Threads Magazine 121 - November 2005

FOR PEOPLE WHO LOVE TO SEW
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inside a
34 Chanel jacket
features
34 COVE R STORY Inside a Chanel Jacket

Subtle quilting, hand-finished seams, a chain
weight hem, and fine trims are hallmarks of
this classic garment
BY SU S AN KH A LJ E
ON LI N E EXTRA VisitThreadsMagazine,com
for a behind-the-scenes look at the making
of this article
41 Sewing is a Family Tradition

What moms and their kids can learn from
each other
BY RUTH F R E SI A AN D C A ROL F R E SI A
46 Build Lightweight Warmth

into Coats
Put the cozy where it counts
BY P A D DY E M ANN
52 Choosing, Using, and Caring for

Scissors and Shears :e�"80c
How to get the very best cut for the task
at hand
'"0
�;;:Q;rn �0
�:5::;'"
BY C A ROL AHL E S
�';; 58 How to Make a Muslin

1'0E:ii Testing your pattern in throw-away yardage
is well worth the effort
.g
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BY J ENNIF E R S AU E R w:::J
.c'n; �u
�i0urn 64 Ah Ha! Pattern Principles .0'0>,
Shedding light on the formulas of
'0''";;
"-ie
patternmaking and modification
i BY SU S AN L AZ E A R
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Ic
Vibrn00
threadsmagazine.com
.c"-'"0>
u
_ _ depMiments
UP FRONT
C O N TR I B U T O R S 6
,,..
LETTERS 8
�'N OT I O N S 12
Sewing totes, designer
interfacing, wrought-iron tools,
12 oil injectors, sewing lessons on a

DVD, organza sources
notions:
sewing totes T I PS 18
Marking hems, tape for narrow
hems, cinematic inspiration, egg
cups for pins
BASICS
Knits
22
VS. wovens
,,..
�' PATTE R N REV I EW
Fast and easy styles
28
,,..IN THE BACK68

�'REA D E R ' S C LO S ET
,,.. 70
�'E M B ELLI S H MENTS
58 An encrusted lapel just got easier
make a
muslin
74
Q&A
Add flare to coats, fabric ball
buttons, hand-rolled edges
,,..
28
�'MASTER C LA S S
Raw edges
80
pattern
A DVERT I SER I N DEX!
review
WEB D I RECTO RY 96
CLO S U RES
Sewing room
98
,,..
�'F I N E FAB RIC back cover
Em broidered organza
52 , ,..
all about �'NEW DEPARTMENTS!
scissors
RUTH CIEMNOCZOLOWSKI
lishments") loves needles-sewi n g need les, k n itting
("Embel threads
needles, bea d i n g needles-anyt h i n g with a pOi nted end ASSOCIATE PUBLISHER
Angelyn Termini
that has to do with fiber a rts. She learned to sew at age
MANAGING EDITOR
4, a n d today she makes costu mes fo r ch ild ren's theater
Jefferson Kolle
and advertising agencies, a mong other clients, and sews
masterful wed d i ng gowns. When she's not i nstructing ART DIRECTOR
Robin L.Mazzola
people o n the pronu nciation of her last n a me (Sim-in
Ruth Ciemnoczolowski ASSOCIATE EDITORS
o h-sal-ow-ski) in her hometown of Omaha, Neb., you'll
Carol J. Fresia,Judith Neukam,
always fi nd her with some k i n d of needle in her h a n d .
Jennifer Sauer
JENNIFER SAUER (" Make a Muslin") d i d n't

