1,000 Clever Sewing Shortcuts and Tips Top-Rated Favorites From Sewing Fans and Master Teachers (PDFDrive) PDF

1000
,
Clever Sewing
ShortCutS & tipS
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Job:04-18599 Title:CPI-Pattern Review:1000 clever sewing shortcuts&Tips
(Text) (Ray) #175 (P) Dtp:216 Page:1
1000
,
Clever Sewing
ShortCutS
& tipS
Top-Rated Favorites from Sewing
Fans and Master Teachers
Deepika prakash
Foreword by Sandra Betzina
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s&Tips Job:04-18599 Title:CPI-Pattern Review:1000 clever sewing shortcuts&Tips
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Foreword 7 Chapter three
Introduction 8 Design & Pattern Prep 41
Start with inspiration 42
Chapter One
Painless pattern prep 48
Sewing Gear 10
Machines, feet & needles 11
CoNTeNTS Pressing equipment 15

Dress forms 17
Cutting tables & tools 18
Marking & measuring tools 20
Pins & hand sewing needles 22
Useful odds & ends 23
Organization & cleanup aids 24
Chapter FOur
Fabric, Thread & Notions 58

Shopping savvy 59
Fabric chat 62
Thread chat 69
Notions chat 74
Chapter twO
Set Up Your Sewing Room 26

Get your gear in order 27
Keep track of information 29
Organize your fabric 30
Organize your patterns 31 Chapter FIve
Keep thread tidy 34 Layout, Cutting & Marking 81
Keep notions tidy 36 Cut with confidence 82
Marking smarts 87
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Chapter SIx
Fitting 90 Master Classes from

Start with the right size 91 Master Teachers
The big picture on fitting 92 Sarah veblen 37
Your body, your challenge 95 Secrets for Sewing Knits
SuSan Khalje 77
Essentials of Sewing
Chapter eIght Fine Lace
Finishing 140 Kenneth D. KIng 99
Top stitching chat 141 Sew Lamé Fabrics Like
Fastener chat 142 a Pro
Cool finishing touches 147
ShannOn gIFFOrD 150
Label it! 149 Rolled Hem Magic with
a Serger
Chapter Seven
anna Mazur 162
Sewing 105 Elegant Bead Embroidery
Strategies for easier sewing 106
Press as you go 110
Successful seams 111
Who makes mistakes?! 117
Elastic chat 118
Successful waistbands 120 Chapter nIne
Zipper chat 123
embellishments 154
Piping, binding & tube chat 125
Trim it! 155
Successful hems 127
Add embroidery or appliqué! 157
Garment bits & pieces 132
Add texture! 159
Sew for your home too 139
Index 166
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Dedication
To Shannon Gifford, beloved teacher, mentor, and To all my sewing friends around the world:
above all, a Friend. You’ve supported me in this journey and
continue to inspire me each day with your
From FBA to Stitch and Flip Jacket construction to creativity. And to women everywhere: This book
her Beginner 101 sewing classes, Shannon de-mysti- stems from a simple idea I had a number of years
fied the sewing process for everyone. While teaching, ago that evolved into PatternReview.com, and I am
she went above and beyond to help students achieve very passionate about it. I have run this online
the perfect fit. Whether it was a small dart or a sewing community since 2001 and during that time,
princess seam, she never gave up. She always had seen so many of my members afflicted with breast
a solution for every sewing dilemma. cancer. They have inspired me to donate all royalties
from this book to breast cancer research in their
On Monday, April 19th, 2010, we said goodbye to honor. So here’s another reason to feel good about
Shannon for the last time. However, her legacy still your purchase of this collection of sewing tips—you
remains on PatternReview.com, in her teachings, are helping millions of people out there you don’t
her students, and her kindness, which spread far even know.
and beyond. Even in her last days, she was giving —Deepika Prakash
sewing tips. Founder, PatternReview.com
Acknowledgments
The coming together of this book was truly a team be then? The unsung heroes of this story are the vol-
effort under the expert guidance of Carol Spier, my unteers who help out on the site, keeping it fun and
editor, and Deborah Cannarella, who commissioned organized for everyone else. You guys ROCK!
it and with whom I spent weeks brainstorming the I wish to express my gratitude to all the indepen-
concept. I’d like to thank Shannon Gifford, Susan dent fabric and pattern storeowners who pour their
Khalje, Kenneth King, Anna Mazur, and Sarah passion for sewing into their business and provide
Veblen for generously contributing their expertise us with inspiration every day. Also to the pattern
despite their busy schedule. Special thanks go to companies who listen to PatternReview.com mem-
the lovely Sandra Betzina, who wrote the foreword. I bers and design patterns we want so we too can be
also thank, from the bottom of my heart, all the Pat- runway ready!
ternReview.com members whose participation on And last, but not the least, I thank Creative Pub-
the site provided the content. After all, without you, lishing international for helping me to bring this
PatternReview.com would just be me writing reviews wonderful collection of sewing tips to you.
and commenting on them! And how lonely would I —Deepika
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PatternReview.com is something garment sewers
needed for a long time. Maybe we didn’t know we
needed it, but visionary Deepika Prakash did, and
she created this wonderful online service and com-
munity. Finally we have a forum where we can share
the good news about our sewing endeavors as well
as the bad, where we can write about our experience
with a specific pattern and even post photos of the
Fo Re woRD
way it turned out. Deepika has given sewing enthu-
siasts all over the world a way to benefit from each
other’s experience. Who wants to waste time making
a pattern that is just so-so, not to mention spoiling a
beautiful piece of fabric? And how wonderful to see
that that pattern we’ve been yearning to try worked
out beautifully for someone else—now we can happily
make it too. Kudos for PatternReview.com! There are
many good things on PatternReview.com in addition
to the reviews, and among my favorites are the clever
and useful tips so generously posted by many of the
users. I’m excited that Deepika has collected the best
of them here. You will so enjoy and treasure this won-
derful book, which epitomizes the spirit and value of
PatternReview.com.
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Murphy’s laws of sewing
• When you are two inches away from the end of the last
seam in your project, you will run out of bobbin thread.
• You will break your last needle five minutes after the
local fabric store closes.
• Buttonholes on your practice piece will go like a dream.
The first one you do on the real thing will be a mess!
Intr oductIon
You’ve experienced this haven’t you? I have, and so have
many others who continue to share and inspire each other
every day through their wonderful projects and tips posted
on PatternReview.com.
Let’s face it, how many of us have friends and family
members who really understand how exciting it is to make
that first bound buttonhole or perfectly match a plaid? They
don’t understand why it is so important that the inside of
the garment look as nice as the outside. Oh, and how much
fun it is to insert your first zipper—it’s like magic. But they
don’t get it. They can’t; they don’t sew. We do! All 200,000-
plus of us. When you flip the pages of this book, you’ll see
how fun sewing can be when you learn from others like you,
who share their knowledge and discoveries. But before we
get started, and because everyone loves a good story, let me
tell you mine.
the story of Patternreview.com

When I decided I wanted to try my hand at sewing, back
in 2001, I had no idea what I was getting myself into. So I
did what I do when I need help with something: I searched
online for help. I made friends and got advice through
Internet message boards. But it was only after I bought
and returned two sewing machines that I realized I needed
more than that. I needed to do more research, to find out
what works and what doesn’t. After a couple of successful
attempts at making simple elastic-waist skirts, I made a
fitted blouse—not realizing there is a lot more to a pattern
than what is indicated on the envelope. So I started think-
ing: what if there was a Web site where people like me could
share their experiences on specific patterns and sewing
machines? After discussing this with a few friends,
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I decided to put my plan into motion, and a few but make you say “Why didn’t I think of that?” You
weeks later, on November 28, 2001, PatternReview. might even make some new sewing friends—all the
com was born. As the name suggests, the site is members contributing to this book can be found
primarily a place for sewers to review and share online on PatternReview.com.
their experiences with sewing patterns. As the word As you can imagine, categorizing one thousand
spread, I started getting requests to add reviews for tips is not an easy task, but I’ve tried my best to
books, sewing shops, and expos, for fitting help, tips organize them in a useful, accessible way. Since
and techniques, message boards, online classes and sewing is so much more than just pushing fabric
so much more. The Web site today is a true global through a machine, the tips have been arranged in
community of sewers who share a passion: Sewing chapters that cover a number of different aspects of
and Creativity! It’s a place where you’ll find every- our craft, ranging from advice for using and choos-
thing you need to be successful at creating your own ing gear, through organizing your workspace, trac-
fashions, in your own style. ing off patterns, and info about fabric, thread, and
When I travel, members of PatternReview.com notions, to great tips for the sewing process itself—
tell me their story, bits and pieces of which you’ll cutting, fitting, sewing, finishing, and embellishing.
read in this book. They tell me how much their sew- Some tips could have been appropriately placed in
ing has improved since they joined the site, how more than one chapter, so you may find the index
easy it was finding their dream sewing machine really helpful—especially if you’re looking for some-
after reading honest, unbiased reviews from the thing specific and don’t find it right off.
members. They tell me about the friends they’ve Not only does this book have sewing tips
made—and the mistakes they’ve avoided too. If you and techniques contributed by members of
are a PatternReview.com member, this is YOUR PatternReview.com, there are also five special
book. You made this happen! And if you’re unfamil- features created by master teachers who give online
iar with the Web site and wondering whether or not classes on PatternReview.com. These features bring
this book will help you, let me tell you a little bit professional expertise right into your sewing room—
about it. or take you right into the masters’ sewing rooms—
they are the icing on the cake in this book. Each
1,000 sewing tips piece focuses on techniques for which its author is
Hanging out online at PatternReview.com is well known; I know you’ll enjoy seeing their work
fun, but sometimes you just need to curl up in and learning how they do it.
bed with a good book—this book. The tips and Here’s what I recommend: Sit back with a drink
techniques gathered here are unique and come of your choice and enjoy the different voices in this
from sewers with many different skill sets. From book. Not only will you discover things you weren’t
time- and money-saving tips to finding notions even looking for, you’ll find your horizons expanded,
in your kitchen (did you know you could use Glad and besides, it’s more fun this way. And hey, keep a
Press ‘n Seal for making patterns and stabilizing paper towel handy in case you spill the drink when
garments as well as wrapping food?) to making you laugh out loud at some of the tips. Ask me how
foolproof welt pockets, you’ll find a lot of useful I know .
information that will not only help your sewing,
introDuCtion 9
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CHAPtER One
Sewing Gear
“ I talked my husband into agreeing

that we spend our little money on a sewing
machine for me as a “cost saving device”
”
when we bought our first home. Boy, did I
trick him on the “cost saving idea!”
—drsue
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Machines, feet & needles
Your machines do most of the stitching for you, so it’s smart to take good care of
them, master their abilities, and overcome their quirks. We’d all rather sew than
be stymied by threading difficulties!
Take iT alOng uSe iT RighT OR lOSe iT
1 An insulated, soft-side 54-can cooler 2 I love the basting stitch on my 3 I just had my Huskylock 936 serger
is perfect for transporting a sewing Bernina 180. I don’t use that function serviced for a loud squeaking noise.
machine. Look for one with adjustable very often and, when I do, my machine turns out it needed a new bearing in the
shoulder straps, straps on each end in can get stuck in basting mode, which area above the needle, which cost me $79
case you need help lifting, telescoping means a trip to the dealer. the repairman in parts and labor. the tech said it was full
handles, and wheels. these coolers are said that I need to use the stitch, even if of junk because I had never cleaned and
nicely padded, with pockets to hold all it’s just for a few seconds once a week. He oiled it there. (I didn’t even know you
your sewing notions, and, best of all— also told me it sometimes works to run should!) My model has a screw on the left
pretty inexpensive. Check the measure- the machine at full speed for a minute or side so I can remove the cover. He
ments of your machine case before you so when it’s stuck in basting mode. You instructed me to open this area and clean
go shopping. don’t need a needle or even a foot on the and oil every moving part each time I do
—Deborah L machine to do this. the rest of the machine.
—Irene Q —jhansby
Clean OuT The linT wiTh
4 Scrap of stretch velvet. these make 6 Sable paintbrush. During the pro- 9 Silicone basting brush. One of
great wipes for the serger when cess of making nylon tricot panties, those little kitchen synthetic basting
you’re in a hurry and can’t bother with the my presser foot and other parts of the brushes snaps up all those horrible little
vacuum attachments or lint brush. the machine get covered in dust bunnies. threads and snippets that collect on me
nap catches the dust and lint inside the With a small sable paintbrush (the type and my appliqué and embroidery work.
machine. I just toss the scraps in the wash used by watercolor artists), I clean the then I simply vacuum the bits off the
when they get dirty, and they’re ready to foot and all other parts that I can reach. It bristles.
go again. takes only a few seconds, and when the —Pecan
—Jackie M project is finished I clean the shuttle, feed
Stencil brush. I clean my serger
Swiffer dusters. I use them to clean
dogs, and all else. 10 with a painter’s stencil brush. the
5 the mechanical parts of my sewing
—Mary Stiefer
bristles are long enough to get into the
machine. By wrapping one around the end Soft makeup brush. My teacher at a inner workings of the serger and stiff
of a chopstick, I get buildup out of tiny
7 class for new sewing machine users enough to get the job done well.
corners because the lint clings to the cloth showed us how to clean in and around the —SandraB
and leaves no fibers behind. Expanding on bobbin area with a soft makeup brush. the
The machine’s whisk. I know I
this idea, I now “dust” the outside of my soft bristles really pick up the fluff without 11 shouldn’t, but I use thread on
serger to keep debris from collecting. forcing, and the difference in results com-
wooden spools because I have so much
—Joni2 pared to the typical, rather stiff little
from second-hand sources, and it seems a
brushes is amazing!
shame to toss them. the thread is usually
—Mufffet
dusty and the fibers tend to shed, getting
Rubbing alcohol. After a lot of serg- that dread enemy, dust, into my new
8 ing on polar fleece, my serger blades machine. So every time I change the bob-
got coated with a light film of who-knows- bin or make up a new one, I sweep the
what and weren’t cutting as well as before bobbin area with the miniature whisk-
the marathon. A sewing list member sug- broom that came with the machine. While
gested cleaning the blades with a cotton I’m at it, I also clean the throat plate and
swab and alcohol. Magic! feed dogs.
—Patti B —Shinobu
11
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RubbeR padS pRevenT TRavelS
I use a computer mouse pad under- With Ultra-grip liner material Sandpaper keeps my foot control
12 neath my serger. It cuts down the
14 under them, my serger and sewing
15 pedal from slipping away. I traced
vibrations and noise, and it protects my machine foot pedals no longer go travel- the bottom of the pedal onto a piece of
table from the serger’s feet marks. ing. Plus, this stuff can be cut to size and is adhesive sandpaper, cut it out with curved
—katharin so inexpensive. corners, then peeled off the adhesive
—newlywedws backing and stuck it on. thanks to my
When working on heavy fabrics, I
13 put rubber jar grippers under my
woodworker husband.
—SewTwin
serger so it won’t walk off the table. I put
one under each front foot.
—SewTwin
needleS & ThReading
When you sew without thread, snip to check whether the upper or If you feel like a fumble-fingers
16 and remove the thread just as you
17 lower tension on your sewing
18 when replacing a needle in your
would if you were changing thread. Don’t machine needs adjusting, thread the machine, try a dental tool called the inter-
just unthread the needle and start sewing, machine with two different colors. Be sure dental brush (available at most drug
as I did! When I went to thread it again, to use the same brand for each thread. stores). It’s a slender wand with a hole at
thread was wrapped and knotted around —els one end for a tiny brush that fits in gaps
the take-up lever. Ick. between teeth. this hole is just the right
—Barbara R size for a sewing machine needle, but too
small for the needle shaft to drop through.
Just drop the needle into the hole and use
the wand to position it in place.
—kkkkaty
Seam guide SOluTiOnS
My European-made sewing the seam allowance guidelines on the small Post-It pad is a good
19 machine has the seam allowance
20 my machine are measured in centi-
21 seam guide. the pad’s thickness
markings in metric units on the throat meters, so I color-coded the guide in helps you control the fabric, and the sticky
plate. I had been eyeballing the 5/8" and ½" inches using electrical tape from my hus- surface does not leave a gummy residue.
(1.6 and 1.3 cm) seam allowances until I band’s workbench. the tape is about ½" Remove the brown backing from the bot-
found this simple solution. If your (1.3 cm) wide and smooth as vinyl on top. I tom of the pad and stick it on the needle
machine has the capability to move the placed a short strip of red on my machine plate; you can easily re-position it. When
needle to the right or left, move the nee- at 5/8" (1.6 cm), yellow at ½" (1.3 cm), and it eventually loses some of its stickiness,
dle until the distance from the needle to blue at 3/8" (1 cm). As you overlap each just peel off the bottom sheet, and you
one of the lines is the measurement you piece, it’s important to place the edge of have a fresh new adhesive surface.
need. Put the needle down and check the the tape parallel to the edge of the first —Everyday Sewist
measurement. this also works great to get strip to be sure the guideline is perfect.
I find that a rubber band placed on
a ¼" (6 mm) seam without needing a spe- —jbrewer 22 the free arm of my machine creates
cial quilting foot. Just move the needle to
a good seam allowance guideline. the
the right until the distance from needle
raised edge helps guide the fabric, espe-
to the right edge of your presser foot is ¼"
cially if it’s wiggly, and I can adjust the
(6 mm).
band to whatever seam allowance width
—LoriB
I prefer.
—Jennifer shaw
12 patternreview.Com
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five TRiCkS fOR SeRgeR SeTup
I purchased my first serger the to learn which thread does what in I use dental floss threaders to
23 other day. During introductory
25 serging, thread your machine with
26 thread the loopers on my serger.
class, the instructor told us to push the different colors. Most brands come with a they are stiff enough to thread through
pedal way out of the way while threading color-coded threading chart. If you thread the holes and loops, but flexible, and look
so you don’t step on it by mistake and with the coded colors and do some prac- like fishing line with a loop on the end. I
then break something. When working with tice sewing, you’ll easily be able to see just poke the thread through the loop on
my machine at home, I also moved the what each cone is doing. It’s also easier to the threader, then pull it through the nee-
cutter slightly so I could get the needle figure out which particular tension needs dle and looper eyes.
out easily. adjusting. One method to end off serging —MaryLynn in Long Beach
—NanJones is to pull the needle threads out of the
the tiny screw-drivers for eye
to make it easier to remember the
chain and then tie them with the looper 27 glasses are the perfect size for
24 threading order for my serger,
threads. With color coding, you can get
those itsy-bitsy screws on sergers!
used to how the needle threads look in
I put a label next to each spool with a —Christianne
the chain (they are the straight ones). try
permanent marker. I used numbers to list
this for a rolled hem too, and see where it
the order of threading and also indicated
differs from regular serging.
which was the upper looper, lower looper,
—Shazza B
right needle, and left needle.
—BJ1400
an OunCe Of pRevenTiOn baniSh SeweR’S aChe
I’ve broken needles by accidentally When lofty batting gets boggled up I tilt my portable sewing machine
28 hitting the zigzag stitch selector on
29 in the toes of your presser foot,
30 to reduce neck and shoulder
the front of my machine when I was using remove the presser foot. Carefully wrap a fatigue by placing a three-ring, loose-leaf
the straight stitch foot, which has a small piece of transparent tape around the toe office binder (mine is about 2" (5.1 cm)
hole and not a wide slot. to fix this, I cov- area of your presser foot, but don’t cover wide at the spine) under it. the front of
ered the zigzag button with a very small, the area where your needle goes in and the machine sits on the thin part of the
fluorescent adhesive label. I now have a out. this creates an upward curving sort of wedge, and the back is on or near the
visual reminder, and the button also feels ski that will glide nicely over the batting. spine of the binder. It doesn’t slip or move,
totally different. —anetjay and the wedge raises the machine bed at
—Aless an angle, increasing visibility so I don’t
need to crane my neck or hunch over my
work.
—tweedcurtain
Deepika adds: Be sure to use a heavy-
duty binder.
My fold-up sewing machine table is
Narrow zigzag feet: no and yes 31 too low, and a day of sewing
Two PatternReview.com members had very different experiences zigzagging with hunched over the machine would leave
a narrow presser foot—both worth noting. me with some nasty upper back strain.
to get more height, I put two, inch-thick
books under the machine; with a gripper
Rhonda in montreal’s booboo. pocket venus’ ingenuity. Sheer,
32 I thought you could zigzag with
33 slippery, and stretch fabrics may
cloth under them for security, there is no
wobbling or vibration.
any presser foot, so I tried a zigzag stitch need a narrow zigzag stitch with all the
—Joni2
with my new (expensive) teflon foot. control of a straight-stitch foot. I bought
Guess what!? I drilled a hole right into a spare straight-stitch foot for my
the side of it! the foot is pierced, but it machine and a round file that fits the
still works fine. hole of the foot, and filed the hole 1 mm
wider. When I want to sew a narrow zig-
zag, I test the stitch width beforehand
by turning the hand wheel and making
sure that the needle goes cleanly into
the hole.
Sewing gear 13
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PUTTing ThoSe SPecial feeT To work
Edge-joining extras
To use a blind-hem foot as a guide I finally learned how to use the
34 for topstitching, move the needle
37 binding foot that came with my
Jbsew offers two favorite ways
to use an edge-joining foot.
position where you want the topstitching machine. 1) Trim the allowance on the
to be, and sew. The bar in the middle of the piece to be bound, fold the seam binding
Stitch-in-the ditch. I place
foot fits nicely in the seam if you are top- over the raw edge, and then push it 39 the blade of the foot, which is
stitching near the seam. For edge stitching, through the slot on the side of the foot. 2)
directly in front of the needle, on the
put the bar next to the garment edge. With the fabric in the foot, slide it forward
seam I am sewing in the ditch. I
—Meggie LuLu and back until the seam binding settles
slightly pull the fabric apart so the
into the little channels in the foot. Lower
A narrow hemming foot that has a blade tracks on the seam. The needle
35 wide slot to accommodate a zigzag
the presser foot and take a couple of
follows behind to sew a perfectly invis-
stitches. 3) With the needle down, adjust
stitch may be used to apply 2 mm- to 6 ible stitch-in-the ditch.
the setscrew on the side so that the open-
mm-thick cording. Elastic cording can be
Topstitch. With the blade at
stretched and helped into the foot, but
ing is just large enough for fabric and 40 the edge of a pocket, I set the
binding to fit through. This helps the bind-
only if you can manipulate the elastic and
ing fold over the edge of the fabric as you needle either to the left or to the right
control the fabric at the same time.
guide it with your fingers. of center and edge-stitch a scant 1/8" (3
—newlywedws
—Nancywin mm). When edge/top stitching a seam
The Hump Jumper is an invaluable allowance, the blade runs in the seam;
36 tool when altering jeans. I slip it 38 I had been looking high and low for
by positioning the needle I can choose
a piping foot and a narrow hem
under the presser foot when ready to how close to stitch. Give it a try.
foot for my Kenmore, which uses low-
stitch over the super thick parts of cuffs,
shank presser feet. My old White machine
the crotch, and back part of the pants.
with snap-on hemmer and piping feet has
—Jennifer.Huber
a foot adapter (the piece that the snap-on
foot is attached to), so I screwed it onto
my Kenmore. It fits!
—SexiSadi
The cover STiTch advanTage UniverSal needleS

are noT UniverSally beST
If you are a new owner of a cover I bought a cover stitch machine for
41 stitch machine, you’re probably
42 the look of its stitch; I had no clue For really straight stitches, use a
caught up in the excitement of using bind- that it would make my sewing MUCH
43 sharp or topstitch point needle.
ers. There are two types, A and B, and quicker. Combined with large Kai scissors The universal point needle will allow the
here’s how to remember which is which. that speed cutting out, I’m making clothes fibers to slide to the left or right of the
The A binder has a double fold on top of faster than I ever did before. The machine needle point, making the stitches ever so
the fabric and no fold on the bottom. B is also simple to thread. minutely off center. Test this by doing a
has a double fold on top and a double fold —ryansmum straight row of stitches with the universal
on the bottom. In other words, the B point next to a row with the sharp or top-
binder produces sort of a B look (rounded stitch point needle. The sharper needle
top and rounded bottom). pierces the fabric exactly in front of the
—JEF needle, forcing the fibers to either side. A
universal point needle is made for all
kinds of fabrics and chooses the path of
least resistance.
—Janie Viers
14 Patternreview.com
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Pressing equipment iS yOuR iROn On OR Off?
Good pressing is as important as sewing straight seams, so keep your iron in to remind me that the iron is on, I
44 plugged it and a small desk lamp
topnotch condition, say goodbye to gummed up soleplates and scorched fabric
into a power strip and turned the light
and fingers, and be as clever as the PatternReview.com members in supporting
ON. Now, when I see that the light is on I
your work while you press it. know the iron is on also.
—KathySews
hOuSehOld hinTS fOR a Clean SOleplaTe
If your iron has gunk on the sole- My Rowenta Professional iron had When I get gunk on my iron, I run
45 plate, let it cool, then scrub it
46 sticky, melted-on gunk on the sole-
47 the hot iron over a fabric softener
lightly with a soft cloth (I use a microfiber plate from the fusing web I was using. I sheet, and all that glue comes off.
cloth) and damp baking soda. Neither the sprayed Dawn Power Dissolver (available —SueV
cloth nor the baking soda will scratch the in supermarkets) on the soleplate, let it sit
soleplate. Another suggestion I’ve never about ten minutes, and wiped it clean
tried is warm vinegar and salt. with a Handi Wipe. No scrubbing at all. I
—Debbie Lancaster ran a half-tank of water through the steam
tank to be sure none of the foam had got-
ten inside the iron through the holes.
—mommietothree0
nO-Spill filling SCORCh RemOveR
A gravy separator, the kind with Use a sports-water bottle for a I removed the rust stain and a big
48 the long spout that pours broth
50 no-drip method of filling a steam
51 scorch mark from the white shirt I
from the bottom of the cup below the fat, iron’s reservoir—you can direct the stream was making by soaking it about 20 min-
is perfect for filling the steam iron without of water accurately into the small open- utes in a gallon of warm water and one
spilling. ing. Depending on the size of the bottle, it scoop of OxiClean.
—Debbie Lancaster will hold several refills and won’t spill if —cindy-lou
accidentally tipped.
Use a small houseplant watering
49 can to fill your iron—easy!
—Lizz
—Deepika
ThingS ThaT make fuSing eaSieR
Using a teflon pressing sheet on Much of the appliqué work and It’s much simpler to apply Steam-A
52 fusibles keeps the mess off the
53 crafts that I do require spray or
54 Seam fusible web with a mini iron.
bottom of the iron. the fusible glue goes iron-on adhesive. My new best friend is the fusible comes off best while still
against the sheet of plastic instead of the Reynolds Wrap non-stick aluminum foil. warm, and giving it another pass with a
iron and, after it cools, any little blobs I place it on my ironing surface with the mini is easier than using the big iron.
can be peeled off the sheet. I have even silicone side, which is embossed with —ryansmum
laundered it; with a quick press it’s back to “Release Non-Stick Side,” facing up—it
My mom taught me to use a moist-
normal. offers total protection. Stray adhesive bits 55 ened paper towel as a pressing
—anetjay get on the Release foil, not on the ironing
cloth for fusing interfacing. Squeeze out
surface, and I just peel them off. the foil is
all excess water from the towel, and re-
reusable—just wash it off. Use a lower
moisten it as you fuse.
setting on the iron until you see how
—Jennifer shaw
the temperature changes with the foil
underneath.
—ohsewnutty
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SOOThe buRnS, OR beTTeR STill, pRevenT Them
Recently, I grabbed my hot iron in No more burnt finger tips for me! I Wear an oven glove designed to
56 the wrong way and got a second-
57 use a Cool Finger, made of heat-
58 resist higher temperatures to pro-
degree burn on my finger. I treated it with resistant fabric, on my pointer finger as I tect your fingers when pressing open
lavender essential oil (Lavandula angusti- press along the narrow edge of a fabric or small seams in difficult places, such as the
folia). the pain was relieved immediately, press open seam allowances. curved seam between the outer and inner
and I could go back to sewing. If you want —anetjay brim in a sewn hat. this is easier than
to keep some on hand, be sure to get arranging the seam over a pressing ham or
Lavandula angustifolia essential oil as seam roll.
there are other kinds of lavender oils. —petro
—CSM--Carla
invenTive iROning bOaRdS
My sewing area is not huge, so I Accurate pinning and pressing of a My ironing board cover is easy to
59 devised a more efficient ironing
61 hem is an important finishing step
62 put on and take off, and is rock
area. I bought two heavy-duty, rolling and sometimes I need more work surface solid on my board. I made the cover from
plastic storage units with pull-out drawers than my ironing board provides. So I made a wool fabric and cotton to cover it, both
and, after removing the rolling feet, a pin-able, portable pressing board: I cut cut to size plus several inches to wrap
placed the units side-by-side with my two 2' 3 2' (0.63 m 3 0.63 m) squares from over the edge of the board. I serged the
folded ironing board on top. this extra the sides of a heavy cardboard box, and edge of the cotton and added buttons
storage is a real bonus. the pattern mas- used a temporary adhesive spray to attach about five inches apart all around. to affix
ter binder and rolls of tracing paper fit a 2' 3 2' (0.63 m 3 0.63 m) piece of batting the cover, I connected the buttons with
between the units. My patterns in Ziploc to one of them. I stacked the two pieces buttonhole elastic in a zigzag underneath
bags fit the drawers perfectly, and each with the batting on top. I then cut two the board.
drawer front is labeled with the numerical pieces of muslin about 27" 3 27" (68.6 3 —Orsi
sequence. 68.6 cm) and layered them on a table. I
the best money I ever spent was
—ConnieBJ
placed the cardboard, batting side down, 63 for a 1/3-yard (0.32 m) piece of 60"
on the muslin and wrapped the muslin
(152.4 cm)-wide wool batting to back my
After my experience with having over the cardboard, securing it with sta-
60 green dye in a pretty ironing board ples. I covered the staples and the muslin
ironing board cover. It reduces my need
for a pressing cloth, and shirt buttons sink
cover transfer to a white shirt, I feel that a edges with sealing tape. I set this pressing
into it when I iron them from the back. I
plain, white or muslin-color cover is the board on my cutting table with a vinyl
don’t have the burning or boiling prob-
best choice. chair mat underneath as a waterproof
lems from high-heat ironing, and the wool
—Stilltheone barrier.
seems to make the fabric recover faster
—patsijean
when I’m pressing easily stretched items.
—SJ Kurtz
TemplaTeS: lOve Them, make Them, STORe Them
Pocket curve templates are not Make yourself a quick set of press- I designed a hanging bag to store
64 only good for pressing curves in
66 ing guides from manila folders. Cut
67 my pressing templates made from
pockets—you can also use them for trac- a folder on the center crease and, starting manila folders. First, in each of several
ing and for pressing other types of curves. from the cut edge, make strips with the large, lunch-size, Ziploc plastic bags, I
I’ve used them for pocket flaps and for rotary cutter at common pressing widths: made about five channels to fit the differ-
cuffs with curved edges, but my favorite is ½", 5/8", ¾", 1" (1.3, 1.6, 1.9, 2.5 cm), etc. ent template sizes, sewing from below the
for pressing that little curve in the collar Label each strip width. I also make press- zip section at the top to bottom of the
stand. ing guides that are more specific to a cer- bag. I use one color manila folder for met-
—Irene Q tain project and label them with the ric templates and a different color for
width, pattern number, and name. Manila imperial, and use different bags to store
I cut hem-pressing templates from
65 poster board, making them about a
colors don’t bleed with the heat of the each. I clip the tops of the bags together
iron or get hot like metal pressing guides with a plastic binder clip that has a hang-
foot long and the desired width. When-
do. ing hole, and mount the collection on my
ever I make one, I punch a hole in the end
—jbsew display board on a cup hook. they are
and add it to a ring with others. Don’t use
visible at all times, yet neatly stored.
colored poster board—the dye may trans-
—Aless
fer to your fabric.
—nanflan
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Seam ROllS: make yOuR ChOiCe
For pressing long seams like trou- A tightly rolled, thick newspaper Cardboard tubes from gift wrap-
68 sers I made a long clapper/pressing
71 can serve as a pressing roll. Cover
74 ping paper are the perfect free tool
tool from a piece of steamed beech wood it with cotton fabric, sewn together on the for pressing long seams. Slit several other
33" 3 4" (83.8 3 10.2 cm) and 1" (2.5 cm) long side, then cover the roll with a single tubes and slip them inside the original for
thick. Beech is needed for a pressing sup- layer of wool fabric. Sew this together on more stiffness. A bathroom tissue tube,
port because it doesn’t warp when you the long side and across both ends. My with three others inside it, does smaller
apply steam and heat. pressing roll is about 12" (30.5 cm) long jobs. I’ve collected various sizes, including
—els and has a diameter of 5" (12.7 cm). some very long tubes that aid in pressing
—els pant and curtain seams. All free.
I couldn’t figure out how to get
69 into a tight pant leg to press open Use the handle of a wooden spoon
—patsijean
the second seam. Finally, I rolled up a stiff
72 to press open small seams. A Deepika adds: Another way to stiffen
magazine, wrapped it in a fluffy dish skewer or wooden chopstick helps press cardboard tubes is to fill them with bat-
towel, pinned the towel snugly, and open a small dart. ting or fabric scraps.
slipped it into the leg. —els
When pressing or ironing trousers,
—Ann B
Instead of a pressing ham, I use a
75 the pocket pieces, especially at the
to keep seam allowances from
73 roll of paper towels to shape front, are hard to manage and threaten to
70 showing when pressing open long rounds when ironing and when pinning; it mark through. I made some thin, lightly
seams, use a tightly rolled-up towel. tie helps ease in my cap sleeves beautifully. It padded boards to place between the
the ends with some fabric scraps, and also helps keep the shape with pinning pocket and the top section, or to slide
you’ve got a seam roll. Another good seam neck and arm facings. Plus, I can flatten it under the zip guard where the edges tend
pressing support is a long dowel, cut or slightly when necessary. to mark.
sanded down to keep one side flat. For —ladybirdlove —petro
low-plush fabrics like cotton velveteen
and crushed velvet, a really thick towel
prevents the nap from flattening out—just
don’t press too hard.
—Dale C
Dress forms
A dress form is an invaluable aid for fitting patterns and garments-in-progress. Here are some hints for getting one
in your size.
dummieS: CuSTOm & COlleCTible
For those of us who enjoy sewing I did a Google search on making a I have more dress forms than I
76 but have a difficult time tailoring
77 Duct tape Dummy and found a few
78 want to admit. Wolf ones. I con-
for ourselves and just cannot afford $200 useful links with instructions. My dear stantly gain and lose weight in a 20-pound
for a dress double, I have a cheap trick. husband spent about an hour wrapping range, so I dread measuring and fitting. I
Put on an old t-shirt that fits you snugly, me in two layers of heavy-duty duct tape. realized that I can just pin-fit using the
and have someone wrap you in duct tape, Word of warning: take care of all bath- dress form closest in size to me. I mark the
enough to cover the shirt entirely. Cut a room issues before cocooning yourself in pattern where it needs adjusting, smooth
seam in the back to remove the t-shirt, duct tape! When he finished wrapping me, out the lines, and end up with a near per-
and retape. Stuff the shirt with polyfill he very carefully cut it open up the back fect fit. For Halloween I put costumes on
and, voilà, an instant dress double. I put so I could step out. I closed it back up by my dress forms, and on birthdays they
mine on a dowel rod, and my husband lacing it using crochet thread and a heavy- wear clown suits.
nailed a stand for it. I couldn’t ask for a duty curved needle. —ryansmum
better proportioned dummy. —SandraB
—FauxZenaChick
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Cutting tables & tools CuTTing Table impROv
My sister-in-law (who is 6' [1.85 m] I made a great cutting table at the

Anyone who’s really into sewing will 79 tall) needed a high cutting surface
80 perfect height—for under $10. I
tell you the floor is not the best place
when we were cutting out six bridesmaid bought a buffet at a yard sale and an unfin-
for cutting out a project. Here are some ished, 36" (91.4 cm)-wide door at our local
dresses and two flower girl dresses. Her
smart ideas for making elevated and husband placed a set of bi-fold closet home improvement store, and painted
easy-to-stow cutting tables, recom- doors on two pairs of tall sawhorses and, them. the door is attached to the buffet
mendations for surfaces to top them, presto, a temporary cutting table. We put top with stick-on Velcro, in case I’ll want
my folding cardboard cutting boards on to use the buffet for another purpose. the
and tips for getting the most from your
top to keep the surface pristine. drawers are perfect for cutting tools,
cutting gear—including your seam rip- —Janie Viers marking materials, tape measures, rulers,
per. and such.
—Roxie5166
RippeR pOinTeRS
I had been using the same seam Sometimes the point of a seam We expect those hard-used seam
81 ripper for years when, on a whim, I
82 ripper is too sharp and might cut or
83 rippers to last for years or until we
bought a new one with a slightly larger slice the fabric. In my craft supplies I have lose them. But their blades get dull, and
handle. Wow! the new sharp blade made several embossing styluses, which can many of us are sewing with tough polyes-
an amazing difference compared with the grab threads in seams without danger of ter thread. Although seam ripping is never
old one, which was obviously blunt. I cutting the fabric. they have slender going to be a fun thing, we can give our-
know to change needles and sharpen scis- metal ends (double pointed), each end selves a break by replacing our rippers
sors, but for some reason it never with a ball tip. I slide the ball under the occasionally.
occurred to me to change my seam ripper. thread, and the thread can be lifted or —beginagain
—Allie in Hong Kong loosened without sliding off the tool.
—kkkkaty
The Ironing Board

OuR favORiTe paTTeRn weighTS Make-Do
Several PatternReview.com
nice rocks. they add decorative hockey pucks. they’re heavy, members suggest using iron-
84 touches to my sewing room and
86 smooth, semi-flat, round disks and ing boards as a base for a cutting table.
are free. Look along river banks and shore- make the BESt pattern weights. My chil- Here’s the drill:
lines for smooth, flat stones in a variety of dren would bring home stray ones they
sizes and shapes. found near our community hockey rink, marylynn in long beach’s
—Dale C and once the pucks were in my hands they
88 system. I’m old and cranky,
never saw the rink again, just many yards with a bad back, so I craved a nice big
utility hooks. I hate pinning down
85 pattern pieces and then having to
of fabric. cutting table. two problems stood in
—Busy Mom the way: too little money and too little
unpin them for repositioning or marking.
space. My solution: two ironing boards
Instead, I hold my pattern pieces in place Ceramic tiles. I do my cutting in
with large plastic-coated metal utility
87 the kitchen and always used food
and a piece of 3/8" (1 cm)-thick plywood
cut to exactly fit under my cardboard
hooks from the hardware store. Some- cans as pattern weights. But the cans had
cutting pad. the table is the right
times called bike hooks or ladder hooks, to be put back into the cabinet, and the
height, but adjustable, and I can get
they are about 6" (15.2 cm) long and come table looked as if I was both cooking and
around it on all four sides. the cost
with curved or squared ends. the PVC sewing—organza here, can of olives there.
was less than $25, and the ironing
coating keeps them from snagging or mar- I switched to a set of ceramic subway tiles
boards and plywood fit behind doors.
ring patterns and fabric. Curved ones fit (3" 3 6" [7.6 3 15.2 cm] rectangles), which
nicely into curved pattern pieces and weigh about four ounces and stack neatly. Sandrab adds: My sewing
square ones form almost a right angle, they fit on narrow sleeve pieces and,
89 room is really tiny, with no
making cutting corners and curves a little when I need more weight, I layer them. A space for a cutting table. However, I
easier. I still have to pin when cutting with tidy stack of them now waits on top of the make a temporary, portable table by
scissors, but the hooks work fine with a microwave. placing two ironing boards beside each
rotary cutter. —utz other, the pointed end of one behind
—patitude the square end of the other, and set-
ting my large cutting mat on top.
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ROTaRy CuTTeRS: ShaRp & Safe gOOd CuTTing SuRfaCeS
I am always leery about changing I have been using rotary cutters for the most important accessory for
90 rotary blades because those things
92 a couple of years and had pur-
94 rotary cutting is a good cutting
are sharp, and you can really cut yourself. chased sharpening kits to prolong the life mat, but most are small or, if large, expen-
So I use a piece of masking tape to remove of the blades. My hand and wrist still got sive. Instead, I use a smooth-bottom, vinyl
the old blade from the cutter and to pick shooting pains after cutting lots of fleece. chair mat available at office supply stores.
up the new blade. then I put in new blades, and the fleece the smooth surface is great for moving
—Mary Stiefer cut like butter. I realized that the blades I the shears along. I put an old cardboard
had sharpened were not nearly as sharp as cutting mat under it and use the inch
today I was cutting out a pattern
91 and needed to mark my forward
a new one. So, long story short: new marks to line up fabrics but not for accu-
blades save on pain and speed up your rate measurement. Many office mats have
shoulder adjustment. As I grabbed my
rotary cutting. a chair lip at one end that can be removed
pencil to mark the line, I noticed my
—Restart06 with a circular saw: sand the edges and
rotary cutter and decided to cut the line
you have a second, small mat. I’ve been
instead. It suddenly occurred to me that I to protect my fine Queen Anne
could cut all my pattern tissue with a
93 mahogany table when I’m cutting
using my cutting mat for at least fifteen
years, and probably will use it for at least
rotary cutter. Duh! It’s faster than using fabrics, I cover it with a cheap vinyl/flan-
fifteen more.
scissors, and it navigates sharp turns eas- nel tablecloth and two full-size pieces of
—patsijean
ily. You won’t want to use your “good” rigid foam core from the art supply store.
rotary cutting blade for this, because cut- the foam boards are very light and easy to
ting paper tends to dull blades faster than stow away.
cutting fabric. —jadamo00
—MelissaB in WA
Snip TipS RaiSe iT TO Save yOuR baCk
I needed a way to hold my craft An electric carving knife is the I was at band camp, cutting out
95 scissors closed, so they wouldn’t
97 BESt tool there is to cut foam.
99 sixteen dresses for the color guard.
damage things in the tote, and for safety. Many of us have one lurking somewhere, the table was a great size but regular
I sewed the ends of a squib of elastic and they can often be found really cheap height, and my back was killing me. I men-
together, reinforced them with reversed at tag sales. I learned this tip from an tioned that I missed my own cutting table
stitching, and voilà!—an elastic loop that upholsterer many years ago, and I still because it was higher, so one of the men
holds the scissors closed, but stretches bless his name. put patio bricks under each table leg. It
enough for a quick snip. —MaryLynn in Long Beach was now the perfect height, and I carried
—Elphaba those bricks back and forth to camp for
When I was making a duct tape
My tiny sewing scissors were
98 dress form, the scissors got quite
three years. Best six dollars I ever spent.
96 always on the move until a sewing sticky. I took them apart, put sewing
—svetlana
neighbor at a quilting retreat gave me her machine oil on them and, to my surprise, 100 Here’s a cheap and easy way to
retractable lanyard (sometimes called a the gummy stuff wiped off with a cloth! raise your worktable: Buy PVC
zinger). the scissors are attached to the —Orsi pipe in the diameter that fits your table
end of the lanyard, and the other end is legs snugly and long enough to make four
pinned to my shirt. the scissors can risers of the desired height, plus four PVC
extend about 18" (45.7 cm) on the reel and slip-on caps of the same diameter. On bare
will retract back to their original position floors, add self-stick floor protectors. Cut
when released. the PVC pipe (I used a hacksaw), or ask the
—lisaquilts hardware store to do it. Slip a cap on one
end of each pipe, add the floor protector,
and slip a table leg into the open end. the
risers are easy to put on or remove.
—Tamtay
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Marking & measuring tools
Whether you’re tracing patterns or marking match points and darts on fabric, you want the lines, dots, and notches to be
visible, stay put for as long as you need them, and disappear when you don’t. Here are gadgets and everyday items to help
you mark with aplomb, plus some suggestions for measuring tools that may be unfamiliar.
STiCky maRkS STay puT

Trace on the double
101 Freebie self-stick address labels 102 On fleeces and other “problem”
Tired of tracing the seamline
are put to good use in my sewing fabrics, the pencil or chalk marks
and then measuring to rule on
room. A small piece of one label helps me disappear as soon as I move the pattern
the seam allowance? Take this
match pattern dots; another piece folded piece. Instead, I mark them with the sticky
advice:
over the fabric seam-allowance edge dots available at stationery and office sup-
becomes a single notch, and a larger piece ply stores. I can draw notches on them or
is the double notch. Check first that the use numbers and/or letters. 106 regine’s speed-tracing tip.
I trace patterns from sewing
sticker leaves no residue on the fabric. —PVA
magazines and found it a nuisance to
—Oopsy-Daisy!
add the seam allowance. With a dou-
ble tracing wheel (available from good
notions vendors), it takes seconds and
Taking meaSuRe is very accurate. Just run one wheel
along the pattern edge (seamline), and
the other wheel automatically marks
103 A quick way to measure an 105 Make yourself a body mold from
the cutting line.
approximate yard is to hold one aluminum foil to help you draft a
end of the fabric, ribbon, or trim in one better crotch curve on your next pair of
hand, with your arm outstretched to the pants:
107 So So’s d.i.y double wheel.
My husband made a double
side and at shoulder height. turn your tracing wheel for my pattern work by
• Tear off a piece of kitchen foil long
head in the other direction. the distance gluing two identical single tracing
enough to fit through your legs and up
from the item you’re holding in your hand wheels together with a piece of wood
to your waistline at the front and back.
to the tip of your nose is about one yard. sandwiched between. the wood piece
Roll this piece lengthwise into a long,
My mom taught me this a long time ago. was cut precisely to set the wheels
tight tube.
—LoriB exactly 5/8" apart.
• Thread this flexible ruler from the front
104 I measure fabrics and seamlines waistline through your legs to the back
108 deepika’s measure. to trace
with a double readout plan mea- waistline, and mold the foil to your body ¼" (6 mm) seam allowance,
suring wheel, left over from my husband’s contours. just put a rubber band around two
work as an architect. It’s perfect for mea- • Make a notch or deep pinch at your pencils (measure to double-check).
suring curves such as the armholes and front waist and back waist, and another
necklines of patterns: I just set the wheel between your legs where the inseam
to zero, and roll it along the edge or line I should intersect.
wish to measure, and it displays the cor- • Carefully step out of the foil mold and
rect length in both inches and centime- place it on a table. take your body mea-
ters. It’s ideal for measuring bindings and surements: body space, length, crotch
trims too. Look for one wherever drafting depths, etc.
tools are sold. —kethry
—mikkim
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001-089_18599.indd 20 4/30/10 10:18:29 AM
handy maRking aidS
109 A pizza cutter marks fabric more

111 It’s easy to assemble a light table 112 the only place in my house big
clearly than the smooth tracing or box from everyday items. Place enough for my cardboard cutting
wheels that leave only a faint line of the a power strip with a plug-in fluorescent board is my dining room table. I often
carbon. Be careful, though, because its light into an open storage box, cover the want to do pattern alterations on a smaller
sharp wheel can cut delicate material. box with a picture frame and then tape table, so I made my own mini cutting
—Janie Viers translucent paper (vellum, tracing paper, board by marking a flat piece of cardboard
etc.) on the glass in the frame. Plug in the with a 1" (2.5 cm) grid (using a quilter’s
110 Flexible plastic cutting mats from
light and start tracing. Use a fluorescent ruler as a guide). It is barely large enough
the housewares department
bulb equivalent to a 25-watt (or less) to do a full bust alteration on but it is so
make inexpensive templates that you can
incandescent bulb—NOt an incandescent much more convenient than the big board.
draw around or use to guide your rotary
bulb, which gets hot and is a fire hazard. Actually, my portable alterations board is
cutter—no more sliced paper patterns.
—Patzee the lid to a box that I call my “pattern
the mats can be cut to shape with regular
queue” where I keep patterns for upcom-
scissors. For larger templates, I use wide,
ing projects.
clear mailing tape to tape sheets together.
—mikkim
this is great to do for frequently used
pattern pieces.
—MelissaB in WA
fine lineS, viSible dOTS
113 I mark dark colored fabrics with 115 Remnants of soap bars mark your 117 I like good chalk wheels, but
blackboard chalk, which is a pain fabric with a white line that will sometimes I need to mark points,
to keep sharp. When I saw a two-hole pen- wash away easily. the soap can be sharp- not lines, on dark fabric. I’ve used Dixon
cil sharpener for 30 cents at an office sup- ened just by washing your hands with it. Washout Cloth Markers for such occa-
ply store, I had a light-bulb moment. the Hotel courtesy soaps are also great for sions, but I’ve noticed that as they age,
chalk fits perfectly in the larger hole and this purpose. they harden, and seeing a faint mark on
gets a nice, sharp point. —Tini the fabric requires an optometrist and the
—Mary Stiefer gift of clairvoyance. this morning I was
116 I always wrap a rubber band
practically engraving fiddly little (unseen)
114 My son’s Crayola washable around the middle of my marking
dots onto sleeve vents, when out of sheer
markers are a boon for transfer- chalk to keep it from rolling off the table.
frustration, I moistened the white “lead”
ring pattern markings to fabrics. the col- You can put a rubber band around pens or
in the pencil. Okay, truth be told, I stuck it
ors wash out with cold water and dish sewing markers to keep them from rolling
on my tongue. the white marker sprang to
soap, and did not heat-set when ironed. off as well.
life and left perfect visible dots exactly
However, I wouldn’t use these pens on —Maria Hatfield
where I wanted them.
fabric that is not washable or is extremely
—Karla Kizer
valuable.
—michellerene
maRk-RemOval magiC
118 Don’t use blue marking pens on 119 Use a tide to Go stain remover 120 I was having a hard time remov-
red and pink fabrics! there is a pen to remove marks made by ing tailor’s chalk from a sand-
chemical reaction with the ink and the fabric-marking pens. It’s important to do washed fabric until I rubbed it with a
dye, and the mark just won’t go away. For this before pressing, because the mark- leftover piece of heavy flannel. the chalk
other colors of washable fabrics, a little ings can become permanent. If the marks was gone after a few strokes.
fabric softener in a spray bottle of water reappear when you add steam, go over —Robie Kentspeth
gets out the marks without laundering. them again with the ttG pen. they will
—anncie1 wash out when you run the garment
through the washer.
—GirlWhoGames
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Pins & hand-sewing needles
They’re little things that can make you crazy when they’re lost or seemingly impossible to thread. Plus just tossing worn
needles in the trash where they might poke and prick the unsuspecting is not a smart option. Here are simple ideas for con-
trolling these sharp, elusive, and essential sewing aids.
impROmpTu pin & needle hOldeRS pin SubSTiTuTeS
121 A dry, unused sponge is an excel- 123 the magnetic side of those little 124 to avoid pin holes when sewing
lent pincushion. there’s more skinny refrigerator magnets is with plastic on my last project, I
area to hold pins than on the regular kind, just strong enough to hold needles so they clipped the layers together with scunci
so it’s easier to grab pins one at a time. don’t fall into the carpet or chair. I set one barrettes.
Plus, the sponge doesn’t move when I use on the coffee table, magnet side up and —Jennifer shaw
it on the cabinet of my machine. place my needles there, threaded or not.
—Coot —Mary Stiefer 125 Binder clips worked really well to
hold sleeve seams together on
122 I stick my sewing-machine my latest knit top project. they’re terrific
needles into a pincushion for fabric that gets damaged by pins.
clamped to the machine. the stretch nee- —Jennifer shaw
dles for knits get a dot of red nail polish.
—els
ThiS & ThaT fOR

needle uSe Safe needle disposal
To avoid nasty pricks from used needles tossed loose into the trash, store them in
126 Reading glasses one diopter too a small container. Here are some options.
strong magnify the needle hole
on my sewing machine enough for me to
thread it easily. For a hand needle, I use 129 I keep a used spice bottle on 131 the tiny closed containers for
my sewing table to hold dis- the gloves in hair-coloring kits
tapestry needles—the holes are long carded old sewing needles and pins. the are the perfect size for the disposal of
enough to thread them without any eye- holes in the shaker tops are big enough old needles, and they close securely.
sight assistance at all. to slip the needles through, and the —Katharine in BXL
—Joey in Katy screw-on lid prevents any spills.
127 In order to identify a needle size —Jerry P 132 My used and broken needles go
into an empty cylinder of pre-
once I’ve removed it from its
packet, I mark the packet with a colored 130 I found a new container for moistened kitchen wipes. the needles
used needles that is safer than can’t poke through the hard container,
felt-tip pen in the color that’s on the nee- an empty film canister, which if opened and the top snaps shut. When the con-
dle shank. I also keep an index card with accidentally can spill all the needles. It’s tainer is full, I seal it with shipping tape
my needle supply as a cross-reference to an empty toothpick container with a and toss it in the trash.
the color code, size, and purpose of the swivel top that dispenses one toothpick —PKPudlin
needles. at a time through a small hole.
—PattiAnnSG —Janine S 133 I put my used sewing machine
needles in an empty prescrip-
128 to keep the needle from getting Deepika adds: this may not be readily tion pill bottle. Since the lids on these
gummy when I was sewing adhe- available in the States, but similar types are childproof there is no chance that
sive-backed Velcro, I ran a bead of Sewer’s with screw-on lids are. Or purchase they will open up in the trash.
Aid lubricant along the edge of the Velcro toothpicks in a similar dispenser and —Deepika
where I would stitch. the lubricant really repurpose it when empty.
came to my rescue.
—PattiAnnSG
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Useful odds & ends
You know those lists of essential gear found in every sewing book? Scissors, marking chalk, ruler, pins, needles, thread,
and machine? Well cruise the following and you’ll find some unexpected items intended for other purposes that make sew-
ing easier. Most of them are already in your home, so they’re easy to add to your setup.
waxed & adding

maChine papeR pluSSeS Three hands are better than two
Some hand-sewing tasks are easier if the fabric is held taut, but two hands aren’t
134 I was separating the layers of enough to apply tension and sew at the same time. Other tasks require control
fleece-backed micro suede to use in spots your hand won’t fit. A “third hand” is a clamp of some sort that solves
the micro suede as binding, but the adhe- these problems.
sive remaining on it gummed up my
presser foot. I put waxed paper strips
under the foot to help slide the fabric 136 mary Stiefer’s gadget of 137 ryansmum’s pragmatic
choice. My third hand is a solution. My sewing machine
under the foot. the wax paper didn’t stick
hemostat, a scissor-like clamp used in presser foot sometimes doubles as a
to the adhesive like regular tissue paper
surgery and by fly fishermen to make third hand. I can rip out seams by lower-
would, and tearing it off was easy.
flies or pull out a hook. I have a 10" and a ing the foot on the fabric next to the
—beginagain
5 ½" (14 cm) pair. If I need to turn some- seam. then I pull the other side taut to
135 A roll of 2¼" (5.7 cm)-wide adding thing through an opening too small for see the stitches and rip them out, using
machine paper has a million uses my hand, I use my 10" (25.4 cm) hemo- a razor blade. I don’t use this technique
in my sewing room. I use strips to prevent stat. I use hemostat tips to poke out the on all fabrics; the lighter-weight ones
seam show-through when pressing and corners of an item. And, to fill pillow don’t appreciate it.
when I need a scrap of paper for notes. to corners, I put small amount of fiberfill in
space buttonholes or other topstitching the teeth, push it into the corner, hold 138 Sew it seams’ handy device.
A spring clamp I picked up at
and trims, I cut a length equal to the dis- the corner on the outside of the pillow
Home Depot comes in handy (pun
tance from top to bottom buttonholes, and release the clamp. I purchased mine
intended!) whenever I need a third hand.
then fold the paper in half, fourths, a fishing supply store.
Just recently, it made hand-rolling a hem
eighths, or whatever number is needed. A
on a long georgette flounce much easier.
button placed at each end of the paper,
It allowed me to hold the section I was
and one placed at each fold, gives me an
working on taut.
odd number of evenly spaced buttons.
And, I use the paper to create a template
for hem scallops by cutting a piece the
exact width of a skirt or curtain hem, and
then start folding.
—Karla Kizer
Tape TRiCkS
139 My homemade dress form is 140 the ½" (1.3 cm)-width of Scotch 141 I tape pattern instructions to the
made from brown paper tape, Magic tape is the perfect size for wall in front of my sewing
and pinning into my paper twin is darn testing the position of a welt pocket. Sim- machine. Blue painter’s tape doesn’t mark
near impossible. In desperation, I tried ply cut a 5" strip and position it on your the wall, but it can tear the instruction
taping the pattern to the form with medi- garment until you’ve found the right spot. sheet. I solved this by putting a piece of
cal-paper tape, which has a low tack, and —nancy2001 transparent Satin tape (the kind for wrap-
found it is easy to reposition on the dress ping presents) on the top margin of the
Deepika adds: Always test to make sure
form and the pattern. Medical-paper tape instruction sheet in two places, and taping
the adhesive won’t damage your fabric.
is found in the pharmacy section. Blue the painter’s tape to that. the painter’s
painter’s tape might also work—it has a tape peels off the instruction sheet easily,
low tack and is probably cheaper. and my pattern instructions still look new.
—Kim Winson —Nancywin
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age:22 (Text) (Ray) 05-C56870 (204) #175 (P) Dtp:216 Page:23
handwORk COmfORTS ThOSe pOweRful RayS
142 If you can’t find a comfortable 143 A laptop desk turned cushion- 144 Keep your magnifier lamp cov-
thimble, use a Band-Aid. It side-up is a great surface for ered when not in use! One bright
should be tough, durable, and made out of beadwork, and I can poke my threaded day the sun burned a hole in a thick pat-
so-called cloth. Put one on the finger that needles into the firm stuffing. I like it for tern book that was beneath my uncovered
gets the most use while hand sewing. any detailed handwork that I do while magnifier. Luckily, I was at home and
—NanJones sitting in a comfortable chair. noticed the smoke in time to prevent
—Sew it seams serious damage.
—els
glOveS fOR a gOOd gRip SkiRT hangeR impROv
145 My bottle of body wash came 146 I can’t see buying expensive 147 In South Africa it is difficult to
with a pair of gloves that were to gloves to quilt when inexpensive buy a good skirt hanger, so I
be used to exfoliate your skin. However, I ones work even better! I use cotton gar- made one out of an ordinary dry cleaner’s
found that their rough texture is perfect dening gloves with rubber dots on the steel hanger, three plastic clothespins, and
for machine quilting palms and fingers. the cotton keeps my a length of plastic tubing. I cut the tubing
—elsie Keaton hands cool, and the dots allow me to “get into pieces to keep the clothespins evenly
a grip” on the quilt fabric. trim off or serge spaced along the hanger and slit each
the cuffs to make these gloves even lengthwise so it could slip over the wire.
lighter and cooler. —regine
—Lizz
organization & TO hOld Small ThingS yOu need and ThOSe yOu dOn’T
cleanup aids 148 the little revolving desk orga-

nizer I purchased at an office sup-
149 Convert clean, empty, plastic
gallon jugs into mini waste-cans
Whether you’ve a dedicated sewing ply store takes up minimal space and to place on your sewing and cutting
space or stash your gear in a closet keeps my sewing stuff within arm’s reach, tables, ironing board, and handwork chair.
each in its own section. Marking pens, With a Sharpie marker, draw a line around
until you need it, you’re no doubt as stilettos, bobbins, thimbles, and my sew- the jug to meet the bottom edge of the
challenged as the next person to keep ing machine needle case are in there. handle; then cut around the handle and
things tidy and at the ready. Pattern- Common pins removed while sewing get along the marker line. Your new waste can
Review.com members have some clever tossed into a section. the big center sec- is about 6" deep with a handle that’s easy
tion could hold a pair of scissors, were I to grab for moving around and emptying.
ideas for what to use to control clutter
organized enough to put them in the same —elizajo
and pick up thread clippings. place every time I set them down.
—costumecarol
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SelTzeR TO The ReSCue pROp diReCTiOnS wheRe yOu need Them
150 I keep a small bottle of carbon- 152 Although my sewing/craft room 153 I picked up a sturdy, wood-based
ated water at hand to remove has a counter at sewing machine wire photo/card holder at a yard
stains on fabrics like wool crepe. Carbon- height, base cabinets on each end, and sale for a buck and use it to hold pattern
ated water doesn’t leave a ring as tap cabinets overhead, I had nowhere to put directions at eye level on my sewing table.
water does. my current pattern but on the counter. So —Shinobu
—els I put two corkboards that I can pin the
pattern to on the wall behind my counter. 154 the mirrored wall in our formal
151 A magnet board on an easel
I added strip magnets around the outside
dining room, which does double-
keeps my pattern instruction duty as my sewing room, is very handy
to hold bobbins, safety pins, needles,
sheet visible while I sew. the boards, when fitting and hemming. the wall also
whatever, and the corkboards also hold
made by LoRan, come in various sizes and serves as an inexpensive bulletin board for
miscellaneous gear like scissor pockets
are sold in the needlework section of craft pattern instructions that can be taken
and hemostats for turning tubes.
stores. the one I bought came with a fold- down when guests come over: I put the
—Mary Stiefer
ing stand and magnet strips. pattern instructions and the pattern enve-
—LoriB lope into binder clips and hang them from
the hooks of suction cups affixed to the
mirror.
—PattiK
make a Clean Swipe
155 I was giving my sewing room a 158 My husband purchased a long- 160 A handful of those small, unus-
major cleaning and wanted to handled toilet brush recently. able scraps of fusible interfacing
pick up the thread crumbs on the carpet Since we already had one, I hid it in my removes thread and fabric “fuzz” from
before vacuuming. I had a used dryer sewing room. After finishing a sewing your cutting table, sewing machine, scis-
sheet balled up in my hand to dust dog project and wanting to clean up all those sor blades, and elsewhere. the tacky sur-
hairs out of the corners. I swiped the threads, I spotted the new brush in the faces gather up debris better than
sheet across the Berber carpet—and the corner, and a light bulb clicked on—I vacuuming or painter’s tape, and there’s
threads clung to it. I decided I needed to reached for the brush and whisked up all no need to buy sticky peel-off rolls. I col-
share this idea! those threads. lect the scraps in a small container.
—BeckyC —gorgeous —lilyofthevalley
156 A pen-sized, telescoping magnet 159 I wrap packing tape, sticky side 161 I sweep fallen threads off my
provides a slick way to pick up out, around old, dry sponges. studio floor with the special
dropped pins and needles. My husband One I keep by my sewing machine to pick broom that hairdressers use to sweep up
suggested this mechanic’s tool and bought up threads. Another, near the sofa where I hair on the salon floor. I attached a mag-
it for me at an auto parts store. hand sew, is especially nice for dab-dab- netic piece to the broom’s opposite side;
—Celie bing the small threads that collect on fab- any dropped pins stick to it and are easily
ric during a serger “rip” session. When the removed.
157 I tried using my adhesive lint
tape on both sides of the sponge is filled, I —els
roller to clean the cutting mat
replace it. I think these little sticky tape
when I was working on a little pincushion
wraps are worth the bother to make
project. It worked like a snap! No mess,
because I have fewer threads flying about.
and no pulling out the vac to clean the
—j222b
carpet.
—Jennifer shaw
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CHAPtER TwO
Set Up Your
Sewing Room
“ I savor everything about sewing:

reading, planning, browsing, shopping . . . and
sometimes I actually cut and stitch! Have a
”
moderate stash (immoderate?) of fabric and
patterns. Notions junkie.
—SewFar
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Get your gear in order
There are lots of tools and materials required for almost any sewing project and
it’s easy to become mired in disorder when the fabric starts flying. Here are strat-
egies for keeping your projects organized and supplies tidy and always at hand.
ORdeR + effiCienCy = mORe Sewing!
162 the clear plastic bags for sheet 164 I sew standing up at a laundry 167 I get so engrossed in the project
sets and other household linens counter that is about 37" (194 cm) I’m working on that I can work
have a zipper or a button closure. they are high. I seem to get in more sewing time right through important mini deadlines.
perfect to store a pattern and fabric as because it’s easier to handle large pieces, Now I have a timer in the sewing room
well as any buttons, thread or trim I to get to the ironing board, or to stop and and set it as a reminder to take care of
bought for the project. When I am ready do laundry, make beds etc. Give it a try! life’s annoying sewing interruptions, such
to start sewing, everything is together in —j222b as food, work, laundry, etc.
one neat package. —Karla Kizer
—terrilee 165 So that useful tools are within
arm’s reach, I have multiple seam 168 Nothing screams “homemade!”
163 Here’s how to speed up the time rippers and small scissors (for snipping like loose threads dangling from
spent sewing seams. Don’t stop, threads) in the various places where I sew. every garment seam. Clipping is much
take out a pin, and put it in a pin cushion. I keep a set next to my machine, on the easier with a pair of thread snips or small
Instead, insert pins horizontally in the ironing board, on my worktable, and in the scissors always at hand, so I leash them to
seam before sewing, pin head facing right bathroom where I check fittings. the sewing table with a length of 1/8" (3 mm)
and to the outside edge of fabric. Keep a —meanjean wide elastic. One end of the elastic is tied
large, flat container directly behind your to the thumb hole on a pair of embroidery
sewing machine; and, as you sew, take out 166 If you have a folding tV tray or
scissors; the other end is tied into a loop
other little table, set it next to
each pin just before getting to it and toss that slips over the cord where the foot
your machine chair as a place to keep a
it to the back of your sewing machine. No pedal plugs into the machine. My elastic
container for those little things that seem
need to look where you are throwing it: stretches far enough that I can use these
to walk off just when you need them. this
99% of the time it lands in the container. I scissors at the ironing board, but is short
should place the container where it can’t
also keep an empty container on my sew- enough when relaxed to be manageable at
be knocked over when a big piece of fabric
ing table and switch them when the one the machine.
(or your hand) comes sweeping its way.
behind the machine gets full. —Michelle in Oaktown
—Nancy Anne
—Kirstenw
169 I was constantly misplacing my
tape measure or dropping it on
the floor. to keep it handy, I hung it from
a small nail inserted in the wall next to my
cutting table.
—BJ1400
hOORay fOR laRge divided COnTaineRS maximize yOuR lighTing
170 I don’t have a space dedicated 171 Although I have great places to
172 I needed more light in my sewing
solely to sewing, so I need a large store my tools, they gather on room but had maxed-out the
container to corral my sewing tools and my table when I sew and are a chore to available wattage. My husband advised
supplies in one place. I bought a large clear away to make space for cutting or to changing to the lower-energy daylight
household tool box (21" 3 10" 3 12" [53.3 3 spread out a project. I found a basket with bulbs that put out 100 watts of light, but
25.4 3 53.3 cm]) that was half the price of three compartments for rulers, pencils, use only 23 watts of power each. WOW!! I
a sewing box and twice the size. It also has tape measure and such, and one large even see differences in blacks, now!! Only
compartments in the removable tray for section in the back for my sewing note- drawbacks: the light is very bright, com-
small items. book, pattern envelope, instruction sheet, pared to other rooms, and the bulbs are
—Jane M even the latest sewing magazine. It’s easy expensive. Look for compact fluorescent
to whisk away this caddy or carry it to the bulbs with two tubes coming out from the
tV room to do my hand sewing. thick, white base with three full spirals
—KarmenG that cross over at the top. they fit a stan-
dard light socket.
—SewTwin
27
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needleS aT The Ready pReSSeR feeT aT
The Ready
173 I had been using a piece of mask- 174 I buy needles whenever they are
ing tape on my machine to hold on sale and store them in plastic 177 I collect presser feet the way
the machine needle when I was temporar- business-card sleeves in a three-ring some sewers collect notions.
ily switching to a different one, but the binder. the little pockets are just the right Problems arise, however, when I have a
tape left sticky residue on the needle. I size for several packs of needles, and special need and think I have the correct
discovered that the soft loops on the Vel- there are 10 or 12 pockets on a page. presser foot for the job, but can’t be sure.
cro scraps in my sewing box make the Makes it much easier to find them and to Inspired by sewers who organize their
perfect no-stick little needle holder. see what I’m running out of. fabric stashes, I purchased a divided box
—KatieN —ValerieJ at a container store. I put a card in the box
lid and added labels corresponding to the
feet in the little cells below. I also penciled
in the page number of the usage instruc-
Sewing ROOm Cleanup STRaTegieS tions in my sewing machine book. What a
timesaver—it was worth the effort to get
175 For trash control, keep a small, 176 Before vacuuming your sewing organized.
lined trash can beside you and room, be sure that all bobbins —meanjean
drop in threads, fabric notches, and other and spools of thread are off the floor. they
stuff that would normally land on the can jam the machine, and invisible thread 178 Sew a divided bag customized to
hold all your presser feet. Make
floor. With a lining (I use plastic shopping can melt inside it. I realized I had missed
one that folds up and ties shut; it will be
bags), you can quickly toss the whole deal some when I smelled something burning
just the right size to store near your
out. Put several bags in the bottom of the in my vacuum. Needless to say, I had to
machine.
can, slip another over them as the liner, buy a new sweeper.
—Summerlea
and you’ll eliminate trips to the cupboard —NanJones
for a new one.
—Nancy Anne
Task-driven organizing
Your sewing will be most efficient if you sort and store your gear according to the
way you use it. Here are some suggestions:
179 debbie lancaster’s cat- 180 elizajo’s out-of-sight system.

