (Fig. 10-8). ing. wavering, ru nning
2. Transfer the design omo the stitches s paced at the most
Tight side of fa bric that has \4'' (6mm) apa n .
bce.n cut 10 size fo r the top • Designs stitched as inspirado n
{refer to "Transferring· Designs" dirCCLS.
o n page 205). VV\th fabric-safe
3. Cut the batting and lining sligh t-
markings. make faint but visible
ly larger than the top. II the top
lines d urable enough to survive is big (e.g., adult bed-covering
the necessary handling prior to size) , cur lhe bantng and lining
stitching. Fillers and m otifs that 4" (lOcm) larger all around. For
are gauged by eye or improvised smaUer tops, reduce the incre-ase
while q uilting do no t require accordingly.
mar king, s uch as'
4. To baste the top, batting, and lin-
• Echo quilting ((h) in Fig. 10-6} ing together. clear a firm surface
mimics the contours orOgura-
large enough t.o suppon aU or
tive shapes wilh a succession of tuOSl o( the fabric (a tJ~an noor
evc·r-\{iidening outlines spaced
or utility table) , or usc a frame
W ' (6mm} to l4" (2cm) apmt.
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 o ut.
Center and smooth the top o<rc r
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, su·aight
needle or a curved need le.
Sew with running stitches
about W' (1 .3cm) long
underneath and l vt' (4cm)
long on the s urface. Baste in
SlTaiglu rows, .spaced 6"
( 15cm) apart or closer, that
grid the surface o r radiate
from the center to the edges.
Finish by basti ng around the
outside edges inside the scam
allowance (Fig.l0-9) .

2 10 The Art o( Manipu lating Fa bric H A ND Q UI LT IN G

 5. Follnw the lines of the qttihi ng
design whh snaaU, even, runuing
stitches. Using srurdy quilting
thread insened inlo a short,
I I I I I strong, quilting ntcd.le called a
- r - t- - t- - 1- - ~- - ~- - ~- between, sew through all the lay·
1 I I I I I I crs using a needle action that
r -, - r- 1- - 1- - 1- -~ - produces stitches wluch look 1M
1 I I 1 I I I I same in back as they do in fronL
r - r- - r- - ~ - -, - -, - "1 M:~intaln a steady. moderate ten-
I I I I I I I I sio n o n the thread. pulling the
r--r--r - 1- -,--,- ., - stitches in to the padded fabric 10
1 .!-- I I I I I inscribe the desig n into the snr-
1--r - . ,'!. . - 1 --t--J-; face (Figs. 10-11 , 10·12, and
I I I I I l I 10 -13).
L- ~ - L -I _ ...J _ ..J_ ..J
I I I I I I
1 (o) _ __
L _I _ L - I - ..J - ..J - _j - til~--•
I I I I I I

(:-~§StM
L - - L_I_.J _ ...J
1
I I I I I I
L_ __ L _ I _ .J_
I 1 I I I

Fig. 10·11. (e) To start quilting. make

(a)
Fig. 10·9. 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.
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·
(c ) 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.

• Pm with brass o r nickel-plat-

ed steel safety pins, size 00, ,. ,. ,. .. ,. ....
(c).,~
0. or L Start at one end of
the toplbaningllining.
Srnoothing outw·,.ud constant-
I
,j.r
'J
..,. ,. ....,. ,. ,.. ,.. ,.
,. ....
<"

r
<"

.... r
(c) An alternative to burled knots uti·
( lizes thread 36" (91.5cm) long. Use
ly, insert rows of safe[)' pins
I "' .... .... ... ,.. .... ,.. .... half the thread to quill in one direc·
spaced 4" (I Ocm) apart. Use
a grapefruit spoon to help in .I ,.. ,. ,. ,. ,. .,. .... ....
tlon; use the other half to quilt in
another direction.
closing the pins. Baste the I ,. ,. .... ,. ) While quilt ing, place the basted
outside edges with needle and
tl11'c ad (Fig. 10· 10).
I" ,. ...
1 .... . .. ..
" "'
... r
IOpl bnttin!l'lining in a frnmc or
hoop, allowing some slack in the
Roll large q uilts as rows of bast· •I r r r .r r r r r srre<ch 10 accommodate the
lng are completed. reaching over .I ,.. quilting techniq ue; or lap quilt
r r r r r .r r
the roll to continue basting. If without using stretching hard-
the quilting design is already ' "' ware:
marked on the top, uy to baste Ftg. 10· to. Basting with pins.
between the lines.

Chapter I 0 Q UILTING 2 11

(a)
(b)
(c)
(d)
( f)
Fig. I 0·12. Running·slilched 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 Man ipu l ati ng Fobr ic
a. Quilting frnm<s expand to
expose the enure "~dth of a
lnrge-~ized 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-l·f).
t\ quilting frame requires floor
sp~cc, a top marked "ith the
design before basting and set-
(b) 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 fo r the
(c) durnrlon of the quilting. so
close basting isn't ot-ccssary
and quilting can begm any·
where on the surface.
(d)
b. Quilting hoops arc round.
ovnl. or half-round. available
in dtnmeter< from 1o~(25cm)
to 29"(73.5cm), and have
Fig. t0·13. To secure quilt stitching clup rings with butterfly·
when thread runs out, or at the end
of a quilling line: (a) Knot the thread screw clamps to cope with
!r.?" (1.3cm) from tho surface. (b) heavy, padded fab ric
Insert the needle as if taking another (T'ig. 10-15).
stitch but turn It backwards. Weave
the needle through the batting and
around the threads of previous stitch·
es; bring It out half·its·length 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. Fig. 10·15. 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.
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 re·rolled
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
 I loop quilling is po nable 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
bas«d whh safety pins.
remove pins <hat Interfere
wilh clamping. Prop o ne 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 p revent wt·tn-
kles, remove the top/batting/·
lining fro m the hoop between
quiIti ng scssio11s.
c. Lap q uilting needs <he prcpa-
wtlon of very close bnsting to
be successfu l, but it is the
most ensily mnneuvcmble o f
all the mc1hods. l nstcad of
q uilling 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. w hich 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 ~mall 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 o ne 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 q uilting.
A liule practice no rmalizes 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
o n top-that characterize tradition-
al hand q uilti ng. Thin , soft batting
layered between thin, soft fab rics, a
combinatio n supple in <he hand
and easy fo r the needle to slip
lhro ugh, is <he necessary base for
fine hand q uilting.
ror many contemporarr purpos-
es. small quilting stilches aren't a
part o f the aesthetic. Uniformity
and pictorial sui~ability are the
standards. Somelimes contemporary
hand quilting approaches the deco-
ralh•e 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 acti,~ry: \\'tth the
ooplba<tingllining in a frame or
hoop, the hand above pushes the
needle strnig ht down through 1he
layers. The band below pulls the
needle out and, m oved forward by a
sti1c h, rc·insens the needle into lhe
lining, pushing il straight up fo r the
hand above co retrieve, and so on.
Chapter 10
Stabsutching tends to look •lop~
in back until prnctice perl«b 1hr
rclUrn stitch..
Baclmitcloed <juilrlug. an ahcr·
nate to running stitching. cove,.., .1
line "~th 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 fabric. 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 sh rinkage 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 fo r hand
quilters to negotiale. Analyze rhe
design to track the mos1 lo ng-run-
ning quilting path. If the line being
sli<ched ends before the thread '"""
out, scoot the neecUe through the
lr•uing 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 1hrc.1d.
and design markings that are voslhle
after stitching. Never press linished
quilting.
QU ILTING 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) ~latching <tlgcs, smooth the lining.
face up. over the baning. At~1ch the
"vo !Ogether with enough thread or
sofety·pin 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 s~tch·
cs. Leave. an opening la1ge enough for
mming on one straight ~ide. 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
F~g. 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
2 14 The Ar t of Man ipulating F~brlc
re·pin if 1he first basting was safety· (a)
pinned. (5) Carry the quilting design <! .. · ~ •• •
to tl>c edge of the batting inside the
scam allowance and ouilioc-quilt next C! • • ''?
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
y
(e)
in a gricllil<e manner, deroched stitch-
es \\ith ends secured by !)1ng the Frg. 10.17. (a) Tying template. (b & c)
Making a dcuble stabs6tch with tying
ends into a visible knot dot the sur· ends. (d) Tying the ends together with a
face. T}1ng is ussociated "ith fat, pull); square knot. (e) Profile vfew of a tie.
high-loft oouing. cithcr the extrava-
comers with a diagonal fold \II 1he
gantly thick kind avaih1ble for com-
poim ;Uld trim n seam-allow;mcc dis·
forters or sevcr-allaycrs o( d>inner bat·
ranee from 1hc fold. Re-fold with edges
tin g. (I) Prepare the top, batting,
matching and right side.• facing, and
and lining with s.~fely·pin basting.
sew each comer miter on d1e fold line.
(2) \\~th the width of the top/bat-
(3) Pin the lining-binding 10 1he from.
ting/lining spread ou1 on a table or set
With the seam allownntc turned under.
up in a rrame, start measuring, mark-
cdgcstitch by machine thoough all lay·
Ing, mcklng, and tying at OtiC end.
crs to seCl\re the bincling (Fig. 10· 18).
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,
~1rcad 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, lea•ing 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 Fig. 10-18. (a) Lining-binding pro·
textile. (1) Trim the batting Oush "~th pared for machine sewing with a
diagonally folded comer. {b) Quick
the edge of the top. Tum the excess way to secure miters: Stop straight
lining over the edge to the from; t:rim stitching at each comer to zigzag
evenly for binding. (2) Prepare the stitch over the butted folds.
HAND QU ILT ING
 HAND QUILTING

X-1 ~>'6"' -ed ~~>ifh

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; fffilDI~

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.

Chapter 10 QUILTING 215

 X-J-~,.., otcu1ar """*'..s emphasutd "'"' bod<stittt~
~ seL .n o (eld o(11J111W1i-SI~c/>ed «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
HAND QUILT ING

~ ~
t-

r - "'\\, 1:.
l ''
"
\: '
.-
.,. • j
-· •
• ~ .!
,,
~ •
.. + • II

X-4 Embroidcry-tross ues

used to qUJir rh;ck bomng. "' t ,.. j
kl the center. crossed
stitd-.es lldlcore ihe oes
t "«
that \YOre kno!rcd.., bock ' \
• I + ,·
• " •

2 16 T he Art o f Ma nip u lating Fob r lc

 Fig. 10·20. Border designs: (a, ~- c) Machine-
Fig. tO· t 9. Background or overall designs for mschine·guid· guided quitting. (d, e) Free·mot,on qw/1/ng.
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.

the spaces become too large, or no mnrklng. (Refer to "Trans-

MACHINE
Q UILTIN G
- twO layers of fab ric 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.
2. em fabric
PROCEDURES
1. C rcntc a linclu' design that will
e nhance the padded surface
when in.s nibed "ith srhching by
rnocltinc. Continu ous lines that
start and stop at the edg es, 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
mac h ine-quilted surface. but if
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), an d figu rati\'e
(Fig. 10·21). a nd subdh~ded
into d esig ns for machine-gu ided
a nd frce·mo lion stitc hing.
tOsize for the top,
adding nn allowance for sh rink-
age uftct· qtdlting. Trace th e
d esign o nto the right side of the
top with a fa bric-safe marking
tool and a faint but visib le line..
Outline the e ntire design. those
portions of the design that arc
figured and repeated. or i mpol'-
tanl guidelines. For some
designs. marking after basting
a mi irnmedilltely before stitching
may be appropriate. lmprovised
machine q uilting requires liule
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 a round; fo r
smaller tops, n:duce the increase
accordingly.
4. Baste the top. b:tuing. uncl lining
toActhe r:
a. Spread the lining o ut, ti ght
side dt:~wn . o n n clean floor o r
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
or
the edges the lablc with
b ulldog paper-binding clips.

Chapter 10 QU ILTING 2 17

(b)
Fig. 10·21. 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 improvis ed meander-stitching filler.
As an alternative. use a frame
as large the lining, attach
<IS
the edges or the lin ing to the
four sidebars or the frame.
nncl mccch between s idebars
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
"~th row; of large stitches
spaced at most 6'' ( !Scm)
2 18 Th e A r t of M an ipulat ing Fa bric
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. Machin~ quilt the design
planned for 1he cop. Relate the
machinc-schchi ng method to the
demands of the design . Sliteh
wiLh machine ~•clion auto mati..
Cillly moving chc cop/batlingllin·
ing under chc prc.scr foot, or
with hand actiOtl directing the
movement of che 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
do~sn'c interfere with seeing
the c;ulhlng line; that mea·
suc·cs distance, if such spac-
ing is c·e<;uircd; an<l thac
fccc.ls the layers c.venl)•, par-
ticularly when quilting uncs
ore lengthy (Fig. 10-23).
(c) (2) Adjusc the machine·,
upper 1cnslon to sew a
seam that bites into the
padded surface. Balance
n•edle and bobbin ten-
sion> to interlock threads
within the baulng. Eighc
en 12 straight stitche> pe r
apart (refer to Fig. 10-9), or
inch arc accepUlblc par-a-
fnsten the layers together with mcccrs for sticch length.
safety pins at 4" ( lOcm) inter-
vals (Fig, 10·10). For small
pi'Ojects, basting wi1h long
quilting pins is an option.
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.
MA CH IN E QUI LT IN G
 Even·Feed
Walki ng
Foot
Straight Zigzag Open-Toe
Stitch Presser Presser
Presser Foot Foot
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
p~ncrns from one edge of
the fabric to the other, or
from one end of a line to
its finish (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
gently~ the top layer on!)•
to compensate for presser-
foot creep. Never pull or
>U'C tch 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.
Chapter I0
Fig. I 0·26. 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).
Darning
Spring Spring
Needle
B igfoot
Darning
Foot
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.
QUI LTING 21 9
 (3) To quilt. g rip the top/bat·
Ling/lining with fingertips
spread out on either side of
the needle, preparing a flat,
taut Mitebing space about
Y (7.5cm) to -tw (IOcm)
wide ( Fig. 10-28).
PI(). 10·28. 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 u id
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
toplbau ingllining 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 contro lled b y
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.
220 The Art of Manipul>ring Fab ric
(5) Finish a quiltt'(llinc by Unle~~ the top/bani ngllining
bringing the UlOVCLUCill of has suppo rt, its weight "';11
the fabric to a gradual stop, h inder the progressive move·
m..'lking eYer-tinier locking mcnt of the fabric and distort
;.tiu:hco.. Rclocuc to anoth- the stitching.
er pan of the design with· b. Pacla\ge the top/batting/lining
out cutting the threads, bm before quilting interior lines.
lock the threads before con· Make a tight roll of the fabric
tinuing to quill. Clip all tO the right o r the quilting line:
threads when the free· secure the ro ll with many hicy·
motion-qu ilted top/batting! de clips 01' safe ty p ins. Fold
Uning is removl'tl from tlu~ the fabric to the left or the
tn{u::hinc. tluilting line, isolming" quilt-
c. Whe n a lin~ of machine-guid- ing c hannel hetween the roll
ed 01' t'1·ce· molion quilting and the fold.•. Accordion fold
begins and ends inside the the rolled and fo lded top/bat·
fabric: ling/lining to the place wh ere
(I} St:trt by holding on to the quilting Is to begin . At the
end of the needle thread machine, hold the accordion-
and hand· turnmg the fly· folded bundle in the lap. fero·
wheel to lower the needle ing it out with enough slack
to prevent dmg as stitching
through the top/bau ingl
lining. llring the needle progresses down the channel
b"ck up to iLS highest (fig. 10·19}. Re-package as
positio n a nd tug on the quilting proceeds omward to
the edge on the righ t.
needle thrcarl to raise a
loop of bobbin thread.
Snug th e loop with a pin
and pull the bobbin thread
o ut . Finge r-grounding
both strands o f thread
behind the needle. lo wer
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 e nd a line of quilting
~>ithin the fabric, gradually
decre"se t he stitch length
to 0 ru1d $tilt h into the
.-
l'innl needle ho le several
'
limes. C ut all locked
threads a t the surface. ·- -. (b)
6 To manage large, bulk)', machine·
quilting projectS in the limited
space a'11ilable between the nee-
- ,..
dle and the head of the machine
o n the right, and also control
Fig. IQ-29. (a) Large toplbartingllin-
drag on the n eedle: ing rolled and clamped with bicycle
a. Enlarge the area in back anrl clips to the right and folded to the
left, exposing a tong chennel for
tO the !crt o r the machine with quilting. (b) Top/batting/lining accor·
extensions, prdembly level dion·folded Into a paCkage to hold in
with the bed of the machine. lhe lap.
MACH INE QU ILTING
c. Subdivide large projects imo
two or three sections, or in1o
om.~llcr, modular units, to
lirnit the bulk that compli-
c~ucs 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
fit•stlaycrcd section o r tile
partitio ned 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 to p/batting!Un -
i ng w:ts cut :~pan: (l) Baste
the second half of the bat-
ting to the lining; (2) sew
the bauingllining and top
to 1he section already quilt-
ed, and trim the batting
from tl1c scam allowance;
(3) baste the top o••er the
batnng!lining. and ( ~) quih
(Fig. 10-30).
\ilodular quilting c.a n be
divtded mto hah·es, 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-
ct·s of each m odule together,
nnd q uilt in the desired man-
ner. Assemble the modules
U!>iug OllCo£ t..he: methods
t>1>1ained in "joining Modular
Units" on page 208.
(a)
Fig. 10·30. 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 that
escaped pre:nous notice. Remove
:til b.~Ling thread except the
thread Ins ide the 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 "T he Double-Binding
Edge Finish· on page 207), or
include the qutlted piece ";thin
a larger construction of unquih-
cd fabnc.
Chapter I 0
NOTES & VARIATIONS
" Te.~•· 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.
Altho ugh 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 cun·es and
acut< angles Is suitable for
machine-guided quilting if the pro-
ject is small enough 10 be pivoted
wi1h0111 a Struggle when the needle
is down und the presser fool up.
Whh frcq ucm ups <1nd downs of
the prc>~cr 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 m o•·e from edge
to edg< are n10chine-guided
dcsigtt.~. 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 o ne 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 thin balling
under lhc :trca. Usc a machine-
embroidery hoop ( fig. 10-31) to
pre•·em the <1i1dnng fro m shrink-
ing the qu1hrd sec tion m relanon to
the unquihcd 1>an of the fabric.
Thin om the cut edge of tile barling
o r enclo.c it 111>1de lines of quilting
to prC\ COt the cdg~ rrom showing
as u ridge on the >urfacc.
QU ILT ING 22 1