ART ASSISTANT
lisa Summerell
start sewing u ntil her sophomore year of college. After
EDITORIAL SECRETARY
completing an English degree and working as an editor
April Mohr
for a few yea rs, Jen left her job and d rove cross country
CONTRIBUTING EDITORS
to San Francisco on a whim, where she en rolled in a n
linda Lee, Mary Ray,
i ntensive 1 v,-year course a t t h e Fashion I nstitute o f De Susan Khalje
sign a n d Mercha n d ising. A job posting on Monster.com
brought her to Threads, where she is now an associate SINGLE COPY SALES MANAGER
Mark Stiekman
editor. "For me, it's the perfect job," she says. "What could
be better than going to work a n d talking, writing, a n d SENIOR PUBLICITY MANAGER
Tonya Polydoroff
editing a bout what I l ove most?"
Jennifer Sauer
rn ADVERTISING DIRECTOR
RUTH FRESIA (" Sewing is a Family Tradition")
""
Jeff Dwight
made her fi rst garments, ped a l pushers and a blouse "�00
''" ASSOCIATE ADVERTISING SALES MANAGER
with flat-felled seams, at the age of 11. From there, she
went on to become a h igh school English teacher, a cus-
"
Tracey Lenahan
ADVERTISING SALES SUPPORT SUPERVISOR

tom d ressmaker, a picture fra mer, a costu m e stitcher,
leader of a B rown i e troop, a wed d i ng cake decorator,
�'�Vi� Marjorie Brown
ADVERTISING SALES SUPPORT ASSOCIATE

a grad uate student, a k n itwear designer, a professor of 3! Patricia Solomon
mathematics, a nd, of cou rse, the mother to Threads asso- �
ciate editor Ca rol Fresia, as well as two other daughters.
u
]"" Threads: (ISSN: 0882·7370) is published bimonthly
by The Taunton Press, Inc., Newtown, CT 06470-5506.
a n d a p preciative fa m i ly and friends. "E&��

Along the way, sh e's sewed lots of clothes for a d m i r i n g
Telephone 203-426-8171. Periodicals postage paid at
Newtown, CT 06470 and at additional mailing offices.
Ruth Fresia ---------------------------------------------
CAROL FRESIA
� � GST paid registration #123210981.
� Subscription Rates: U.S.

(" Sewing is a Family Tradition") and Canada: $32.95 for
�130.
started her fi rst garment, a brown, flowe red, q u ilted
j u m per, in her seventh-grade home eco nom ics class. " It U.s. one year, $54.95 for two years, $78.95 for three years
(GST included, payable in funds); outside the U.S.
and Canada: $38.95 for one year, $66.95 for two years,
was h ideous," she said. "I never fi nished it." Ca rol's sew-
U.s.
��j Postmaster:
� $96.95 for three years (payable in funds). Single
U. s
i n g la psed d u ri n g COllege, a n d she d i d n't start a ga i n u n -
til after she com pleted her doctorate in a rt h istory, got
. , copy, $6.99 in the and $8.99 in Canada.
ma rried, a n d had her fi rst ch ild. "I needed to fix a pa i r of

..� Threads, Send address changes to
The Taunton Press, Inc., 63 S. Main St., PO Box 5506,
kids' pa nts," she says. "And that started my obsession a l l Newtown, CT 06470-5506.
over aga i n ." A cha nce visit to the
""�� Canada Post:Threads,
Threads website
listing for a job ope n i n g brought her to the magazi ne,
and a
addresses to
Return undeliverable Canadian
c/o Worldwide Mailers, Inc.,
where she is now an associate ed itor. .22 2744 Edna St., Windsor, ON N8Y1V2, or email to
Carol Fresia c:UE..:5 Printed in the USA mnfa@taunton.com
:;'"";
6 THREADS
NEW! .durifll rc:hrlJad rr:7Iub
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SIZES XS-XXL 12 spools/month - 9 months
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2005
O C T OB E R/N O V E MBER 7
PUBLISHER'S NOTE
Sewing Circles The Taunton Press
Inspiration for hands-on living®
O
ver the years, you've undoubtedly
I NDEPE NDENT PUBLISHERS SINCE 1975
changed the way you sew buttonholes.
You m ight have figured out a better way TAUNTON, INC.
Founders. Paul and Jan Roman
on your own, m aybe someone showed you how
to make an i mprovement, or, hopefully, you
THE TAUNTON PRESS
learned a new method from Threads.
President 6- CEO John Lively
Editor In Chief Sue Roman