proofing fix. For years I’ve Something I learned teaching
kept my things in one of those cheap, second grade: organize materials by
multi-drawer carts to keep the cats from task, not by category of supplies, and
using small items as ping-pong balls place them for easy access. I am reorga-
when I wasn’t there. Just recently, I real- nizing my sewing supplies/materials into
ized I was using the cart in the wrong tasks. “Cutting” is one example: My fold-
way. I had carefully separated all the ing cutting board, table leg extenders,
notions by type, was going to the cart at cutting mat, and large measuring tools
least a dozen times every time I sewed, slide under the guest room bed. I also
and when I finished, each item had to be have a lidded box under there with my
put back into its own little drawer. So I good scissors and other cutting gear.
dumped out everything and redistrib- And a sweater box with fabrics ready to
uted items according to tasks. I put be cut out.
small boxes into one drawer to hold
things I frequently use; when I’m sewing 181 elaray’s portable thread-
marking box. I’m doing a lot
I remove the entire drawer from the
more basting, thread tracing, and tailor
cart. When I’m done, I put the drawer
tacking than ever. I find these marking
away where the cats (unless they get a
methods are the most accurate and they
lot smarter) can’t get the contents.
really don’t take a lot of time. I use an
inexpensive pencil box to keep all the
necessary hand sewing items (needles,
thread clips, and topstitching thread) in
one place. I don’t have to search for each
item separately.
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Keep track of information
Can’t remember which sewing book had the best explanation of binding? Forgot which notions you already own or must
buy in order to make your next dress? Tired of hunting through a pile of magazine clippings to find that collar you wanted
to copy? PatternReview.com members take the prize for good ways to organize the information they need in order to sew.
ReCORd ideaS & infO in a
182 Tip index notebook. I made a 185 portable binder. Organizing my 186 magnetic photo album. I have
Where to Find It notebook to projects into a 7" 3 9" (17.8 3 an ever-growing collection of
index sewing information. the pages have 22.9 cm) three-ring binder has made sew- pictures cut from catalogs and magazines,
three columns, made on the computer, ing more satisfying for me because I’m showing outfits I like or details such as a
labeled as: tip, Source, and Page Number. using my time more efficiently. My por- collar or a ribbon belt. to organize these
In the tip column, I write the tip; in the table notebook has five sections: scraps of paper, I put them in a large but
Source column, the magazine, book, or inexpensive magnetic photo album and
• Section 1: Patterns I’m interested in buy-
wherever I found the tip; and I enter the sort them roughly by categories: neck-
ing. I print a picture from an online cata-
page in the Page Number column. the lines, color combinations, pants, accesso-
log and trim it to fit. this is a good place
notebook is divided into four sections: ries, etc. the papers can easily be
to include fabric ideas.
Sewing Garments, Home Decorating, rearranged or removed.
• Section 2: Projects in the Works. Each
Quilting, and Miscellaneous. —Karla Kizer
page here is marked in a grid, six to the
—Beth Pierce
page. Each square has a pattern number 187 digitize it. One way to save
183 pda. My PDA (aka Palm Pilot, and a description of the item I’m plan- something from your Internet
personal data assistant) helps me ning to make. When I buy the fabric or browser to a word-processing document,
to keep track of sewing tasks and/or choose it from my stash, a swatch gets or to preserve the entire Web page, is to
lists—such as a thread inventory, a pattern taped here. this is a perfect resource click File on your browser task bar and
wish list, and things to buy when they for choosing thread, trims, and linings then choose Save As. A box pops up and
come on sale—and I delete the items as I and for planning any coordinated future prompts you to select a folder in which
pick them up at the store. Other uses projects. Behind each project page is a to store the file. I have a folder called
include inches-to-fractions and fabric- photocopy of the back of each pattern Sewing, which includes subfolders by
width conversion charts, my current mea- envelope, showing yardages and back topic. then you type a File Name for the
surements, and books I’d like to buy/ views. page and, below that, you have to Save as
borrow from library. I also keep a to-do list • Section 3: Completed Projects. Part of type and choose Web Archive, single file
and a spending tracker. Unlike bits of the fun I’m having comes from writing (*.mht), which in my version of Windows
paper, I won’t lose my data as long as I do up the finished projects, which I post is the second choice on the drop-down
regular back-ups. to PatternReview.com and to my own list, and press Save.
—candyo Website. I print my Web site pages and —Pat K
include them in the notebook, with
184 The pattern envelope. I file
swatches of the fabric I used for the
Deepika adds: the process on a Mac is
printouts of reviews (from similar but may vary depending on the
item. this is a great reminder and helps
PatternReview.com) of the patterns I plan browser you use. Consult the Help func-
match coordinating or contrasting gar-
to make in their pattern envelopes. this tion if you need assistance.
ments or items in the future.
way, I have the benefit of other people’s
• Section 4: Tips. I record the settings (with
comments, solutions, or challenges right
samples) for serged finishes for particular
at my fingertips.
fabrics, special stitches I used with their
— OP Gal
settings, as well as tips and tricks I want
to remember for upcoming projects.
• Section 5: The Sewing Room. Here’s
where I track possible changes to my
keep manualS sewing area; functional notions and
ORdeRly tools I’m considering purchasing, etc.
—Noile
188 All my sewing machine manuals
are stored in a three-ring binder.
I brought a binder to an office supply store
and had the clerk drill holes in the bound
side of each manual that matched the
binder holes.
—PattiAnnSG
Set up Your Sewing room 29
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organize your fabric
If you’re like most sewing enthusiasts, you’ve got a collection of wonderful fabric stashed somewhere in your home. Can
you put your finger on the whereabouts of specific pieces, or recall how many yards you bought? Fabricholics one and all,
read on for the best ways to store and keep track of the goods you will someday turn into a wardrobe—or two!
CaTalOg yOuR STaSh wiTh SwaTCheS
189 four-to-a-page in a binder. 191 in a business card wallet. I use 193 in a zippered Cd case. I catalog
I created a fabric organization business-card wallets to hold my fabric swatches in an 8" (20.3
form that holds four fabric swatches per fabric info on cards that fit into the pock- cm) CD case. It’s compact, has deep
sheet. I tape the swatches onto the sheet, ets. I staple the fabric on one side of the binder posts to handle the extra thickness
labeling each with the fabric name, card and write a description of the gar- of fabrics, zips closed, and has a carrying
source, yardage, width, fiber content, and ment on the reverse. the wallet fits in my handle. Additional sleeves are available,
price. the forms are three-hole punched bag and makes it easy to match fabrics, too. I put a swatch of fabric in each sleeve
and put in a ring binder. to keep the thread, buttons, and accessories when along with a 3" 3 5" (7.6 3 12.7 cm) card
binder balanced, I made a mirror image of shopping. for notes. When I have fabric cut, I ask
the form so that the swatches are on dif- —LiZ them to cut me a small square, which I put
ferent sides on alternate pages. this in a sleeve, and I write down the fabric
swatch notebook is also handy to keep in 192 in an embroidery-floss
info on a blank card. I include a sample of
organizer. the best swatch-
the car trunk for fabric shopping. If you’d trim or anything else I plan to use with the
carrying idea I’ve found is Floss-A-Way, an
like to use my form, download it from fabric. I keep the case in the car so I’m
embroidery-floss polybag organizer sys-
http://images.PatternReview.com/siteim- always prepared.
tem. It contains 36 5" 3 3½" (12.7 3 8.9
ages/forms/FabricOrganizer.pdf. —EveS
cm) Ziploc bags and a binder ring. the
—Deepika
bags have a space on the front for info and 194 Coded to your storage boxes.
190 in photo-sleeve pages. Catalog are big enough to hold a good-sized I use page protectors that hold
your fabric stash in a three-ring swatch. the binder ring is easy to open, in baseball cards. the 4" 3 6" (10.2 3 15.2
binder in clear plastic photo sleeves. Cut case you want to take along just one or cm) index cards cut in half slide perfectly
small fabric swatches and insert one into two swatches. into the pockets and leave ½" (1.3 cm)
each pocket. When you shop, everything —Lou sticking up to staple the fabric onto. the
will be in the binder for matching and card has yardage, content, price and other
coordinating. information; and the pages are organized
—Barbara H by fabric type. I store fabric in boxes
labeled A, B, C, D, etc., so I write the box
letter on each card.
—Nancywin
STaSh CaTalOg aS pROjeCT planneR
195 these tips will help you keep • Stack these cards in the order in which 196 When I buy fabric, I cut a small 2"
track of your stash and plan what you plan to start the project: store them 3 2" (5.1 3 5.1 cm) square with
to sew with each fabric: in a card file box, or punch holes in the pinking shears and staple it in a spiral
corner of each card and put them on a notebook. Under the swatch I write the
• First, lay out all your fabrics in some
binder ring. fabric content, width, yardage, cleaning
logical manner—I do mine by type (suit-
Now you know exactly what’s in your info. I put coordinating fabrics on the
ing, knit, sheer, silky, etc.).
stash and how to best use it. You have same page, and sometimes note the pat-
• From each fabric cut a swatch exactly 4"
examples of fabric at hand when shop- tern I was thinking of when I bought the
3 4" (10.2 3 10.2 cm). Launder and dry
ping for patterns. When snoop shopping, fabric. After the garment is finished, I jot
the swatches; then re-measure.
you can check to see if you have a fabric down what I made. this helps me remem-
• Glue or staple each swatch to one side
that fits the garment that intrigues you. ber how much yardage I bought, and I can
of an index card. On the card list the
For me, having all that ready information check my notebook if I have a new pattern
length and width of the fabric, content
encourages me to finish one project and to try.
if known, noted % of shrinkage, and any
start the next! —JudyP
other observations.
—Nancywin
• Once you decide what to make from a
specific fabric, note on the swatch card
what else will be needed to create the
garment.
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file CaRe-TeST ReSulTS COnvenienT fabRiC STORage
197 When ordering online, I print the 200 My rather large fabric collection 203 A wall-mounted, wine-bottle rack
fabric care and content informa- is kept in cardboard records stor- holds my rolls of stabilizers and
tion, and the Web site’s address on a piece age boxes (from an office supply store) to interfacings. It keeps them organized,
of three-hole notebook paper. I cut a 2" 3 avoid dust and fading; each box is labeled easily accessible, and out of the way.
3" (5.1 3 7.6 cm) swatch and glue its top to indicate the contents. I set the empty —SueV
edge to the paper with the info, so that it box on end, with the open side vertical
hangs loose on-grain. to reference how an and facing me, and stack the folded pieces 204 the sofa in my sewing room now
has some decorative cushions
individual fabric reacts when it is washed one on top of another. When the box is
filled with my hoard of fabric scraps that
or steam ironed, I cut several swatches and filled to the top, I set it back on its base
are semi-organized by color, weight, etc.
treat them differently. For instance, one is and cover it. When I remove the lid, all the
these pillows look better than a heap of
just pressed with a press cloth, another is fabrics are on display.
plastic bags and take less room than bas-
pressed without the cloth, another is —Brine
kets; I zip or baste them closed so I can
steam pressed with a press cloth to pre-
shrink—and one is washed in Woolite, air 201 Storing a large length of polyester retrieve the scraps if I like.
knit is easy when you roll it —petro
dried, and steam pressed with a cloth. I
around a cardboard wrapping paper tube.
label each and add it to the notebook
You just unroll what you need for a pat- 205 Safety pins keep track of my
page. this really lets me know if some- interfacings. I use a sticky label
tern, and snip it off.
thing I make could be washed or has to be to mark each interfacing with the manu-
—Mary Stiefer
dry-cleaned. facturer’s name, fiber content, etc., then I
—alicia 202 I have a dedicated sewing room, fold it in half (sticky-sides-in) and attach it
but storage space is still a prob- to a safety pin that is unpinned and moved
SOlving STaSh mySTeRieS lem. I recently started rolling up my fus- as I use up the interfacing. I mark another
ible interfacings and storing them in 24" large safety pin with the same label to
cardboard mailing tubes. I use a dowel to hold scraps of that interfacing—it’s a
198 I often receive bundles of mystery
start the rolling process; it makes rolling handy way to store small pieces of inter-
fabrics from online companies.
the lightweight interfacing much easier. I facing to test on a fabric before I commit
By going back to the site where I got the
put labels on the outside of the tubes so to cutting into the big piece.
bundle and browsing the offerings, I’ve
I can identify the contents (lightweight, —Karla Kizer
solved several of those mysteries and was
midweight, etc.). I store the tubes in a
able to note exact fiber content and laun-
large cylindrical basket along with my rolls
dering instructions. Besides, it’s exciting to
of tracing paper.
see how much $$ that “free” fabric is worth!
—elaray
—Nancywin
199 I cut the swatches for my stash

catalog from the selvage, across
the fabric, because sometimes the sel-
vedge marks are the final clue to identify-
ing similar fabrics.
—Aless
organize your patterns make a pRinTed paTTeRn CaTalOg
You’re not alone if your love of sewing 206 Here’s a pattern cataloging sug- 8" 3 10" photo paper and cut out each
patterns has produced an embarrass- gestion: Scan and print the pat- individual pattern picture.
tern envelopes, then have them laminated • Using a glue stick, I mounted each pat-
ment of envelopes, tissue, magazines,
and bound in books. If you lose or damage tern pic on poster board cut slightly
and tracings. Here are clever ways to one, you have the CD of the master scans. larger than the photo to make a border
keep track of which patterns you own— Also, the original envelope stays fresh. for the hole punch. I reinforced the holes
and add comments if you like—and to —Lou and wrote the pattern’s fabric recom-
mendations and yardage on the back of
store them efficiently. 207 I carry photos of my pattern info
each card.
on a looped cord like an oversize
• I strung the photos on a thick serged
key ring so I can bring patterns and yard-
chain and tied both ends together. this
age info to meetings and for shopping.
loops easily through my handbag strap.
• I laid out the patterns in three rows, four —ryan’s mom
to a column, and snapped a digital pic in
the highest resolution. I printed them on
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managing paTTeRnS fROm magazineS fOld, pReSS, ReTuRn
TO envelOpe
208 A portable filing folder organizes 209 I photocopy my BWOF sewing
my children’s and toddlers’ pat- instructions. then, I physically 210 to fit a pattern neatly back into
tern originals and trace-offs, and saves me cut out the needed instructions from the its envelope after use, I iron as I
lots of search time. I placed the original other instructions on the page. I arrange go—fold in half, press, fold in half again,
pattern (and the book or magazine it came and tape the instructions to another sheet press. the pattern goes back into the
from) in the first pocket; in each subse- of paper and photocopy again. One piece envelope, just like new!
quent pocket I placed all the traced-off of letter paper is easier to manage than —SexiSadi
pattern pieces for each size (one pocket the magazine and this leaves plenty of
per size). I repeated this to file other pat- room to write notes to myself to augment
terns in the remaining empty pockets. Burda’s minimal instructions. I usually
—Hilary include references to books that explain
the instructions more clearly. I store this
augmented instruction sheet in a Ziploc
bag with the pattern pieces.
—elaray
eaSy RefeRenCe, eaSy ReTRieval paTTeRn STORage
211 After I hit 100 patterns, storing 212 I copy my pattern pieces onto 214 I instituted this easy-to-use sys-
them on hangers was no longer plastic and make lots of notes tem for organizing my pattern
practical—now I keep them in manila when I alter a pattern. Instead of stuffing stash. By the way, this system took a while
envelopes. Each is labeled with the pat- all this back into the pattern envelope, I to set up so pace yourself—do a few every
tern number, company (sometimes differ- put them into comic book protectors. night and you’ll be done soon:
ent companies have the same numbers), these clear plastic sleeves fit the pattern
• Separate the pattern tissues and instruc-
and a brief description. I store them in envelopes beautifully with lots of flexibil-
tion sheet from the pattern envelope.
copier-paper boxes in numerical order. ity to hold any extras. I store them in
Slip the pattern envelope into a plastic
the pattern envelopes go into a clear plas- three-ring, comic-book binders.
sleeve made for three-hole notebooks.
tic Sterilite ShowOffs box, sorted by type —jadamo00
Place the pattern tissues and instruction
(fall/winter, spring/summer, purses, home
dec, kids, etc.) 213 When storing patterns, I scan the sheet into a one-quart Ziploc clear plas-
photo from the pattern envelope tic bag, putting the instruction sheet on
—candyo
front and stick it on a 12" 3 16" envelope, top of the pattern tissue to display the
which is big enough for the original pat- pattern number. Some pattern numbers
tern and the one I have traced off. weren’t prominent so I hand wrote them
—regine in the upper-right corner.
• Store all the Ziploc bags numerically in
boxes. I file patterns with no number
alphabetically by name at the beginning.
ID clues for pattern pieces • Store the plastic sleeves containing the
Ever unfold a traced pattern, stare at the pieces, and realize you’ve forgotten pattern envelopes in notebooks, by gar-
what sort of garment it makes? Here are two tips for tickling your memory: ment type. In my Blouses and Dresses
notebooks, I sort the pattern envelopes
by sleeve length. If the pattern has
215 marylynn in long beach’s 216 Sherril miller’s visual clues. multiple options, I file it by the garment
system. If I’m drafting a pat- When I traced a pattern from a style that attracted me.
tern, or significantly changing/morphing pattern magazine, I later had trouble • It’s so cool to pull out the notebook
a commercial pattern, I assign the new identifying the pattern. So I started trac- and reference my collection in an easy
pattern a number based on that day’s ing the line drawing of the garment onto manner.
date. For instance, the pattern number each pattern piece. this helps me imme- —KarmenG
for June 1, 2009, is 060109. If I happen diately identify which pattern the pieces
(rarely) to make more than one pattern belong to.
in a single day, I add a hyphen and the
ordinal for that pattern. Example:
060109-1, 060109-2. I put that number
on every piece. Each pattern is stored in
a gallon-size Ziploc bag and may include
a sketch or written description.
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make a digiTal paTTeRn CaTalOg
217 I use Picasa Web albums (Google 218 I carry around an electronic 219 I made an electronic version of
pictures) to organize my patterns catalog of my patterns in my my pattern wish list/catalog, so I
online. I find a picture of my pattern or Palm Pilot. It might take an hour at first to could refer to it more easily in the store
scan my copy and save the photo to my add 50 patterns to your catalog, but only a from my PDA. Here’s what to do: Install
Google photo album. Each photo is identi- few minutes later, when you’re just adding CutePDF, a shareware program, on your
fied by the pattern name; then I add info recent purchases: computer; this allows you to convert doc-
about the pattern, indicating whether it uments to PDF files. there’s a free version
• My catalog uses images downloaded
has been cut, cut apart, if I have made it, on the site. Open your wish list or catalog,
from the pattern manufacturer’s Web
and any changes I made. this lets me and select the print version. Select Print,
site. I pull the cover image plus the dia-
browse my patterns easily. or Send to Printer. When the menu opens
grams, which are organized by garment
—1handfull to select a printer, select CutePDF. Pick
type in folders within the Palm’s photo
the directory where you want to save the
album software.
PDF version and select Print.
• The images are also on my desktop, so
the program will create a PDF version
this process functions as my at-home
of your catalog and save it in the directory
pattern catalog, too.
you chose. Move it onto your portable
• I also copy the yardage requirements for
electronic gadget, and you’ll have it handy
each into a separate text editing file.
when you are in the store. If you already
• My physical patterns are organized by
have the Adobe Professional you can use
pattern number, regardless of manufac-
that to the same effect.
turer, so it takes only two seconds to
—kkkkaty
find one after I spot it in my electronic
catalog. Deepika adds: there is various free soft-
—J-Girl ware available for creating pdf documents;
search online if you do not have any.
find The pieCeS yOu Really need
220 When you fold up your pattern 221 If you have a favorite sewn item
222 Some accessory patterns have up
pieces for storage, make each to make from a particular pat-
to six items in each envelope,
fold so that the words identifying the tern, fold the parts that you use with the
often with several small pieces per item. I
piece (e.g., “sleeve”) face up. this silly tip instructions around them, separately from
separate out the pattern pieces for each
has actually saved me more minutes than the ones you don’t use, and slip them into
accessory item and put them in a quart-
I’d like to admit. the envelope. You don’t have to take out
size freezer bag, writing the item name on
—bkool EVERY pattern piece to find the few you
the bag’s white strip. these quart bags,
actually use!
the instructions, and the envelope all go
—Janie Viers
into a gallon Ziploc bag. this keeps the
small tissue pieces safe, and I can pull out
exactly what I want to make.
—redsquid
CReaSe-fRee paTTeRn STORage
223 When I don’t want to put a pat- 224 the local copy shop gave me 225 After ironing my pattern pieces, I
tern away in its envelope, I pile some of the rigid, black card- hang them to keep them wrinkle-
all the pattern pieces, with the smallest board tubes that blueprint paper comes free while I’m working on the project. I
ones on the top of the pile and the largest in. these 36" (91.4 cm) tubes are about the run an 8" (20.3 cm) piece of string through
on the bottom. then I lay a long gift-wrap same width as pattern pieces. After iron- the two handles of a large binder clip,
cardboard tube on one end of the pile and ing the patterns flat, I roll them up and tying the ends to form a loop. I clip on the
carefully roll all the pieces onto the tube. I slide them into the tubes for storage. pattern pieces and hang the loop over a
secure the wrapped pieces with an elastic Bonus: no re-ironing the pattern. hook or tack it to a cork board.
band, label the outside piece, then slide —Mary Reed —meanjean
the cardboard tube out for reuse. I store
the rolls of pattern pieces on a shelf.
—Elaine Dougan
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Keep thread tidy
People who don’t sew may think thread storage an odd thing to obsess over, but
hunting through disorganized, unwinding spools and bobbins of unknown con-
tent can spoil the pleasure of a good sewing session (or anyway, delay it). Pat-
ternReview.com members prefer their threads to be neat, with bobbins attached.
Join them.
ReCORd The ThRead id
226 to keep bobbin thread from 227 the gadgets for linking a spool of 228 When I pierce the spool on my
unwinding, I tape the thread end thread to its matching bobbin thread-holder, the little label
to the outside of the bobbin and write the don’t work well for me because putting gets destroyed. I replace it with a rein-
number of the thread color on the tape; things back where they belong is not my forcement ring and write the color num-
masking tape works very well for this. I strong point. Instead, I label bobbins with ber on the “O” with permanent ink.
only use one brand of thread, so I always reinforcement rings for notebook paper. I —Rhonda in Montreal
know which thread spool matches which write the thread brand/type and the color
bobbin. If you use more than one brand, code on the ring before sticking it on the
figure out a coding system so you’ll know bobbin and position the ring so its hole
which spool is which. lines up with the one on the bobbin.
—Robie Kentspeth Check first to make sure that the rein-
forcement won’t be peeled off by moving
parts on your machine.
—Karla Kizer
keep SpOOlS & bObbinS fROm unwinding

Write on the bobbin
Two PatternReview.com mem- 231 Commercial bobbin keepers, 233 to keep bobbin thread from
which prevent bobbins from los- unwinding, wrap a small piece
bers use Sharpie pens to label ing their thread, are expensive and I never of Glad Press’n Seal around the bobbin,
their bobbins: seem to have enough. I bought a length of making sure to overlap and press securely.
plastic aquarium tubing (15mm or about the food wrap is easily removed when you
229 Oopsy-daisy! says: For 5
/8" outer diameter). I cut off little rings, want to use the bobbin and can be reused
colors that you use often,
cut the side of each ring open, and then many times.
write the thread color number with a
slip the ring around the thread on the —Lizz
Sharpie marker on clear plastic bob-
bobbin. I actually like these better—they
bins. I have five colors of navy that are
are softer as well as cheaper and don’t
slightly different and, when sewing
crush the thread on fuller bobbins.
late at night, it’s hard to match up an
—Astrostitcher
already-wound bobbin.
230 leslie in austin adds: On 232 there are no more tangled

threads in my thread box. When
metal bobbins, the Sharpie
finished with a project, I wrap the thread
marks are removable with rubbing
back onto the spool, wrapping it over my
alcohol.
thumb a few times. this creates a little
gap. I poke the end of the thread through
this loop and tighten it.
—Beth Pierce
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ThRee ThRead RaCkS, One TRay
234 My thread storage unit cost only 235 I built a sturdy rack to hold coned 237 I mounted thread racks on over-
$10. I bought an unfinished thread from pegboard and dow- the-door hooks. to keep the
wooden shelf on sale, stained it yellow, els. I used a Dremel to cut the dowels and spools from slipping off the rack, I cut
and hot-glued white plastic spool holders glued them on a slight angle. plastic straws approximately in thirds and
on it. If you want to make a holder for —Diane Slade Inc used them as dowel extenders. Eureka!
serger thread, buy a larger shelf. —Patti B
—Clev 236 Small spools of embroidery
thread fit perfectly into a kitchen
drawer cutlery holder.
—Mary Stiefer
STORe The SpOOl wiTh iTS bObbin COnTain yOuR bObbinS
238 there are handy little plastic 239 the old wood trays printers 240 Cocktail ice cube trays are the
gadgets that snap a bobbin to once used to hold lead type are perfect size for bobbins. the
the top of a thread spool to keep them divided into compartments, each the trays stack and can be labeled for easy
together, but this trick is fast, really perfect size for storing a slender thread identification.
cheap, and works just fine for me. Loop a spool and its matching bobbin. they're —Lizz
rubber band through the bobbin, then generally easy to find at flea markets. If
wrap it around the thread spool enough you hang them so the long dimension of 241 I store my bobbins in metal AOL
software boxes. the boxes are
times to keep it secure. the rubber band the compartments is vertical, you can rest
very shallow, so the bobbins fit in a single
keeps the bobbin thread from unwinding, the spools on the horizontal dividers and
layer in the box; the lids are marked to
but I still have to secure the spool thread top each with its bobbin. this makes a
indicate thread colors. I also keep a box
in its little keeper. pretty display and it's so convenient.
just for empty bobbins.
—Diana M —donna mel —Robie Kentspeth
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Keep notions tidy
By nature, long and skinny ribbons, elastics, and even zippers are chal-
lenging to store. But tangled trims aren’t nice—even if you can find the
one you want, it might be crushed, twisted, and hard to use. And while
the idea of a button box is romantic, you’ll be happiest if you can tell at
a glance how many of each type you’ve got. Try these tips to keep your
trims accessible and in good form.
gROup by Size, Type, OR COlOR
242 My grandmother was a very 243 When I see a good sale on 244 Storing all the zippers I bought
efficient seamstress. At the end buttons, or some that are unique, on eBay had me stumped, until I
of a project, she strung the unused but- I buy them in sets: usually six to eight for got the idea to put them over hangers so I
tons through a safety pin. Sometimes she shirts, four for jackets, plus smaller ones can see what I have. All my zippers are the
bent the pin to accommodate the diam- for the sleeves. I keep track of them in an same length and are sorted by color, but
eter of the buttons. On pins, the same old hanging jewelry organizer. Jacket but- zippers of different lengths could be
buttons all stay together. Keeping them tons go on one side and shirt buttons on stored by length instead. I secure each
on the papers they come with takes up the other; buttons are separated by match- bunch with a twist tie.
too much space, and dumping the loose ing groups and/or colors and put in the —MelissaB in WA
ones in a can makes it really difficult to individual pockets. I only use this method
find all the matches. for carded or specialty buttons: bulk but-
—meanjean tons go in food storage bags in a drawer.
—Nancywin
RibbOnS aT The Ready Tangle-fRee elaSTiC and laCe
245 the “ribbon stick” holding all my 247 I love using clear elastic but have 248 Several yards of loose stretch
ribbons reminds me of those I often thrown the whole jumbled lace or smaller elastic can make a
saw in a cheerleading movie. I wrap indi- mess away because I couldn’t find the end bit of a mess. After I find a free end, I put
vidual ribbons (single width) around empty and it seemed stuck together. My new the rest into a plastic bag—zipper top or
wrapping paper rolls and tack each end in supply was in danger of heading down the twist-tie types both work. Leave the free
place with pins from store-bought clothing. same path, until I gave it some thought. I end sticking out of the bag so you can find
—celeste threaded the end through a plastic drink- it. Don’t pack too much lace in a bag as
ing straw; then put the wrapped elastic, this will keep it from feeding out easily.
246 I use metal plant hangers to
threaded through the straw, into a Ziploc —Kathy in NM
store all those rolls of gorgeous
bag with the straw sticking out a little.
wired ribbon that I can’t resist buying: I
Now I pull out what I need and store the
loop the rolls through the long, hooked
bag in my elastics treasure box.
rod of a plant hanger, which I then hook
—sewingripper
on an upper shelf. When I need a length of
ribbon, I unroll it from the stack or take Deepika adds: See Chapter 4 for tips on
down the holder, lay it horizontally, and using clear elastic.
measure off what I need.
—granny geek
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M a s t e r C l a s s w i t h Sa r a h V e b l e n
Secrets for Sewing Knits

Whether it’s a T-shirt or a ball gown, if Sarah Veblen
makes it, the sewing will be flawless. A custom
fashion designer with a home-based business in
the Baltimore metropolitan area, Sarah is always
busy teaching, creating clothing for her clientele,
and writing in several venues. One of her many
areas of expertise is sewing knit fabrics. Here
she shares some techniques for working with
knits, demonstrating the key steps for designing
and making her hoodie dress with flounces. Visit
sarahveblen.com to learn more about Sarah, her
classes, Web store, and newsletter.
“W hen sewing with knit fabrics I like to uti-

lize a pattern I have already developed. This way I
know that the garment will fit, or at least be close
since each knit fabric is a little different. I wanted
this dress to look like an elongated hoodie, but
with some interesting details to give it pizzazz
and to make it just a bit girly. I envisioned the sil-
houette as shapely rather than loose and baggy.
To solidify these ideas, I drew a quick sketch
and quickly saw that I could start with my basic
T-shirt pattern. I tested and modified a
hood pattern to get the shape I wanted
in my chosen fabric.
”
Master Class with sarah Veblen 37
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Choosing a suitable knit
There are so many wonderful knit fabrics—and if you’ve ever sewn them, you know the structure of the knit, the weight
of the yarns, and the way the fabric stretches all affect the shape and fit of the garment you make. Take time to analyze
a knit before using it, and test your pattern: this isn’t difficult, here’s how.
Selecting patternS and fabricS
Patterns for knits are sized differently from from the same type. (To test the give weight and thickness of the fabric. The knit
patterns for woven fabrics, since the amount or stretch of a particular knit, refer to needed to be thick enough so that I would
of wearing ease is dependent on the degree Assessing Knit Fabrics below.) feel sufficiently covered when wearing the
of give or stretch of the knit fabric. I use Since I was using a familiar T-shirt pat- dress, and it needed to have enough body
these two words to mean different things: tern for my hoodie dress, I knew how much (structure) so that it would hold its shape
All knit fabrics have inherent “give” resulting give the knit fabric for the body needed to and not cling to my body.
from the way the knit stitch is formed. I use have. And because the hood and flounces are In order for the dress to make sense visu-
“stretch” to convey that the fabric contains really just decorative elements and do not ally, I wanted to use the same fabric for the
spandex—this is what is meant when a pat- affect the fit of the garment, I knew I could hood and the flounces. The hood could be
tern calls for “stretch knit” fabric. This is why use a different knit for them. just about any knit fabric, so I made sure
it’s important to develop and fit a pattern While the amount of give of the fabric for I selected a fabric that would make really
with a certain category of knit fabric in mind, the body of the dress was dictated by the nice flounces: it needed to be a bit soft and
making the mockups and finished garments pattern I had chosen, I also considered the drapey.
Assessing knit fabrics

Learning to assess knit fabrics will increase
your confidence—and your success rate—
when making knit garments. The process
shown is a good way to assess the amount
of give or stretch in a knit fabric. If you per-
form the test on a number of different knit
fabrics, you’ll see they differ quite a lot.
This assessment demonstrates how
much knits can vary, which in turn illus-
trates how the amount of give or stretch
can affect sizing. For example, if you made
the same T-shirt pattern in each of the 1. Fold the knit fabric along the cross grain, 2. Now, keeping one hand in place, gently
fabrics shown in the test photos, the shirt grasping the fabric between the thumb pull the fabric with the other hand, not-
made in the interlock knit, which is the and forefinger of each hand, and leaving ing how much the fabric easily stretches.
more stable of the two, would be tighter a 2" ( 5.1 cm) space in the middle. Don’t pull or stretch the fabric to its
than the one made in the rib knit. max—just to where it comfortably
expands. These photos show a rib knit
(top) and a stable interlock knit (bottom)
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Mastering the construction
Whether you plan to make a garment similar to my hoodie dress, or something different, the techniques I explain here cover
the basics needed for assembling almost anything in knit fabric. I think you’ll find them versatile and easy to adapt.
dReSS bOdy TeChniqueS
1. I like to use my serger in a 4-thread con- • Using a cover stitch machine; this stitch
figuration for many of the seams of knit has built-in ability to stretch.
garments. However, a serger is not neces- • By hand using a catch stitch; if the
sary when working with knits. In fact, I catch stitch is loosely worked, it will
like to sew shoulder seams with my con- have the ability to stretch just a bit.
ventional machine so that I can press the • Using a serger and a rolled or narrow
seam allowances open, thereby balancing hem setting; both of these stitches will
their weight. stretch.
• Using a conventional machine and a
2. Pin the sleeves to the garment and serge
zigzag stitch setting; even a narrow
construct with a 4-thread configuration.
zigzag stitch enables a stitch to stretch
On many knit garments, this method of 3. Serge construct the underarm/side seam
a little. this is the method I chose, first
“flat construction” (versus setting in a tra- of the garment and press toward the back.
serge finishing the raw edge with a
ditional sleeve) usually works well. I use
4. Hemming the lower edge of the garment 3-thread configuration, since the bot-
5
/8" (1 cm) seam allowance, but it’s fine to
could be done in a number of ways (and tom flounce covers the stitching.
use any seam allowance you prefer. Press
may be done before or after you attach
all seam allowances toward the sleeve.
the flounces):
hOOd TeChniqueS
2. to sew the center back seam of hood, I

used my serger with a 4-thread configura-
tion, but a cover stitch could also be used.
3. to hem the hood and form the drawstring
channel, I used a straight stitch on my
conventional machine. to prevent the
fabric from being stretched out of shape
while stitching, reduce the pressure
on the machine’s presser foot. If your
machine does not have this capability, try
1. First make the buttonholes for the draw- a walking foot or roller foot. 5. After inserting the drawstring in its chan-
string. A small piece of silk organza is the nel, I set my conventional machine to a
perfect stabilizer for perfect buttonholes 4. to attach the hood to garment, I used my short straight stitch and stitched-in-the-
in knits. Because my hood fabric was so serger with a 4-thread configuration. ditch of the center back seam, just across
stretchy, I first applied a thin, stable fus- the channel, to prevent the drawstring
ible interfacing and then pinned two lay- from being pulled out.
ers of silk organza in the buttonhole area.
Cuff TeChniqueS
1. to make the cuff, use a straight stitch (no 2. For maximum control, baste the open
stretch needed) on your conventional edges of the cuff together using a zigzag
machine and then press the allowances stitch so the cuff will stretch. Divide and
open. then fold the cuff in half, right side mark both the cuff and sleeve opening
out. into quarters.
(continued)
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4. For maximum control, machine or hand
baste the cuff to the sleeve opening,
stretching the cuff as necessary. Then,
with the cuff oriented in the serger as
shown, sew the seam using a 4-thread
configuration.
5. Stitch over the beginning stitches for
about 5/8" (1.6 cm), then serge off the
work, leaving a long thread tail. Using
a blunt needle, pull the thread tail into
3. Turn the sleeve inside out. Insert the cuff serged stitches and clip.
into the sleeve, aligning the cut edges
and matching the pins. Pin together.
Flounce techniques
1. Refer to Deepika’s tip #272 for making a 3. To pin the flounces to the dress, mark
flounce pattern on page 46. Making one the center front and center back of each
or two mockups will quickly tell you how flounce and of the garment. Pin the
much fullness looks the best to your eye. flounces in place, right side down on the
Decide how many flounce tiers you want garment with the flounce hemline toward
and choose the length of each. the garment neck.
2. To join the flounce sections (the side
seams), use a conventional machine so
the seam allowances can be pressed open
in order to control bulk. Sew the sections
of each tier together before attaching to
the garment or hemming.
4. To sew on the flounces, I chose a 2-step 5. To prep the flounce for hemming, stay
zigzag stitch, which secured the seam stitch across the side-seam allowances
allowance well, and has built-in stretch, at the lower edge. This will prevent the
preventing popped or broken stitches allowances from flipping over when you
during wear. But a cover stitch could also stitch a rolled hem.
be used.
6. To hem the flounce and enhance the wavy
effect, use a rolled/narrow hem setting on
your serger (I used a 3-thread configura-
tion). Stretching the fabric while stitching
will produce extra waviness or lettuce
leafing: the more you pull, the more pro-
nounced the lettuce leafing effect.
The hoodie dress is just as fun in fresh blue

Here is the finished flounce. and white as it is in pink.
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CHAPtER ThRee
Design &
Pattern Prep
“ Love to design, hate to sew, love

results. Have an enormous stash that my
kids think should go. We haven’t downsized
”
yet, so I think my stash has wonderful
possibilities.
—filichirp
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Start with inspiration
Absolutely, a truly custom wardrobe is one of the best things about sewing—
the best for some of us. Figuring out what we want to sew is sometimes easy
and enjoyable, but other times it can be difficult to think through the details or
visualize the results. Here are tips to help you indulge your creativity.
Find your Fashion inspiration at discoVer discontinued

patterns
249 your screen saver. I was fooling 252 a custom storyboard. I put
around on my computer the together a storyboard of the 254 The sewing pattern companies
other day and, having no idea how much it patterns and garments I plan to sew. I can reuse their pattern numbers. So,
would inspire me to action, saved a pic- see at a glance what will go with what. when you are searching for an older pat-
ture of a pattern illustration as my moni- The board is taped to the wall in my sew- tern by its number, you need to know
tor background. This is very easy to do ing room where I can see it. I can’t draw so when it was printed or a description of the
and to change (consult your operating I copied the line drawing for each garment item so that you can find it. Simplicity
system help menu for how to customize from the pattern company Web site and 1234 could be a dress one year and a few
the monitor background). I plan to change then put them into a Word document (you years later it could be a shirt pattern. If I
the picture as I work on different proj- can use many different programs to work can’t locate a discontinued pattern
ects—it makes me find time to work on with the images). I resized each drawing through a Google search, I try an
whatever I’m sewing. A new definition of to the size I wanted and then traced it by advanced eBay search:
“nag screen.” hand, making design changes when I • There is a trick to search for sewing pat-
—LaurieEm wished. Then I just glued my fabric terns on eBay: Enter the pattern brand
choices to the paper. and number and then check the box
250 Get Lucky! The magazine,
—Sherril Miller labeled “search title and description.” If
people!  Seriously, Lucky is one
the item is on eBay, you should be able
of the best sources for the latest fashions 253 tV fashion programs. My hus-
to find it that way.
and trends that translate into great sew- band and I recently invested in a
ing ideas. Close-up photos, similar styles high definition, large, flat screen TV and • eBay has a feature for buyers called I
(skirts, tops, dresses) grouped together, the HD satellite programming to go with Want It Now. You can put your wish list
with fabric types, etc. It features up-and- it. I think I have died and gone to heaven. there. Tell the sellers what pattern brand
coming designers too. It’s my favorite Instead of being the front row seat to the and number you want, of course, but
inspiration source for making my sewing NFL, it has become, for me at least, a win- also identify the kind of garment it is
projects more like ready-to-wear. dow into the world of couture. It’s a win- and the size you are looking for.
—Oopsy-Daisy! dow far clearer than anything I have —oldpatterns
enjoyed on the Internet. To see the mov-
251 online ready-to-Wear sites
ing clothes on a live body with the detail
When I can’t quite visualize how
of high definition photography is just
a design element or type of fabric will
amazing. So if hubby is claiming he needs
look, I use the search feature on the online
one of these to watch football, agree all
sites that sell RTW to get examples. Of
the way. Better yet, just go out and buy
course this only works if they’ve used the
one for yourself. You will be glad you did.
term in describing the item, but give it a
—solosmocker
try. For example, I wanted to compare
how plaid looks on garments when on the
diagonal vs. horizontal/vertical. I simply
typed in “plaid” and browsed the inven-
tory. Many “brick and mortar” stores have
online sites, so even if you could never
afford to shop in them, you can browse
their inventory for ideas.
—LoriB
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SkeTCh iT fiRST
255 Remember those paper dolls you labels, etc. I know it’s messy, and if you 257 If you have Photoshop or Photo-
used to play with when you were sew in your dining room this may not be shop Elements, you can combine
little? Well, this way of capturing fashion possible, but I love having all that inspi- a photo of your fabric with the line draw-
inspiration is kinda like that . . . ration around me as I sew. Sometimes ing of your pattern:
I just look around the room and marvel
• Make a design template: Trace a lady’s • To do this, open your fabric photo in
at the amazing details those talented
figure, front and back views. I traced one Photoshop. Make it an appropriate size,
designer types come up with.
out of the Vogue catalog. Photocopy it. which will usually mean downsizing
—Helen near Sydney
Zoom it to get several different sizes. Or it (you don’t want the fabric texture/
make a croquis of yourself (see the tips 256 When I start getting creative design to be huge on your line drawing).
on page 47). with a new pattern I try out ideas • Then select a square of the photo or the
• Every time you see a design or design on the line drawing provided on the swatch, go to the edit menu and choose
detail that you absolutely love, race instruction sheet: I make a photocopy of ‘define pattern.’ this will make your
home and sketch it onto one of your the drawing, increasing the size as much fabric appear as a pattern in the paint
photocopied templates. as possible, and then make a number of bucket pattern collection.
• Jot down a few notes to remind you copies to play with. I sketch patterns from • Now open your line drawing in Photo-
where you saw it, why it caught your possible fabrics like stripes, flowers, etc., shop, click on paint bucket, select “pat-
eye, the fabric, the color, etc. Design or possible embellishments. Or I draw tern” in the fill field, select your fabric
ideas can strike at any time—walking changes or modifications I’m considering. and “paint bucket” your line drawing.
down the street, at the movies, cruising this is a good preview that helps me make Kind of like dressing the paper dolls we
RtW—so BE PREPARED! design choices. the line drawing is much used to play with as children.
• Affix the drawing to your sewing room more accurate than the fashion drawing —franticfashion
wall. I loosely separate the sketches into on the front, which is usually elongated
tops, skirts, etc., and put them up along- and stylized.
side magazine clippings/postcards/ —marycds
Clone RTW favorites

Here are two approaches to taking a pattern from a garment you love to wear.
258 liana’s method. If you want to • Lay a piece of paper on top of a surface 259 janie viers’ method. I had a
quickly copy a simple garment, such as a cardboard cutting mat. blouse that fit like a dream. I
it’s easy to do using a needlepoint trac- • Place your garment to be copied on wore it to death. I loved it to death. I
ing wheel. (the type with longer, very top, and run the tracing wheel around washed and ironed it and took it apart
sharp points that will pierce fabric.) this the edges of one piece, through the and compared the pieces with many pat-
is a quick method that will give you a seams, etc. the points will go through terns that had come up lacking! then I
“close enough” pattern for things like into the paper, marking the seam lines. adapted the closest one to reflect the
nightgowns, t-shirts, PJ pants, etc., and • Write the size and a description on the lines of my perfect shirt. If you have
can be very handy as a starting point for tracing so you’ll know what it is in the panties, pants, tops, or dresses that have
making a garment without a commercial future. bitten the dust, use them as the basis for
pattern, or for copying details to add to altering commercial patterns so you can
another pattern: have them live on forever. An item has to
be really unwearable for me to feel free
to pick it to pieces, though!
DeSign & pattern prep 43
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CleveR ReviSiOnS Change The lOOk
260 faux two-piece sleeve. Here’s a • First draw a line parallel to the length- 261 Reversibles. I have found during
way to shift the seam of a one- wise grain from the notch on the back of my short year of sewing that
piece sleeve toward the back, so that the sleeve cap to the bottom edge; cut many items may be made reversible! try
when viewed from behind, it resembles a the pattern on this line. sewing two skirts together, a jumper, or a
two-piece sleeve. Why would you want to • Transfer the cut-off section to the oppo- sleeveless top! All can be made reversible
do this? 1) Less bulk at the underarm. 2) I site edge of the pattern, aligning the by simply sewing the right sides together
think doing a placket is much easier if the two underarm seamlines. and leaving an opening for turning. I like
sleeve is seamed this way; you can even • Add seam allowance to the new vertical to topstitch to keep pieces neatly in place.
sew the cuff on while the sleeve is flat. edges (and to the rest of the pattern if —shesflipped
Please, please make a muslin to make sure necessary).
Deepika adds: Make that nearly all.
you want to use this technique before —blue mooney
But she’s right, omit facings and hems
cutting into any good fabric! Follow the
Deepika adds: this puts the vertical and make two garments alike, then sew
drawings below to make the change:
edges on different grain lines—watch for together along the perimeter. think
interesting effects with vertical stripes through how you’ll handle armholes or
and think twice about using with plaids or wrists, or pants hems: you can’t turn a
horizontal stripes. “donut” through an opening in the perim-
eter if the center is closed.
262 d.i.y. dolman. I saw a cut-on

sleeve on various RtW tops and I
liked it, plus it makes a knit top even eas-
ier to sew, as there is no sleeve to set into
the armhole. How did I draft it?
• I began with a knit top pattern that fits
me. I folded the sleeve in half lengthwise.
• I laid the bodice front pattern piece on
my table. I lapped the folded sleeve pat-
tern on it, aligning the seamlines (not
the cut edges) as follows: I matched
the top center of the sleeve cap to the
intersection of the armscye and shoul-
der seams, and matched the top of the
underarm seam on the sleeve to the
top of the side seam on the bodice—as
shown in the drawing at bottom left.
• Then I traced the perimeter of the
overlapped pieces to make a new front/
sleeve piece, adding seam allowance
to the folded edge in the middle of the
original sleeve pattern.
ve. • I did the same process to create a new
f slee
er o back/sleeve piece.
cent
nce to • I compared the results with one of my
wa
m allo RtW tops and it’s exactly the same
sea
Add shape, so I must have been doing it right!
—LauraLo
263 adjustable T-neck. For years I

have tried to make a decent tall
collar (like a turtleneck) on a t-shirt. At
last I have found a method that works for
me: I attach the bottom edge of the collar
to the neckline in the normal way, then
instead of folding down and attaching the
top edge, I just leave it free. When I wear
the shirt, I fold the collar to the inside and
can make it taller or shorter as I please.
—regine
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mORe CleveR ReviSiOnS
the jacket itself, but just in the lining.
264 facings to the outside. Neckline 266 Consider cutting your facing And it went from side seam to side seam,
and armhole facings don’t always from a contrasting fabric to add just in the back and the tie part was in
have to go on the inside of a garment. emphasis. the middle back and came through a but-
they can be used on the outside as a dec- tonhole. Similar to what you see on draw-
orative feature of your project—this won’t 267 For added zip, finish the facing
string pants. I thought this was a neat
edge with a flatlock stitch in
change the facing’s function as an edge idea for cinching in a boxy jacket without
pearl cotton thread or with piping.
finisher and stabilizing element. But all losing any of the style.
the world will see it! Use interfacing in a —ShereeSews
—SueV
compatible weight for the fabric as usual.
Sew the facing right side to the garment 268 Cinch the back. I saw this
Deepika adds: If you want to try this, add
recently inside a jacket at
wrong side, trim and clip the seam, and the casing and drawstrings before you sew
Anthropologie and thought it was a great
then fold the facing onto the right side of the lining fronts and back together so you
idea. It was a casual boxy type jacket, but
the garment. can secure the drawstring ends in the side
on the inside, in the back lining, at the
seams.
Following are a few things to consider waist, there was a narrow casing with a
when reversing your facings. drawstring to cinch in the waist lining as
much as you want. the casing was not on
265 Do you like the shape of the
facing? If not, try reshaping the
outside edge.
Eliminating the side seam on pants

No-side-seam pants are fast to make; if you don’t have a pattern, follow these tips to convert your favorite casual pants pattern—
you’ll have to omit any in-seam side pockets.
269 deepika’s straight leg 270 kim winson’s tapered take. • I trimmed the excess fabric after I
version. I am a lazy sewer so I the credit for this tip goes to sewed the dart. I really enjoyed doing
decided to convert my favorite yoga the fabulous ladies at PatternReview. this pattern modification. And my jam-
pants pattern to a no-side-seam pattern com. I wanted to convert a pattern for mies came out very nicely.
to make it even quicker! I was able to regular jammies to one seam—meaning
make these pants in less than an hour combine the front and back pattern
including the cutting time! You gotta pieces to eliminate the side seam. I just
love that. this is how I did it: couldn’t figure out how to add a taper to
the legs. Here’s what I learned:
• First I straightened the front and back
pieces by drawing a line parallel to the • Lay the front and back pieces side-by-
grain line from the point where the leg side on a pinnable surface; overlap the
began to flare to the hemline. Grain seam allowances at the fullest part of
line is very important for this. the hips and insert a pin through the
• Then I placed the front and back side- seamline at this point.
by-side, overlapping the side seams • Next overlap the pieces at the hemline
slightly (the crotch curves faced out). to create the taper you want—the pin
there was a gap at the top, where the at the hips allows the tissue to pivot at
hip curves. that point. A crazy huge gap will open
• I taped a piece of tissue paper under at the waistline.
that gap—it became a curved dart. So • Trace this new shape to make a new
later, when I stitched the pants, I had pattern piece. Draw a straight line
a nice hip curve without a seam on the across the bottom of the leg, between
sides! the inseam edges. Draw along the side new
straight
• To finish, I straightened the hemline, seamlines of that gap at the waistline grain
which became distorted when I aligned to mark a big dart. From the bottom of line
the side seams. this dart, draw a line perpendicular to 90°
new hemline
the new bottom edge. this is the new
straight grain line.
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deTailS TO dRafT
271 I love making knit tees like the circle or even a half circle. Because the and add seam allowances to the other
beautiful ones that run $50-plus top edge of a flounce is not gathered like edges. then cut out the pattern.
in ready-to-wear. I have found that I can a ruffle, all the fullness is created when • That’s it! You have your flounce pattern.
redesign the neckline shape easily with you spread the rectangle. the more you Cut from fabric, sew to your garment,
waxed paper. It’s fun to get creative and spread, the more the flounce will drape and you’re done.
try different shapes: and flute. tape the fringes down. —Deepika
• Cut a piece of waxed paper large enough • Now trace the pattern onto tissue paper.
to span from shoulder to shoulder. Smooth out the curves if they aren’t
• Draw a line perpendicular to the “shoul- neat, mark one short edge “cut on fold,”
ders” down the center with a Sharpie—
this is your center front line.
• Fold the paper in half on the line and cut
a 4" (10.2 cm)-deep wedge out at the top
to create room for your neck. Unfold.
• Press the waxed paper against your col-
larbone area—it will stick to your skin if
you wear only your bra.
• Stand in front of mirror and with the
Sharpie, draw a neckline shape you like.
If the paper isn’t smooth, clip it more at
the neckline area. Mark the top of the
“shoulder seam” at the base of your neck
on each side.
• Transfer the shape to your pattern.
Remember to add seam allowances.
—ryansmum
Deepika adds: to be more accurate, you
might want to trace your original pattern
neckline, shoulders, and armscye onto the
waxed paper first.
wORk yOuR STaSh lOOk aT 3d exampleS
272 A flounce—a ruffly looking piece
used at the bottom of a skirt or
sleeves—is one of the easiest things to 273 I often use older patterns, but 275 When thinking of sewing a new
draft from scratch. Being able to do so end up altering them for a more style, particularly a time-con-
enables you to create quick patterns and up-to-date fit. Even the slightest change in suming item, try on a ready-to-wear item
pattern modifications. Here are easy steps neckline can make the difference in how with a similar cut and detail to see if you
for creating a flounce. Once you’ve read en vogue something can look. Look at new like it on you. You could save yourself
them, make a muslin sample to see how fashions and patterns with a close eye and doing hours of work done only for disap-
this works. note design changes; then incorporate pointment.
them on older, similar ones if you don’t —KathleenS
• Measure the edge (all the way around want to buy new.
the skirt hem or sleeve) to which you —Nancywin 276 If you have pattern drafting soft-
wish to add the flounce; divide this ware, (I use My Pattern Designer),
measurement in half. this is half the top 274 For those of us who are fabric- and like to experiment, you can print your
edge of the flounce. and pattern-addicted and have pattern at one-quarter size and then cut it
• Decide how deep you want the flounce mountains of both everywhere: DO NOt in fabric and put the pieces together to get
to be (from top to bottom). FEEL GUILtY, BAD, OR OUt-OF-CON- an idea of how your creation will look.
• Draw a rectangle of these dimensions tROL. You do not have too much in your —PattyPrice
on scrap paper. On it, draw lines at half- stash—you have lots of choices! You do
inch intervals parallel to the ends. not have to sew every pattern or piece of 277 I learned this tip way back when:
When selecting patterns, look for
• Cut the rectangle on the drawn lines fabric purchased. You get to cherry-pick
ones with the finished garment shown in
but stop just before you reach the top the best and eventually you will pass
photographs, not drawings. Often, the
edge—you’re creating a sort of fringe. along anything not selected to some lucky
drawings are how the designer HOPES they
• Place the paper fringe on a larger piece person—which counts as a good deed.
turn out and not how they REALLY are.
of paper. tape one end down. Now move —ryansmum
—Phoebe
the top edge in an arc, spreading the
fringe apart. Spread to create a quarter
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zip deTail fOR SkiRTS ChiC CheaTS fOR kidS
278 I made a very tapered, calf- 280 I love sailor-style button-bib 281 If you’re sewing for a little girl
length skirt to give a slimming front pants for children. How- and are in a hurry or haven’t yet
look to an outfit with a wide jacket. ever, they’re cumbersome for small fry to mastered collars, set-in sleeves, and fac-
Although I made a muslin skirt first, I manage, especially in the bathroom, and ings but can make a skirt, then take this
never thought of testing it in the ladies’ also require a lot of work for something so shortcut to an “advanced” design. Buy a
room. When I wore the skirt I discovered I quickly outgrown. I get the same look with RtW denim shirt (I got one in a thrift store
couldn’t lift it over my hips . . . So, the next NONE of the work by simply doing this: for next to nothing). Cut it off slightly
day I ripped out the back seam from the above your child’s natural waist. then cut
• Choose an elastic waist pants pattern
hem to 3" (7.6 cm) below the back zipper. a fabric rectangle for the skirt, making it
that has slant front pockets (not in-seam
then I put in an extra long invisible zip- about 2½ times longer than the bottom
or patch). Bell the pant bottoms slightly.
per—upside down. the problem of sani- circumference of the cropped shirt and
• Make the pants as directed by the pat-
tary stops is solved. I can close the zipper deep enough to create the desired length
tern instructions.
completely or leave a bit open for a walk- plus a hem. Gather the top (long) edge.
• Attach buttons along the slant edge of
ing slit. And I will never again forget to Pin and sew to the bottom edge of the
each pocket to mimic a button front. If
experiment in the ladies’ room. shirt. Presto! A fancy dress in next to no
you want it to look even more authentic,
—els time at all. Add a belt if you like.
sew (but do not cut) buttonholes along
—CharityAK
279 I was given a wool skirt a few the pocket edge before assembling the
years ago that has a really nifty pants.
detail. the skirt is lined and faced (no —CharityAK
waistband), and one side seam has a sepa-
rating zipper inserted the entire length
from hem to waist. the zipper is set in
upside down, so you can unzip from the
hem as far as you like for an adjustable Digital croquis for “Truth in Fashion”
side-slit. It’s a fairly basic, conservative
skirt otherwise—straight and knee-length, A croquis is a silhouette drawing of your figure—head to toe—over which
with an invisible zip at center back. the sketches of various garments can be superimposed so you can gauge how they
side-seam zipper, on the other hand, is the suit your shape. Digital cameras and photo editing make it easy to create one
kind you’d find in outerwear, heavier- that won’t lie to you.
weight with big plastic teeth. It’s a fun
look overall, and easy to copy. 282 franticfashion’s technique. 283 Tonya’s technique. A word of
—gabrielle I use the line/technical draw- warning: you won’t get a very
ings of patterns superimposed on my flattering image of yourself. I remember
croquis. If you are artistic, you can print the high school art teacher explaining
out your croquis and draw your designs that artists draw the human form eight
on top. there are various instructions on heads high rather than seven like we
how to make a croquis online (Google to really are because the change from 3-D
find them), but I made mine using Pho- to 2-D makes the form look shorter and
toshop: squatter than reality. that’s what I’m
comforting myself with at this point. But
• I took a photo of myself in my under-
if the design looks good on your croquis,
wear (that’s the scary part, I hope
it will look even better in reality, right?
no one ever gets a hold of this, lots
of blackmail potential!) and deleted • I had my husband take a digital picture
the background. I then ran the photo of me in my foundation garments (you
through a variety of Photoshop filters should have seen the strange look on
to get an effect that appealed to me his face with that request).
and looks good with clothing. • I opened the photo in Paint Shop Pro. I
created a new vector layer, and on that
layer I traced around my body shape
and added some style guides such as a
waistline and princess seamlines.
• I then deleted the picture layer and
was left with just the outline. I resized
it to fit on letter paper and printed out
a few copies to sketch with.
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Painless pattern prep
Multisize options to decipher. Trace it how and onto what? Seam allowance on or not? These are just a few of the chal-
lenges you meet before you even spread out your fabric and lift your scissors, let alone sew. PatternReview.com members
love, hate, or simply tolerate this part of sewing—whichever is the case, they’ve come up with smart ways to make it easy
and efficient.
favORiTe papeRS fOR paTTeRn TRaCing
284 For tracing patterns I have dis- 286 When I decide to make an item, I 288 Here’s an inexpensive paper that
covered a cheap tracing paper. I trace the pattern onto freezer works well for tracing: Butcher
go to the medical supply store in town paper. Because it’s coated, you can use a paper, which can be found at local restau-
and buy the paper that medical offices use Sharpie to trace the pattern without wor- rant suppliers or out-of-business liquida-
to cover exam tables. It’s about 21" (53.3 rying about the ink bleeding through. But tion sales. One large roll of this stuff will
cm) wide so it’s wide enough for most the best thing about this stuff is when you last you forever. White butcher paper is
pattern pieces. It’s also pretty transparent are ready to cut the pattern out, just iron thicker than tissue, pretty much the same
so I lay my original pattern underneath it the freezer paper pattern to the fabric! It weight as printer paper. Butcher paper
and then trace the lines. It’s fast, it’s easy, stays in place and NO need to pin. If you isn’t transparent, but is usually thin
it’s cheap: Maybe $5 for a HUGE roll that have a piece that has to be pinned with the enough to trace with providing you have
lasts forever. reverse side down, just trace it that way adequate contrast. (You can place a white
—cynthia w and you don’t have to worry about remem- sheet under the tissue, and then the
bering to invert it on the fabric. to store butcher paper on top. that usually pro-
285 I’ve started using pastel tissue
these patterns without folding, I just hang vides enough information for tracing
paper—the kind you have on
them on a clip-style skirt hanger. purposes.)
hand for gifts—for tracing patterns for
—Heidi H —twistedangel
interfacings. the colored paper is my clue
that I shouldn’t cut the piece out of the 287 I find greaseproof paper and
fashion fabric. (Yeah, I’ve done it . . .) this waxed paper to be a great tracing
system would also work for pattern pieces paper for small garments/ kids’ clothes
that should be cut out of contrasting fab- and crafts. I’m not sure if these come in
ric, or for lining pieces. different widths but if they do, they’d be
—Karla Kizer good for all patterns.
—Lou
Deepika adds: Greaseproof paper is a
food-wrapping paper not commonly avail-
able at retail—ask your local market if
they can source it for you.
adjuST lengTh pROpORTiOnally
289 I’ve struggled getting skirts to respectively. this approach can also be 290 I have three predetermined
the proper length for my petite used by tall gals to estimate how much to lengths for skirts I wear, based on
figure. trial and error in front of a mirror add: a 5'10" (177.8 cm) figure is 1.06 times my ready-to-wear garments. Knee-length,
works for some designs but if the skirt has as tall as a 5'6" (167.5 cm) model and would mid-calf, and ankle. I keep the dimensions
a separate yoke the yoke must be short- be suited by a skirt 1.75" (4.5 cm) longer noted in a file so I don’t have to measure
ened before assembly. One day I did the than the 30" (76.2 cm) skirt. my clothes every time. the result is always
math: At 5'2" (157.5 cm) I am 94% of the this method of proportional adjust- flattering, regardless of the length sug-
5'6" (167.5 cm) height of Burda’s design ment works well for skirts. For other gested in the pattern.
model. If a skirt is 30" (76.2 cm) long for garments, it provides a starting place for —Deepika
someone 5'6" (167.5 cm), the appropriate estimating the amount to adjust when
length for me would be about 94% of this, tissue fitting. I’m not a 94% scale every-
or 28.25" (56.5 cm). If the yoke and lower where: I tend to need more shortening
portion are 10" (25.4 cm) and 20" (50.8 between the waist and hip than between
cm), the correct proportions for my height the shoulder and waist, for example.
are about 9½" (24.1 cm) and 18¾" (47.6 cm), —Seamingly Simple
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The beST TRaCing TOOl iS . . .
291 Carpenter’s pencil. While trac- 293 China marker. I was getting 294 Serrated tracing wheel.
ing a pattern today, I made frustrated with pencils and (even Sometimes patterns have such
numerous trips to the sharpener in the worse) pens for tracing patterns onto trac- light ink that I can’t see the lines through
office. I know I need to get more exercise, ing paper, and felt-tip markers of course my tracing paper. Here’s what I do: I lay
but this was not the time. I found a carpen- bleed through. So the other day I tried out my freezer paper on top of my cardboard
ter’s pencil and tired it. WOW! No more a china marker. I was slightly nervous cutting mat, lay my pattern piece on tOP
frequent trips to the sharpener. No more about trying this, since the name in of the freezer paper, and trace around
sharp points to poke through the tracing French is mine grasse—greasy lead—so I with my serrated tracing wheel. the little
material. No more broken leads. Simply use tried it first on a scrap of tracing paper. teeth make a dotted line that is easy to
a utility knife to remove the wood to Not only was it not greasy, it didn’t smear see on the freezer paper. Using tracing
expose the lead, and then a piece of sand- even when I tested it by rubbing one piece paper in between works too, but this way
paper to refine the tip. I was able to trace of marked tracing paper with another you don’t have to lift your piece to reposi-
fine and bold lines easily. It worked great. piece. It’s also very smooth to write with, tion your tracing paper and risk moving
You will find these little gems at the local and—not that you would need this with your pattern.
home improvement store. paper!—waterproof. And it doesn’t seem —Sew it seams
—Talleymom to bleed through at all to the other side of
the tracing paper. 295 inked tracing wheel. I finally
292 Sharpie marker. Sharpie mark- figured out a way to trace Burda
ers are great for tracing onto P.S. these markers have a paper wrap- WOF patterns that works for me. I pin
plastic. In fact, if you want to get really ping next to the lead, and when they get vellum tracing paper to the pattern I want
creative, buy them in different colors and stubby you “sharpen” them by pulling the to trace. I make all of my internal mark-
color-coordinate your tracing. I have even string back a bit and peeling away some of ings (grain lines, ease markings, pocket
found sets with “tropical” colors of purple, the paper. placement, etc.) with a pencil and then I
turquoise, orange, etc. in the office supply —Joan1954 ink my Clover double tracing wheel (set at
stores, particularly during back-to-school ¾" [1.9 cm]) with water-based crafts ink (I
promotions. For the first trial pattern trac- used a Stampin’ Up ink pad). I outline my
ing/fitting, I’ll use blue. Red is good for chosen pattern with the inked wheel,
making the alterations. When I finalize the marking the cutting line as well as the
fit or want to make a final copy, I’ll use seamline.
green (for go!). —Krystal aka Pirouette
—Oopsy-Daisy!
Deepika adds: You could use an inked
single wheel to trace the grain line and
darts, and of course, the pattern outline if
you don’t need to add seam allowance.
Colored pencil has a tracing advantage