Fig. 10·31. 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 tiJlg
SOtcltes <II tile beginning and end
tllat may be preferable at times:
(l ) Sew backward with m icroscopic
stitches for w· (3mm) before start·
ing and after stopping. (l ) O n tile
top or lining side, tic the ends of tile
bobbin and ncc<llt tl1rcads together
with a S<\uare k'ltOI. Inscn botll ends
into a hand-sewing needle. Push the
needle into the last needle hole of
the seam, thro\tgh the baning, and
out half the length of the ncccUe
away. Tng tile kno t under the fabric
before clipping the threads. Make it.
a habit to deal with loose tluead
ends promptly. Fo rgotten ends
snarled in subsequcnl stitching are
difficult to pick o ut.
Obvious starts and stops arc
machine-quilting taboos, as are visi-
ble markings. wrinkles caught imo
st itches, and twisted surface fab ti c
between lines of sdtching. Scitch-
length consistency is an allribute of
good machine quilting. Afttr wash·
ing, batting depressed by pressor·
foot pressure spring~ back to
enhance d1e quilted texture. Close
machine quilting stilfcns a three·
layered texti le. Because machine
quilting doesn' t unravel like hand
quilting, a tliachutc·quilted textile
may be cut apart and contoured for
assembly imo a larger application .
222 The Art o f Manipulating Fabric
Similarities between m achine·
guided and free-motion quilting
end at the se-w ing machine when
entirely different working tech·
niques take over. The frce-tUotion
q ui her needs to establish a personal
wo-rking relationship bet\veen the
rhythmic movement of tltc hantl·
guided fabric, 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·
o ut visible glitches betmying the
break. The reward, fo r the pmttice
required to master this iJHCf;;tC.Lion~
is an ~nergizing freedom while
stitching that can't be replicated
";th machine-guidccl q uilting.
A minor technicality- 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 rcsuit~. Fo r free-motion quil-
ters, symmetrical, rcpetirious motifs
and long, unbroken lines arc. the
most. challenging to trace witho ut
wobbl}' deviations. Some free·
motion quilte.rs ftd tll"t framing a
tnotlf in a machine-embroidery
hoop increases control (Fig. 10·31).
A free-motion quiher needs to be
r-esourceful when coping with big·
ness and weight, which <:ons train
the llowing rut)VcmeniS r.sse.mial to
stitching the designs and affen
stitch consistency.
Straight·Stitched tmchine q uil 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-q uilted line has a uniq ue
effect o n the patterned and textur·
ized $Urface ..A.s a medium for visu~
al expression. art quilling int1udes
all kinds of q uilt stitch ing and takes
full advamage of the sewing
machine's capabilities. To develop
an individ ualized art-q\tilting style:
ExpeJiment Wi[h Lhe tex tures o f
zigzag quilting. all widtl1s, from
spread In length to satin stitching.
MAC HIN E QU ILT I N G
Quilt with a twin nceclle. Explore
the decorative Slitthes. Lnvcm com-
bimtlions of straight, zigzag, and
decorative stitches. im provise
mcandc.r and filler pallcrns. Usc
reverse stitching fo r inforn1al filling
with machine-guided quil ting.
When free-motio n q uilt ing, unbal·
ance the: reusions to creme distiJ1C-
tive thread variations. Break the
rules 10 make discoveries.
\~1Jerc it's appropriate, pre-finish·
ing medium-Sized projects o r mod u·
lar tmits with an envelope edge
(refer to Fig. 10 ·16) saves time at the
end. f o r modules with envelope
edges, the means of assembly, either
ties o r tabs, may be .s ewn into the
seams joining the top to the basted
lining/balling (Fig. 10·32). Mini·
modules for the openwork o r Utbbcd
consll1.1cdons described below are
too small for anything but a pre- fin·
ishcd envelope edge.
( a)
( c) ( d)
Fig. 10·32. (a) Ribbon lies and
(b) tab connectors basted to the right
side of a module's top before sewing
to the lining/batting. Tumed 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 ~me
P'ttlle.n'l, cut tops, lini_ng, and batting
fo rthe mini-modules. Sew each set
together, rum right s ide out, and
haud sew the opening closed.
Machine q uilt. Sew the mini-modules
together where they toudt, from the
back, catching only the lining/ hatdng
\\oth the mcking stitches (Fig. 10-33) .
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. T he
tops. balling. and lining for u.bs are
cu t from the same paLtcm. Sew each
set together, leaving the top edge
o pen. Trim the batting from the
scam allowance at the top and tum
right side ouL Machine quilL Sew
the tops o f the u.bs to a padded o r
\ Vith pressed qutlhn~ tht
cd appear:anc~ of <ta"" :and
replace.< lines of <llt<hcd 1hrod
The to p is cut up mto .tnps which
are sewn together and qmhed 10
1he baLtingllimng m one oper:auon
For p ractical reasons, p res.-.ed quill
ing is a modular activlly. ( I) l'Lln a
design for strips o f 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

sturd)' foundation, closing the open- required width plus 1wo seam
Ings in the process ( Fig. 10-34) . allowances. (4) Starling ccmrnlly
Use tabs for borders or small or at the left edge, lay 1he ftm s1rlp
constructions. trimmed to size, right side up on

(c)

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 (d)
connections.

(a) (e)

(b)

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 e r 10 Q UILTING 223

 (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 o ne scam <>llowance
on ly ( Fig. l 0·36) .

Fig. 10-36. Forreversible pressed

quilling, strips of lining and lop fabric,
and batting, aro ossembled with
stitching that is concealed on both
sides.

Fig. 10·35. 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 Reversible pressed quilting is

strip, al~o trimmed to size, righ t
Side down over the rust Strip.
!>httching the edges to be seamed
together, stitch thro ug h all layer..
(5) O pen 1he second s trip and
lightly p t·css the scam . (6) Continue
nclding Strips and p ressing each
se:nn u ntil the batting/lining is cov·
crcd with a scam· pauem ed 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 "'~The Doublc-llinding
Edge rinish' on page 207).
hUih en tirely 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 o f the t hree-layered
strips toged1er aro u nd the outside
c.dgc~. (2) Wit h t•ight sides facing,
lay lOp Strip #2 over the urst lop
strip and lining strip '12 o•·cr 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 Th e A rt o f Manipu lating Fabrl< MACH IN E QUI LT ING

 MACHINE QUILTING

X-S- Two allo-~r

P<;Uems. s(ttl1ght-
sutched and
mach,ne-guldfd_

Ch•pter 10 QUILT I NG 225

 X-8---0esigns 1roced ...,,th free motHln !itltc.h+T'i abo~-e o X-9 Pone! of ecccntllc expenmems
border /(lsh<onod (rom """"'"" )1U<'od ,.,,ch con•bonm-. n tmprov-tst:'d frce-roonon q.N·xtg.

MACHINE
QUILTING

X- IQ A chon of
--·Ofk~
lJes JrtSe:{ed betv."een
- ~bands.r,.,
outer cctgc IS /imbed
v.,U, co!ded P•P•llg.

226 T he Art of Manipu lating Fabr ic

 MACHINE QUILTING

X I 1-0..,rlappmg Ol'lllllRomenJ o{ qwltod tabs

with a clescef1d,ng fl>W o( Sfll{(ed 1<tbs {or comrosL

X-/ 2- S•x b.'ocl<s o(preswJ qu•long. 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.Joo1ring 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

 nserted between two lay~rs.
I 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
STUFFE D QUILTI NG .............. 230
Proc<-durcs ....................... ....... 230
No tes fl:: Variations ................ 231
lhlpunto ....................... ....... 232
Rc,·ersed stuffed quilting .... 233
U.rc rcd stu !fed quilting ...... 233
STUFFED APPLIQuE .............. 236
Procedures .......... .................... 236
NOles & Variations ................ 238
Fr:tycd-cdge stuffed
:tpp liquc ....... .....................238
Freezer-p aper preparatio n ..238
Eased sturfcd a pplique ........ 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 ......... ..... ..2~5
FlC\'atccl picccwork. .............245
HAI.F-ROU OS ..•....•....•....•...... 247
Procedures ......................... ..... 247
Notes & Variatio ns ..... ..... ...... 249
Raised stripping .................. 249
CONNECTED ROLLS .............. 251
Procedures ..............................251
Notes fl:: Varintions .........•......252
Detach ed Rolls .................... 252
LITTLE PILLOWS .................... 25'1
Procedures .............................. 154
f\otes fl:: Variations ................ 2.5 6
Pcekholcs ............ ............ .... 256
Rui>cd patcbwork ................ 256
BISCUITS .................................. 258
Procedures ...... ........................258
Notes & Variatio ns ................ 259
Sau>age> ....................... .......159
PEAKS AND VALLEYS ............ ..262
Procedures ............. .................261
Notes fl:: Variat io ns ................ 263
Note: This chapter begms ";th
BASICS. indicated by a gray band
located underneath t he relemm
columtu.
STUFFI NG B ASICS
STUFFI NG
tuffing is both a noun and a
S
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 o f the tropical ceiba
rree) were used to All cloth casings.
Polycste•· Oberfill is todar's stuffing of
ch o ice, nnd It Is tho stuffing recom·
mended for t ho mtlnipuhuion tech -
niques that follow: II is clean,
resilient, non-alle rgenic, p le.-.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 o f
inserting !'ituffing. t11c noun, inLo
srilc hcd casings. The techniq ues
described In t his c hapte r indica te
st uffing thmugh tem porary o pen·
ings left in scams or th rough slits
cut in to linings or fo undations.
When slits arc necessary. use small,
sharp scisso rs to cut neatly through
the backing fabric o nl)•. At a c-entral
loc.1 tion 1nsid e the seamed bound-
anes, cut tht o pening 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 peckho k s or meand er-
STUFF ING BAS ICS '2"2 9
-- lng quilted or appliqu~d shapes.
To guide "pulls" of stuffing
1hrough small OJX'nings inlo larger
lnlcriors, use 1he blun1ed or rounded
tip o f a s lender tool lo ng enough 10
reach 1he limils of the particular c-JS-
ing, such as a length of dowel or
coathangcr wire. a chopstic k, n
screwdriver with rounded corners. a
blun ted knitting n eedle or skewer,
o r 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
an d comers or 10 Sluff a small .
round applique; la rger pieces 10 stuff
a fa t roll or plump biscuit. Begin b)'
pushing stuffi ng against the seamed
perimeters, especially inLO corners.
Con tinue 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
tluoughou t. Mod el high-relief fonns
(elevated appliqu~. rolls, biscuits,
pea ks and valleys) " " '" fi nger pres-
sure on tlte outside as well as stu ff-
Ing p ressure fro m 1hc lnslclc.
W hen stuffing from underneath ,
check results from the front. To stuff
quilted or appliqued shapes or half-
rounds softly an d evenly. hold work-
in-progress up to the UghtlO check
for consistent stuffin g dlstribulion
t hroughoul the = ing . Sm ff every
sh ape full enough 10 reach 1hc
!men ded elevatio n and substamiall)'
enough for the elevntion to survive
subscquem use. Stop before stuffi ng
100 fully, ind ica ted by 1he undesir -
able distortions that develop.
Close in-seam OJX'nings as tech-
nique directions indicnte. Close the
openings cut into linings or fou nda-
don fabric with hand se->ing (Fig. 1l -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, stu ffi ng can be TC-
clistribu tcd to fi II o ut mino r d ep res-
sio ns pre\>iously overlooked , or to
p u ll stuffing into points o r corners
th ai need attcmion. Usc th e lip of a
Slltrdy needle ins.:ned inside the
area to move u.djacem stuffing into
the empty Spol.
End of ST UFFIN G BASICS
STUFFED
Q UILTING
-tWO layers of fabric faste ned
together w ith a stitched design con-
taining enclosed shapes that are
heighte ned 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 o nto 1he right side
of fablic that h as been c ut to size
(r•f•r 10 "Transferring Dcsi~,'ns''
on page 205). Bas1e th e 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 un ma rked top.
(d) (o)
<.. ........:"!
:::~:::.)'~
:··--····-......_.:
··........-"'\
: ......... .;'
·~~ .....•'\
<:.:·.·.·.::·.~
·········./
···-···..)\
c::.-.-~::>~ I
(~··· ·· ,:
.......-'\
(········.>l
...••. ···•·• 1
(f)
Fig. 11 -2. For hand-stitched
stuffed quilting, designs entire-
ly composed of stuffablo
shapes: (a) Borcfer. /b & c)
AllfNer. For hand and machine
stitching, continuous Une
desig ns that include enclosed
shapes: {d) Border. (e) Grlddod
allover. (f) Wandering leal.
3. Sew o,·er the marked o ur 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.
• ~'lochine sew. covering the
lines wllh straight o r sa rin
stitching regulated by presser
foo t/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 fro m
dra"i ng up the fabric.
-1. Cut small slits intu the linit1g
ln<lde the o utlined shapes. Push
wi~Jl}' bits of s tuffing throug h
the openings. elevating each
s hape "~th soft. evenly dis trib-
uted stufring. To deter oversm ff-
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
o penings closed. (Refer to
"Smffing• o n 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 pro tect the o penings.
Tack the outer lining to the
Inner lining :11 freq uem 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 flnick·y details arc
the best for runnmg·S<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 q uilling 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. 11·3.
Stuffing a
design, out-
lined with
running
stitches.
through
sBrs cut into
the lining.
Chapter II
stuffing, hu t prc\'Cnts 11 onl\ tf
the ;.tufftng •s moved mto post-
lion "ith gentle pressure. and 1f
the total amo unt of stuffing insened
into a sh•p• is moderated. With
control. small-llgured designs rna~
be sruffed without srrctclung
beforehand, c>pceially if sarin-
stitched by machine. T he dense-
thread o uthne of sarin slitchmg acts
as a kind of s tubillzcr 10 the fab ric.
\\~1cn n design is too large for the
size of nn ;1\'ail:tblc hoop, stretch a
portio n of the design and stuff the
exposed <hnpcs. Without closing the
hoop over anytlung previously
stuffed, frame up another section of
the design. >tuff, and continue until
hoop s~nrching lS no longer poss;.
ble. Maintainmg the s;tme density.
smfT the lefto\'er shape>.
\ViLhan ouler lining O\·cr an
Inner ilnlng that IS underneath the
top, " stuffed-quilting textile finish-
es with three b yers of fab ric. If the
stuffed clements are separmed hy
borders, fillers, o r· mher designs no t
intended for· • ruffi r1g, the inner lin-
ing cnn be lim lled to the areas
where It's needed. After s ti tching
those port io n< of the design desig-
nated for stuffing. trim the lining
W' (6mm ) from the stitching that
surrounds the Stuffed shapes.
ST UFFING 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 o r motif can be
o utline-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 m et hod requires a
loosel)' wo,·en lining fabric. Push
the tl~reacls 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. 77·5. To stuff stitching·outlined 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.
232 The Art of M an ipu lating Fabric
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 d£Jsign 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 lo p.
2. The second method requires a
plan of approach to the stitching,
w hich 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 tllp->eparau:l)~:tre
roll~d up close to the shape ready
for stuffing ((h ) in Fig. 11·5).
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 edge~ 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 li·cquently to
smoot h and t·c-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 b~· the
g uiding need le (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 w here they clisappear. Coax
1he 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 o f yarn insertio n
(refer to f'lj:. 9-5 o n page 190) .
Stuffed quilling and corded
q uilLing nrc cumplcmcm:u·y tech-
nique>. W hen 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 ~tujfed quilting is out-
linc·stltched 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-
(b) , ,
('••
...
'~.:a"'
cate a pn~h fo r the hand-stitched
c(.
outlining that follows. Ir the top (f'
fabric is sheer enough 10 expose not
only the outlines htll also the colors
of the ClllOUIS, reversed Stuffed
quilting Is called shadow quilting.
Ftgurcs with foreground and
b.1ckground components benefit (c)
from laytrctl rtulfrtl quilting, a bas-
rchcf technique that accrotuates
advancing fonns (Fig. 11-6).

(d)

Ptg. 11·7. (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.

Fig. 11·6. 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
"#2." After s1 uffing, these shapes
will appear to bo behind the fore-
ground s hapes. T he 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 ~1 shapes. Stuff through cutS in
the lining or th rough openings left
before Onishlng the outline s titch-
ing. Trim 1he 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 foregrou nd
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
appearan~ 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 STU FF ING 233

 ~ .

iJ

X~l-~c:hed borde<
~ lhu! .ndu<los a loop«} ro.•
o(cOit!td ~ bor"een rhe
Slli~ «<){~OS (lmP.,.'\!0)

STU FFED QU I LTI N G

~1-Su,.ght-lol>e ~ stm<gtw
sb<dled by rnochn1e """ cettaon spaces
on the g..d seleaed (oi R»ff"'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

l 234 T he Art ol Mani pul ati ng Fabr ic

 • •

•
•
.•., •.
......
~

- .. •• •

••
.•
' •

• • •"' ~. •
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

STUFFED QUILTING

XI 5-0ts•if' boci:s<o•ched ond stJ.Jffed ;n rhree laye1s. The qwlted

scams l.hot btsea the Jorgesr and bwest layer bmit bu!I:J'ne.ss

XJ.6-Fiorol <Jesogn bccks<olched and Stufftd on mt layers. Set IMf 0

stuffed bocJ<gt<>und dmded Ofl!O noee SqoJOfts !)1~ Center 0( the lo"?-
ffowcr was inde:'!tCd w1d1 neecJ,'e modeJJ,ng.A borde,. of runmng-smchea
fiat qutlon~ sorrouno:ls !he stuffed des•Rn

Chaptor I I STUFFI NG 235


STUFFED
APPLIQUE
-fabric cutoutS stitched to a foun-
dation with stuffing inserted
b~tweon tho layers.
P ROCEDURES
L Create a design composed of
shapes w ith simplified o utlines
suhable for cutouts (Fig. 1.1-8) .
WII h a fab ric-safe marker. trace
ful111 b ut distinct outlines o f the
enl ire design onto 1he right s ide
of fou nda1ion fab ric 1hat has
been CUI to size. For designs that
require extensive stitching and
stuffing. s~:~bilize the foundation
lemporanly. choosing a stabiliz-
ing method appropriate to the
sUtching method.
2. Cut ap"rl a copy of th~ design to
make patterns o r templates for
cuch shape that will be
•rpl iqu~d. With a fabric-safe
marker, trace a faint but distinct
o utline fo r ct~ch applique onto
1he righ t side of the appropriate
appliq ue fabnc and cut out:
• For appliques that will be
hand->titched or machine-
stitched with zigz.~g stitching
or hcmslhching. add a scam
allowance around the mtccd
outline.
• For appliqu~s that "ill be
sattn·stitched b)• machine, cut
o n the traced outlines. adding
scam allowances only to those
edges tlwt will be slipped
underneath adj oining
:tppliqut!s.
Fig. 11-8. Designs forstuffed applique have enclosed shapes to cut out andre-
apply with sluffing underneath.
236 Th~ Art or Manipulating
3. Stitch the :tppliques to the foun-
dation. matching the applique
outline. to the foundation aut·
line. Bcrorc turning an appliqu~·s
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 lx•ckground applique with
the edge o f 1he foreground
:tppliquHFig. 11 - 10).
Fab ric STUFFED APP LIQUE
.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: B.~tc the
appllqut in place. or pin from
the back so that sewing thread
won't snJg o n projecting pins
In front. Turn under and pinch
crease a small portion of the
·._ nppliqu~'s scam allowance.
concealing the trnccd ou tline
on the fol<l. Stitch that portion
to and over t he marching out-
line ~meed on the foundation
(Fig. 11-11). Continue to
pinch crease ahead of the
~mchlng. using the needles tip
to tease stroy lhrt:~ds 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
nppliqu~ :IS it swings back
and forth, piercing tbc
nppliqut and t hen only the
roundntlo n right next to the
appliqu~·s edge ( Fig.ll-12).
Stabilize t he foundation with
typing or freezer paper, a
commercial stabilizer. o r
Slrtlcll the foundation in a
hoop. Cover the traced out-
line on 1hc foundation with
the edge or the applique:
 To satin stitch a corner or
onglt. ;utch up 10 the
polnl. stop to pt\'Ot with 1M
(I)
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
Fig. 11-11.
(8) Bllnastitch/ng an applique threael·oasteel to the tounelation. In front, tiny a time ( Fig. 11· 14).
tacking stitches straeldle the fold. In oack, tile stitching lllfeael moves fonvard.

-
(b)

I
T - ..........

(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

vv
founelation. In oack, lac/Cier stitching looks like running stitches.

• To prcptu·c an applique ror the cut edge. Satin stitch

t lgzag stitching or hcm- over the s tmight stitching (c) (d)
Slitching. turn under-. and the edge (Fig.ll-13).

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
Fig. 11·12. 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.
Fig. 11-13. For satin stitching, a
presser loot wirh a groove in the
oase arches over the buildup of
thread.
(b)
~~
Ftg. 11·14. 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-
(c)
ing the roreground applique
over the oULlme they both
s hore ((3) in Fag. 1 1-15).