Magazine ma kers a re a lso always looking for ways Chief Financial Officer Timothy Rahr
to cha nge and improve. We get a lot of correspon Chief of Operations Thomas Luxeder
Publisher, Magazine Group Jon Miller

dence-email, snail mail, and postings on Gatherings,
Publisher, Book Group James Childs
the Threads' Web forum-some extolling our virtues,
Angie Termini others telling us what we're doing wrong. We've put a
DIRECTORS
Creative Director
Associate Publisher lot of heed i nto what you've said, and we spent a long Human Resources Director
Susan Edelman
Carol Marotti
time looking at the way we do things. Technology Services Director Edward Kingston
Some of you r letters say, "I want more information Controller Wayne Reynolds
Marketing Director, Magazines Diana A1lwein

on advanced couture techniques," while others start
Fulfillment Director Patricia W illiamson
with the line, '' I'm a begin ner and can't u nderstand all
TAUNTON TRADE COMPANY
the advanced a rticles . ... " Treasurer, Timothy Rahr
With this issue, which a lso happens to be a celebra TAUNTON DIRECT

tion of our 20th anniversary, we've started six new President, Sarah Roman
departments. You'll find good solid information for TAUNTON NEW MEDIA
Publisher, Thomas Falconer
garment sewers of a l l experience levels. We've also
completely redesigned the magazine, starting with
THE TAUNTON STAFF
our bold new cover and extending a l l the way through
Books: Maarketing: Melissa A. Possick, Audrey Locorotondo,
to the last page.
we�dlove
Susan Straub. Publicity: Nicole Radder, Janel Noblin. Editorial:
We think of Threads as being akin to the world's best Maria Taylor, Helen AJben, Kathryn Benoit,Peter Chapman,
f to near,
BarbaraCole, SteveCulpepper,Robyn Doyon-Aitken,Julie
sewing circle-the place to get the best information Hamilton,Pamela Hoenig,Carolyn Mandarano, Jennifer
rom you.
Peters,AmyReilly,Erica Sanders-Foege, Kathleen Williams.
on you r beloved craft. And similar to the advice you
Art: Nancy Boudreau, Kathy Kelley,Sandra Mahlstedt, Wendi
give and get in a sewing circle, we fully expect feed Mijal, Tinsley Morrison, Lynne Phillips, Carol Singer.
Manufacturing: Thomas Greco, Laura Burrone.
back on our magazine. Here's to better buttonholes BusinessOffice: Holly Smith, Gayle Hammond. Legal:
Send your letters to:
and a wider, better-informed circle of sewers. Carolyn Kovaleski. Magazine Print Production: Philip Van Kirk,
Threads Letters
Nicole Anastas,Jennifer Kaczmarcyk.
PO Box 5506 Angie Termini, Associate Publisher, Threads Distribution: Paul Seipold, Frank Busino, David DeToto,
Newtown, Con n . 06470-5506
or via email
�---------------------------------------------
I
Leanne Furlong, Deborah Greene, Linnea Ingram, Frank
Melbourne, Frederick Monnes,Reinaldo Moreno, Raymond
Passaro, Chad Piche,Thomas St. Cyr, Alice Saxton.
Th readsLetters@ta u nton.com KUDO S A ND CRITIQU E S
Finance/Accounting: Finance: Kathy Worth, Brett Manning,
The article in your last issue, "A Pin for Every Pur David Pond. Accounting: Patrick Lamontagne, Dorothy
Carbone, Lydia Krikorian,Judith O'Toole, Elaine Yamin,
pose," was valuable to me even though I have been Carol Diehm, Dorothy Blasko,Susan Burke, Lorraine Parsons,
40
sewing for almost years. I also love the "chic,
flowing skirt" article and know that my grand
Larry Rice. Priscilla Wakeman.
Fulfillment: Diane Goulart. Fulfillment Systems: Jodi Klein,