LoriB picked up a colored pencil to trace a pattern one day and was amazed how
such a simple change could be so helpful.
With colored pencils you can: 299 For Burda WOF patterns or
others without seam allow-
296 Colored pencils are often softer
ances, trace the seam line in one color
than a #2 pencil and therefore
and then go back and use a different
glide easier on the paper. the color is
color for the cutting line. If you make a
easier on the eyes and also gives you
habit of always using the same color for
added benefits.
the cutting line, perhaps it’ll jog your
297 trace the pattern entirely in memory when you forget to add the
one color and use a different cutting line and go to cut your fabric.
color to mark your alterations.
300 Mark the stitching line on pat-
298 Color-code sizes when you’ve terns that include seam allow-
cut multiple sizes from one ances to help with altering. When you
pattern. tissue-fit or make adjustments, it’s
important to know where the seam
line is.
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if papeR dOeSn’T pleaSe, TRaCe OnTO TheSe
301 I used soil separator fabric this 302 I was about to toss a torn, clear- 304 I trace patterns onto the cheap-
weekend to trace off some pat- plastic shower curtain liner, est non-fusible interfacing, which
terns. It is thin, very see-through, and not when it occurred to me to use it to trace I buy by the 25-yard (23-m) bolt. A bolt
as stable as the Swedish tracing paper some complicated Burda WOF and Otto- (really a roll) runs about $30, lasts me for a
(read: sometimes it “gives”). And it marks bre Design patterns. (I first washed it to year or longer, and takes up little room.
well with a dark ink pen or gel pen; pencil get rid of the soap scum.) It worked very When I lay out these interfacing patterns,
drags too much. the only real problem I well. I used a fine point Sharpie pen to they stick to the fabric just a bit; if I secure
see with soil separator fabric is that you trace. If you press too hard with the pen, them with weights I can cut quickly. I keep
won’t be able to see it on some fabrics, so the plastic will stretch and the tracing will each pattern in a Ziploc bag, along with an
I retrace the lines with a Sharpie. Plus, it become distorted, but apart from that I annotated file card to which I’ve stapled a
folds flat so storage won’t be a problem! had no problems. For the first time, my swatch of the fabric I made it in. It works
At less than 11 cents a yard for the 48" (122 blood pressure didn’t increase dramati- really well.
cm) wide variety, soil separator fabric gets cally while trying to trace an Ottobre —TEC
my vote: You can copy an entire sheet of Design pattern.
any pattern without having to piece the —SandraB 305 When my daughter got married,
we bought an aisle runner on
tracing.
—audsews 303 Most sewers will know this, but eBay, 75 (69 m) yards of 36" (91.4 cm) non-
beginners won’t. I copy patterns woven cloth-like material for about $25.
Deepika adds: this material sews well on 100% nylon tracing material that I buy After the wedding I used it to trace pat-
too. It can be found in the plumbing sup- at the fabric store. this material will not terns! It has a vine pattern on it, but it is
ply aisle of most hardware and home tear. But the good part is that you can easy to see through, and it’s easy to write
improvement stores. mark your garment fabric right through on, doesn’t tear easily, you can sew it, and
this tracing material using a fabric-mark- it’s much less expensive. It worked so well
ing pen (after you test it on the fabric). that I recently bought another roll.
No need for dressmaker’s tracing paper. —Rosie who use to be Rose
Makes cutting patterns go much quicker.
—Mary Stiefer
Trace onto painter’s plastic drop cloth

Clear plastic (polyethylene) sheeting, sold in home and hardware stores, is a
favorite tracing material of several PatternReview.com members. Here’s the how
and why:
Oopsy-daisy! has it down pat: the 310 the easiest way to store your
“Medium Duty/4 mil” weight is best: it’s plastic patterns? Roll them with
durable, won’t tear, and stays in place. the smaller pieces inside the larger ones,
Here’s what I like especially: secure with a rubber band and stick a
Post-it note identification underneath
306 You can get a roll (3' 3 50' [.92
one of the layer rolls or the rubber band.
3 15.3 m]) for less than $2. It
lasts just about forever and is wide 311 Tessa spins it this way: the
enough so you don’t have to tape bits plastic is about 100" (2.84 m)
together for those large odd-shaped wide, folded in half on the roll. I’m not
pattern pieces. sure how long. A roll costs less than $10.
to copy a pattern I use weights to keep
307 I use Sharpie markers to
the plastic in place and an overhead-
trace—they don’t smear and
projector marker to trace and add com-
move easily when tracing, no sputtering
ments such as the date, elastic length,
nor skipping.
who it was made for, how much I length-
308 the plastic holds up to ened, etc. I have found it best to use a
repeated pinning, and stays in black marker, as blue and red seem to
place very well with pattern weights too. fade.
309 the see-through plastic makes 312 the plastic pattern pieces are
it so much easier during pat- easy to fold, and the roll is easy
tern layout and cutting to match stripes, to store. I use weights to secure the pat-
prints, etc. terns when cutting my fabric too.
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CuSTOm Seam allOwanCe Size
313 When I cut a pair of fitted pants, 314 Some people think that you these are my insanity reasons for not add-
I increase the seam allowances in shouldn’t trim seam allowances ing seam allowance to a pattern:
the following areas and then fit and adjust before stitching. However, there are some
the pants as I sew them. cases where you have to. I am making 315 I like having stitch lines traced
onto my garment pieces. It
patterns for leotards. the pattern has 5/8"
• Side seams: add 1" (2.5 cm) makes it easier to alter a pattern and to
(1.6 cm) seam allowances, but I want to
• Front crotch: extend ½" to 1½" (1.3 to sew more accurately where it really shows
serge a 3/8" (1 cm) elastic to the edge and
3.8 cm). this’ll depend on how full your (matching collar points for example).
turn under to topstitch. I have to trim the
thighs are.
allowance off the pattern or off the gar- 316 It makes it easier to fit a garment
• Back crotch: extend by 1" (2.5 cm). This is
ment prior to stitching. I personally find it and helps to show the final
dependent on how big your derriere is.
a lot easier to trim the pattern. adjustment I need to make to the pattern
• Hem allowance: add 1" to 2" (2.5 to 5.1
—Fluteplayer for future use.
cm)—just in case you decide to wear a
heel. 317 I change the allowance width
Hope this is useful. according to seam, fabric, and
—Dale C finish. I vary the width within the same
seam allowance sometimes (crotch seam,
for example).
—Nata
ReinfORCe fOR duRabiliTy
318 I have patterns that I use over 320 If you don’t want to take the time 321 As a costume designer/maker I
and over, and they tend to get to make a traced copy of a multi- tend to use the same pattern
pretty tattered where the pins go. I cut size pattern, it’s possible to just fold away several times. to prevent it from getting
small squares of soft iron-on interfacing the bigger sizes to reveal the one you ragged and possibly becoming inaccurate,
and ironed them to the pattern corners want to use. However, on some lines, I first press the pattern piece with a dry
and edges. Sure helps make the patterns especially places like waist and yoke iron and them press it to freezer paper—
last longer. curves, you have to at least snip in to the wrong side of pattern to shiny side of
—JO913 curve, across the various size lines, in freezer paper. I then have a pattern that
order to fold away the excess, and this will last for years: Freezer paper ROCKS
319 When I find a pattern that I really
makes the pattern a bit fragile if you later and costs approximately $6.00 a roll (150
like and want to use over and
spread it out for a larger size. A quick fix square feet [13.94 square meters]).
over again, I trace it onto a piece of poster
occurred to me when I was doing this —raggedyandrew
board, use a paper punch to punch a hole
recently: In those curves where you have
in it, and set a grommet into the hole.
to make crossing cuts, if you first run 322 I hate to trace patterns. Hate it.
then I can hang it on a cup hook on the Hate it. Hate it. I’m a new sewist,
some ordinary clear tape over the area
wall for easy access. the stiff cardboard so most patterns I make only once; then
near the edge, it will survive being
makes it easy to weight and cut out with they go back into the envelope to collect
chopped around better. It’s not an elegant
a rotary cutter, the grommet keeps the dust. However, I’m finding once in a while
solution, but it’s quick and it works.
hole from tearing, and I can just lift down I come across a pattern that I really like.
—petro
my favorite patterns instead of having to When I do come across a pattern that I’m
unfold (and maybe even iron) them. going to make a million times, after I cut
—xenophea it, I iron it onto some fusible interfacing. It
certainly makes the cheap tissue stronger,
and keeps me from tracing. Grr, tracing!
—SexiSadi
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Adding the s.A. (seAm AllowAnce)
323 I recently subscribed to Burda 326 Last night, while I was preparing 328 I recommend reinforcing
WOF and therefore began trac- a muslin, I wanted to give myself patterns with inexpensive, non-
ing my patterns. Since these magazine 1" (2.5 cm) seam allowances instead of the woven, fusible interfacing because it is
patterns don’t include seam allowance, I 5
/8" (1.6 cm) that came on the pattern. I polyester, so you don’t have a problem
would dash in a cutting line 5/8" (1.6 cm) realized I could use a good compass to with it shrinking as you fuse it to the
from the seamline. Finally a eureka customize the allowance. I set mine to 3/8" pattern. One hint, though, use a dry iron
moment: 2 pencils held together with a (1 cm) and traced the metal point along instead of steam for fusing interfacing to
rubber band. I cut cardboard spacers and the original cutting line so that the pencil pattern tissue.
inserted them between the pencils until point marked the pattern 1" (2.5 cm) from —Deepika
the points were 5/8" (1.6 cm) apart. It’s not the seamline. A center wheel compass
pretty, but it sure gets the job done . . . (from an art supply store) is important for
—monahan keeping the separation right. Mine also
allows me to replace the metal point with
324 I don’t add S.A. to patterns
a second piece of lead, which is nice. All in
because I like having stitching
all, I’ve found it easy to use and I didn’t
lines. I trace patterns onto fabric and then
have to go buy something new.
cut outside the traced lines with a rotary
—mit
cutter. I don’t try to cut uniform S.A. I
then put the fabric pieces through an 327 I have always found adding seam
unthreaded serger, guiding the edge of allowances to Burda WOF pat-
the serger foot along the traced stitching terns rather tedious. The Olfa rotary cut-
lines. This trims the S.A. evenly. You could ter can be used with a little adjustable
add S.A. to patterns traced onto the Pat- extension arm, but even though I really
tern Ease or other similar fabric-like trac- tightened the screw that holds it to the
ing medium this way if you prefer not cutter I couldn’t seem to keep it from
having stitching lines on your fabric. moving and messing up my measure-
—Nata ments. I discovered that if I visually lined
up the black screw on the right hand side
325 I traced off and cut out my first
of the cutter with the pattern’s seamline (I
Burda WOF pattern. After care-
am right handed), the blade would cut a
fully cutting out the pattern pieces from 3
/8" (1 cm) seam allowance. I then tried my
the pattern paper and laying them on the
Ergo rotary cutter and found that by sight-
fabric, I discovered that it would have
ing the clear projection on the right side
been a whole lot easier to mark the seam
along the seamline, I could cut a 5/8" (1.6
allowances on the paper rather than the
cm) seam allowance. Try experimenting
fabric. (The magazine suggests adding the
with your cutters on some scraps and see
seam allowance and marking the cutting
if this works for you.
line directly on the fabric.)
—Brine
—Gloria Allender
To mark the seam allowance, just sew!

Fluteplayer suggests this easy way to "rule" the seam allowance onto a pat-
tern: Use your machine to straight stitch the cutting line at the desired distance
from the seamline.
329 First trace your pattern onto will have perforated the paper enough
tracing paper and rough cut it, so that the excess paper simply tears
eyeballing about 1" (2.5 cm) seam allow- away from the pattern. I get perfectly
ance. Then set your machine to sew trimmed seams every time.
along the desired cutting line either by If a full pattern piece is to be cut on
aligning the left edge of a wide foot with folded fabric, I fold it on the fold line and
the seamline and moving the needle to stitch though both halves at the same
the right, or by using a stitch guide. I use time, using a few pins or tape to keep
an old needle that I have discarded. I use the layers from slipping.
a small stitch length. You don't need
thread. When you are done, the needle
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COOl TRaCing meThOdS ThaT wORk
330 I know everyone has her own Deepika adds: Instead of traditional 332 After each round of alterations, I
way of tracing patterns, but I am carbon paper, use large sheets of dress- mark the changes on my pattern
so happy with my current technique that I maker’s carbon, which doesn’t smudge and date it. then I use that pattern to
thought I would pass it along. this method (available from online notions vendors). trace out a new one. I use four very small
gives you a heavy-duty copy of a flimsy And trace with a smooth tracing wheel— pieces of blue painter’s tape to secure the
tissue original; the result can be rolled or this is what it is designed for.  edges of the old pattern to my table. then
folded. I lay a new clean sheet of pattern paper on
• Lay out a large piece of Foamcore board
331 trace patterns easily and quickly
top of that and anchor it with four more
by using a window as a lightbox.
pieces of tape. I find this technique easier
on a table. top it with a piece of kraft Use Blu-tack (you know that sticky stuff
than using weights since the weights can
paper large enough for your pattern. you used to put posters on your wall as a
get in the way of markings and if I shift
• Arrange sheets of 8½" 3 13½" (21.6 3 kid?) to stick your pattern pieces to a big
them, they sometimes also shift the paper.
34.3 cm) carbon paper (the kind used by window. Also using Blu-tack, stick a piece
the painter’s tape does not hurt my table
offices before photocopies were com- of tracing paper over the pattern pieces.
(no sticky gum left behind), nor does it
mon) over the kraft paper in a single trace your pattern, working from the top
hurt my pattern paper. Sometimes I pull it
layer, with the carbon side down. left, smoothing down your tracing paper
off the pattern and sometimes I leave it.
• Place your pattern on top of the carbon as you go. I find it helps to slide a large
—meanjean
paper. Pin these layers to the Foamcore. ruler over the pattern, holding it all flat to
• “Trace” your pattern with something the window with one hand while you trace 333 When I trace, I secure the tracing
that will not mark or perforate your with the other. the great thing is you material and pattern to a board
tissue pattern—I use the wrong end of don’t need a sunny day for this to work with thumbtacks, which I place around the
my sewing machine’s lint brush. Use a well: just a little light makes the lines on outside shape of the pattern piece. this
French curve, ruler, etc., as needed. your printed pattern show through makes it easier to see which shape to fol-
• The carbon reproduces your original pat- enough for you to trace them easily. low and keeps everything in place.
tern beautifully but it will smudge. Pro- —.x.Helen.x. —sew2006
tect your new copy by spraying it with
Krylon Workable Fixatif (the stuff that
artists use to preserve pastel drawings).
—Tailypo
Clue in TO ThOSe buRda wOf paTTeRnS!
334 I learned with my first Burda 335 As you know, patterns in Burda 336 With lines for about 25 pattern
garment that the line styles that WOF magazine are printed on pieces, each in five sizes, all on
indicate various sizes are not consistent top of each other. the lines are color- one sheet, it is easy to become confused
from one pattern to another, even within coded to each pattern but did you know while tracing Burda WOF patterns. the
the same WOF issue! After I determined they print the color-coordinated numbers mistake I make most often is to miss trac-
my size (40) and looked up the pattern of the pattern pieces on the edge of the ing some construction symbols like pleats
key (which, in addition to which line style sheet to help you find them? I didn’t! or notches. to avoid these omissions, I
to trace for your size, tells you what color Guess I’ve just been in such a hurry to refer to the schematic diagrams of pattern
line to look for on which lettered sheet, as trace that I never noticed them before. pieces that are printed with the sewing
well as the pattern piece numbers for your —LoriB instructions, where all symbols are clearly
garment), I reminded myself as I traced indicated without the distraction of 99
each pattern piece, “My BWOF tracing other lines. I compare my tracing of each
line is the alternating long dash-short piece with the diagram before moving the
dash.” I decided to use the lower sleeves tracing paper. If a symbol is missing, it is
from a different pattern from the same easy to find it and add it to the tracing
issue and breezily traced the pattern piece before it is too late.
in a size 40—or so I thought. It wasn’t till —Elaray
the construction stage that I noticed
something wasn’t quite right. When I
pulled out the master pattern sheet to
check, I was surprised to find that I had, in
fact, cut a size 42 in the second pattern.
—SewFar
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fOuR knOCk-Off TeChniqueS
337 Sometimes I have a special gar- 338 Maybe others already came up 340 Use your digital camera to take
ment, but I don’t have the pat- with a good way of doing this, photos of a garment such as a
tern for replicating it. If that garment is but I always have a hard time copying tailored jacket that you are taking apart
too worn to wear, I take it apart and use pants with elastic waists. Now I use a skirt for the purposes of sewing up a copy. It is
the pieces as a pattern. First I make marks hanger that has clips: I clip the waist and so easy to go through the stages of taking
for each seam—it’s very important to slide the clips to stretch the elastic just apart a complicated garment, and then
make them so you don’t lose the way; enough to make the fabric smooth. After find you’ve forgotten exactly how it went
make them with permanent markers or that it is easy to copy the pattern with any together. Photograph the construction,
little cuts. Second, carefully, un-seam the method you like to use. And you still have labeling each piece as you take it apart,
garment and press each piece. then trans- two free hands to do that! and get a printout photo on ordinary
fer the shape to paper or Pellon, including —Orsi paper immediately, so you can label that
all the marks, grain line of the fabric, etc. too, noting any special techniques. You
Also, I make notes and pin them to the 339 When I worked in the garment
will then have a set of labeled pattern
industry, we used clear cello-
corresponding piece so I’m sure to pieces that tell you which way up they
phane wrap (the type used to wrap gift
remember any details and how the gar- go—and by your photos, how they fit
baskets) to trace off a pattern from a gar-
ment was constructed. Once I have the together.
ment we wanted to copy. Using a Sharpie,
complete pattern in paper with annota- —Pocket Venus
you trace around the garment one section
tions, I use it to reconstruct that special
at a time; then label each section. I still
item I loved in a new fabric.
use this great technique as a starting
—Iris
point for “knocking off” a garment. I trans-
fer the tracings to grid patternmaking
paper and add any alterations needed, and
then I true up the pattern and add seam
allowances.
—ryansmum
TRiCkS fOR TRaCking The ChOSen Size line

Adapting a pattern
341 I always trace my patterns and 343 I am so pleased with myself. I from woven to knit
many times have found myself wanted to reuse a pattern that I fabric
veering onto the wrong size on multi- had previously cut out at a different size
sized patterns. I found that if I first place than I presently am. Some of the seam- Patterns intended for woven fabrics will
dots on the correct line at strategic points lines had been cut off, but I had saved and be too large if cut in a knit with a lot of
such as corners, crotch points, hemlines, labeled the trimmed parts. Now that I stretch. Here are tips for scaling them
etc. I am able to trace the proper lines want to cut out a different size, I don’t down. Warning: math aptitude helps.
using a styling curve to connect the dots. have to guess at the missing parts; I can
—Brine just fit the trimmed pieces back where 345 lauralo uses a photocopier.
they belong. to find the stretch factor, first
342 I find Jalie patterns very difficult
—Elaine Dougan cut a 4" (10 cm) square of your fabric.
to trace. I especially have diffi- Stretch the horizontal grain line as
culty finding my line after a notch. this 344 I was looking at my Burda WOF much as you can without forcing it,
was driving me insane. (that’s my profes- pattern sheet in dismay, as I and measure it. Let’s say it is 15 cm.
sional opinion.) I decided to use a thick- wanted to make my standard alterations Your horizontal stretch/scale factor is
tipped highlighter pen to mark my cutting while tracing, but moving back and forth your initial 10 cm divided by the 15, or
lines on the original pattern. When I lose between three sizes was confusing me. So 0.66. Do the same vertically. Now, if
track of my line while tracing, I can find I used brightly colored Post-it flags, the you’re lucky, you got the same stretch
the nearest highlighted line, move there, type shaped like arrows with black out- factor and you can take your pattern to
and then trace back to where I had lost it lines, to “point” to the correct cutting line a copy machine and reproduce it at
(kind of like going backwards in children’s and guide me while tracing. While these 0.66%. (If you weren’t lucky, you need
mazes). If you use different sizes of these flags are highly visible through the tracing pattern drafting software or the
patterns you could highlight different paper, I think any Post-it-type product patience to rework the pattern math-
sizes in different colors as long as the size with a mark to help orient you would do ematically.)
outlines are not too close together. the trick. Best of all: they leave no residue,
—drsue and they are reusable many times.
—redsquid
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COnqueR CuRveS
346 this is probably incredibly obvi- Newbies, I think the thing cost $15, so 347 It’s easiest and most accurate to
ous to everyone but me, but I even if you never plan to alter your gar- measure a curve on a flat surface
was drawing wobbly lines while tracing a ments, which is what this tool is designed if you hold your tape measure on its edge.
pattern last night and it suddenly for, think about buying one just for accu- —Diana M
occurred to me: use the curved end of my racy when tracing.
Fashion Ruler! And lo and behold, —Tailypo
although I have no idea how to actually
Deepika adds: You used the curve cor-
use the curve properly, or what the vari-
rectly! French curves, which are sold at
ous notations on it mean, if I slide the
most art supply stores, also make perfect
thing up and down, and maybe flip it over,
guides for tracing or for refining curves
any gosh-darn curve on my pattern will
in areas you alter—and they’re usually
line up with some part of the thing! My
inexpensive.
traced pattern came out looking exactly
like the original.
phOTOCOpieR geT a gRip On paTTeRn TemplaTe maTeRialS

TO The ReSCue adjuSTmenTS
352 Decorating firms and wallpaper
348 this summer, I bought my first 350 If a pattern piece has to be short- stores often have discontinued
ever Burda WOF magazine. I ened or lengthened, patch it with wallpaper books for free. I’ve been using
didn’t care for how the patterns were fusible interfacing instead of adhesive the pages for small pattern pieces and
arranged—pattern line over pattern line tape. Use the type that is applied without templates. I like using the vinyl samples
was almost enough to make me throw this steam, this way you can iron the pattern because they don’t tear and I can pin and
magazine in the garbage—so after trying to remove the creases without it shrink- re-pin them over and over. Samples in
to copy the pattern using various tech- ing. You can also use this technique to checkered prints help with lining every-
niques I finally found a way that worked repair a torn pattern. thing up nice and neat. If you find the
for me. I simply copied and printed the —els really big sample books, even better.
pattern with my all-in-one printer, which —Maria Hatfield
has scan, copy, and print capability. While 351 I make lots of changes to patterns
to get them to fit. I had a roll of
it did take some time to organize the
the blue freezer Press ‘n Seal (heavier than
353 I have used my daughters’ old
pieces, this technique worked beautifully! school folders made of poly-vinyl
the clear) that I stuck to my pattern in to make templates. they are sturdy, easy
—newlywedws
various places and drew in my changes to mark on with a Sharpie or ballpoint
349 Copying the small pattern pieces with a Sharpie marker. I was then able to pen, easy to trace around with either a
on the desktop copier is a great trace the corrected pattern and remove chalk marker or rotary cutter, and recy-
idea. Foundation paper used for paper- the Press ‘n Seal, leaving my original pat- cled. they are great for pocket patterns,
piecing quilt blocks is thinner than regular tern unspoiled. I did this on my muslin quilt templates, and small pattern pieces
printer paper and feeds very nicely through also to sketch in facings, which were easy you use frequently. And they’re free!!
my printer. If you want the advantage of to trace once I had them drawn as I —audsews
non-stiff copied pieces, this may be the desired. I had to share this—it would also
way to go. It is available in many sewing be great in areas where you want to add
catalogs and at fabric stores that cater to length or width to a pattern so there
quilters. It comes in packs, usually of 30 or won’t be oops moments if you forget in
100 sheets. the future.
—vasallese —mssewcrazy
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STRaTegiC pRep
354 A lot of us trace our patterns, 357 I like to work efficiently. I sew a 360 I tend to forget what adjust-
and I’ve been plagued at times lot of knit pullover dresses and ments I made where on a pat-
with facing pieces that don’t accurately shirts and I’ve noticed that the front and tern, so I developed a system that lets me
match the body piece. So this is what I’m back are often the same except for the look at a pattern later and tell what I did.
doing now: I trace and cut each piece, neckline and the sleeves are often sym- It involves using markers (or colored pen-
then put them together to see if they metrical front and back. When this is cils) of various colors. When I’m done, I’ve
match, and trim or retrace and recut to the case, I transfer the pattern with my got a rainbow colored pattern, but I can
make sure they match. this was a “duh” length alterations onto sturdy butcher easily see what I did where to adjust it.
moment for me! paper, making just one full front/back Here’s an example of how my system
—Debbie Lancaster pattern that has a high back neckline only works when I adjust a top pattern to be
and one pattern for each sleeve length size 8 at the shoulders, size 12 at the bust,
355 When I trace a pattern, I label the
option. Over the years I have also copied and size 14 at the hips—a common altera-
tracing with the size I’ve traced
an assortment of neckline treatments: a tion for me:
and also the piece name or number and
cowl, a V-neck, turtleneck, a scoop neck,
the pattern brand and number. that way, • Use a green marker to trace the size 8
etc., each with a front and back pattern.
even if I wait a while to cut it out (and the lines at the shoulder and all the com-
I use the shirt front/back and sleeve
measurements change), I won’t have to mon-to-all-sizes lines, such as the CF
patterns to cut generic shirts or dresses,
rely on my memory to know what I traced. fold line and the hem.
sometimes 8 or 10 at a time; it only takes
I’m working on a swimsuit that I cut out • Use a blue marker to trace the size 12
about an hour. they can sit in a pile until
months ago, and I can’t find the original lines at the bottom of the armhole and
I’m ready to sew them. When I’m ready to
pattern. Since I wrote down the size I used down the side seam for an inch or so.
finish them I choose a neckline pattern for
on the tracing, I was able to get elastic • Use a purple marker to trace the size 14
each and cut it. the result is a collection
length from a helpful PR member. But lines at the hip.
of knit shirts and/or dresses in which each
from now on, when I trace a pattern that • Then use a French curve to guide the
is different.
needs something like elastic, I’m going to transition between the different sizes,
—filichirp
record the length of the elastic on the tracing with an orange marker.
tracing too. 358 It’s sometimes so difficult to fold • Make a key on the pattern to indicate
—Muria knit or slippery fabrics double for which color represents which size.
cutting, I decided to make a full pattern so —Lisa Laree
356 A light bulb moment came this
I could cut with the fabric spread in one
week when I was cutting out a
layer. I was amazed at how much faster I 361 When tracing off patterns for
dress for my granddaughter. If you have a children, I use a different color
could cut since I did not have to fiddle
pattern piece that says “cut 4" and you for each size to make it easier to find. this
with folding the fabric evenly. Give it a try.
know that you will have to use the same eliminates using the wrong pieces/wrong
You won’t be fighting with wide big pieces
pattern piece twice to do so, simply trace size the next go-round!
of fabric.
two copies. this will keep you from having —Oopsy-Daisy!
—mssewcrazy
to make sure that all marking are trans-
ferred to the cloth before you reposition a 359 When I have a pattern that has 362 Jalie pattern instructions are
usually found in the middle of
single copy. multiple views, I press out the
the large paper that includes all the pat-
—NanJones pattern sheets, find the view I will be
tern pieces to be traced and there is so
using and apply round sticky dots to the
much information on the original page
pieces to identify them. If I make another
that it is easy to get lost. I take time up
view at a future date, I use a different
front to photocopy the instructions. It
color sticky dot. this makes this job so
takes a little effort to fold the large sheet
much easier!
and get it on the copy machine correctly,
—Enid E
but later, the copy is so much handier at
the sewing machine than the bulky pat-
tern. I make a copy of the written instruc-
tions and a copy of the picture section
too. I store them with the pattern. With all
that said, I love the Jalie patterns and the
great range of sizes given. I think they are
easy to sew and have great style.
—jbsew
Deepika adds: Even easier—go to
jalie.com, locate your pattern, and simply
print out the directions.
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limiT Seam bulk fROm The OuTSeT
363 I prefer the neckline facing for a 364 If you like contour waistbands for Deepika adds: this is nice for skirts too
top or tee to be made without trousers this may be of interest: and can be done at a back or side closure
shoulder seams. there is no need to dou- In order to reduce the bulk at the end of as well as at the front; if there is an under-
ble up the seam allowances at the shoul- the waistband, elongate the band pattern lap, you can make the same adjustment
ders. Start by tracing the front and back at the center front by a couple of inches, on it too.
facing patterns, abutting at the shoulder and reduce the band facing pattern by the
seamline. I add a seam allowance at the same amount. then sew the pieces
center back and cut the center front on together at their ends. Fold them, right
the fold. I mark the shoulder seamline on side together and center backs aligned,
my new pattern so it is easy to see how before you sew the seam on the top edge.
the facing aligns with the garment. You’ll see the top piece is folded back and
—els the seam lies a couple of inches from the
end. this reduces the bulk where the
Deepika adds: this puts the back facing
waistband overlaps for the fastening and
off-grain from the garment, which prob-
makes it easier to get a neat end. the
ably won’t affect the results, but if your
band now finishes in a fold, instead of a
fabric is unstable you might want to sew
seam. Just make sure the seam doesn’t fall
a tape into the neckline seam or interface
where you want to make a buttonhole!
the facing with a nonwoven material.
—petro
CB seam CB seam
new seamline
waistband
band facing
CF
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CHAPtER fOuR
Fabric, Thread
& Notions
“ I started sewing while working at a

JoAnn Fabrics for extra money. Anyone who’s
worked at this type of store can tell you I
”
probably spent more than I made while I was
working there. 
—Muria
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Shopping savvy
Before you can sew, you must acquire pattern, fabric, thread, and various
notions. Seems so matter-of-course, but there are approaches to shopping that
make the experience so much easier—especially now that the Internet is a major
resource or when the things you need are somewhat special.
ReSOuRCeful ideaS
365 this tip requires a sense of 366 I’m making spa accessories (head 367 If you want to know whether a
adventure! there is a freight wrap, bath pillow) for a dear fabric will end up being scratchy,
recovery/salvage business in our area friend. So I looked at the terry cloth at just cut off a small piece and tuck it in
called NPS; they purchase and then resell my local fabric store. Found costly, thin, your bra. Walk around the fabric store for
lost or rejected freight shipments. No frills sickly fabric. Light bulb!! Why not check at least 10 or 15 minutes and if you forget
here but sewers can find great bargains. out towels? there’s a great selection of it’s there, great! It should be fine to wear
there are many bolts of very attractive beautifully colored, fluffy ones available— all day next to your skin. You could also
fabric, patterns (99 cents), notions (Met- everywhere from big box stores to nice tuck the swatch in your waistband or sock
tler thread!), even sewing machines. Now department stores. And, the price is so if you don’t want to fuss with your under-
I know most of you will never be any- much less than yardage. Maybe I’ll make a wear in public.
where near this particular store, but with- set of accessories for another friend. —Summerlea
out a doubt there is such a business —Rhonda in Montreal
Deepika adds: For me the best way to
somewhere near you, so if you can find
test is to rub the fabric on my face. Find
one in your local phone book, or by word
your most sensitive area.
of mouth, check it out.
—kkkkaty
hOw many CenTimeTeRS in One yaRd?
368 A yards-to-meters conversion 370 I found a chart that shows the 372 I recently discovered that Google
chart helps me and probably equivalent yardage for different has a super-simple way of finding
other non-U.S. sewers when using Ameri- width fabrics online and think it invalu- measurement equivalents. Let’s say you’re
can patterns because we use the metric able. Search for “yardage conversion” and reading a European pattern that says it’s
system rather than inches. Search online you’ll find a number of sites that post this for someone with a hip measurement of
for “convert yards to meters” to find sites information. 92 cm. “What the heck does that mean—it
that provide charts or do the specific con- —Lou sounds HUGE,” you say to yourself. Well,
version for you. in the Google search bar just type “92 cm
—els 371 If you need to know the approx-
to inches” and you’ll learn that 92 centi-
mate yardage of a piece of fabric
meters = 36.2204724 inches: Just under 36
369 Long car trips have me staring at but don’t have a tape measure handy,
¼". Definitely not huge.  this works the
the horizon, mentally tracing you can hold your fabric up to an exterior
other way too, of course—imperial to met-
and altering patterns and planning adjust- door. the standard width of an exterior
ric. Cool, eh? 
ments. Since I’ve become increasingly door is 36" (91.4 cm) (1 yard, obviously).
—Joan1954
intrigued with European patterns, I often I’d say that’s a pretty good estimate for
find myself trying to convert centimeters those of us who can’t eyeball a yard.
to inches in my head. I don’t “speak” met- Another method I use quite often: I’m
ric system, much less “think” in metric. All completely dense and can’t tell the differ-
I know is the rough translation: 2.5 cm is ence between 45" and 60" (114.3 and 152.4
approximately 1 inch. Because dividing by cm) widths. I’m 64" (162.5 cm) tall (5'4"),
2.5 is more than I can do while attempting which means my arm span is 64" (162.5
to stay in my traffic lane, I switched to a cm). If the fabric is nearly the width of my
simpler method: double the number of arm span, then it’s 60" wide. If not, it’s 45"
centimeters and divide by 5. Yes, I know (114.3 cm).
. . . it’s basic math, and since my name is —jacalhoun
not Pythagoras, it’s definitely a “recycled”
idea. Anyone who laughs gets to balance
my checkbook.
—Karla Kizer
FabriC, threaD & notionS 59
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PrePare to shoP
373 If I need notions for a particular 375 If you’re like me and you always 377 Having one-too-many times
project, I cut a swatch of its fab- have a couple of projects in spotted some fabulous home dec
ric, staple it onto a page in one of those flight, plus fabric bought for the next cou- fabric while shopping and not known if it
little spiral notepads (the kind that can be ple, plus you’re sewing to coordinate with was right for a project, I came up with a
found in a drug or grocery store), and a garment you made a couple months ago, solution: I took digital photos of all of the
write notes next to it saying what is then you need a swatch baggie. I keep a rooms in my house and printed them out.
needed (e.g., 9" [22.9 cm]) zipper, buttons, sandwich-size Ziploc bag with a collection I slipped them into plastic sleeves, added
etc.). Once I have purchased everything of my swatches permanently in my purse. paint chips (when I had them), fabric
on that page and don’t need it anymore, I That way, when I’m out and have a couple swatches, and rug samples and placed
tear it out of the notebook. This keeps me extra minutes to run into a fabric store, I them in a binder. That way, I have the
from buying things that don’t match, or can easily pick out matching threads, zip- complete picture in portable form. Plus
coming home from a store and realizing I pers, buttons, linings, trims, etc.—what- there’s the added bonus of sales staff com-
forgot to look for something. ever it is I need. Try it. You’ll find yourself menting, “Ooh, you’re so organized,”
—Margaret doing fewer of those double trips to the which makes me feel competent.
fabric store just because you forgot your —OP Gal
374 I keep a small case with my
swatch.
swatches in my car. In it are pho-
—meanjean
tocopies of the front and back of pattern
envelopes I plan to use with each fabric, 376 I can never remember the fabric
so if I need trim, elastic, etc., I have the content, care instructions, price,
info I need right there. In the back of the etc. when getting caught in a “too good to
case is a sleeve with copies of envelopes pass up” fabric purchase. My solution is to
of patterns I really want to make but need utilize my stash of old adhesive labels.
the right fabric for. While the fabric bolts are in the shopping
—EveS cart, I note the fabric content, care, price,
length, store, etc. on a label, then I stick
the label on the fabric edge as it’s being
cut. I transfer the info to my swatch book
at my leisure.
—Patzee
the scooP on Plan for extra to match a Plaid

discontinued Patterns
379 To estimate the amount of exta • Multiply the number of major pattern
378 To discover which patterns are fabric needed to match plaids, pieces (5) by the length of the plaid
going to be discontinued, look in calculate the following PER GARMENT repeat (6" [15.2 cm]) to find the extra
the pattern drawer at your fabric shop. (i.e. jacket, coat, vest, skirt, pants): length needed to match the plaid. In this
When the contrast side of the little divider case, 30" (76.2 cm) of additional fabric
• Working along the selvage of your fab-
that has the pattern number is turned needed for your jacket.
ric, determine the length of the plaid
forward, it means the pattern won’t be • If you wear and/or sew a small size
repeat. Specifically, find the dominant
included in the next book. When patterns jacket pattern, and know that you can fit
horizontal line and measure the distance
are 99 cents, I often pull up a chair to the both the front and back pattern pieces
from it to the next identical line. For
drawer (when it’s not super busy at the on the same width of fabric, you need
example: 6" (15.2 cm).
store OF COURSE!) and look to see if only one extra plaid repeat for these two
• Count the number of major pattern
there are any I should buy now. major pattern pieces. Likewise, if you
pieces in your garment. In a jacket, you’ll
—Janie Viers know you can fit the sleeve and front
have four major pattern pieces: front,
facing on the same width of fabric, you
front facing, back, sleeve.
need only one extra plaid repeat for
• For security’s sake, add one additional
these two major pattern pieces. DO add
piece to your total of major pattern
the extra (security) major pattern piece.
pieces. In my example, 4 + 1 = 5 major
In this example, you would need only
pattern pieces.
three extra plaid repeats for your small
size jacket.
—lilyofthevalley
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The Online expeRienCe
380 Sometimes I purchase fabric 381 I have found that if I want to find
online, and so am not standing a specific kind of fabric for sale
at the counter as material is measured. online, I get good results if I type, for
Mostly I’ve had good experiences, but example, “silk organza fabric” into Google,
unfortunately twice I’ve run into yardage and then use Search Images, rather than
shortage. In both cases the vendors took just Search or Search Web. Since most
care of me for costs. But I had spent lots fabric sellers have a photo of the fabric, I
of time figuring, planning, etc., based on tend to find what I want without all the
the yardage on the receipt—wasted time. unusable search results.
Now I will always measure the yardage —Liana
upon receipt, and won’t plan or layout the
pattern until I do that.
—utz
indulge The ReCyCle jOneS
382 Finding rib knit yardage can be 385 I am an avid thrift store shopper. 386 If you have an old quilt that is
difficult, especially if you are I have discovered and then felted beyond salvation, don’t just
looking for an odd color, or a certain numerous vintage wool sweaters in order throw it away. Use it to create country-
weight, fabric content, or a chunky rib. to use the felted wool as embellishments style appliqués to embellish your gar-
Most rib knit yardage for sale comes only on a variety of projects. (My first was a ments or home decor items. I have also
in basic colors with narrow ribs, and can charming sweater with an ice skater motif seen these quilt shapes fused onto blank
be fairly expensive. Instead, look for rib that I used for a winter pillow). Here is the note cards. Here’s how:
knit garments at the thrift store: cuffs and technique I use for felting wool garments:
• Pick open the quilting threads and then
collars don’t need a lot of fabric, so a sin-
• Remove buttons, zippers, and any other separate the quilt top from the batting
gle top will probably supply enough fabric.
hardware. and backing.
You can work around stains or flaws, there
• Cut apart the garment along seam lines • Create an appliqué template. You can
are tons of colors available, and the cost is
so that you have two flat sleeves, a back trace around cookie cutters, use shapes
usually less than buying yardage. there
and front. Leave on the ribbings where from coloring books, draw your own
are lots of interesting weaves in ready-to-
possible because they are sometimes designs, trace over fabric motifs, what-
wear, and you may be able to make special
interesting to incorporate in projects ever you like.
use of the integral knit hem (not available
still attached (such as using a ribbed • Place your template over the quilt top;
in yardage).
hem at the top of a Christmas stocking). pay attention to the piecing and balance
—Nikki
• Wash the pieces in your washing seams and patches where they look best.
383 I have a stash of used silk ties machine on the hottest water cycle. • Trace around your template using a
from my husband that I use for tumble dry on hottest setting. fabric marker. Rough cut around your
the binding when making a Hong Kong • Repeat as desired until you have reached shape—don’t yet cut on the outline
finish on a waistband. I take the tie apart your desired degree of felting. • Fuse the rough-cut shape to paper-
and hand wash the silk, which is already • Incorporate into projects as your imagi- backed fusible web. then cut on the
on the bias. When it is dry, I press it and nation dictates. Pieces can be cut and marked outline.
cut it into an even strip with my rotary used without any edge finish. I use them • The applique is now ready for fusing on
cutter and ruler. It is ready to use for a to create pillows, sachets, brooches, your project. Raw edges can be satin
Hong Kong finish. You can also recycle the flowers for package toppers, purses, gar- stitched, blanket stitched by machine, or
tie interfacing: It makes great sleeve head- ment appliques, roll into buttons, etc.! blanket stitched by hand.
ers. If you let people know you collect old —CharityAK —CharityAK
silk ties, you might be amazed at how
many you receive!
—Peggy L
384 ties also make excellent handbag

handles. they are usually
tapered, so you might wish to take the
time to find the true bias and cut parallel
to it.
—Deepika
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Fabric chat
Need help identifying fabric content or remembering care requirements? Afraid
or lazy about preshrinking? Having trouble with faux fur or fleece, or in need of
some tips for sewing knits or velvet? PatternReview.com members have oodles of
good advice.
nOTe The CaRe RequiRemenTS
387 If you have a fabric that must be 388 I like to mark my notes and a
dry cleaned, put a label in your ribbon tag in each garment with
finished garment so you won’t forget. I the Fabric Care Code for the fabric used
saw that my local fabric store had some (among other info.) these are the num- 1 6
“dry clean only” care labels so I bought bers inside the triangle on the bolt end of
some. I did a Google search and also fabrics. Recently I had a terrible time find-
found “dry clean only” labels available ing a listing of these, and thought maybe
online from a variety of vendors. others had too, so here is the list: 2 7
—LoriB
1—Machine wash, warm
2—Machine wash, warm; line dry
3—Machine wash, warm; tumble dry
4—Machine wash, warm, delicate; tumble
3 8
dry, low; cool iron
5—Machine wash, warm; do not dry clean
6—Hand wash separately; cool iron
7—Dry clean only 4 9
8—Dry clean, pile fabric method only
9—Wipe clean with damp cloth only
10—Care treatment not available; unde-
termined fiber content 5 10
—Liana
TipS fOR fibeR id d.i.y. u.p. (ulTRaviOleT

pROTeCTiOn)
389 If you burn swatches in order to 390 there are various ways to test
determine fiber content, and fabric for wool content. If you 391 Rit Sun Guard Laundry treat-
have trouble figuring out the results, buy burn it, you can smell burning hair and it ment is a relatively new product
small amounts of fabric that you know to looks like burning hair, for example, but I that adds a UV protective shield to fabrics.
be 100% cotton, polyester, linen, nylon, like to know how much wool there is. to the package states: “. . . a typical white
rayon, etc. You can burn these samples confirm the amount of wool content, cut t-shirt is rated UPF 5. A single treatment
and compare them to the burn test of off a swatch (exclude the selvages) and with Rit Sun Guard boosts its rating to
your mystery fabric. Save your burned cover it in bleach in a small container. UPF 30." there are clothing manufacturers
100% samples with a notation on what the thinner fabrics take a couple of hours, that specialize in UPF 50 clothing, but
fiber content is (possibly on cardstock) so allow more time for thicker ones. Wool their items are very costly and the selec-
that you don’t have to test these baseline “dissolves” in reaction with bleach, so any tion limited. this product is easy to use
samples every time. fiber remaining is not wool. this has saved and lasts through many washings. I found
—Muria me from disappointment a few times when it at Joann’s and at Rite Aid—located in
I wanted a tailored garment and wanted to the fabric dye section at both.
work with wool, and I found while my fab- —Patzee
ric looked wooly and felt wooly to the
touch, it had minimal wool content and
wasn’t suitable for my pattern.
—redsquid
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Sewing with Fleece 101
These are all the things I learned while 394 Use a zigzag stitch or a 397 If pressing is necessary, use a
sewing yards and yards and yards of fleece serger. cool iron and a pressing cloth.
one Christmas: Test the setting!
395 Most fleece can be used on
—salruss
either side. If you really want to
392 Spend money on good fleece. know the intended right size, sprinkle 398 An easy way to tell the right
Splurge on anti-pill. (The pilling water on both sides of the fabric (in differ- orwrong side of fleece is to hold
doesn’t damage the fabric, but it certainly ent spots). The side that wicks the water your fabric by the horizontal cut edge (the
isn’t attractive.) the fastest is the right side. cross-grain) and pull slightly. The cut edge
will curl to the wrong side of the fabric. It
393 Fleece has a nap! Follow the lay- 396 I used a size 14 ballpoint needle
is sometimes hard to tell just by looking,
out on that pattern guideline. and it worked like a charm.
but this little test works really well.
—Sew it seams
Sew balliStic (nylon)
mit says: After making a messenger bag 402 Pinning: Textile Outfitters recom- 406 Edges: BN is often coated to
with ballistic nylon (BN from here on out), mends using staples instead of make it water repellent. The
I thought I would share what I’ve learned. pins. Overall, I found I didn’t need to pin coating means you don’t have to finish the
First of all, BN is a heavy duty fabric, often or staple much, but when I did, the stapler edges, but I like to. I used a nylon gros-
used for good quality soft-sided luggage. came in handy. The staples were easy to grain ribbon, pressed lengthwise in half, to
remove after sewing the seam. bind my edges.
399 Weight: BN comes in multiple
weights: I used the medium, 1050 403 Needle: I used a size 16 jeans 407 Final tip: The fabric is very bulky,
denier (a standard measurement for fabric needle with good results. so there is quite a lot of width
weight). taken up when folding under a seam
404 Thread: Upholstery thread
allowance, etc. I recommend planning for
400 Cutting: I used a rotary cutter (of worked well for me. 5
/8" (1.6 cm) allowances, but sewing with
course the blade was dull by the
end) and some not favorite scissors. 405 Machine: A sturdy machine is a ½" (1.3 cm). I learned this when making the
must. Even with a sturdy top of my messenger bag—what I thought
401 Stitch length: Use a long (4 mm) machine, I ended up turning the fly wheel would by 5" (12.7 cm) turned out to be 4½
stitch length. by hand to go over some bulky areas. (11.4 cm)" .
PreSSing yardage
Always preshrink fusible interfacing the eaSy way
The PatternReview.com members agree a steam iron will do it but disagree on
the best way! Here are two suggestions: check them out and see which works 410 When ironing yardage or other
large, flat pieces (like quilt tops
most effectively. Maybe it depends on the strength of your iron.
or tablecloths), you’ll have more space if
you turn the ironing board around, so that
408 comocosews’ method. One 409 diana M’s method. You CAN the square end is on your left (for right-
way to shrink fusible interfac- preshrink iron-on interfacing so handers) and the pointy end is on your
ing is to lay out your pieces on a ironing it won’t ruin the garment by shrinking right.
board. Put your iron on hot steam and after it’s all sewn. Cut according to pat- —Irene Q
go over the pieces without touching the tern, trim as described in the pattern
interfacing. About ½" (1.3 cm) away or directions, then lay it carefully in place.
so. You can just see it shrinking. Then let Hold a good steam iron about 6" to 10"
it cool. (15.2 to 25.4 cm) above it and give it a
heavy dose of steam. Very carefully, pick
the interfacing up, then gently lay it
back down. You will be able to see that it
has shrunk some (how much depends on
the kind and the size of the piece).
Fabric, Thread & NOTiONs 63
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age:62 (Text) (Ray) 06-C57258(216) #175 (P) Dtp:216 Page:63
be SmaRT: pReShRink
411 I always wash my fabrics before 412 this may be a simple tip but it’s 413 After preshrinking two pieces of
cutting and sometimes have something to keep in mind. If fabric today, I decided to put one
several different ones that I would like you are looking to sew a lined dress, wash tiny safety pin on the selvage of each after
to wash together, assuming they are and dry the lining before cutting. this will the fabric was dry. Voilà. the fabric is dis-
colorfast. I have found one quick way to make sure that when the garment is done, creetly labeled “washed” and can be put
determine if the color is NOt fast is to wet the lining will not shrink on you. Cotton into storage. I usually forget whether
a corner of the fabric, rub some soap on linings especially tend to shrink. something is preshrunk and end up wash-
it, squeeze it, and see if the resulting suds —hemaM ing it or taking it to the dry cleaner again!
turn colored. If the result is tinted suds, I —Jennifer shaw
know that this is one piece that I am defi-
nitely going to need to wash separately.
—Brine
nO-TwiST pReShRinking
414 If you try to machine wash or dry 415 I keep a spare shower curtain rod 417 I try to prewash all my fabric
large cuts of fabric (3 yards [2.75 above my bathtub to hang fabric purchases shortly after I acquire
m] or more), they can really twist and to let it air dry after preshrinking. them. that way, no matter when inspira-
bunch up, making a big wrinkled mess! —Jennifer shaw tion or desperation strikes, the fabric is
to avoid this, accordion-fold the fabric in ready for cutting. I have also found that
about 1 yard (.92 m) lengths. then tack 416 I use mainly natural fibers and
when I wash up several pieces at a time,
most of them fray rather badly,
the layers together (I use several zigzag they tend to get all twisted up in the dryer
especially linens. I overlock the cut edges
stitches) at three to four places along and get very wrinkled. I had started serg-
of the fabric before I prewash it; this pre-
one of the selvages. Now, throw it in the ing the ends to prevent raveling in the
vents the edges from fraying. I usually just
washer and dryer, and snip them apart wash, and I got the inspiration of serging
pop the fabric into the washing machine—
when you’re done. the ends of the fabric piece together so
very practical.
—Irene Q it isn’t so long. this has really helped: the
—regine
pieces are easier to press, some hardly
wrinkled. When it is time to use the fabric,
I just snip off the serging, losing maybe ½"
(1.3 cm) of fabric.
—svetlana
yeS, yOu Can pReShRink RayOn and Silk
418 I am a firm believer in dry cleaner thrown off. there is so much shrinkage in 419 to preshrink silk, I hand wash it
avoidance, so if it doesn’t go in rayon I don’t feel comfortable not pre- using baby shampoo, rinse it
the washing machine I don’t buy it. I have shrinking in any case. One odd thing I about a million times, then rinse it again
found over the years that most rayon will have found to be true is that you need to adding ¼ cup (59 mL) white vinegar to the
wash just fine IF you make allowances for use detergent in the load. Without it, you water. According to online fabric vendors
shrinkage of yardage AND you test a strip won’t get as much shrinkage NOW but Silk Road, “Vinegar neutralizes any
first. I tear off about a 6" (16.2 cm) strip on you will later. remaining soap, and allows it to rinse out
the cross grain, pop it into a lingerie wash —SJ Kurtz completely restoring the fabric’s natural
bag with a dye trapper sheet (Shout sheen; it can make a dramatic difference.”
Deepika adds: Dry cleaner avoidance is
makes one) and put into the next washer then I rinse it in cool water one last time.
good for the environment! the solvent
load of similar color. It goes into the dryer Once I was washing several yards of fabric
used most frequently is toxic and its resi-
as well (keep it in the bag for that trip as and didn’t have the space (or patience) to
due can seep into drinking water. Not to
well). If it compares well to the original hang dry it, so I put the fabric in the dryer
mention all those plastic bags . . .
yardage for color and texture (or if I like on fluff (no heat) with a clean, dry, white
the results), the whole thing goes into the towel; then ironed it while still damp.
wash by itself. the dye trapper sheet gives —monahan
me a good idea of how much dye has been
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ThiS & ThaT abOuT kniT fabRiCS
420 I find some knit fabrics can be pinned several places along the cut edge. and ended up in the circular file, but the
fiddly at times, meaning they Otherwise I would have wasted several second is just what I wanted. Here’s what I
don’t serge, no matter the differential feed inches of fabric. When sewing, I found it learned: I forgot that rayon is heavy so a
used on the serger or how taut you hold helped to zigzag the seam close to the knit expands downward. I know to hang
the knit fabric. I place a strip of Solvy (the edge first, then it was much easier to sew the finished garment for several days
original, not the ultra) underneath the knit or serge the seam with the correct seam before hemming to allow for this, but I
fabric edge while serging. the feed dogs allowance. didn’t realize it also affects darts. I made
grab the knit better and the result is a nice a side dart in this top. I wore the top to
—SandyinMO
even serged seam. You can then spritz the work (luckily under a blazer) and by the
seam to remove the Solvy or wash the 423 I made a knit top where the front end of the day, the dart had moved down,
finished garment to remove it; both ways and back are laid on folds, for way below my bust! On the second top
leave a nice seam finish. which the fabric had to be arranged with I made, I moved the dart to the armhole
—Linda L the two selvages folded to the center. the as shown below and shortened it some—
knit was so fine that it was next to impos- so it would have room to lengthen.
421 I have found that some knits just
sible to see the ribs to make sure it was Worked great!
don’t want to be sewn, making
folded straight. So I lined up one selvage —Ruth C
stitches skip even with the proper needle,
with the edge of my cutting table and let
thread, and silicone. to overcome this, I
the other fall off the opposite edge. (Yes, I
stabilize one layer of each seam by fusing new dart
know this distorts the fabric, but if it is all
a strip of interfacing to the wrong side: Be new
distorted the same way, it doesn’t matter).
sure to use an interfacing that doesn’t curl seamlines
My table is 30" (76.2 cm) wide and the
when cut into strips. Use a rotary cutter to
fabric was 60" (152.4 cm), so I knew the
make the task speedy. Be certain to lap
center was approximately at the table’s
the interfacing just over the seamline so
edge. Next I inserted a pin through the
you are certain to catch it in the stitching.
fabric every few inches along the table’s
this is a pain indeed. Fortunately most
edge. then I shifted the pin line to the
knits don’t need this treatment but now
center of my table—I had a line I could
you know if you happen to own a misbe-
easily fold the selvedges to. Others may
having knit.
already know this, but I feel as though a
—ryansmum
light bulb lit up in my brain!
—Ruth C
422 My knit fabric rolled up terribly,
especially on the cross grain. 424 the first t-shirt I made from
Before placing the pattern pieces, I first rayon/Lycra knit did not work
Secrets for lightweight drapey knits