Chapter I I STUFF IN G 237

 • After stitching, stuff an
~ppliquc 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 "~th
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 appliquee~.
(b) Stuffing the center circle through
a slit cut into the foundation.
~. ltcmove the temporary stabilizer.
Sn·etch the fouud,u io n and pin
around the edges to a pad ded
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.
238 The Art of Manipulating Fabri c:
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 ap plique.
To make the UJ.>pliqul! process
even easier, ' isualize frayed edges
as desirable s urface textu re. For
fmyetl-cclgc stuffed applique, tTace
simple, preferably straigh t-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
foundation to encourage fraying.
Ano ther option. not as fast as
frnycd.cdge appliq ue btu less fussy
th:m stnndnrcl appliq ue: Auacb
tlppllq ues p repared with turned
edges 10 t he fo undation with
machine-sewn edgestitching, or
hand sew nc-~t to the fo ld with
straight ~tilchh1g.
For appUques with SC'dm
dllowanccs,Jr·eczer-paper prepara-
tion assures turned edges that arc
smooth and accurate. For each
appliC(ut, rrace the outline o f the
pattern onto freezer paper and cut
out o n the line. Heat bond the
frcezer-["flCr shape, shiny side
down, to the wrong side o r the
ap plique fubd c. C ut out, adding a
seam ~llowance around the edge o f
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.
ST UF FED A PPLIQUE
Standard stuiTed ttppliqu~ is per-
fectI)• executed when tl1e fmished
product duplicate; 1he original
design on papt:r, curve for cllf\·e
and point for point.: "hen all traced
outlines are tmislble: when threads
from tht Wta\·e~ ~m aHowances,
or stuffong arc securely confined
underneath the neatly stitched
edges of the appliques; and w hen
tltc foundatio n aro und the softly
stuffed appllqu~s rcn"ti ns smooth
and level. and retains its o riginal
d imensio ns. If an appliq ue is t OO
large. the soft s tuffing ins ide may
shift or clump w hen cxtensh·ely
handled. After sewi ng a large
applique to the foundation, dh>id e
it into smaller segments with seams
topstitched by hand or machine,
and stuiT the segments.
Easing an appllqut to match a
slightly smaller outline o n the foun·
darion results in a little more interi-
o r space to stuiT; therefore, eased
stuffed llpj)liqut Is somewhat lo ftier
than t he same ltppliquc would be if
it weren't eased. f.:nlargc the paLttrn
for an eased appliq ue about W'
(3mm) all around, even less if the
s hnpe ls vel)• small. llecausc bias-
cut edges absorb easing better than
straightgr~in edges. cuL as much of
the appliqu~'s 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.
Fo r swelled nnd swffed applique,
cuto u t shapes ttre stitched one o n
top o f the 0 1her in g rndtmtcd sizes,
wit h the largest anchored to the
fo u mbtion (Fig. 11·16).
 /-........ _..-....
\{ I
i
;
:
/
r
.'
(a) ! I
I\
.
(
/ \__::,..._;_
·. / :
\
':>--1'
I
-W
( 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 ( l ) Trace the outline of each pat·

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 s mff
the sm:dlest upplique; (2) sritch the
med ium-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
appliqu~. 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
the level of the fou ndation as much
:'1.5 it rises above the foundation,
unlcs> the base applique is subdi-
vided and s tuffed in segments.
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 ~fore they arc centrally and
vtsibly stitched to the foundation
(Fig. 11-17).
Fig. 1t -17. Designs tor loose stuffed
appllqull include Internal ropstitch-
lng/appllqull seamlines.
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
through a slash Ctll into the lin-
ing.(+) Trace faint but distinct
stitching lines on the top with a
fab ric-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.

Chapter II STUFF ING 239

 Xl-7 -Hon<!~pp/,qu~ <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

X~D<!SI!l" appl1qu6<1 • 1th bl,ndst•tcl>~ng by

nand ond sooo sti~ l>t mod>~. Tho two
,.,.,,er fleto!s of the fio.,r ond rhe cernrol CJ!de
cr the oose 'f\-'fre ~oseci (!K gr~t!-f 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 Man i pu l ating Fabric STUFFED APPLIQUE

 STUFFED APPLIQUE

X~l~~t<i
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 ~oang:c were needle mrxlelled

XJ-11 - (lefc) Bowng-pcxided loose appllqu~ (ng}lt) FloroJ

executed 111 loose swffed appfoqu~ wod1 ont unSW/Ted leaf.

Chapter II STUFFING 241


E LEVATED
APPLIQuE
-small fabric shapes, supported
with stuffing. that rise above the
foundation to which they are
stitched:
GATHER-ELEVATED APPLIQUE
-appliqu~s, lifted from the founda-
tio n 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. fiat-topped forms.
PROCEDURES
I . Derelop an applique design \\ith
elements that are comp.1tiblc with
heightened relief. Simplify the
contours of the shapes selected
for elevatio n (Fig. lt-19) . Cut
apnrt a copy of the design to iso-
late the dements that will be clc·
vatcd with gathering or a g usset.
F'l(l. 11· 19. Arrangements of stream-
lined shapes for elevated applique.
2. To draft a pattern that elevates
all sid eS of an applique:
With gathering:
Enlarge the applique all around
242 The Art of Manipulating Fabric
by an amount eq ual to o ne-
half the desired elevation.
When enlarging an applique
with a concave edge or an
ln~IM 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. t t ·22. Tapered enlargement/hat
will elevate all but one side of an
appllqutl with gathering.
Fig. 11·20. 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 "~th
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 · il>g, cut the original shape
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 d mfr n paucrn that elevates
all bUI one s ide of an applique:
\\~th gathering:
Enlarge the selected sides of the
apphqut by an amount equal to
the des~red clevallon. Grnduallr
cun·c the enL·ugement m to the
original shape at the points (the
encl~ of the side) where the
enlnrgement ends ( Fig. 11 -22).
With a gusset:
a. Draw two parallel lines. each
us long ns the total measure-
ment of the sides to be devat·
cd. spuced as wide apart as
the dcslted height of the ele·
v:u ion. 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. ~Ieasure the mpering line.
Compare with thc baseline
measurement fo r the same
se~:ment. which wUl be short-
cr. and subtmct to find the
dllfct·cncc.
c. Tu compensate for the
ln rrea~e caused b)• the taper-
apart between the sides that
\\111 be SC\\11 to the tapered
edge of the gusset. Spread a t
the cut 10 mcrease the length
of each s1dc by the difference
(Fig. 11-23).
 Elevated Line
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 d mft 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-
vated~
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).
I I
(a) Applique
'"~
Fig. 11·24. (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.
Elovoted
Shape
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 the 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.
Chapter II
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
the 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.
STUFFING 1~3
 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. 11·27. Drafting a gusset that efe·
vates one side of a triangle, then
slashing and spreading that side of
7. Wioh a fabric-s.1fc marker. Lnlcc
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
8. \\~th a labric-.afc marker, trace a
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
pau crn 1hnt correspond to mmch
poinos o n 1hc fo undation paucrn
(Fig. 1 I -28).
9. Sew the ele,·aled appliqu~ 10
Ftg. 11·28. Patterns lor a gather-ele-
vated applique with match point indi-
cations. The applique's outline is its
fold ond stitching line.
244 The Art of Manfpulacing Fabric
Gusseo-elevatcd applique
pn1cerns:
Add seam aUowances 10 each
gu~sct 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
founda~ion shape that corre-
spond 10 ma1ch points on the
baseline side of the gussel.
lndicn1e d1fferem match points
on 1he elevated side of the gusset
thnt correspond to similar march
poi nts on the elevated appllquc
(Fig. 11 -29)
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.
fam1 bu1 distinct outline for each
applique and gusset on the
appropriate fabnc. Mark all
ma1ch points.
Gathcr-<>lcvatcd appliques:
Tmce appliqtoe o utlines onto the
right side of the fabric. Cut out,
addi ng a S<~am 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.
1he foundauon:
ELEVATED APPLIQU E
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,
~t:~thcr 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 the uppliquc has been
gmhcred to fi1 ohc outline.
blindstitch lo the foundatio n,
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 crc~sc
Lhc ~cmn allowance at the
baseline edge of the gusset,
and on the un·elevntcd 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. 11·31. 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 eno ugh to
expose the d esign. Smff the ele-
vated appliques through slits
cut into the foundatio n (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 fabric; 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 o f designer preference, influ-
enced h)' which type of elevation
would be the most appropriate for
the design . Two other fac tors to
consider: Sewing small gussets
between a small shape and the
foundatio n tests s~;l! and patience.
Gt"SCtS allow conrrollcd variations
in the stulfcd slmpc, and gathering
produce> simple, rounded fo rms.
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 o r the applique increases,
altho ugh s tuffing modifles the puck-
eri ng somcwhnt. To subdue the
puckering, replace hand gathering
with bobbin-thread g~thering:
Machine stitch over the o utline 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 w ith outside pres-
sure-or fill up a Oat-topped fonn
with n stack of batting and finish
with Muffing u nderneath . Use t he
founda1io n sh~pc 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
appliqu~ 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 elcv•ncd line changes direction
at both ends to con nect 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 ltnl~unle.<s 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.
Chapter I I
To measurr the perimeter of J
shape with cur\'ing contours. fo llov.
the contour with a utpe me:lSUre
standing on edge: or stand • narro"
strip of paper on edge. mark the
length of the conto ur 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 throug h an
opening in the Stitching that allach-
cs the appllqu~ to t he foundation is
an ahcrnnLivt! but, in general, i['s
1
easier to di.>tribtllC t he stufflng
~venly 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 be~omes top-
hen')' and needs a sturd)\ substan-
tial foundation for a base, such as
stili, heavy fabric: a batting-padded
lining: or fab ric secured in
stTctchcd condiLion.
ElcwnctljJicccworlt applies 1he
concepl of gathered o r g ussc11cd
fomlS to pieced patchwork designs.
Stlectcd clements o f n d esign are
ele\•ated wi1 h gathering or gusset.~.
"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.
STUF FING 245
XJ./2- I'ufi<Ms and~ ch<ll!laenze god1tred ;o.m.. 111<
~ 01 II>< !op .. s.mple Si.-,'jeo ~

ELEVATED APPLIQUE

X~ I 3-P•eccd dcs,gn wrlh scleaed rnangulor

elemeni.S e'ewllcd on one Side v11rh golhenng.

XI. I 5~• e!e-.otcd shapes

fi cd w<h SloO<s of !><livg.

Xl-14-((rQm lire cop down) Apphques g>.."Sset·elevcncd on one Slde

O<llf, on rhreo Side~ and on oppo;!re sKies. The raps of rhc rwo lower
forms were $/lffencd wilh pres~ inte<faang.

246 T he Art of Man ipulo ti ng Fabric

 3. To detenmnc the appropnate
width for half· round fabric srrips.
mea~urc 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
o ne-third the fo undation \vidth
... of the strip. Measure and cut fab-
~
=- ric strips fo r the half-rounds.
< ~

continuing to cut more as needed

> w hile sewing proceeds.
I<
b.. >
I<
- be continued or repeated to a larger size.
H ALF-ROUNDS
- long. slender strips of fabric
stitched side by side co a fo undation
with scuffing enclosed between the
layers and seams.
PROCEDURES
L. Crcalc an nrrangcmcnL of narrow
bar~ 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.
,.....,..... .
Fig. 11-33. Hall·round designs meantto 4. Draft pnttcrns fo r any rapered o r
The shaded areas will not be stuffed.
triangular clements included in
rhe design. Estimate the height
after sturnng at the "~dest poinr
of the clement. Slash a cutout of
2. For the foundation, cut a piece the clement from its widest to its
of lintng fabric shghdy larger nnrrowest pornt. stopping about
than the design unit requires. Y,(' ( 1.5mm) From the narro\r
end. Spread the slash to equal
a. 5~abilize the lining wilh freez-
the C>limntcd height after stuff-
er paper heat-bonded to the
ing. Re-drnw the split o ur line
back. with typong·weigbt
generously; add a seam
p:tper o r comm ercial stabilizer
allmvancc ( Fig. 11-3.5 ).
machine-basted to the back
ili'Ound the ed ges, or by heavi-
ly Starching lhe fabric.
b. With a fabric-safe marking
tool. trace the 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
Rg. 71 ·35. (a) Cutout oftrlangular
edge-marching guidelines elements #4 and #8 In the design
(Fig. l l-34). sketched In Fig. 77-34. (b) Cutout
slaslled and spread to include an
allotment for /Jeight after stuffing,
with soam allowance added.
"'"~·;.:.:: ......., Fig. 11·34. (a) Half-
(c) The hall·round pattern.

1 2 3
5
t--r-!_ : :
6 7
l: ~
:
~
: I···~ N
~
! ...·:
round design with
components num-
bered in sewing
Usc the pattern/template to trace
and cut as many tapered or rri-
angul3r half-rounds as the des1gu
. : otrJer. (b) Design requires.
enlarged and out·
\.
12 \.
4 9
10
1
7
13
L,_j.J.·.:i . .:... .·.... fined on the foun-
dation. Dolled fines
indicate seamlines;
'\:·._............................. /!: the cut edges will
(a)
! '\. ...........................,-/ ~ be matched to the
c.... :-,.;................... /.J......: solid lines.
(b)

Chapter I I STUF FING 247

 c. To baste the ends of a half·
.........,,~;........'+ I II I round to the founcL.nion. ease
II' . . . . .. ...
! ..........l i :
!
the excess fabric into the
stitches as sewing proceed,, or
gather "ith hand >litching first
I l i
:
#1 ' 2 I I l ,, 12 13
l
i
and baste over the gathering,
Sew j ust inside the seam
allowances ((d) In Fig. 11-36).

.:~~-vL.••• ._:::
l j·, !
. ...__ i~' ,,.J .:,:. i!e?:
l 6. Stuff the half-rounds 5ofrly (refer
to "Stuffing" on p.1ge 229). using
· ,, -.... . •' . . .... ,. l ':~ either of l.be following methods:
. :#'~ lip;;..... ............- .......:. ..
u--·- _..__ ljk:~~===:c • Leave one or both ends of a
balf-round or a group of hnlf·
(a) •"'ll>T (c)
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
,, 12 #3 the ends by easing or gather·
ing the excess fabric Into
scams (Fig. 11 ·37).

(d) (a)

Fig. 11·36. To sew llall·rounds to a foundation marked as shown in Fig 11·34 ·

(a) Baste strip lf1/n position. (b) Sew strip 112 over the edge of strip #1. · ::
(c) Sow on~ edge of strip 113 over the edge of strip 112 and the other ed e to :
'f'.~Sfound~tron. (d) Ease fullness at the ends of the strips into the basti~g seam
,e, ew tnangutar half-round lf4 in place. · r ~ --
5. To sew half-rou nds, adapt the b. Cm enough from a half-round
Fig. 11·37. After pushing stuffing Into
following steps to the needs of snip for half-round i/2 as out· half-rounds through the open ends.
the specific design: lined on the foundation. Place ease-and-sew or gather-and-sew tha
a. Cut enough from a holf-round it right side down over half· ends to the foundation.
strip to cover the flm half· round *I. Matching the edges.
• StuiT while SC\\ mg each half.
round oUllined on the foun· sew one long side of half·
round to th< foundation.
dation. Matching the edges of round =2 10 half-round ,.1 on
(1) Sew the first side of the
half-round Ifl to the edge· th..- S<!allltine they both share. half-round in l>lacc. ( 2) Ea;e
matching gUJddines marked Tum half-round =2 rtghtside
the fullness at the upper end
on the foundation, machine up; mm the ends to corre·
of the half-round while se-'ing
stitch both of the long sides to spond "~th t.be guidelines on
it to the foundation; at the
the foundation whh seams just the foundation. Baste the
comer. pivot \\ilh the needle
inside lhe scam allowances. remaining long side to the
down and sew the oppo•ne
Trim the ends of the hnlf· founwuion, matching the edge
side of the half.round. pau-;c
round to correspond \\~th the to the guideline and stitching
frequently to mscn stuffing.
guidelines on lhe foundmion inc;ide the seam a11owance~ or
At the lower corner. turn with
((a) in Fig. 11·36). sew half-round ;;3 to half·
the needle down and stitch
round .:2 on their shared seam·
across tl1e end to e nclose Lhc
line without basting #.2 first.
stuffing, easing the fullness
Continue adding half-round
into the stitches (Fig. 11-38).
strips, following tl1c numbered
Sew all seams inside: the se:un
sequence of application ((b)
allowance.
and (c) in Fig. 11· 36).

248 The Art of Monipulatlng Fabrle HA LF- ROUND S


Fig. 11·38. 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
tle••ation is tOO much for a half-
round construction, unless it's part
o f a design fea turing 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 fo r
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 pl:~cc, use !hat seam linelfoldline 10
gauge " dislllnce for the wpstitching.
Unstuffed
Channel
Unoluffod
Channel
nstuffed Unstuffad
Channel Channel
Chopter I I
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-rou nds arc filled 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 lo•Nclicl
•·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. 11·39. Adding top-
stitched channels to a
half-round oonsttuction.
STUFFING 249
X~ 16-An oppllcalion rhot oppeor; ro we<>·te u~eo!h Jtselt.

HALF-ROUNDS

Xl-17- J'opsu«hed dlcmeis seporll(• most o( the ha(.mmds

"' a design rho! ZJgrogS ~..., h<i(401J<>d borders ot the S'd..os

Xl- 18-T~ log aJl>n

oottem "''~ _IWO ~ o( the
~ ~ed ~ hcl(-<oun<!s
ond r-"> sides uns~uffed.

250 The Art o f Manipulating Fabric

 •I
I
l
I
I
I
I
I
I
I
I
I
I
I
I ing the edge with bmding or an
I
I c:xtcnsion:
(a)
Fig. 11·4 0. (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 to p of the 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 1hal border the sections
reserved for each casing will be
scamlines ((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
• sp•ce 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 belween the two rolls.
I
I
amount of stuffing ne.xt to tbt
:I
~
ends, lea\ing a generoll!> .cam
I 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·
L....
I • Pleat or gn1her the empt}' cas-
I ing 10 match 1he roll\; srulfed
I diameter. Center the emp1y
r- casing 0\'Cr its own construc-
I tion scam. Baste to the back-
(b)
ground fabric b)' hand or
m<1chine, s titching within the
scam allowance.
• Flauen the tmpty casing ";th.
out reducmg wkhh, center. and
• For an arrangement \\ith stitch il down (Fig. 11-ll).
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 i. ~--:::--. ~ :
1hc 1wo rolls. ~-.
,I (a)
~::- ,: ·.:
2. Using a fnb1i c-snfe marker, draw
Lhe seamlines for ench roll casing ~
0 11 the right side of the fabric. Sum S:,-o:::A;; ;: ;!,
b)• measuring nnd marki ng seam- I
line positions across the top and
bouom edges of 1hc fabri c,
and connect opposite position
marks with ~ straightedge to
trace 1he lines.
3. With tht right side of 1he fabric
facing up, fold and pin match
1he seamlines tltat enclose each
casing~ 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 s tuffed (c)
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 F'tg. 11-4 I. Before basting across the
u1111l 1hc roll is round and empty ends of stuffed rolls, (a) pleat.
smoo1h while retaining the (b) gather, or (c) ffatten the casings.
degree of nexibility appropriate
for the application. Reduce 1he
Chapt•r I I STU FF IN G 25 1
-
NOTES & VARIATIONS
Actuolly, the 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 d iame-
lcr, 1hc scamlincs 1hat cons1ruct 1hc
w bulnr 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 by scwmg the nauened casing to
•
![: 1: I' i stuffing and also steadies the roll. If
t
~
I
I lo ng, fnt, horizomal rolls wobble on
(f I ·'
~i 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 that 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) .
252 The A r c of M an ipulating Fabric
~:.___.__.==-=-=-
~
(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.
O ne o r 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 ca~tngs. Stuff through openings
left in 1he seams.
Closing 1he ends of a stuffed roll
the background fabric encases the
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
o r fabric three times the roll diame-
ter plus two scam allowances. Stitch
the long edges together to form a
tubular ca.s ing. Stuff the casing
through the ends and/or thro ugh
openings left In tl1e sc:tm .
CONNECTED RO LLS
For a clt13ched surface roll,
stitch the edges toge•her \\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 o n the
bias, the rolls can be applied to spa-
cious cur\'CS.
'1:'
lfl:
j l:
\1 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 in·scam roll ,
stitch the edges of the fabric strip
together wlth the right side o tt 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.
 CONNECTED ROL S

I j

. .