LisaChartrand, Nancy Knorr, Dawn Viglione. Customer
daughter will want to make it! Service: Ellen Grassi. Michelle Amoroso, Bonnie Beardsley,
Deborah Ciccio, Katherine Clarke, Alfred Dreher, Monica
"Drivers' Ed for Sewing Machines" will find its Duhancik, Kimberly Eads, Margaret Hicock, Eileen McNulty,
way into her Christmas stocking to go along with 'E Patricia Parks, Deana Parker, Patricia Pineau, Betty Stepney.
the sewing machine her mother is giving her for � Data Entry: Melissa Dugan, Anne Champlin, Mary Ann
Ioc Colben, Barbara Lowe, Maureen Pekar, Debra Sennefelder,
Christmas! rn Andrea Shorrock, Marylou Thompson, Barbara Williams,

Vio Brian Wilcox.
I use piping and cording in a lot of my sewing
-&..8
o Human Resources: Linda Ballerini, Christine Lincoln,
Dawn Ussery.
8 T H READS
Information Technology Services: Applications Development:
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Marketing: Dominique Clancy, Wendy Hensel, Ellen

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Relations: Tonya Polydoroff, Rebecca Murphy
Operations: Joseph Morits. Roberta Calabrese, Kevin

E X P OSM your unique lia
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ntfmalie
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items
DeGroare, John Gedney, Marc Imbimbo, Sally Kirwan,
Jennifer Licursi, Susan Nerich. Jeanneue Pascal.
Michael Louchen. Geraldine Ben no, Anna Pendergast, Anne
T Room: (505) 286-1783
'FAgewooa, :New !MtJdco
Scheurer, Norma-Jean Taylor. Maintenance: AJvin Jack, Lincoln
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��..�� READER SERVICE NO. 137 .. ��
Promotion: William Brady, Mary Beth Cleary, Michele
Mayernik, Sandra Motyka,William Sims. Promotion Print
Production: Diane Flanagan,John Cavallaro, Sandra Hannan.
FALL 2005 Fare Tahiti Fabrics
SeptCHANTILLY,
. 29, OctVA.
Taunton Creative and Editorial: Creative: Robert Goodfellow,
W Kathy Martin, Sarah Opdahl, Pamela Winn. Editorial:
30 & I
Hawai'ian Print, Tropical, &
Jefferson Kolle. Photography: SCOtt Phillips. Video: Gary Junken.
Prepress: Deborall Cooper, Richard Boorh, William Bivona, Exotic Fabrics from Around
David Blasko, James Chappuis, Richard Correale, William
Godfrey, Brian Leavitt, Chansam T hammavongsa. Advertising
Production: Laura Bergeron, Lisa DeFeo, Tracy Goodpaster,
OctCHICAGO,IL
ober 6. 7 8 &
the World
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Stammer.
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October 13PARK, &
on the Big Island of Hawai'i
Taunton Direct: Donna Capalbo, Nicole Carpenter. Robert
MINovember
NNEAPOLIS, toll- free: 877-287-3449
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Taunton New Media: Jodie Delohery,Michelle Rutkowski,

II &
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EXHIBITS READER SERVICE NO. 17
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READER SERVICE NO. 55 READER SERVICE NO. 173
O CTOBE R/NOV E MBER 2005 9
1l LETTERS continued
but there is always more to learn. And