Debra H shares some good tips for sewing lightweight rayon or matte jerseys that have a lot of drape:
425 Prewash all jerseys—many will 428 Use a walking foot attachment 431 If you finish your raw seam
shrink, especially rayon, silk and or make sure you push your edges with an overlock stitch,
cotton. fabric toward the foot/needle as you sew make sure that you use a fairly long
to avoid stretching seams too much. I stitch to avoid having too much bulk,
426 Use ½" (1.3 cm) bias strips of
love my Pfaff because it came with the especially if you serge the seam edges
lightweight fusible knit interfac-
walking foot built in. together. this bulky serged edge can
ing (Dream Weave, touch of Gold II, Sew-
create bumps/waves that show on the
ers Dream, etc.) to reinforce any 429 Fully interface all your hems
outside, especially when you press the
horizontal or bias seams, such as neck- with strips of fusible knit inter-
fabric.
lines, shoulders, and armscye. Match the facing the width of the hem before turn-
length of the strips to the pattern piece, ing the hem up and stitching in place. I 432 Use steam more than pressure
not the cut fabric, and then fit the fabric even do this if I use my serger coverstitch from the iron to press open
to the piece before fusing. I do not usu- to finish the hem, because it helps the seams and to finish your garment. Ray-
ally reinforce vertical seams unless the garment hang so much better. I use same ons and silks are very prone to getting
fabric has a lot of lengthwise stretch. type of interfacing as noted above but iron marks and shiny areas from the iron,
not cut on bias. even on low temps. I try to steam while
427 Use either a very narrow zigzag
holding the seam up off the ironing
(.5 mm wide and 2.0 or 2.5 mm 430 Let rayon and silk jerseys hang
board or while the garment is hanging.
long) or stretch stitch for your seams (or for a day or two before hem-
Pressing over a Velvaboard or piece of
use a 4-thread serger overlock). ming—they stretch some in length.
thick velvet or terry cloth helps too.
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001-089_18599.indd 65 4/30/10 10:18:37 AM
433 I tried unsuccessfully to hem a 434 When working with a stretchy 435 I can’t believe what a difference
Slinky knit using the cover hem knit that doesn’t seem to move using a strip of tissue paper has
on my serger. I couldn’t avoid skipped through the presser foot, I use a rolling made when trying to sew a stubborn knit
stitches. I stopped sewing to go to the foot. And when I use a double needle, I that does not want to be sewn. WOW.
grocery store and on the way it dawned adjust the tension on the bobbin down to Without the tissue I had a very ugly gath-
on me: “Why didn’t you try your blind a low setting and fill with Woolly Nylon ered stitch. You just have to place the
stitch machine?” As soon as I got home I thread. This helps eliminate or reduce the tissue on top of the seam and sew through
ripped out the cover hem. I put matching tunneling that can occur with a double it. Removing the tissue was easy: I pulled
thread on the blind stitch machine and set needle. both edges simultaneously away from
it for skip stitch. In no time at all I had a —okie2thdoc stitching.
PERFECT hem! No stretching, no skipped —ryansmum
stitches—it was just right.
—SandyinMO
No-slip velvet-to-liNiNg
Leather and pleather
Two PatternReview.com members have good tips for sewing real and synthetic
leather. Deepika’s tips apply to both, CharityAK adds more for sewing the fake.
450 Stretch velvet and silky lining
fabric are just about the worst
two fabrics to put together, especially on
Deepika’s tips. These are not rules CharityAK’s tips. Leathers can be
long seams. I used a walking foot. I used a
for sewing leather, they are just things expensive and difficult to sew. While
stretch needle, a longer stitch, pins, incan-
I discovered while I sewed it and they real leather is hard to beat aesthetically,
tations. Still, the velvet-to-lining connec-
helped me: there are some decent synthetics. Here
tion was a nightmare. Slippage, stretching,
are some tips for working with the new
436 Use a leather needle. For my
“pleathers” (plastic leather):
moving . . . I solved it all by using ½" (1.3
bag, sewing through four layers cm) Steam-A-Seam to connect the two
of leather, size 14 worked fine. 443 Choose a simple pattern fabrics before stitching (I think ¼" [6 mm]
without lots of small pieces. would work too):
437 Use a Teflon presser foot. It
won’t stick to the leather— 444 Avoid patterns calling for lots • Attach the Steam-A-Seam first to the
especially if your leather is coarse like of topstitching. right side of the silky lining by finger
mine was. pressing it in place. Then lay the velvet
445 Use paper clips, clothespins,
over it, edges lining up.
438 Increase your stitch length. binder clips, double-sided tape,
• Steam press lightly to hold the two fab-
Smaller stitches may cause or even glue sticks instead of basting
rics together.
perforation in leather. and pinning.
• Then pin the seam and sew. Trim the
439 Use a thicker thread for top- 446 If you must pin, pin in the seam seam so that most of the Steam-a-Seam
stitching. allowance where the pinholes is cut off.
won’t show. —maryfrana
440 For appliqués or layered con-
struction, a thin coat of rubber 447 If the pleather sticks to the
cement on one piece will really help throat plate or your presser
keep things in place before you sew. foot, try covering the material with
waxed paper or tissue paper.
441 Use binder clips to hold the
seams while you sew. Use the 448 Sew with the wrong side up
smallest kind. when possible as the back
bonding is easier to pierce.
442 Sew slowly and carefully, espe-
cially if you are using contrast- 449 Avoid ironing. Use a clapper to
ing thread. You cannot redo the stitches set seams where possible. If
since they leave holes in the material. you must iron use a synthetic setting, no
steam, and a pressing cloth. Always test
a scrap first.
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001-089_C56870.indd 66 5/18/10 5:43:39 PM
Twelve tips for sewing silk/rayon velvet
Debra H says, “Silk/rayon velvet is one of the most exquisite apparel fabrics, almost watery in its drape and softer than other
velvets.” Here are handling tips she developed sewing seven different garments from the fabric:
451 prewash. Do this to save your 455 Restoring a marred velvet 459 hems. I typically make sleeve
sanity. test a small area first to surface. Velvet pile that is hems at least 1" (2.5 cm) and
make sure it doesn’t fade badly. Washing almost totally flattened by an iron is not main hems at least 1¼" (3.2 cm) deep. I
the fabric ensures your garment will be repairable. Moderate to minor marks can interface the hem with a bias strip of
safe in the machine, gives it a soft vin- be minimized with the help of a second washed silk organza cut ½" (1.3 cm) wider
tage look and it will obscure iron marks person: Lay the damaged area face up than the hem depth, serging together at
and other imperfections. Wash in cold over your Velvaboard or towel. Release the velvet edge. I then press up the hem
water on gentle cycle and dry on low steam about 1" (2.5 cm) above the dam- using the techniques above. I hand stitch
heat/fluff cycle. aged area; immediately have a friend the hem, catching a few threads of the
brush the still damp/warm pile with a organza and just one or two threads of
452 Cutting. Serrated scissors
soft toothbrush or hairbrush, brushing the velvet backing. the organza provides
work the best. Cut a single
back and forth to raise the pile. this may soft shaping for the hem and also adds
thickness only.
have to be repeated several times. Hope- strength.
453 marking. Washable or air eras- fully you can get it to the point that it
460 Closures. Avoid buttonholes if
able fabric markers are great, will look like part of the vintage look.
you can, especially if you have
especially for marking dart lines. test
first if using a light color. Do not press 456 interfacing. Always use non- trouble making nice buttonholes with
fusible interfacing. Even inter- easier fabrics. Button loops, frogs, zip-
down when using the markers; a light
facing that fuses at low temperatures has pers, and similar options work best. If
touch is all that’s needed.
trouble adhering without contact with you must use buttonholes, put a piece of
454 pressing. Use a steamer or iron the iron. It also can create a crinkled look transparent stablizer that does NOt dis-
that produces a lot of steam on the pile, which you may not want. solve in water on top of and under the
heat, which is the best way to press open Washed silk organza works best for me buttonhole area; secure with tape at the
seams, etc. Lay velvet with the pile facing and you can use multiple layers for more edges. Mark the buttonhole on the sta-
down over a Velvaboard or towel with support. Washed cotton lawn and blizer and stitch. then pull away the sta-
the pile facing up. (Make sure that there organdy also work well, with the latter blizer from the buttonhole and cut the
are no wrinkles or creases in the towel or providing the most body. opening. the stablizer helps hold down
Velvaboard as this will show up on the the fuzzy pile so that the buttonhole
fabric, as will the finished edges of these 457 Sewing seams. A microtex
looks more professional and also adds
needle size 70/10 works best for
items.) Wrap some scrap velvet or a piece strength.
me. If possible, use a walking foot or
of terry cloth around your index finger to
protect it from the heat and to prevent
special velvet foot. I use a 2.5 mm long, .5 461 Topstitching. Most topstitch-
mm wide zigzag for all major seams. Pin ing is completely lost in velvet,
fingerprints on the fabric. Release as
thoroughly, piercing only the seam allow- which may not matter if you need to do
much steam as you can about ½" (1.3 cm)
ance as pin holes will be permanent. If this for construction purposes only. If
above the fabric and quickly use your
you see the fabric bunching up in front of you want the topstitching to stand out
wrapped finger to press open the seam,
the presser foot, stop sewing and lift the more, use a triple straight stitch but
crease the hem, finish a collar or cuff,
presser foot to readjust the fabric or you remember that this will leave very large
etc. You can also wrap pressing hams,
will end up with tiny tucks in the seam. needle holes if you need to remove
sleeve rolls, etc. in a towel for pressing
stitches.
special areas. 458 Sleeve caps. Place the gath-
ered/eased cap over a pressing 462 wrinkle removal. throw the
ham covered by a hand towel (towel pile wrinkled garment in the dryer
facing up). Use the steam about ½" (1.3 with a damp t-shirt of similar color. Do
cm) above to shrink the eased area, using not use towels because they tend to shed
your fingers to spread the eased folds fibers onto velvet. Dry on low heat/fluff
out over the ham. You can use the tip of cycle.
the iron inside the seam allowance only.
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001-089_18599.indd 67 4/30/10 10:18:38 AM
Good to tHe last scrap
Steps to success with faux fur
Working with faux fur presents some challenges. It is bulky, slippery, and usually 478 If you are a disciplined sewer
comes in a 30-inch (76.2 cm) width. Two PatternReview.com members offer help. fond of perfect fitting, then you
probably make muslins before cutting the
Hooptastics’ keys to success. I was Katlewo3’s tricks. I found it best to use real fabric and you likely have a great deal
frightened by long fake fur at first, but a pattern with simple lines that does not of scrap muslin you do not know what to
it was so easy! Way easier than short fur require pressing because an iron can do with. I donate mine to a children’s hos-
that wiggles around on you when you are cause the fur to melt. Here are some pital that is always in search of crafts sup-
trying to sew it! tricks that worked for me: plies. The kids make gorgeous collages,
puppets, and little stuffed animals. I also
463 Use a sharp box cutter to cut 469 Trace off two copies of each
give them crayons that write on fabric,
the backing only, not the fur. pattern piece, reversing one.
funny colored zippers, and buttons—here
(Change the blades often—those snap- Using two copies kept me from cutting
is a costume for a kid who did not ask to
off blades are a blessing.) out the same side of the garment twice.
be sick. If you do not have a children’s
464 Be sure to leave enough room 470 Lay the pattern pieces on the hospital nearby, a local public school will
when cutting near the bottom back of the material. Cut also be happy to have those “leftovers”.
edge of the fabric—the vendor probably through the backing only using the tips No waste! 
cut the piece with scissors, which means of the scissors or a single-edged razor —Mahler
they also cut through the fur. blade.
479 Whenever I make something out
465 Use a hairbrush to gently (but 471 Use long pins with large heads of a nice soft knit, I save the
you don’t have to be too gen- that won’t get lost in the pile. scraps to make underwear. Most under-
tle) brush the fur away from the seam wear patterns take very little fabric and
allowance towards the center of each 472 Baste together seams to keep
sometimes I have enough to squeeze on a
them from slipping.
piece. set. Learn how to make these and you can
473 I used a 14/90 needle and set save lots of money! I first practiced on old
466 I sewed with a large open zigzag
my machine for heavy knit fab- T-shirts till I got my pattern to fit just
stitch. This made it easy to pull
ric, and had no trouble with needle right. Now I refuse to buy any undies, and
out fur trapped in the seam—I used the
breakage. I don’t get wedgies anymore. 
blunt end of a needle. With long fur, it
—Dale C
didn’t matter that the stitch was so 474 Using a blunt needle, knitting
wide. needle, or wooden skewer, lift 480 Recently I’ve been making patch-
fur that has been caught in the seam. work blankets from leftover fab-
467 Sew in the direction of the nap.
Then, holding your scissors flat against ric that is too small for a garment. I cut it
fur, cut away fur close to backing within into 5" (12.7 cm)-wide strips. Then I select
the seam allowance. similar fabric and coordinating colors for
468 Be prepared to vacuum—the fur
each blanket. I give the blankets to people
gets everywhere! DON’T be 475 Hem faux fur by hand, using a
in need. If I don’t have nicely matched
afraid! Go get some ugly stuff from a catchstitch. If the fur is thick,
scraps, I give them to animal shelters. I feel
discount bin and practice on a silly hat. face the hem with a strip of lining fabric
I’ve used all the fabric I’ve bought well. 
folded in half with the raw edges
—Iris
enclosed when the strip is turned up.
476 Sew loops or fur hooks and eyes 481 Wondering what to do with your
fabric scraps? Save them and
in long fur fabric rather than
bring them to your machine dealer. Sew-
standard buttons and buttonholes.
ing machine dealers always need fabric
strips to test the machines.
—Deepika
smootH tHe way for plastics 482 If you use scraps for doll clothes,
try this approach to creating a
wardrobe you can give to your favorite
477 I was sewing some plastic totes and under the foot and over the back doll-playing child: Make a doll garment
and having difficulty with feed- of the table. I had seen a Teflon version right after you’ve finished your primary
ing the material through the machine. It of this, but didn’t want to pay the price project. Your machine is already threaded
occurred that I wasn’t having foot drag for something that 1) was expensive 2) I with the right color and you have the fab-
trouble, but table drag! So, I took a big didn’t use much and 3) I would probably ric right there, not stuffed away in a bag.
piece of freezer paper and put it shiny- misplace between the time I bought it and No last minute rushes to finish doll
side down/plain paper–side up over the the time I needed it. So, there you are, clothes in December!
machine bed, cutting a little hole for the a non-drag surface for the machine that —LoriB
bobbin thread. I taped it over the front costs pennies!
—Janie Viers
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Thread chat
Stymied when you can’t find matching thread? Annoyed by tangles? Challenged
by needles that seemingly can’t be threaded? Chagrined by the cost of threading
your serger? Here are answers to these and other common thread issues.
haSSle-fRee hand Sewing
483 I love using silk thread for my • Pick up the end of the thread with your 486 My daughter is now in college,
hand sewing. Long pieces aren’t right hand and grip it with your left and works part time in the cos-
likely to tangle. If it does knot up, the thumb together with the needle (so tume shop for the theatre, where she was
knots come out a lot easier. I always hand a loop of thread hangs from your left introduced to Silamide hand sewing
bind quilts with silk thread. For cotton hand). thread. It is a hank of waxed thread cut
threads, if you find they tangle a lot, give • With your right hand, grasp the thread into individual lengths; it comes in a pack-
the spool a spritz of Sullivan's Silicone near the needle tip and wrap it around age, you pull out a precut length, and
Spray for Sewing, which will also help it the needle about three times; then add baste away, or hem, or sew on buttons, or
glide through the fabric better. You can the wrapped thread to your left thumb/ whatever. It is fine, yet sturdy, and NEVER
easily find this online. index finger grip. knots up on you—which saves gobs of
—papalacios • Here’s the magic: Hold onto the needle time. Look for it online; it’s about $7.00 for
with your right hand while your left a package, which looks like it will last me
484 When hand sewing, placing a
hand slides the wrapped thread to the for years.
knot at the end of a strand of
left, down and off the needle and along —Lee Ann Hawkins
thread (and making it big enough) can be
the thread until it forms a knot at the
fiddly. My quilting teacher taught me this Deepika adds: this nylon thread is also
end. It sounds complicated, but it’s
fast and simple technique to make a great used for beading, for which it is put up on
REALLY easy once you try it. You can
knot. Reverse hands if you are left-handed spools. Look for the precut hanks at a sew-
adjust the size of the knot by wrapping
(see illustration below). ing notions supply.
the thread more or less.
• Thread a needle and hold it horizontally —Asa Hagstrom 487 to keep your thread from
between your left thumb and index knotting before hand-stitching,
finger with the point toward your right 485 topstitching thread is great for
run it lightly through a cake of beeswax.
basting because it is thick and
hand. the thread should just dangle You may have already known that. What
therefore easy to see and it slides out
down. you many NOt have known is that if you
easily when it’s time to remove it.
run a warm iron over it quickly after wax-
—Elaray
ing, it makes the thread even more dura-
ble. If you’ve never used wax in your hand
stitching, you will wonder how you got
along without it once you start.
—Nancy Anne
488 I know most of you know this,

BUt if you are hand sewing with
a needle and you want to sew with a dou-
ble thread: Don’t knot both thread ends
together at the bottom, instead knot each
thread at the end of the thread and it
won’t get so twisted up. Seems too simple
to work, but it does.
—Janie Viers
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bObbin-winding TRiCkS yOu may nOT knOw
489 I never seem to have enough 490 I was desperate for a way to 494 I found out (the hard way) that
empty bobbins on hand, so I make the thread reel off the cone winding nylon thread onto your
usually unwind partially filled bobbins at or spool more easily without worrying plastic bobbin may make it impossible to
the end of each project and throw away that the spool would fly off the top of the remove the bobbin from the winder! to
the extra thread. It’s such a stupid little spindle when I filled bobbins. I put an old prevent: wind at slow speed and/or don’t
thing, but often I’d get impatient doing empty and dented bobbin on the thread entirely fill the bobbin. to remedy: unwind
this and go too fast and the bobbin would spindle and then stuck a straw through it. the bobbin entirely and you should be
slip out of my hands and fly across the the bobbin spins really well to keep the able to remove it from the winder. Maybe
room. So I took a small plastic food stor- spool from “dragging” and the straw keeps everyone knows this already, but I pan-
age container and punched a hole in the the spool from spinning off, or as in the icked after winding the very first bobbin
lid. Now, when I want to unwind a bobbin, case of the 1,000 yard threads, keeps on my new sewing machine and finding an
I just drop it into the container, thread the them spinning smoothly! answer online took a surprising amount of
loose end through the hole and put the lid —Janie Viers searching.
on. I can unwind the bobbin quickly with- —Kristi_Dugan
out losing it. And the container doubles as 491 I hate having to fill bobbins while
storage for my empty bobbins!
I’m in the midst of sewing a gar- 495 Sometimes my bobbin does not
ment. the problem isn’t so much filling wind tight enough or it overfills. I
—GwenC the bobbin; it’s having to remove the top had this happen this morning because I
thread in order to do so and then put it was winding a bobbin and reading some-
back. I have enough trouble threading the thing else and wasn’t paying attention. My
needle as it is! I didn’t want to fill two or usual remedy for this was to grab another
more bobbins at once—because maybe bobbin, throw the badly wound one in a
one would be sufficient. So I now buy two case to deal with later (never sure how I
spools of matching thread when I’m pre- was going to deal with it) and just wind
paring for a project. One is dedicated for another one. this time I was aggravated
the top thread and the other is used only because I had wasted thread. then the
for bobbin winding. If I need to refill the light bulb flashed on. I popped the badly
bobbin partway through the sewing pro- wound bobbin onto the thread spool spin-
cess, I just pull out the second spool and dle. I loaded an empty bobbin in the
Wind it right there’s no need to touch the top thread winder and proceeded to wind a new bob-
(or rethread the needle!). I find this saves bin from the badly wound one (this time
Sarah J Doyle has it from a pro:
me beaucoup time and frustration. paying attention to what I was doing).
According to my sewing machine
—Joey in Katy Badly wound bobbin totally unwound and
repairman husband, the most
thread now on new perfect bobbin. No
probable cause of the lower thread 492 the option to wind the bobbin
more wasted thread!!!
breaking is an improperly wound bobbin. directly from needle is character-
—Mirza
Regardless of where you wind the bob- istic for modern and expensive machines,
bin, the basic “bobbin rules” apply: but you may succeed in doing it on a sim- 496 If you have a Bob ‘n’ Serge for
pler or older machine as I did: Pass the your serger and would like to use
497 Always start with an empty thread from needle under the presser foot your sewing machine to wind serger
bobbin. and then wind it around the bobbin. Place thread onto bobbins for it, you can spend
the bobbin on the bobbin-winder and lock up to $30 for a Deelybob thread cone
498 Don’t wind the bobbin so full
it. Hold the thread with your fingers as adaptor—or you can fake one for free if
that it is hard to insert into
the bobbin case. Most machines have you wind so the bobbin fills evenly. Be your sewing machine and serger are near
an automatic “shut off” when the bob- careful, because some thread can burn each other: Simply place the coned thread
bin gets full, but if yours does not, be your fingers, if you do it too fast. Always on the holder on your serger and thread it
careful not to fill it too full. place the thread under the foot, because if up through the telescopic thread guide.
you don’t, you can spoil the needle. then pass the thread across to your sew-
499 Using bent bobbins can cause —Annemari ing machine and through the regular bob-
uneven stitching and thread bin winder tension guides. Now wind as
breakage. try rolling the bobbin on the 493 If you wind a bobbin with the
usual. Now that I’ve figured this out, I can
table—if it wobbles, throw it away! presser foot raised, keep one
simply buy one cone of serger thread in
finger on it so it doesn’t vibrate into the
each color I need. that saves both money
500 Always use the right shape needle. Wind at a slow speed!
and storage space.
and type of bobbin for your
machine. Check your owner’s manual. —Joey in Katy —nancy2001
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Save $: uSe bObbinS inSTead Of SpOOlS
501 Everyone’s probably already 503 A serger needs thread: two or

figured this out, but it just came more spools depending on the
to me the other day. I needed two spools technique. Since I like to have my serger
of thread for use in a twin needle top- thread colors somewhat match the fabric
stitch application. But I had only one I’m serging, I came up with this technique
spool of the color I needed. Since I was so I don’t have to buy three to four spools
using Woolly Nylon in the bobbin I placed for every color fabric, especially for colors
the regular thread bobbin on my second- I know I will only use occasionally. the
ary spool holder. the bobbin fit fine and technique requires: empty regular thread
the twin needle stitching came out great. I spools; one spool of serger thread; blue
can’t believe I’ve been buying two spools poster putty (Blu tak), a sewing machine
of thread all this time. bobbin and sewing machine with its bob-
—drsue bin winding mechanism and, well, my
hands. (My machine has an upright bobbin
502 I used to buy serger thread four
winder; this won’t work on a machine
cones at a time (for my 4-thread poster putty
where there is no space to fit the regular
sergers). However, ever notice that you
empty spool on the bobbin winder.) Here’s
use much, much more upper and lower
the process:
looper thread than you do needle thread?
So, try using only two cones instead of • I place the empty bobbin on my sewing
four! Just fill two bobbins from a serger machine bobbin winder, positioned as
cone and then use the bobbins for the two if I’m going to wind a bobbin. I take a
needles. Instead of buying sets of four ball of poster putty and smoosh it into
same-color cones, you can get by with the end of an empty thread spool; I then using my right hand to gently guide the
only two same-color cones—and thus buy push the putty end of the spool against thread so it winds evenly onto the spool.
many more colors! the bobbin, making sure it is centered • Once the winding is done I remove filled
—Joey in Katy and secured. spool, pull out the poster putty (to be
• I hold a cone of serger thread in my left used again) and I have an extra wound
hand, wind a bit of the serger thread spool in the color I want to use in my
onto the empty spool, press the sewing serging.
machine pedal and begin winding— —utz
meeT The SeRgeR ThReading Challenge
504 Here’s my method for coaxing 505 When threading Woolly Nylon 506 When changing thread on a
Woolly Nylon through the looper through loopers or needles, I use serger, lots of people use the
eye on my serger: Feed the Woolly Nylon beeswax to coat the end of the thread. method of cutting the last used thread
through the thread guides up to the Pull about 3" (7.6 cm) at the end of the near the cone, replacing the cone, tying
looper. Cut a 1' (30.5 cm) length of regular thread across a cake of beeswax, holding the new thread to the end of the old, and
sewing thread. tie one end of the sewing it tightly against the wax with your thumb. then pulling the needle or looper end of
thread to the end of the Woolly Nylon in a Sometimes you have to do that more than the thread through most of the thread
square knot, and trim the tails close to the once. Now you can twirl, flatten, or other- path. Most people think it necessary to
knot. Guide the sewing thread through wise shape the thread. I learned this trick cut off the knot and then rethread the
the looper eye. With your fingers, put in the factory where I sewed long johns needles manually. However, if you tie
some tension on the Woolly Nylon so that and had to thread four needles and a square knots in the needle threads, and
it thins out behind the sewing thread as looper on a big industrial machine with cut the thread tails very short, it is usually
you pull the thread, the knot, and the Woolly Nylon. possible for the knots to go right through
Woolly Nylon through the eye. No heroics, —xenophea the needle eye.
no weeping, no problems. Works every —Shazza B
time, and no contortions are necessary.
—jan zita
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COnqueR hand-wOund bObbin wOeS
507 I was so confused by the term 508 When hand-winding a bobbin, I 509 If you’re fumble-fingered like me,
“hand-wound bobbin.” I spent used to slide it onto a pencil. But you have trouble holding a bob-
months holding the bobbin in one hand it always slipped off. So, I softened one bin while hand-winding thread such as
and winding the thread around and end of a plastic drinking straw by holding Woolly Nylon onto it. Well, here’s the
around and around and, as Yul Brynner it very briefly over the flame of a lighter solution I found: hold a chopstick in your
used to say in The King and I, “Et cetera, and then inverted the softened end on a left hand and slide the bobbin onto it;
et cetera, et cetera!” I finally realized I table, pressing it so it flared out a bit. Now extend your thumb and forefinger so they
could get the same even effect by using I slide the bobbin onto this straw, holding cradle the bobbin. Wind the thread onto
my machine to hold the thread spool and the straight end in my hand; the bobbin the bobbin with your right hand—you’ll
the bobbin as usual, BUt, instead of feed- won’t drop off the flared end. the thread find your thumb and finger don’t get in
ing the thread through the tension guide doesn’t get caught on the straw either the way and the bobbin sits securely on
on the machine, guiding it through my since the flare is flush with the bobbin. the chopstick. If you’re left-handed,
hand while running the machine slowly. I —Maria Hatfield reverse the process.
haven’t had a problem with this method, —OP Gal
which I have used for decorative ribbon
and yarn for bobbin work as well as plain 510 When I need to hand-wind a
bobbin, I slide it onto a knitting
old thread.
needle, which already has a stop at one
—Janie Viers
end that keeps the bobbin from sliding off.
—Deepika
wOOlly nylOn RuleS

Metallic thread know-how
Quilting (and sewing) with metallic thread can be an exercise in frustration.
511 On an overlock machine, use
Woolly Nylon in the loopers only,
CharityAK has learned a few things that can lessen your frustration levels. not in the needles. On the sewing
machine, use it in the bobbin when sewing
512 Use a metallic needle. You 517 Be careful not to put any with a twin-needle to allow the seam to
can also try a topstitching strain on the needle. Do NOt stretch.
needle. pull at your fabric as it passes under the —Mel.J
needle.
513 Loosen the upper
tension. 518 You may have to use the
metallic thread in your bobbin
514 Use a longer stitch
and quilt from the back of the piece.
length.
515 try running a line of Sewer’s 519 If all else fails, try couching
the thread. Lay the metallic
Aid (a lubricant) across your
thread over your desired quilting lines
spool of thread. Put another drop at the
and use a very narrow zigzag back and
top of your needle.
forth over it. You can use a clear thread
516 Stitch at a slower rate of or one that matches your fabric back-
speed. ground.
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001-089_18599.indd 72 4/30/10 10:18:39 AM
eaSy needle ThReading
520 to make it easy to thread a twin 521 I was trying to thread my serger 522 Invisible (clear monofilament)
needle, insert a wire needle the other day, and for the life of thread has many great uses, but
threader through each needle eye BEFORE me I couldn’t find the tweezers that I need can be a chore sometimes when it comes
inserting the twin needle in the machine. to grasp the thread. So what I did is this: I to threading a hand or machine needle. to
Push the loops through from back to front used a small bit of tape. If you can get the make it easier to see what I’m doing, I
and push them slightly apart if they want end of the thread through the needle, you mark the tip of invisible thread with a
to overlap. then install the needle in the can use the tape to pull it the rest of the black Sharpie. You can put white paper
shaft. Now thread each loop and pull it way through. Just touch the tape to the behind or under the needle as you thread
through, front to back. With this trick, you thread where it exits the needle and pull it for extra contrast if needed. Hope that
can hold the needle as close as needed to towards the back of the machine. helps!
see the needle eyes while you insert the —SexiSadi —tweedcurtain
threaders.
—homework
Deepika adds: there is no reason to save
this tip for a twin needle. Anyone who
has trouble threading a single needle will
appreciate it too.
nOvel appROaCheS CReaTive “SpOOl”

Cut on an angle, TO ThRead COlOR hOldeRS
dampen
Water helps thread pass through
525 I frequently have the problem of 527 I like to purchase large cones of
not finding a topstitching thread thread for both my serger and
the eye of a needle. Here are two takes on that matches my fabric. However, I can embroidery machine. these machines, of
the process: usually find a matching construction course are set up to handle the large
thread. So for topstitching, I use two cones. But I wanted also to be able to use
523 deepika’s advice. If you are
spools of the regular construction thread, these cones on my sewing machine—
ever struggling threading the especially when I do decorative stitching
passing the thread from each through the
small eye of a hand sewing needle, try and want to use my embroidery thread.
guides separately and then through the
this: Cut the thread on an angle with a this is the solution I came up with:
needle together. this is not quite as heavy
sharp pair of scissors; then wet the end
as regular topstitching thread, but it does • I cut a 5" (12.7 cm) length of ¾" (1.9 cm)
and pull the thread between your
show better than just a single thread. dowel. I drilled a hole sized to fit the
thumb and forefinger to make it even
Sometimes I am too much of a perfection- thread spindle on my machine into one
pointier. You’ll see, cutting the thread
ist and the color I want falls between two end of it.
on an angle creates a sharper point so
thread colors. So I use one of each for • I slipped it over the spindle, and it sup-
threading becomes easier. try it; it
topstitching; they blend into the color I ports my thread cones.
works!
want once I stitch them on the garment. • To further support the embroidery
524 pattiannSg’s advice. I —MarilynB thread cones I also use the rubber four-
would like to add a method prong base that came with my embroi-
similar to Deepika’s that also includes 526 When choosing thread for my
dery machine, but this isn’t necessary
garments I always choose an
machine needles. Cut the thread on an for the serger thread cones.
off-color thread for the bobbin—just a few
angle as Deepkia describes, but —ReneeSews
shades off so that it’s not distasteful on
instead of moistening the thread,
the finished garment. I do this so it’s easy
moisten the eye of the needle and the
to see should I need to rip out a seam. I 528 If you’re using bobbins to supply
thread will wick through the eye like thread to serger needles and the
usually try to choose one or two shades bobbins won’t fit on the thread spindle—
magic. I find this method very helpful
lighter, not darker, than the fabric so it or if the thread doesn’t feed smoothly
when I thread the needles on my old
won’t show on the finished garment. this when the bobbin gets about halfway
thread-it-yourself serger.
is such an easy aid for that dreaded empty, try this. Find a couple of tall drink-
Deepika adds: the needle type unpicking if you have to do it! ing glasses. Put them behind the serger,
doesn’t matter. Both techniques are —KarmenG drop a bobbin into each glass, and feed
helpful for threading any type of sew- the thread through the guide “trees” as
ing needle. Moisten both and you will usual. the bobbins may jump around a bit
see water’s cohesive properties work in the glasses (adding an interesting coun-
magic. terpoint to your serger rattle), but the
thread will feed smoothly!
—Joey in Katy
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Notions chat
Stabilizers, fusibles, elastic, and closures are key to good structure and
good fit (and buttons look cool, too). Here, from the resourceful members of
PatternReview.com, are some smart ways to handle and apply them.
ThiS & ThaT abOuT nOTiOnS
529 We all dislike the way Fray Check 531 You know those annoying rib- 533 When I had trouble locating a
hardens as it dries. to counteract bons that come in ready-to-wear suitable drawstring for a pair of
that, as soon as you apply it, press it dry blouses and dresses intended to keep the pants I made for my daughter, I turned to
with a steam iron. Don’t let the iron sit on garment on a hanger: I never use them to the shoelace rack at the grocery store. I
it; keep it moving as you steam, until you hang the garment and they always end up bought long oval athletic shoelaces, which
see the Fray Check is dry. Once the fabric hanging out of my neckline. So, like most, come in an array of colors. Snip the little
is cool it will be soft to the touch. I cut them off. But I use them in my gar- plastic ends off, and pull the “stuffing”
—PVA ments anywhere stay tape is needed, out, and you wind up with two laces: the
especially at the shoulder seam. the rib- colored cover, and a soft white knit cord
530 Elastic may shrink when it is
bon works really well and it’s free. So, next concealed inside. the navy cord was per-
washed, so I always prewash and
time you cut out that ribbon, save it and fect for my daughter’s pants, and the liner
dry it before inserting it in my sewing
use it in your next project. cord will be useful for travel shoe bags I’m
projects. So that I always have elastic
—SueV making for gifts. I’m going to stock up on
ready to go, I buy it in bulk, wind it loosely
these laces!
into a loop, tie it with string in several 532 You can use used dryer sheets as
—Karla Kizer
places to keep it from tangling, and wash stabilizer. For making smaller
and dry the whole amount. templates, you can use the plastic insert
—Brine from packages of bacon; just clean well.
—comocosews
STabilizeR hinTS
534 Instead of staystitching, I use 535 Wash-A-Way Wonder tape is a 536 I’ve recently started using left-
Glad Press’n Seal to stabilize water-soluble, double-stick tape over scraps of pattern tissue as a
neck and bias edges. It adheres very well that can be used instead of pins or bast- starter and stabilizer for knits. I place the
to fabric and definitely stops it from ing. It washes out in the laundry. However, tissue on top of the seam, extending
stretching. I cut it into strips or to match a it leaves a little bit of white residue behind maybe ½" (1.3 cm) before the start of the
pattern contour, and press it firmly onto (it’s not the actual adhesive that stays seam. I start sewing right before the
the fabric with my hands—or sometimes around, just a kind of white lint). I’ve beginning of the seam and voilà, the knit
with a ruler. then I pin and stitch the gar- found that you can remove the residue by doesn’t get eaten by the feed dogs. the
ment sections together in the normal way. gently rubbing on it. I’ve found that subse- tissue paper also acts to reduce drag
Pinning and stitching through the Press ’n quent washings won’t remove this white between the knit and the presser foot.
Seal is no bother and it tears off easily stuff entirely; you really have to remove it this really helps to feed the layers evenly.
along the stitching line. Another benefit is by hand. I’ve also used the paper to act as a “slip”
that it doesn’t gum up the needle with —Debbie Lancaster between the feed dogs and clear elastic—
sticky residue. so that the clear elastic doesn’t drag along
—Vonnevo the dogs.
—Kim Winson
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gOOd TO knOw abOuT zippeRS
537 What to do if you can’t get an 539 I can’t tell you the number of
invisible zip that matches your times I accidentally trimmed a
fabric? Obviously the only real problem is coil zipper only to realize I had cut off the
the zip pull/toggle as the rest of the zip- zipper slide. Well, it is possible to repair a
per isn’t seen. You can paint it with nail slide-less zipper, though you must do it
polish to the same color as the fabric, if from the bottom, not the top, which
you can get nail polish in the right color. means removing it from your garment if
the most readily available polish colors you’ve already sewn it in. You will need
range from palest beige through all the clippers or small scissors, a hemostat if
pinks and reds to purples. However, I you have one, and a pair of pliers.
found blue-green that was an exact match
• Separate the zipper at the bottom. With
to my fabric. So if you haven’t had luck
small scissors, clip the coil free from the
with finding the right color zip, you might
bottom end of each piece of tape for
be luckier with nail polish! Not cheap
about ¼" (6 mm).
though. this solution is also good for eye-
• Use the hemostat to pull the freed coil straightened
lets/grommets.
ends nearly straight. zipper coil
—KathleenS
• Guide the zipper slide back onto one
538 My brother likes to make model piece of zipper tape, inserting the
cars. to paint them he uses tes- straightened coil through the channel in
tors enamel paint, which comes in small the slide. Use the pliers to pull the coil
bottles. You can paint zipper pulls, grom- and a bit of the tape through the slide,
mets, rivets, etc. with it—perfect when so that a bit of the tape extends below
you can’t find these in a color to match the slide. 540 Metal zips are notorious for
your fabric. testors lasts better than nail • Now guide the coil on the other zipper sticking and being difficult to zip/
polish, which scratches and chips easily, so tape into the other half of the slide. unzip. to unstick, rub the metal teeth with
if you want to wear something multiple It may take a few tries to get the tape the tip of a pencil, then move the slide
times the testors is a more permanent through evenly, so the tops align. back and forth a couple of times. If the
option. the bottles cost about $1.15. they —patsijean slide still doesn’t run smoothly, just repeat
also make paint pens for precision paint- the process until it does (a couple of
Deepika adds: Be sure to sew the tapes
ing , about $3. attempts should be sufficient). Be careful
together at the bottom so the slide
—chick3y not to get any of the graphite from the
doesn’t escape before you sew in the zip-
pencil tip onto the fabric.
per. If you shortened the zipper at the
—Janine S
top originally, there won’t be any stops to
align; just cut the tapes to be even and pin
them at the top temporarily to keep the
slide on.
The beST STabilizeR fOR puRSeS
541 plastic canvas. Most bag pat- 542 plastic drop-ceiling panels. 543 nylon window screen. If you
terns tell you to put a piece of Hardware stores carry 2' 3 4' (61 are looking for a durable inter-
cardboard in the bottom of a bag to help 3 123 cm) plastic panels for the kind of facing or interlining that adds body to
retain the shape. I don’t like this because ceiling grid that covers fluorescent lights. fabric crafts such as purses, tote bags,
it means you can never wash the bag, nor they come in various designs and are flex- Halloween costume hats, etc., try using
get caught in the rain with it. Instead I use ible yet firm in small pieces. I used one cut non-metal replacement window screen. It
a piece of plastic canvas. You can even to fit in the bottom of the purse so that the is washable and lightweight, yet it has
stitch it into place by machine (without purse wouldn’t collapse when I set it down. body, and won’t get limp. It comes in
any special needle) to it so it does not My original intent was to cover it in with nylon, polyamide, and polyester—each has
“travel” around the bag. Plastic canvas is my lining fabric, but since it is transparent, a different stiffness. You can find it in rolls
about 25 cents for a sheet about the size I left it as is. this seems to be working well at the hardware store or Home Depot.
of letter paper, and can be found in craft and has much more body than the plastic Sometimes you can find a variety of mesh
stores near other needlework supplies. canvas sheets I’ve seen recommended. sizes too!
—candyo Cutting the material is a little tricky—my —ShereeSews
husband used a Dremel wheel. the best
part is that you can get LOtS of purse rein-
forcements for very little money.
—Jan B.
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RiveTing leSSOn ReSOuRCeful wiTh
Seam Tape
force. If either the top or the bottom
544 Often my spouse finds wonderful
vintage jeans that don’t quite fit. of the rivet is warped, use the pliers to 548 I’m using a lot of a particular stay
I had been afraid to attempt to remove straighten it back out. tape, especially for shoulder
the pocket rivets, as I wasn’t sure if I could seams, when sewing knits. I sewed the
• After altering the jeans, place them on
get them back on. I recently purchased a tape once with the wrong side up and
top of a phone book and then use the
Dot Snapper tool Kit on eBay, and it has believe me, it’s quite itchy next to the
awl to poke a hole where you want to
been a dream tool. the tools I used to skin. What I do now is brush the sides of
put in the rivet (tap it with the hammer).
remove the rivets are simple household the tape, one by one, against my lips. Your
• Insert the bottom rivet piece up through
tools: A flathead screwdriver, a pair of lip skin is so sensitive that you feel imme-
the hole; press the fabric around it with
pliers, and a hammer and awl to put in the diately which is the smoother, silkier side.
the screwdriver to make as much of the
new rivet hole. —LauraLo
stem visible as possible. Place on a hard
• Insert the screwdriver in between the flat surface. 549 Sometimes I don’t have or don’t
back of the rivet and tap the screwdriver • Invert the top rivet piece on the rivet want to use purchased stay tape
once or twice with the hammer to stem and cover with the Dot Snapper so I make my own from the selvage of the
loosen the rivet’s grip. rivet tool. Hammer the rivet into place, fashion fabric that I am sewing. try it, I
• Use the pliers to pry the rivet top from making sure the fabric is held tight. think you will like how well it works and
the bottom. It doesn’t take too much —Jennifer.Huber best of all, it’s free, and matches the fash-
ion fabric!
—PattiAnnSG
fuSibleS SmaRTS 550 When I make a sleeve that has a
ruffle at the wrist—the kind cre-
545 Cotton and linen (100%) are 546 I was unable to find a suitable ated by a casing with an elastic sewn a few
wonderful fabrics to sew and to medium-weight, sew-in interfac- inches above the hem—I use Seams Great
wear, but they need to be ironed at high ing recently so I improvised by applying a to make a non-bulky casing. I keep various
heat with lots of steam. that means that fusible interfacing to cotton batiste and widths on hand. Patterns usually tell you
every part of your garment has to be able then using it as a sew-in. to make a bias strip from the fashion fab-
to “take the heat”—interfacings, trims, —KarenP ric for the casing, but Seams Great makes
seam binding, any other fabrics you mix a nice, soft, non-fraying substitute. Of
in. Most interfacings, including all those 547 I pink the edges of interfacing
course this also works for ruffled pant legs
pieces fused under pockets and
nonwoven fusible Pellon-types, contain or at the neck of a peasant blouse—good
buttonholes, just to be sure it doesn’t
polyester or nylon. If you iron them on to know if you make costumes.
show through as a rectangle to the right
high, they’ll melt and shrink and ruin your —Teri
side of my garment.
garment. What if you don’t know what’s in —KarmenG
an interfacing or trim? If you iron some-
thing on high, with steam, and it melts,
feels sticky, or smells funny/oily, don’t use
it. I keep falling into this trap myself, so I
thought it was worth bringing up.
—Irene Q
buTTOn, buTTOn
551 Here’s a simple trick to help holes and taking the whole garment to the 553 Something to keep in mind when
select the right button for your store. You might decide on a different size the thrift stores have their spe-
project: Find a scrap of your fabric and cut button so you don’t want to do the but- cial colored-tag and $1 sales: check those
small slits in it that are about the length of tonholes first anyway. dress, blouse, and suit racks for buttons.
the buttonhole you want to use. Space —Ann Smith Even check the skirts—I found a denim
them approximately the distance apart button-front skirt with 20 buttons for $1.
that they will be on your garment. take 552 When discarding worn-out cloth-
My latest find was a quarter-size button
ing, always cut off the buttons
this with you to the button store. Slide with an abalone outer ring and an intri-
for reuse. Run a thread through the holes
any buttons you are considering (while cate marcasite-like silver design in the
and tie the thread—this keeps the buttons
still on the card) through the slit. It is center. A double benefit: You find some
together so later you won’t have to dig
much easier to imagine how they will look great buttons and support your local
through a button box to find them.
this way than just holding them near the charitable organization!
—Sarah J Doyle
fabric. Much more convenient than wait- —Oopsy-Daisy!
ing until you have completed the button
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M A S t E R C L A S S W I t H Su S a n k h a lj e
Essentials of
Sewing Fine Lace
Couture sewing expert Susan Khalje is renowned for
her custom wedding gowns and evening apparel and
passionate about sharing her skills. She established
the Couture Sewing School in 1993 and teaches
throughout the country and on PatternReview.com.
Every year she takes a group to Paris for an insider’s
look at the couture arts. Visit susankhalje.com to
learn more about Susan, her classes, Paris tour,
and Web store. Says Susan about the subject of this
master class: “Is there a lovelier group of fabrics than
lace? I don’t think so, and happily, fine lace is widely
available these days. Even better, it’s surprisingly
cooperative to work with.”
“C outure garments often join fabrics in unorth-

odox ways and that was the inspiration for this
cocktail dress. The body is a mohair/wool blend,
and the lace is beaded Chantilly in a wonderful
mushroom color (there’s black silk organza under
the lace, to strengthen it, but as it’s transparent, it
maintains the mystique of the lace). Two silk vel-
vet bows tie the whole thing together. It’s a simple
design, but what I think makes it special is the
unexpected combination of mohair and lace.
”
maSter ClaSS with SuSan Khalje 77
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working with Alençon lace
Alençon is perhaps the lace with which we’re most familiar. It’s popular for its
inherent beauty, of course, and its three-dimensional nature. The cording that
outlines its motifs not only gives visual definition, it strengthens the lace and
makes it easy to manipulate. Fine French Alençon lace is available in a variety of
widths, from 36" (91.4 cm) at its widest, down to narrow borders.
Alençon is often found in galloon form (scal- When Alençon is embellished, it is even more Alençon lace makes an elegant bolero—
loped on both edges), in varying widths that spectacular. especially when you plan the layout to take
are generally cut apart to form scalloped advantage of the motifs and borders.
borders as on this bolero.
plan ahead befORe STaRTing
Alençon lace can be used on its own, or it layout required. the pattern pieces have to match up with. And if all else fails, they can
can be worked with a layer of supporting be placed absolutely symmetrically; such be patched. Lace isn’t inexpensive, and tight
fabric. An underlayer of silk organza would careful placement would be impossible if the layouts are the norm. Consider your seam
maintain the airy nature of the lace and fabric were cut on the double. I remove the allowance needs as you arrange the layout.
give gentle, behind-the-scenes support. seam allowances from the muslin pattern I generally sew the sleeve underarm
the sheen of silk satin would be beautiful pieces so that I can see and exactly mark the seams by machine and set them in by
through the net background, and its strength seamlines. Sometimes, the muslin pattern machine too (be sure to stitch slowly; there’s
would make a very structured garment pos- pieces can be slid under the lace during the a lot of air in lace, and if you sew too quickly,
sible. the Alençon lace that I’ve chosen to layout process—then it’s easy to see pre- your thread will snarl and might tear the
make the bolero demonstrated in this class, cisely where the internal motifs will fall. lace). there’s a lot of movement in the arms,
though, with its firm cording and densely the lace needs to be cut out with large and hand-sewn lace seams, even if carefully
placed motifs, is sturdy enough to be used seam allowances when possible. On the sam- stitched, would abrade against the body and
on its own. Decide which look is right for ple bolero, with the exception of the sleeves, eventually weaken. I bind the seam allow-
your garment. the seams and darts will be overlapped and ances (together) with bias strips of flesh-
I start any project by constructing and sewn by hand, so the more lace there is to colored silk organza or silk georgette so that
fitting a muslin. Once I’m happy with it, work with the better, especially on the side they are all but invisible through the lace.
I dismantle it, press it, and use it for my seams. You’ll see that in some cases, the Prepair some bias strips about 1¼" (3.2 cm)
pattern. this provides a full set of pattern seam allowances are small; hopefully there wide so you’ll be ready for this step.
pieces, which you need for the single layer will be more room in the ones that they
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layOuT and maRking
2. Since standard seam allowances don’t

apply, the stitching lines (including any
darts) need to be carefully and reliably
marked—once the muslin has been
1. For my bolero (and most garments), it’s drives the layout. In this case (and nearly removed, there isn’t much to go on. the
essential to consider the placement of always, in fact), there will have to be some solution is to thread-trace the stitching
the borders; they’re a critical part of the piecing of the border because the curved lines. Since the seam allowances of the
design, and unless an altogether differ- center fronts need to be edged, but that’s pattern pieces have been cut away it’s
ent border is added once the garment all right—you’ll see how easily lace lends easy— and accurate—to thread-trace the
is assembled, their placement is what itself to that sort of manipulation. perimeter of each pattern piece.
OveRlapped SeamS
2. Before doing anything else, choose the 3. Neatly trim the excess net and any partial
layer that will be on top. Look for what I motifs from the leading edge.
1. Using the thread-tracing as a guide, over- call the “leading edge”: it should be the
lap the pieces at the side seams. nicest edge, and the sturdiest, with pretty
motifs, and nice firm cording along which
you can stitch.
4. Carefully pin the layers together along 5. Next, secure the overlapped seam with
the leading edge. lots of small fell stitches—small stitches
that are almost invisible from the top,
with most of the thread on the wrong 6. Finally, trim away the excess lace on the
side of your work. underlayer.
(continued)
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7. Use the same process for the darts and
the borders that go up the front of the
bolero: choose the top layer, trim it,
secure the seam with fell stitches, and
then trim the underlayer. Sometimes,
you’ll want to shift the leading edge from
layer to layer—one piece might start out
on top, then partway through the seam,
switch to the bottom.
bOund SeamS
2. Press the organza strip toward the seam 3. Fold the strip over the extending seam
allowances. allowances and then fold under its raw
1. With the layers right sides together as
edge. Secure the strip to the allowances
usual, sew the seam by machine. As you
with fell stitches by hand.
do this, lay an organza strip along the
seam, extending onto the allowance by
3
/8" (1 cm) and catch it in the stitching.
a final pReSS
Once all the stitching is done, the lace needs

a good pressing. Using steam and in this
case, starch (the starch will be more effec-
tive if you let it absorb into the lace for a few
minutes before pressing) and a silk organza
pressing cloth, press the lace face-down into
a thick terry towel to preserve its dimension.
this final pressing is essential, and helps
“set” the lace in place beautifully.
4. While still slightly visible, the presence of the dark seam allow-
ances is certainly muted by the organza binding. Use this process
for seams that get a lot of stress.
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CHAPtER five
Layout, Cutting
& Marking
“ I enjoy sewing. I suppose it is the

satisfaction of turning a flat piece of fabric
”
into a three-dimensional garment that I
like the most.
—Talleymom
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001-089_18599.indd 81 4/30/10 10:18:40 AM
Cut with confidence
Accurate cutting gets your sewing off to a good start, so it’s a process to be done
with care. But smart planning and clever shortcuts make it easier, faster, and
enjoyable—even for plaids and stripes.
make layOuT and CuTTing effiCienT
554 Patterns with asymmetrical 556 I suppose it is my age that led me 558 this is such a simple thing, and it
pieces (like pinwheel or swirl to this little tip. I was having may be known to everyone, but
skirts) must be laid out on a single layer of trouble seeing the pattern piece numbers my mom pointed this out to me only a
fabric because cutting on folded fabric on a Burda skirt I was cutting out. Using a couple of years ago. You can use fewer
results in reversed pieces instead of iden- magnifier had become tiresome. I decided pins and have more accurately cut pieces
tical ones. Here’s a trick you can try if to scan and enlarge the cutting layout if you cut with your pattern piece to the
these pieces must be cut multiple times: diagram to use as reference. I scanned it RIGHt of your scissors if you are right
into my computer, and saved it as a PDF. handed, or to the LEFt of your scissors if
• First spread the fabric right side up on
I then printed it on standard letter paper. you are left handed because your fabric
your table.
Not only was it larger, but having black won’t move away from your pattern. this
• Then, instead of laying out and cutting
lines on white paper made the diagram technique is especially helpful if you are
each piece individually, lay out half the
much easier to read. cutting slippery fabric.
pieces on it and mark them.
—Talleymom —Sew it seams
• Next cut all the way across the fabric to
create a length with the marked pieces 557 there are advantages to cutting 559 If you are cutting out more than
on it. out paper patterns without seam one garment, use a strip of your
• Shift this length of marked fabric so it allowances, for instance it’s easier to fit fabric to tie up the pieces of each after
lies on top of the unmarked fabric (both pieces together to check the fit. there- rolling them up into a tight bundle. this is
are right side up); smooth the layers, fore, I advocate adding seam allowances what we did when I worked for a French
match any print or stripe, and align the at the time of fabric cutting. I also like to designer.
selvedges. use different seam allowance widths for —ryansmum
• Secure with pins or weights and then cut different types of seams. Here’s my
out both layers. method for knowing which width to add 560 It’s a pain to fold fabric for cut-
ting when you don’t want to fold
• If there are specific markings required, where when I cut; adapt it to your seam
it exactly in half. And it’s a double pain
transfer them to the unmarked pieces. allowance preferences:
when the fabric is slippery, like rayon chal-
—belphebe
• Trace and cut out all the paper pieces lis or silk. So today I had a brainstorm: I
555 this might be one everyone in without seam allowances. spread the fabric flat on my table. I used a
the world knows—but I sure • Use a yellow highlighter along all edges yardstick to measure twice the width of
didn’t! I was making a tablecloth and needing 1" (2.5 cm) seam allowances: the widest part of the pattern piece I
needed to cut a 3 yard (2.75 m) piece of for me, that’s all hems, side seams, and needed to cut double, plus an inch to
88" (223.5 cm)-wide fabric in half length- sleeve underarm seams. Leave the other account for the selvage, and marked this
wise. I had the darnedest time the first edges unhighlighted to indicate a nar- distance from the edge with chalk at sev-
time I tried: couldn’t quite get the cutting rower allowance (for me, 3/8" [1 cm]). eral-inch intervals. then I folded the fabric
line straight, couldn’t see the fold line well • Lay out the pattern on the fabric with to the marks and adjusted it so the grain
enough to follow it. End result was very enough space between the pieces for was straight along the fold. this goes a lot
ragged and wavy. On tablecloth #2, seam allowances. quicker than it sounds just reading it, and
instead of cutting along the middle for 3 • Cut 3/8" (1 cm) away from the paper for it much less stressful for me than my old
yards (2.75 m), I made a 1" (2.5 cm) snip in all edges except the highlighted edges; trial and error method.
the middle of one end of the cloth. I then for those, cut 1" (2.5 cm) away. —Debbie Lancaster
grabbed the two sides of the cut and gen- —Seamingly Simple
tly pulled them apart. the cloth tore
neatly down the middle—it followed the
grain perfectly. I was pretty jazzed when I
figured this out.
—Joey in Katy
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001-089_18599.indd 82 4/30/10 10:18:40 AM
cheats for when you’re short of faBric
561 I had a small piece of really cute 562 On my most recent pair of pants,
Finding Nemo fabric. I thought it I discovered I was just shy of
was enough to make my granddaughter a having enough fabric. It finally occurred to
pair of shorts and little sleeveless top. Lo me that I could piece the pants back at the
and behold, I was short. So, I found a piece crotch point. I cut the pants front as usual
of complementary material in my stash but cut the back with the pattern running
and used that for all of the shirt facings. right off the fabric edge at the upper
YIPPEE: I had enough Nemo fabric for the inseam. I pulled a thread on each of the
rest. So don’t pass up that cute piece of cropped edges, to get a perfectly straight-
material; try something like this instead. It of-grain edge, and did the same with two
looks great. scrap pieces. Then I sewed one scrap to
—Mary Stiefer each cropped edge and pressed the allow-
ances toward the extension. I laid the pat- Piece here
tern back in place and cut out the rest of if short of
fabric.
the crotch point. Worked beautifully.
—Lisa Laree
Buttonhole
Put two necklines on one pattern piece interfacing layout
If you have a pattern where the front and back are the same except for the neck-
line, try these timesaving tips for pattern prep and cutting: 565 To reduce the possibility of
stretched, baggy buttonholes,
cut interfacing for the buttonhole area
563 leanmeansewingmachine’s 564 Deepika’s method. This is with the lengthwise grain oriented in the
technique. This is a tip for what I do when I use a single direction of the buttonhole. For vertical
cutting out T-shirt style patterns for pattern piece with different necklines: buttonholes, that would be the way
which the front and back are the same that most patterns show to lay out the
• Trace the top 10" to 12" (25.4 to 30.5
except for the necklines. You need a full interfacing piece, parallel to the selvage.
cm) of the back pattern piece onto a
pattern piece, not one that needs to be But for horizontal buttonholes, it would
separate sheet of pattern paper.
placed on a fold: Trace the front neckline be perpendicular to the selvage, on the
• Place this piece on top of the front pat-
onto the back pattern piece and cut cross grain. I did them this way on my
tern piece aligning the shoulders. The
along it, leaving a 1" (2.5 cm) section most recent shirt, and they seem to be
only difference between the layers is
attached at the center front. Lay your holding up.
the neckline. Tape the bottom edge of
fabric out folded double. Lay the back —Diana M
the back pattern piece onto the front
pattern piece on it and cut it out follow-
pattern piece. You now have one pat-
ing the back neckline. Separate the cut-
tern with a back neckline flap.
out pieces. Put the pattern back on one
• Lay the pattern on your fabric. To cut
of them. Now cut out the front neckline,
the front, fold down the flap.
folding the neck area down where it’s
attached. The pattern remains in one
piece for future use and you don’t have
to fuss with all that arranging in order to
cut out the pieces on a single layer.
Layout, Cutting & Marking 83
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001-089_C56870.indd 83 5/18/10 5:44:11 PM
diSCipline unSTable fabRiC
liana shares: When working with silk

566 When cutting a fabric that is
chiffon, or any extremely lightweight
568 Once you get the fabric laid on
slippery or unstable, I place the cutting mat and generally in
sheets of inexpensive tissue paper (the fabric, one of the big problems is keeping position, you can adjust it in very small
gift wrapping kind) on the table and put the fabric grain line straight for layout increments by bending down to the edge
my fabric on top of it. I pin the pattern and when cutting. these two tricks help of the table, and blowing on the fabric.
to both the fabric and the tissue under- me—they even make it possible to cut a Very lightweight fabric will shift when you
neath and then cut both. this way, the double layer: do this, and yet it will shift smoothly
fabric doesn’t move much as I cut. across the width.
—ladylola 567 Definitely use a rotary cutter and
weights: the fabric won’t shift
once you begin, as it will with scissors
maTCh ThOSe STRipeS
569 Here’s a fast way to align pattern 570 When I work on fabric that has a Deepika adds: Make sure to keep each
pieces when your fabric has a plaid or stripe that must be tissue piece on its proper lengthwise grain
woven plaid or lengthwise stripe: Lay the matched, I position this pattern on the line when you use it; it’s especially easy to
fabric on your table. Fold each pattern most important piece of the garment first. go astray with horizontal stripes on pieces
piece along the grain line that’s marked on After cutting out the first piece, I lay the that taper from top to bottom.
it and crease from one end of the piece to tissue pattern for the adjoining pieces
the other. Now align the folded edge with over it with the seamlines aligned and 571 An easy way to perfectly match
chevron stripes on identical
a stripe in the fabric weave and pin the draw the plaid or stripe onto the tissue
pieces is to lay the pattern piece on the
bottom portion of the pattern piece to the at the seamline. then I can safely cut this
fabric on the bias (single layer), cut the first
fabric. then unfold the pattern and pin the piece in fabric. For instance, I cut out the
piece and remove the paper pattern. Invert
rest. jacket fronts, lay the back pattern over
the first piece on the fabric, matching the
—Asa Hagstrom the cut fabric and draw the plaid onto the
stripes perfectly, and pin together; on the
seamline, and then continue in this man-
edge to be joined, orient the pins ready for
ner for sleeves, pockets, etc.
sewing. Cut the second piece; then go
—Janie Viers
directly to your machine and sew the seam.
the stripes will be perfectly matched.
—Sew it seams
dOn’T pOinT OuT The buST
572 When using print fabrics I strive 573 When working with large or cir-
to avoid the headlamps effect. cular prints it can be important
D’ya know what I mean? It’s when you get to place your bust point at a discreet place
two big circles (flowers, faces, whatever) on the fabric. Although I mark bust points
centered directly over the girls. It draws with a marker on the pattern piece, I
unwanted attention to the bust area— sometimes have trouble seeing the fabric
everybody who sees you can see the head- underneath the pattern piece. I’ve often
lamps and nothing else. Here’s a way to used pins to mark a good spot on the fab-
reduce this risk: When working with a ric. However, I just realized that a coin,
fabric that has large motifs or distinctive such as a quarter, works much better. It’s
colored patches, mark the location of your heavy enough to not move and the right
bust on your bodice pattern. Hold the size. You can easily see a coin though tis-
bodice pattern against your body and sue paper.
draw a circle on the pattern around one —drsue
breast. When you put the pattern piece on
your fabric, you will be able to determine
exactly where the motif will appear rela-
tive to your bust.
—juliette2
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waiT TO CuT pieCeS ThaT mighT need alTeRing
574 If you routinely need to alter the 575 Even with a “perfect” pants or
armscye of your patterns and skirt pattern, the fit will usually
thus also alter the sleeve cap, as I do, it need to be tweaked a bit depending on
makes sense to hold off on cutting the the fabric used. I suggest laying out a
sleeve until you’ve got the bodice fitting waistband when you lay out the pattern,
right. Sometimes I need to deepen the but not cutting it until you have the rest
arm hole, sometimes I need to take in the of the pants fitting just exactly like you
shoulder, and the details depend on the want. this will ensure that you have
nature of the pattern and its interaction enough fabric to cut it out, but save the
with the specific fabric—they can’t all be frustration of it not being the right size
predicted ahead of time but each affects after you’ve adjusted the pants—espe-
the sleeve cap. Another plus to altering cially if you need to add some or if it’s a
and cutting the sleeve last is that I have shaped piece that needs to follow a
become familiar with the fabric and have a curved arc exactly.
better idea how much ease it “wants.” the —Diana M
only drawback to this method is that you
need more fabric as your pattern layout
may not be as efficient.
—drsue
layOuT On pRinT fabRiCS

Starch those silky
576 I was making a shirt out of a very 577 I think the usual rule of thumb fabrics
busy print and wanted to match for large prints is to choose a
Two PatternReview.com mem-
up the pockets. I tried the usual method of garment with simple lines. However, as a
bers suggest starching slippery
placing a transparent pocket pattern over very small person I don’t find this works
or fluttery fabric to stabilize it for cut-
the pocket placement lines but found the well for me. When I use large prints I use
ting. Here’s the drill:
print was just too busy for me to trace. I patterns that have many pieces. that way
solved the problem in the following way: I can “edit” the fabric. this requires much
more fabric than is usually called for and I
578 Sue wilson’s advice Using
• First, I marked the pocket placement spray starch on slippery fab-
have to lay the pieces out on a single layer rics is a great way to make them more
on the garment with tailor’s tacks; then
of fabric, right side up. But I then can tell manageable for cutting and sewing.
I laid a larger swatch of cloth over the
what part of the pattern will hit where. I It adds enough body and stiffness to
pocket area on the right side, carefully
can also usually completely eliminate make the slinkiest rayons behave. Just
matching the pattern, and basted it in
parts of the fabric I don’t like. Despite make sure to test that it doesn’t leave
place.
being tiny I have been able to successfully permanent marks on your fabric.
• Working from the wrong side I poked a
use large prints this way.
pin through each of the tailor’s tacks to
mark the pocket edges on the swatch.
—drsue 579 ryansmum adds: I use
“HEAVY” spray starch but
• I then removed the swatch and added have also used the concentrated form.
my seam allowances, confident that my Don’t bother with regular starch or
pocket would match when I stitched it sizing. I will sometimes soak a piece of
on to the shirt. fabric in the watered down concen-
—Brine trate and then hang to dry overnight.
Iron it after starching. If I am in a rush,
I will spray over the fabric several
times and get it pretty wet; then I will
immediately iron it. Your fabric should
be very stiff if done correctly. I actually
starch most of my fabrics and bindings
and zippers and encourage my stu-
dents to do so as well.
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ThiS & ThaT abOuT CuTTing vaRiOuS fabRiCS
580 this sounds like a backward way 581 If you are not sure which way is 583 Sometimes the sales associates
of doing things, but may be use- “down” on napped fabric and you at the fabric store do not do a
ful at times. If you need simple shapes cut need to know before you lay out your pat- great job when cutting faux fur; I suggest
from quilted fabric, mark the shapes on tern pieces, do this: Spread the fabric right you recut when you get home. You must
the fabric and then overcast (zigzag) just side up on your table. Place a coin on the cut only the backing when doing this so
inside the outline. then cut carefully just fabric and bang your fist on the table (not that the fur isn’t chopped off at the edge. I
outside the stitching/outline. the stitch- hard, you want to make the coin shift, not use a pair of stork scissors: turn the fabric
ing presses the layers together, which jump). the coin will shift in the “nap so that the backing is facing you. Slide the
makes it very much easier to cut the pointing down” direction. lower point of the scissors under the back-
pieces, and there is no risk of the layers —els ing and then cut. these delicate scissors
separating. I would also try this with fab- work like a charm.
rics that ravel a lot. 582 It can be hard to get a smooth
—Mary Stiefer
edge when cutting tulle, and if
—Asa Hagstrom
you’re making a veil or other item for
which the edge will be left unfinished, this
is too bad. to smooth the jigs and jags left
by scissors, run the edge of the cut tulle
through an unthreaded serger.
—mamafitz
CuT naRROw STRipS eaSily
584 My rotary cutter, an Olfa ergo- 586 I was having problems making 587 to cut bias strips or non-bias
nomic, can take a blade on either 2" (5.10 m)-wide bias strips. I strips, use an unthreaded serger.
side of the handle, depending on whether couldn’t seem to get them straight, and Just run the fabric through using the mea-
you are right or left handed. If I put a my fabric would shift all over the place. surement guideline to set the strip width.
blade on BOtH sides at the same time I What a pain. So I made a 2" 3 54" (5.1 cm the cutting knife will do the work. I have
can cut ¼" (6 mm) strips of fabric with one 3 1.4 m) template from heavy interfacing. found starching the fabric helps a lot too.
swipe! It works great for making your own I just pinned the strip of interfacing to the —ryansmum
strips of fusible web from yardage—much fabric and cut away. I didn’t have any
Deepika adds: Remove the serger needles
cheaper than buying by the roll. this is problems with it moving and shifting, so I
too so they don’t mar your fabric.
handy for narrow strips of bias interfacing had perfect strips when I was done.
to reinforce shoulder seams, also for tiny —SexiSadi
bias tape to finish seams, etc.
—Lizz
585 today I cut binding for a neckline

using a rotary blade. However, I Help for grain line woes on knits
cut it too wide and when I tried to cut it
down, it wouldn’t allow me to (it was a The straight grain on knit fabrics is notoriously difficult to find and garments cut
very tight knit). I tried scissors and they off-grain don’t hang right. Here are two tips for overcoming the problem.
didn’t work either. I needed a very straight
cut since the binding would be very obvi-
ous. So I folded the strip in half lengthwise
588 mary e geauxtigers’ marking 589 kris92833’s cutting
method. to find the grain on a technique. My first stab at
and pressed it; then cut it with my knit, fold the fabric with selvages knits was with a woman who taught me
unthreaded serger. the result was the together, and at the fold, identify one rib to make t-shirts and panties. She com-
most even piece imaginable, much nar- and mark it with chalk or a pin in one mented that some t-shirts became
rower than I have cut before, and I ended place. then unfold the fabric and lay it twisted with washing because they’re
up with a perfect bound neckline!!! What flat. Lay a long clear ruler next to the not cut on the straight grain, which is
a thrill. marked rib and make a chalk line along not always parallel to the “selvage” of
—ryansmum it. try your best to follow this rib the knits. She showed me this trick: Spread
length of the ruler, Do this all the way the fabric in a single layer; find and mark
down the fabric and you will have as the straight grain. Lay your half-pattern
straight a grain as you can get. on the fabric, aligning the pattern fold-
line with the grain line. Cut the piece
out except along the foldline. Now flip
the pattern over and cut the other half.
No more twisting.
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Marking smarts
Can’t tell the pieces apart? Can’t find the dots? Wrong side/right side look the
same? Buttonhole spacing refuses to be equal? PatternReview.com members
have good solutions for these and other common marking challenges.
CleveR maRking meThOdS
590 I made my first zippered pocket 592 the yardstick was MIA the other 594 I suppose I’m not the only one
recently when making a purse. I day when I wanted to mark the who finds that the dot marking
dreaded what for me had always been hem on a dress, and out of desperation, the clipping point for an inside corner
failure: marking and sewing this kind of I reached for a retractable metal tape always seems to be too far into the piece.
opening with precision. then the light measure, the kind that winds up into a I finally quit marking the dot from the
bulb went on. What if I made a photocopy squarish metal case. Here’s the good part: pattern and now I do it this way:
of the pattern piece with the markings on it can be locked into a particular length
• Set the machine to baste and, starting on
it, placed that where it belonged on the with the flip of a switch on the case. With
one side about ½" (1.3 cm) from the cor-
fabric, and sewed on the paper? Eureka!!! the dress on the dress form, I established
ner, stitch exactly on the seamline into
It worked like a charm. After sewing the distance above the floor to mark the
and about ½" (1.3 cm) through the corner
around the opening, I slashed the center hem, locked the tape to measure that
(don’t pivot).
along the lines printed on the paper. I amount, and placed the little beauty on
• Now set the machine stitch to very short
then pulled the paper away, first from the the floor—it sat squarely with the extend-
and turn the garment over. Coming at
outside and then the inside of the stitching metal tape perfectly upright. I had two
the corner from the other side now and
ing. Perfect placement, perfect stitching, hands free to use for smoothing, pinning
stitching exactly on the seamline, begin
perfect cutting, without having to mark and rearranging. No balancing the yard-
about ½" (1.3 cm) away from the basting
anything. stick with one hand while trying to insert
stitch and stitch right up to it. Stop with
—BillieJean pins with my lips. Wish I’d discovered this
the needle down, pivot, and continue
forty—uh—a long time ago.
591 try this if you need to transfer
—Karla Kizer
stitching for about ½" (1.3 cm).
long straight lines from your • Remove as much of the original basting
pattern to the project pieces, especially 593 If you need to actually thread- as possible (you may get all of it or it
if your fabric resists tailor’s chalk: Use trace a rib on a really fine jersey may be sewn into the stay stitching).
masking tape. First, fold the pattern along (to mark your lengthwise grain), use the Now you have the corner precisely
the marking line and position the pattern largest hand sewing needle (length and marked and reinforced for clipping.
on the project piece. then align the tape eye) that you can without hurting the —Lisa Laree
on the fabric, next to the pattern fold. fabric. You’ll just automatically take larger
Mark the tape to indicate which edge is stitches and the job will go much faster.
the reference so you don’t forget after the this may seem obvious, but it took me a
pattern has been removed. When you sew, while to figure it out, and it has made a
be careful not to stitch the masking tape! big difference.
—zoezmommy —bunz
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CleveR pleaT maRking
595 If you’re wanting a fast and easy 596 Here’s an easy way to get per-
way to make knife pleats without fect, sharp pleats:
first marking the fabric, fold them into
• First trace the pleating lines onto the
place with a table fork.
dull side of a strip of freezer paper.
• Slide the fork prongs onto the fabric. • Then iron the coated side of the paper
the number of prongs placed on top of onto the wrong side of your fabric.
and under the fabric defines the width of • Now fold and press the pleats on the
the pleat. drawn lines. I like to crease them with
• Now rotate the fork so that a pleat a bone folder (you can also use a table
forms in the fabric. knife or a ruler) and then set them with
• Carefully pull out the fork and secure my iron and a wooden clapper.
the pleat with a pin. • When you are ready to sew the pleated
• Now you can add a second pleat the piece to your garment, peel back the
same way. After rotating the fork, you freezer paper far enough to baste the
can slide it to the side so the pleats abut. pleats in place, then peel the rest of the
Or you can push in the fork, mark with paper off. It comes off easily and is ready
a pin and then set the next pleat a fork- to be used again.
width away from the first one. Happy —tweedcurtain
pleating!
—Saskia
keep TRaCk Of yOuR pROjeCT pieCeS