Xl-20-<:nns:r•ct'On t1>ot m-d.es oround ~ ror:.

lhor hold 1~ (J.msy (obric upright cmd deto<to«i .,.
"""" rolls ll>o< "~ the ~ «)!) ond l><nc.

XJ 2 1--<:ross-;e.:ms ll'tl>m.pcon~ rJ>e

ro~rs complicate the o~~CroU par~rn.. 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.

Chapter I I STUFFING 253

 (3mm) all around.

(a)

Fig. 11·46. 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) b. For circle$ and ovals, the

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. Fitted 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 fo r each shape
(Fig. 11· -16). Enlarge each
o utline by o ne-fourth the
height estimate. For example,
if Ill£ estimated depth isw·
(6mm). draw another outline
Y,," (l.Smm) OUI.Side me
origmal: if me csrimared
deprh is Yl" ( 1.3cm), ex tend
rhe original outline by V."
cnlnrgement is the pattern
(Fig. I 1-47).
c. For squares, rectangles, trian·
gles, and o1her angled shapes.
connect 1hc enlarged o utline
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
:~llownnces arc added when
culling the fab ric.
3. With n fnbl'ic-safc marking tool,
trace, pattern o utlines onto the
wrong side of the fabric, marking
s ruffing openings outside each
outline. Allow enough space
between adjacenl ourlines for
scam :allowances when cutting.

Shape Enlargement Pattern

(a)

Fig. 11·47. Round and oval patterns for little pillows: (a) Fig. 11-48. Square and triangular paNems lor little pi/·
Enlarge lor estimated height. (b) Patterns without seam lows: (a) Shapes with enlargements tapered into the
allowances, with stuffing openings marked. corners of the original outlines. (b) Patterns without
seam allowances. with stuffing openings marked.

254 The Art of Manipulating Fabric LITTLE PILLOWS

 ......, \..,...... ·~
...,.......
'
,·'
·· ·~
..·. r7"'"
''
,
..
• \
•
r·
:., ,/
/''\
\
\
Fig. 11-49. Pillow outnnes
•• \
\ '
I
I
I •
•
stitched, except for the
.'
'' ''
:' .. ;
•• \ \ '
/ I
,' \ ' openiflgs. and cut out
•
. •
: •
~o. ........ _ __ ._ .. ~·J
•'
\ .......... _,...., _ ..._,..J.
'
'\ .
\
'yl
/'
/
I

.: I

..,!_.. ___ _
~-
•
outside the seams.

4. With right sides together, pin the

fabric wilh traced outlines over a 11 -50. Sewing straighl-
second piece of fabric. Straight s/ded liltle pillows
s titch by machine over e.1ch oul- loge/her In closed
arrangements
11 nc, Starting and ending with (a) Catch fabric from
backstitchu1g on either side of the the back seam of the
stuffing opening. Add a small but pillows with tiny whip
adequate seam allowance when stitches. (b) Zigzag or
saun slitch over the
cutting out the pillow casings butted edges.
( Fig. 1 H9). Trim s.-am
allow11nces diagonally across cor- (8) (b)
ners. Tum right side out.
5. Stuff each pillow until it is
suilabl) plump, substantial,
and s table (refer to •stuffing"
on page 229). Stuff pillows
wi1h s tmight sides until the
edges s traighten 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
(b)
together with tiny sritches itwis-
iblc in ~m. or machine sew
wiLl> zigzag, satin, or decomllvc ''I ., - .f
,,J
stitchil>g (Fig. ll-50).
• For an open arrangeruent of
round, oval, and straight-sided
t

- -~

pillows: Hand sew the pillows

together "ith tiny whipstitches I'
Ill lhc points where they touch,
or attach \\ith ties. Connect (c) (I)
Str.tight-sided pillows ,~;th ties,
faggotting, or tabs (Flg. 11-51). Fig. 11·51. 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.

Chapter I I STUF FING 255


(a)
(c):---- - - - -
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)
s~uare Lends to become clumsy and
cumbersome.
When devising pancrns fo r
shnpe.• wil h sides thm are dramati-
cally different in 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·
mo nd, cro~scd rectangles, a clover-
«& ~ It;>----- .. r,-
o Ill l@f ~~
~BB i
L....L.......Jt.........;<>=-\ \
0 ~
U
Lining
(a) \......____ ___ ....)
( b)
Fig. 11-53. (a) Design for li!tle pi/lows with p~ekholes. (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-with·peekholes together.
256 T he A rt of Manipulating Fabric
Fig. 11·52. (a) Little che seam allowances and darned
pillow design. openings visible in the back. Tack
(b) Enlarge for
estimated heigh!. tltc ouccr lining to the peek!tole
Add to the tong sides unit ac intersections. From the
the amount deleted front. che oucer hning will be ,;sible
/rom the short sides through and bchmd che peekholes.
(dashed line). Curve
the corrected enlarge- For \'aricty. uncover a peckholc by
ment into the comers cutting the omcr lining away
of the original outline. behind chc opening. stitching the
(c) Pattern with stuff· cut and turned edge to the inner
ing opening marked.
lining amuncl the peckholc.
Compnrecl 10 1he plump finn ness
of liu lc pillows. raised patcltworlr
lcal'- topscilching by hand or
seems clenated and soft. Raised
machine. (2} After stuffing, add a
decorative Lie or bu11on in the tc.u- patchwork is composed of straight·
ler. auached by sewing down and sided clcmcob a>scmblcd with
back through the stuffing. hand sewing or machine stitching
imo closed units-just like little
Pcchholcs a~ straight-sided pil· pillows-except: (l) The patterns
lows "~th see-through openings.
are nm enlarged co compensate for
Panerns arc developed in the lilllt
height afcer stuffing. and (2) rhe
pillow manner, but \\ith seam
amount of scuffing mscrted inside
allowances added around the out5ide
the casing IIIUSI be COIIlrOUed tO
and a "hole" outlined in the <:enter.
prevent the straight sides of the cas-
( 1) Tmce the outlines of the panem
ing from curving inward- which
on the lining, marking peekhole
would complicate closed assembly
ou tlines. (2) For each peek ho le,
(Fig. 11-54). Because light stuffing
cue a front with ch e lini ng
discribuced throughout the casing
(3) Sew the fron t 10 the li.n ing Lends tn ~hlf1 inside large interio rs.
with righ t sides cogeth er. stitch -
raised patchwork ~hapcs have
ing over the peekhole outli ne.
smaller dimensions. Casings may be
Cut out inside the scam, clip the
prcpored as described for little pil-
scam allowance, and tum right side
lows; or they can be made by fold-
out. (i) Matching all edges, sew the
ing rectangles into >quarcs and
two-layer pcekholes togethn into
squares into triangles or rectangles.
che pre-planned arrangemenr. For
seMng cogether only the cut edges.
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
Fig. 11·54. Pillows with sides con-
caved by too much stu/fed eleva/ion
I In the center are difficult to sew into a
closed constroctlon.
;J "-.. Lining
c)
(d)
L ITTLE PI LLOWS
{ I
I I LITTLE PI L L OWS

j
.. l j
"I

l ~
.

•
XJ. 23-0c:rsed am3r1gemet!! o{ sqc.oares, """'R'•~ at1<1
reaa.1g'es j(>t!eo w1lh /lalla satd>•og ooa satrn st>td>tlg,

Xl-21 -On:les and ovals handsmchcd

together into on openwork border.

1 r
)(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 esMIO~
~ Oes'ii"S !DpSilld!ed on !1-,e re11er l'l!d.oa! rh<>
.p/<Jmptless cf (oor of il'e ~s
• 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

 Fig. 11·56. To sew
B ISCUITS biscuits to bases
with single-fold
-<ushiooy mounds of fabric elevated pleats {a) Ptn as
from smaD. squared foundations that shown. making a
are sewn together. Pleats caught into pleat with its outside
the seams tha t edge each biscuit make fold meeting the
center marl<.
room for the suppo r tive stuffing. (b) Biscuit after
stitching, with an
PROCEDURES (a) (b) opening for stuffing.

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 w!~G~
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 3 11" (9cm). ~1ark a ccmcr
point on each stele of the base and
biscuit sqt~~rt!S, and CUI OUI the
paucrns (Fig. ll-55).
r··-~-------·-- -~
• !
- - - ---·- ~
: 4. Assemble the biscuits in rows.
! :
Base j Biscuit
·----------·
•... _----- . .......... -. .-I
Flfl. 11·55. 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 edg~. sew
c-.tch biscuit, right side up, to its
base, stitching inside the scam
allowance. :VIake a pleat In each
---
(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.
i
:
Sturr the biscuits 10 the softI)'
! rounded height aUowed b)' the
' loose fabric 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
.
~----- ·
Fig. 11·57. To sew
biscuits to basos
with inverted pleats
(a) Pin as shOvm,
making an inverted
pleat with both out·
side folds meeting In
the center.
(b) Biscuit alter
stitching, with an
(b) 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 h ~ve
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

side of the biscuit to reduce the l rows of biscuits
biscuit to the size of the base:
' seamed togothor
with cross seams
• For a biscuit I" (2.5cm) larger matching and
tlmn the base or less, make a openings located
on the oursid9
single-fold pleat in Cllch side edges. Alter sluff·
( Fig. J 1-56). ing. add more
• For a biscuitl" (2.5cm) larger unstuffed I'WI$ to
each sido ot the
than the base or more. make central unit.
an inverted pleat in each side
(Fig. 11-57}. II

258 The Art of Manipu lating Fabric BI SCU ITS

N OTES & VARiATIONS
BiscuilS are cushiony mounds, 1 1
softly s tuffed. To es tablish the.
roundness of a biscuit. never push
stuffing imo !he comers of the
tMultJpte
I
1Biscuit! Mult i ple
(a)
-
squared base.
Sewing unstuffcd rows to st\tffecl
wws of biscuits becomes a clumsy
Base
·- Biscuit
Top

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 throug h slits cut into
!he b:tSes.
An alternate and speedier
m ethod of biscuit preparation
s tarts with patterns fo r 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 to p
of the biscuits. Mark the pleat locll·
lions and add a scam aii<J\vance
(b) (c)
around both pauems. ( 2) With a
fubnc·s:1fe marker. trace aU grid lines Fig. 11·59. To quick-sew a I>/Ock of biscuits (a) Base and top patterns combin·
(scamlincs) and pleat markings o nto ing multiple biscuits, with pteat tocations marked on seamlines. (b) Top and
the fabric cur fo r the b~sc and the base stitched together In one direction with inverted pleats at marked locations;
(c) slilched in /he opposite direction. Seams are stitched as numbered.
top. (3) Sew the top to the base. Pin
match all parallel sc-~mlines and
pleat markings in one direction. Additional textures and le,•els Instead of a pleat o n every side,
Machine sew, fo nn lng pleats at C\'Cr)' may be introduced to n biscuit con- o nly the two o pposite sides hnvc
pleat location. Repeat In the cross struction by induding smooth, Oat pleats. and those pleats arc always
dirccrlon (Fig. 11·59) . (4) Assemble areas between the biscuils, leaving centered in the smaller ends of !he
!he entire biscuit construction. Stuff selected biscuits unstuffed and rcctallgll'S. For a saUS:1gc pal!ern,
each biscuit through a slit cur imo crumpled. and furrowing the bil· enlarge the base pattern in one
i ts base. lowi ng fabric in th e center (refer to d irection , increasing the length of
Altho ug h the traditional biscuil "Furrowing• on page 9 ). the short sides of tlte rectangle by
has" sq uare foundntion , a pleat the amount of the desired elevation.
Saus<rges are a biscuil variation.
on every side also enables biscuits To justify !he name, they ore rectan·
to riSe from non-square bases gular- long and slender but
( Ftg. 11-60) . Enlarge the base pal- plump. They are consmtcted like
tern all aro und by an amount equal biscuits in all respects but one:
to o nc-haH the dcsh·ed elevation.

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.

Chapter II STUFF ING 259

 B I SCUITS

XJ.l7- TfCJ<$noool
constn..cLIOn o( DI$CUIG
!hot fooj:s e;, "' name.

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

260 The Art of Manipulat ing Fnbric

 BISCUI T S

XI 30-Sovsoges YOo'iEd ,.m,

unp'fole<t sofily swF«i tee•
~os conre<edlrl5lde P...
of
the lll<H-S<>Mge S<)JOra.

Chapter II STUFFIN G 26 1
 (" Fig. 11-61.
P EAKS AND ,-- <"'-r---,<"'r-~ ~& <;~ Designs for peaks

VALLEYS t'r- <;k:: -f-,r~-1< v

and valieys:
(a) With rows ol
~c....k' ~ v
- small, cone-shaped elevations of
fabric, supported with stuffing. thor
>-
> r-
<"' ..... r- c"
<-, <""' r- . _,
-r;: 6
~ 'f'.,
~
~~
squares Intro-
duced for variety.
(b) With squares
t•isc from triangular ot· square founda· .._, ',.., 0,. '1\v needed to main·
<, r- <""' "t") /1 1./ /'"\ IZ v tain a level con·
tlons.Assembled into orderly ' rx> struction. (c) With
arrangements, valleys caused by the .._, - k-' .._, r- <1'1 1.:1 '\J ('.., large triangles of
construction seams separate the - ~~0,./1 I ffat fabric separat·
pe<~ks. ( a) ~ ~ ing triangles com·
posed of peaks
(b) '\j ( ) (c) and vaJteys.
~
P ROCEDURES
I. Create a design of adjoining tqui-
l:ueral [riangles '";th connecdng
squares (Fig. 11-61). Set the ..- - -- - ·- -~- --- - -
'
...
actual size o f th e components.
'•''
2. Draft a base pattcm , without • Poak
Baso
seam allowances. for c:tch 1riungle ''
and square in the design. Draft a
peak pattern. without ~am
'
' '
'
'·' -------------·''
o
.
'I

allowances, for each base pauem: (b)

(a) (o;J
• For a triangular base pauem,
the peak pattcm is a square. Rg. 11·62. (a) With a compass set to the measurement of one side of 1119
Each side of the square equals 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
the measurement orone side allowances, and circles ( • ) to mark the corners.
of the tl'iangle (Fig. 11·62).
• For a square b:~sc 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 allowan~ and
sewing notations to each base
and peak pattcm. Cut out the
patterns.
3. From lining fabtic, cut a base for (a)
each peak in the d esign. From top
fabric, cut a peak for each base.
Fig. 11-63. (a) Draft a square base for a peak. (b) Using a protractor, draft a
On the right side or each base and pentagcn for the peak with sides that match tho sides of the square.
peak. lightly mark the points (c) Pallems with seam allowances, and circles (• J to mark the comers.
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 c:~ch cor-
ncr, pivot with the needle down.
adjust the n ext side or the peak
10 match the ne<t side of the •
base, and ~w to the ne.'(t com~r (c)
point. At rhe final comer, the
extra side of rhc peak will form Rg. 11-64. (a) Sow one side of the peak to one side of the base. (b) Match and
a loose fold ( Fig. l I -64). sew the next side, and (c) the next, leaving tho extra side of the peak as an
open fold at the corner.

262 Th e Art o f M~nlpul atlng 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). \
\ !
.•
'
-··
...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
NOTES & VARIATIONS
Fig. 11-65. Sew two peaks together
with a seam Just to the left of the first nssemblcd. When preparing Sewing rows of unstuffcd peaks
seam. the peaks, continue SC\\;ng to tO rows of stuffed peaks becomes
Push stuffing through the secure the fold of the peak to cumbersome as the assemblr
openings in the folds to smff the bose (Fig. 11-67). Sew the increases 111 size. Divide large con-
peaks together into the pre- strue Lions lmo manageable sections,
the peal-s. After srufllng, pull
planned ammgemenL Sntff lr<wi11g unstuffed rows with folds
down and match the edges of
et~ch fold to the outside edge
each peak through a slit cut s ti tched down where the sections
of its peak and t.opstitcb the into 1he base. After sruffing, will he joined. After sewing the sec-
haml sew the opening closed. tions together, st-uff the peaks on
foltls down with a zipper foot
((b) in Fig. 11-66). With right
dthcr side of the scam through slits
sides together, baste and sew em into bases.
more unstuffcd rows of peaks Stuff 1he comers at the base of
to the stuffed row of peaks, each peak as well as the rip of rhe
locating all loose folds on the p)'l':lmld. After s tuffing, point each
outside. Stuff and continue peak by mO\'utg adjacent stuffing
odding rows. up mto the tip on the end of a srur-
dy needle Inserted into rhe srufllng.
Fig. 11·67. Unstuffed peak with told A square peak will stuff higher at
stitched down. the tip than~ rriangular peak \\ith
the same side mcasuremem. The
6. Line the liSsembly of peaks and larger the peak, the higher its eleva-
valleys to cover the exposed tion.
scam allowances in back. Tack
the lining to the s tuffed top ai When assembling peaks and v<~l­
the c1·oss sc-ams. leys, regulate 1he dirccr ion the folds
face when s titched down. The folds
arc part of the overall design.

Chapter I I STU FF ING 263

PEAKS
AND
VALLEYS

XI-]/ Meda...an of
cnangular and sqlKlre
peaks and val+'eys tho~
shC/11! 2" (Scm) SJ<!es.

X~Jl-&7Uer
OI•Of ~~ \\lth the
wi'~ txlended 10
f1or '"""":"" between
rite n~n~ peoo<S.

264 The Art ol M an ipu l ati ng F•bric

Structured
Surfaces
 arts sculpt the fabric's sur-
D 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 Using Darts
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
Relc;~scd darts ............. ...... ...272
DOUBLE-PO INTED DART ........275
Procedures .............................. 275
Notes & Variat iOlb ................ 275
Dart pattcrn.s ........................ 276
Dart i mj>rm~sations ....... ..... 276
Note: This chapttr begins wit!>
BASICS. indkated by a gray band
located undemeath the relevant
columns.
D ART B ASICS
5ECUR1NG D ART S EAMS
ecause dart scnms end and,
B
with double-pointed da n s,
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 n eedle lO the bobbin
thread with a square !.:not:
• After stitching a dart ou the
wnmg side o f 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 the m through
to the back fo r tying.
• After s titc hi 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 n eedle into 1he
final m"chinc-ncedlc hole,
-push it th rough 10 the back,
aml pop tltc kno t 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 o r I he fa hric, start
reducing the stitch length
before reJdting the end of the
seam. arri\'ing at 0 a~ the
seamline tapers out. Take 1hree
o r four stitch.,; a1 0 before
clipping tlte thre;~ds. To bcgiJl
a double-poin1ed d:m. reverse
the procedure: Stan a t 0 and
mcrease rapidly to regular
stitch length.
• WOcn seaming dml fJalle-rns on
rltt wttmg sicft o f 1he fa bric.
sew all dan scams wi1h unusu·
allrsmall , tight stitch es.
• 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 e nd o f 1he bobbin
thread to th e end of the ncccUe
thread with a very tight, square
knot. (2} Pulling on th e needle
thread. tug the knot through the
needle. Rewind the needle thread
o nto the spool. mo\1ng the knot
nnd the bobbin thread up through
t he th reading gttide$ and tension
u ntil the k not reaches the spool.
(3} Beg in 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 n o ends
ro Lie or t.ritn.
To s titch dan pancrns efficie ntly,
fo ld a nd p in 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 panem or dart impro..
visaLion seamed into the rlglll side of
the fa bric, und lpped threads deliber-
ate!)' left to dangle o r feather out
from the ends of sc-.tnlS add their
own kind o f texture over the top of
the d imensionalized ~t nJctu re.
DART BASICS 267
S I 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 fab ric ele-
vates or dips.
(b)
PROCEDURES
L Using~ patttt11 of the fiat shape Fig. 12-2. Guess-and-
tO be dimensionalized, draft a trim dart pattem tor a
pattern that will model the nat square: (a) Cutting the
shape into a thrcc-dimcnsiom~l dart. (b) Dart sides
taped toget11er with the
forn1 ";th one or more singie- darted edge restored to
pomted darts. The ,.;dth at the straightness. (c) The
mouth of the dan and the shap- pattem.
or
ing the dan seam-straight.
cun·cd mward. cun·ed out-
WJrd-affi!Ct the contour of the (C)
StrUClllred fo rm ( f'ig. l2- l).
1\dapt o ne of the foUowing Slash and spread: sropplng Yi•" ( I.Smm) short
methods: Estimate an elevation (or depth) of the opposite edge. (3) Spread
Guess and trim: Cor the darted pattern to achieve. rhc cm until the opening at
fur each dan, fold the pall ern :u
For cuch dart, mark a point on the edge equals the estimated
the chosen dan position. Draw
the 11m pattern where the eleva- elewttlcmlderJt.h. Sc iclc a Strip
tion (or depth) will culminate at of paper behind the gap.
on arbit rary dan stitching line
the end. or apex, of the dan. (4) Using a compass, draft a
and cut on the line. Abut the
Connect the point to the edge of dan as wide as the o pening at
sides of t he cut and tape togeth-
er. Tnm the darted edge to con-
the pattern with a line that indi- the edge and as long as the
fonn to its pre-dan contour.
c•ues che location and length of original dan line (fig. 12-3).
the dan.
Not<: After the darted edge is trim-
met/. I he.· ower mrasull':me:nrs of a. For a s ingle dan: (1) Excend
the dart line dra\vn on the
rhc darttd shape will no longer
pattern straight across to
nwtcl1 dre prr...dan measureme11ts
of lite origilllll pauem ( Fig. 12-2), che opposile edge. ( 2) Cut
the. pattern o n the: lin e,

'' .. .•
•
Fig. 12·3. 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.