fitting tips are always useful.
I think Jean Haas is an absolute genius
for using tape to make a pattern from
ready-to-wear! I can't wait to do that!
Have I gushed enough? Do you get the
idea that I love your magazine? Thanks
so much for a wonderful issue!
-Sandi Roe, via email
I always look forward to going to my
COUTURE SEWIHit NG SCHOOL
�/(�'-- A
local bookstore to purchase Threads
A
magazine. Well, I may not be doing that
anymore after seeing your last issue.
When has this magazine become a
"how to" for such mundane things as Couture Sewing Seminars in
Baltimore, St. Louis, Sacramento
what pins to use? For a pin cushion to
and San Francisco
grace the cover belies your previous im
age and branding of an "haute couture"
and
Couture Tour to Paris in
sewing source for the experienced and November
Box(410)51,592·5711 200S
Long Green. Mar1J1and
advanced sewer.
•
I don't need to know how to "drive"
my sewing machine, and I learned to do
piping in my eighth-grade sewing class. READER SERVICE NO. 43
Wake up or you will lose a lot more
SILKS
customers than me. From now on, I will
browse your magazine in the bookstore
and return it to the rack.
-Saggcappl, via email
Just writing to say how much I like

Velvets
your magazine. I learned some very
rudimentary sewing skills in junior high
Chiffons
school (more years ago than I'd like to
admit!) and I only sewed sporadically Satins
for years. Recently, I've started again
and find Threads to be very useful-like Prints
several sewing classes in every issue. I
keep all the back copies, because I never
know when an article that didn't inter
and Much More
est me much at the time will suddenly
be just what I need to finish a project.
-Rhoda Potter, via email
252(T) State Street • Los Altos, CA 94022
(800) 722-SILK
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we sometimes CF center front ASSORTED SAMPLE SET is available
abbreviate these
frequently used
s.a.
seam allowance
RS right side
for $40 lu
p s shipping Our Low Prices Will Surprise You!
terms. WS wrong side Join our SILK FABRIC CLUB - $20 annually Free Brochure Call Toll Free
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O C T OBER/N OVE MBER 2005 11
INTERFACING
HANDBOOK
For anyone who grew up
on plain old non-woven,
�
sew-in interfacing,
Louise Cutting's offer
ings, swatched and
described in this com
-
bination handbookl
order form, will be
Oil_injector
almost mind-bog-
gling. Among the 29 different varieties
=--!!
(many available in more than one color),
you're bound to find one that will suit
Y
Olllove you< machine. and YOllwant to "eat them 'ight
any project or fabric. Many of the prod
I
ucts Louise carries are identical to those which means giving them a regular dose of oil. But no matter
used in the high-end ready-to-wear in how adept you are with that little bottle of oil that came with
dustry and aren't available through most the machine, you always manage to get droplets all over. No longer:
retail outlets. There's no longer any need The Needle Tip Oiler, from Marathon Thread, squirts oil just where
to use whatever interfacing you have on you want it from its hypodermic point. It's particularly good for
hand and risk spoiling a garment. (Inter getting inside a serger. And you can refill it when the oil gets low.
II
How slick is that? ($3.50; marathonthread.com; 800-984-7323.)
�
facing kit: $17.95, cuttinglinedesigns.com).
�dvdreview
Sewing lessons at home
Finding a sewing class that's sewing pajamas, making hand
local and works with your busy bags, quilting, and home-deco
schedule can be difficult, but rating sewing. Some include
\ you can now enjoy learning a
variety of sewing skills at home,
project instructions, patterns,
and other printable materials
) with a line of instructional DVDs to enhance the learning experi
issued by Hip Line Media. Each ence. ($24.99; hiplinemedia.
DVD provides a focused lesson com; 310-922-7111).
on topics such as pants fitting,
12
- -- -----
THREADS
S
kyburst.com, a com
onth�
roaU
pany that specializes
in items for home orga
nization, has added sewing
bags to its line. Like tradi
tional knitting bags, these Threads will have a booth at
sewing totes have sturdy If
the shows listed below. you
attend, please stop by to say
wooden frames that hold the
hello.
bag up and open when it's set
on the floor. You can see and
reach your tools, and every- SEPTEMBER 30,
thing stays organized thanks OCTOBER 1, 2
to a variety of interior pockets American Sewing Expo
Novi Expo Center
(and a snap-on pin-cushion).
Novi,Mich.
There are two sizes in a choice of americansewingexpo.com
canvas, nylon, or tapestry fabric.
(Small bag, $29.95, large bag,
248-889-3111
Fax:248-887-6020
$59.95; skyburst.com; 877-631-
2922.) Skyburst also carries a good
selection of wooden drying racks,
SEPTEMBER 29, 30,
OCTOBER 1
perfect for hang-drying garments Original Sewing & Quilt Expo
or yardage. Dulles Expo Center
Chantilly, Va.
I��bookreview
OCTOBER 6-8
r Patterndrafting for everyone