Perforation tricks
If you make a little hole in your 599 I’m sewing a princess seam jacket 600 I write my measurements for
pattern at each printed dot or that has almost 30 pieces, and quilt block pieces and strips on
notch, you can easily transfer that’s just for the fashion fabric. With so wooden clothespins—in pencil. When I
them to your fabric. Here are ways to many pieces it’s essential to be systematic have everything cut I clip the clothespins
use this idea: and organized. I’ve found it especially to each segment to keep everything orga-
helpful to clearly mark the pattern piece nized. this has been a big help! I erase the
597 Connielk says: Here’s one number on every cut-out fabric piece. I measurements when I am done so the
of the best ways I have found also add an apostrophe (for example, 18') clothespins are ready for the next project.
to mark darts, button placement, etc.: to each piece intended for the left side of —quiltsick
First use a hole punch to perforate the the garment. As I cut and mark, I check
pattern at each place where you need the pieces off the list included in the pat-
to make a mark. then you can make a tern’s direction sheet.
dot with your chalk through the hole —nancy2001
without ever shifting the pattern.
598 petra says: When I am

making a muslin (one that I
am not planning to wear and only on idenTify The wROng Side
woven material) I mark match points
using the eyelet punch that came with
my machine. It makes a tiny hole 601 I’ve cut several of my scraps of 602 I sometimes have a hard time
brightly colored knit material figuring out what side is the
through the paper and both layers of into small squares and keep them in a right/wrong side of fabric. Once I decide, I
fabric. this is easy to see on wovens little box. When working with fabric that stick transparent or invisible tape onto
(especially muslin!) and you can match has no obvious right or wrong side, I des- the wrong side. the tape also comes in
up exactly with a pin or holding to the ignate one side as the wrong side and handy if I want to label the pieces of my
light. the hole in the pattern is useful then mark that side of each fabric piece as project—I just note the information on it
in the future to pen-mark or tack I cut it by pinning one of my small knit with a ballpoint pen. You have to be care-
through. Anything to save those extra squares to it. these are more effective ful to not iron over the tape, but it be-
seconds!! than adhesive dots that don’t stick to all comes obvious which side you’re working
fabrics, tape that may leave residue, or with early in construction so you can re-
chalk marks that rub off too soon. move the tape before you have a problem.
—jannw —SexiSadi
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No-fuss markiNg of dots aNd Notches
603 I am making a dress with a num- 604 I often use my computer-drafted 606 I am working on a McCall’s pat-
ber of double-pointed darts, patterns as printed, on letter tern and included in the direc-
which means that the darts are in the mid- paper, which is difficult to mark through tions was a great tip: If you snip the seam
dle of the piece of fabric. Here’s a tech- with a tracing wheel. Today I had one of allowance to mark all notches, circles,
nique I came up with for marking them those EUREKA! moments: I realized that I squares, center fronts, pleat lines, fold
accurately: First make a template of the could cut out the darts on the printed lines, facing lines, and hemlines it sure
dart. Then, with the full pattern on the pattern and then line the pattern up on does make marking much faster. In some
fabric, mark only the ends of each dart the fabric piece and trace the outline of cases you don’t have to mark certain
(use a pin or a chalk dot). Remove the the dart right onto it using a chalk mark- things. I’m working on the front of the
pattern; position the template so its ends ing tool. This worked beautifully. blouse and where you would fold the fac-
sit on the marks, and draw around it. If —Linda L ing in, if you use the snip marks at top and
you have a TNT pattern with lots of darts, bottom the rest falls in place. This trick
I think this will make it easier. 605 Patterns from the Big 4 compa-
works great.
nies indicate the top of a sleeve
—AnneM —Mary Stiefer
cap with a dot, but I think that mark is
Deepika adds: This gives you a com- hard to find when pinning the eased 607 When dealing with a complicated
pletely marked seamline for each dart and sleeve into the armscye. Instead, I just cut pattern and you need to keep
is especially useful for curved darts. a notch at the dot’s location and line that straight which dots or notches match
up with the shoulder seam. This method is which, use tailor’s tacks with different
so much more helpful, and it takes less colored thread for each set; that way you
time than marking that silly dot. You could only have to match, say, the red dots, then
also just make one snip, but I find the the green dots, then the yellow dots. If
notch easier to see. you have bobbins with odd colored thread
—candyo left over from earlier projects, you can use
that thread and empty the bobbins for
future use.
—Lisa Laree
Templates: homemade and improvised

Janie Viers offers five more or less freebie template material tips.
608 I use a piece of stiff cardboard 609 A dinner plate makes a perfect 611 I often use a box to make a tem-
to make custom spacing guides guide for drawing a rounded plate for pockets. I have used
for anything that is small and needs to be corner on any large item. I was going kiddie size shoeboxes and CD cases and
marked at a repeating interval. I cut nuts with a tulle wedding veil and solved VCR cases too!
notches at whatever interval I want and the problem by using a plate to guide my
then I don’t have to worry about remem- rotary cutter. 612 I use business cards to space
buttonholes and even used my
bering “are buttonholes 27/8" (7.3 cm)
apart or 2 5/8" (6.7) apart?” I just use my 610 I used a drinking glass and DH’s crosscut saw to get a LONG ragged
“ground” it into some fleece to edge!
handy dandy homemade spacer. I have
leave marks so I could get a bunch of 3"
used this for marking curtain pleats, skirt
(7.6 cm) circles. If you first dip the glass
pleats, buttons, buttonholes, trim, and
or a similar “marker” in ground chalk it
any other thing I need to mark multiple
will leave a chalk mark behind!
positions for.
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Chapter Six
Fitting
“ Recently retired software engineer,

with plenty of time to sew! Avid quilter,
mostly my own pieced designs. Now I’m
back into garment sewing after a long
hiatus, thanks largely to finding this Web
site. I’ve learned so much, especially
”
about fitting, and I’m having a great time—
thanks, everyone!!
—Irene Q
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Start with the right size
Before you can sew, you must choose which size pattern to make, and very likely
alter it in some way. Most sewing enthusiasts know that pattern sizes are not
the same as ready-to-wear sizes. And most us have body measurements that
vary from the standards anyway. Here are suggestions for how to judge the size
you should use.
MeaSure and teSt to decide the Size it helpS to know

the Size StandardS
613 You can develop an eye for good 615 When I have to make length
fit by looking at how others dress adjustments on pants legs, I 618 I discovered that the “Big Four”
and figuring out what works and what measure the inseam on my favorite pair U.S. pattern companies have
doesn’t. If you’re unsure of which pattern to get the right length and make adjust- collaborated to produce a brochure, Do
size to use and where to alter, here’s a ments on the pattern accordingly. the You Really Know Your Pattern Size; it’s
simple approach to getting it right. there inseam length will not change no matter designed to help home sewers achieve a
are other ways of fitting but I think this where the garment’s waistband sits—at better fit using Simplicity, Vogue, Butter-
one is easier than most: your waist, hips, or high above. I’ve ick, and McCall’s patterns. You can view it
marked the length of my preferred inseam online at their individual Web sites and
• First use your measurements to pur-
length on my measuring tape. may find it also at a local fabric store. It
chase the correct size pattern. Base the
—Kim Winson includes a lot of detailed information and I
size on your high bust measurement
was pleased to see it tells you about “full
for tops and jackets. You primarily want Deepika adds: this is true for the most
bust vs. high bust.”
shoulders and armhole to fit because part, but loose trousers may have a
—chick3y
you can make bust adjustments fairly slightly longer rise (crotch depth) than
easily. For bottoms, use your hip mea- tight ones, so leave yourself some wiggle 619 the european petite and tall size
surement to figure out what size; the room at the hem. identification system used by
waist can be easily adjusted. Burda patterns can be confusing. the
• Next, rough cut your pattern pieces. 616 I didn’t realize that one of my
number that indicates the european size
legs is shorter than the other
place them against your body and look of their regular-length patterns is divided
until I started to sew. But now that I’ve
in the mirror. Does it look like it will fit? in half to indicate the equivalent petite
noted this, I know to hem one leg longer
Using a marker, outline what you think size and doubled to indicate the tall size.
than the other. Now I don’t have to keep
would be a good fit, keeping in mind For example, the petite version of Burda’s
pulling that side down: I have embraced
how much ease you want. size 36 is labeled size 18, and the tall ver-
my asymmetry.
• Once you have it somewhat figured out sion is labeled size 72. Burda’s size chart is
—Deepika
you can highlight the lines that work helpful but it doesn’t make any reference
best for you and then add seam allow- 617 I see a frequent problem with to the sizing terms regular, tall, and petite.
ances if needed. You may blend in and garment shoulder width. For —Joan1954
out of different sizes. this will increase most people, it is WaY too wide, causing a
your chances of making a garment that very sloppy look. the armscye seam
actually fits. should sit on the crest of the shoulder.
• Make a test garment and then make cor- Find a top or cardigan that fits you well;
rections and transfer that information to measure the shoulder seam and record
your pattern. the length for future reference. (to be
• Sometimes it may take making a couple really accurate, measure all the way across
of tests, but that’s what that fabric you the shoulders from armscye seam to arm-
now think is ugly is for. scye seam.) When adjusting a pattern, you
—ryansmum can cut off the excess at the end of the
shoulder seamline, tapering into the front
614 We all have our favorite clothes
and back armscye; just remember to leave
to wear, why not take some mea-
a seam allowance. In most cases the
surements of them? Match those mea-
sleeve will still fit but check by measuring
surements in the clothes you make and
the original armscye seamline to see if it
you’ll enjoy wearing what you sew! I mea-
changed length.
sured many of my favorites and set up a
—ryansmum
spreadsheet for easy comparison to pat-
terns; this in turn shows me at a glance
what alterations might be needed.
—Mollykat
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The big picture on fitting
Fitting is part art, part skill, and challenging to do for oneself. Logic, dress forms, experience, and diligent trying-on each
play a role. But no need to be intimidated, with the tips that follow you can improve your understanding and technique.
trickS that Make fitting eaSier
620 I had the luxury recently of being 621 I teach a fitting class and this is 622 When pin-fitting a muslin, use
home alone with time to sew all what I think is crucial: Fit as you safety pins. as you achieve a fit
day long. I decided to close the blinds in sew. Do not just sew up a garment entirely that you are pleased with, close the pins in
my sewing room and sew in my underwear and wish for the best as many of my sew- that area. Your alterations will stay secure
so I could easily try things on as I worked. ing students do. You should be fitting at and you’ll see at a glance which areas are
It was great! I was much more motivated least three times while there is still time fitted. In areas that need further tweaking,
to try on every step of the way and things to make adjustments. try on a garment the pins remain open and ready to be eas-
seemed to go a lot faster. If you can’t fol- right side out first to get an idea of how ily changed. I feel much better about tak-
low this example, you can still make it things are fitting. then turn the garment ing a muslin on and off many times when I
easier to try things on: consider what item inside out and start marking with pins know that the pins are secure and I’m not
you’re sewing and dress accordingly. If where you need to make changes while in danger of becoming a living pincushion!
making a top, wear a blouse that buttons you are wearing it. this makes it easier for —Lizz
in the front. It’s easy to slip on and off and you to alter.
you only need to close one button to keep —ryansmum 623 If you haven’t had a trained bra
fitter check your style and fit, it
your modesty till the next fitting. Mean-
Deepika adds: When you are making might be worth your time. I’m just begin-
while, your hair and makeup stay in place.
changes with a garment inside out, be ning to learn about pattern fitting. So, on
If making bottoms, wear pull-on pants.
mindful that left and right sides are a whim, I went to the lingerie department
Slip-on shoes are fine for this but barefoot
reversed. at my local Nordstrom’s and had the man-
is best IMHO.
ager give me a bra fitting. I was stunned at
—jbrewer
how far off I was on size, shape, and type.
the positive change in my appearance and
the increased comfort is remarkable. Now
I know where my bust should be, so I can
take my measurements, plus I know what
to look for when purchasing a bra. Just
Check it and check it off make sure the fitter has been trained and
is not simply a salesperson.
Be methodical when you fit. Make a list of things to check—standard points like —Patzee
hem length as well as any “issues” that are problematic for you.
624 Whenever I am making a gar-
625 helen near Sydney shares • Hemline: is it even? ment for which there may be a
her system. here are two • Darts: do they point to the bust? is the lingerie-exposure problem (plunging front
checklists I follow when sewing a top. I uptake enough? are the darts the right or back neckline or boat neck, for exam-
don’t have a 3-way mirror so I take lots length? ple), I put my existing lingerie on my dress
of self-timer photos when I do this. after • Sleeve: does the shoulder seam sit on form while I’m fitting. this lets me know
checking, I make all of the fit changes on your shoulder point? is there room to whether 1) I need to change the fit of the
the paper pattern. I don’t generally move? is the length good? garment or 2) I need to buy new lingerie!
record the style changes since these • Collar and collar stand: check the When I sew for brides, I always have them
decisions change with each garment. notch position, point spread, length, bring their foundation garments and
and roll shoes—I’m not sure why it took me so
Fitting checklist:
long to make the connection to do this
Style checklist: with my dummy for my own sewing.
• Upper bust: too loose/too tight?
• Full bust: enough room for the girls? • Hem shape: what suits you best? Mine —Robie Kentspeth
• Waist: need extra for a full tummy? is a gentle curve.
• Back width OK? • Darts: should any be unsewn?
• Center back length: folds (too long) or • Sleeve: check for shape and cuff.
pulling (too short)? • Collar: is it a good shape?
• Length/side seams: shape ok? straight • Other style features: does it need side
fall to hem? splits, pockets, embroidery?
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alterationS 101
626 For skirts, alter at the hipline; if 628 For a dress, jacket, blouse, and 631 the sleeve has to be altered too,
you want the skirt hemline wider coat, shorten or lengthen the because it has to fit in the new
or narrower to be in proportion with the pattern halfway up the armhole, and half- armhole: For flat sleeve caps, narrow or
length change, then you can alter beneath way between the armhole and waist. widen the sleeve cap at both underarm
the hip but above the knee and redraw the edges by the amount of change made to
side seams or gores to increase or reduce 629 When you’re lengthening or
the armhole depth and then taper the new
shortening a pattern at several
the amount of taper or flare. underarm seam to the wrist/hemline. For
points—not just at the hem—make sure
—els a high sleeve cap, draw a line across the
you don’t add or subtract too much at
cap and then shorten or lengthen to cor-
Deepika adds: here are six tips for adjust- once. Doing so might distort the propor-
respond to the amount of change made in
ing the length of pattern pieces: tions. I never alter by more than 1" (2.5 cm)
the armhole depth.
at a single point.
627 the lines on which you shorten
632 For all these adjustments, you
or lengthen must be at a right 630 For pants, shorten or lengthen
first need to know the amount by
angle to the lengthwise grain, otherwise halfway up the crotch, halfway
which you wish to lengthen or shorten and
the balance will be wrong. between the crotch and knee, and halfway
then divide that amount by the number of
between the knee and hemline.
places at which you make the alteration.
eaSy wayS with MuSlinS
633 Use a center back zip when 634 I use different fabrics for the 635 I have a bag of knit fabric that’s
making a muslin for a skirt, even front and back pieces when mak- left over from various projects.
when the pattern is for a side zip. this will ing a test muslin. this makes it MUCh Because of the layout of many of the pat-
allow you to check the fit and make any easier to discern which issues are ‘front’ terns and the 60" (158 cm) width, there
necessary adjustments to both side seams and which are ‘back’. seems to be too much to just throw away
without a zipper in the way. then make —MaryLynn in Long Beach but not enough to make something
the final garment with the zipper on the (except maybe for kids’ outfits.) I realize I
side if you wish. can mix them together to make a fitting
—Diahn muslin when I want to test a knit garment.
Obviously this won’t be a “wearable mus-
lin,” but it will give me a good feel for the
fit without having to cut my good fabric.
—RobinMCPA
photoS don’t lie
636 as I’ve posted reviews on 637 here’s a way to take a picture of 638 I found a mini tripod in my local
patternreview.com, I realized a yourself without having to use a camera store. It cost about $8
photo of a garment on a body can show mirror. assuming that you have an ironing and is 6" (15.2 cm) tall. the legs are bend-
tugs and folds much more clearly than I board that has adjustable height and a able and allow a camera to be placed sol-
can see them in the mirror, especially the camera with a timer, use the ironing board idly on almost all surfaces. It screws right
rear view. My dress form can be useful, as a tripod, adjusting it to the right height into the bottom of my plain Jane digital
but it doesn’t have a swayback! and if I’m for the camera to capture the correct camera and with the delay on the camera,
near a mirror, I’ve also found I stand up information. Set up the camera on the I can take pictures of myself in my sewing
straighter than I do in “real life” when my board, aiming the lens in the right direc- projects when there is no one around to
posture shifts once I am no longer study- tion and set the timer. then make your help.
ing myself. So I take digital photos of million dollar pose, and voilà, you have —touran
myself wearing garment, front and back, picture of yourself.
during first baste-together, and look at —Kim Winson 639 If there is nobody around to help
you with a fitting, use a video
them in the camera. I’ve found digital pho-
camera as a helper. Set it on automatic
tographs are especially helpful with tai-
and place it at a height where it can cap-
lored garments.
ture you as you walk, revolve to show all
—redsquid
sides, and raise your arms. then watch the
video and when you see fitting problems,
push the pause button, analyze the prob-
lems, and make the necessary alterations.
—els
Fitting 93
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cuStoMize your dreSS forM a teSt you can wear
What I did:
640 When the chest circumference of
• I put the bra on the dress form and 642 Making a wearable muslin allows
your dress form does not corre- you to fit and test a pattern yet
firmly filled the cups with batting. then
spond with your own size you can supple- have something you can wear too. So the
I measured her chest and back. My form
ment it with shoulder pads. the size of the first time you make up a pattern, make the
was narrower across the back than I, so
shoulder pads depends on the amount you no-frills version. Make it up in its simplest
I put some layers of batting under the
need to add. form without embellishment. this lets you
bra straps, measuring and padding till
—els test the style and fit without spending a
it looked like me. By putting the bat-
stack of time on it. If it’s a great pattern
641 In my quest to find a good, ting UNDER the bra, she even has those
you can embellish to your heart’s content
sturdy dress form that closely pesky little fat “bumps” like I do (sigh).
mimicked my body, I really struggled. So I • I continued to layer batting over the next time, knowing it will work. If it isn’t
decided to buy a commercial form that form, affixing it with pins, until it had my great, well, you haven’t wasted too much
was smaller than I am; I got it on eBay. I contours. the whole process is nothing time and energy on it. here’s my process:
just love it (still, one year later), especially more than pad and measure, pad and • First make your usual paper pattern
since I padded her out to look like me. measure. and look in the mirror. and be adjustments: Bust, sloping shoulders,
here’s the skinny (that term is figurative, honest (but NOT overly critical!). Accu- whatever.
of course) for doing the same: racy is key. I set up a full-length mirror • Choose the view that lets you test the
near where I was working and checked most complex version of the pattern
Supplies:
it often, from every angle. Where there (sleeves, not sleeveless).
• A sleeveless fitting shell or sloper, made were curves, I put curves. • Choose a fabric that is easy to handle
from a commercial pattern and fitted • Then I put my finished fitting shell over and presses well, doesn’t require pattern
to your body with no ease at all. Use a the padding. You want the cover stuffed matching, and doesn’t ravel.
woven fabric that doesn’t stretch. I used pretty firmly. Otherwise, it’ll squish • Don’t spend time adding special details
a poly-cotton linen look-alike and bound around and change shape pretty quickly like pockets, trim, topstitching.
the edges with packaged seam binding. and inserted pins won’t stay put. I opted • Analyze the results according to your
• A bra, of the type you wear. for a non-permanent closure so that if own requirements.
• Polyester quilt batting, both high- and I need to tweak her fluff, alter her mea- —Helen near Sydney
low-loft. surements, etc., I can do so easily.
• Sturdy, flat-head straight pins. —EveS
trying it on iS a MuSt
643 Few garments have ever been 644 proper fitting saves time and 647 I use my dress form for prelimi-
ruined by too much trying on money. It’s best if you have a nary test fittings (tissue or gar-
while you are making them, and this is just sewing buddy who can help you though. ment) all the time, try out fabric pattern
a reminder to try things on as you sew. You can fit yourself but it’s more of a chal- positions (no boob blossoms, thank you
probably many times if it’s the first time lenge. I fit myself and struggle . . . very much), experiment w/ trim, etc. I find
you’ve made a particular pattern. this is —ryansmum her quite invaluable to the whole process
true even when you’ve done the flat-pat- and I think I use her on almost every gar-
tern measuring, altering, etc. those are a 645 Find a fitting buddy on the
ment I make at some point. I would like to
patternreview.com forums.
great start, but each fabric is going to be a point out, however, that this is NOT a
there are many regional groups that you
little different, and will usually benefit substitute for testing a garment out on
can join.
from at least some minor individual your body for accurate fittings. the dress
—Deepika
tweaking. It’s so easy to get so caught up form helps me with early-stage fittings,
in the excitement of the actual sewing 646 Since I dislike setting-in sleeves, but is never a replacement for flat pattern
that you skip the fittings needed to see on a recent muslin I just sewed measurements, muslins, and fittings on
whether you like the garment as is, or if the underarm seam, slipped the sleeve my body. I still do all of the above.
you need to make changes. Changes are over my arm, and decided that it fit. Me, —EveS
always easier to make before you have to not the garment. although the sleeve on
rip back to do them. the final version fit into the garment well,
—Liana it really changed the whole fit of the
upper body in a way that was not comfort-
able or flattering. Now I will cut and sew
in both sleeves for any mockup I try.
—Ann B.
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Your body, your challenge
How dare they make the pattern shape different from your body contours? Take comfort; you’re not alone. Here are solu-
tions to common specific fit problems.
thiS and that about fitting a top
648 Don’t cut your sleeves out until 650 Sometimes I get strange wrinkles Deepika adds: to make the armscye
you have basted your bodice and folds radiating from the arm- smaller, you can do the same in reverse
together at the shoulders and side seams. scye to the shoulder front and back. after (raise your cutout section and shorten the
So often the shoulder seam is way too doing some research, I learned this is sleeve cap). Note that these alteration
long and must be shortened. If it’s only a because the armscye is not deep enough do not affect the fit at the bust so if you
small amount you don’t have to alter the for me. to fix this, I drew a line from the need a full bust adjustment, you can do
sleeve cap. But if it must be adjusted more notch straight down to about 2" (5.1 cm) that too.
than a tad, you need to re-cut the armscye below the bottom of the armscye and
to fit, measure it, and compare your sleeve then across to the side seam, cut that out 651 I tried something new to make a
better fit over my sway back in a
cap to the circumference—remember to and moved it down about ½" (1.3 cm)—on
lined jacket. after sewing the center back
measure at the seamline, not the cutting both the front and back bodice pieces. I
seam I pressed the seam allowances open
line. If your fabric is a woven, there should then slashed and added about ½" (1.3 cm)
and ironed a 1" (2.5 cm)-wide strip of fus-
be at least ½" (1.3 cm) of ease in the sleeve to the sleeve cap height just under the
ible interfacing over them to give this area
cap. I’ve noticed that most of my sewing notch, so that the adjusted areas were
more body. this did what I wanted it to do:
students don’t take the time to make this basically matching (see below). I did not
it keeps the back “crisp” so it doesn’t col-
crucial adjustment; it makes a big differ- think that adding this length above the
lapse over my sway back or hang up on my
ence when they do! notch would work, as that would put too
high hips.
—ryansmum much extra length in the upper chest for
—redsquid
me. Well, no more wrinkles, pulls, folds or
649 I was confused for a long time
otherwise. the side seam hangs smoothly;
about where my shoulder point
there are no buckles or bulges.
is. I posted a question about it on the
—Deb Fox
boards and found that some other people
were having the same problem. I Googled
“shoulder anatomy” and found some use-
Lower armscye,
ful info that I thought I’d share: then raise sleeve
cap by the same
• The shoulder point in pattern making is amount.
actually the aC joint (acromioclavicu-
lar joint). this is the joint between the
collarbone (clavical) and the tip of the
shoulder blade bone (acromion). I was original
seamline
mistakenly marking the joint where the
head of the arm (humerus) enters the
shoulder socket!
• I found my AC joint by running my fin-
gers along the top of my collarbone until
I felt a little dent. I’m pretty confident
that I’ve got the right spot now, even
though I still don’t see that ‘dimple’
at the hinge point that I keep reading
about!
• If you Google “AC joint” there are some
helpful images.
—ladybegood
Fitting 95
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652 the usual way to adjust for nar-
Align at shoulder height.
row shoulders is simply to inset
the armscye, but if you are making a top
with a wide neckline, you can’t do this
because there will be nothing left of the
shoulder seam. Instead, you have to shift smaller neckline
the whole shoulder closer to the neck. template
here’s how I do it: Blend
seamlines.
• I start with a multi-size pattern where
the sizes are lined up on the centerline.
trace the smallest size neckline with
shoulder and armscye down to the
notch, and cut out to use as a template.
• Place the template on the pattern, shift-
ing its shoulder to the shoulder level of
the size you need to make but keeping
the center front aligned.
• Redraw the neckline, shoulder, and top
of the armscye following the template, larger bodice
then blend the armsceye into the larger pattern
size below the notch.
• Do a tissue or muslin fitting to check the
new shape.
—wood turtle
Deepika adds: It’s much easier to see
what you’re doing when making this
adjustment if your pattern has no seam
allowances.
the ever-popular clown-butt adjuStMent get the crotch

curve right
653 For those of us who consistently • Now slide the separated area down
need to add length to the center the back leg and overlap it by ¾" (1.9 cm) 654 I just bought a flexible curve
back seam of pants and at the same time on the pattern. ruler. I immediately grabbed the
shorten the inseam, here’s a technique • This gap thus created in the pattern two people I sew for and used the ruler to
that accomplishes both alterations at the above the crotch level lengthens the CB determine their front and back crotch con-
same time: seam; the overlap shortens the inseam. tours. as soon as I was done bending the
to finish your pattern, patch with tissue ruler to fit the front or back crotch, I laid it
• Slash the pattern horizontally at about on a manila file folder and transferred the
paper and then redraw the interrupted
the middle of the CB seam and also on shape to the folder with a pen, identifying
outlines.
the inseam 3" to 4" (7.6 to 10.2 cm) below the location of the inseam and waist ends.
• When you sew the inseam, ease the
the crotch. the slashes need extend only I labeled each with the client’s name and
front onto the now shorter back.
a few inches into the pattern. “front” or “back”; then cut the folders into
—Karla Kizer
• Now connect these slashes by cutting templates I can use for pattern alteration.
parallel to the grain line. You are detach- I punched a hole in one corner of each and
ing the lower crotch/upper thigh portion hung them on a hook in my sewing area.
of the pattern. —MaryLynn in Long Beach
96 Best oF Patternreview.com
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ModeSty MatterS
655 a wide and low neckline will not 656 this is my technique to eliminate 657 It’s challenging to get a wrap
hug your body unless the gar- gaposis and pulling on wrap-style skirt to fit neatly without reveal-
ment is tight fitting, and while it can show t-shirts. ing all when you move. here’s a way to
off your cleavage, it may invite some solve the exposure problem that doesn’t
• Cut the underwrap side about 3" (7.6
unwanted looks from others when your affect the wearing ease:
cm) shorter than the overwrap side and
bend forward. to prevent gaping on tops Sew a ½" (1.3 cm) button on the inside
finish the edges. (this eliminates bulk at
that aren’t tight, you can affix one end of a of the underneath layer near the edge, at
the bottom edge, not gaposis.)
short piece of covered boning to the neck or just above knee level. Sew another ½"
• Sew the shoulder seams.
edge and tuck the other end into your bra. (1.3 cm) button at the same level to the
• Fold over 5/8" (1.6 cm) all along the neck-
Cover the boning with a tube of the fabric side seam allowance of the top layer. Lay
line edge.
used for the top; sew both ends shut, or if the skirt flat, inside out, so that both but-
• Slip a length of ¼" (6 mm) elastic under
you want to remove the boning for laun- tons are visible. Cut a piece of buttonhole
the folded allowance on each front and
dering, use a snap at the bottom. Snap or elastic long enough to secure to both but-
anchor at the shoulder seams.
sew the boning to the inside of the center tons and lie flat without stretching, and
• Baste along neckline to form a casing
front neckline, or at the left side of the slip it onto the buttons.
over the elastic pieces.
facing behind the button marking if your —Lizzy
• Overlap the fronts and baste the front to
garment has a front closure.
back at the side seams, but don’t stitch
—els
through the elastic ends.
Deepika adds: try on the top to find • Try on the top; adjust elastic to fit snugly
the best place for the bone. experiment, against your body, but without pulling at
depending on the neckline and your fig- sides. pin the elastic ends in place.
ure, a bone on each side might work bet- • Remove the side-seam basting. Secure
ter than one in the middle. the elastic ends and stitch the casing (I
use a coverstitch or twin needle hem).
then complete the top.
—Sue Wilson
when the pantS Sag behind no-fault waiStbandS
658 If you find baggy saggy horizon- 659 here’s a technique that might 660 everyone has her own idea of
tal folds at the top of the back help if you’ve nearly finished how tight or loose a well-fitting
thigh on pants, you can easily remove making a pair of pants, and find the butt is waistband should be. here’s a way to be
some of the excess fabric that causes saggy (on the garment, can’t do anything sure yours will fit as you wish:
them by taking a tuck in your back pattern about the body, sigh).
• Cut the waistband the length of your
piece. Slash the pattern below the crotch
• Pinch out the excess at the back of waist measurement plus overlap (and
from the inseam to the side seam, leaving
the thigh till the folds disappear and underlap if you like), plus seam allow-
a hinge at the side seam. Overlap the
measure the amount you’ve pinched. ances, plus a little extra. Interface the
slash edges at the inseam to remove up to
Lower the back waist by the pinched out band and fold in half lengthwise. If you
¾" (1.9 cm). redraw the inseam. When you
amount, tapering to the side seams. use both over and underlap, future
sew the inseam, ease the front onto the
• Of course, this’ll probably create a wed- alterations are so much easier.
now shorter back. this is fast, simple, and
gie, so you’ll also have to scoop out the • When it is time to apply the waistband,
easy, and really does make a difference in
crotch in the back. Do a little bit at a try on the garment and place the band
the way the back of your pants fit.
time. It may not be the “perfect” fitting around your waist, pinning closed when
—Diane E
pants, there’s only so much you can do it is comfortable. Mark the center front,
at this stage. But they should be pre- center back, and side seam lines as they
sentable enough for everyday wear. correspond with the garment.
—Dale C • Remove the waistband and take off the
garment. pin and sew them together as
usual; there should be a bit of ease in
the band.
—Liana
Fitting 97
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intiMateS need not intiMidate
661 tiny alterations make a huge 662 On most swimsuit patterns, • Then I slash the back pattern from the
difference on a bra, yet it’s prac- adjustments to the lower torso center back to the bottom of the side
tically impossible to tissue fit or make a length are usually indicated to be made to seam, leaving a hinge at the side seam.
meaningful muslin for one. I have sewn the front and back equally. Well, that may I pivot the lower portion to add ½" (1.3
bras from commercial patterns and from a work for someone who is perfectly pro- cm) at the center back.
pattern I cloned from a rtW bra. Both portioned, but if the major reason for a • Then, to make the front side seam the
methods have their strengths and weak- size difference is a large derriere, you can same length as the altered back side
nesses. Cloning a well-fitting rtW bra end up with a suit that is too long in the seam, I slash the front pattern piece
means you start with a good pattern. On front and still not long enough in the back. from the side seam to the highest point
the other hand, there are no instructions here’s how I adjust the patterns to add 1" of the front leg opening, leaving a hinge,
on how to make it and no advice about (2.5 cm) length to the back only: and pivot the lower portion to add ½"
appropriate fabrics. I recommend making (1.3 cm) at the side seamline.
• First I make the back ½" (1.3 cm) longer
a cloned pattern for the shape and using —rhoda bicycle
than the front, adding length all the way
the instructions from a commercial pat-
across. Deepika adds: this works for briefs too.
tern that is similar to put it together.
—juliette2
Slash and
spread ½"
(1.3 cm).
Slash and pivot ½" (1.3 cm).
Slash and pivot ½" (1.3 cm).
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Photo by Kim Richey
M A S T E R C L A S S W I T H k e n n e t h d. k i n g
Sew Lamé Fabrics

Like a Pro
Kenneth D. King is a master of the ornate
and intriguing garment. He relishes
structural challenges that result in effects
that look spontaneous, and is known
for combining modern materials with
traditional techniques. He’s the proprietor
of Kenneth D. King Design, a small haute
couture house. Kenneth is a generous
teacher who is happy to help others master
the craft of haute couture patternmaking
and construction. Visit www.kennethdking.
com for information about his books
and classes—many of which appear on
PatternReview.com.
“I often create what I call a hybrid fabric, and this toreador jacket is
a good example: I layered and quilted lamé lace on top of a sheer green
organza and then embellished it with chain-stitch embroidery and jet bead-
ing. The basic methods for handling lamé fabrics are explained in this
lesson, and they also apply when using lamé fabrics that are more complex
and decorative. Once you are familiar with them, you’ll understand that this
little jacket, which appears quite complex to execute, isn’t difficult.
”
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Lamé fabric at a glance
Lamé is the French word for “blade,” and under magnification,
lamé yarn looks like a very tiny strip of tape. Lamé fabrics are
regarded by some as too difficult to work with for any but the most
experienced. This isn’t true—with a little information, and a little
practice on the scraps of the fabric you are working with, you will
get polished results.
I refer to these fabrics as lamé fabrics, instead of metallic fab-
rics, because the appearance of the yarns varies—they don't neces-
sarily look metallic. For the look of metal, the yarns can be made
from actual metal, or of man-made materials. Metal yarns have a
richer luster, but they are difficult to work with, and may tarnish
or darken over time. Man-made yarns vary more in appearance;
some have a pearl finish, some a holographic finish, some just a
high-gloss color, some look like metal. An assortment of lamés is
shown here.
In this class all the examples are made from man-made fibers,
as these present fewer challenges. Working with real metal lamé is
like working with metal foil—the effect of crushing is permanent.
You can press the creases out somewhat, but there will always be a
shadow of the creases left behind, which makes these fabrics look
old and tired before their time. All the fabrics shown are woven
with the lamé yarns in the crosswise grain and either silk or other
man-made fibers in the lengthwise
When planning a project using lamé fabrics, know that you need
to use a “with nap” layout. These fabrics do have a subtle nap, houndstooth, black jacquard, and silver matelassé
which may not show up until you finish the piece and get a good
look at it in evening light.
metal tissue man-made tissue
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Things you need
Having the right supplies and knowing how to use them gets working with lamé fabrics off to a smooth start.
cutting toolS
aside from good sharp pins and a good

sharp rotary cutter, a pair of serrated blade Stencil burner safety
scissors is helpful. the serrated blade keeps
the lamé fabric from “jumping ahead” along This tool is HOT!
the blade when cutting, and so provides a • Don’t rest it on the cutting table—have
more accurate cut. a separate small table, or high stool,
For man-made-fiber lamé, a stencil burner, where you sit the stencil burner when
sheet of glass, and palette knife are essential you aren’t cutting—this will prevent
cutting gear. the stencil burner heat-seals your fabric from straying onto the
the cut edges of the fabric, preventing any hot tool, which would burn holes in it.
Palette knife
of the fraying that normally occurs. You also, rest the stencil burner on a heat-
may use the burner to actually cut out your resistant plate or trivet to protect the
each piece. this tool is available from the
pieces, or, if you cut with scissors or a rotary surface of the table from burns.
quilting section of your local fabric store—
cutter, use the burner to seal the edges of the quilters use them with acetate sheets, to • Watch your hands when using the
create quilting stencils. tool—the point is narrow, but the shaft
Place a sheet of ¼" (6 mm) plate glass of the burner gets hot as well. Grip it
under the fabric to serve as the cutting mat only by the handle.
for the stencil burner. Use as large a sheet
• Unplug it after use—even if you think
as you can manage. Mine measures 16" x 20"
you’re going away for just a moment.
(40 x 50 cm)—large enough to cut a proper
armhole and side seam on a bodice, but not
so large as to be unmanageable.
the palette knife is a tool from the art
supply store, but its size, length, and shape
of blade make it an ideal guide for the stencil
cutter. You want a metal guide as opposed to
Stencil burner a plastic ruler—plastic melts.
thread
Use a good-quality polyester thread that thread will snap back to its original length
matches the color of the fabric. If you don’t a day or so after you sew the seam, and the
want the thread to show when making a seam will always pucker.
machine rolled hem, a fine monofilament When sewing with monofilament thread,
nylon thread is a good substitute. loosen the top tension almost to zero—this
to prevent either type of thread from will keep the thread from stretching and
stretching when winding it onto the bobbin, drawing up the seam later. Sew slowly, as the
do two things: wind the bobbin slowly, and friction of the take-up lever will heat up the
bypass the bobbin tension disc and hold the nylon thread, and make it break.
thread loosely to put just enough tension on
the thread to get it to wind evenly. Stretched
Monofilament thread
Marking gear needleS caSh regiSter tape
avoid wax chalk, or tracing carbon, and most For polyester thread, use either a universal also known as adding machine tape, this
importantly, don’t use a toothed tracing 70/10, or a “jeans” 70/10HJ needle. For nylon paper tape makes a great temporary sta-
wheel if you do need to mark with carbon— monofilament thread, you may need to use a bilizer that makes the needle less likely to
the teeth will snag the lamé yarns and dam- finer needle, like a universal 60/8. Some lamé force the yarns of the fabric through the
age the surface of the fabric. yarns will dull the needles on your machine, throat plate on the machine. It is thin, so it is
so change needles frequently to preclude easy to tear away later.
snags and runs in the fabric.
master class with Kenneth D. King 101
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ge:100 (Text) (Ray) #175 (P) Dtp:204 Page:101
Working with lamé fabrics
Master the four basic processes of cutting, sewing straight and curved seams, and creating a fine rolled hem by machine,
and you’ll find lamé fabrics are fun and rewarding.
cutting
When cutting out the pieces with a stencil pin your pattern to the fabric, lay the fab-
burner, use a single layer layout (if you ric on the glass, and, using the palette knife
fold the fabric, you’ll weld the two layers as a guide, cut out the piece with the stencil
together as you cut). however, it’s also a cutter.
good idea to divide up the fabric into sec- If you have a steady hand, you can cut
tions that are a little larger than the piece freehand. Make sure to pull the fabric taut
to be cut—these sections are easier to man- with your index finger and thumb to get a
age than wrestling with the entire length of smooth cut.
fabric.
Straight SeaM
1. to prepare a basic seam for sewing,

place the lamé fabric pieces right-sides
together as usual. place a strip of cash
register paper under them, aligning the
edge of the paper with the cut edge of
the seam allowances, and pin together.
2. When sewing the seam, pull it tight—this
prevents puckers.
3. to prep the paper for removal, turn the

work paper-side up. Fold the paper over
along the stitching, onto the seam allow-
ance, and crease with your thumbnail to
make tearing easier (rotate the work as
feels comfortable while you do this).
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4. tear the paper as shown, removing each 5. press the seam open on a rigid seam roll, 6. and here we have the finished basic
section individually. using the synthetic setting on your iron. straight seam.
If you have a temperature setting on your
iron, set it to 275-290 degrees Fahrenheit.
curved SeaM
2. Cut off any paper extending beyond the

cut edge of the seam allowances.
3. Sew the seam through the paper. It will
look like this from the back.
1. If the seam joins opposing curves, pin the through the paper tape. Clip the curve.
flatter of the two, right side up, to short position the other piece right side down
strips of paper tape; don’t worry about on top, aligning the cut edges. pin the
aligning the edges. Staystitch 1/8" (3 mm) seam allowances together, onto the paper
from the seamline, inside the allowance, tape.
Machine rolled heM
1. Begin by trimming the seam allowance on

the edge to be hemmed to ¼" to 3/8" (6 to
10 mm), cutting with the stencil burner.
2. pin a strip of the cash register tape to the 3. turn the work over, and cut the paper to
right side of the fabric, along the edge to match the cut edge of the fabric.
be hemmed. If the edge is curved, extend
the paper over the edge.
(continued)
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7. Place the work wrong side up on your
6. Take the work to your pressing table. This pressing table. Fold the paper over, onto
is what the work looks like after sewing. the wrong side, rolling the fabric over
4. Turn the work back over, so the paper is the cut edge of the paper as you do this.
uppermost before sewing. Press the hem flat.
5. With a straight stitch, sew through the
paper and fabric, 1/8" (3 mm) in from the
cut edge.
10. Tear the paper away from the work, as

shown. The paper caught in the roll of the
hem will remain there.
8. Edge stitch the hem though all layers, 9. This is what the finished work looks like.
stitching very close to the exposed paper.
Sheer lamé rolled hem

If you are working with a translucent
lamé, you don’t want to see the paper
left in the rolled hem. So, make the fol-
lowing substitutions to the preceding
rolled hem method:
• Instead of the cash register tape, use
strips of water-soluble stabilizer (Sulky
11. The result: a lovely, neat, tiny rolled hem. Fabri-Solvy is a good choice).
• When sewing, use the fine monofila-
ment thread for all steps. Once the
sewing is finished, dissolve the stabi-
lizer, and press dry—you will have a
sheer hem!
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Chapter Seven
Sewing
“ Sewing is my therapy. It’s the only

thing over which I have complete control from
beginning to end. I enjoy every step of the
process. After spending many hours doing
something I really enjoy, I have a new outfit!
”
What’s better than that?
—Elaray
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Good strategies for easier sewing
Love to sew, but pressed for time and have no patience for small irritants that
get in the way of sewing pleasures. Sound familiar? Passionate sewists like you
have figured the way to get the most and the best from their time.
tiMeSaving StrategieS let you Sew More
663 I am a “rusher” at times. I want 665 refilling bobbins and changing 667 I used to try to finish the step I
an outfit made so I can wear it thread colors really cuts into the was doing before packing my
that same day! I used to avoid cutting bias limited amount of time I can put toward a sewing away for the day. But I always
garments as the skirts or dresses techni- project. I have a small worktable with a found it slow going the next time I
cally need to hang some hours before you machine on each end. If I’m about to sew started: Finding my place in the instruc-
hem or finish. Who has 24 hours to wait? something for which I need lots of thread tions, figuring out which steps I’d done,
Well here’s what I came up with: I cut my (or two thread colors), I thread both which one to start. Now I do the exact
garment out the night before I need it. I machines and I also fill about six bobbins opposite. I stop halfway through the step
make sure it’s too late to actually make for each. then when I’m sewing, rather I’m doing so I can start with something
the garment. I pin the pieces (loosely) on than rethreading if I run out of thread familiar next time, something quick and
my dress dummy and go to bed. the next or need to change color, I just go to the easy. For example, I’ll pin a side seam but
morning voilà! the bias is set—not to other end of the table and use the other won’t sew it. Or sew a seam but not press
mention the garment is cut out! I sew the machine. In this manner I can get more and topstitch it. that way, when I get
side seams and put in the hem first (with a done without wasting time. When a started again I get straight into the swing
long stitch, just in case) and then finish bobbin runs out, I just grab a loaded one. of it and after that, well, it just seems to
the rest of my construction. Sewn in one —Coot flow a bit more easily.
day so you get that “last minute high”! —Helen near Sydney
—anncie1 666 I have limited time in which to
sew. So I wake up ten minutes 668 When you need to repeat a sew-
664 I tell all of my students and earlier than I would otherwise, and spend ing action on piece after piece
friends who sew this important those minutes in the sewing room before I (like stay stitching), instead of finishing
thing: When you are tired your judgment head for the shower. at first I thought this one piece, cutting the thread, then start-
is not good, your patience is short, and was a waste of time: what could I get done ing another piece anew, stitch your first
your project will more than likely end up in ten minutes? I was amazed to find I can one but instead of cutting the thread, just
in the circular file or the “hell freezes make a knit top in five ten-minute ses- push the next piece through right behind
over” pile. We are all junkies, so here is sions. I can sew and press two seams, or the first, leaving a little thread space
what you do: Get to a good stopping set in a sleeve, or cut out a pair of pants— between them for clipping and separating
point, put the project down, don’t clean all in ten-minute sessions!! I get many the pieces later. You’ll be amazed how
up, and get some rest. Your project will be garments finished this way because I’m such a little step can streamline your sew-
there when you return to it. eat some food not waiting for a big chunk of time to sew. ing!
and get the blood sugar up, read a maga- Give it a try! —Nancy Anne
zine or the paper. after that you will be —featherweight48
refreshed and ready to attack the finish 669 When I try a pattern for the first
Deepika adds: Most of my projects are time, and I am not sure how it
line. the better you feel the better your
done in smaller increments too. It’s only will turn out, I often leave out the time-
project will be.
recently that I’ve allowed myself more consuming details like belt loops and
—anncie1
than two sessions per garment, and I am patch pockets. If the garment turns out to
really enjoying it! be a wadder, then I have not wasted pre-
cious time on those little details. If I like
the finished product and I decide to make
it again, then I go all out to add all the
details that will make it special.
—SandraB
Deepika adds: Don’t forget to check
patternreview.com to see if someone has
written a review of the pattern.
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gathering Savvy
670 the first time I gathered some- 671 this method is perfect for 673 I just completed my first project
thing, I needed my mom to hold gathering miles and miles of ruf- that has gathers. the way the
both ends while I made the piece the right fles: Instead of running two or three rows pattern was configured, there were two
length and spread the fullness evenly. this of basting stitches, set your machine for rows of gathering threads, a row of bast-
isn’t very practical if you are alone or the the widest, longest zigzag stitch. Lay pearl ing, and another row of stitching. I was
gathered fabric is too long to hold. So I cotton or another lightweight cord over sewing with thread that matched my fabric
learned to insert a pin at each end of the the seamline and sew, so that the zigzag and was really confused as to which
gathers and wrap the threads around it in stitch forms a “casing” over the cord. I use threads to pull for the gathers. Long story
a figure-eight. Once the gathered area is a presser foot that has an opening in the short, I messed things up. When I redid the
the right length, you can easily put it on a front, this helps keep the cord in place as I gathers, I used a different colored thread.
table and shift the fullness so it’s evenly sew. then just slide the zigzag stitches It was easy to tell which they were.
distributed. and if you need to adjust the together over the cord to form the gathers. —shesflipped
length of the gathered section, you can —anetjay
just unwrap the thread, loosen or tighten, 674 When I’m pinning a ruffle onto a
and rewrap. 672 If a pattern calls for gathering or garment, I used red-headed pins
ruching, I find it easier to sew to mark the midpoint, quarter, and eighth
—Saya
this step first, and then measure and cut dividers. I don’t use them anywhere else.
the length needed. Gathering is not an that way, when it comes time to even out
exact science, as the weight of fabric, the gathers, I know which pins need to
length of stitch, and needle thread tension stay put: red pins mean “STOP: Don’t
can all play a role in determining the ratio move me!”
of gathers to flat fabric to get a desired —Diana M
final size. So I cut an extra-long strip,
gather it to the effect I like, and then trim
off what is not needed. this works when
gathering with a gathering foot, a serger,
or a ruffler attachment.
—tweedcurtain
Let your serger do the gathering

Sergers make speedy work of gathering. Here’s how:
675 hongkongshopper gathers 676 Seamingly Simple gathers • Feed the seam into the serger with
one layer of fabric. a serger one piece onto another. While back on top so that the edge to be
makes it really fast to gather large making a set of knit tops in which the gathered (the front) will be against the
amounts of fabric. the following settings bust area is gathered into the side seams, bed of the serger.
work for me, but you may need to fiddle I found I could form the gathers at the • Set the stitch length at 3 to 3.5 and the
around to see what’s best on your same time I serged the seams. this does differential feed at its usual setting
machine (or check your manual): stitch away with the need to get out the sewing (I use 1.2 on knits and 1.0 on wovens)
length 5; needle thread tension 6 to 9; machine to run a line of basting stitches except in the gathered area. In the
upper looper tension 3 to 4; lower looper and then fiddling to space the gathers gathered area, crank the differential
tension 3 to 4. Now serge away! Keep evenly. here’s how to do it: feed up to 2.0 to 2.2. the front will be
reasonable lengths (tails) of chain at the lightly gathered onto the back. this
• With the fabric right sides together and
beginning and the end so that if you works for light gathers; for more heav-
the shirt back on top, pin the side seam
need to reduce the gathers you have ily gathered areas, increasing the stitch
at the top and bottom as well as at the
enough thread so it does not unravel. length may be required.
notch that marks the bottom of the
gathered area. put the pins far enough
away from the edge that they won’t get
nicked by the serger knife.
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nine good wayS to reMeMber your changeS
677 I saved the pattern review tem- 680 My pDa is the other half of my 683 If like me you have those senior
plate on my computer. each time brain; I use it for everything. But moments, when techniques
I sew a pattern, I print one out and keep it for some reason, it just wasn’t cutting it you’ve done a zillion times or the latest
handy with the pattern instruction sheets. for keeping track of my sewing projects. I brilliant tip from patternreview.com
I fill in information as I go along, so I don’t found it was easier to just use plain old eludes you, and you remember it after
forget anything I came across that I paper and pencil. I’ve always been a fan of you’ve messed up one time, this may be of
wanted to mention in the review. It saves paperblanks brand journals and sketch- interest: I’ve started writing notes for the
time posting the review when the proj- books. they are sturdy, have acid-free best technique to use (say zip insertion),
ect’s completed, not having to compose paper (lined or unlined), a satin ribbon and any tips, (say fuse down back waist-
everything again. bookmark, some have a magnetic or other band before stitch in ditch) on a main pat-
—HeyJane type of closure, and most have an accor- tern piece. that way, it hits me in the eye
dion file pocket for loose items. they as I cut out, and is always available as long
Deepika adds: You can also start a WIp
come in a variety of elegant covers—the as the pattern is. Much quicker than
(work in progress) review and keep updat-
most recent ones are reproductions of unpicking.
ing it online. You can make it either pri-
antique books and textiles. here’s the way —petro
vate or public—the latter allows others to
I put them to work:
follow your progress too. 684 Sewing for children? In a
• The accordion file is perfect for carrying small notebook write down:
678 I admit to a passion for Far Side
swatches. 1) Garment sewn. 2) Fabric used.
cartoons, and each year someone
• When I get an idea of a project I want 3) pattern used. 4) Size used. 5) any
in my family makes sure I get the page-
to do, I sketch it out and record the pat- alterations made to width, length or size.
a-day tear-off version for Christmas. I’ve
tern and view number. On the opposite 6) Date sewn. I did this when I sewed for
started using the back of the individual
page, I list the notions I need and things my children. I often passed the clothes
pages to make notes of pattern alterations
I already have that I might want to use. down to younger siblings, and when I
and adjustments. they’re plentiful (365 of
I write any notes I want to remember wanted to make another garment I could
‘em, to be exact), they fit into the pattern
while I make the project. I also jot down easily decide which size to make and tell
envelope very nicely, and they serve as a
notes after the project in case I want to if the garment needed to be larger than
preprinted reminder of the approximate
make the same thing in the future but the last one I made for that child, etc. I
date I attempted to alter a pattern and
can improve on it. was reminded of this yesterday talking
sewed a muslin. and this is also a way to
• Not only do the journals make shopping to my daughter, who asked me to make
surprise myself with a cartoon I’ve forgot-
for projects easier, I end up with a beau- some clothes for my grandson with tops
ten about; since it always pains me to
tiful log of all my work. I’ve just now the same size as last time and pants
discard the good ones, now I can claim
thought each would be a nice heirloom, 2" (5.1 cm) longer. I have to work out what
that I’m recycling. they look much better
so I’m also going to start recording fab- I made before—I guess I will have to
in the pattern envelope than all over the
ric names and dates completed. start a notebook for the grandchildren.
refrigerator.
—khrome —LiZ
—Karla Kizer
679 Oh, this is so simple, but it took 681 I write notes (especially my 685 One of the things that I love
mistakes) about a project or a about sewing is that it isn’t full of
me three years of sewing to think
particular fabric on the direction sheet for bureaucratic details, like filing things
of it. Get a pack of file cards or other
the pattern. I tend to remember my notes everyday or writing reports. But I do want
small, stiff paper that won’t get crunched
by project so it’s easy for me to organize to revisit some of the decisions I made in
up in an overstuffed pattern envelope.
them and “look them up” by pattern. sewing particular items. the memory
When you finish a project, write down any
—Kim Winson blurs: “What DID I do in that pattern?”
changes you’d like to make or tips for the
“Why did I do it?” I love my notebook with
next time you sew it and then pop the 682 My pattern pieces become great
printouts of the envelopes of my patterns
card into the envelope. In the past, I’ve places to make notes. I’ll write
organized by garment type. aha! the glim-
altered the tissue pattern right after sew- the pattern number and size on each
mer of an idea emerged: I printed out my
ing, and then I never bothered to make it piece, of course. But then I’ll add the date
patternreview.com reviews and put them
again. Or I relied on memory for the next and fabric I used each time; how much
in a (very small) binder so that they are
version, but I’d forget. Or I would promise bias I needed to cut to finish armholes,
easy to consult. Some of the reviews are
myself to try on the first model before necklines, etc.; also amount of elastic used
already saved as digital files but this will
making a second, and that rascally project and number of spools/bobbins of thread.
be much easier to keep near the sewing
was always in the wash when I wanted to It’s not just a pattern anymore, but a his-
machine and save me wracking my brain
cut out a new one. the annotated card torical document!
trying to remember helpful details.
saves you from all of that hassle. —Oopsy-Daisy!
—Patti B
—Katharine in BXL
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gaMeS for better Sewing baSting and
pinning hintS
686 here is a little game I play when I 687 I’m helping a young neighbor
do my projects. It helps me learn to sew, and this tip I 692 Whether you machine-baste or
focus—I pay close attention to the details learned from who-knows-where popped hand-baste, it is much easier to
before I start sewing; I don’t rush; I check up in my brain: When sewing something pull out your basting thread if you use a
my machine. It also makes me mark and new or challenging, whether it be a new color that is obvious on your material
draft better. here’s my challenge: kind of seam, seam finish, a new tech- rather than one that matches. I am work-
nique of any kind, focus only on the next ing on a black blouse and for basting, it is
I count the number of times I use my seam much easier to see a white thread. hope
3" (7.6 cm) to sew. assuming that you’ve
ripper for the project I’m working on— this helps; it has certainly made my sew-
properly prepared the seam for sewing
let’s say six times. When I start my next ing life much easier.
with basting or pinning or whatever it
project I am only allowed to use my ripper —Mary Stiefer
requires, this reduces tremendous
five times. Next project four times, and so
amounts of anxiety!
on. If you go over your previous number
—Diana M 693 If you want to machine-baste
(shame on you ) continue to try to beat using a contrasting thread that
your personal best. I got all the way down will stand out for removal later, just
to one once! If you hate picking out seams change the bobbin thread. It is a lot easier
as much as I do, this is the tip for you. to change than the top thread, so saves
—anncie1 you time. It also makes only one side of
the basting-thread-removal absolutely
necessary, in case some of your basting
MaStering thoSe inStruction SheetS stitches have been stitched-over and are
difficult to remove.
—Nancy Anne
688 I always intend to read the 689 this seems like such a no-brainer
instructions from go to woe but tip, but I have been sewing for
somehow about halfway through my eyes two years and just figured it out. If you
694 On delicate fabrics I like to baste
with silk thread in a contrasting
glaze over and hey presto, I’ve failed the have a pattern, and you seem to always color. Not only is it easier to see—because
first step already! a better system, I find, struggle with the instructions, you can of its sheen—it’s even easier to pull out.
is to speed read the sheet and highlight write yourself better instructions right on —Deepika
just the main bits: e.g., ‘View a’ and the the instruction sheet. For example, I have
list of all its pattern pieces; ‘View a’ wher- been learning how to make my husband’s 695 I’ve found it takes a lot of steam
ever it’s written in the instructions; and all dress shirts. It seems as if I always get to adhere fusible thread, depend-
the diagrams relating to View a get cir- caught up on one of the collar steps. thIS ing on the fabric; a damp, clean tea towel
cled with the highlighter. Obviously this time I’m going to write myself better helps a lot.
doesn’t keep the instructions in pristine instructions so I won’t have to sit there —ValerieJ
condition so you have to be okay with every time I make this shirt wondering
that. But it does give you an overview of how I got it right the last time.
696 When pinning to sew, I direct the
pin toward the body of the proj-
what’s involved. —SexiSadi ect, leaving the pin head extending past
—Helen near Sydney the outer edge. that way, no matter which
side is up, the pin is accessible to remove
or adjust as you sew the seam. ’tis a habit
that took some conscious thought to
develop, but it’s worth it to me.
baniSh tangled dangling threadS —Diana M
690 We all know about pressing as 691 I just learned a great way to pre-
we sew, but here’s something vent thread from hanging up at
simple that I’ve been doing lately that has the end of a seam. I assumed that it was
been very helpful. I tend to forget to clip poor backstitching technique on my part
the threads at the start and finish of my that accounted for the occasional need to
stitching lines, resulting in jungles of YANK the material away from the machine
threads dangling from my project. Now, I in order to trim the thread after finishing a
keep my thread clippers on my ironing seam. actually I was sometimes not finish-
board so I’m always reminded to clip ing a stitch, resulting in thread remaining
threads as I press the seams. across the bobbin. the solution: when you
—sewgirl finish stitching, make sure you turn the
hand wheel toward you so that the thread
take-up lever is all the way up.
—Eme
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Press as you go
If you sew a lot, you know you spend as much time with your iron as with your
machine. Here are insights on the best ways to press your fabric, press your
work-in-progress, and press the finished garment.
thiS & that about preSSing
697 to avoid damage or shine from 699 When working on a wool jacket, I 701 the secret to keeping pleats set
an iron when pressing a seam in was having trouble getting the is to not move your fabric until
knit fabric, steam the seam with an iron seam allowances to stay flat pressed open. it’s dry and cool. If you want a center
and then press it with a clapper. I’ve been I would press them, but five minutes later crease or pleats to stay, it pays to press
happy with the results doing this. they’d be springing back up again. I asked and cool, press and cool. I also use a
—Beezer my tailoring tutor about it, and she said wooden block to “pound” creases if I want
to press the allowances open with steam, them super sharp; again, pound when hot
698 Use a hardwood (not fir or ply-
then switch the steam off, cover the seam and steamy and then let cool. You can also
wood) kitchen cutting board
with a press cloth to prevent it from burn- leave the wooden pounding block resting
instead of an ironing board when pressing
ing and press with the dry iron until the on the area till it cools. the wooden block
small pieces. the idea came after reading
seam dries out—it’s the moisture that holds in steam and heat so that the gar-
a chat on patternreview.com with David
makes wool spring back. and it worked! ment cools more slowly, which enables a
page Coffin. David says padded surfaces
—cakehole better crease.
like those on most ironing boards are way
—Janie Viers
too soft for good pressing results. this is a 700 I just finished making my grand-
good tip, thanks David! here is the link to daughter of pair of slacks and 702 I have a little basket near my
that chat: used a sleeve board to press the legs, sewing table in which I keep
http://sewing.patternreview.com/cgi-bin/ which were too small to fit over a regular clean, rolled, press cloths. I find that I go
archive.pl?var=chat&id=dpc_dec_19 ironing board. I know this is a simple tip through a lot of press cloths, especially
—j222b but I thought some fellow grandmothers when I’m doing a lot of fusing or working
or mothers who sew for children could use with colored fabrics that bleed. I like a
this info. fresh cloth for each new project, so I cut
—Mary Stiefer leftover muslin into useful pieces with my
rotary cutter, roll them up individually,
and place them in my basket. It takes less
than five minutes and I have a good supply
Six pressing tips to remember on hand whenever I need one!
Sarah J Doyle says: Many of us have been sewing for so many years that the —jen_e
various aspects of the process are second nature to us. However, because I ran
into a small problem while pressing a garment I was working on, I thought it 703 For some reason, this didn’t
dawn on me until today, when I
might be time to actually think about what I was doing, and not just let the hands move
had the ironing board up to press (as you
while the brain is someplace else. So I’ve put together a few “pressing” tips that I’m sure
should) as I sewed: I use a chair on rollers
most people know but are easy to forget when a job is being done in a hurry.
at my machine, so I would sew, turn my
chair around, stand up, go to the iron (a
705 the hint for my current prob- 708 You can make press cloths out few steps), iron, step back, sit down and
lem is: if in doubt of how press- of pieces of an old sheet, old sew. how silly is this???? I realized that if I
ing will affect the fabric you’re working diapers, or clean linen dish towels. lowered my ironing board I could rotate
with, make sure to ALWAYS press it on my chair away from the machine, scoot it
the wrong side. 709 always press hems with an up
a bit to the board, iron, and scoot back.
and down motion—not
—Mary Stiefer
706 Speaking of clean, once worn, “around” the hem—this will help elimi-
NEVER press or iron or “touch nate the ripples in the hem.
up” a garment for a second wearing. any 704 today, when pressing a consider-
able length of cotton fabric I had
stains or soil, even if you can’t see it, will 710 and check out this last tip! Did
pre-shrunk, I draped the unpressed por-
you know that if you press or
be ironed in permanently. tion over my shoulder. It worked! It did
iron when you’re angry it will cause you
not drag on the floor.
707 always try on a garment to have a “heavy” hand and perhaps
—Jennifer shaw
BEFORE pressing in sharp cause damage to some garments you’re
creases, such as pleats, zipper laps, etc., ironing?
in case you have to make a change.
With that in mind, I think I’ll check my
ironing basket and get busy while I’m in
a good mood and having a great day!
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clever pressing tecHniques
711 As I remove the tissue when 713 Here is advice for how to press • Turn the piece over and do the same
cutting a garment, I look for open seams in little corners that with the allowances on the other layer.
any hemline, waist casing, or similar folds are seemingly impossible to press into, for • Trim the allowances and turn the piece
and press them in the fabric pieces. It’s example, at the ends of a waistband. right side out. Dampen your fingers and
easier to do this before joining the pieces “work” the fabric away from the seams,
• First press the piece flat as sewn, wrong
and it gives me “memory lines” that will pressing with the iron as you go.
side out.
be helpful later in the sewing process. I —Mahler
• With the piece still flat, lift the seam
then unfold all the pressed areas and con-
allowances on both edges of the corner
struct the item per the instructions. The
on the top layer, fold them back along
pressed memory lines are easy to use
the stitching, and press.
when I’m ready to complete the hem or
casing and tend to increase the accuracy
of my work. This simple step early in the
project actually will save you time during
construction.
—jbsew
712 When I make a shirt with a collar,