• \ Fig. 12-1.
Single-pointed
·. l,
diJrts.

268 Th• Art of Man ipu lating Fabric SIN G LE-POINT ED DA RT

(a) Fig. 12·4. Slash·anci-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).
Note: After the flrw! corr~crions.
(b) r----1
(c)
(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) .
rhc cXh.'l iur Ult'<lsurrmt:n.ts of
iltc p1111ern willm11tcl1the e;ac·
r·ior measurement.'\ of the origi-
twl, but itucrlor mea.~wt;ment
ncmss tl1c tapcd-cogether dan
or dat t$ will increase, and the
dw IS will IX' longer· than origi·
nally plar'"cd.

(a)

(e)

•'

.....·:
·.·'::'

(b)

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}.
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 the darts with a Fig. 12·5. Slasfl-and·spread pattern
com(>nss. making each dan as for two opposite darts: (a) Pattern cvt
wide til the base as the separa- apart anci spread to equal one-half the
tion of the cut. Cut out the cieslreci elavetionlciepth, with the dans
cirafteci on s paper patch. (b) Pattern
dans. ( -1) Abut the sides of the wilh the contours of the darted eciges
dans and tape together. anci dart wiciths correcteci.
Sticking a strip of paper
b<:hind each daned edge.
r.store the edges to their pre·
don contour.;,

Chapter 12 US IN G DART S 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·
cn c oft he panem on paper.
(2) Enlarge the si lhoucuc all
~.round by tltc cunowu of tltc
desiml rle\'arion!depth.
(3) At each com er point. con·
ncct the paLtcrns s ilhouene
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.
270
Fig. 12·6. 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 1he 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 strip of paper set on
edge) . (5) Compare 1hc silhou-
ene measurement with the
enlargetncnt measurement
between 1he 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).
SING LE-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. 12·3).
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 cur\~ng
dome or bowl (f ig. 12-8).
N01e: Parrr.rns de,,cloped wirh 11tc
cutm-gc-and~cq uali.ze 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 vanis hing
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. 12·8. 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
NOTES & VARIATIONS
scam nllownnces of trimmed
dans. ! lent rrc.ss ou a padded Use the g uess-nnd-ll'im method
board; usc a ham , a poim press for adventurous fun with dans.
er. or any other pressing dev•cc W ith o ne guiding principle in
that will >Jd •he shaping or the mind-elcvauo nldepth increases
fabnc form Finger press dam with the amount remo,•ed by the
too small or abrupt for the iron. dans-practice with paper and
4. To finish the edge of a darted gummed tape. Try working spo nta·
neously with the fnb tic 10 create
fom1 , hind or face the edge. li ne
wit h a d uplicate of tb c darted experimental fo rms d imensi.onal-
fab•ic. sew the edge to exten- ized "~th straight and curving
darts. Forego trimming and allow
sions. o r hem before stitchmg
the daru.. To <~nbilize the outer the edges 10 be une,·enly contoured
shape of" darted fonn. sew the by the dans. Exploit the unpre-
edges to a base cut from the dictability of the method: exl'lore
original pattern. • what would haprcn i[ ..
\'\'hen control is nn issue., use the
slash-and-spread o r enlargc-aud-
equalize methods to develop pat·
•ems for three-dtmensional forms.
Chapter 12
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 belwec:n che 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 expansio tt in the m iddle
or the 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' "tio n may be divided
hc1ween two or more dnns sharing
the same edge. When plnnnlng 1l1e
dans fo r 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 in to a smoothly
rounded fo m1 1han a slightlycurv·
lng silhoueu e. Fo•· cxnmple. o val
c;h:lpc.s require mor~ dllrlS at the
s teeply curving ends than at the
~hallow curYes on the side-s.
To understand the enlarge-and-
equalize method beuer, visualize t11e
original pattern shape as Ihe silhou-
ette or shadow of a tlm:e·<limen<ion·
nl form. lmagine the darts elevating
or lowering the area of the pancrn
shape while kecpmg the outer size
and shape, the sUboucuefshado'v.
the same. For that re.<ult, a combina-
tion of th~ec basic principles apptics
to da11 for ma tio n; ( I ) Enlargeme111
equals half the desired elevation/
depth. (2) The amount of fabric
removed by a dart at iLS widest poim
regulates the elevatio n/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 1he original pat·
tem betwe-en those same two points.
USIN G C ART S 271
 1\eitltcr tlte slash-and·SI>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 spr~ad) and
dans that stop at the silhouette
(enlarge and eq ualize) are the most
(tCctrratdy prcditlllblc. Do n\ 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. After each test.
record adj usnnems on the paper
pattern. Seam allowances, Ig no red
when dmfting the darts , :U'c lidded
to final ]>ancrns or included whcr1
cutting rl>e fabric.
If the vamshing points of two
d.~ns on opposite o r adjacent edges
arc conncct~-d. the d.~rts 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, dm·u COtt\'CI'L·
ell to seams solve::; a slitching prob·
lem. Tesr and evnluatc the >CUttlli.nes
crossing ilie structured surface for
their dt.-coralivc dfcct , and tmprove
1dth slighr alterations (Fig. 12-9).
272 T he An o f Man ipu lating Fa bric
Fig. 12·9.
(a) Pattern •vtth
comer darts
connected wirh
seamlines.
{b) Three-piece
pattern with
conrours adjust·
ed to match
when sewing.
After testing, add
(a)
seam allowances
( b)
to the pstrerns.
Surfa ce tlaru. which appear as Projecting darts. pres.-;cd or
tapered folds o n the outside of the unpressed, arc not sri rched dmm at
dimensio nalized fabric. decorate as the base and ex<end o ut from the
well as mndcl the fo rm. The dans s urfucc (clip and turn the scam
1nay be turncciLo Lhc sillt\ or ccn· allowance 'II the base. to the i nsldc
lercd and llnttcncd. 1\t the base, of the da n). Unsuitable for s ul'l'acc
side-felled duns slant upward, unci . darts: Curved-st.-am darts that
if wide, m.1 y continue beyond ilie require d ipping to accommodate
seam allowance unless ilie seam tl1c roundness of the fonn
allowance inside the dart is Tite seams for released dar IS
increased on ilie pattern, an adjust- stop b<fore reaching the •pcx of the
ment recommended for inside as darts. rclc-J;ing folds that compli·
well as ou L~Ide darts ( Fig. 12- 10) . c:ttc the configuratio n of the fllbric.
!
I
--""""'--
(a) (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) Cono·sllapod
pro,ectlng dart hemmed at the base.
SI NG LE-POI NTED DART
 SINGLE-POINTED DART

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.

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 fo•rrn
elu.'3te to :V< • (2cm) (Or pottem A and 2" (Scm) (or p!llrem 8

XJI.,I SI'I/1Ctl<d
""""" /OI'nS
~1010Ut>-
OOCM1S (the
ongrnal rxnrem
snafl6) thor
XJ~1-I'curerns dmJred around srllloueaet ]I, l' (9cm) COIIltOl r/'ltJt
square: Parrem A (slash and'~! ""th da<ts ~'< • contouts ot liW!
(Zcm) wrde Cfl'<l!~S "forrtr I Yr (4cm) hrglr, For Pal edges,
rems 8 0!1d (, srlhotreues Ml<lrJi«l 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).

Chapter 12 USIN G DARTS 273

 XII·S-P11«:~d canstructloo of dart·SWCWred
muslin (om>s For d1C Jar~e l>gh..<Jomed ,, •
(I Ocm) :iC}ur~re. comer dans !NE!r.e convertOO ro
scoms. Thr~e o;maHer squaros wtlb :~.teased
dnrrs \~rC' sMc.hM (rom unrojfe.1cd musfin
XJ/1 Fr<lf.'IC mvshn bCYol 6 • (!Scm) m aiamEwr 4 • (/Clem)
*•P. '"'h I olnwor<l rumng dartS /klttened by ZJR'"8 tops~«:/1/ng
274 Th e A r•t of Monipulating Fabric
X/~6-{le[!) M<JSiin 'Y''"*' WJ!h jllo;o<r•ng 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 end•ng ot 11-.e s·<nooer.e
ourJ<>e. (ngh!) l.or!;1 musf<> Jtnp modCIIfd w•th ~6 do:ts along
.... edge """ 0 rouod. bo.y ~
SINGLE-POINTED DART
o
XJ~8 A=mblt o( I bo.y cells. Each ctlf •s 2 • (Scm) squa'<
surnJur.ded by Sides +• • (2cm) h•gh.A~er '"''"g 1M cor~r ckms,
rhe edges of a~oimng "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
D ART
-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
the dart seam.
P ROCEDURES
Re,;ew "Single-pointed Dan· on
page 268, particularlr the slash-
and-spread procedures.
NOTES & VARIATIONS
T he principle thnt rchllc> the
width of n dan at hs widc~l 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 o pen and move u pwnrd
toward the tips. Because dipping to
the stitching wc-J.kens the seam.
reinforce [be stitching to pre,·em
breaks, particularly when usage
im·olves s train. Double-pointed
dans on the surface of a conMruc-
rion form a bridge between eleva·
lions al the ends.
•
. ,/"
'' I'
' seams contoured to
'•' ''
•• '''
•' ! '·••
\• '••
•• ',
' •
'
• •
\
.
•
\•
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 "~th (0)
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, w here it$ necessary 10
e."< tend the s ides 10 compensate fo r
wbat the dart removes, add hall
the width of the dart to the edges
that parallel the dart scam ((a) in (b)
Fig. 12-12).
For sculptuml purposes, double-
poimed dar~ ~hape the mterior of
the fabric, and singlc-poimed dans
deal with the fullness of the fabric at
Fig. 12·12. (a) Ooubte·point8d dsrtln
the ed ge. 1\vo sinl\le-pointcd darts as a rectangle with sides entargad to
wide as the dnuhlc·pointed dar1 in compensate for Iabrie removed by
the center reduce the measuremenLS the dart. (b) Curving double·poln/Bd
dart drafted between two slashed-
at opposite edges to the measure- and-spread single-pointed darts.
ment across the center of the dou·
ble-pointed dart. To gauge coofomti- U><:d together. single- and dou·
ty ea<il)'. dmh a double-pointed dan ble-potnted dans create involved
in the slashed spread between the thrr:t·dimensional configurauons.
\1'nishing points of single-pointed When 1he darts are varied with
dans ((b) in Fig. 12-12). !ncurvrd and outcurvcd scams
(Fig. 12-11), comouring posslbili·
Lies 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
'•'
I
J •' Fig. 12·11. Double-
like o T, spreading out the Oare at
tl1e end of !he dar1.
I'
' pointed darts with
''
''
ollect the modelling of
the Iabrie form.
''
••
\
',
•
·..
Chapter 12 USING DARTS 275
 Dart pattenrs structure- fahtic
into allover, three-dimensional
de-<igns. The wider the clans, tl>c
greater the dim ensionality 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, conven ing 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)
276 The Art o f Manipulacing Fabric
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 tes1wilh a
square of fabric. Look at both s ides
of the stitched sample; they will be
quite different. Measure the fabric
before and ~fter stitching the darts.
(c)
Fig. 12- 13 . Four stencils used to
trace dart patterns on fa/:lrlc.
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 to~
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.
Unusua l formati ons resu lt
w he n s1ender darts are s titc hed
i nto the fabric at ra ndom. Dart
i mprovisatiOliS arc spontaneous I)'
sculp ted. The length, width, and
di rection of the da rts, the separa-
tion berwec.n the da rts, and
alternati11g between right-side
a,ncl wrong;.side stitching, com-
bine to control and diversify the
relief that develo ps as the dans
accu rnulare.
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.
 XII-I 0-{ie(l) Musl:n srnp worh o ro.v o( ldenl!<ol dans As rhe clopped
dor.s roper our. rhe ever~.,denmg {obnc {oils '"'" so~ folds l•k• a
doubl~ged :vflle. (rrflht) Double-pomred dalu Or> rhe surfat• Mod
by o cenrered seam, and singie-pomted dons <it rhe edge COtrte rhe
fobnc be~Wee~> rhe rows co puff and peak onto sw•rlon~ ndR•s

XJ~9-(rop) Mustm elei'()IOO I 1/;" (4cm) or Mel! encl of a

d<luble.pomred dott Yr (I.Jcm) wid~ Ill dle center, wrrh seam
onOW!Jnce d•IJI>ecf. (bouom) The same darr com/)ned wlrh sin DOUBLE-POINTED DART
gte-poonred clorts or lhe edges sculpts !lle muston omo o poor of
pyrorflJd·lrl<e shapes. Each s~((enec/ mustrn samptc rs s~tched ro
oswy.

XII· I I-Cylinders ofmllslrn wffencd wrrh "'"' 011 llllerfoconR. shaped

WJ(h doub!e-pofnled dartS 1ntemally. and SJng!e·polnted 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
e•amples arc seamed ro sroys.

Xli-13-Mus!on potteme<l Wl!h o domensoonolozed <ie"Rn

(sec (a) '" Fi~. 12; I3 {or the pwem).

Xlf-1 4-Reve~ <ode of photo XII· t 3.

278 T he Art o f M•nipulotlna 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-I <r Re~rse side o( ~horo XI~ I 5 w,rh poaks ""'"ad of hollows
bfw,teen the ups o( rhe darts.

DOUBLE-POINTED DART

XII 17-Mv<lm conf~urtd "'"' o 11t.lco,110n mt1t1~men1 of <forts

n.,
(see (c) ,n Ftg. 12-13 for the pattcm). law Ootnrs o{dte <elief
were «xked to o s~ff•nll<l (oundo~on.

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).

Chapter 12 USING DARTS 279

' -

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

DOUBLE-POINTED DART

280 T h e Ar< of M>n lp ul oting Fabric

 Mixed
Manipulations

p
 here arc two kinds of
T 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.
 13 Combinations
TECHNIQUE
V ARIATIONS

XI!.- I 5.'.10CK£D l1JCKS

ilo<ld IUC4 >mOC.'<ed ...til
honcycoml> s"1ch:ng 11110
cellular {atmu~O<i$ 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 CO MBINAT IONS 283

 XI/I 3 SHIRRED SURFACE CO.~DING (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.

,b_

.I.l'"'
t!:'l.
~
\trnb. .,.

~
XJI~5 SHEllS -(left) Gtad""1ed oval (l<ITU>ms. (r·~hr) Foi<IO<Itn hal{'""'
ga-thered unoJ suatght. gtod~a!Cd shet:s ate lll:)em;d •n .!>t"(1m~. Cftftlt1~cJ mlo
a large ffCN.ter-15:£ dn:Je. and toUcd lii'I!O tftte.e bud like shrJJ)t-~ S~lt!f•') bort~r
(]11 oppltqued band and sruffOO s'lcl.~ border lh<> sample

Xlll-1 GAFH£R£D CORDED TUBING Trgnt- and loose{ll-

vng COS!Mg.S BOthered OVCr C:Ofd) wh,1Te IIJtfllfl_g fight $1de OtiC.
For (amrost a srulfed ball ends " lengtll of smooth. corded
wbmg

284 T ho An o r Mnn lpu l~tlng Fab l'i c TEC HNIQU E VARIATIONS

Xil/6 DeTACHED BAlli -(coun<e~e 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 ba~ 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 tx•ncl.
ga!hers o lc.'l!llh o( ft•b"c

Chapter I 3 CO MB INATIONS 285

 Xl/l-9 GATHERED DART PAT·
TERNS R~..s o( <looble pointed
clarrs. gotJ>e"'d on f!a,1d sr.rching, con-
('llure ll>e robnc W>tll Irregular (okls
beh~el:;'n CfeSCtlll·~ pfq«i.lor'IS

XIIT- 10 GATHERED DART PATTERNS

(wp) Sepott:ted clusters o( (our
gotheJe<J <kitts "' o squared ouun~.
mem w'fth powlted C"nds t.ouc.fwtR
(boacm) r..., samples sta)«i v.>lh
lnrlgs. ready {ct nsettoon

286 The Art of Man ipulating Fabric TECHNIQUE VARIATIONS

 XIII-II DARr GATHERINC- Row
o; gcrhe,e<l r/ooblc-pointed clan<
creates (u~n6S '" rhe re1~ose<t (l>bnx:
cmd 1'iMI-es ~ edge "'Ill SC411op~

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! S~!c/wlg che dort

Chapter 13 COMBINAT IONS 287

CREATIVE COMBINATIONS

XIII I 3 E/e-.«ea form Cll!ISUIJCifd jrom a Clfdc o( moJ1hn tNe<

bot~ podded ~ shaped ,~Iii '"' ~ pootred d<wrs suf(n
'"""""" "'lh ~ a"d rnodrU!e <!'""""'& alld (in.sJ>od ""rh
g<J:hercd popong and o ruffled bale

X/11-14 Ei"""ted fom> creored from n mus .n m:le moci>nf ~uo>rfd

co a batting-padded lll'llfl! With t11fle. Pto.•«MJ. StrJi'e-(:lo•nl.ed dartS;
wirh an """eJope-sry1• «* (.nosh nne! a ball on rap.

XIR- 16 Olg<moc-Jool<ing {omu /ormed • lh ~~ed den; con-

>e:ted""" sean<. SlUffed and p«ed W'fO 0 h i/l.,....i C<JMn.COO(l.

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 ~. ando <luffed no:;: balr on rhe cenlef (shaped wolh
smgl•·pomrcd don.s «>""erted mtc seams).

288 The Art or Manipulating Fabric CREATIVE COMBINATIONS

 XII~ I 7- Broomsuck pltoMg
rocUd (0 0 Sl<ly <Net stuffed {ctm$
of gothcr~ieolru!d oppi<JU"

Xlll-18-fabric: wop< meander-sf!Jrre<l

"'rh 0 gotherot>g (coL~ (0 0
toplbclrtingf'"""!' (oundo6on """ sotf'
stJtCh:ng, whtd1 a:so qwfts l.he raters

Chapter 13 COMBINATIONS 289

 XIII 20 Tr.ree connected rolls w•<h do<Jble·edged ruflles '"
belween. 1/Jpped ""'h em overlay o( •mpt<W•sed pottem tucl<in~

XII/ I 9 Bonds o{d1ogonol lucks otlernaring wilh bonds of oppo~te·

edR• fllllhenng. separated 1>1 rows of in seam p•fllrl~.