I always find it a challenge to
press the neck area. The collar/neck seam
can be pressed over a tailor’s ham, but I’ve
found that if I position the shirt with the
shoulders flat on the ironing board and
the collar sticking straight up, it makes it
easier to press those facings around the
collar area. (I also do this when I iron
shirts and blouses.)
—Irene Q
Successful seams
It’s just sewing and the machine does the work, right? Truth is, good seams make the garment and they don’t just happen:
they benefit from sensitive handling. Get yourself on the right track with savvy suggestions from those in the know at
PatternReview.com.
Hints for really straigHt stitcHing
714 Recently my son was doing some 715 On my older machine I can use 716 I’ve found that when topstitch-
sewing and it was a big “aha” only the narrow twin needles. I ing, it is much easier to keep the
moment for him when I told him this: To usually have problems with the fabric tun- lines straight if, in addition to choosing
sew straight, don’t watch the needle; use neling and wanted a wider space between the straight stitch setting, I have the
the guidelines on the throat plate or the the lines of stitches, so I experimented straight stitch foot and straight stitch
presser foot to keep the fabric properly with presser feet to find another method throat plate on my machine. So, if you are
aligned. If you look at your presser foot, to get parallel lines of topstitching. For having trouble edge stitching, stitching in
there is a marking on the center front the first line of topstitching, I use the edge the ditch, or sewing another fine straight
that indicates where the needle will sew. stitch foot with the blade resting against stitch application, try replacing your zig-
Match this with the line you want to sew the well of the seam and the needle set to zag foot and throat plate! (the straight
on. If you’re appliquéing one piece onto the far left. For the second line of stitch- stitch throat plate has only a tiny hole for
another, this is where the center of your ing, I use the quilter’s ¼" (6 mm) foot, the needle as it doesn’t have to allow for
zigzag stitch will be. which has a longer guide that aligns on the needle to move left or right.) WARN-
—Dale C the edge of the fabric; I set the needle as ING: Remember not to put the machine
far left of center as the foot will allow. on zigzag until you change the foot and
Using these two feet gives me two really throat plate back. You will not totally ruin
straight lines of topstitching that are your machine, but that needle most cer-
spaced correctly for jeans or jackets. tainly will break!
—elizajo —Janie Viers
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clever Stitch applicationS two trickS for
eaSier godetS
717 the 3-step (or multi-step) zigzag 719 When you must sew around a
found on most machines (its icon tight curve such as a rounded 722 Sewing to a point, as when set-
is a zigzag symbol where each zig and zag pocket edge or a scallop or a shaped tie, if ting a godet into a skirt, is intimi-
is made up of three short dashes) makes you reduce your stitch length to a very dating and a little difficult, but not as bad
sturdy bar tacks that are good to secure small stitch, it will be SO much easier to as it first seems. the trick is to give your-
pocket or fly openings or to attach belt get a smoother curve. You don’t struggle self a little guide. Now that I’ve figured
loops. Simply disengage the feed dogs so to make that turn. this out, in fact, I really like sewing in
that the fabric is not fed forward (I suppose —ryansmum godets!
you could also set the stitch length to • First mark the seamline on the skirt at
zero). then just place the fabric under the 720 When I need to understitch I
the top of the godet. I like to baste it.
usually make a test to see if I like
needle, lower the presser foot (not a • Place the skirt and godet right sides
the traditional 1/8" (3 mm) straight stitch or
straight-stitch foot, mind you!) and let the together and, with the godet against the
if I prefer the wider 3-step zigzag. More
needle sew back and forth a few times. feed dogs, sew from the hem edge to the
often than not I like the way the 3-step
remember that the bar tack will form left- point; this way you can see the marking
zigzag controls the fabric. I especially like
to-right. In most cases, you’ll want the thread when you get to the point. Use
it on knit fabrics.
widest possible stitch on your machine, but small stitches at the point, and stop just
—jbsew
try a few widths to see which you like best. before you get to your marking thread.
—Asa Hagstrom 721 I love the look of cover-stitched Backstitch once, remove the work from
seams, but there won’t be a the machine.
718 every now and then I come
coverstitch machine in my life any time • Then sew the other side of the godet,
across some really tightly knitted
soon, so in one of those light bulb again starting from the hem. this time
fabrics that bunch up on my sewing
moments that change your life, I came the godet will be on top, but you now
machine if I sew them with a simple zigzag
up with this. First I serge the seam with have the stitches from the first side
stitch. I also have problems with skipped
the pieces wrong sides together (so the to let you know when you reach the
stitches. But the 3-step zigzag stitch works
serged seam allowance is on the right side point. Stop just before you get to those
like a charm. It makes a stretchy and very
of the garment). then I separate the lay- stitches—you never want the stitches
strong hem too. I use the default setting
ers, press the protruding allowance to to overlap because the point will not sit
on my machine although I’ve shortened
one side, and topstitch it down with correctly.
the stitch width for doing edgestitching on
matching thread as closely as possible to –AnneM
some tops. When you try this, as always,
the loose edge. It’s very quick, easy and
do some samples to get a feel for the stitch
and decide which setting looks the best. I
neat, and looks great on sporty garments 723 here’s a way to get a great point
and fabrics (see below). on a godet or gusset that is to be
hardly ever used this stitch before but now set into a slash in the garment (rather
—Judy Williment
its one of my favorite stitches. than into a seam that joins two pieces):
—Deepika
• Mark the seamlines on the garment.
• Stitch along the marked lines, stitch-
ing up one side to the point. then with
needle down, lift presser foot and pivot
the piece; take ONE stitch across top of
point; pivot again and stitch back down
other side.
• Slash the fabric between the stitched
lines, cutting right up to the point. Sew
in the godet as instructed in your pat-
tern but pivot in the same way. that
blunt point at the top will give you a
much better finished godet than pivot-
ing once for a sharp point does.
Topstitch
—Marji
allowance
edge to
garment.
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control SeaMS that want to Stretch
724 ever since I discovered fusible 726 On my most recent knit top, the 728 I bought a rtW top and decided
tapes I stabilize all seams that directions specified to use clear to lift the shoulders a bit (the
tend to be weak or stretch: elastic to stabilize the neckline. Well, I neck was too low). I discovered on undo-
found myself to be fresh out of clear elas- ing the neckband at each shoulder (just
• Crotch seam: Fuse bias fusible tapes to
tic, but found that I had a package of the usual type band on a knitted top) that
the crotch curve on the stitching line
nylon/Lycra seam binding. I cut a strip to threaded through loose was clear elastic!
before sewing.
length, trimmed it to ½" (1.3 cm) wide and It was not stitched anywhere except at its
• Neckline and armhole: Prevent gaping
used it in place of the clear elastic. Not ends, but worked to stabilize the neckline
by fusing bias tape to these as well.
only did it work great, but it was MUCh anyway. the shoulder seams were stabi-
• Waistline: Fuse straight tape on the
easier to handle than the clear elastic. I lized with the clear elastic too, serged into
stitching line. The waist will NOT stretch
don’t think you could use the Lycra as a the seam.
out of shape.
substitute in every case, but as a stretchy —Winifred
• Zippers: Fuse straight tape on the stitch-
stabilizer it will be my choice over clear
ing line. this stabilizes the fabric where
elastic from now on. 729 the weight of jersey can cause
the zipper goes for perfect, non-ripply shoulder seams to stretch during
—Lisa Laree
results. this is especially effective for wearing, dragging the sleeve seam down
side-seam zippers. 727 to prevent the neck of a knit top onto the arm and in general looking
—Deepika with a collar from stretching out sloppy. tape the shoulder seam to prevent
of shape over time, I add clear elastic to stretching there: Use a ¼" (6 mm) stay
725 Stay stitching works best when it
the collar seam. Clear elastic has a ten- tape or soft twill tape and cut a length 1"
is the first thing you do. I’ve
dency to stick to the presser foot and the (2.5 cm) longer than your shoulder. turn
noticed on several of my patterns that this
application process itself can stretch out under ½" (1.3 cm) each end, then use a
step is shown on the neckline after the
the neckline if you aren’t super careful, straight stitch to sew it to the shoulder
shoulder seams are done. this is way too
but Wash-a-Way Wonder tape solves both seam allowance, or stitch in the ditch of
late. By then you have moved the garment
problems beautifully: Apply the ¼" (6 mm) the seam. Make sure to use the straight
around a lot and the neckline has already
Wonder tape about 1/8" (3 mm) from the grain stay tape, not bias. (a selvage cut
been stressed. It’s best to stay stitch
fabric edge around the entire neckline. from silk organza will work too.)
immediately after transferring any mark-
Then adhere ¼" (6 mm) clear elastic onto —Marji
ings. My tricks:
the Wonder Tape. Now sew on your collar,
• Stitch from shoulder to center back or using a ¼" (6 mm) seam allowance to 730 In the throes of sewing up a wrap
top I discovered that it gapped at
front on each side. catch the clear elastic and sewing with the
the center front where the two layers met.
• Place the stay stitching near the edge so elastic against the feed dog so there is no
to stabilize the neckline, I sewed stay tape
it can be trimmed off when the neckline drag on the presser foot. after the first
on the seamline. In order to make the fit a
is finished and you want the stretch washing, the Wonder tape’s “stabilizing”
bit snug, I cut the tape 1/8" (3 mm) shorter
back. effect is gone and the collar will stretch
than the seamline and eased the fabric
• Use a walking foot to stay stitch knits nicely to fit over your head while the clear
onto it. Unfortunately for all you Steam-a-
(see below). elastic ensures good recovery.
Seam fans, this only works with sew-in
—beginagain —andrearn9
tape. I found that the two layers fit snug
against my chest and did not gape open. I
guess the technique would work to
slightly shrink any bias edge.
—Lorna C. Newman
sewing 113
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couture finiSheS: french and hong kong
731 I needed to stabilize a curved

732 a French seam is really not • Sew the finishing strip to the seam
armhole edge on a sheer red difficult to make and gives a allowance using the edge of your presser
fabric and, because fusible tape comes beautiful finish. here are the steps: foot as a guide or, my preference, a 3/8" (1
only in black or white, I decided to do it cm) allowance.
with homemade red fusible bias tape. • Pin fabric wrong sides together
• Fold the finishing strip up along this
here’s what I did: • Sew seam with a scant ¼" (6 mm) allow-
seam, and press it to extend over the
ance and press—first flat, then open.
• Started with packaged plain bias tape, seam allowance edge.
• Turn the fabric right sides together and
which I pressed open and cut into ½" (1.3 • At your machine, extend the seam allow-
press the seamed edge.
cm)-wide strips using my rotary cutter. ance right side up again and fold the
• Stitch 3/8" (1 cm) away from the seamed
I made each strip the length of the arm- finishing strip over it, to enclose the raw
edge, enclosing the raw edge.
hole plus about 1" (2.5 cm). edge; stitch in the ditch of seam that
• Press seam flat, then to one side. Ta-daa!
• I sprayed the underside of the strips attached the strip. I use my left hand
You have a beautiful French seam.
with temporary spray fabric adhesive. to guide the fabric and my right hand
—Nancywin
• I positioned the tape on the wrong side to wrap the strip under as I sew. this is
of the fabric ¼" (6 mm) from the raw 733 When I first started doing hong much faster than using pins and just as
edge, pulling the tape snug (but not too Kong seam finishes (for which effective in my opinion.
taut) as I eased it into place. the tempo- you bind the edge of each seam allow- • Trim close to the stitching on the under-
rary adhesive allowed lifting and reposi- ance), I was a little confused by the pro- side of the seam allowance, removing
tioning the tape until it was placed as I cess and had read several different any excess finishing strip.
wished. methods. this is the one that works best • Repeat for each seam allowance. Then
• I stitched it in place ½" (1.3 cm) from the for me. press open the seam allowances again,
raw edge, using a stitch length of 2.2 and you should have a beautiful hong
• Calculate how many finishing strips
mm and then cut off the excess tape. Kong finish.
you will need by counting the seam
• When the lining was attached with a —Nancywin
allowances and measuring the length
5
/8" (1.6 cm) seam allowance, the bias of each. You will need one strip for each Deepika adds: Bias edges won’t fray, so it
tape held the shape nicely. I clipped the allowance (in other words, two for each doesn’t matter that the binding has a raw
curve to the seamline (including part seam), one for the hem, and one for each edge on the underside of the allowance.
of the width of the bias tape), turned facing. Cut as many 1½" (3.8 cm)-wide
and pressed. the resulting armhole has bias strips as you will need for the total
lovely shape and doesn’t sag! I’ll do it length just figured.
this way again. • Sew each seam with a 5/8" (1.6 cm) seam
—Seamingly Simple allowance and press the allowances
open.
• Turn your garment so that only one
seam allowance is extended, with the
allowance right side up. Lay one of your
finishing strips face down on the allow-
ance, matching the raw edges.
teSt to chooSe Stitch SettingS
734 Whenever I try a new technique 735 While you are cutting out your
on my serger and am happy with pattern, cut a couple of strips or
the results, I attach samples labeled with swatches of the fabric on which to test
the settings to my notebook for later ref- stitches, thread, needles, and practice
erence. I still test on a scrap the next time buttonholes. My students often ask what
I use a technique, but this saves me lots of stitch length, or how far away topstitching
setup time. should be from the seam or what color
—Deepika thread to use and I constantly remind
them to do test outs and find out the
answer from their results.
—ryansmum
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triM and clip for neat work
736 When I fuse the cut-out pieces of 739 When I trim various seams, I
fashion fabric and interfacing frequently use my pinking shears
together, sometimes there’s stray interfac- rather than straight shears to remove the
ing sticking out around the edges. Instead excess fabric. this method softens the
of using a pair of scissors to trim it, I use edges and eliminates a hard, straight
my unthreaded serger; it gives a quick impression should you over-press or if
nice clean line. your fabric is somewhat sheer. another
—els benefit is the zigzag edge allows you to
spread a piece along a curve without mak-
737 I use the chisel-type buttonhole
ing all those little clips, which I think
cutter to clip into seam allow-
sometimes show through to the right side.
ances when I want them to lie flat. You
pinking shears are made to cut one layer
never have to worry about clipping too far,
only (or they will go out of alignment) so
or too little (which is a very common
be sure to follow that rule. try this
cause of curves that won’t lie flat.) It is
method, I think you will like it!
also the best tool for cutting the little
—KarmenG
angle cuts at the ends of bound button-
holes. again, you will never cut too much 740 When you serge the seams of a
or too little. I use it in any situation where garment and then turn up the
I need a small, precise cut. It’s perfect for hem, the hem will be bulky where the
buttonholes of course. seam allowance is doubled. If you clip the
—Liana seam allowance at the hem fold line, you
can then orient the allowance in opposite
738 When I clip a seam allowance, I
directions above and below the clip, and
fold the fabric perpendicular to
this will make a flatter hem. this is espe-
the stitching line and then I clip OUTward,
cially helpful when using a coverstitch
toward the cut edge of the seam allow-
because a bulky seam often gets hung up
ance. that way there is never a danger of
under the presser foot.
clipping too far. You get a nice notch with
—LoriB
one snip plus eliminate the danger of clip-
ping through the stitching!
—Janie Viers
Sew seams with perfectly matched patterns

When you pin a seam prior to stitching, it’s tricky to secure the pieces so stripes and other fabric patterns stay perfectly matched
when you sew. Two PatternReview.com members offer variations on a way to match and secure from the right side, then sew as
usual. Use the techniques whenever you want to keep the layers from shifting on straight and moderately contoured seams.
741 ann d chafin uses an 742 kay y uses a temporary

adhesive. Wonder tape is good zigzag stitch. I was making a • I then temporarily sewed the two
for matching stripes or other fabric pat- jacket out of fabric that has a teeny pieces together from the right side,
terns at seams: press under the seam woven grid pattern. the repeat is so centering a long, narrow contrasting-
allowance of one piece of fabric; attach small (less than ¼" [6 mm]) that I didn’t color zigzag stitch over the fold. Sewing
the tape on the allowance, right on the even attempt to match when cutting, but from the right side meant I could see
edge of the fold. Lap that piece over the then discovered that it was hard to pin the pattern as I went.
adjacent piece (both right side up), and sew the seams conventionally so • Then I unfolded the top piece so
matching the fabric pattern, and press it that the pattern matched across the the two were right sides together as
in place. then unfold the top piece so the seams. here is how I resolved the prob- usual for sewing. the contrast zigzag
two are right sides together as usual for lem: stitches were visible on the wrong side;
sewing, and stitch right on the fold line. I stitched over them to make the real
• On each long seam I pressed the seam
Voilà! a perfectly matched seam. seam and then removed them.
allowance under on one of the pieces.
I lapped that piece over the other one,
matching cut the edges and the pattern,
and pinned through all three layers.
sewing 115
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trouble-free dartS
743 have you ever had the problem 745 I have finally found the best way 746 to sew darts in sheer fabric you
where your dart tip looks too to start and finish darts! I place a can feed the bobbin thread into
sharp, causing an unflattering point right small piece of tracing paper under each the needle so you sew with only one thread
over your chest (or butt, depending on end of the dart. I sew from the garment and the dart tip doesn’t need backstitching
what you’re darting)? It’s probably edge to the dart point: I start sewing on or knotted thread ends. here’s how:
because your seam isn’t perfectly straight. the tracing paper using a tiny stitch and
• Fold and pin the dart as usual.
to combat that problem, align a strip of continue onto the dart for about ½" (1.3
• Remove the top thread from the needle
masking tape on your dart seamline and cm). I then change to a regular stitch
eye but leave it in the guides. pull out
sew from the garment edge to the dart length. at the dart point, I change to the
some thread from the bobbin and feed it
point, stitching right next to the tape. tiny stitch length again and make several
into the needle eye from back to front;
Knot the thread ends and remove the stitches along the fold and then stitch
then tie it to the end of the top thread in
tape—you should have a perfectly shaped onto the tissue paper. the advantages of
a square knot. Carefully draw the bobbin
dart. You can use low-tack painter’s tape doing this method are: no puckers at the
thread up through all thread guides until
for more delicate fabrics. end of the dart; no backstitching; when
the knot reaches the spool. (For extra-
—alysonwonderlan you tear off the tissue, stitches form their
long darts draw up even more thread.)
own knot; the dart looks neat and lies flat;
744 I was having trouble sewing a • Sew the dart from the point to the gar-
and it works great on even the sheerest of
dart that had one straight and ment edge. Cut the threads.
fabrics. Give it a try, you’ll be hooked!
one curved leg. I found it tedious to do if I • Repeat to rethread the machine for each
—Nancywin
folded the dart before basting it (particu- dart you need to sew. this may seem like
larly since the curved leg was longer than a lot of work but it surely is worth the
the straight one). It finally dawned on me effort.
that an easier way to get the dart legs to —els
meet is to lay the fabric flat and baste
loosely, keeping the bars between the
stitches parallel. When I reach the end of
the dart I pull the basting stitches taut
and close it.
—Brine
hiding thread tailS
747 Someone recently remarked to 748 there is a double eye needle that 749 When sewing the side seam on a
me that they do not use the in my opinion is a must have for knit top, you are sometimes left
automatic thread cutter when machine securing thread chain tails if you use a with a serger chain that needs to be
quilting as they wish to “bury” all threads serger. run one end of the needle back enclosed in the hem. to make it easier to
for a clean finish as is done in hand quilt- under the looper threads on the seam, lose: Sew from bottom to top; hold the
ing. the thread cutter does not eliminate thread the loose thread tail into the other chain in your left hand as you begin the
this option, although you should use a few end of the needle eye and pull the thread seam. after two or three stitches, swing
tiny machine stitches to secure the tail back under. Works great! the chain around from the left through
threads before cutting. then, when all —Heidi H nine o’clock to six o’clock so the chain is
done quilting, remove the work from the being stitched into the seam. after an inch
Deepika adds: a blunt-tipped yarn needle
machine and use a “tired eyes” or “self- or so of stitching, swing the remainder of
works well for this too.
threading” needle (the kind with a slit the chain to three o’clock and let it be cut
frame at the eye) to pull the thread ends off by the cutter. Voila! chain secured
under. the secret is to stick the needle without glue or a knot!
half way in just where the thread tails —Shazza B
come out of the backing and then slip the
threads into the eye through the notch
(with the help of a tweezers if they are too
short) and run them under the backing.
—Astrostitcher
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Who makes mistakes?!
We all do. Maintain a sense of humor, forget blame, and keep your eye on the gorgeous garments that result when you take
the time to set things right if they’ve gone awry. Here are tips from those who’ve shared your pain.
thiS & that about fixing SeaM MiShapS
750 have you ever been dissatisfied 752 I just had a big ripping job to do 754 I don’t know about the rest of
with some portion of the seam and it left a huge mess of thread you, but there are times that I
when topstitching? this is an easy way of bits still anchored on the fabric, which have to rip out a seam. this leaves me
repairing your stitching without having to even the adhesive-tape-type lint roller with all those little threads that need to
remove all of your work; it can be used for didn’t pick up. picking the thread out by be picked out. the easiest and fastest way
a double needle as well as single: hand was a pain, and slow, and my fingers that I know to do this is to smooth a piece
just weren’t doing that good a job anyway. of masking tape over the threads; when I
• Clip the top thread in the middle of the
So I rubbed the seam with a clean eraser pull the tape up most of the threads come
area that you’re unhappy with, and with
(in this case, one of those retractable eras- with it. Sometimes I may do this two or
your seam ripper, work enough of the
ers called a Clic eraser). the eraser pulled three times, but it is still faster for me
thread free in both directions to be able
up the threads and then the lint remover than trying to pick them out.
to pull the ends to the wrong side (tug
was able to swipe them away. I imagine —Mary Stiefer
the bobbin thread to pull the top thread
one of the stubby pink pearl erasers would
through).
work, and maybe dishwashing gloves 755 I have a tendency to end up
• Then insert your needle exactly into the hunched over sewing work, espe-
would also do the trick—at any rate, some-
end of the stitching that remains and cially when it requires close attention, like
thing that has “grip” is going to work way
topstitch over the removed section, end- removing basting stitches. I started pick-
better than your fingers!
ing precisely where the previous stitching out some stitches last night, and real-
—Debbie Lancaster
ing begins again. ized it was bothering my upper back and
• Tug on your new bobbin thread and pull 753 If you are working with a napped shoulders, so I took it into a bathroom
your new threads to the back. tie the fabric and find the presser foot where we have a high hook on top of a
group of threads together at each end. leaves a white mark, try this: take a piece door for hanging laundry and robes. hang-
—Sew it seams of the same fabric, wet it with water, wring ing the garment there allowed me to work
out and then dab it in some vinegar. rub standing up straight, and as a bonus, the
751 this just happened to me so I
onto the white area of the fabric and it let light was better. No shoulder ache after-
thought I would share what I did.
dry. the white may be gone when it dries. ward. this may become my preferred way
I matched the thread to the fabric so well
this worked for me on a brushed twill to tackle this tedious task.
for a recent project that it caused me a
when I had to reposition pockets that had —kkkkaty
little problem. I had to rip part of a seam
been topstitched with two rows of thread.
and found the thread matched so well that
—Mary E Geauxtigers
I couldn’t find the stitches. My solution
was to rub a bit of contrasting chalk over Deepika adds: try this to remove creases
the seamline area; this highlighted the on wool too.
stitches.
—Mary Stiefer
quick wayS to rip a Serged SeaM
756 I was recently faced with undo- 757 Unpicking a 4-thread serged • Flip your garment over, and from under-
ing some LONG serged seams. seam can be time consuming. side of the seam, pull on the lower
after sweating about this for a little, I after many years I finally worked out the looper thread. It will unravel as one long
thought of an easy way to do it: With your secret: thread. pull the entire seam undone.
seam ripper, carefully pick out the needle • Flip your garment back over and now
• From the top side of the seam, run the
thread(s) from the end of the seam (they pull on the two needle threads. again
seam ripper under the upper looper
will be more accessible from one side than they will unravel as two long threads.
threads, cutting them along the entire
the other). When you have enough to grip, • Now run your fingernail along the seam
length of the seam. It is VerY important
pull them out—just as you would pull out edge to remove any remaining bits of
that you only cut the upper looper thread
basting stitches. Once this is done, the the cut upper looper threads.
and not the lower looper thread as well.
looper threads easily pull out. For a really —Sew4Fun
long seam, do this process in sections.
—AnneM
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Elastic chat
When you need a fast finish or comfortable stretch, elastic is your friend. PatternReview.com members have great tips for
handling it well. (For elasticized waistbands, read the waistband section, beginning on page 120).
controlling Sew-on elaStic
758 this may seem obvious, but as I 760 the function of elastic on the leg • Start sewing the elastic outside this area
have been quartering and sewing opening of a swimsuit or similar stretching it just slightly as you sew.
a lot of elastic I am prompted to note: If garment is to hold the garment to your If you leave a small lip of fabric on the
you tack down both ends of the elastic body while you move, hopefully without edge of the elastic the stitching will tend
before stitching, it won’t slip out of your cutting into your skin. In truth, the elastic to curl that fabric up over the edge cre-
hand when you get to the end. needs to be tight only in the lower crotch ating a very nice finished look when you
—Sewshable1 area, between your legs—tight elastic on turn it under and top stitch.
your butt or thigh cuts into the flesh mak- • For better elastic recovery, I set the zig-
759 Just a quick trick I use when
ing your suit look too small or you look zag width so that only the left edge of
applying elastic: I measure the
too big no matter what size you are. I’ve the elastic is pierced, on the right swing
elastic per the instructions and mark with
found a good way to get this right. Like of the stitch the needle pierces the fab-
washable marker leaving 1" (2.5 cm) tails
most techniques it requires a little prac- ric only.
on either end. the length is then 2" (5.1
tice but it really pays off. to attach the • When you approach your mark give the
cm) longer than needed. having the tails
elastic you can use a serger (good for elastic a good tug—I usually stretch it to
makes it so much easier to sew the ends
speed) or zigzag (good for control). the maximum so this area really cinches
securely at the casing edge. Simply line up
in. Keep it taut until you reach the other
the mark with the end of the casing, sew, • Use 3/8" (1 cm) polyester elastic: it’s
mark; then resume the light tension.
and then trim. the tail gives you just cheap, strong, and lasts.
• When you’ve sewn the elastic all the
enough to hang on to, making it easy to • Always exercise the elastic before apply-
way around, cut it so that ends butt (no
position everything under your needle. ing, stretching it out at least three or
overlap). Zigzag the ends together; this
—jbsew four times.
makes a flat join that won’t create a
• I mark on my suit about 2" (5.1 cm) on
lump on the outside.
either side of the bottom crotch seam,
• Turn the elastic under and topstitch
you will need to experiment to deter-
while stretching as necessary. I like to
mine how much to mark since we all
stitch from the wrong side so I can sew
have different dimensions.
exactly on the edge of the elastic.
—BrianSews
Shirring with elaStic thread
761 I use elastic thread all the time to the piece (or the edge along which you’ll • If the fabric didn’t shirr enough while
make shirred clothes such as shirr) before shirring because it’s diffi- you were sewing, you can use a steam
sundresses for my daughter. here are the cult to do when it is all bunched up. iron to shrink it into shape. It usually
basics: • Sew straight parallel rows. You can mark shirrs more when I put the outfit in the
guidelines if you want or just go slowly. dryer too.
• Hand wind the elastic thread onto the
I space the rows three stitches apart. Go —StacyCK
bobbin without pulling it. Use regular
slowly and pull the shirred fabric semi-
thread for your top thread. Deepika adds: Some patternreview.com
flat to sew subsequent rows. When you
• Set the stitch to the longest length; I members remarked that not every
are done sewing, tie the top and bobbin
usually set the tension around 3 to 4. machine will do this successfully; some
threads together at each end; you can’t
• Cut your fabric with at least a 2:1 ratio seem to apply the elastic so tightly it has
use an anchoring stitch with the elastic
for the size you need. hem the top of no recovery or stretch left.
thread.
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trickS for fold-over elaStic
762 Fold-over elastic makes a quick, 768 Before positioning the elastic on 770 It’s difficult to keep the curved-
neat binding. I find this way of the garment, fold it in half edge of the fabric far enough
applying it faster and neater than trying lengthwise, on its fold line, and sew it inside the elastic sandwich for both the
to fold it over the edge before sewing it closed at the end, stitching down the mid- zig and zag to catch it. to solve this prob-
on. try it: dle for about an inch using a medium-wide lem, I put a light swipe of the fabric glue
zigzag. Stop with the needle down and stick on the right and wrong side of the
• Quarter-mark your elastic on the wrong
raise the presser foot. the needle anchors fabric before I slipped it into the elastic,
side and your fabric on the right side.
the elastic while raising the foot, which inserted it, and then pressed for a few
• Place your elastic wrong side up under
creates room to slip the fabric in. seconds with my fingers.
the presser foot. place your fabric right
side up on the elastic, aligning the fabric 769 Sew the elastic to the garment;
edge with the fold line of the elastic and be careful not to stretch the fab-
matching a quarter mark. ric, but hold the elastic taut, stretching it
• Stitch using a small zigzag stitch; stretch just a very little bit. You’ll need to adjust
as needed to match the other quarter the fabric or elastic position frequently to
marks. keep the elastic where it belongs.
• Fold the elastic over the edge of the
fabric. Stitch from the right side using a
straight stitch.
—Liana
pixiecat says: Fold-over elastic gives a
beautiful finish and it comes in such a vari- Clear elastic is something to love
ety of colors. It’s a welcome change from
ribbing or self-fabric binding. however, as
a newbie sewer, I found it not-so-easy to
apply until I discovered these eight tricks:
771 deepika offers this overview • To attach to your garment, place the
of clear elastic: What is it? It’s elastic on the wrong side of the fabric
a “clear rubbery” sort of narrow elastic. on the seamline and sew it in place.
763 Once you’re done stitching, a
When to use it? For KNITS!!! When you this stitching will be permanent so use
light burst or two of steam from
the iron should snug up the elastic nicely. are making things out of knits with no a matching thread. For shoulders you
Lycra in them, you can be sure that bias can sew it while sewing the two edges
764 a regular presser foot kept slip- and curved edges like necklines, arm- together on your serger, in which case
ping off of the elastic but a roller holes, and shoulder seams will stretch you’ll have two layers of fabric and Ce
foot worked perfectly and stayed right out. So stabilize these areas with clear on top (or bottom). For necklines, after
where I wanted it. I used a stretch needle elastic (henceforth Ce). It is especially sewing the Ce to the stitching line,
and a fabric glue stick to hold the fabric in helpful in low V-necks and wrap tops; fold over the hem allowance and top-
place on the curves. helps “hug” the neckline close to the stitch with a zigzag or a stretch stitch.
body. here’s how to use it; this may • If you’d like to bind the neckline and
765 Slide the fabric edge into the
seem a long procedure but trust me, use Ce too, do this: place the fabric
folded elastic, right side up, so
the elastic sandwiches the fabric. I quickly when you get used to using this stuff right side up, place the binding right
learned to be sure the fabric is in far you’ll be putting it everywhere: side down on top, matching the edges.
enough that both the zig and the zag then place the Ce on top of the bind-
• First, before you begin, recognize
catch it. ing. Stitch together with your serger or
there’s one shortcoming to Ce: You
sewing machine. then fold the binding
can’t use steam with it. I ruined a top
766 It’s easier to apply the elastic to
doing that!
over the edge and topstitch.
an open curve—for example, • When using my serger to attach CE, I
leave one shoulder open for a neckline • VERY IMPORTANT! Before cutting the
like to position the Ce under the fab-
binding. Cut the elastic longer than you Ce, stretch it a few times to loosen it,
ric, next to the serger bed. I leave extra
need (or don’t cut it until you’re finished otherwise you’ll find that it’s too long
Ce extending at the beginning of the
sewing). when you sew it. Measure the seam-
seam so it doesn’t get trapped in the
line you want to stabilize (measure
feed dogs. Line up the fabric and elas-
767 Colored thread, even white from the paper pattern not the fabric).
tic close to the edge of the serger bed
thread on white elastic, high- Cut the elastic the same length as the
lighted any inconsistencies in my zigzag and serge. It works. try it a few times
measurement.
stitching. So now I always use lingerie just to practice.
• Using a Teflon foot on your sewing
thread, which is clear. • That’s it!
machine (I found mine on eBay cheap)
prevents the Ce from sticking to the
foot. always sew Ce to the wrong side
of your fabric.
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Successful waistbands
Fabric, ribbon, elastic—each has a role to play at the waist. Whether you choose sleek or stretch, visible or not, you’ll find
clever techniques for the top edge of your skirts and pants here.
good trickS for caSingS & drawStringS

Use a loop turner
772 I heard about this awhile back 775 Yesterday I made a pair of pants as a bodkin
and it’s become my favorite and I was in such a hurry I did not Threading elastic through a nar-
method to join elastic when using it in a pay attention while cutting the waistband. row casing is always a challenge.
casing. Instead of overlapping the elastic I sewed one edge of the band to the pants PatternReview.com members discovered
ends to join, butt the ends together, with waist and found the band was too narrow that a loop turner (a slender metal tool
a piece of ribbon or something non- for the elastic it was going to cover. I with a latch hook at one end) makes a
stretchy placed perpendicular behind the wanted to finish the pants and did not great guide:
joining area. Zigzag the elastic ends want to rip off the whole band and cut a
together, sewing through the ribbon. then wider one, so I made it wider by sewing a 777 kit kat explains the
trim the ribbon ends even with the top matching color satin bias tape that was in method: For years I would
and bottom edges of the elastic. You have my stash to the free edge. this gave me always use a safety pin at one end of
less bulk with this than with the overlap. just the extra I needed. the elastic to thread it through a long
—khurtdvm —els casing. then I came up with this
method: Slip a loop turner all the way
773 If you wish, you can distribute 776 My favorite “yard work” pants’
through the casing. attach the elastic
the fabric a bit along the elastic, elastic waistband had given out. I
to the turner when it exits the far end;
so there is more at the back and the front briefly thought about removing the elastic
make sure the latch is closed. then
is flatter. to secure the fullness and keep and reinserting a new piece in the folded
gently pull the elastic through the cas-
the elastic from rolling, I stitch in the ditch over waistband, but found it to be entirely
ing. Get the longest loop turner you
at the side seams and center front seam. too much trouble to unpick the tiny
can find.
—mamamaia stitches I had used. Instead I cut off the
entire band and added a strip of brightly 778 kkkkaty adds: I sew a
774 For a drawstring used in casual
colored calico in its place. I then folded lengthwise bar tack on the
clothing, instead of making a
the calico over new elastic and stitched elastic and slip the hook through this
long turned tube, cut the drawstring piece
down. I think I like the rejuvenated pants tack. I don’t like this tool for turning
along the selvage. then fold the selvage
better than the original. loops, but it’s great for this application.
over the opposite edge and stitch, folding
—Brine
in the raw ends. I did this when I made a
drawstring on some cotton pants and it Deepika adds: If your pants aren’t long
worked great. enough in the crotch to give you seam
—LoriB allowance at the waist for this, make the
elastic looser than before so the new
waistband sits just below your waist.
A drawstring that breathes with you

Two PatternReview.com members note that a little elastic makes a nicer
drawstring.
779 katharin’s discovery. I went 780 newlywedws figured it out.

window shopping last week- It’s easy to make an “adjust-
end. When I tried on an expensive pair able” elastic waist—make a drawstring
of drawstring pants, I noticed that it was with an elastic section that will breathe
unusually comfortable. I examined the with you after it’s tied. Make two but-
pants and finally understood that a part tonholes near the center front in the
of the drawstring, at the back, was casing before you fold it over. Make your
replaced with elastic. that results in a drawstring as usual, but in two sections.
softer waist than only string and can then sew an 8" (20.3 cm) length of elas-
easily be copied. tic in between the sections. thread the
drawstring through the casing, extend-
ing the ends through the buttonholes.
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eaSy Sew-on elaStic waiStbandS
781 this is my favorite way to make 782 I copied this from a light floaty 783 I was trying to replace the elastic
an elastic waistband, especially skirt I saw in a shop and think it’s in a nylon tricot half slip in the
for lightweight knit skirts. I use ½" (1.3 a great finish. I love the comfort of an usual manner, by quartering the elastic
cm)-wide lingerie elastic, which has pretty elastic waist but hate the bunchiness at and waist, matching the quarter marks,
scalloped edges and a brushed side that is the high hip that comes with a skirt large and stitching the elastic to the top edge.
soft (which goes next to my skin once this enough to pull on. With this technique, even though I stretched only the elastic
band is finished). you cut out a slim skirt as usual, insert the and not the tricot, the edge of the tricot
zip and sew up the side seams, but don’t kept curling. I found that if I marked the
• Cut the elastic to the correct length,
bother to sew the darts. then try on the waistline a bit lower down (in this case I
overlap the ends and sew to make a
skirt and pin a length of ½" (1.3 cm)-wide made a line about ¾" [1.9 cm] down from
circle. Mark the quarter points on both
elastic over the waistline seam allowance, the edge) and placed the elastic at the line
the elastic and the garment waistline.
adjusting the skirt fullness under the elas- I was able to avoid the problem caused by
• With the brushed side out and the scal-
tic to look good. take off the skirt; cut the the cut edge curling. I simply zigzagged
lop edge pointing above the waistline,
elastic to end just short of the zipper, and the stretched elastic and trimmed the
place the elastic on the seam allowance
stitch the elastic in place close to the excess fabric above after stitching.
on the right side of the garment. Match
waist seamline. trim the excess seam —Brine
the quarter points and pin.
allowance under the elastic; then fold the
• With the elastic facing up and stretching
elastic to the inside and sew with a 3-step 784 this is something I learned quite
it between the pins, sew together close a while ago and I routinely do it
zigzag stitch from the right side of the
to the waist seamline. on all the waistbands that have the elastic
garment, making sure that the ends of the
• Fold the elastic to the inside and iron sewn to the fabric (as opposed to
zipper are turned in and finished. Finish
into place. threaded through a casing). Most pattern
with a hook and eye. I think this is a really
• From the right side of the garment, guides state to quarter-mark the elastic
nice, light lingerie-style finish perfect for a
secure the elastic with one to three rows and the garment, then match them and
summer skirt.
of topstitching. sew the elastic, stretching as you go. I’ve
—Jennie Pakula
—Helen near Sydney found that basting vertically through the
elastic and the garment at the quarter
marks really helps keep the elastic from
shifting. I even baste again after I’ve
turned the elastic to the wrong side—this
just keeps everything lined up well.
—Lisa Laree
elaStic-into-caSing Made eaSy
785 If you want to fold down the 787 I was trying to run a relatively 788 threading elastic through a cas-
waistline edge to make a casing short piece of ¼" (6 mm) elastic ing is often frustrating. rather
for elastic, first stitch the edge of each through a narrow, very long casing at the than cutting the elastic to size before
intersecting seam allowance to the outer top of a gathered bodice. I threaded the inserting, I mark the beginning and end of
layer of the garment. then fold down the elastic through the eye of a yarn needle the length needed on a very long piece of
fabric and sew the casing. When you and tied the threaded end in a secure knot elastic. I find that with the extra length I
thread elastic through, it will go over the just under the eye so it wouldn’t slip out. don’t lose the end inside the casing. Once
seam allowances easily since there are no then, to keep from losing the elastic as I it is pulled all the way through I cut off the
loose edges for it to catch on. pulled it though the casing, I tied about a excess. (I make both marks on the same
—LiZ yard of sturdy yarn to the free end. I was side so I don’t inadvertently sew it
able to run the elastic through the casing together twisted later.)
786 I usually use a bodkin to insert
in a matter of minutes—with no worries —ryansmum
elastic in a waistband, but it
about having to fetch a lost end!
sometimes slips off the elastic. today as I
p.S. Since the ends of the elastic may get a
was getting ready to put the elastic in my
bit gnarly when you tie them to the needle
pants, I noticed an extra large pin in one
and yarn, cut it extra-long.
of my desk drawers. It’s the kind you
—Joan1954
would use on a wrap skirt. I decided to
give it a try—I simply pinned the elastic to
it and poked it through. It worked great!
this is what I will use from now on.
—BJ1400
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two Sleek waiStband techniqueS
789 Grosgrain ribbon makes a great 790 I was given a beautifully con-
waistline facing when you’re structed skirt that unfortunately
using a heavy fabric and don’t want the didn’t fit in the waist. When I started to
added bulk of a self-fabric facing or are waistline unpick the waistband I discovered a new
too short on fabric to cut facings. acrylic way to make a perfect narrow waistband.
grosgrain works better than polyester, but
• Cut your waistband 2½" (6.4 cm) wide (I
I’ve had good luck with polyester too.
bottom of interfaced with a very lightweight iron-
here’s what to do: facing on material).
• Use a wide grosgrain ribbon (1½" [38 • Sew one long edge of the band to the
mm]). Cut it slightly longer than the fashion fabric layer of your skirt with a
finished waist edge so you can turn 5
/8" (1.6 cm) wide seam allowance and
under the ends. Lay it on your ironing bottom of facing then sew the other edge of the band to
board and use the tip of your steam iron the skirt lining, using the same seam
to shape it into a curve. allowance.
• Lay the ribbon on the right side of the • Trim the seam allowance on the lining
waistline seam allowance, with the edge of the band, but on the fashion
smaller curved edge just above the fabric side, press the allowances onto
seamline and the longer curved edge the inside of the band to provide more
extending beyond the cut edge of the support.
allowance. topstitch in place along the • Fold the band in half and, from the right
edge nearest the seamline; then trim the side, sew the fashion fabric to the lining
seam allowance, fold the ribbon to the in the ditch of the band seam. You end
inside, and press the fold over a ham. up with a beautiful narrow waistband
• From the right side, stitch in the ditch of with the lining attached and no hand
vertical seams and darts so your facing sewing.
will never flop out or roll. —JenniferBee
—Katharine in BXL
Neat fold-over elasticized waist

If you sew the edge of the elastic to the edge of the casing before folding the casing over to the inside, you can make a nice, con-
cealed-elastic waistband without the hassle of threading elastic through the casing or having to worry about it twisting.
791 Meggie lulu explains: here’s 792 pixiecat adds: this technique casing to the outer layer, stop every
a nice way to make an elasti- creates even gathers through- few inches to push on the edge of the
cized fold-over waistband. Before start- out the waistband that won’t shift out of elastic to make sure it lies snug against
ing, cut your elastic 2" to 3" (5.1 to 7.6 cm) place. It’s comfortable too! I like to use it the top fold. and if you find the elastic
smaller than the waist measurement and for sew-through elastic, especially if I’m has relaxed from the stitching, try a few
sew the ends together. making pajamas. When you sew the bot- bursts of steam to shrink it back down.
tom (zigzagged) edge of the elasticized
• Mark the quarter points of the elastic
and waistband. place the elastic inside
the garment on the casing area, align-
ing the edges and matching the quarter fold here fold
points; pin at the quarter points.
• Use a zigzag stitch to sew the elastic
and casing together along the edge;
stretch the elastic to fit the casing edge.
• Fold the casing and elastic to the inside
of the garment so the loose edge of
the elastic is at the top of the folded
casing; pin through all layers at several
places.
• With a straight stitch, sew through all
layers along the bottom of the casing,
over the zigzag stitches; stretch the
elastic as before.
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adjuStable elaStic waiSt
793 Using buttonhole elastic in a

casing on a child’s garment is a
nice way to make the waist size adjust-
able. Before starting you need to cut a
piece of buttonhole elastic that goes
around the child’s waist. You also need
two small flat buttons. here’s what you
do:
• Make two buttonholes perpendicular to
the waistline in the casing on the front
or back of the garment, spacing each 3"
to 4" (7.6 to 10.2 cm) from a side seam.
(Make sure they will be on the inside
when the casing is folded down.) (use a safety pin as a guide), inserting it • Have the child try on the garment and
• Sew a button next to each buttonhole, through one buttonhole, passing around adjust the elastic to fit. If there is a lot
on the side closest to the center front the garment and bringing out at the of extra sticking out, slip the loose end
(or center back). other buttonhole. Secure the elastic by over the other button. Loosen the elastic
• Complete the casing and the garment. slipping a buttonhole at each end over as the child grows.
thread the elastic through the casing one of the buttons. —Meggie LuLu
Zipper chat attaching a lining

to an inviSible zip
Zippers are easy to love and easy to puzzle over too. Check out these clever tech-
niques for inserting them and troubleshooting common problems. 797 this is the procedure I use to get
everything looking neat when
making a sleeveless dress with an invisible
eaSy centered zipperS zipper and a lining. First sew any darts in
both dress and lining and sew the shoul-
794 a centered zipper application is 795 I think this is the easiest way to der seams of each. then sew the lining to
the easiest of all in my opinion, center a zipper on the seam: First the dress at the neck and armscyes; turn
closely followed by an invisible zipper. But baste the seam in which the zipper will be right side out and press:
sewing a ripple-free centered zipper on placed and press the seam allowances
• Install the invisible zipper in the dress
a side seam (on the hip curve) has always open. then open the zipper and align one
fabric only. Leave lining free and do not
been a challenge for me. With trial and side of the coil with the seam. Baste this
finish the bottom of the seam yet.
error I came up with this foolproof side of the zipper to the garment by
• With the zipper open, on one side, flip
method and so far it hasn't failed me. machine, stitching as close to the outer
the lining back over the neck edge of the
It's almost as invisible as an invisible edge of the zipper tape as possible; you
garment so that right sides are together
zipper application. don’t need to pin, just use your eyes to
and the zipper is covered with the lining.
• Sew the side seam, basting the zipper keep the coil on the seamline. Now close
• Sew the edge of the lining to the dress
area. turn the garment inside out and the zipper and from the right side of the
seam allowance and zipper tape using
press the seam allowances open over garment, topstitch it in place; first sew the
a zipper foot. Go the full length of the
a ham. side that has the basting and then sew the
zipper and then stop. Flip the lining back
• Adhere Steam A Seam to the right other side. remove all the basting. per-
over so that you now have a clean finish
side of the zipper tape (on both sides of fectly centered and so easy!
next to that side of the zipper. repeat on
the coil). —drsue
the other side.
• Center the closed zipper face down over
796 Once the zipper is pinned or • Now sew the remainder of the seam on
the side seam, making sure the coil is on
basted in, take ½" (1.3 cm)-wide the dress. then, starting about 3" (7.6
the seam, and press into place.
blue painter’s tape and center it over the cm) below the zipper, sew the remainder
• Turn the garment right side out and
seam (over the zipper coil) on right side of of the seam on the lining.
topstitch along both sides of the seam to
the fabric. then sew along the edge of the • Finish your dress as usual.
attach the zipper; use your zipper foot and
tape with a zipper foot. remove the tape —Nancywin
sew from the bottom of the zipper to the
and your topstitching will be ¼" (6 mm)
waist on both sides. Stop every inch or so Deepika adds: You can use this for a dress
from the center of the zipper.
to smooth any wrinkles if you need to with sleeves too, just don’t stitch the arm-
—Rosemaryschild
scye seams before installing the zipper.
—Deepika
sewing 123
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thiS & that about zipperS
798 It can be difficult to open and 800 Ideally, you want to have at least 801 I first saw the zipper concealed in
close a zipper in hairy fabric like a 1" (2.5 cm) seam allowance a pocket on a pair of Liz Clai-
fleece or faux fur. You can get around this when sewing a lapped zipper—anything borne pants about 20 years ago and
by inserting a piece of fabric tape between less makes it difficult to get a nice, wide thought it was really cool, but could not
the zipper and the hairy fabric. I like to lip on the overlapping edge because the find a pattern to describe how to do it.
use satin bias tape (pressed in half with seam allowance would not be caught in Just this past winter it hit me that the
the cut edges even), but you can use any the stitching. however, I usually don’t zipper is in the pocket—who cares if it
sort of fabric tape or a strip of lining fabric remember to do this when cutting out my looks really elegant or not? the next time
folded in half. this works for real fur too. patterns. In order to correct this, I create a I made pants with slant front pockets, I
—els “facing” for the overlapping edge: I cut a stitched a zipper-length rectangle about
2" (5.1 cm)-wide strip of fabric somewhat 3
/8" (1 cm) wide on the left pocket yoke
lighter weight than the fashion fabric and piece (that’s the piece that forms the side
about 1" (2.5 cm) longer than the zipper. I of the pocket closest to the body; the one
clean finish all but one long edge (I usually you see when you look at the pants). I
serge it, but you could stitch and pink for slashed to about 1" (2.5 cm) from the bot-
a flatter finish). I sew the unfinished edge tom of this rectangle, then cut into each
to the seam allowance with a ¼" (6 mm) corner (making a little triangle). I pressed
seam allowance. I then insert the zipper as the raw edges to the wrong side, zig-
usual (I use a piece of adhesive tape as a zagged them down, positioned the zipper
guide for the final topstitching). in the opening with double-sided basting
—Nancywin tape and topstitched it in place as shown
below. From that point on, the pocket is
made in the normal fashion. One end of
the waistband is at the top of the slanted
edge of the pocket, the other is at the
zipper, so plan your overlap accordingly.
—Lisa Laree
799 I have more control when I install

a zipper if I use my regular zigzag
foot instead of a zipper foot. It’s wider and
provides a more stable grip. the only rea-
son for using a zipper foot is the regular
foot can’t stitch past the zipper pull.
Slash to
SOLUTION: Get the zipper several inches insert
longer than you need and sew it in with zipper.
the pull well above the garment edge.
then unzip the zipper and do a satin stitch
where you want the new stop to be, and
cut off the excess. Other plusses to using
too long zippers: you always have the
right length available and the metal top
stop isn’t hidden to nick your needle when
you finish the neckline (and cause extra
bulk). I have put in more than a hundred
zippers with this method.
—Janie Viers
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topstitchinG
Invisible zipper know-how Guides for fly zipper
PatternReview.com members have clever and sometimes conflicting advice for
inserting those nearly invisible closures and sewing the seam below them. Try 805 Fly fronts are intimidating to me
these to see which is best for you. because of the topstitching. But
recently I discovered that the package of a
802 elizajo’s technique. I don’t 803 regine’s system. I am a great basic Coats & Clark zipper has a curved
have an invisible zipper foot. fan of invisible zips and use the flap on the back that can serve as a fly-
Instead, I use a pintuck foot that has plastic foot to insert them. There was front guide. Just position it in place (using
three grooves. I use the left groove and only one problem and that is often after double-sided tape if necessary) and stitch
my needle position knob to do all the inserting the zip there was a little fold next to the cardboard. This use isn’t men-
work: Basting is still important so I can where the seam and the zip come tioned anywhere on the package—to think
check the position of the zipper and hold together. This problem is easily solved if I’ve just been throwing those away and
it firmly in place; for this so I use larger one inserts the zip before sewing up the then struggling.
stitches and position the needle closer seam. If, for example, you are using the —PixieCat
to the edge of the zipper tape. Then I zip at the back of a skirt insert the zip
change the needle position to the far and then sew up the back seam; it works 806 I decided to make a fly-front zip-
per guide: I cut a piece of card-
left side and use a smaller stitch for final like a charm.
board to be 1¼" (3.2cm) wide and then
stitching. And thanks to Els, I now sew
804 linda l’s method. Here’s my rounded off one side on one end, the way
the seam below the zipper before insert-
preferred method for sewing a fly should be stitched, and then I lami-
ing it. This is contrary to many pattern
the seam after inserting an invisible nated it. I made it long enough for any
instructions, but I get much better
zipper; I have eliminated the little bump length fly; I can just raise it to shorten.
results—no bubbles below the zipper.
at the bottom of the zipper using this And if I need it left handed, I can just flip
technique: Change from zipper foot to it over. To secure it for tracing around, I
regular foot and sew the seam from the either use double-sided sticky tape or just
bottom of the garment up to the end of press it down, depending on the fabric.
the zipper stitching. It is easier to see —Teeavilnor
the stitching at the bottom of the zipper
this way and you can easily move the 807 If you like the contour of the fly
topstitching on a pair of ready-
remaining zipper tape out of your way as
to-wear pants or jeans, trace it and trans-
you approach it. I then stitch down the
fer it to cardboard for a template.
remaining zipper tape to the seam
—Deepika
allowances.
Piping, binding & tube chat

These techniques play different roles but are closely related. Here are shortcuts and smart advice that will help you fall in
love with all three.
Good to know for bindinGs
808 I was having trouble getting my 809 I use fusible thread to apply dou- • Fold the binding over the edge of the
self-fabric bindings the right ble fold binding. This is not a project, turning under the edge with the
length on some of my knit tees as all the couture technique by any means, but it’ll fusible thread. Press with an iron to melt
knits had different degrees of stretch. Now save you all those pin pokes! the thread and fuse the binding in place.
I have started cutting a strip that is longer No need for pins!
• With fusible thread in the bobbin and
than my neck opening rather than measur- • To permanently secure the binding to
the binding wrong side up and unfolded
ing. Then I simply pin it in place, stretching the inside of the project, topstitch on
in your machine, sew a basting line 1/8" (3
slightly as I go around the curves. If the the right side of the binding.
mm) from the fold on the cut edge that
binding needs to be seamed into a ring, I —Leslie in Austin
ultimately will be turned to the inside of
mark the seamlines and unpin enough to
the item to be bound. 810 If you make your own double-
be able to sew the ends together. Since I
• With the right sides together and using fold binding you can make the
started doing this I have not had a binding
regular thread in the bobbin, sew the “inside half” a bit wider so you can “stitch
roll to the outside from being too long or
other cut edge of the binding to the in the ditch” to secure it.
pucker from being too tight.
edge of your project (in other words, —Deepika
—mssewcrazy
sew on the binding as usual).
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SucceSS with tube turning gadgetS
811 If you have one of those tube 812 the Fasturn notion is great for Deepika adds: this cool 2-piece device
turners that is a long wire with a more than turning tiny spaghetti features a metal cylinder that slides inside
latch hook on one end and a loop “handle” straps or stuffing tubes of fabric for purse your wrong-side-out fabric tube and a
on the other, put the loop over the thread handles or other craft projects. the gad- long wire “turner” with a twisted point;
spindle of your sewing machine when you get once again earned its keep when I you insert the turner through the cylinder,
turn a tube. that way you can keep con- used it to turn the lined narrow shoulders twist the point into the end of your fabric
stant, even tension on the tube using both of a halter dress. Sure, I could have used a tube, and pull it back out, turning the tube
hands as you turn it (and it won’t unlatch chopstick or knitting needle, but the Fas- right side out as you pull it through the
half way, which I’ve had happen more than turn was, well, faster. Much faster. cylinder.
once!). the tubes turn in seconds. —lisaquilts
—Judy Williment
piping Made eaSy
813 If you are making piping or cord- 815 this is my own self-discovered 816 Use an unthreaded serger to cut
ing and hate that sometimes the tip. One of the hardest parts of an even flange when you make
basting you use on the piping shows in the making your own piping is trimming the your own piping. First make the piping
finished garment, I have a solution for seam allowance to an exact width. try with a flange a bit wider than you need.
you. plus you can do this without your this: If you own two rotary cutting mats, then decide how wide you want the
sewing machine! butt them up against each other. Now flange to be (the seam allowance width
spread them apart slightly and push your for whatever you are making), and run it
• Place the piping cover strip wrong side
piping in between them, so the cord is through the unthreaded serger to trim it
up on your ironing board. then place a
sitting in the groove between the mats. to that width. this discovery is going to
strip of fusible web along one long edge.
place a transparent-grid quilting ruler over make sewing piping SO much easier for
Lay the filler cord in the middle and fold
the top of the piping and cut to an exact me and I only wish this tip had been
the plain edge over to match to the one
width with a rotary cutter. posted YearS ago for me, as I have suf-
with the web.
—Sew4Fun fered immeasurably from making a mess
• Iron along the edge so that the fusible
of piped projects.
web secures the fabric around the filler.
—ryansmum
this way you never have to worry about
any basting stitches showing.
—Janie Viers
814 I have an obsession with flat Turn tubes quickly over ribbon
piping. Lately, I put it on every- It’s common practice to turn a narrow tube over a cord, but two PatternReview.
thing. Well, not everything, but anything com members prefer to use ribbon:
that suggests itself. I hate to make bias
strips. I don’t even like making a continu-
ous bias strip from a constructed tube of 817 Melissa S explains. I have • Stitch the fabric layers closed on the
tried many methods to turn open long edge, being careful not to
fabric. So I have been experimenting with narrow tubes of fabric. the one that has catch the ribbon.
knit fabric for piping. I usually cut a 2" (5.1 worked best for me with the least • Pull the loose end of the ribbon
cm)-wide strip of cotton/Lycra knit, fold it amount of fabric distortion/bruising is through the open end of the tube, thus
in half, right side out, and press. then I to use a ribbon basted to the short end turning the tube right side out.
attach this strip as I would any piping and of the tube. the job is made easier if the • Remove the basting threads that
the result is beautiful flat piping that ribbon is just a bit narrower than the secured the ribbon. the ribbon will
works even on the most curved edges. I tube; in other words, use a wider ribbon easily pull out.
have a lot of knit scraps so it has been for wider tubes:
‘free’ as well! this is just too easy.
—maryfrana • Cut a length of ribbon that is a few 818 gail1 adds. I didn’t have the
cotton cord that my pattern
inches longer than the tube you wish
instructions called for to sew and turn
to turn.
a teeny-tiny neck loop, but I did have
• Fold the fabric in half, right side
a length of ¼" (6 mm)-wide silk ribbon
together, so that the long edges meet;
leftover from some embroidery in the
tuck the ribbon inside the layers
drawer. It worked great—thin, strong,
against the fold and baste together at
and really slippery for pulling the loop
one end.
through on itself. I’ll be using it for loops
from now on.
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Knit fabric makes a great binding
Bound edges give a neat finish and they’re easy to do with knit fabric. Two PatternReview.com members share the how and why:
819 cabinbaby’s method I have • Place the facing right side up in your • If the edge is a closed loop, sew the
been using a narrow strip of machine and “stitch in the ditch” of the ends of the binding together. I like to
knit fabric to bind the edge of my fac- first seam to secure the loose edge of do this on my sewing machine—much
ings. this looks better than serging, adds the binding. less bulk because you can press the
no bulk, and is easy to do. here’s my pro- • Turn the piece over and trim any excess allowances open. But you could cer-
cess: binding fabric close to the stitching. all tainly use a serger and press the seam
done. allowances to one side.
• Assemble the facing if it has more than
Deepika elaborates: I used to be a fan of • Attach the binding as cabinbaby
one piece, so it’s ready to attach to the
the turn-under-and-topstitch finish until explained. I fold both the binding and
garment.
I started doing a bound edge. Now I am the edge to which it’s being attached
• Cut a strip of lightweight jersey at least
a total convert to the latter. I especially in quarters and mark the folds; then
1" (2.5 cm) wide and about ½" (1.3 cm)
like to bind necks and armholes, which match the quarter marks and pin. I usu-
shorter than the edge to be bound. Be
means the binding is visible on the out- ally just use a tiny straight stitch to sew
sure to cut on the cross grain, so the
side of the finished garment, so I choose on the binding, and when I press, I sup-
direction of stretch is on the length of
the same or a complementary knit for port the piece on a curved surface like
the strip.
the binding. a ham. I use an edgestitching foot as a
• Next, place the knit and facing right
guide when I “stitch in the ditch.”
sides together. Use a ¼" (6 mm) seam • As cabinbaby suggests, cut the binding
to attach the knit to the facing; stretch shorter than the edge to be bound, but
the knit a little so it fits the facing. don’t forget to include seam allow-
• Wrap the binding over the edge of the ances if the edge is a closed loop like an
facing; pin or press in place. armhole.
Successful hems
Deep, narrow, straight, curved, invisible, or totally decorative: Whichever hem effect is right for your garment,
PatternReview.com members have mastered the process and are glad to share their techniques.
conventional or Serger blindStitch trickS
820 here’s blind-hem technique for a • Place the garment under the foot 821 I discovered that when I guided
sewing machine that is the equiv- exactly as usual for a blind hem. Sew the fold of the fabric next to the
alent of a hand picked hem; it can be used the blind hem making sure that the zig- guide on the foot, per the instructions, I
on the finest of fabric and doesn’t show zag stitch catches both folds while the sometimes did not catch the fold. how-
on the right side. I’ve even tried it with a straight stitches fall off the edge and ever, when I ran the edge of the fold
contrast thread and even then most of the form a chain in the air, along the upper directly UNDER the guide the fold was
time it’s not visible. Install your blind hem edge of the hem. always caught and there were no
foot on your machine and select the blind —MareeAlison unstitched gaps. the difference is prob-
hem stitch, choosing width of 2, length ably 1/16" (1.6 mm) but the change worked
joann says: I have had a blind hemming beautifully.
of 1.5 to 2, needle position halfway to the
foot for my serger for years and finally
right (I can’t give you an exact position as
it depends on your machine).
tried it out today on seven knit shirts that 822 I also found having the right
needed shortening. If you’ve had trouble hand needle tension set one
• Turn up and press a narrow margin at getting perfect results doing this, you may number below the usual and the upper
the raw edge, then turn up the depth be interested in two things I learned: looper set one number over the usual pro-
of the hem and press. (For sheer fabric duced a nearly invisible stitch on the right
the first fold should be the same depth side and was very flat. I used 3 threads as I
as the hem.) then fold the entire hem don’t have 2-thread capability.
under, toward the right side of the gar-
ment, so the top fold of the hem just
peeks out beyond the folded edge of the
garment fold.
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handling the heM on a Sheer
823 I just made a dress with miles of 825 Starting a rolled hem is a chal- 826 While attempting a rolled hem in
chiffon flounces. In order to lenge on very sheer or slippery a sheer fabric, I kept having prob-
make hemming them easier (or even pos- fabric, as the fabric tends to shimmy away lems with the stitches perforating the
sible) I used a liquid fabric stabilizer. after from the needle after it goes under the fabric and the roll breaking away. I tried a
cutting out the flounces I spread them on cutter, resulting in the first ½" (1.3 cm) or variety of stitch lengths and density, but
a waterproof surface. then I used a foam so of the fabric not being wrapped by the the problem continued. So I laid the hem
paintbrush dipped in the stabilizer to thread. I was able to correct this by plac- along a length of fusible web tape as I
paint a margin about 1½" (3.8 cm) deep ing a 3" (7.6 cm) square post-it note at the serged, placing it adhesive side up and
along the edges. I let them dry (running a top of the fabric. this held the fabric in aligned so that about half the tape was
fan makes it go faster). It was SOOO place and kept it straight so it couldn’t get cut away and the other half lay under the
much easier to make rolled hems with my away form the machine: hem. the stitches grabbed the tape and
serger once the chiffon was stabilized. I the hem no longer pulled away from the
• Position the Post-it right at the starting
used my washer to wash out the stabilizer skirt. I then pressed the hem (low setting)
end of the hem with the sticky strip par-
afterwards, although if you had a small and the web fused the hem even more
allel to the edge to be serged and about
project you could rinse it out by hand. Of securely.
3
/8" to ½" (1 to 1.3 cm) to the left of it.
course, your fabric has to be washable to —CharityAK
• Lift the presser foot and place the fabric
do this.
—Mandolin82
underneath, right up against the cutter. 827 I use this technique whenever I
Lower the presser foot, and start serg- need a hem on a sheer garment:
824 When a sheer fabric is so fragile ing. place your left hand firmly over the Fold and press ¼" (6 mm) to the RIGHT
that a rolled hem tends to break post-it and give some gentle pressure to side of the garment. Yes, the right side!
away from the body, I reinforce the hem help the fabric start moving through the Now fold and press ¼" (6 mm) again to the
with a narrow strip of the same fabric, machine. I made 14 scarves, each with right side. Stitch this right down the mid-
feeding both layers through the serger all four edges serged, and this worked dle of the folded allowance. Now turn the
together. When I’m done, if any excess of every time! allowance to the wrong side along the
the strip peeks out, I simply trim it away. —jimsgurl stitching; it will make a tiny mock piping
—Deepika on the edge of the garment. press well. I
like to use my clapper to get a hard press
on the hem edge. this technique also
helps the garment stand out a very tiny bit
which I think is pretty on a sheer.
—solosmocker
lettuce edge, with or without a Serger

released, the tightly stitched edge cre- fold of fabric to achieve a good lettuce
828 I experimented with two ways to ated a ripple. edge. then stitch along the edge, stretch-
make a lettuce hem on knit fabric • Technique 2: I dropped the differential ing the fabric both in front of and behind
using my serger. here’s what I did and feed to the lowest level (mine goes to the presser foot. Some tips:
how it worked out: .05). this way I didn’t have to stretch the
I used a stretch needle in the right fabric, just guide it under the foot. the 830 You’ll probably need a second
pass of zigzags. For the second
position only, regular thread for the DF creates the ripple and, I believe, it’s
pass, I narrow my stitch width to about
needle and Woolly Nylon in both loop- a much nicer look that is more wavy and
two-thirds the width of the first pass.
ers. I changed the tension guides for the flowing than the other. this is a fun and
then stitch again, this time stretching the
loopers to D for decorative thread. For very easy way to finish an edge.
fabric only from behind the presser foot.
both techniques, the stitch finger needs —PixieCat
to be in the r position (it moves out of the 831 You may need to slightly angle
jackie M says: You don’t need a serger to
way so the thread rolls directly onto the the fabric a little to the right as it
make a lettuce edge on knits. all you need
fabric). passes under the presser foot to achieve
is a scrap of your fabric and a few minutes
the “fold over.”
• I used these settings: Cutting width: to practice.
normal; stitch length: 1 mm; RN tension; 832 this technique may need to be
normal; UL: 1 (if using Woolly Nylon, 829 I set my zigzag stitch to the
fine-tuned, depending on your
widest width and almost the
otherwise set at normal); LL: 6. fabric and machine; you may need to
shortest length. then position your fabric
• Technique 1: Without using differential stretch from both behind and in front of
so that the hem allowance is about 1.25
feed, I stretched the fabric in front of the presser foot on both passes, etc.
times the width of your zigzag. this extra
and behind the presser foot while serg-
is for the edge that will be forced to “fold
ing. When the tension on the fabric was
over” when you sew—you need this little
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narrow heM Savvy
833 My arthritis has been acting up 834 I came about this by accident 835 My past experience with serging
and I was getting so cramped up when I needed to finish the arm- an edge and then turning it under
as I was making a rolled hem on a blouse hole, neckline, and hem on a thin, uncoop- to hem has not always been very good.
cuff. the contortions I go through to keep erative knit. I tried a narrow rolled edge, Sometimes the hem stays in place well
the material tightly rolled as it feeds but it rippled and then stayed straight in enough to topstitch or even coverstitch,
through the foot! I had an “aha” moment some areas. I folded it under ½" (1.3 cm) but most times not. I decided to put fusible
and turned my machine on the table so and did another rolled edge on the fold, thread in the lower looper of the serger
that the end of the head was facing me. almost like a tuck. It drew up the fold and serge finish the neck, sleeve, and hem
OMG! No hand cramp and wrist disloca- enough to pull in the first rolled edge. of a top as instructed. I then turned under
tion! No leaning over to the left to get a Some areas did still curl, but since it was and pinned the hems, and fused each with
better view of the material coming the right side showing, it looked nice and the iron. this worked great and held the
through the foot. Dang, I just wish I had like I had planned it. It gave it a fun mock- fabric well enough to topstitch. If experi-
figured this out when I was making my layered look. I may try this again, perhaps enced enough in turning and pressing, you
daughter’s prom dress last spring. using contrasting thread. can probably eliminate the pinning part.
—svetlana —Oopsy-Daisy! —Linda L
Deepika adds: Don’t’ wait till your arthri- Deepika adds: If the fusible thread is
tis acts up to try this; it makes the fabric in the lower looper, be sure to serge the
feed through the rolled hem foot better edge with the fabric right side up.
anyway. Works well with both straight
stitch and zigzag rolled hems.
Unconventional feet
for narrow hems
While it seems there’s a presser
foot for every task, there are times when
a smart PatternReview.com member
does the machine manufacturers one foolproof taMe an unStable heM
better. Consider these inventive ideas: cover Stitch heM
836 loohoo44 prefers a blind- 839 I was making up a simple top

hem foot for baby hems.
838 here’s my “aha” solution for from some rayon in my stash.
making sure that my cover stitch When I was topstitching the hem at the
I use my blind-hem foot to facilitate hems catch the hem allowance when I sew bottom, I discovered that the machine
making a knife-edge baby hem. I know from the right side of the garment: With wanted to “eat” the fabric as I started
there are different styles of feet so I bobbin thread in an easily seen color from the edge. So folded a scrap of Solvy
don’t know if this will work for other (often the end of bobbins wound for some in quarters and placed it under the fabric
types, but it did a great job on my other project), I machine baste the top of edge. I allowed about half of it to stick out
Janome. It held the fabric very flat the hem from the wrong side of the gar- beyond the starting end of the hem. the
while I stitched close to the edge after ment. When I position the hem right side topstitching went very smoothly because
folding once, and it served as a perfect up in my serger, I center the colored bast- the machine no longer began the stitching
guide when I stitched again, after folding thread between the two needles. the by eating the fabric. after completing the
ing the second time. I was a chicken thread from the looper always lies across hems, I just trimmed off the excess and
when doing this project, so my hem is the hem edge when I sew and the basting wet the Solvy to dissolve it. I will defi-
wider than it could have been. the foot thread is easy to remove afterward. No nitely use this technique again!
held everything so perfectly I could additional fine-tuning (fixing missed sec- —nanflan
have sewed a lot closer to the edges. tions) is needed.
—Sew Sew Sandi
837 Summerlea finds the flat-
fell foot does a great rolled
hem. I have a ¼" (6 mm) flat felling
foot that’s great for making a rolled
hem. I roll the hem to ¼" (6 mm) wide
to match the groove in the foot and
sew the first few stitches. then I wrap
the fabric up around the foot and con-
tinue sewing as for a rolled hem with
the rolled hem foot.
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SucceSS with curved heMS
840 here’s an easy way to get a 841 I’ve never been satisfied with a 843 I like shirts with shaped hems,
smooth hemline on a circle skirt. rolled hem, as it doesn’t start or but it’s always so difficult to get
Start with a narrow hem allowance: end well, and it’s often uneven in width. those hems to lie flat along the curves. I
today I finished a shirt for my husband, stumbled on the idea of binding the edge
• Serge the raw edge of the hem allow-
and the single-fold hem from the pattern instead of folding it for a hem when mak-
ance. With a conventional machine
directions worked beautifully: overcast ing my last shirt. Cut self-fabric bias strips
and medium-length straight stitch,
the bottom edge of the shirt, fold a nar- just as you would for binding any edge.
sew around the skirt at a distance just
row hem to the inside and stitch close to When you sew them to the bottom edge,
slightly less than the hem depth.
the inner edge. I did the overcast on my be careful on the outside curves. they’re
• Turn up and press the hem; the stay-
regular sewing machine and pressed the harder to do than the inside curves and
stitching should be visible on the hem
narrow edge up before stitching. the are more likely to stretch. after the bind-
allowance.
beginning and end (faced and interfaced ing is finished, gently press again to elimi-
• Set up your machine with a twin needle
edges) and the shirttail curves were per- nate any wrinkles, especially on the
and thread both needles with matching
fect, and definitely looked professional. outside curves.
thread. position the garment right side
even after laundering, that hem is still —xenophea
up in the machine so that the needles
beautiful.
will stitch just below the serged edge
—Annie- oh 844 I am making several summer tops
or in the middle of it (feel the hem posi- from a pattern that has a shirttail
tion with your fingers)—the idea is for 842 any time you are hemming hem. I finally figured out that pressing the
the serging to support the zigzag of the something that is curved you curve up over a template gives a much
bobbin thread and prevent the fabric must realize that the turned up allowance smoother finish. You can make the tem-
from tunneling when you stitch. Begin must be eased to fit the smaller curve to plate from a file folder: trace the curve of
stitching at a seam and sew around skirt. which it will be attached. the fastest way the pattern onto it and cut out. place the
press the hem from right side. to do this is to put the hem allowance garment wrong side up on the ironing
• If you don’t want to use a twin needle, next to the feed dogs and the outside of board, position the template on the hem-
sew with the garment wrong side up, the item next to the foot. the feed dogs line, and then fold and press the fabric
stitching along the center of the serging. naturally want to pull the bottom layer a over it. There will be little folds/gathers on
—katlew03 tiny bit faster than the top layer. I have the curved part. Be certain to press well
gotten quite good at “feeling” the edge of and let dry. You will have a lovely smooth
the hem from the top of the fabric, and curve!
this method usually makes it cup under —ryansmum
naturally. PRESS BEFORE TOPSTITCHING:
sorry, just wanted to make sure you 845 a narrower hem is better for
curved edges, but even so, these
remembered that step, too!
hems are difficult to turn up and press as
—Janie Viers
they are wider at the outside fold than
where the stitching will go. try this: Mark
the fold line with chalk. Stay stitch just
below the line, in the hem allowance. turn
Differential feed eases curved hem allowance up and press the hem; the stay stitching
Hems with convex curves are always tricky because the perimeter of the should be visible on the hem allowance.
hem allowance is bigger than the area to which it must be sewn. Two the stay stitching will pull the hem in
PatternReview.com members use the differential feed on their sergers to ease it almost automatically making the rest of
prior to folding up. the allowance lie flat.
—Kirstenw
846 brine explains: here is my 847 redsquid adds: Using the

quick- and-dirty method of differential feed is quick when
prepping a shirttail hem: serge just you’ve already planned to clean-finish
below the hem line using a differential the edge by serging. and it looks neat as
feed setting of 0 until you get to a con- there is no bubbling—a little careful
vex curve, increase the differential feed pressing to prep and the hem is very flat!
to stitch the curved section, and then I set the differential at 1.2 to 2 (2 around
return it to zero. turn up the hem allow- stretchy bias curves) and either top-
ance and press; you’ll see that on the stitch or hand sew the hem, depending
convex curves the allowance has been on the garment and fabric.
drawn in to fit.
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accurate prep when heMS to the outSide
the heM depth iS Set
851 I decided to turn the neck edge, 852 turning a hem to the outside can
848 I hate measuring and pinning a hems, and casings to the right be a nice detail if your fabric
hem. It’s tedious, takes forever, side on a pair of fleece pJs; I wanted to looks the same on both sides, or if the
and doesn’t always result in a smooth line. show off the wrong side of my fabric but wrong side makes a nice contrast. the
try this method; it’s simple but effective. this also made the garments extremely problem is, how to keep an intersecting
For example, say you need to turn up a 2" comfortable since there are no edges on seam from showing on the outside? this is
(5.1 cm)-deep hem: the inside. to use my technique you must a technique I came up with to hide that
have fabric with an attractive wrong side seam, explained using a sleeve hem as an
• Place a strip of colored tape on your
and you must construct the garment with example:
sewing machine bed, parallel with the
flatlocked seams so there’s no projecting
needle plate and 2" (5.1 cm) from the • Before sewing the sleeve seam, press
seam allowance. Use matching or con-
needle. the hem up to the outside. Mark a spot
trasting thread as you wish; experiment to
• Thread your machine with a contrast on the seamline about ¼" to ½" (6 mm
see the effect:
color and baste all the way around your to 1.3 cm) below where the top of the
garment, keeping the raw edge of the • I used pearl crown rayon thread in the finished hem will be. With WRONG sides
fabric lined up with the tape. upper looper and finished the neck, hem, together, sew the seam from the bottom
• Finish the raw edge as usual (fold, zig- and casing edges with the wrong facing to this spot; then clip the seam right to
zag, or serge). It doesn’t matter if this side up. the stitching.
is a bit wonky because you’ve already • Then I folded the neck edge and the hem • Turn the sleeve inside out and align the
accurately marked the hem fold. and casing allowances to the right side seam edges above the clip—right sides
• Fold the hem up on the basting line and and stitched each down along the top of together as usual. Sew the remainder of
press it. You’re ready to sew the hem. the decorative serged edge. the seam from the clip to the end. press
—Helen near Sydney —drsue the allowances on both parts of the
seam open.
849 I needed to mark up a 2" (5.1 cm)
• You now have a seam that shows on the
deep hem. I measured a small
outside at the bottom, under the hem,
yellow sticky-type note and found it to be
and is on the inside for the rest of the
exactly 2" (5.1 cm), so I measured with it,
sleeve. Complete the hem as you wish.
folded up the hem, and pinned.
I wouldn’t use this technique on a fab-
—sewinghappy
ric that ravels, but on a stable fabric it
850 I’ve never gotten the hang of works great!
using tag board templates for —Irene Q
marking and pressing up hems. Instead,
what I do is mark twice the hem depth on
the wrong side of the garment with chalk.
I fold up the cut edge to the mark and
press. then I fold under the raw edge. I
don’t use a seam gauge to mark. What I’ve
found works best is a 6" (15.2 cm)-square
ruler (made, I think, for quilting). I place it
over the inside of the garment, matching
the raw edge with the grid line for twice
the hem depth, then use chalk to make a
continuous mark. Because you can see the
marks (you aren’t turning the fabric over
them), I find this technique easy and very
quick to do. and none of the marks will
show on the right side of the garment.
—Debbie Lancaster
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keep heMS on knitS flat
853 I have a coverstitch machine, but 854 as with a lot of good tips, I made 856 My sewing machine has a lot of
sometimes it’s just easier to use this discovery by accident. I problems making a decent, non-
my twin needle. to prevent tunneling on was trying to hem a knit fabric with wide wavy twin-needle hem. I finally resolved
knit tops, I serge or zigzag clear elastic ribs and I couldn’t get it to lie flat. So I this by using Wooly Nylon in the bobbin
(width of elastic = width of hem, if pos- aligned a length of blue painter’s tape (threading it through the tension area,
sible) to the wrong side of the hem, then over the area to the immediate right of not bypassing it). I place torn strips of
turn and topstitch with the twin needle on my stitching line and sewed the hem with newspaper under the fabric, next to the
the right side. the elastic provides the a straight stitch. perfect! the tape acts feed dogs; then sew with matching poly
extra “beef” needed to prevent tunneling, as a temporary stabilizer and provides a thread in the twin needle. I tear away the
plus it keeps the hem from getting too straight edge to guide your stitching. Of newspaper after sewing. If the fabric is
wavy or stretched out. the clear elastic course, you will want to test your fabric to fragile, it’s better to soak the hem before
doesn’t seem to add any visible bulk on make sure the tape won’t mar it. to avoid tearing away the wet newspaper.
most knits. I also do this on my gym problems, I recommend sewing right after —Katharine in BXL
clothes, but I’ll often use poly knit elastic applying the tape and then removing the
Deepika adds: tissue paper or a tear-
as it’s available in wider widths than clear tape before you press the garment.
away stabilizer might be easier to remove
elastic and is a better match for the thick, —nanflan
from the zigzag of the twin-needle bobbin
sturdy knits I use in my workout tops.
—Jackie M 855 the coverstitch hems on my than newspaper.
stretchy knit t-shirts have been
coming out really wavy. I decided to cut
strips of water-soluble stabilizer and place
under the fabric when sewing them. then
I throw the shirt in the washer and voilà!
Great even hems.
—Liane M
Garment bits & pieces

If you’re looking for details that add a special touch or techniques that make assembly faster or easier, browse the creative
odds and ends gathered here.
Seven cool detail how-toS
857 removable cowl. I’ve developed center back, and the remaining two 858 bias cuff bands. If you have a
a really easy way to make a spaced evenly on each side between the full sleeve that is supposed to be
detachable collar for a pullover top. I use shoulder seams and the center back. I finished at the wrist with an elastic in a
it for cowls and even to add a turtleneck don’t put any buttons in the front, since casing, consider gathering it onto a bias
to a crew-neck shirt. the collar connects the cowl will drape nicely and there’s no binding instead. I find this more comfort-
with tiny elastic loops to small buttons need to attach it there. For a turtleneck, able and better looking, though admit-
sewn inside the neck edge. I really enjoy sew three buttons evenly spaced along tedly not as tight. Cut the bias strip long
doubling my options like this—I get a lot the front neckline too. enough to form a ring through which you
of extra use out of my garment with just • Cut elastic to make a loop for each but- can slip your hand, and wide enough to
one little trick! ton. to determine the size, fit the loops make a short cuff—say ¾" (1.9 cm) fin-
to the buttons on the garment. Inside ished—I think anything very wide might
• You need five small, flat buttons for a
your collar, sew the elastic loops to the be risky as the bias might eventually dis-
cowl (eight for a turtleneck) and 1/8" (3
underside of the lower edge, along the tort. Sew the ends of the strip together to
mm) elastic (I prefer flat elastic, but oval
hem, attaching them so that the neck- make a ring. Gather the bottom of the
could work).
line of your garment slips under the sleeve; attach the ring to it as you would a
• First finish the neckline of the garment
lower edge of the collar, with the loop binding.
as usual and make the cowl or turtleneck
reaching under the garment edge to —Margaret
with finished edges as well.
the button. this gives you a smooth line
• For a cowl, sew five buttons to the
where the cowl joins the garment.
underside of the neck edge, placing one
—Noile
on each shoulder seam, one at the
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859 unsew as you grow. Often the 861 turned-up slit cuffs. I bought a 862 Modesty panel. I was tired
extra room in maternity clothes shirt that has a cool treatment when cutting out a t-shirt and
may seem too much at the beginning of for those turned-up cuffs that have a slit, grabbed the pattern for the lower-cut
a pregnancy. If you have a machine that usually found on three-quarter-length view, which I didn’t realize until trying it
sews a chain stitch, try this quick and easy sleeves. the cuffs are separate pieces on. Oops! Fortunately I had a scrap that
way to eliminate that feeling yet still have sewn to the sleeve with a French seam. made a pretty contrast to the fabric, and
the additional room: On the side seams this solves the problem I have of slits that cut a piece on the lengthwise grain, which
only, make two separate rows of chain split and ravel as soon as I start to wear I turned 90 degrees to fill in the lower
stitching at ½" (1.3 cm) intervals inside the shirt, no matter how carefully I do neckline/upper bust area. I topstitched it
the “real” seamline. When the time comes them. the shirt was done this way: to the finished edge of the neckline and
where you need the extra room, just pull voila! Modesty prevails! I may even make
• Shorten the sleeves to finish about 1"
out the chain stitching, and give the hem a this “mistake” again and use a contrasting
(2.5 cm) longer than the point where you
slight adjustment. fabric for a layered look without the actual
want the cuff to fold back (this includes
—newlywedws layers. a good save!
seam allowance for attaching the cuff)
—Oopsy-Daisy!
Deepika adds: taper the added seams and set them into the body.
into the original side seam below the arm- • Cut two cuffs with rounded ends like a 863 Sharp western yokes For most
scye so you don’t run into trouble with the regular shirt cuff: for each cut two layers western-style shirts the yoke is
fit of your sleeve or facing. of fabric (and maybe a light interfac- appliquéd to the shirt body and many
ing), planning them to be exactly the pattern instructions say to “press under
860 durable knees for little ones
length of the sleeve bottom or longer if the seam allowances” on the decorative
Knees seem to be one of the first
you want the ends to overlap; add seam edges. this can be kinda tricky, especially
things to wear through on a boy’s gar-
allowances, making the one at the edge if they’re fancy. Instead, I use this tech-
ment. to add durability as well as rugged
to be sewn to the sleeve 1" (2.5 cm) deep. nique, borrowed from appliqué quilters:
styling I like to add a layer to the knee of
• Sew the cuffs, leaving the sleeve edge
boys’ pants. this is great for little ones • Cut a lining for the yoke from something
open, and turn them right side out.
scooting their trucks around on the floor: very thin—organza, batiste, or light-
Press. Topstitch each ¼" (6 mm) inside
weight interfacing. trim 1/16" (1.6 mm)
• Cut a piece of the fashion fabric so that the finished edge.
from the fancy (lower) edge of each lin-
the length equals the width of the pant • Put the cuff on the inside of the sleeve,
ing piece.
leg. I’ve found that 6" (15.2 cm) works well with the cut edges aligned and the slit
• Sew the front and back yokes together
for the width (top-to-bottom dimension) or overlap placed where you want it.
at shoulder seams; sew the yoke linings
of this piece, but you’ll need to experi- typically, the slit is about one-quarter
together at shoulder seams too. Sew the
ment with wider or narrower to match of the sleeve circumference to the back
shirt fronts to the shirt back. press all
the proportion to your garment size. of the sleeve seam. Make sure the cuffs
the seam allowances open.
• Press under the top and bottom edges overlap in opposite directions on the
• Place the yoke and the lining right sides
of the piece and then center it at knee two sleeves. Sew with ¼" (6 mm) seam
together, with the fancy edges even.
height across the pant leg. trim the side allowance. Fold the cuff to the right side
Sew along each fancy edge; leave the
edges even with the leg edges. topstitch of the sleeve and press; then sew again
armhole and neckline edges unsewn.
the piece in place. then construct the with 5/8" (1.6 cm) seam allowance. Fold
• Trim the seam allowance at the points
pants as usual. the seam allowance inside the sleeve
and turn the piece right side out.
• Optional: You could place a piece of side and press. Topstitch ¼" (6 mm) from
press; the tiny bit of trimming done
batting under the knee band if you wish the seam.
on the lining pieces should keep them
to make a padded knee. You could also —Debbie Lancaster
from showing.
quilt in various design lines onto the
• Now simply lay the assembled yoke on
band if desired.
top of the shirt, aligning the shoulder
—CharityAK
seams and the neck and armhole edges.
pin the yoke in place and topstitch.
—Diana M
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perfect your underlining techniqueS
864 I underlined a white silk 865 here’s a way to line, underline, • Place the underlining and fashion fabric
charmeuse dress to eliminate and finish the edge of the seam right sides together. at each vertical
seam allowance show-through and reduce allowance all at the same time. this is an edge, align and pin the layers together
wrinkling. here’s how I made sure the easy and elegant way to finish any vertical (the underlining will not lie flat as it is
underlining would not become larger than seam in a garment. It eliminates the need bigger than the fashion fabric). Sew the
the charmeuse due to the turn of the cloth for a lining, prevents seam allowance layers together at each vertical with a ¼"
at the seams: show-through on sheer fabrics, and gives (6 mm) seam allowance.
a couture look to the inside of your gar- • Turn the panels right sides out. Press the
• I cut the charmeuse and underlining
ment. plus it’s not much more work than edges so the underlining wraps around
from same pattern pieces.
simply underlining (less, if you are plan- the edge of the fashion fabric and lies
• I laid the underlining on the wrong side
ning to hand baste the layers together). It flat, like a binding; this looks a bit like a
of each corresponding charmeuse piece
works on any vertical seam, as long as the Hong Kong Finish.
and pinned them together down the
seam is straight or only slightly contoured. • Now you treat the two layers as one and
center, along the straight grain.
complete your garment as usual. You
• Then, to adjust for the amount of space • When cutting your underlining, add 5/8"
can baste the upper edges together if
taken up by fabric’s thickness when (1.6 cm) to the allowances on the vertical
necessary.
folded, I folded the piece in half over seams; for instance, if you are using 5/8"
—julieb
the pins. this forced the underlining to (1.6 cm) seam allowances cut them 1¼"
extend past the charmeuse at the edges. (3.2 cm) wide.
• With the piece still folded, I hand basted
the charmeuse to the underlining all
around the perimeter.
• I trimmed the excess underlining after
sewing the first step of my French seams
(wrong sides together).
—monahan
Right sides together Wrong sides together
replace facingS with biaS StripS
866 Instead of cutting and sewing • Trim the seam allowance to be very nar- 867 Lately I have become frustrated
facings for neck and armhole row. turn the garment inside out. Fold with making facings on cloth-
edges, use a bias strip of your fashion fab- the bias to the inside on the seamline ing—especially the facing at a skirt waist,
ric, sewing it on and then turning it and press it, stretching the loose edge as which often won’t stay in place unless
entirely to the inside of the garment along you go. sewn down and can be bulky. So I decided
the seam. Because it’s bias, the inside • With the right side of the garment fac- to replace the facing with purchased
edge will stretch to lie flat as it follows the ing up in your machine, edgestitch or single-fold bias tape. I unfolded one edge
curve. here’s what to do: topstitch through all layers close to of the bias tape, placed it wrong side up
the seamed edge. then stitch again at on the right side of the skirt, and stitched
• Trim the seam allowance on the garment
a distance that looks nice and secures it on along the fold line. Once the stitch-
edge to be 3/8" (1 cm) wide.
the loose edge of the bias too. (Or use ing was completed, I turned the bias tape
• Cut the bias strip 1¼" (3.2 cm) wide and
a twin needle or a decorative stitch to to the inside of the skirt, and stitched the
2" (5.1 cm) longer than the edge to be
secure the facing in one pass.) opposite side down. this made the waist
faced. press under 3/8" (1 cm) along one
• I often apply this kind of facing to an so much more comfortable.
long edge.
armhole before sewing the garment side —newlywedws
• With the right sides together, sew the
seam. then I sew the side seam from
opposite edge of the bias strip to the
hem to armhole, stitching through the
garment edge, stretching slightly on
facing.
inside curves. (If you need to join the
—katlew03
strip ends, stop and do so, then finish
sewing it on.)
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eaSing and Setting in SleeveS
868 here’s a way to ease a sleeve cap 869 I use Seams Great (lightweight 870 this is a tip that I received from
in one step: holding your index nylon seam tape) for easing in Shannon Gifford in her “Stitch
finger against the back of the presser foot, the fullness in fitted sleeve caps. I place and Flip Jacket” class on patternreview.
sew ½" (1.3 cm) from the cut edge using a the sleeve cap wrong side up in my com. I was having difficulty easing my
basting stitch. Sew for 2" to 3" (5.1 to 7.6 machine, lay the Seams Great over the sleeve cap evenly—little tucks were
cm), lift your finger to release the stitched seam allowance, and sew about ½" (1.3 cm) forming along seamline and I was getting
fabric, and repeat. If the cap is too tight from the cut edge, pulling the Seams frustrated. here’s what Shannon sug-
when you’re done, clip the thread in a Great taut as I go. this causes a slight gested: “Use three rows of basting. Stitch
couple of places so it releases. If it’s still gathering that is usually just enough to one row on the stitching line, the second
too loose, lift the bobbin thread with a pin work nicely into the armhole. I love this row 1/8" (3 mm) to one side of the first line,
and then pull it to tighten. stuff and have been using it for years this and the third row 1/8" (3 mm) to the other
—Jennifer shaw way !! side of the first line. Draw up the basting
—anetjay until the cap fits into the armscye. then
take the sleeve to the ironing board, and
press the area that has been eased. Use
lots of steam, and let the sleeve cap cool
Nine tips for sewing a bias garment before stitching it into the armscye. after
you stitch it into the armscye, remove the
LauraLo says, “I like bias-cut garments very much. I find them flattering for the
basting. there may still be some small
figure and feminine. My first bias skirt, tried years ago, was a total wadder that
dimples, but the sleeve head will fill those
left me so depressed I’ve only recently tried again.” Here are handling tips she
out and make them disappear.” this pro-
developed that help to tame the unstable pieces:
cedure caused the seam line to curve
appropriately and the sewing went much
873 especially when working with 878 Sew side seams using a stretch smoother—not perfect—but MUCh bet-
thin slippery fabrics, I use stitch (a narrow zigzag, 0.5 mm ter!
homemade starch to make the fabric as width and about 2.5 mm length) and —CSM--Carla
stiff as possible. It’s very easy to work gently stretch the seam while sewing.
with it afterwards. Caution however, Deepika adds: Be sure to read Shannon’s
from my experience, starched fabrics 879 Mark the stitching lines, either master class on page 152 of this book. and
with vanishing pencil, chalk or here’s the URL for the class Carla took:
tend to dry off grain and you have to
by thread-tracing. If you use your http://sewing.patternreview.com/cgi-bin/
straighten them when pressing, before
presser foot as a guide and stretch while sewingclasses/class.pl?id=40
cutting.
sewing, the seam allowances will appear
874 Staystitch waistlines, necklines, narrower; then when finished and the 871 to increase the strength of an
and armholes immediately seam allowances relax, you will discover armhole seam, many pattern
after cutting. they are much wider (1" [2.5 cm] for instruction sheets tell you to sew again
instance instead of the 5/8" [1.5 cm] you along the bottom of the armhole after
875 Stabilize zip openings (I use
thought). as a result, the garment will you’ve set in a sleeve. Instead of trying to
premade fusible tape or strips go back and sew again, try this: I start
be narrower (especially after hanging)
of fusible knit). a good idea is to center sewing on one side between the shoulder
and cling too much to your body.
the strips on the seamline and thus your and the side seam, follow this all around
zip won’t “poke” (as happens on my bias 880 experiment with wider allow- and continue around to end up on the
rtW skirts). ances. the excess often other side between the shoulder and side
stretches when the garment hangs, seam. this means you go all around the
876 Stitch the darts (in thin fabrics)
reducing the amount to the standard armhole and the under arm area is sewn
using the one-thread tech-
that you’re used to. twice.
nique, which makes the point perfect
—Mary Stiefer
(see els’ tip on page 117 for how to do 881 always hang the garment over-
this). night. I usually hang it for 72
hours. You will find out that it gets lon- 872 a professional seamstress gave
me this tip a long time ago:
877 Normally the bias doesn’t fray,
ger and narrower and your initial hem- always make sure you are using your flat
so you could leave the seams
line gets distorted: the skirt is longer in bed extension when setting in a sleeve in
unfinished. however, satin does fray
some places and shorter in others. after the traditional way. this helps to eliminate
quite a lot. I prefer to leave the seams
hanging, I correct the hemline, decide drag on the sleeve or garment. Of course,
unfinished and press them apart. When
the length, and sew a narrow hem or I this is logical, but it is good to remember
sewing satin, I serge the allowances
use my serger to do a rolled hem. when we get going with a sewing project.
together (the finishing needs to be elas-
tic, to have some give, just like the Deepika adds: Some people baste verti- —mamacita
stitching). cal seams (lightly, by hand or with pins)
and hang the garment overnight, test and
adjust the fit, and then sew permanently.
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eaSier patch pocketS
882 If you have ever tried to cut out • Sew completely around the shape on 883 I always struggle to get patch
and sew a tiny item like a patch the marked line with a very small stitch, pockets correctly positioned.
pocket or an appliqué you know that pre- leaving NO opening for turning. and I’m lazy, so hand basting is not high
serving the shape and not messing up the • Trim the fabric outside the stitched out- on my list. Instead I use fusible thread to
stitching line is nerve racking! here’s what line. Make a tiny slit in the backing, turn help: First I press under the raw edges of
I do—the result is no raw edges to turn, no right side out, and finger-press or steam the pocket. With the fusible thread in the
little seam allowances to cut, no tiny cor- and, voilà, instant appliqué or pocket. bobbin and the pocket right side up, I
ners to turn: • If you use iron-on interfacing for a backstitch around the edge using a long stitch.
ing, be sure to put the glue side against Neatness doesn’t count so this is perfect
• Draw the shape outline (without seam
the feed dogs. Once slit and turned, for me! then I position the pocket on the
allowance) onto the wrong side of
carefully finger-press and then press garment and fuse it in place. Once the
the fabric but do not cut out! place a
with an iron: the glue from the interfac- pocket is adhered, I pull out the basting
backing fabric underneath, so the layers
ing will adhere to the top fabric. thread on the right side and permanently
are right sides together, and pin.
—Janie Viers sew the pocket in place.
—ValerieJ
Deepika adds: Use this for any patch
pocket, appliqué, or similar embellishment.
884 this is a way to avoid interfacing

the top portion of a patch pocket
(front bands on shirts are sometimes
tailoring hintS
made this way too). pocket patterns typi-
cally have a portion on the top that is
886 to minimize bulk at the neck of 887 When making a tailored jacket, I folded over to form a facing and this sec-
tailored jacket, press the allow- prefer to make shaped sleeve tion is also interfaced. Try this instead: On
ances open on the neckline seams—the heads instead of using a straight strip the pocket pattern, double the facing
seams that join the upper collar to the of soft fabric. I find a shaped piece gives depth. Once you’ve cut out the pocket,
facings and the under collar to the jacket more satisfactory results and supports the fold the facing section in half to the wrong
body. then, once the collar and jacket sleeve cap better. I use either armo Fleece side to form the interfacing. then con-
body are turned right side out, align the or htC Fleece. Using the sleeve pattern, struct the pocket as usual, folding the top
neck seams on the facings and body (the I cut a shaped piece that follows the con- section to the outside and stitching on the
collar allowances will be inside the collar), tour of the sleeve cap and is approximately seamlines, then turning this back to the
lift the facings, and sew the facing and 2" (5.1 cm) deep. after setting in the sleeve, inside.
body neck allowances together—by hand I hand sew the sleeve head to the seam —Irene Q
or by machine with a zipper foot. Isn’t it allowance along the stitching line.
beautiful? Light and without bulk. —Sew4Fun 885 a quilting friend taught me this
—LauraLo cool method for invisibly adding
a hanging sleeve after the quilt is finished.
You can add patch pockets with a varia-
tion of this method as well: First cut the
sleeve the length and width you want it to
be plus seam allowances; press under the
seam allowances. Lay wrong sides
together along the top edge of the quilt.
Stitch the top edge very close to the top
of quilt. Here’s the neat trick: Lay the quilt
right side up, with the sleeve at the left
edge. Fold back the quilt just to the left of
the loose edge of the sleeve. Now attach
the quilt to the sleeve using the blind hem
foot, just nipping into the backing with
the point of the zigzag stitch. this seam
doesn’t show on the front and is secure
enough to hold it securely.
—Patti B
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tailored Sleeve placket cut the bulk
froM pantS
888 a one-piece sleeve placket is • Then press the back section of the
easy to make this way. (If you placket toward the front and fold it on 889 We all have those little hills and
don’t have a pattern piece like the one the dot-dash lines; secure it with a line valleys in the hip and thigh area.
shown, you can easily draft one.) Not only of straight stitches, this should cover the here’s a tip to smooth out the side seam
is this the best looking placket I ever have “hole.” silhouette on pants. press the side seam
seen, it’s also very strong and very easy • Press the seam allowances on the front allowances open. Cut a 1" (2.5 cm) strip of
once you know how to make it. section (the point) to the wrong side, interfacing that’s as long as the area from
folding it on the dot-dash lines as you waist to knee. Fuse this strip to the open
• Transfer the pattern lines to fusible side allowance. press on the outside for a
do this. It should now lie over the back
interfacing, make sure to reverse the smooth, sleek look.
placket. Move the back placket out of
pattern for the second piece. Fuse it to —BJ1400
the way and secure the front one by
the fabric and cut it out. position the
stitching as indicated by the dotted
piece on the sleeve so that right side of
lines.
890 Disclaimer at the start: I only do
the placket is against the wrong side of this for children’s clothes. My
—Karin Mantefors sewing perfectionism won’t let me do this
the sleeve.
• Sew along the outline of vent opening for my own pants, since it’s not very rtW.
(the shaded column in the diagram) But I can deal with it on kids’ clothes
and cut it open with a V in the top, turn (especially if they’re for MY kids): I press
through the opening, and press the the center front and center back seam
edge. allowances to one side, and press both in
the same direction. that is, if I press one
to the left, then I press the other to the
left. then when I line up the crotch seams
to sew the inseam, the allowances lie in
opposite directions. this makes for less
bulk, which makes it easier to sew over
fold on dot-dash lines. the join without having a machine hesi-
tate and make non-uniform stitches (one
of my pet peeves).
—khurtdvm
topstitch on dash line
front of arm
back of arm
slash
s.a.
sewing 137
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good facingS
891 the facing can make or break a 893 how to finish the edge of a fac-
neckline, depending on how well ing nicely has been bothering me
it is done. here are some steps I follow to for a while. I really like my garments to be
get a nice, flat facing. as nice inside as out. My mother, who
taught me to sew, simply folds the edge
• Use a serger to clean finish the outside
over once and hems, and that gave me this
edge. this gives a much flatter finish
idea: I stay-stitch fairly close to the edge of
than turning under and stitching.
the facing. then I fold over the edge once
• After sewing on the facing, trim the
along the stay stitching, press, and then do
seam allowances, holding the scissors
a simple decorative stitch along the edge.
at a bit of an angle in order to “grade”
the folded edge is neat and very flat, and
them. this means that one allowance
the density of the stitch pattern stops the
will be slightly narrower than the other.
fabric fraying. and the effect is so pretty!
• Clip all the curves close up to the stitch-
—Annelune
ing, cutting at an angle to the fabric
grain. Don’t be afraid to have too many
clips; they will give you a smoother seam.
pocketS on pantS
• Press the seam allowance toward the
facing over a ham.
• Use a blind hem foot to understitch the 894 this is a side-seam pocket tech- • Now sew the back pocket bag to the
allowance to the facing. nique that I saw in several pat- front one along the curved, inner edge
• When you turn the facing to the inside, terns. It looks very ready-to-wear when and press the pocket toward the pants
press over the ham again, rolling the finished and could be used for any pants front. If you’ve done it right, you can
seam line slightly to the inside with your pattern that has side-seam pockets or no stitch the pants front to pants back at
fingers. pockets. Basically, the front pocket piece the outseam along the regular seamline
• I often use something like Steam A Seam becomes a facing, with the seam offset and just miss the faced opening. Since
to tack down the facing in the front and from the side seamline just enough for you the top and bottom horizontal edges
back—test first to make sure it will not to later sew the side seam from the waist of the opening are faced, there is no
show or pull. to hem without catching the faced edge: chance of fraying (see below).
—Nancywin —Lisa Laree
• Interface the opening edge of the front
pocket bag (the piece to be sewn to the 895 to help prevent the bias edge of
892 here’s a great way to finish the
pants front). a slant pocket from stretching,
edge of a facing and add the
interfacing at the same time. It works for • Place this piece right sides together with cut the pocket facing piece so that the
both sew-in and fusible interfacings: the pants front, and sew a box-shaped grainline is running parallel to the slanted
seam as shown below; stitch the vertical edge. Note that this won’t work for pock-
• First, seam together any facing pieces portion just slightly to the garment side ets with curved opening edges—the open-
that will be sewn to each other (for of the seamline. Clip to the corners, trim ing must be fairly straight!
instance, the shoulder seams of a neck the allowance, and turn the pocket/fac- —Lisa Laree
facing) and do the same with the inter- ing to the wrong side and edge-stitch.
facing. trim and press the facing, and
finger press the interfacing.
• Place the facing and interfacing right
sides together. Stitch along the edge
that usually would be clean finished
using ¼" (6 mm) seam allowance. Any
where the facing would be turned under
a full seam allowance, stitch using an
allowance a tad less than usual. Do not
stitch the bottom edge of a shirt center
front facing—leave it free just as you
would normally. trim and clip.
• Turn the facing and interfacing wrong
sides together. If the interfacing is fus-
ible, fuse it in place. If not, press and
baste along the open edge. then attach
the facing as usual. this produces a
beautifully finished facing, no serging,
turning under, or zigzagging needed.
—Debbie Lancaster
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nice neckbandS eaSy bra padding
896 after the neckband has been 897 here’s an easy sequence for
898 Fiberfill can be used in any soft-
applied to a knit shirt, do one putting a neckband on a knit cup bra pattern to add some
more step using a twin needle and Woolly pullover: put your shirt together at one body and modesty. Use iron-on fiberfill,
Nylon thread in the bobbin: topstitch the shoulder (or if it has raglan sleeves, at and cut the pieces using the cup pattern.
neckband/shirt seam, keeping the seam three seams). While it is flat, attach the press on and use as the inner lining for the
centered between the needles. this is neckband and finish the seam. then serge cup pieces. It’s great stuff.
basically a faux coverstitch. It gives a very the remaining shoulder seam, continuing —Dale C
rtW look on the neckline and has the across the neckband ends. You can do
bonus of holding the band flatter too! cuffs the same way.
—Lisa Laree —salruss
Sew for your home too Make pillowS like a pro
You can dress your home exactly the

899 recently, I made some large 900 If you are struggling to get a
way you like if you sew your own soft bolster pillow forms for my pillow form into its cover, just
furnishings. Here a few tips specific to couch. If you use batting as a backing for wrap it in plastic first: recycle one of the
your pillow forms it will keep them look- many plastic bags we seem to accumulate,
pillows and drapes.
ing smooth, not lumpy. Just cut the bat- cutting it open so you have a long strip.
ting the same size as each piece of pillow Wrap this around the form with the loose
form fabric; then baste together. Sew and ends in hand. then slip the form into the
stuff the form. You can fill it with polyfill, cover. to remove the plastic, take hold of
batting bits, or shredded foam; whichever one of the loose ends and pull out the
you use, the finished form will be smooth. plastic. You may have to reach into the
—Dale C cover and slide the free end down toward
the bottom of the form to get it started.
—PattiAnnSG
layer drapery
Five tips for perfect pillows panelS with eaSe
Anncie says, “I do lots of custom interiors and everyone wants pillows and more
pillows. Here’s what I do for a great-looking pillow:” 906 I was making ten panels of
drapes lined with cotton sateen
lining, working on the floor because they
901 When you sew your pillow 903 If using a pillow form, trifold were large, and having trouble getting the
square make sure you reinforce your fabric and make a cover or lining smoothly positioned on each panel
your corners; I restitch the corners when add a zipper opening. Make your pillow prior to sewing. then I remembered read-
I’m done. measurement about ¼" (6 mm) smaller ing the trick to put a plastic bag around a
on all sides. Now the form will fit tightly pillow form before inserting it into a pil-
902 Don’t pivot at the corners. Sew
and your pillow will look smooth even low casing. the eureka moment: plastic
all the way off the fabric, cut
when “abused”. makes fabric scoot! So I laid a sheet of
your threads, and sew the next side.
thin plastic painter’s tarp on top of the
When done, clip your corners just above 904 For those of you who like to use
drapery fabric and trimmed it slightly
the meeting threads and trim a bit off stuffing, separate the fill first,
each side at the corner so it looks like a stuff the corners and then stuff the mid- smaller than the panel. When I placed the
point. press all seams open before turn- dle. I use a wooden spoon from the lining on top, a minimal amount of push-
ing! this eliminates creased sides and kitchen. the spoon keeps your hands out ing got the alignment correct because the
ensures the tips of the pillow are nice of the hole and keeps you from stretch- plastic kept the lining from sticking to the
and pointy. ing the opening drapery fabric. then I pinned the lining to
the drapery fabric and gently pulled out
905 Close the opening using a the plastic. a headache solved.
fusible web tape. this finish —utz
looks seamless and nobody can tell
where you closed it.
sewing 139
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Chapter eight
Finishing
“ I absolutely love love sewing!

It’s more than a hobby, it’s more than a
passion, it is a genuine addiction that keeps
me some evenings for hours in front of
the sewing machine, bringing my husband
”
to despair.
—LauraLo
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Topstitching chat
Topstitching gives a crisp decorative finish to seams and edges. It seems such a no-brainer, but these tips for how to keep
the fabric from jamming, turning corners, and using the right thread make it truly trouble-free.
keep the fabric feeding SMoothly under the foot
907 to keep a collar point or similar • When you are ready to pivot at the cor- 909 I have been machine-quilting a
element from getting hung up ner, grab both sets of thread tails (the heavily padded fabric sandwich,
when you pivot while topstitching, try this needle end and the free end) and tug and had problems with little tucks forming
technique: them gently to put some tension on the on the bottom layer—the layer closest to
point; this will keep it moving through the feed dogs. Since I quilted the sand-
• Keep a hand-sewing needle threaded
the machine. wich with the top layer down (with nice
with a doubled thread about 6" (15.2 cm)
• Once the presser foot is well past the thread in the bobbin), I could not ignore
long by the sewing machine (don’t knot
corner, the needle and thread can just the tucks. rip, rip, and then hand quilt
the thread).
be pulled out and stuck back in the pin- past the problem spot! When hand quilt-
• As you approach the corner when stitch-
cushion until you’ve another corner to ing, I draped the sandwich over my hand
ing, run the hand needle through the
topstitch. (with the top side up), and this helped
very tip of the corner, pull the thread
—Lisa Laree ease the layers evenly. this gave me an
about halfway through, and just leave it
idea: if I could machine stitch with the
there. 908 When I topstitch corners with a
sandwich draped similarly, the tucks might
twin needle, I stitch close up to
be prevented. to accomplish this, I lift the
the corner and then cut the threads leav-
front of the sandwich as high as I can to
ing long tails. then pulling a few inches of
get a rounded shape as the fabric enters
thread to leave thread tails at the start, I
the feed dogs. It works even better than I
pivot the fabric and start stitching again
imagined: no more tucks at all, and the
close to the corner. When I finish stitch-
finished quilting looks really smooth when
ing, I thread a needle with the long thread
I turn the piece right side up. I imagine
tails at the corner and complete the lines
that this method could be used for easing
of stitches by hand, so they meet at the
bottom layers in many situations, not just
corner. (Sometimes I have to undo a stitch
for quilting.
to finish the inside line.) then I pull the
—Asa Hagstrom
thread tails to the wrong side and bury
them between the layers.
—JudyP
MaStering topStitching threadS
910 I like to topstitch jeans with 911 here’s a way I add support to • Thread both the specialty thread and
heavy thread but my sewing specialty threads such as metal- the monofilament through the needle
machine doesn’t like it. First I tried to put lics, shiny rayons, or variegated types that together. this adds the support needed,
the heavy thread at the top and the bot- tend to break easily when used for decora- you can’t see the clear thread, and the
tom (in the bobbin). It didn’t work very tive topstitching or embellishment. fancy, yet temperamental, specialty
well, even if I tried to adjust the tensions, thread gets structural support.
• Make sure to use a topstitch or embroi-
the stitches were uneven. Second, I tried —ShereeSews
dery needle in the machine, as these
to put the heavy thread at the top only
have an elongated eye especially made
and standard thread in the bobbin, but the
for this purpose.
heavy thread always jammed at on the
• Thread the machine with the specialty
wrong side and I still could not get the
thread. Using a second spool pin at the
tension even. Finally, I tried the heavy
top, run a thread of clear monofilament
thread in the bobbin only and standard
through the threading path too.
thread in the top—and it works very well.
alleluia! So if you have problems with a
special thread, try to put it in the bobbin.
—Juli_et
141
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perfecting your finiSh
912 I have always had trouble getting up right the first time and it is reusable a ing about 3/8" away from a finished edge
my topstitching for a pants fly to number of times. Label it and keep with with your machine set to backstitch.
look right. So I tried using freezer paper as the pattern for the next time you need You’ll stitch backwards to the edge of the
a template and found it works great! Just it. this idea could be used for other top- garment, then forward to complete your
place the tissue pattern under a piece of stitching areas if desired. line of topstitching; at the other end,
freezer paper (with shiny side of freezer —Jill Giard you’ll stitch to the edge, then backstitch.
paper down) and trace the topstitching trim the thread on the right side of the
line. Cut the template out, position on the 913 I hate trying to eliminate that
garment first, then give the wrong side
last tiny thread end that can ruin
right side of the pants at the fly, and iron thread a little tug before you trim it, so
the look of topstitching at the center front
it in place with a warm dry iron. then just that the right side thread end is pulled to
or hem edge of garments. It’s much easier
stitch around the template. the template the inside.
to conceal if you start the topstitch-
is repositionable if you don’t get it lined —Karla Kizer
Fastener chat
If a zipper isn’t called for, chances are you need buttons or snaps to hold your
garment closed. Sewing them on is the easy part; spacing, marking, making but-
tonholes or loops, matching buttons to fabric, and affixing non-sew snaps take
wits—handily supplied here by PatternReview.com members.
SMart ideaS for no-Sew SnapS
914 I’ve been squishing prongs on a a. Decorative part with prongs, right
lot of teeny-tiny purse snaps. I side of the fabric, on the top layer of the
am always concerned that the pliers will placket or opening (where the button-
scratch the metal face of the snap, so I holes would be).
used put a piece of thickish cloth between
B. Flat circle with a ring, underneath the
the snap and the pliers. Now, this
decorative part.
obscured the snap and meant I worked
blind and wasn’t sure the snap was in the C. Circle with the stud, right side of the
right place. It finally dawned on me to fabric on the underside of the placket
make a mitten for the pliers. I took some (where the button would be).
heavy, upholstery-weight faux suede,
D. Open circle with prongs, underneath
wrapped it around one jaw on the pliers,
the stud part (next to the skin).
marked it with my marker and then sewed transferred
to install, begin with the stud half: chalk mark
it. I can simply slip it onto the jaw when-
ever I need it. • Place piece D, with the prongs up, on
—MaryLynn in Long Beach your work surface; lay the fabric on it,
and use the pencil eraser to firmly and
915 anyone who puts in a lot of no-
smoothly push the prongs completely
sew snap fasteners will no doubt
through the fabric.
want a snap-setting tool, but here’s how
• Center piece C, stud-side up, over the
to put them in if you don’t have the tool.
prongs, making sure you get ALL the
You need a firm surface with padding placket on top and press your finger
prongs into the groove.
(washcloth on a table), a hammer, a pencil over the studs to chalk-mark where the
• Hold the spool on top of this, fitting the
with a good eraser, a spool (the small decorative half of the snap goes.
center hole over the little stud, and ham-
Coats brand works for me), and some • Repeat the process to install the decora-
mer firmly. Check for tightness; if you
chalk. Mark your installation points on the tive, socket half of the snap (pieces B
can get a thumbnail in between the snap
underlap side of the placket as you would and a). If you are using a pearl snap, the
and the fabric, hammer again!
buttons (left front for a woman). Make padded surface is very important, that
• When all the studded halves are
sure that you understand which of the pretty surface can crack!
installed, put chalk on the studs. Very
four parts of the snap goes where: —Diana M
carefully, lay the other side of the
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dreSSed up buttonholeS
916 I have taken to making bound velvet and boy, did they look exquisite. If
buttonholes, which look like min- you’ve not made these, don’t worry about
iature welted pockets, and to my eye, messing up; practice on scraps.
don’t have the “made at home” look of —Seamingly Simple
machine zigzagged buttonholes. there are
directions for making them in most basic 917 When I completed my latest
jacket, I wasn’t happy with the
sewing books and you can find them
buttonholes. So I figured that I’d just hide
online too. I like my welts on the bias
them! I used ¼" (6 mm)-wide ribbon to
because they have better recovery and
create little mitered frames, and I hand
there is no need to match stripes or plaids
stitched one around each buttonhole. I
that way. You don’t always have to use the
sewed the miters, trimmed the seams, and
same fabric as the garment; I have seen
sealed the edges with Fray Check.
contrasting bound buttonholes made of
—salruss
Mark buttonholeS with eaSe cut theM Safely;

don’t let theM fray
918 I hate measuring button and 919 By chance, I experimented and
buttonhole placement and have found a good way to keep my 921 Sew your buttonholes over a
nearly quit doing it. here’s what I do buttonholes straight. I just finished a piece of fusible web placed, but
instead—this is one of those things that’s jacket made from silk tweed. Because of not fused, on top of the fabric. after sew-
a lot easier to do than describe: the various colors in the fabrics, marking ing, pull off the extra web and then fuse
the line with chalk was not possible. It the stitched outline. Let cool and then cut
• Complete the top except for buttons/ open buttonhole. the web adds strength
dawned on me that I could baste the cen-
buttonholes and try it on. Using straight and minimizes any raveling.
ter line with long stitches in a bright
pins, pin the center front closed at the —comocosews
thread color. the basting stitches give a
neck and at the fullest part of your bust
strong guide to follow and don’t rub off
(the top is likely to gap if there’s no
from handling. It is simple to pull them
922 after you have sewn your but-
button there). With other straight pins, tonholes and before you cut
out when slashing the buttonhole. this them, put a small drop of Fray Check on a
mark those locations on the right front
technique could be used for any button- small piece of wax paper or something
and remove the pins holding the top
hole, not just on hard to mark fabrics. similar. Dip the tip of a pin into the Fray
closed.
—Kellie R. Check and dab it on the buttonhole
• If you have a long, loose fitting top that
between the stitching lines. Let it dry for 5
only needs four buttons, fold the right 920 When I need to adjust and trans-
minutes. then cut the opening. the inside
front down at the bust-level pin; the fer evenly spaced markings for
place on the center front that now lies buttonholes, I use elastic as a guide. I lay is nice and neat and does not fray.
under the neckline pin is the location for the elastic (relaxed, not stretched) on my —Sew it seams
button #3; place a pin there. Now, fold pattern tissue and mark the buttonhole
the shirt down from the level of button placement onto it. then I lay the marked
923 I once cut right through the end
of a buttonhole while trying to
#3; the place under the bust-level pin is elastic on my fabric and transfer the open it with a seam ripper. Since it was on
the location for the bottom button. You marks. If I need the buttonholes spread a hand-embroidered blouse I had made for
now have four evenly spaced button further apart, I just stretch the elastic and my daughter, I was visibly upset. Some
locations marked and you never picked the interval automatically adjusts. I pin people place pins across the ends of the
up a measuring tool! the elastic in place at the top and bottom buttonhole to preclude this problem, but
• If you need more closely spaced buttons, buttonhole positions and then mark all since I don’t like the idea of dulling my
fold the top so that the neckline pin the in between positions alongside the seam ripper by running it into a pin, I
meets the bust-level pin and put a mark stretched elastic. this obviously works came up with this alternative: Starting at
at the fold (dividing distance between only to transfer same-size or larger-spaced the middle of the buttonhole I poke the
the two original marks). Now, fold the marks. point of my seam ripper down through the
top at the bust-level pin mark the front —tweedcurtain cloth and bring it up just before the bar
opposite the neckline and second pins. tack at the end. that way when I make the
You can keep folding and pinning button cut, I know that I won’t go through the bar
placement until you get as many as you tack. I then turn the work around and cut
need and they will all be the same dis- from the center to the other end of the
tance apart. buttonhole in the same way.
—Lisa Laree —Brine
Finishing 143
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090-168_18599.indd 143 4/30/10 9:23:24 AM
thiS & that about buttonS help for button-
covering blueS
924 If you are not sure which size 925 to protect your buttons for dry
button you need for your blouse cleaning or the washing machine, 927 I have been working on a blouse
or jacket, or if you want to use a different cover them with shields of Velcro tape. made of very slippery fabric and
size than the pattern suggests, you can For each button, cut a length of Velcro needed nine buttons. I wanted covered
use this rule of thumb: the diameter of (both the hook and loop halves) about 1" buttons but was not having much success
the button should be the same or slightly (2.5 cm) longer than the button diameter. making them until I came up with the fol-
more than the distance from the center Cut a slit that extends from one end a bit lowing process. Once I got the hang of
front to the garment edge—this means more than halfway across the hook half this, it was so relaxing to make these, I did
that when buttoned, the width of the of the tape. Slip this piece under your a few extra buttons, in case I lose some
placket visible next to the button is half of button, and cover the button with the after the blouse is made.
or slightly less than the button diameter. soft, loop half, pressing the tape halves • After cutting the fabric for each but-
If you are making horizontal buttonholes, together at the extending edges. ton, fuse a small piece of Wonder tape
make sure they do not extend into the —els (paper-backed narrow fusible web) to
garment a distance greater than the width the center of the wrong side of each
from center front to the edge—if you do, 926 I always know where to find a
piece. remove the paper backing. Center
replacement button if I have
there will be flesh or your underwear vis- the fabric on the button form, pressing
initially sewn an extra discreetly inside
ible behind them because the underlap into place with your fingers.
the garment. this saves money (especially
won’t be wide enough behind them. • Insert the fabric and button form
if you have to buy a whole card) and time
—els together into the mold. Use a blunt
(especially if you are like me and have 2
million buttons floating around every- object (like the eraser end of a pencil)
where from jewelry box to baby food jars to tuck the fabric onto the points of the
in the utility room). form. then snap the back cover into
—Janie Viers place and remove the button from the
mold.
—Lucy in Virginia
button Sewing know-how buttonholeS

for knitS
928 I usually sew my buttons on by 930 to sew on buttons quickly, thread
machine, with a zigzag stitch and your needle with more than one 932 Vertical buttonholes are the best
the feed dog down. Once in a while there strand of thread (up to four or so), double choice for knits fabrics, as they
seems to be a thread that, if pulled, makes and knot, and sew your button with one will stretch less than horizontal ones. I
all of your stitches come undone. So now, or two stitches. For really closely spaced don’t know about you, but once I finish the
after sewing on the buttons, I put a drop buttons, don’t even cut the thread, just buttonhole portion of a project I feel like I
or two of Fray Check on the thread (on move on to the next button, stitch, knot, can breathe a sigh of relief—the rest of the
the inside of the garment) and—so far— and move on. project should be pretty easy from there.
this has worked to keep the threads from —Debbie Lancaster —Sarah J Doyle
unravelling.
—Mary Stiefer 931 a common way to hold a sew- 933 Buttonholes in knit fabrics used
through button above the gar- to give me the heebie-jeebies.
then I accidentally came across this tech-
929 here’s an easy way to hold a ment while you stitch it in place—so a
nique: Cut a separate interfacing pattern
button in position so you can thread shank forms—is to place a tooth-
sew it on by hand or machine: Mark but- pick or something like it under the button. for right and left fronts. assuming your
ton placement with anything of your this doesn’t work very well for me garment laps right over left, cut the left
choice except a water erasable pen. because the toothpick always seems to front interfacing as usual, to the fold line.
Moisten (very slightly) a small scrap of move away while I’m trying to hold it in Cut the right interfacing so it extends
water-soluble stabilizer and put it over place and stitch at the same time. Using a beyond the fold line and ¼" (6 mm) or
your “button mark.” then moisten the straight pin underneath does not usually more past center front—this provides
back of the button very slightly and put it give me enough height for a shank. today double the stability under the button-
on the mark, on top of the stabilizer—the I discovered that if I place the thick end of holes. Fuse the interfacing and then sew
button will stay in place. Once you’ve a sewing machine needle under my button the buttonholes as usual. I dreaded those
sewn it on, spritz with some water to dis- with the pointed end secured into the buttonholes, but the first time I did this
solve the stablizer. No struggles. fabric just beyond the button, I get the they surprised me—they came out perfect
—Judy Wentz perfect size thread shank and the needle with my plain ol’ Kenmore. In fact, I was
stays put until I remove it. using a thermal knit and the placket was
—Sew it seams just about the only part of the garment
that was NOT stretched out!
—kv
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button loop know-how
934 If you find that thread button 935 I just made a pattern that fea- the fabric. Move the needle perhaps 1/8" (3
loops tend to tangle, pull out, tures thread loops and buttons mm) to one side, and bring it to the right
and twist too much, here’s a suggestion for closures at the neck and wrist. I gener- side again, pulling it all the way through.
for an alternative. You have to plan ahead, ally make loops with several lengths of pass the needle through the thread loop,
because these have to be added during thread rather than something like button- and then between the thread loop and the
construction: hold two long strands of hole twist, since I never have anything like length of thread coming out of the fabric.
elastic thread side-by-side, thread through that around: thread a needle with about Gently pull the wrapped thread taut while
the hole in your presser foot (use a cord- four lengths of thread. Make them perhaps positioning it close to the fabric on the
ing foot if you have one), and set the 18" (45.7 cm) long when doubled. Knot, loop. repeat. When the loop is entirely
machine to a zigzag stitch just wide insert the needle from wrong side to right covered, insert the needle to the wrong
enough to cover the threads. Zigzag them side of the garment, loop around a short side again and knot the thread.
together using a piece of Solvy (not neces- pencil or something approximately the —Debbie Lancaster
sary, but easier) under them. Don’t make button diameter, then pull back through
the zigzag too dense, as you want them to
stretch over the button. If you use Solvy,
rinse off and let the joined elastic dry. Cut
into lengths measured to fit when slightly
stretched over your button. Fold into
loops and insert in the seam when you
attach the facing (orient with tails in the
seam allowance); I usually go over the area
with the loops with a very small stitch to
help prevent them from pulling out.
—Sewshable1
claSSy Snap cloSureS
936 Snaps are not often called for in wrong side of the overlap portion of your • Sew the stud half of the snap through one
pattern instructions, and not garment and stitch in place. You may hole only to the other side of the open-
used too often in ready-to-wear anymore, stitch through the snap holes and the ing (also on the inside of the garment),
but there is nothing that will ensure the covering fabric, or just through the fabric; positioning it so it extends past the
exact placement of an edge or closure like I usually try to sew through the holes. edge and lines up with the socket half as
a snap. Covering a snap makes it much • Cover the socket half of the snap the shown. Stitch securely since you’re only
less obvious—almost invisible; I find cov- same way; you do not have to make a going to have one point of attachment
ered snaps are a lovely detail that is very hole in this fabric circle. position and on this half and the thread forms a hinge
simple to add to a garment. they make a sew this half to the underlap portion of by which the stud half can rotate onto
very good hidden closure behind buttons your garment, opposite the stud half. the socket half. (It’s possible to fasten the
that are too large for practical use. Lining —Liana snap and still be able to take a first stitch
fabric is often used as a cover, and a thin through the stud half only, allowing you
fabric is best. (If you suspect your fabric 937 When I wish to keep two edges
to achieve perfect placement.)
abutted rather than overlapped, I
may be too thick, put a piece of it between —Liana
find it very handy to employ a hinged snap
the snap halves and try to snap them. If
closure—for which one half is attached
they won’t stay shut reliably, try a thinner
through one hole only so it can swing
fabric.) here’s how I make them:
across the opening to lap onto the other
• Cut a circle of the covering fabric you half. I recently used two of these to fasten
want to use. poke the stud of the snap thread hinge
a close-fitting standing collar on a knit
through the center of the circle. You top. here’s how to do it:
may have to push aside the threads with
• Sew the socket half of the snap right at
an awl or large needle, or the stud may
the edge of one side of your opening (on
just go through on its own.
the inside of the garment). You want to
• Wrap the fabric to the back of the snap
get as close as you can to the edge with-
and sew a few stitches by hand to hold it
out having the snap extend and show
in place. then position the snap on the
from the outside.
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when we can’t find the right color button we
938 turn them over. I like to sew

• Select different types of buttons to dye. 940 nail-polish them. Can’t find the
summer shirts for my husband, button or buttons to go with
I chose white fabric covered buttons and
but he’s very particular about buttons. what you are sewing? Find the size you
plastic buttons: gray and two different
Sometimes the only ones I can find to need and paint with nail polish to match
types of tortoiseshell/mottled brown. (I
match the fabric are too shiny or not quite or contrast. Let dry overnight for a really
needed a grayish teal so I chose to dye
the right color. I’ve found that turning good bond. If the buttons are the sculp-
brown and gray plastic.)
buttons over to their wrong side (which is tured kind, highlight the different areas
• Put 1 to 2 tablespoons (15 to 30 mL) of
generally the flattest side) and sanding with different colors of nail polish. Nail
dye powder in a small food storage bag.
with a bit of fine sandpaper or emery polish is relatively inexpensive and comes
Add about 1 cup (250 mL) of hot water
board makes them perfect for Dh’s shirts. in every color imaginable. I’ve used this on
and swish until the dye is dissolved.
even the color changes slightly once the many buttons over the years and they
• Add the buttons and swish them around
shine is gone. the buttons for the shirt I’m never chip or fade.
for about 5 minutes, or until they look
working on now aren’t shiny, but I will —NanciPink
a bit darker than you want. rinse the
turn them over so their flat side faces up
because they just look better that way. So
buttons in a strainer in the sink until 941 Sponge-paint them. I was in a
the water runs clear. If they are not dark pickle because I couldn’t find the
consider that when it comes to buttons,
enough you can put them back in the perfect-colored button to match my blue
there is no right or wrong side, just the
dye. Wash and dry the buttons in a mesh topstitching on a suit I just made. So I
side that looks best.
laundry bag. One of the button types bought cheap, plain white buttons and
—dreamsofthetime
(one of the mottled brown), turned out acrylic paint the same color blue as the
939 dye them. I recently needed to be a perfect match for my fabric. the topstitching thread. I gave the buttons
some rather odd colored teal other plastic types turned out well also three coats of paint, which turned out to
buttons for a shirt, and could not find and I will save them for another time be too intense for my cream-colored fab-
the appropriate shade at the fabric store. when I need teal buttons. the white fabric, so I sponge-painted it with a creamy
I remembered I had a zillion buttons at ric covered buttons washed out when in shade the same color as the fabric and the
home so I bought some teal rit dye and the washing machine—I think the fabric buttons have a marbled look now. If you
decided to experiment. Directions: must be polyester. plan to wash and dry buttons treated this
—Mandolin82 way, it’s probably smart to test wash them
first (pop in a lingerie bag), but I used
mine on something I don’t expect to wear
often, maybe two or at most three times a
year, so it’s not like it will get a lot of time
in the washer and dryer.
—ryan’s mom
clever button ideaS
942 Need stunning buttons for a • For buttons: You’ll have to create either 943 an easy and versatile way to
jacket? how about jeweled dress a thread shank, or use the loop of a create detachable buttons is
clips for a 30s style gown? Go shopping metal hook and eye and sew that to the to sew a small button to the back of the
for a jeweled stretch bracelet—the kind filigree shape. I recommend that you fashion button with a short thread link
with small ornaments strung on elastic. I make two sets of corresponding button- between them—like a cuff link. then make
got a fab example quite inexpensively; holes in your garment front (on both the two buttonholes, one in the appropri-
cut apart, it yielded seven large square overlap and underlap), and sew the but- ate place on the overlapping layer of the
ornaments and eight smaller ovals. I used tons onto a piece of ribbon; then button garment and one directly opposite it on
three pieces for the “clasp” of a halter through both layers. I would NOT rec- the underlap (where the button would
neck, and the others for a decoration at ommend washing or dry cleaning these! normally be sewn on). Button the smaller
center back as well as buttons on the • For ornaments: Sew on using only a few button through both layers, from overlap
sleeves of a 30s evening gown. these stitches so you can detach for cleaning, to underlap. this method has a couple of
bracelets offer a huge variety in texture or sew onto the hook half of a piece of advantages:
and color and there are plenty of holes to Velcro and sew the soft half onto your
• Because both buttonholes are the size of
sew through! garment (or sew onto snaps).
the small button you can accommodate
—KMangum
large or irregular size buttons without
making an unsightly buttonhole.
• Because the buttons are detachable you
can change the look of a garment by
changing one set of buttons for another.
—Helen near Sydney
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944 If you’ve ever admired the sleek Neo-Buttons. Note that these are not the magnetic closure, simply take a magnetic
look of a top european designer bulky magnetic purse closures used for disc and sew a small pocket to contain it.
jacket with invisible magnetic closures handbags. they’re flat, ½" (1.3 cm) diam- then sew the pocket to the wrong side of
and wanted to get that look, you have a eter, and slightly thinner than a nickel your jacket facing. the stitches will be vis-
couple of options. You can order high and available from many crafts supply ible from the right side of the facing, but
energy magnetic closures online or you sources. Make sure you choose the type the magnet will not be detectable from
can create your own sleek magnetic clo- specifically marked “high energy” because the right side of the jacket. You can cover
sures at considerably less expense. I weaker magnets will not be strong enough the spot with a regular button if you wish.
use proMaG’s high energy Magnetic to keep your jacket closed. to create a —nancy2001
Cool finishing touches