X/11.22 Keyhole lucks Wtlh balls at connca.ng potms rcvrol on

~r'lSeri of meander shlt"Mg; or ~ s.ides. k1N massed ruffles bctv.-cen
standing wO:s.

Xl/1.21 (irom me <op) Cabled tuck ·M!h ba''s """"'" •mode opcn«J
(aids. sn 1>-!Mi<d ruff.e, band ofpleolS formed on 1he P,r(cct
Pte<~ret. and o battmg-pa<fded machi:ic-quJu:d cuff.

290 T he Art of Man ipulating Fabric CREATIVE COMBINATI ONS

 Xlll-23 Slum•d bort.'•r ~llhete</ on svrt«<;e<ordod seams; ><Juore o( wafflo
<h•rrmg "' 1/1~ corn~r; with a P:mly stuffed. clewch•d roll ~"'~''"'l'he edRe.

-- --

rm ~ .....t

XJII·2 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 voil~ys. w•lh IIJ<:ked separoWlS.

edged wrlh vochc~ P'P•ng.

Chapter 13 COM BINATIONS 291

 \

XIII 26 Coosvuction of •I" (I Ocm) SQI)(lteS vcnovsty pouemed 1vo1/t pe•.klloles. sw/fed
and h~i«!d 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 T~e Art of Man ipulating Fabric CREATIVE COMBINAT IONS

 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 ~gtl!/y
swffed c:omo<nc<
o(tltldJia!.'>g
tuc.l:s.

X/1130 The
flower'S:. .SE)en
made (rom coiled
double~ ruflle-s
""" 0 rrM~•ecJ.fmllo
ed~ (!()ISh. M> from
ba/! gc~ S!JI70UI)(Jcd
W1lh ,._.w'tfO /W from
Jl"lheted dorls Loose ~
Jeoo.-.s, oxk-pou~ cone.,.,.,.

Xllr3, T/11T)e-

d·rne®0<101 buflc
compoSirlon floral w1th ~~~~~;;;;;~;;~;;$-'
o 'IOr•ety ofmofllpulorecl
rechfllqtJes: Dou~ec/
JU{fles. s•ngle edged ruffle. yo
yos, boll gcrhenng. (urrowillg. puffs.
bolls, loose oppl•que. ond ru<Jcr

Chapter 13 COMB INAT IONS 193

 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: oftflre(s and tactA~ texttJf.es. Elld1 sur(or.e WtJ~ brt•it
ove,. a lO(>IbrJtllnglltnlng (OOndar(on. w1rh rhc StlrchifiR r.hor secures the mrJJll(lUfations incorporml!d rnto lhe qutiiJn~

294 T he An o( Man i pu lating F1brlc: CREAT IVE CO MBI NATIONS

 Appendix
HAND S'fiTCI-LES .................... 295

Q
GLOSSARY ................................298
HAND STITCHES
SELECTED BIB UOGRAP~lY .... 300
Books ..................................300
B ACKSTITCI-1 ~ \.!:
-Strong, versatile hand stitch used ( a)
Article> ................. .................301
where firm sewing is required for
COSTU~I E EXHlBlTlOl\S ....... .303
structural seams, for mending breaks
E:--ID!~OTE ............. ................... 303
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 ( b)
of the thread, 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 the surface: Insert the
needle back Into the fabric Vs"
(3mm) to the right of the emerging
thread. For an eve n backstitch, (c)
make a stitch V.." (6mm) long under-
neath and bring the needle out Vi" Fig. A· t. (a) Even backstitch. (b) Half
(3mm) in front of the emerging backstitch. (c) Securing wfth back-
thread. For all succeeding stitches. stitches.
insert the needle into the needle
hole ending the previous stitch and BASTING
bring it OUt \lo'' (Jmm) in fronL Even - Temporary hand stitching that
backstitching looks like straight holds fabric layers together in the
machine stitching ((a) in Fig.A· I ).The desired alignment until permanent
half backstitch looks like running stitching is In place. Baste from r ight
stitches. Making a stitch Yi'' ( 1.3cm) to left (reverse all directions if left·
long unde•·neath, bring the needle handed). Fo r even basting, make
out V<'' (6mm) In fro nt of the 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 o n the last stitch
((c) in Fig.A·I).

Appendix HAND ST IT CH ES 2~5

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) " )~
----1~ ~/
~-
(b)
Fig. A·2. (B) Even basting.
(b) Uneven basting.
B LINDSTTTCH
- 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 the thread. Insert the needle
Into the foundatio n fabric directly In
front of the emerging thread 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 facings. 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 the fabric. Bring the 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
296 The Art of Manipulating Fabric
a larger backstitch in the fab ric on O VERCAST STITCH
top. Catchstltching looks like her-
- Slanting hand stitch used to pre-
ringbone stitching (Fig.A-3).
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
Fig. A-3. Cetchstltch.
left Ol' left to right. To pYevent rav·
e lfin g. bo·ing the needle out about
L ADDER STITOI Vs'' (3mm) below the cut edge:
-Concealed hand stitch used to move ahead w· (6rnm) for the next
dose stuffing openings left in seams, stitch. wrapping the edge with the
and to attach the folded edges of thread (Fig.A.S) .
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
I
the fold. Moving straight across. take a Fig. A·5. Overcast stitch.
stitch V." (3mm) long inside the
To fell seam a llowances, catch the
opposite fold. After five or six stitches
lining underneath before emerging
in opposite folds, pull the thread taut Y.," (6mm) ahead, and Vs" (3mm)
((a) in Flg.A-4). to \l.o" (6mm) Into the 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
(b) with five or six stitches. Pause to
gather and enclose the fold on tight·
ly pulled thread before continuing.
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 the 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).
HAND STITC HES
OVERHAND STITCH
- Close, firm hand stitch used to
join two folded or finished edges. or
to applique a folded or finished edge
to the fab ric 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 the
knot at the end of the thread inside
a fold, or secure unknotted thread
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 fin-
ished edge to the fab ric underneath,
overhand stitching Is sturdy and visi-
ble (Fig. A-6). . remove the pattern. To mark two
/ Fig. A-8. $/ipstitch.
Fig. A-6. Overhand stitch.
R UNNING 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 forwa rd
moving. evenly spaced, in and out
stitches, penetrating all fab ric 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.
SLIPSTITCH
-Hand stitch used to secure hems
and facings in a manner thac·'s barely
visible inside and outside. Slipstitching
is worked fro m 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 the 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).
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.
TACKJJ~G
- Very closely spaced o•· overlapping
hand stitches. often stabstitched, that
join one element to another at con·
tact points.
Appendix
TATWR TACl<S
- Hand stitching used to transfer
fold line, seamline, and other sewing
notations from patterns to fabric
with markers of thread, a method
recommended for fabric that could
be damaged by other marking sub-
seances. W ith sm-all. sharp scissors,
cut a hole in the patte rn at every
point to be marked on the fab ric. Pin
the pattern to the right side of the
fabric.Working from right to left
(reverse all directions if left-handed)
with extra 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 the center and gendy
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.
HAND ST ITCHES 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 diago nally
across woven Iabrie. The true bias
moves at a 45-degree angle to the
crossgrain and lengchgrain of the
weave. The bias of woven fu bric is
stretchable.
BODKll\'
- Slender, blunted tool with 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 together smoothly by catching a
tiny bit of fullness from the longer
edge into each stitch,
EDGESTITCH
- To machine stitch through alllayeo·s
V.6" ( I.Smm) from a folded edge or
seamline with the Iabrie right side up.
FABRIC-SAFE M ARKER
- Tool, device, or substance used to
indicate seamllnes, fold lines. match
points, positions. and trace o utlines,
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 lin-
co's. (5) Air-erasable and water-
erasable marklng pens with flne-line.
felt-tip points. (6) Colored pencils
especially manufactured lo r usc o n
Iabrie. o r a•·tlst's pencils recommend-
ed as safe lor fobric (e.g.. pencils
made by Berol), with a sharpener co
m~intain 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, fa bo·ic 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 o r the blunted point of a
needle--which requires immediate
stitching belore it fades. {I 0) Lengths
of narrow masking cape.
FACING
- Fabric seamed to a cue edge and
turned to the back in o rder to finish
the edge with a fold. Facings also
function as scays.A decorative
facing is turned to the front.
F INGER P RESS
-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.
F LUTE
-To applique an edge hand-gath-
ered on even running stitches in
such a manner that 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 the fab-
ric is off g rain, 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 turned under
when finishing a floating edge.
I RON
- To use an iron with forward and
backward. gliding movements,
removing wrinkles ~nd smooching
the surfuce of the fabric.
L E 'GTHGRAI
- Direction of the warp yarns o r
threads that parallel the 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 stuffing, and o ut at the
desired point o n the surface. Taking a
tiny stitch several threads-of-the-lab-
ri~ wide, return the needle to the
back. Pull on the thread 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 that 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 that stao·ts 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:·
R UCHE, R UCHING
-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.
S EAM ALLOWANCE
- Space between the cut edge and
the seamline.After sewing two edges
together, scam allowances are
pressed ope~urned in opposite
directions, or closed-turned In the
so.me direction.
SELVEDGES
-Lengthgrain edges of woven Iabrie,
loom-finished to po·event uno·avelllng.
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 fa bric 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 the back of the 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 se~bilizes
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).
Appendix
S TAYSTITCHING
-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 re·shape. 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 fa bric. pinning to
hold if needed. Steam with an il'on
moving slowly over and 3bove the
surface. Allow to cool and do·y
before unpinning. Foo· hanging inst.,l-
lations. adjust the 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<:.
S TRAIGHT OF THE
FABRJC
-lengthgrain of woven Iabrie. which
is indicated on patterns by a long,
double-pointed arrow.
S UFFOLK 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.
GLOSSARY 299
T EMPLATE
- Pattem or guide. Sturdy templates
are cut from cardboard. plastic, or
other substantial material resistant
to the abrasion of repeated u se.
TOPSTITCH
-To sew one or more rows parallel
to an edge or seam on the right s ide
of the fab ric through all layers, using
plain or decorative hand or machine
stitching.
UNDERSTrrCH
- To straight stitch by m achine
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.
W ADDING
-In Great Britain, a word m eaning
batting.
300 The Art of M an ipulating f abric
SELECTED
BIBUOGRAPY
BOOKS
hile researching chis
W
book, I looked through
any volume. with a tit]e
chat seem ed appropriate lO m r sub-
ject nncl conside red it worch chc
'ttrnc if I found one liulc technique,
idea or even u h_in 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:
Mere hur.n ~reS>. 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 A1·t 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 Xudlrwork~
2 \'OIS. ~t\\ York. J\Tf· Dover
Publications. ht<.: urigmal~· published
by A. \V, Cowan. London, 1882..
Ctwe, <Enonc, :1nd tlodgcs.jean.
Sm()(khl~ frmfftftnwr & i\·fodem
Al>fJmnclccs. l.ondun: O.T. ll.11sford l.cd,
1984.
Clnbburn, l,amcl:1. Tt1e Ncedreworbcr~
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, Con~ultant Editor. Secaucus,
NY: Clwlwtll Books Inc. Firs<pub-
lished b)' Quill Publi•hing Limited,
London, 1982.
BIBLIOGRAPH Y
Cunnlngh:tm, Glady~. Singer Sewing
Btx1~. New York, NY· Golden Press.
1969.
Cunnmgton, C. Willett. Eng/ish 1\omcnl
Clothmg tn rhr Ninc'lrcnth Century. ~ew
York. ~1'· 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 Vll·ong Press (A Sllldio
llook) , 1979: P•nguin llooks, 1980.
Durand, L)lnnnc. Smm:lli11g: 74:dmfque,
hojuts m~tl Dt:srgm. N~.:w Yu•·k. NY:
Dover Publlcntiou.lt, Inc., 1979.
Dyer, Ann. Or~l811 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 ~mocking. 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 Mc.~d1int Quilring. 2nd
Edition. Rodnor, PA: Chilton Book
Comp"n)•, 1994.
Fons, Mnrtannc, nnd Porter, Li=.
Quilrn·~ Compli'ft! Gt~ldt. 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,
&\~trly. Fasluon Prucluttron Terms New
York, NY: Fnlrchlld P\lbhcanons, 1979.
Guild, Vern P GtKKI llousckctping Nc'\
Camp/tic Boo~ of Nrcdlecrafr. New York.
NY: Good Jlou..,kccping Books, 19il.
f.l:tight, f!mrst n. Prm:lictll Mtrdt~tiC·...
Quiltingfm· Jhr ltomcmt~ker. 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
~ll-oo-k:-.""N71e-w-:7York, NY: \ 'au No~tta.nd
Reinhold Compan\'. 1980.
HafRrau:. H:~rricl Htf1loom Ma(hine:
Qniltlng. U.fo)'Ctle, CA: C & T
Publishing. 1995.
Huumt, jcssar. ;1nd Cunningh:.un..
Gbdp.. Singt•t Stwfn,'( r!l)()h , Nc'"' York.
NY: Golden Pres>. 1972. E3rlkr cduions
by Gbdrs Cunnlngl~tlm, 1969: and
Mary Drool<>; Picken, 1953. 1949.
 l1, .uul l 0 \ ..:\, l1: , I he 'ltllkttWI(l. r11 ,
1 HI' fl,uhfJo.,'tll: fla<~rh, lllc,;,nl\ ~~tllSIOMI Appllqut
-:.. ' l l lkmon.mn Lll•>·•·ttc CA C &t ttmorc Bordm ARIIC/ I~
(\.,"h.'\k... ' " ' ~ lQQ2 T Pubh<htng, 199}
h.o-. • bulpng ru. call.d
I
\lmm,, Amt ~~~ fo I
rJtrh h J,~hn rn~_\delprcfld c.lf Quthtng ~lttth Fl ~P'"'< lO..r ·ours• !~led with tcarlbtt!.
I)(IJ f.. b"'1hl<'n 8 T R."lbford 1987 tnt, I Mallei)· Pre->,
!rom nugoztnu and lk'Wlpo·
ltJ "-' I he \tngt~ Srwtn~ Rr' flt~t<turrs ol &ormtnll wuh
b.ltl k.m.t J~,,, 1ng !)Wehr~ . .r\ Ghtdt l he hhtol'> ol C '""'«library mtngumg detatls, tuuln tn bomt
.yOc<:o.sc
~ t "' 1f,1n.l (>utlnns llothdl, \\'A 1 h.u lncorpora~td tn too decoraun11 sllu.auons, bot> and
" "~ rl.t<<. Inc. 1992 ~mgcr ldttcntion o!'<l'ahon Wlth the pt~ces about protcs.-and scnbbl..d
ro~h h ~
Minnotonka "N· C ~r\ment. 31 vol•
'""''"t Quu a: and Eosy ·.., YOeCo.se notes. Sources I dtdn't crecllt otlho
1tnlJil, Incorporated, 19&1.
, fur~•' (ot'\'.l1 Neck. '-'Y· llcMd\Stdc ume provtded mlonnation lor this
\;U ·'
l'fc.''' 1\) l lhom, Mnrgaret Smoching In book Matenal popped up wbm
Lin~ ' c1k \\'e,·m\"~Uth . Srnodung and ~p·mbbl•oldcry New York. NY· Drake l~aSI <Xptcted, and where 1 exptct·
u o<ht" Inc.• 1972, ed to ltnd u tn the follo..mg Jlm·
lotlfh{tln~J~.)• htht t( ~ldmJudaflon
11<rkdc<. (. \ 13<''· 1987 Ongonall) 1homp\On, Sue. !Hcon:unc odJcals.
rubh-h«l under the mle Stttchlngfor Drtssma~tng. Emmaus. PA: RodJJe
' " .f 1al-•t• \ lontpulauon for Self Trim Pre.•. 1985.
,,.. \,•rk " l l\·cright Pubhshong Allen, AIKe •1mpr"""'3lbt -
\'tCtO• tan fa.s~lons and Costumes from ltnc: H.,.. to cboo>< h,u,6. .md
l "'l"'uu~n. 11H 8. mxhuv.-n bcm fmbll<s • J1urMo
llarpcr>llalaar 1867-1898. Stella Blum.
\Ur~·'"' .~dele P Th< Enndopcdta of fdnor ~ew York. !\'\' Dover \'ol •16 t'pnlf\by 1988 pp -10-49.
'(totn~ loJrden ( ttY -.;y- Doubleday & Pubhcauons. Inc, 1974. Avtr)', \'u~n,. •Eml>dlnb •ilh
( ~ml""' · Inc 1987. The VogurJButunc~ Stcp·fry·stcp Guldt ScT1p< • i\01Ct1tt111 Qldhcr \01. IL ,...
to Stwlng Ttchniqurs Ednors of Vogue (Wtnter. 1986): pp 21-H
\l,mm, Rochanl and Koda. Harold
lnJ••· ~f'l"'l(l '\r w York. NY: The and Bunerick ~uerns. New York, NY· Brtbnd. :-.ant:)'. and \l'emnch,Jud)
\lctl<•pc>ltt>n Mu<eum of Art, 1993. Stmon &t Schuster, 1989. •f1'> • lnmc Up' Taktng lbt J>rud&cn
out of &sting • Ammcan Qut!ta. \01.
·- - - · HatUe Couturt. New York, Tltt Vogur Sewing Book. Vogue Pauem> XI, •I (Spnng \995)· p. 46
'I' The \l<tropoluan Museum of An, New York. NY: Buuerick Pubhshmg.
C:albW>y, Gr.tct •Haflds<,&-mg Surdlcs.
IQQJ 1975.
Whtch to u.< ,.!Kn and hooo to,....
\1,-veh«, Ltnoo F Tex~urc >+ith '/r.xnles. Waugh, Norah. The Cut of\\'omcn~ thtm • Thmtds \'ol •12 .Allj('S<p<
<.hrr<rpt>n. Lo\ ,.,1f. published by the Clothrs 1600-1930. New York. SY 19871: pp 53-)7.
The:nrc Arts Books. 1968.
authvr. 1991 c.rr. RDbtru ·co.uurt Qutlmtg
\lnbch , Don• Z 5oft Sculp<urc and Women\ hlSUtUit of Domesoc An> &t Gcolltn Bttn< odd. >U1>(1'IIrt .md dec·
Orlt<• )djt Art Forms -.;e>\ York. :-;y Scttnces Dtcorari< t Sntch<s and orat.on to both cby and t\-cu&ag •ear
(ro-. n Pubh,htrs. Inc .. 197'1
Tnmmtngs Scranton. PA. lntcmattonal ,.,th dwmtl '""~ • T\mld5. 'IOl
Edue>liOtUI Pubhslung Company. 1929 •H (.,ur/"<1'< 19921: W Jl.\.3>
\INj;oin. ''""· and Mosteller. Dee IXStgntng and Otcoraung 'Dior R.....-.. .U! • ...,.It
''"~"""'"and ·Other Forms of Rntstd Clothrs Scranton, Pi\ lnttm:tUON.I -o-1hJ-u-tc_cou_turt • TTtrMI>. ''"- • 34
Qutlttn,t: '"' York. ~Y· Charles 1-.du<JuOnal Pubhshmg Compan)', 1929 (Aprl\bl 19911' 1'1' 72·73
'•wbnrr' """'· 1977
Orrssma,ung. Tnmm1ng, Dou~l•' ~"h ·~_.t..~>t& \It«> th<
Ihr .\'c'"' 8tdft rrck Drtssmaku Nt\\ flnf>h~ranton, PA: lntcrMtional Fin Po~ucrn· l-1'-'• h.' ...hapc labn.: Into -•
\ork ' ' rhe Buuertck Pubh,htng Co.. ~duc.ouonol Publtshmg Company. 1930.
.
clotht~ t"'c..tct • T\maob
..-.nh t ht "' - '"
1927 •lb (ll<cl}>n JQ<ll.ll PI' j<\.)S

l't:nn lr\'lug h\t') Mt)ukc .!'t" York

v ·ood Oort'ctt l ht Ent)tlor<dto of
•"""''
\\'orld •
Cchlum(- v: 1• 1NY BooJnt.J
Nt\\ .or~. --~ -
."hl• " n.., ThiJoS--~"
(,r.. ph&l. ')o.. etl) 1 mle. Brown and llOOh I ~80; onj\tnaliy pubi<>h«l b) c,uc<J N<•~•:' ~·~~~~"""'-
t "\1\ll't
\t>l.
(otupdnl li ne) JQSS n\ikhtnr-m,a~t ·-·' n
ChJrl<' xrtbntr\ Sons. 1978 ·~1lf<h'l>rlll:>~\ PI' >+·
R<<td<os IJt~t>t (omplctt Gutdt to
~'".!: l'lt»ant<tllt, -.;y· R~<r> l.)ul!n;. Judith "('ud1 ~':;.!!'
l>•t.<M As,.,. UIIon 1'176, 1'19~ r..IJu>j; •"" 'Ill!<~ '"' ~}
-.uh ~~Nn"" "''"'
ltodgrs \ur II 1ht /Iandi'<><•• of \tuJJrJ ~<"~'"' 1992 PI' •
(/i;Jlll'll '\\. t1f';,l Ktd~r . ( 0 lc·nuu
f l.lk ,.la.t: " ' lu< I 'NO
~~~ lcml ll1r ( omt'lcu IWc,lf C1/
fk}fr,J,._m li 1~" 111 u MA lluuxlatul1
M1fJIIIi f .l•tnp.m)' I 117H
ht II I If ~.til /lllwtiUI III,K \lufhlltX ~~ \\
y,,, ~ N r t l1.u h • ~ r rim• 1\ "Hrtlt, JIJ7·1

)01
IIILIOGIIAI'MY

lnt.."'"• hH' • \"'"PI I'm~ hun ullht·
rlua ''"'}\It h't'hllhl""' fot 1;1du·1 r~11t
,tf\1\'th'll\ .uu.l r.1hm 11\.lUIJ'UbUon •
lll•f•lJ\ \,,] •N (1 C'hl\1.tr._:h 1\Nl)
rr n '~
- - - - - · "\1.\mpul.HIUJ: f .1hm •
-\m(u<u" t..~,.lrn \ttl \ •l ('-pnng
lO!W)· pp 2~· lO.
rlynn, john •o.,,1, .snd (),a,hc'
Qualun~ C'pt·nmcnt' m the ;an o£ 'Up·
phng • Thrrold> \ 'Ql •l~ Uuncl)ul)
tOOl) · pp ~-!>2
Fon' \brunnt -,)mllln)! \bkc .. the
Qu1h Dc'tgn 'lOUr""" wholt·dulh
qurlt" ThuoJd, \'ol •H !1·<1~1.u
11191): pp 5(1-5)
G•ugcl. ll.ub>n Contr \I) ~m•ll
O~<ron .\ Tou<h of luckrn~
Amtnc~m 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. Damari~. '"Drawmg a Lme
Wuh a Scwmg Machine: Fl\'e·motion
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 g~r·
menb wuhout )3UI£acmg ~hapt.­
Threads Vol. c55 (Oct/No• 1994)·
pp 37--11.
Mattfoeld, Elizabeth ·Pr>cucal
Smockrng A fuung approach to fullne\S
on ~rmem d<"l!" and embelh•lunent
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' ~O·~l
102 fh• / \rt of Martlpulotlrtl Iabrie
_ _ ·u•nd <lu•h•nl\
N.,Hhlon ( tln.,I.H14.C. 'Quih llall~
\\'lmh Ont·, rot YtHa?'" 11ufod\
[r<lno,ftrnng the I)C~IJVl to theo Quilt
Top.· Qullur":. 1\'tw)ltHtt Vol •l"SO
\<>1 •>llt.\uW'><r• t995l: pp. 65-67
(Mar 1991): p. 52
,,unl·l'u.·nc \dritnnc ·Embcllishmg _ _ _ _ I land QulltlnJI
\\llh l.thnc Tum\ adapted rrom the:
Prcparauon fot Quthmg • Qtdhtr\
nmtl~;cmh <·..:ntuf)' dtcorate dothmg in
Nt..slmrr Vol •231 (Apr 1991): p. 54
lhl· '" l'l111l"lh Th•t~ads Vol. •SO
(l>nllan 1004): pp. 66-69. Hand Qurlung
~ludfc r. C:l:ure ·clothing Choa>mg a frame. a Hoop. or On<'>
Lap.· Qullttrs ~""sittrtr. \'ol •H2
Connccuon .. Vanauon~ on a s.tam ...
lh•tud.< Vol c22 (Apr/May 1989)· (!<lay 1991): p . S2-S3
rr H-29 ~-=---:--· "lund Quolttng. Ahoot
sh.;mk... Droll.« ·tong Li'\'e Lhe Quohing Sutch." Qllrltrr'>
\Vnnkks! Add ttxture and shape to tht Ncwslcrur Vol •233 Uune 1991):
p. 41
...unplt~l g.tnntnts Wlth JUS.l a twist.'"
Thrtad!. \'ol •58 (Apnl!May 1995):
.,.-----· "Hand Qurhmg Tbe
pp. 58-61 Quilung $<11ch from Stan Lo Fonuh. •
Slurtr. Mane ...A QuiherS Ptc:tu.re Qurlttr1 Ntwsleutr Vol •234 Uuly/Aug
Doctoonary: Hand Quilung." Quilter's 1991): pp. 44-45
.\lrwslerrtr. Vol 227 (Nov 1990):
- - - - - · "lland Quoltrng Tools for
pp. 53-59 Destgning and Draftmg Quohong
--,-- - - · "8.'1Sting Lhe Quilt layers Patterns." Qurlter's Ntwsltrtcr Vol
wtth Running Stitches." Quilrer's =235 (Sept 1991): p. 52.
Ntwslwer. Vol. 268 (Dec 1994):
- - - - - · "lland Quohmg U>ong
pp. 32-33. Traditional and Printed Pautms.·
-,..,--:::---,· "Basting the Quilt L•yers Quilter> Newsltrter. Vol. #236 (Oct
with Pins or Tacks.· Quilter~ 1991): p.60.
Ncwslwcr Vol. #269 (jan/Feb 1995):
::--.,.-.,.,.-·· "Hand Quilting:
p. 39. Designing Your Own Quilting Pattern."
Sacnkicwkz, Elly...Flowers from Quilrers Newsletter. Vol. #237 (Nov
Baltimore Album Quilts: Tucks and 1991): p. 52
gathers u·•nsform ribbon into lifelike
blossoms." Tioreads. Vol. #44 (Dec!Jan - - - - - · "Hand Quohong:
Desigmng Alternate Block and Border
1993): pp. 40-43.
Quilting." Quilter> NewsltUer.
Simms. Atm. "Toward Smaller Quolting Vol. "238 (Dec 1991): pp. 50-51.
Sutches: ln>prove the variables of your
Wagner. Debra. "!Xbm Wagner !Xflnt>
en,•1ronmcnt~ then learn to needle
Machine Quiltmg • tlmtrt(an Quolrcr
anew." Tiueads. Vol. "21 (Feb/Mar
Vol XI, #2 (Summer 1995): pp. 26-32
1989): pp. 63-65.
Wakefield. Lmda ·on Popong The
Smoth. Barbara. "Machine Quilting lips;
Bastes ond Se)·ond • Threads. \bl.IJ50
Usmg Lhe Walkmg Foot.· Quilttr's
(Dec!Jan 1995): pp. 40-43 .
'>: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.
lornqul\t·~mllh, 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?" Qulltrr~
Nrw•lrlln Vol #229 (J,ut/1 rb 1991):
p 4H
BIBliOGRAPHY
( <. 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
..~ntrcc moucrial. ln particular, again
,oml ·•):·"'" th~ striking exhibitions
,11 1 hc-.l~ m~ulutions 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
Ctrt~cr '\:t" York. '\Y
The \lc~ropohtan Museum of An. The
Co-.tumc l(l!)Utute. ~ew York. l\'Y
ENDNOTE
ach ol the san.p~es
E ~raphcd lor this~
Alter pr::~dg" lor the catnerav.as
w or SttaJni
ere Stretched and ng, samples
pmned to a bat txttnsively
1
or arranged an~ :&·padded board,
a neutral back !Splayed against
lor all this pre::~~- ~he purpose
each manipulat d n. To show
advantage for ~-k surface to best
with the light a~d e :;;ran to te\•eal
and-whue photo s h ow of black-
Its apparent on tf:'t~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
o· y pro-
posed • 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 ove~ to
the reader. Now it's your turn. 1d
hke to know what you discover.
here's no such
mvcnt . and crca1e. T .
thing~> the last word about mantp-
ulaung fabnc. on>· 1. that's 11 unnl
JO]
ENDNOTE
 Index

bow·litd wcks. Stc undtr cross·

(r;"f ,,.,. IIANI> STITCHtS. B

P
slitchcd luck>
P•'!tC' lQ5-297. and biOih
GtOS)ARI. pages 298--300. dcl.lchcd, 284(4), 285(6),288 (13,14), box pleat• Srt undrr Oat pleaiS;
for C'pl.mallon' of addtllO!Ial terms proj<Ctmg plcaiS
290(20.21). 293(31)
not rdcrenccd tn thiS Index 8.,herms. 285(7,8), 293(30. 31) broom<uck pltaung. Set undtr
All p.lgc number; appearing m b.,,._ wnnkled plc•ltng
bold l\ pe refer to p.1gcs with pho- balling. 206--7 bubble tuck> Set under cross-l<lcked
togrnph; The numbers m parenthe- cord> for cordmg. 187 luck>
~' ( ) muncdtately follo"~ng the double-btndtng edge finish. 207.
bold page numbers indicate specific
pictures on that page. Subheadings
215(2) c
edge fini;hing for rumes•. 43-'19
marked wuh an asterisk • appear cabled lucks Stt undtr cross-tacked
ex1cndmg 1he lucking fabric,
elsewhere as main headings with luCk>
149-150
support tve references. fabric required for smocking. 125-6 canndgc plcaiS. See under projecting
furrowing*, 9 pleats
A g;uhering methods*, 3-6 cetucred tucks. Ste under standard
accordiOn plea". 111-14 hemming Oa1 & partial pleaiS. 90-91 tucks
deftmuon. Ill JOtmng modular unils, 208-9,
circular Oounce. 67-76
hand-Conned. 111-12. 114(26,27) 227(12,13)
delituuon, 67
mmt-accordton. Ill, 112-13. managmg 1he smocking-pleated edge, double-edged. 72. 75(7), 76(8,9)
114(28), 134(2) 128--29
edge r.n.,.hmg. 71
Set ai'O double-controlled pleatS pre..>mg pleaiS, 89-90 Oared fullness, 67-68. 70. 71,
all-stdes ga~henng, 21-27 >ecunng dart ;cams, 267
73(1.2,3)
dcftmuon. 21 smockmg embrmdery stilches*.
layered, 72. H(5), 76(9)
puff gath<nng, 22, 25(28,30) 127-28
pattern dmfnng, 68
puffs, 21. 24(25,26). 25(27), >labthzmg ga1hcrcd stitching•. 6-9
sptral-cut, 71-72, 75(6)
292(28). 293(31) Sluffing, 229-30
s1abilmn~:. 69-70.71, 73(1,2,3),
ruffied puffs. 21-22. 24(26), 25(27) ""'"fcrrlng dcstgns. 205-6 74(45)
swndard, 21, 24(23,24,25), 27(35) U>ing a 'mocking pleater. 126
1icrcd, 72, 76(10)
s1ar gathering, 22, 25(29,30), 26(31) ~u col>u hand "ilches; gloss'")'
vocabulal'), 67
yo·yos, 23, 26(32,33), 27(34,36), batung, 206--7 ~t·r al"i(l cun·cd Luck'
292(27),293(29,31)
~u a/-.o ball>. rurrowtng
btndmg. f>-7, 45. 70 du,tcr tud'' , .... urula ...eamlt~ tucb
doublr- 207, 215(2)
•pphqut 298 conncncd ron,, 251-'H
hnmg- 214
rlrv•lrd', 242-46 ddanmun . 2-;1
bt'<UII,, 258 61 d<'l.lrhc<l. H~ 253(20.2!). 2<lH1l)
Ouung, 7-11. 19(111). 27(34)
IOI"lrUIIIOII 258-59, 260(27,28), <t>thllli<IIM. 2~ I ,!,l53tJII,!~l.ll),
lwtd.,.,lllthrd, 7 H7 2H
261(29)
m•dunr••IIUhr<l, 12<1, 150 237. 2'15, 2Qll(l0), liii(H)
ddllllllnn, l5H
li!YCJ II) \fc" ''"t• '\U l1\n,• \\"~hl\1\~
)111")/.lldiUJII HI> H7, HH '·""·'II'"' l'i'l, 2hl(l0)
nmhll th\1\ l)k,um~
•,lulfNl', 1 Ill -'II hlind,illthln)l. 7, 217, 1-1·1, No
'n ""''" "tlll~h·•ll'k.llull\
\rr uho •II .,,.1•·• W•lfll'rtttg, yo Y'"· hlhul ltlt k~~t \1'1' wul;•, 'ftnud.mi iUlk'
lurt•IWIIIH

J04 ff1e Art of 11•nlpulallnl ( ~brlt

 rcol uu h II> 'I '"' dnubk •d~!o<d nrllln. ~... ~hoed
:fl flufl lhl ..t.,~ "" 19<1%) :1199
dtJUbk cd~~o<d rullln; plakd dnulk· ....ll ....... of6 ~..,
b<k IM 11>1Ji l 7), l'IO(l!)
~nrllko ......, cdg. -ttl 'J3()1
11 ,~ lt>l1>4, ll>~lll .H H),
JidZ~ Zl>l cloul.k1>01nkd <bn•. 27S-I:IO •..1red cdg. -48 1e(ll)
JntiUdJCd II>! 111~1}) din I*Umo. 276, 278(13.1-H. ed~
279(.,,16,17, 18)
Jkd l)t>lltlU, 77•79, 79( lf , f2, 1}) d<uched roll. 252 l5J00.2Z).
ddlnidon. 27S 29H23J
d ng. I f>f,.. .W} ~. 276,180( 19) double-hi~ 2i'17. 215(.1)
<h fM wrdotoJt. 1117 ....... wllh. 27S. 277(9,10.11 ), ~. 214, 222, 226(10),227(11)
oncnpuon IM 2 78(12)
hmdlctrcbod, 8>-M
nd ..-.n Cffl'<l•d qu1lung•, ISB-9} S« ...., Plhaa elmo, 5Uiglc- ~mnung rut 6t putialpbl.. 91)..ql
hmc_,.n wrbd qu•hmg•, poimaldoru
lrrung-bindlllg.. 2H
ICJi -9!1
dnped applknloas pip!ng and ,.tltrn,:. 201 , 202(14).
r. c e<>rdmg•, 199-.WJ
doublc-conuollcd pltats, 118. 20305.16), 226(10), 2811(13),
ll<hcd ·~ h 171-72 120(}4) 291(25)
r.cd 171, 172(36, }1), 291(2-f) OJIPO'Ik-edge ~ 16, ruffled. 8 . 113. ll.S-29, 20(21),
mmon 171 18(13,14) 34(8),2&1{3)
ulJIIng. 71 172('1-i.l, ,31), shirring. 32, 37(18,.ZO) on nrllks Su edge frnislung for
l'Jl(ll>), 2931 29) •lngk edge gathmng. 10, 13(') ruffla
eked rue h. 1n- H ooft can rldge pla15, 107, 109(23) salln-<ttKhtd. 164, 16~23)

'nu11m 173 .....Is. 2&1{5)

hhlr I 7l 174(31!) E oh!mng. 37(18)
Sec also blndrng
.J,Ird 17: 114(JCI). 290(21) echo quilling. Sa hand quilting
tlevaud appliqut. 242--'16
IV d IU<k•. I(J() ()! 161(11}) . edge finishing lor rurnes (and definition, 242
Su al\fJ c Jr( ul.;,r flou nce flounces), 43-49 ele>':lrcd piecework, 215
uurrrg (,hm ""I"· ~ 200, 207 binding, 45, 76(9)
choosing a finish, H-44
g;u~r·elnared, 242--45, M6CI2,1 3),
289(17)
/) doubled fabric, 4'1, S4(7) gus.et-clev.ucd, 242--45. 246( 14,15).
a.,. U>l> 1!0
double-fold hem, 43, 46, 58(8),
59(1 2), 61(17), 73(3). 74(5),
288(15)
sewing and <lUffing. 2#--'15
de 'tA n piHJII. 2/)/) 79(11)
,.rruhlrpmnrrd d•rr • , 27$-80 embroid«ry stllch,.
facrng, 45, 54(6), 65(25), 298 S<t smockrng tmbrotdery <ucch<>
W'C UfHIJI,. ddt1 'K'.. In\, JA7 Oat hem, 41, 54(6), 60(14), 64(22),
1111~• Jl'•lrotrd d, ,. . 261!-H 76(8), 79{13) English smockmg. 129-37
definmon. 129
dtrrcl t.rmx Jrmg, 138-40 frrnged. ravelled. 4'1, 59(12),
cmbro•denng. 1»-32, 133. 134(3)
drfonrrum I lll 293(30,31)
txperimenul. 133, 137(9.10)
«rr<l>ftudo·rriJJ( I !1!-}9, 1'10(12) frmged, snrpped. 44. 60(13,14,1S),
rntenor, 133. 137( II)
''l><<llrrrror,tf, 139, H 0( 13) 290(21)
mock, 133
''"''""rl I 1'1, 140(Ji) ru..ng, 44
pleaung, lund, 129-30, 132. 133.
hairline tdgmg, 48. ,..(4 .5), 58C9 ),
rl•mlolr,..,rrrulltd plr•l•, I 11!-H 134(1), 13S(5), 136(7).
S9(12), 60(14,15), 64(20),
I """'d I Ill, I 2)(42) 137(10,11)
65(25). 14(4), 79(12) pleating. m<elunrcal , 129, 130.
tf,.fmuum J JH
hand-rolltd htm, 46 134(2,3). 135CMl. 136(8).
fr>o·,J I II!, 122(311,}9 ,40), 123(41),
JeliUCC edge, 49 137(9)
lHW I 7)
Jlmng. 45, 75(7). 298 rtversc:, 133. 135(6). 136(7)
wrrh '''"f><'d frrld,, I Ill, 120(34) ovcrloc:ktd edg<, 49. '9( IO)
Nlllo111rlfr·d l11ld•. I III Stt also >n>ocked tuck>
pinked. 43, H. 53(1), 59CII.I2).
wrrlr ""IHII lo lnlch. Ill!. 6"2}), 6'1(19). 65(24), 73(1,2) exten>ion pleat>. Su 1l.ln>Jl plt.t"
I i <I(IJ Jl,) 1), 120(1'J), exlcn~ion,, Su undtl 't•thih:m~
pJ•Jn CUI. 44
I.L I (11,,17) rolled uvrrlockcd cclgrng, 49 g•ll•cred >UtchmJ.:
Vllllorurrwd (.,Jcl,, JIll, M(l}), •atln-•U~<·htd edging, 47-48. 53(2),
llU( !,), Jll(•l l ) 5'1(4). 75(6)
111
'''''" ''"""'" · I IIi, lll('l))
••II<! rrllrrl .u " " ' "" "· I Ill

Index
 gJltogong.1. 13(4). Su alw projttlln&
dellnltlon, 55
dt~lgn!t, nllovcr and scrolled. 56,
pleatS, canrlds<, butted
1-'.<'11\\1.' Srt un1ltt ,IAbll\:11~ ~.nhcrtd 59(11) g iOSSOlty of t<nns, 298-300
... m..-hu\i:, doublc-.hcll, 56, 60(13) gode\S, 80-86
O..t pltot,, <ll-97 headed. 58, 61(17,18)
defimtion. 81
;)no\~C'mcnh, f'\2, Ot, Ql lAyered. 57, 60(14.15), 6 1(18).
de>enpuon, 80
"'''· Ol, <l2, <l1, <l5(),4) 65(26) handkerchief edge, 83-Sof
dduutH'\0, 01
"''""d. high, 56. 59(10.12), 60(13),
o~nion, 81-83, 84, 85(1,2,3),
d<>ul>l<d <>r trtpl<d, <l4. 9(>(5,7) 293(30,31)
86(o\,5)
~.,.,m,h<d .. <ll. <l), <l5(4), %(5,6) ma»ed. low, 56, 58(9), 290(22)
moek. 84
om·rn<d. <ll, Ql, 0). <l4 96(6,7) puffed. 57. 60(14)
sccunng the ends, 57 graduated tucks.
kolt. '13
knofr. 'II, Ql, Q), 95(1.2.3), 97(8,9). >pread-scam or shirred, 55. 60(14). 5« under standard tucks
2'12(27) 61(17)
It"~'\ C'rtd retcaS(' potnt..
Q2. 93. Q<f, tucked, 57, 60{14) H
95(3). 96(6). 97(8) Sec aIS<> double-pomttd dans
Haight. Ernest B., 219
P<rf«t Plcatrr. 65(26). 94. 97(9), 99. gathered piptng. 288(13), 291(25)
123(41), 2'10(21) half-rounds, 247-50
gathered songle edged ruffies. 49-54 definouon, 247
pl'l'>St'd. 91. 93. 95(2.3). 97(8)
application methods. 50-51. 53(3), construction, 247-49, 250(16,17,18)
tcnnonolog>: <ll 93