Hanging loops, lingerie guards, belt loops, and the like: Here are hints for dis-
creet little extras like that make a garment look better and last longer.
belt loopS to Show off or not
945 here’s a way to make belt loops 946 I came up with the idea to make
that are completely sewn by retractable belt loops because I
machine with all raw edges enclosed couldn’t decide if I liked a jacket belted or
neatly and attached without any visible not. It’s not fancy, but it works and the
bar tacks. loops are hidden when not in use. You
need embroidery thread in a color that
• First, to make the loop strip, fold under
blends with the garment fabric and a nee-
both edges of the strip, and then fold
dle with eye large enough to fit two
lengthwise almost in half, so one folded
strands of the thread.
edge extends slightly beyond the other.
topstitch to secure the layers; then • Cut four strands of embroidery thread
topstitch at the same distance from the (two per belt loop). the length will
other edge as shown. depend on the thickness of the belt, but
long enough to wrap loosely around
the belt and also tie a knot in one end.
thread the needle with two strands.
• Find the waistline of the jacket at side
seam and pass the needle from inside
to outside and back inside—make the
• To complete the loop, figure out how stitch small so it is less noticeable when
much room you need to accommodate retracted. tie the four ends in a knot
the belt plus a little extra, and, with the inside the jacket, leaving a large loop on
cut end extending down, sew across the the outside of the jacket (support with a
strip. then cut off the excess close to the dowel/glass/whatever that is the same
• To attach the top end of the loop, place stitching. Now push the loop down, so it diameter as the belt if it’s easier). repeat
on the garment finished side up, with covers the cut end, and from the inside, on the other side seam.
the cut end at the top mark and the loop stitch across it again, enclosing the end • If you don’t want to wear the belt, pull
hanging down. Sew close to the top end; as shown. the knot until the threads are flat against
then fold the strip up and sew again, —Kay Y the jacket fabric on the outside. When
enclosing the top end. Now fold the you do want the belt, use a small crochet
strip down; it should look like the top of hook to pull both threads together so
the illustrated loop. the loop hangs to the outside.
—celeste
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thiS & that for a better finiSh
947 Most of my skirts have inverted 948 I still use shoulder pads due to 949 here’s an easy tip to help keep
pleats at the back and in order to very sloping shoulders, but what those bra straps hidden when
prevent the top of the pleat from coming I need are smaller than the Joan Crawford wearing tanks or sleeveless garments. Cut
undone I reinforce it with an arrowhead collection I’ve accumulated over the years. a strip of ¼" (6 mm)-wide ribbon (twill
tack sewn by hand. this used to be stan- Shoulder pads are too expensive to buy in tape would do as well) long enough to
dard practice many years ago (you can the quantity that I use. I found that I can span the shoulder seam. Secure one end
find directions in classic sewing books, alter many old pads for new garments by at the armhole end of the shoulder seam;
embroidery books, and online) and some- determining where the pads need to be you can easily do this when you finish the
how is not common anymore. But there is trimmed to fit (around the curved edge, edge, whether it’s folded over and sewn or
always a fair amount of strain at this point not the armscye edge), running a straight bias trimmed. (For a facing, fold under the
and the tack certainly does help. I use stitch along the trim line, and then zigzag- ribbon end and hand-tack.) Fold under the
embroidery cotton. ging along the straight stitching before other end and sew on one half of a snap.
—regine cutting off the excess shoulder pad. If the then secure the other half of the snap to
pads are just too big and thick to cut the shoulder seam allowances near the
Deepika adds: You can do this by
down, I stuff them in the toes of shoes— neckline. that should keep those straps in
machine too, either with a decorative
they do a good job of keeping the toes place. It also helps keep a wide neckline
stitch or an embroidery machine. It gives a
from caving in. from slipping off your shoulders. Measure
great retro detail.
—Joni2 first of course, you don’t want to make the
ribbon too short.
—Dale C
950 When I make lingerie guards to

keep bra straps from showing, I
put them 1/8" (3 mm) away from the neck
edge—there’s no chance the straps will
peek out and it looks professional. I use
teeny tiny snaps to close the ribbon loops
even though they are a pain to sew on.
—Deepika
hang without StreSS
951 hanger loops are essential to • To determine the length of the loops, 952 When I make hanger loops, I cut
carry the weight and take the put the dress on a hanger. pass each rib- the ribbon ends on the bias to
stress off the seams of garments made of bon up from the underarm seam around prevent fraying. then I sew the loops so
delicate fabrics such as chiffon, all stretch the hanger and back to the attachment the ribbon ends point up—that encour-
knits, and also on strapless dresses or point. Make it taut enough to carry all ages the loops to stay out of sight when
those with narrow straps. here’s the way I the weight of the dress, but long enough you wear the dress. Some people attach
make them: that the bodice shoulders will just rest hanger loops at the waist instead of the
• For each, cut a ¼" (6 mm)-wide satin on the hanger. pin and then sew in place. armhole.
ribbon or twill tape strip about twice —Marji —Deepika
the armhole depth and attach one end
at the junction of the underarm/sleeve/
side seam. a few hand stitches taken
with a needle that is double threaded is
sufficient.
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Label it!
Labels serve several functions: they can identify the garment maker or wearer,
record pattern info, or differentiate the back of your pants from the front.
Whether you want them to add a creative flourish or be purely functional, you’ll
find clever ideas here.
labelS add info and panache
953 When I started sewing a lot of 954 recycling the labels from your paper. (I usually do a test first on plain
gifts for other people, I wanted old clothes (and maybe even your paper to make sure the size, font, etc., is
to figure out a way to create labels. I could husband’s and kids’ clothes) can really jazz correct and to be sure I’ve got the text
make handwritten labels, but my prefer- up your sewing projects. there are some reversed so it will read correctly once
ence is to print them from a computer. great labels out there and not just on transferred; iron on paper is not cheap!) I
that way the writing is legible, and I can clothes—I even took the one off my new used to use cotton fabric for the labels but
include graphics and photographs. I pre- ironing board cover—so I suggest starting they looked too homemade. Instead I now
pare fabric with Bubble Jet Set, which is a a collection. You can tuck them safely use 2" (5.1 cm)-wide white ribbon. here’s
chemical fluid that makes ink-jet printed inside your garments where you’ll enjoy what I do:
images washable. You can buy it online them every time you put them on or go for
• Cut a piece of ribbon about 2½" (6.4 cm)
and it comes with instructions. Basically, a more avante garde look and sew them to
long. Fold it in half crosswise and press
you soak your fabric in it, rinse, and let the outside, at the hemline, into a seam. or
well.
dry. then you iron the fabric onto freezer even flight-attendant style on the lapel.
• Cut out a label and iron it on with the
paper so that it is stiff enough to go —Helen near Sydney
bottom edge of the label at the fold of
through your printer. One of the things I
like about this method is that it doesn’t 955 I like putting my own label on the the ribbon.
garments I make. I designed the • It’s easy to customize the labels before
change the hand of the fabric. Lots of peo-
label I wanted on my computer in a nor- I print them out: I make different tags
ple use this technique to print larger areas
mal address label template. You can use for each of my children simply by typing
too, for example, for quiltmaking. the only
any template size you want—mine is 2" 3 the correct name into my basic graphic
serious limit is the size of the paper that
1" (5.1 3 2.5 cm) and about 30 fit on a page. design.
your printer can take.
I print in reVerSe on iron-on transfer —ConnieBJ
—e_e_thomas
Maria hatfield says: I like to make a
simple label that identifies which pattern
I’ve used to make each garment. I find it
handy to have these marked tags when
Plain and fancy ways to ID the back I’m trying to decide if I want to make a
pattern again. here are some examples of
Follow the lead of some PatternReview.com members to end confusion as to what I do:
which is back, which front, on pull-on and pullover garments.
956 I just write the pattern name,
number, and size on a piece of
960 liz says: When making clothes 962 op gal has a delicate option: muslin with a permanent fabric marker
for children (especially elastic I recently made a silk camisole and then sew it inside the garment.
waist pants) I sew a marker at the center to be worn as lingerie. Since it was very
back waist so the child is easily able to plain, it was difficult to tell the front 957 I sewed my label into the back
work out which way to put the garment from the back. I didn’t want to insert a seam below the waist on a pair of
on and does not have to ask Mum. I just label as it would be scratchy. Instead I pull-on pants so I know which is the back
use a piece of cotton twill tape. embroidered a couple of lazy daisy and which the front.
stitches on the binding at the center
961 mamamaia suggests: this is
back. Now I can tell at a glance which is 958 On shirts I put the label down
how I differentiate the front towards the bottom of the side
the back and which is the front. seam, only because I don’t like tags at the
and back of pull-on pants for my chil-
dren. I just sew a button at the center back of my neck.
front—this keeps the elastic from turn-
ing too. I have so many single, plain, or 959 My mom suggested I also sew a
couple of buttons onto the tag in
unused buttons from two generations case I need them later.
back; this is a good way to use them and
the kids know the button always marks
the front on any pants.
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MASTER CLASS WITH Shannon gifford
Rolled Hem Magic

with a Serger
Shannon Gifford approaches sewing as a
“sensible” undertaking and knows that once
you understand the process, there’s no real
mystery to it. She loves seeing the light bulb
go on in her student’s heads when they realize
that, yes, they can sew what they want, any
time they want. Shannon believes that once
you learn the specific skills needed to sew,
you can sew anything. For example, she loves
the rolled hem on her serger, and decided to
show us how to master this stitch and use it
to its max. Enjoy this class, and visit her Web
site, sensiblesewing.com, to see her online
offerings and newsletter.
“W hen I bought my first serger so many years ago, the first fea-
ture I wanted to learn was the rolled hem. I used that stitch on every
home décor item I made, but did not consider it for garments until
much, much later! But the rolled hem is a model of versatility; it can
clean-finish an edge, provide a decorative trim, and is strong enough
to hold layers of light- or medium-weight fabric together. This jacket
is proof that using a rolled hem can streamline garment construction
while providing a beautiful, decorative accent—all seams, even the
darts, were stitched with the fabric wrong sides together.
”
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Plan ahead before starting
Of course, “plan ahead” is standard advice, but it’s especially important if you’re about to construct a garment with a
rolled hem stitch on your serger. The hem-seams will be visible, so you’ll want to test your serger setup carefully and
choose thread that complements your fabric. Select a garment pattern with simple lines that can be assembled with the
serger—no deep curves or inside corners.
Set uP the rolled hem
1. Begin with a basic, 3-thread overlock 2. The second adjustment is to the stitch 3. Using the rolled hem as a construction
stitch on your machine. Loosen the upper length. A beautiful rolled hem should stitch requires one final setting adjust-
looper thread, and tighten the lower provide a clean coverage of thread, with ment. Widen the stitch to your preferred
looper thread. The looser upper looper no fabric visible between the stitches. I width for the fabric you have chosen. Test
thread will wrap around the edge of call the top of the work the “public” side, a double layer of fabric to be certain the
the fabric, and be held in place with the which you want to be the most prominent width is correct for your fabric; the stitch
tighter lower looper thread. The result- on your garment. should hold the fabric firmly together.
ing stitch forces the fabric to curl, or roll, The thinner your fabric, the narrower
slightly toward the underside of the work. your stitch can be. Conversely, a thicker
fabric will require a wider stitch.
Plan your garment
Choose a pattern with clean, simple lines.

The serger rolled hem
Deep, dramatic curves are best avoided for Serger rolled hem stitches are a close
this technique. Eliminate any facings and relative to the 3-thread balanced over-
hem allowances, as we will be using one lock stitch that is standard on every
layer of fabric throughout. For your first home serger. The primary difference
project, choose a one-piece sleeve, so it can between the standard overlock and the
be set in “flat.” rolled hem is twofold: the tension and
Thread choices for serger rolled hems are the stitch length. Your machine manual
wide and varied. For your lower looper and may provide some guidance regarding
needle threads, a standard serger thread the best settings for a basic rolled hem.
is fine. The upper looper thread will be the Some machines require a specific rolled
most visible thread in the mix; you may hem attachment or foot. Other machines
My current favorite threads for rolled hems can be set up for the rolled hem with a
choose a matching color or a contrast, based
are rayon embroidery threads, and I love the unique threading sequence. It may be
on the effect you wish to achieve. Woolly
effect of a variegated colorway! necessary to disengage the knife, as well.
Nylon is often recommended for good thread
coverage, but do not overlook other options. Check your manual as you set up your
If your serger can handle it, you might enjoy their best, it will be necessary to think about serger for rolled hem construction as
experimenting with narrow yarns or ultra- the orientation of each seam in the machine explained above.
thin ribbons. before you sew. For instance, for a side seam,
If you wish the serging to be on the out- sew with the front garment piece on top.
side of your garment, you’ll sew with the In that manner, the public side of the rolled
pieces wrong sides together. Remember the hem will be visible from the front of the
rolled hem doesn’t look the same on both garment. (For invisible stitching, place the
sides, so to ensure that the seams appear pieces right sides together as usual.)
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Mastering the construction
The stitching process is straightforward; place the fabric layers together, and run the fabric through the serger. Stitch
slowly, holding the fabric so it feeds evenly through the machine. After stitching each seam, press it so that the public side
of the rolled hem is most visible.
dartS
1. Stitch darts first. I like to machine baste 2. Stitch off the end of the dart tip to leave 3. Insert the thread chain in the eye of a
the darts together first, and trim the another chain of thread. needle, and thread the tail through the
seam to an even ¼" (6 mm) width. Stitch last few stitches of the dart. then trim
a chain of thread a few inches long before off the excess, and place a drop of seam
inserting the fabric under the presser sealant on the point of the dart.
foot; then stitch the dart exactly on the
basted line.
baSic SeaMS
1. Straight seams are the easiest to sew on a serger. position your fabric pieces wrong sides 2. For a princess seam, first machine baste
together, and line up the raw edge with the stitch width indicator on your machine. this the pieces together to ensure they
will be a series of lines to the right of your needles. Be sure you know which line cor- are properly eased. press the seam to
responds to your chosen seam allowance! Stitch the seam, holding the fabric taut and eliminate any puckers, and then serge the
smooth as you sew. rolled hem over the basting stitches. posi-
tion your work so the center front section
is on top, so the public side of the rolled
hem will be visible. Be sure to press the
seam in the direction it will eventually lie.
3. after stitching each seam, rub the last inch of the seam with seam sealant and allow it to
dry for a few minutes. then trim the serger threads close to the fabric edge. this will allow
you to cross one seam with another, cutting off the seam allowance with the serger, with-
out damaging the previous work.
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SleeveS
1. Machine-baste the sleeve cap to the 2. Stitch the side seam and underarm seam
armscye, and press the basted seam to in one pass of the serger; seal the threads
remove any wrinkles. then serge the at the hem edge of the garment body,
rolled hem over the basting stitches, plac- but use a needle to work the sleeve hem
ing the armscye on top and the sleeve on threads into the end of the sleeve seam.
the bottom. press the rolled hem seam
toward the sleeve. Finish the bottom hem
of the sleeve with a line of rolled hem
stitching, and seal the ends.
finiSh the periMeter
1. after the pieces of the garment are 2. Serge a rolled hem along the neckline 4. Last serge a rolled hem the bottom of the
securely attached to one another, it’s edge first, stitching from center front garment, using a chain of thread at the
time to apply the final row of rolled hem to center front. Seal the ends of the beginning and the end, just as you did for
around the edges. If you have a curved stitching with seam sealant, and trim the the centers front.
neckline or hem edge, make a single row threads.
of standard machine stitching exactly on
3. Begin each center front hem by first
the seamline to act as stay stitching. this
stitching a chain of thread, just as you did
will prevent the fabric from stretching as
for the darts. Serge a rolled hem along
you roll the edges with your serger.
the entire center front edge, and stitch
a chain of thread at the end of the seam.
Seal the two ends of the seam, and trim
the threads.
master class with shannon giFForD 153
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Chapter nine
Embellishments
“ I started sewing for economical

reasons and over time, it became a passion.
Now I sew for pleasure and I enjoy it so much.
Most of all I find it to be very relaxing; it
makes me forget the rest of the world. And
”
I love to have clothes that are original and
elegant—I enjoy being different!
—Mahler
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Trim it!
We all love gorgeous fabric, but why stop there when there are ribbons, feathers,
beads, and brads that beckon? They all promise pretty, practical, or sophisti-
cated finishing touches that will make a garment truly one-of-a-kind.
cool triM ideaS
963 here’s an easy way to make a 964 I have seen mentioned on a cou- 965 I’ve been making some summer
fabric rose quickly and neatly. ple of forums the possibility of dresses out of very inexpensive
making your own feet for handbags, but fabric. I made some beads to coordinate
• First cut a bias strip twice as wide as the
no one knew quite how. I decided to take by fusing a scrap to tissue paper and then
depth you want the ‘petals’ to be, and
up the challenge: I went to the scrapbook- cutting long, skinny triangles (like making
about five or six times as long as the
ing aisle in a crafts store and checked out paper beads). Starting at the wide end, I
width (make some test roses to get the
the brads. I found some that were approxi- rolled each over a toothpick and glued the
length right). taper each end to a point,
mately ½" (1.3 cm) across with very slender point to the roll. after the glue dried I
cutting from both edges to the middle.
tiny prongs—ideal! they came in black, used two coats of varnish to finish. I
• Fold the strip in half right side out. Serge
brass, silver, and copper colors, in packs of strung these on a cord with silver beads
the loose edges together, leaving a long
five. I bought a pack, went home, and after between. I work part-time as a bartender
thread chain tail when you finish.
measuring, poked a hole for each foot in and customers commented that my neck-
• Thread the thread tail into a large-eye,
the bag bottom with a seam ripper, just a lace went so well with my dress—they
blunt embroidery needle and run it
tiny hole. I inserted the legs of the brad, were amazed when I said I made it and the
through the stitches all the way back to
spread them apart, pushed down on them dress!!
the other end of the strip. Gently pull
hard and voilà, had my bag feet. (this is all —Victoria Sturdevant
the thread tail through to gather the
before attaching the lining.) I tapped my
strip into a loose ruffle (the rose will charityak says: It is a cardinal rule of
bag on the counter and the legs hit before
be a better shape if the gathers are not sewing that the selvages are to be cut
the cloth so it worked. Back to the scrap-
tight). tie the thread tail you threaded away and never included in a seam allow-
booking aisle!
through to the one at the beginning and ance. however, all rules are meant to be
—solosmocker
trim them off. broken at times and this is one of them.
• Take a needle threaded with matching While most selvages are ugly, every once
thread and attach it to one end of the in awhile a fabric will have an interesting
stitching; this becomes the center of selvage that could be incorporated into
the rose. Now start rolling the strip up, the design and become an important fash-
stitching each round to the center as ion element. So next time you’re doing
you go. When you finish, you have a rose your layouts, take a look at those selvages
that is already neatened at the bottom. and ask yourself: what if? here are some
—gabrielle stanley examples:
966 Such was the case of on a child’s

denim skirt I recently made,
where the tan fringe selvage was so cool I
decided to use it as is at the lower edge,
instead of making a hem.
967 I have seen tweeds with interest

ing selvages and these would
look great on sleeve edges, hemlines, with
reversed facings, on collars, on exposed
lapped seams at yokes, on pocket flaps,
etc.
968 I have also seen some intriguing

ready-to-wear jackets where the
selvage was used creatively: on one as ties
for a front closure and on the other as a
drawstring in a waist casing. Both were
deconstructed, urban-flavored designs
and the concept totally worked.
155
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ribbon Savvy
969 When sewing my wedding dress I 970 I recently trimmed the under side seams of my top, I wore a fitted
came up with a good way to affix bust seam on a knit top with a t-shirt so I could measure between its
trim over a seam. My dress had 12 panels piece of organza ribbon that I had embel- side seams) and then cut the ribbon to
with each vertical seam highlighted with lished with one of my machine’s decora- the correct length plus seam allowances.
black satin bias. I tried at first to pin the tive stitches. Now, there was a problem • I assembled the bodice front and then
bias in place and sew it, but after sewing doing this because the top does stretch folded both the under-bust seamline
the first vertical seam and trying to sew (quite a lot) and the ribbon not at all. So and the ribbon into quarters, pinning
the second, I saw there were a lot of drag- how did I do it? First, I decided to put the together at the quarter points. You’ll
lines (the bias was pulling to the right) ribbon only on the front of the top. I guess get a lot of ripples in the ribbon at this
and channeling. It was awful! Since then, I could have put it on the entire circumfer- stage, but don’t worry, it’s normal.
every time I apply trim, ribbon and espe- ence, but decided that I would like it bet- • You can pin the ribbon at closer inter-
cially satin bias, I affix the respective trim ter to still have all the stretch across the vals to the bodice, but as I had backed
with Steam a Seam before stitching. this back. that way, if I misjudged and made the ribbon with Steam a Seam before
keeps it nicely in place and also helps me the ribbon too tight I would still have embellishing it, I was able to fuse it to
get nice topstitching. plenty of stretch for pulling the top over the bodice seamline while stretching the
—LauraLo my head. then I worked as follows: knit to fit the ribbon. I then sewed the
ribbon onto the top, using a zigzag stitch
• I measured my under-bust line (since I
1 mm wide and 2.5 mm long.
wanted the ribbon ends to go into the
—LauraLo
Steps to success with feather fringe

MagpieJan says Dancing in a feather dress is a joy. They may be a little over-the-top, but there’s something very pretty and
feminine about them too! So I’d like to share some of the things I learned while sewing many layers of ostrich feather fringe
to a silk dress.
971 Feather fringe is sold in differ- 975 Feathers are very easily dyed. I 979 experiment with your foot and
ent fullnesses, depending on did some tests with an acid dye. stitch so that you don’t need to
how many layers of feathers are acid dye baths are mixed with vinegar pull or push your trim under the needle.
attached. “1-ply” is a single layer, “2-ply” and salt, so they are very easy. Follow the For my 2-ply fringe I used an embroidery
is two, and so on. instructions with the dye, but I found you foot and a long overcast stitch. For the
don’t need to cook them on the stove or 1-ply I used my zipper foot and a long
972 Most often the fringe is
even use super-hot water. hot tap water straight stitch right next to the cord. It’s
attached to a round cord or
worked fine on the feathers. When dye- best to test a fairly long section so you
string. Occasionally the feathers are
ing, always do a test to make sure you can get an idea what the fringe will do
attached to bias tape or ribbon, which is
like the way the cord takes the dye too. over long distances.
easier to work with, but is less common
and the colors are limited. I was unsuc- 976 the cord is somewhat rigid and 980 Feathers are more robust than I
cessful in figuring out how to attach the therefore difficult to sew to long, thought. the ones I used were
fringe to a bias tape myself. It just didn’t flowing stretches of fabric. I found that if easily washed in water with laundry
look even. and if I tried to cut the cord the garment was stretched too much detergent, and I even needed to clean
off, the feathers would invariably slip out while being sewn, the cord acts almost mine with grease-removers like DozAll/
and fall out of the stitching. like you’re sewing a hoop into a skirt—it Gal Friday and they were fine. You want
introduces buckles and weird scallops. to be gentle so as not to break the shafts
973 I sewed the fringe in layers on
or pull them off the cord, so do this by
my dress. My 2-ply fringe was 977 Feeding the fringe and fabric
hand. When drying the feathers, fluff
prettier than the 1-ply, and the cord was under the needle very smoothly
them with a hair dryer on low and ruffle
better quality too. So I made sure the is key: I found basting actually prevented
them gently with your fingers. they may
2-ply fringe was the top layer. this, so I marked placement lines and
look like a hopeless, sodden mess when
simply fed the fringe in as I sewed along
974 the overcasting stitch by which
the line.
you take them out of the water, but they
I attached the cord of the 2-ply will look good as new in the end.
gave a finish that was nice enough to 978 the feathers hang from the cord
leave in full view. at a slight angle, from left to
right and I found sewing with the “grain”
worked best.
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bead hintS
981 If you’d like to add an upscale 982 It can be time consuming to sew 983 I was doing a bead embellish-
touch to your zip-up jackets, trim on ribbon simply because you ment. after playing around with
the zipper tapes with ribbon the way must stitch down both sides. a faster way the placement and for the umpteenth
active wear companies like Nike and to accomplish this is to use a twin needle. time bumping into the table and watching
patagonia do. But the grosgrain ribbon as long as the ribbon is a little wider than the arranged beads roll away, I used my
they use is hard to work with, and it’s dif- the twin needle spacing, this works great digital camera to snap a photo of my com-
ficult to get a perfect, consistent edge. a and will cut your sewing time in half. position. Better to rely on the camera’s
great alternative is packaged double-fold —newlywedws memory than mine, especially working
bias tape. The ¼" (6 mm) width of this late at night!
inexpensive and widely available tape is —Oopsy-Daisy!
the perfect size for outerwear zippers.
and it’s extremely easy to get foolproof 984 I use fusible crystals for embel-
lishment a lot and, although they
results when you stitch the tape to your
usually stay through many washings,
zipper before you sew it into your jacket:
sometimes they come off right away—it
Simply wrap the bias tape snugly around
depends on the fabric. Loosely woven
the edge of the zipper tape and sew 1/8" (3
fabrics or stress on the garment can be a
mm) from the edge of the bias. Use your
problem. Now I add a tiny drop of Fray
finger to ensure the tape is snugly folded
Check before fusing the crystals to the
around the zipper tape edge as you sew.
fabric and find that they stay on much bet-
—nancy2001
ter and even withstand my little grand-
Deepika adds: to add a whimsical touch son’s occasional attempts to pick them off.
to your jacket, make your own bias trim —granny geek
from a funky print.
Add embroidery or appliqué!

Thread and fabric itself can be the materials of terrific embellishments. Here
are creative ideas and practical advice for embroidery and appliqué.
Make Machine eMbroidery go SMoothly
985 If you are hooping lightweight 987 Make a thread sleeve or net for 988 Clip the threads between each
fabric or stabilizer, it can be dif- each cone. Late one night, my color change, otherwise you’ll
ficult to get the hoop to GrIp the fabric son ripped the one thread net that the have a mess.
firmly. Cut some strips of rubber grip mat machine came with. I did NOT want to
(drawer liner) and insert them between take a drive to the store, so I made a 989 have lots of bobbins prepared
and pre-wound. Now I know why
the stabilizer and the top (inner) hoop— bunch using some slippery Lycra fabric. I
they sell bobbins pre-wound with white
things will stay much firmer. the grip mat simply cut a strip the height of the thread
thread. I always thought it was rather silly,
is inexpensive and readily available in cone and cut and sewed it into little
but now that I’m making lots of machine-
home and hardware stores. tubes. the sleeve should be loose so as
embroidered items, I see the light.
—Shazza B not to create any extra tension on the
thread. having sleeves for each color is a
dale c says: I recently started using my
lot better than changing the net each
mom’s embroidery machine and here
time you switch cones.
are a few things I’ve learned—they make
embroidering a lot more fun.
986 Line up your threads in order.

that way you won’t get confused
as to which color comes next.
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creative Stitchery
990 When I was about to do the dec- 991 I’ve been making my own • If using ribbon, fuse Steam A Seam to
orative topstitching on the back embroidered ribbon because I the wrong side; it will stabilize it for
pockets of my jeans (you know—the swirly like the custom finish it gives to the embroidery and then affix it to your gar-
stitching across the pockets that you do clothes I make. this is a very easy and ment when you’re ready to sew it on.
before you put the pockets on) I realized I quick way to make a simple basic garment • Experiment to sew decorative stitches
was never going to get two pockets the quite unique. What I do: along the tape or ribbon length. I’ve
same. I had carefully transferred the pat- tried several that I like and used both
• Take a piece of pre-folded satin bias or
tern with chalk, but the lines were just too variegated metallic thread and silk
organza ribbon (bias is easier to “mold”
coarse to be identical guides. (I even con- thread in the color of the ribbon. the
with steam to match a neckline or a
sidered digitizing the dreaded “swirl” and results are very nice; I like best the varie-
flared skirt).
stitching it with my embroidery gated metallic thread version.
• If using bias tape, unfold and press it,
machine—how two little scribbles can bug —LauraLo
but not very hard, you still want those
you!) however my solution was very sim-
fold lines to show. Fuse Steam a Seam
ple: I traced the pocket pattern, including
fusible web to the wrong side of the
the swirl, twice onto tracing paper with a
tape, then refold the tape and fuse
fine pen. then I pinned a tracing to the
closed. (Careful, use a teflon sheet, you
right side of each pocket and topstitched
don’t want fusible residue on your iron.)
the design through the paper. Just peel
the Steam a Seam not only finishes the
the paper off and you’ve got two identical
tape, but acts as a stabilizer.
pockets with ready-to-wear detail.
—Agnes
MotifS to cut, print, or pad-and-Stitch
992 For a fun embellishment consider 993 Small photo portraits on kids’ 994 a friend showed me this way to
making dimensional cutouts clothes are a nice ready-to-wear copy a motif from an embroi-
from your garment fabric’s motifs. this detail that can work as a logo. I use photo- dered fabric in order to use it as a quilting
works best with medium-scale prints with shop elements, Microsoft Word, an inkjet motif. this can be nice if you’d like to
designs that are intact and easily cut printer, and June tailor print and press (a repeat the motif on a plain fabric to
around, such as a simple flower. to make printable fabric sheet with an iron on accent a garment made mostly of the
these I work as follows: adhesive backing) to make photo appli- embroidered one—I was adding a collar to
qués for my kids’ clothes. Here’s how: a top made of embroidered linen.
• Decide which motif would be used.
• Rough cut around it leaving about ½" (1.3 • Take a picture with good details in the • First, using the side of a pencil, I did a
cm) margin. face and import it into a picture editing rubbing of the embroidered motif to
• Fuse this rough cutout to paper-backed program. transfer it to tissue paper.
fusible webbing. peel off the backing and • Using the cookie cutter tool (or shapes), • I dropped the feed dogs and with an
then fuse the piece to buckram or very select the face. then change the color to unthreaded machine sewed the design
heavy interfacing. grayscale. I chose a circle shape to frame lines of the tracing, thus punching holes
• Fuse the buckram side to another piece their faces. in the tissue.
of fusible webbing. peel off the back • Fiddle with the constrast slider buttons • Made a “pouncer” of a loosely woven
and then fuse to fashion fabric again OR use filters like “stamp” or “cutout” to knit scrap with Chalkoner refill powder,
(needn’t be a motif) to cover the back. artistically blur the image. held closed with a rubber band.
• Now cut out the motif along its design • Change the colors by clicking “adjust • Laid my perforated pattern over
lines and use as an embellishment as color” (doing this produces gradations the right side of the plain fabric and
desired. of blue, red, purple, etc). pounced so the powder transferred
—CharityAK • To conserve the printable fabric, cut a through the perforations.
piece 3" 3 5" (7.6 3 12.7 cm)—index card • Padded the collar with a scrap of quilt
size. batting and then stitched free-motion
• In a word processing program, make a 3" using monofilament thread.
3 5" (7.6 3 12.7 cm) table with four cells —Londa Rohlfing
and no borders.
• Import your image into each cell.
• Print the table onto the fabric; cut into
four pieces, fuse each to a garment, and
stitch around the edges. Or use all four
images together as a large appliqué.
—lisaquilts
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Add texture!
PatternReview.com members share some cool ideas for adding texture all over or
to edges with tucks, subtle fabric manipulation, and embossing.
eMboSSing Savvy
995 embossing is a fun technique • The embossing works best on a napped and here’s how to emboss:
that can add texture to a gar- fabric. however, I also had some
• Place your resist textured-side up on a
ment. It’s simple and can be done with wonderful results on a piece of black
hard, pressing surface. then place your
items you already have on hand. here’s wool that had no nap. My best results
fabric napped side (right side) down
what you need to know in order to plan occurred on wool, terry, textured knit,
over the resist.
your project: corduroy, velvet, panne velvet, and
• Spray the back of the fabric with water.
moleskin. I found that too much pile was
• The garment will have to be dry-cleaned. It shouldn’t be soaking wet, but more
not successful. So—you will want to do
Washing and drying the garment will than a light misting.
samples before embossing any of your
destroy the embossed motif. • Press the fabric onto the resist with an
garment pieces.
• You will want to emboss the pieces iron on medium heat for about 20 sec-
• Select your resist. A resist is a textured
BEFORE garment construction. You will onds. the amount of heat and duration
item that has a raised design that can be
need to think through where you wish of heat will vary according to resist and
pressed into fabric. It needs to be able to
the embellishment detail to occur. along fabric. Do samples to see what works.
resist heat. I found that rubber stamps
a hem? On a pocket? As a border down that’s all there is to it!
can work if the heat is not too high or
a front closure? Consider seam allow- • Optional idea: You can also paint your
too sustained. Cookie cooling racks,
ances, facings, and such when planning resist with fabric paints embossing to
trims, lace, hardware pieces, drapery
the placement of embossed motifs. add color to your design.
hooks, even seashells could produce
—CharityAK
interesting results.
tuckS with panache
996 I created twisted tucks on the • Sew across the tucks again at regular tucks again at the same interval, but this
front of a vest made of an ethnic intervals (try 4" to 6" [10.2 to 15.2 cm]), time halfway between every two previ-
ikat fabric—these are closely spaced tucks until you reach the other end. ous lines of stitching. You can see the
that are pressed and stitched first to one • Now, in between the lines of stitching effect in the illustration.
side, then to the other, to created a wavy just made, press all the tucks in the • Cut your pattern piece from your tucked
texture. My vest closed with toggle loops opposite direction. Stitch across the fabric.
and bone buttons and it really turned out —CharityAK
neat. a good way to learn this traditional
technique is to use a plaid with a regular
repeat. the plaid’s horizontal and vertical
lines make wonderful stitching guides and
eliminate the need for marking:
• Fold and sew narrow tucks evenly
spaced across the width of your fabric.
the tucks take up a great deal of fabric,
so you will need to start with a much
wider piece than the pattern piece actu-
ally requires. Different sizes of tucks
produce different results, as does the
amount of spacing between them. You
may want to experiment until you get
the effect desired. I used ¼" (6 mm)
tucks spaced 3/8" (1 cm) apart.
• Press the stitched tucks in one direc-
tion—all to the right, or all to the left.
• Sew across the fabric, perpendicular
to the tucks, stitching about 1" (2.5 cm)
from one end of the tucks.
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997 Shark’s teeth embellishments are • Cut across the tucks at 1½" (3.8 cm) 998 the threads magazine Web site
rows of small adjacent fabric intervals (this is twice the depth of has an twin-needle reference
triangles that make a nice border treat- the tuck), cutting from the fold up to, chart you can download to learn how
ment. they look a bit like quilter’s prairie but not past, the seamline. Offset the to use a twin needle to create various
points, but they’re made from a tuck in slashes on alternate tucks so that the texture and surface designs. Go to
your fabric, not formed from separate cuts on one row meet the middle of the threadsmagazine.com and search for
pieces that must be individually sewn to tooth space on the next. “twin needle reference chart.”
your garment. they’re especially effective • Fold the cut edges of each tooth under — els
if you make multiple tucks so you have at a 45-degree angle, so they meet the
several rows of shark’s teeth, as shown seamline. press neatly as you go.
below. You can experiment with the pro- • To secure the folds, sew across the top
portions, but here’s the basic process for of the teeth right next to each tuck seam
making them: with a wide zigzag stitch. You can sew
through the tuck only, or stitch the tuck
• Create a series of tucks ¾" (1.9 cm) deep
down onto the garment, as you prefer.
and ¾" (1.9 cm) apart (so that when
—CharityAK
pressed to one side, the fold of one
tuck just meets the stitching of the next
tuck). how many tucks to do depends
upon your design; the illustration shows
three tucks. press the tucks in the direc-
tion you want the teeth to point.
Lift flap; fold corners to center.
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Add a scalloped neckline trim
Two PatternReview.com members have discovered clever ways to add a shell-like scalloped binding to a neckline or other edge.
One is subtle, the other more dimensional.
999 Sherril Miller adds a

narrow, delicate shell. here
is an easy to do trim to sew to the
neckline of any t-shirt. You need a
strip of knit fabric 1½" (3.8 cm) wide
folded in half lengthwise, right side
out. In your sewing machine, you need
to have matching thread. Set the
machine for the shell stitch, which
looks something like the blind hem
stitch except that is in reverse.
(Instead of the needle moving to the
left to make the prick stitch on the
hem, the shell stitch moves to the right
one stitch to make the shell.) here’s
the technique:
• Stitch along the folded edge of your • Sew up one of the garment shoul- • Then fold the trim up, into the neck
fabric strip, making sure that you get ders, leaving the other one unsewn. area, and press. With a twin needle,
the prick stitch to land just off the apply the shell-edge trim to the cover stitch, or tiny zigzag stitches,
fold. this will stretch your fabric out neckline, right sides together, topstitch the seam allowances onto
a bit, which is normal. (after testing stretching it a bit as you sew it on. the shirt. Sew up the shoulder seam
the stitch, you may have to tighten Make sure you sew just inside the and you’re done.
your thread tension.) then with straight stitch on the shell stitching.
your serger, serge the open edges that way, those stitches won’t show
together to finish the trim edge. on the outside of your garment.
1000 liana makes a twisted

binding. here’s a way to
make a decorative binding that
appears twisted—like a soft rope—that
looks pretty at a neckline. It is very
Fold down; offset alignment. cute with a contrast binding: Make a
binding strip, and mark straight across
it on the wrong side every inch (or so,
test to see what you like). Stitch one
edge of the binding to garment, right
sides together as usual. Wrap the bind-
ing over the garment edge, and instead
of aligning the two ends of each
marked line, shift them over by one,
matching the end of the line on the
loose edge of the binding with the next
line on the attached edge.
emBellishments 161
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MASTER CLASS WITH anna Mazur
Elegant Bead Embroidery

Anna Mazur is passionate about embellishment. Ask
her for an idea, or even ask what she’s working on, and
she’ll give you a long list of options and descriptions
of her many works in progress. If you’re lucky enough
to meet her face to face, you’re in for a treat. She’ll
pull one wonderful item after another from her tote
bag. Appliqué, beads, and elegant trims are what make
sewing exciting for her. PatternReview.com members
know Anna from her online chats and her enthusiastic
participation in weekend get-togethers. Contact Anna
at MazCouture@aol.com.
“I made this skirt for a special event and wanted

every detail to complement the sheer overlay, which
was a purchase I couldn’t resist: I took one look at
the embellished floral fabric and knew I had to have
it. I sewed ribbons to the under layer to make the lat-
tice background for the sheer. To give the skirt an ele-
gant finish, I bead-embroidered the waistband with a
dense lattice pattern. It’s not a big area, so this detail
was manageable and so worth it!
”
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Bead-embroider a motif
Bead embroidery is easy. There are only five basic
techniques, but with them you can make the sim-
plest item special. You don’t need to start a design
from scratch. Instead, you can enhance a motif
that’s already in your fabric. There’s no need to
transfer a design to your fabric! In this master class,
I’ll show you how to use those five basic techniques
to embellish a printed motif, an embroidered motif,
and an appliqué.
Start with an Appliqué

First, yes, you have to appliqué motifs onto your background,
but it doesn’t take long to do it. I use a bonding material to
“baste” the shapes and then permanently secure them with
an open, multi-step machine-zigzag stitch. For the example
shown, I simply scattered tiny beads over these motifs and
sewed them on individually. For the stems, I used machine
satin stitch to outline curvy shapes and then sewed shells
inside the outlines. For fun, there is a bead and shell pendant.
Try this technique on a pocket, collar, neckline, or hem. These floral appliqués (easy to apply by machine) look fancy with a scattering
of beads stitched onto selected petals.
Sewing BeadS individually

By sewing on beads one at a time you can add subtle highlights and create interesting delicate Beading tips
effects and light textures. You can easily incorporate beads in a variety of shapes and sizes. • There are several types of beading
thread, both waxed and not waxed, and
which to use depends a lot on personal
preference and the particular beads
you’re working with. Both beading
needles and thread come in various
sizes—you want to make sure your
choice for both will pass through the
hole of the bead you’re using. Ask a
salesperson for advice if you’re unsure.
• No matter which bead embroidery
technique you use, work with a single
1. Pick up a bead on the needle and let it 2. Pull the thread all the way through so the strand of thread, knotting one end. To
slide down the thread onto the fabric. Lay bead lies snug—but not so tight that the begin, always bring the needle up from
the bead on its side with the hole parallel fabric puckers—and repeat the process as the wrong side of the fabric. To finish,
to the surface; orient the bead to point in you wish. If you like, instead of laying the knot the thread on the wrong side
the desired direction. Insert the needle bead on its side, orient the hole straight again and cut off the excess.
back through the fabric right next to the up, slide a smaller bead onto the thread
free end of the bead. and then pass the needle back through
the first bead, pulling the small bead snug
against the larger one.
Master Class with anna Mazur 163
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Start with a Print beading Satin Stitch
Choose a printed fabric with a clear motif By securing several beads in one stitch, and arranging these beaded stitches next to one
that can be enhanced with different beaded another or in radiating patterns, you can create a satin-stitch effect.
treatments. I’ve highlighted various parts of
this stylized floral print with couched strung
beads and satin-stitched beads: It’s begin-
ning to sparkle; I might add more beads to
some of the leaves or the red flowers. the
fabric you begin with will affect the kind
of garment or accessory you make, but I
like this approach for a bag, belt, or jacket
front or to highlight an interestingly shaped
pocket, yoke, or similar detail.
1. pick up several beads on the needle and 4. Vary the orientation of the stitches to
let them slide down the thread onto the create different effects. Groups of per-
fabric. Lay the group of beads on its side pendicular stitches form a basket-weave
with their holes parallel to the fabric and effect. Stitches placed on an angle are
their ends flush against each other. Ori- good for leaves.
ent the stitch in the desired direction.
2. Insert the needle back into the fabric
right where you want the loose end of
the stitch to be secured. to start the next
stitch, float the thread under the fabric
and bring the needle up again next to the
beginning of the first stitch and half a
bead width away—this creates space for
the beads on the second stitch.
3. repeat this process as many times as you
like.
A printed motif sparkles when accented with

glass bead embroidery.
beading a long Straight line

this process is really the same as sewing a backstitch, but you incorporate beads as you go. I’ve separated the beads slightly for photography,
so you can see the thread, but you want their ends to be touching.
1. pick up two beads on the needle and let the stitch to be secured. Bring it up again 4. here you can see the result when many
them slide down the thread onto the between the beads. pass it through the beads are affixed end-to-end by this back-
fabric. Lay them on their sides, with the second bead again. stitch process.
holes parallel to the fabric and their ends
3. pick up two more beads and repeat the
flush against each other. Orient the stitch
process. Keep the line of beads straight.
in the desired direction.
When you make the next backstitch,
2. Insert the needle back into the fabric bring the needle up between the third
right where you want the loose end of and fourth beads.
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Start with Thread beading a SMall pendant
Embroidery It’s easy to create small dangling bead pendants. Use them to accent a neckline, a shaped
pocket, or a decorative motif.
I like to begin with a fabric that’s embroi-
dered in a color that matches the back-
ground or is just a shade different. In this
example, Jennifer haseman of jsterndesigns.
com used a purchased digital design to
machine embroider the motif that I used
as a base for the beads. You could also
start with an embroidered linen fabric or
accessory, or an embroidered ready-to-wear
item—a sweater would be a lovely choice.
this motif gave me a great start; satin-
stitched beads follow the shape of the
flirty peplum, individual beads accent the 1. Choose three beads for your pendant 3. Insert the needle back through the fabric
bodice and skirt, and I added little pendants and arrange them in sequence; the bot- and pull the thread taut until the stop-
for earrings. tom bead is called the stopper. Insert the per is flush with the middle bead. Lay the
needle through them so that the stopper pendant against the fabric before you
is the last one you pick up. Let them slide secure the thread on the wrong side—you
down the thread onto the fabric. don’t want it so tight it sticks straight
out, it should dangle.
2. Bypass the stopper and insert the needle
back through the two other beads, in 4. Now that you’ve made one pendant, put
reverse order. your imagination to work: You’re not
limited to three beads and the variations
possible are nearly endless.
couching beadS in a curve

to apply beads in a curved pattern, you use two threaded needles—one for stringing the
beads and one for attaching the string of beads to the fabric.
3. pull the second needle through to the

wrong side so the thread is taut. Bring it
out again several beads farther along and
take another stitch between two beads.
Continue in this way until the string of
beads is secured in the desired pattern.
You can add more beads to the first
thread as you go.
4. Finish off by inserting both needles to
the wrong side at the same point; pull the
1. String as many beads as needed (or as threads through and knot to secure.
manageable) on the first needle and let
them slide down the thread onto the
fabric. temporarily secure the needle in
the fabric so that the beads won’t fall
off while you work. arrange the first few
beads to follow the desired curve.
2. Bring the second needle up through the
fabric three or four beads away from
the first bead. take a stitch over the first
thread, between two beads.
I took a literal approach to embellishing this
thread embroidery, using the beads as they
might be used on a real dress of this style. 5. You can make the curve as tight or loose
as you like. If you make a spiral, be sure to
start at the center and work out.
master class with anna mazur 165
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090-168_18599.indd 165 4/30/10 9:23:30 AM
Appendix
PatternReview.com Useful URLs Sarah Veblen Class: Understanding Knit Fabrics
www.patternreview.com/class/58
Go online to check out PatternReview.com. Here
are some especially cool features (links are case Stitch ‘n’ Flip Jacket Class
sensitive): www.patternreview.com/class/40
PatternReview.com mobile site (only for Friends of All About Buttons and Buttonholes
PR members) www.patternreview.com/class/92
http://mobile.patternreview.com Knots and Frogs
Find your perfect sewing machine in the Sewing www.patternreview.com/class/95
Machine Central Embellishments and Trims Workshop
www.patternreview.com/SewingMachine www.patternreview.com/class/49
Deepika's Fabric Organizer Form Four-part Guide to Cover Stitch Hems
www.patternreview.com/downloads/ Part 1 [Buying Your Coverpro ]
FabricOrganizer.pdf http://sewing.patternreview.com/
PR Member Sewing Spaces Photos SewingDiscussions/topic/41698
www.patternreview.com/sewingspaces Part 2 [Supplies, Feet, Binders ]
PR Member Favorite Snoop Shopping Web sites http://sewing.patternreview.com/
www.patternreview.com/snoopshopping SewingDiscussions/topic/41699
PR Fitting Forum Part 3 [Learning to Use Your Coverpro ]

sewing.patternreview.com/ http://sewing.patternreview.com/
SewingDiscussions/forum/35 SewingDiscussions/topic/41700
Part 4 [Sewing Tips & Sample Projects ]
Classes, Chats & Articles http://sewing.patternreview.com/
Faux Fur Class SewingDiscussions/topic/41701
www.patternreview.com/class/93
David Coffin Chat: Construction Techniques in
Better Photos of Your Work Men’s and Women's Clothing
http://sewing.patternreview.com/article/022308 www.patternreview.com/chat/dpc_part_1
No Time to Sew
http://sewing.patternreview.com/article/110202
Helpful Pressing Techniques
http://sewing.patternreview.com/article/011803
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090-168_C56870.indd 166 5/18/10 5:21:23 PM
Index
adjustable waistbands, 123 zippers, 47 fiber content, 62
Alençon lace cocktail dress project, 77–78 discontinued patterns, 60 fittings
alterations and adjustments drapery panels, 139 alterations, 93, 96, 97
cutting, 85 drawstrings, 120 body types, 95–96
fittings, 93, 96, 97 dress forms, 17, 19, 23, 92, 93, 94 checklists, 92
notations, 108 crotch curves, 96
patterns, 48, 55 elastics dress forms, 17, 19, 23, 92, 93, 94
seams, 117 casings, 121, 122 fitting buddies, 94
clear, 119 intimates, 98
basting, 109 fold-over, 119 modesty, 97
beads pre-washing, 74 muslins, 93
bead-embroidered skirt project, seams and, 113 photos, 93
162–165 tangle-free, 36 sizing, 91
embellishing with, 157, 162–165 thread, 118 tips and tricks, 92
bias garments, 135 tips and tricks, 119 waistbands, 97
bindings, 125, 127 waistbands, 121, 122, 123 flat hems, 132
blind stitching, 127 embellishments fleece, 63
bobbins, 70, 71, 72 beads, 157, 162–165
bulky areas, 57, 137 creative stitching, 158 games, 109
Burda WOF patterns, 53 embossing, 159 Gifford, Shannon, 6, 150
bustlines, 84, 91, 92 feather fringe, 156 gloves, 24
buttons. See also fasteners; zippers. finishing touches, 147–148, 149 godets, 112
buttonholes, 83, 143, 144 machine embroidery, 157
button loops, 145 motifs, 158 hand-sewing
covering, 144 ribbons, 156–157 needles, 22
sewing, 144 scalloped neckline trim, 161 thread, 69
tips and tricks, 76, 146–147 textures, 159–160 hems
tips and tricks, 155 cover stitches, 129
centered zippers, 123 tucks, 159–160 curved, 130
children’s designs, 47 embossing, 159 flat, 132
couture finishes, 114 embroidery, 157 lettuce-edge, 128
cover stitches, 14, 39, 129, 132 existing garment patterns, 43, 54 narrow, 129
creative stitching, 158 outside hems, 131
croquis, 47 fabrics preparation, 131
crotch curves, 96 care requirements, 62 sergers, 13, 71, 117, 127, 128, 150–153
curved hems, 130 extensions, 83 sewing, 127–132
curved patterns, 55 faux fur, 68 sheer fabrics, 128
cutting fiber content, 62 tips and tricks, 127
alterations, 85 fleece, 63 unstable, 129
bustlines, 84 knits, 66 hoodie dress project, 37–40
buttonholes, 83 lamé, 100, 102–104
lamé fabrics, 102–104 leather/pleather, 65 instruction sheets, 23, 25, 32, 109
narrow strips, 86 nylon, 63 intimates, 98
stripes, 84 organization, 30–31 invisible zippers, 123, 125
tips and tricks, 82, 86 plastics and, 68
unstable fabrics, 84, 85 preshrinking, 64–65 Khalje, Susan, 77
cutting tables and tools pressing, 63 King, Kenneth, 99
rayon, 64 knit fabrics, 66
fatigue, 19 scraps, 68
improvising, 18 sheer, 128 labels, 149
pattern weights, 18 shrinking, 63 lamé fabrics, 100, 102–104
rotary cutters, 19 silk, 64, 67 layout, 82, 83, 85
seam rippers, 18, 117 stashes, 83 leather/pleather, 65
surfaces, 19 unstable, 84, 85 lettuce-edge hems, 128
tips and tricks, 19 velvet, 65, 67
facings, 134, 138 magnifiers, 24
dangling threads, 109 fasteners. See also buttons; zippers. marking and measuring
dart tips, 116 buttonholes, 143, 144 dots and notches, 89
design button loops, 145 mark removal, 21
children, 47 buttons, 144, 146–147 pattern organization, 88
croquis, 47 no-sew snaps, 142 perforations, 88
details, 46, 47 snap closures, 145 pleats, 88
inspiration, 42 fatigue shopping measurements, 59
pattern stashes, 46 cutting tables, 19 side identification, 88
revisions, 44, 45 sewing machines, 13 sticky labels, 20
side-seams, 45 faux fur, 68 tips and tricks, 20, 21, 87
sketches, 43 feather fringes, 156 tracing, 20
167
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090-168_C56870.indd 167 5/18/10 5:21:23 PM
Master Class projects recycling, 61 shopping
Alençon lace cocktail dress, 77–78 ribbon embellishments, 156–157 discontinued patterns, 60
bead-embroidered skirt, 162–165 rolled hem jacket project, 150–153 measurements, 59
hoodie dress, 37–40 rotary cutters, 19 online, 61
rolled hem jacket, 150–153 plaids, 60
toreador jacket, 99–104 scalloped necklines, 161 preparation, 60
Mazur, Anna, 162 scraps, 68 recycling, 61
metallic thread, 72 seam rippers, 18, 117 resources, 59
muslins, 93 seams shrinking, 63, 64–65
allowances, 12, 51, 52 side-seams, 45
narrow hems, 129 bulky areas, 57, 137 silk fabrics, 64, 67
needles corrections, 117 sketches, 43
hand-sewing needles, 22 couture finishes, 114 skirt hangers, 24
pins, 22, 109 dart tips, 116 sleeves, 135, 137
sewing machine needles, 12, 13, 14 godets, 112 snaps, 142, 145
organization, 28 guides, 12 spool holders, 73
threading, 71, 73 pattern matching, 115 stashes, 46, 83
neckbands, 139 rippers, 18, 117 stitches
notions serged, 117 blind, 127
buttons, 76 sewing, 111–116 creative stitching, 158
fusion, 76 stretch control, 113–114 cover stitching, 14, 39, 129, 132
organization, 36 tails, 116 repairing, 117
riveting, 76 testing, 114 stay stitching, 113
seam tape, 76 thread tails, 116 stitch-in-the-ditch, 14
stabilizers, 74, 75 tips and tricks, 111, 112 straight, 111, 113
tips and tricks, 74 trimming, 115 tips and tricks, 112, 117, 127
zippers, 75 sergers, 13, 71, 117, 127, 128, 150–153 topstitching, 14, 67, 69, 73, 111, 125, 141–142
nylon fabrics, 63 sewing zigzag, 13, 112
alteration notations, 108 stretch control, 113–114
odds and ends bastings, 109 stripes, 44, 84
gloves, 24 bias garments, 135
handwork tips, 24 bindings, 125, 127 tailoring, 136, 137
magnifiers, 24 bra padding, 139 tape, 23
skirt hangers, 24 buttons, 144 templates, 55, 89
tape, 23 dangling threads, 109 textures, 159–160
“third hands,” 23 details, 132–133 thread
waxed paper, 23 drapery panels, 139 bobbins, 70, 71, 72
online shopping, 61 elastics, 118–119 color, 73
organization and cleanup facings, 134, 138 dangling, 109
fabrics, 30–31 games, 109 hand-sewing, 69
needles, 28 gathering, 107 metallic, 72
notions, 29, 36 hems, 127–132 organizing, 34–35
patterns, 31–33, 88 instruction sheets, 109 seam tails, 116
task-driven, 28 neckbands, 139 sergers, 13, 71, 127, 128, 150–153
thread, 34–35 pants pockets, 138 spool holders, 73
tips and tricks, 24, 25 patch pockets, 136 tails, 116
outside hems, 131 pillows, 139 threading, 12, 71, 73
pinning, 109 Woolly Nylons, 71, 72
pants pockets, 138 piping, 126 topstitching, 14, 67, 69, 73, 111, 125, 141–142
patch pockets, 136 pressing, 110–111 toreador jacket project, 99–104
patterns seams, 111–116 tracing, 20, 49, 50, 53, 54
adjustments, 48, 55 sleeves, 135, 137 trimmings. See embellishments.
Burda WOF, 53 tailoring, 136, 137 tube turners, 126
curves, 55 timesaving, 106 tucks, 159–160
discontinued, 60 tube turners, 126
existing garments, 43, 54 underlinings, 134 ultraviolet protection, 62
matching, 115 zippers, 123–125 underlinings, 134
organization, 31–33, 88 sewing machines unstable fabrics
preparation, 56 bobbins, 70, 71, 72 cutting, 84, 85
reinforcement, 51 cover stitch machines, 14 hems, 129
seams, 51, 52, 57 embroidery, 157
stashes, 46 error prevention, 13 Veblen, Sarah, 37
templates, 55 fatigue, 13 velvet, 65, 67
tracing, 49, 50, 53, 54 feet, 14
weights, 18 grips, 12 waistbands
perforations, 88 maintenance, 11 adjustable, 123
pillows, 139 needles, 12, 13, 14 casings and drawstrings, 120
pins, 22, 109 seam guides, 12 elastic, 121, 123
piping, 126 sergers, 13, 71, 117, 127, 128, 150–153 fitting, 97
plaids, 60 threading, 12 tips and tricks, 122
plastics, 65, 68 transporting, 11 waxed paper, 23
pleats, 88 zigzag stitches, 13 weights, 18
preshrinking, 64–65 sewing rooms Woolly Nylons, 71, 72
pressing equipment cleaning, 28
burns, 16 efficiency, 27 zigzag stitches, 13, 112
filling, 15 fabric organization, 30–31 zippers. See also buttons; fasteners.
fusing, 15 idea notations, 29 centered, 123
ironing boards, 16 lighting, 27 design and, 47
maintenance, 15 notion organization, 29, 36 invisible, 123, 125
scorches, 15 pattern organization, 31–33 lining, 123
seam rolls, 17 pressers, 28 sewing, 123–125
templates, 16 task-driven organization, 28 tips and tricks, 75, 124
thread organization, 34–35 topstitching, 125
rayon fabrics, 64 sheer fabrics, 128
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090-168_C56870.indd 168 5/18/10 5:21:24 PM
Copyright 2010 Creative Publishing international, Inc.
All rights reserved. No part of this work covered by the copyrights hereon may be reproduced or used in any form or by any
means—graphic, electronic, or mechanical, including photocopying, recording, or taping of information on storage and retrieval
systems—without the written permission of the publisher.
Due to differing conditions, materials, and skill levels, the publisher and various manufacturers disclaim any liability for
unsatisfactory results or injury due to improper use of tools, materials, or information in this publication.
very effort was made to contact members for their permission to print their tips, and to credit tips to the appropriate members.
We greatly appreciate all the tips sent in by members of PatternReview.com, and regret that we are unable to use all of them in
the book.
First published in the nited States of America by

Creative Publishing international, Inc., a member of
uayside Publishing roup
400 First Avenue North
Suite 300
Minneapolis, MN 55401
1-800-328-3895
www.creativepub.com
IS N-13: 978-1-58923-502-1
IS N-10: 1-58923-502-9
10 9 8 7 6 5 4 3 2 1
Library of Congress Cataloging-in-Publication Data
Prakash, Deepika.
Patternreview.com 1,000 clever sewing shortcuts tips : top-rated
favorites from sewing fans and master teachers / Deepika Prakash
foreword by Sandra etzina.
p. cm.
Summary: " ne thousand sewing tips compiled from members of the
popular sewing website: www.PatternReview.com plus five classes on
specific sewing techniques taught by leading sewing
specialists"--Provided by publisher.
IS N-13: 978-1-58923-502-1 (soft cover)
IS N-10: 1-58923-502-9 (soft cover)
1. Machine sewing. 2. Machine sewing--technique. I. title.
tt713.P73 2010
646.2--dc22
2010016770
Developmental editor: Carol Spier
Cover Design: Dutton Serman Design
ook Design: Dutton Serman Design
Illustrations: eather Lambert
Photographs:
lenn Scott Photography: 37, 77, 99, 150, 162
Michael DePhilippi: 38, 39,40, 78, 79, 80
Courtesy of enneth D. ing: 100-104
Courtesy of Shannon ifford: 151-153
Courtesy of Anna Mazur: 163-165
Printed in China
001-089_18599.indd 2 4/30/10 10:03:34 AM

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1000

001-089_18599.indd 1 4/30/10 10:03:34 AM

001-089_18599.indd 3 4/30/10 10:03:35 AM

CoNTeNTS Pressing equipment 15

Fabric, Thread & Notions 58

Set Up Your Sewing Room 26

001-089_18599.indd 4 4/30/10 10:03:48 AM

Fitting 90 Master Classes from

001-089_18599.indd 5 4/30/10 10:03:57 AM

001-089_18599.indd 6 4/30/10 10:03:59 AM

001-089_18599.indd 7 4/30/10 10:04:00 AM

the story of Patternreview.com

001-089_18599.indd 8 4/30/10 10:04:01 AM

001-089_18599.indd 9 4/30/10 10:04:02 AM

“ I talked my husband into agreeing

001-089_18599.indd 10 4/30/10 10:04:03 AM

Take iT alOng uSe iT RighT OR lOSe iT

Clean OuT The linT wiTh

001-089_18599.indd 11 4/30/10 10:35:49 AM

needleS & ThReading

Seam guide SOluTiOnS

001-089_18599.indd 12 4/30/10 10:35:51 AM

an OunCe Of pRevenTiOn baniSh SeweR’S aChe

001-089_18599.indd 13 4/30/10 10:35:54 AM

The cover STiTch advanTage UniverSal needleS

001-089_18599.indd 14 4/30/10 10:35:56 AM

hOuSehOld hinTS fOR a Clean SOleplaTe

nO-Spill filling SCORCh RemOveR

ThingS ThaT make fuSing eaSieR

001-089_18599.indd 15 4/30/10 10:35:58 AM

invenTive iROning bOaRdS

TemplaTeS: lOve Them, make Them, STORe Them

001-089_18599.indd 16 4/30/10 10:35:58 AM

dummieS: CuSTOm & COlleCTible

001-089_18599.indd 17 4/30/10 10:04:16 AM

My sister-in-law (who is 6' [1.85 m] I made a great cutting table at the

The Ironing Board

001-089_18599.indd 18 4/30/10 10:04:19 AM

Snip TipS RaiSe iT TO Save yOuR baCk

001-089_18599.indd 19 4/30/10 10:04:21 AM

STiCky maRkS STay puT

001-089_18599.indd 20 4/30/10 10:04:25 AM

109 A pizza cutter marks fabric more

fine lineS, viSible dOTS

001-089_18599.indd 21 4/30/10 10:04:27 AM

impROmpTu pin & needle hOldeRS pin SubSTiTuTeS

ThiS & ThaT fOR

001-089_18599.indd 22 4/30/10 10:04:31 AM

waxed & adding

001-089_C56870.indd 23 5/18/10 5:13:48 PM

glOveS fOR a gOOd gRip SkiRT hangeR impROv

cleanup aids 148 the little revolving desk orga-

001-089_18599.indd 24 4/30/10 10:04:38 AM

make a Clean Swipe

001-089_18599.indd 25 4/30/10 11:20:19 AM

“ I savor everything about sewing:

001-089_18599.indd 26 4/30/10 10:04:40 AM

ORdeR + effiCienCy = mORe Sewing!

hOORay fOR laRge divided COnTaineRS maximize yOuR lighTing

001-089_18599.indd 27 4/30/10 10:04:41 AM

179 debbie lancaster’s cat- 180 elizajo’s out-of-sight system.

001-089_18599.indd 28 4/30/10 10:04:46 AM

ReCORd ideaS & infO in a