54{4,5) raised strippong. 249
top:.totchong. <l4. 97(8)
underlar<. <l-1 cuuong strip>. 49-50
handkerchief edge. 83-84
unpressed. 91. 95(1), 96(5,7) defimtoon, 49
fullness, 49-50, 51. 53(1,2,3) hand quilung, 209-16
Sec aiS<> double controlled pleats,
layered. 52. 54(6) back.<titched, 213, 216(3), 225(7).
pantally seamed tucks, released:
puffed, 52, 54(7) 295
panonl pleat<
securing the ends. 52 basting !he layers together, 210- II ,
noaters, 195. 196. 197(9), 198(10,12) 214
smgle-shell, 52. 54(5)
flounces, 66-79 tiered, 51, 53(3) definiuon, 209
circular•, 67-76 echo, 206, 209, 210, 2 16(3)
gathered tubing, 284( 4)
controlled•. 77-79 envelope edge, 214, 222, 226( 10),
descnptton or. 66 g~thcring, 2-27 227(11)
all-sides•, 21- 27 Oat, 214, 235(6)
Outing. 7-8, 19(18). 27(34), 298
descropuon. 2 methods, 212-13
Flynn, john, 190 rurrowing• . 9, 21 lining·binding. 214
fringtog methods•. 3-6 running-stitched. 211-12, 213,
ra'•elled, 20(21), H, 59(12), 168, opposue edge•, 16-20 215(1,2), 216(3)
170(33), 293(30,31) •Ingle edge•. 10-15 stabstitched, 2 n. 297
>ntpped, H , 60(13,14,15), 167, 168, >tabtlizing•, 6-9 stipple, 209,210, 215(2)
I 70(31 ,32), 290(21) gathenng method>, 3-6 t)•ng, 214, 216(-1)
fulln<s$ au1omauc, 5. 18(15), 33(4), See aIS<> hand-sewn corded qualung;
Oared. 67-08, 70, 71, 73(1,2, 3) 35{9.12), 39{21,22,23), stuffed quilting: trapunto
gathered, 3, 10, 12(1,2), 13(3,-1), 29 -10(24,25.26) hand-sewn corded qmlung. 188-93
ruiRed, -49-50,51 53(1,2,3) channel, 6. 18(12,13), 24(23). defimuon. 188
34(6,7), 37(20) single-fabric cording, 191, l93(-t,5)
furrowmg, 9. 21, 27(35,36), 35(9),
cra»mg seam allowances, 5 stitching and cordmg. 188-90, 191,
123(42), 260(28), 293(29.30,31)
elasuc. 5-6. 35(11) 192(1,2), 193(3)
hand. 3-4, 13(4). 15(11), 19(18),
G 24(23,24 ,25,26). 25(27,28,29,30),
stnng-guided yam cordtng, 190
trnpunto, 191,232, 234(1)
gallotred corded 1ubong. 284(4) 26(31,32,33), 27(34,35.36),
Stt also Ooaters: hand qmlung:
&"•hmd d•n., 286(9,10), 287(11,12), 33(1), 35(9), 37(17)
s1uffed quihins
288( 13), 293(30) muchlne. '1-5, 12( 1,2), 13(3), 33(2),
34(5,6,7,8), 3500), hand slllches, 295-97
&"lht"d dnubl•·•dgd rulnr•, ''· 61
appJJ• """"~• ''· ,8, 'JH(H),
f!O(l4,J,), lii(J6),l'10ClO,ll)
I )6( I ), 14, 1 5.16), 37( 18, 19)
Nt't'urhtg 'lltt'hcs, 5, lO
\o•r ahu 'hlrrllll(, dlilnn~l

I
lOG The An of /~anlpullllns fabt'lr
 tabs, 22.3, 227(11)
J
ntttrUPicd t\l('ks. Su undt'r P.'nlally.. Sec also hand qulltinc. Oat· 0
1
~.1med tuck.~
sewn COrded quU ' !Dac:hin<
quilting; trapuntotlng; 5lUll'ed OJ>I>OSUe.<dso cotlwr~Dc. 16-110
n\·tned pltatS. Sec l.lndtr 03t pleat.<i <~mow. 17, lOU! .21)
1
machme sewn cotdrd eontowrd .....,.._, 17.19(17)
ltJh.Jn s:mockmg. 1'4.._..7 cording •llcr sclu:I.•~IIJ>g. I~ cun-rd, 16. 19(19). lOU I)
contourtd. 1+1. H6. 1-17(19.20) 196(6), 197(8), - 1~. 195.
· 198(10) ddlnition. 16
dcfinauon. l+l cording wltile draped. 16. 18(1),1-4)
shtmd. 144. 14~6. 147(21) 197(9),10~~ 195. 196(7)_ pulfed, 16. 19(19). 20U0.11)
dellninoa. 1~ skewed, 16. 19(16).10(20)
K floaters. 195• 196• 197(9) 198(10 12) SWidard, S!T118bt. 16. 18(12,").
kcvhole tucks SUtgle-fabnc. IWIR--.u.' 195 • 19(16,17,18), 24(14).290(19)
5« under contoured tuek5 198(11) • • 292(26) •
Slngle-labclc. Zlg<ag. 196. 198(12)
"'" pi~!>. 93 p
5« ctlso machine quilting; shining.
~nu< pie><>. Su undu Rat pleatS
dwmd: stulfed quiiiiJ>g: tntpunto partial pleats. 96-102
ladder stnching. 237. 296 m-.d applications definition, 98
double-edged dmdar n 72
drafting pon<rll>. 98
L 76(8) l>UDC<S, • txtcnsoon, 98-99. 100, 100(10),
gathered double~ged ruffles 56 101(11.12). 102(13)
1ndc pillows. 25+-57
58(9), 59(10.12), 60(13).. • SCI•tn, 98. 99. 102(11,15)
definition. 254
290(22), 293(30,31) uo<krlays, 98, Q9, 101(12). 102(13)
dr•Jung pauen\S, 254. 256
ruffled puffs. 22. 25(27) Set also flat pleats. lowm:d ulease
)Otnmg. closed. 255. 2~7(23,26), points
294(32) smp-frioged tucks, 168, 170(32)
JOimng. open. 255. 257(24,25) meander quilting. Stt machine quilting partially seamed tucks. 17">-77
dtl'mition. 175
pcekholes. 256. 257(26), 292(26) meander shirring. Su wulcr pattern tnterrupted, 175,177(13,41)
raised patchwo•k. 256 shirring released, 175. 176(10,41,12)
mini accordion pleating. Ill, ll2-13. pattern shirring. '38-10
M 114(28). 134(2). 118 dc6nition. 38
machine quilting. 217-27 des•gn CJ<amples. 38. 39(21,22.13),
mock smocking, 31, 133
art quilting. 222, 226(8.9). 294(33) 40(24.25)
basung the layers together, 217-18, modular quilting meander, 38,10(26). 289(18).
221 envelope edge finish. 214, 222, 290(22)
dcfimtion. 217 226(10), 227(11)
pauem tucking. 183. 181(50,51 ,52).
envelope edge. 214, 222. 226(10), joining modular edges. 208-9.
290(20)
227(11) 227(12.13)
openwork mini-modules. 222-23, peaks & valley-s. 262~. 264(31.32).
frcc·mollon. hand-guided, 219~-20.
226(10) 291(25)
221. 222. 226(8.9)
li1ight (Fmcst B.) system, 219 pi!:SSed. 223-24, 227(12,13) peekholes. Set under lutle piilov.-s
wuh a hoop. 221- 22 preparation, 213. 221 Perftct Plt.ater Set wll<ltr flat pleats
tabs, 223. 227(11)
•nstallment. 221 pin tudes. St< tlllda "ontb.nltudc.'
Sa also Jude pillows. joirung:
managmg bulk. 22G-21
machme quilting, installment pin<h pleats.
m~nder,218, 226(8,9)
Set under proj«U"'\ pleat:.
modular•, 221. 227(12, 13)
openwork mtm-modules. 222-23. N pipe otgan pleats
needle-Conned pleating. 118. 123(43) Set under projtcltng plt~lS
226(10)
pressed. 223-24. 227(12,13) needle modelling, 235(6), 241(10). 298 pipmg. Stt under surf..« (Ordnlg
presser foot, 218-19. 221. 222.
North American smocking. 141-'13
225(5,6, 7). 226(8,10). 227(11).
definition. 141
288(13, 14). 289(18). 290(21)
experimental, 142, 143(18)
secunng stotching. 220. 222 patterns. 141. H2(15). )43(17.18)
reve.-.ed. 142. 14206)

307
Index
 rtutrd ''"lllt- or donble·td!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 !aye~. 63. M(25,26)
>pread·st"am 63. 6S(2))
ty~ or plea~:\ and .unngtmcn~. 62,
63, 6-1(21,22). 65(23)
ph:.tttr S« ~modang 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 apphCJtlon~
all-sid~ 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).
ZIJUlll), .2,1))(1 I)
zmn.
308 Tit• Art of Manlpularlnl Fabric
ruffics, 52, 54(7), 57. 60(14) gathering foot. 5, 38
hemmer rool. 47
<htrrtng, 31. 36(13.14,15.16)
trim, shirred, 32, 37(17) open-roe embroidery loot, 219, 2)7
Set also furrowing ovcredge foot, 48
pm-ruek loor,ltve·grooved, 154
rurner. 5. 63
Q spring needle, 219
quihmg. 20<1-27 smnght•Stllch foot, 219
batung, 206-i
descnptton. 204
ror tucking. 152-53, 154
twin needle, 154, 195
double-bmdmg edge fimsh, 207. walking foor. 219
215(2)
zig-zag foor. 219
hand'. 209-16
zig-z;~g foot, grooved b..e, 195, 2J7
joan1ng modular unilS. 208-9.
227(12.13) shark's reerh. See under sl:.<htd tucl..
mach me•. 217-27 shell apphcallons
•~•nsferring designs. 205-6 hem fimsh lor ruffies. 46, 5'1(4)
Su aL<o hand·sewn corded quilLing: rufnes. 52. 54(5). 56, 60(13)
mach1ne·SC"wn corded quilting; tucks, 161(20.21). 161-62
Stuffed quilting shells, 284(5)
quilting frame:.. 212, 218
shmed (spread·seam) ruffie, 55,
quilting hoops, 212, 222 60(14). 61(17)
shirred surface cording, 60(14), 28•()).
R 291 (23)
rcleasrd tucks. shirred tucks, 283(2)
Stt under partially-St:.."\me:d LUcks
shirring, 28-40
ruined puffs. 21- 22, 24(26), 25(2 7) automaticall)' gathered, 31, 33(4),
rufncs. 4 2-65 35(9,12)
descnption. 42 channel, 32, 34(6,7), 37(18,20)
edge fimshing for•, 43-49 cross. Su waffle
gathered double-edged', 55-61 definition, 29
g•thered single-edged•. 49-54 descnphon, 28
pita ted single· or double-edged•, draped 32, 37(18,20)
62-65 elastic, 31. 35(11)
pauem•, 38-40
5 plam thread-gathered, 29-31,
sau,..ge:.. Stt undtr btscuits 33(1.2,3,4), 3'1(5), 36(14,16).
37(18,19). 283(2)
S<am allowance finishmg, 69
puffed, 31 36(15,16), 285(6)
seamless rucks. I 7~2 puffed rnm, 32, 37(17)
duster, 178, 179. 180(45,46) shapmg w11h shtmng, 31. 34(8),
dtftntllon, 178 35(9,10)
ued. 178-79, 180(47), 181(48). skewed, 32, 37(19)
292(28) srabihzmg, 30-31. 33(3.4)
ued, mundtnng, 179, 182(49), waffle. 31, 35(12), 36(13,1-+),
292(28) 291(23)
<et·ln pleats Set parual pleats Stt atw ltahan smockmg, <himd;
>ewtng machine, specialized feet shtrred ruffle; shtrrcd surlace
nnd 41CCb~orfes cording; shirred tucks
binder foot, 45 single·edged ruffles. Str g.uhered
I
bobbin''"" with fingt•r hole, 154
for cording, 19,, 199-200
"""''"~ fom, lllgfoot, 219
d11rnlng 'J>rlng, 2 J 9
I single-edged rumes; ple.tted ''II&~
edged rume,
I
 I>«'"<
..til~· ~
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)
, ,vcd. 11. 12, H(7,8). 15(10,11).
1 leather, 128, 131, l 36(7)
19(16)
urr<d. II. 15(9)
Src al<o balls, gaohering; gathered
d:uts
.inglc·poimed 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)
dr•fung 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 and·sprcad panern drafting
controlled Oouncc. 77-78
d•r~.268-69.27 1,272.275
elev:ucd applique. 242-244
g•thering. 10-11. 12, 17
sla<htd tucks, 167-70
definnoon, 167
r>vcllcd-fnnge, 168, 170(33)
shark~ teeth, 167-08. 169(28,29,30)
~nip-fringed. 167, 168. 170(31,32)
smocked tucks, 283(1)
>mock ong. 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
u~ong a ;mocking pleater, 126
smocking embroldtry ... •··
outCuco, 127-28
••bl e, 127, 131. 132 138
HO(l2,13,14) • ' 292(16), 293(30,31)
cable. double. 127
doamond, 127, 131, 132,138
Oowerenes, 128, 131
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, 138• 136( 7)
H 0(13,14) ' terminology, 151, 152
>pool, 128, 131
trellis, 127. 131, 138
Vand)•ke, 128, 131, 132. 138•
140(12,14)
wave. 127, 131. 132. 138
' smockmg pleartr
Sally Stanley, 11 4(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),
1~10). 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
vi~bly 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. 15~5),
291 (24)
cross. 154. 157(10,11)
deOnltlon, 150
Index
designrr, 154, 1S6(9),I59(l?J*)
•
doubl<d·aad<tnetrocl IIICb, ~
152.153. I 56(6)
graduated, 150-~1. 155(f)
gratnlme d<vtanono, 154 , l59(l 6)
Dlock pin, 154, l~H,I5)
pon, 1~0-51. 155(1), 1~13)
random,l54, 157(12)
spaced,I'!0-51, 155(2), 290(19),
291(25)
tapered, 150-51, 152, 15~54
156(7,8), 159(16) •
S.c also conntcted rolls, sbim.d
surface cordong; shirred tucks:
sm.><ktd tucks; ...n..c. cotdiog
Star g>thenng. 5« aii·Sides 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 appllqu~. 236-41
dcOnltton, 236
eased, 238,240(8),298
fr>yed·edge, 238
freezer· paper preparation. 238
onstntng SlUffing. 237- 38
loose, 239, 241(1 I), 293(29,30,31)
~ong 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; onach•ne quolnng;
machtnt·S<Wil cord<d quilting
• S« ol$o os a main hfoding
309
 <tllfft1\l:. 22~
apphq\lt•, HI>--! I
u
bl'-C'\UI\.• • 2S8-()l
under!•)•. 9'1, 98. 99. 101(12), 102(13)
clCY-1flA cu1 opc-n'"&S· 230 undulaung 1udcs
connwtd rolls', 2SI-S3 Set undtt cro,s.-smdttd tucks
dC'"oCnpuon. 228
de.-•ttd •pphqut•. 242-"6 w
h•lf·rount.b •, 247-50
welting. Stt undtr surface cording.
hul< pillow>'. 25+-S7
piping ond welting
p<oks &r valleys•. 262-64
q\lihing• , 230-35 wrinkled pleaclng, 115-17
~luffintt (materials and acuons). hmom<tlck, 11 ~. 116. 11 i(29),
229-30 289(17)
contortion. 115. 116, 1 17(30)
<\lrfAC< CO<<hng, 199-203
defnlition. 115
dtfinlliOn. l99
popmg .md wchong. 200-201. y
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

T
tabs. 221. 227(11)
t~pered 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, 20~. See also
glo>S3ry, fabnc-safe marker
trnpunto, 191,232, 234(1)
tubong. Set under surface cording
Are you interested in
tucked ruffle, 57. 60(14) a quarterly newsletter
tuck.>. 148-84 about creative uses of
contoured•, 163-66
cross·scilched•, 171-72
the sewing machine
CrO>S·UICked•, 173-74 and serger?
curved•, 160-61
descnpuon, 148
e.cendlng che cuclung bbric, 149-50
Write to:
p:anllllly seomed•, 175-77 The Creative Machine
p:acttm cuckcng• 183-84
'tamIus•, 178-82
Newsletter
shell•. 161-62 P.O. Box 2634-B
tlashed•, 167-70 Menlo Park, CA
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,.,. • .,.., k llhacrollora P•ll• *(*,1)-phocog,.pho (picture •• "" tluu I"'&<) • Src also as a n~afn 1\re~dt'\g

lJO The Art of Manlpulaclna Fabric

 About the Author
olctte Wolff says that she

C 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 e~rly 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 Colette Wolff lwts and work> 10
last ten years. her mterests have series of dimensionalized •quilted
Manhattan, 1\tw York Cot)'
converged around exploring the tapestries." The Arr of Manipulating
Fabric 15 the printed result of those
techniques for creating low- and
high-relief sculpted cloth with a continuing studies.

311
SEWING & CRAFTS

I
he poSSibilities for three-dimensional manlpukJtlon of
T fabric-gathering. p leating. 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
·\ 1~ 'The Art of Manlpt.Jiatlng Fai:Jrio, ~olelta 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 o re related. and g ives 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.

' '
o rganized Into brood general C<:~tegorleS. 'then specific
sub-techniques

Y Handsome photo galleries showcase the breathtaking

possibilities In each technique and old visual under-
stohdlng by emphasizing the scul~tured 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 S29.95
Colette Wolff lives dndi works In Nel"' \tprk City, whet~,-(1pr studl9$ ol the Cos}Ume
Institute otthe MetropOlitan MtJseUm q} Art Inspired this book, She Is o well-known S37.50 In Conodo
and highly regorded quilt artist ond do/lmakei whose articles on sewing. quilting ISB N 0-8019·8496 - 3
ond dollmoking ore revered for'fhelr metiCulous. ln<Jepfh research.

ifi i