Original Sewing & Quilt Expo
Donald E. Stephens
Convention Center
Rosemont, III.
Connie Crawford, teacher, de in the book, though
signer, and garment industry intended to be used OCTOBER 13-15
veteran, offers instruction for for making patterns Original Sewing & Quilt Expo
any sewer-beginner to ad from scratch, will Overland Park Convention
vanced-interested in learning be useful for sewers Center
who wish to modify Kansas City, Kan.
to draft patterns. Her latest
book, Pattern making Made commercial patterns, as well.
Easy, is both comprehensive and From basic garment silhouettes
NOVEMBER 10-12
systematic. Beginning with a to details like pockets, collars, Original Sewing & Quilt Expo
detailed discussion of tools and and complex shaping seams, all Sheraton Bloomington Hotel
practices used in patternmak aspects of flat-pattern design Minneapolis South
ing, the text proceeds to the are explained. Minneapolis, Minn.
drafting of various blocks, which ($95; fashionpatterns.com; sewingexpo.com
are then used to develop fash- 928-204-9362).
800-699-6309
Fax:440-899-6302
l
ion patterns. The information
__ OCTOBER/NOVE M BER 2005 13

A NEW DIMENSION IN
WHEN THE SCREEN GOES Up, THE SHOW BEGINS . From the exclusive i-height moving screen to the robotic embroi
dery arm to the largest square format embroidery hoop on the market, the brand new Memory Craft 11000 gives
a whole new dimension to your sewing, quilting and embroidery.
A new dimension in size. The display screen, work area, and hoop area are all significantly larger. Yet thanks to the advanced
robotics in the patented carriage arm, the entire machine is only 18" wide. And you never have to attach a bulky embroidery unit.
Four hoops (2 standard, 2 optional) range from Free Arm X

2" x 2" to Standard 5" x 4/1 to Square 8/1 x 8" and Macro 11/1 8':
A new dimension in design transfer. You get more ways to import and export designs, including direct PC connection, ATA
PC Card, USB memory device, optional USB CD drive and optional wireless Stitch Link. Two-way USB communication allows you
access to designs on your computer or other device as if they were simply in another folder on your MC11 000.
A new dimension in convenience. With more than 9" of sewing arm space and a host of time-saving features, your sewing,
quilting and embroidery hits luxury status. Automatic thread cutter, automatic needle threader, independent bobbin winding,
knee lift on-board editing, 300 stitches and 122 embroidery designs built in. And only Janome has the convenience of 2-step con
version from sewing to embroidery.
ENTER THE NEW DIMENSION. Test stitch a new Memory Craft 11000 at your authorized Janome dealer.
14 TH READS
SEWING & EMBROIDERY
eI-height
ROBOTIC PRECISION
Janome pioneered the
home embroidery market over a decade ago
large, high definition screen dispMove

i-height Adjustable Screen
lays mortheeit-hhaneig65,ht s0c00reencolionrtsoftohreviposvidi,ttirounemoscolotrcomfgraphiorctsa.ble for you.The with the amazing Memory Craft 8000. Its
unique technology led to an entire line of
industrial robots. Now Janome comes full circle
by incorporating the precision of their robotic
Rolling Linear Guide into the new embroidery
arm of the M01000. It's a true integrated
embroidery system.
Square EmbroiderMCll000
y
is a square, and the
The best perspective for design
has the largest square
Bright Lighting A Full Intensity Lighting System
gives you superior white LED lights and more points
JANOME
8"x 8".
hoop on the market at of coverage. www.janome.com
O C T OBER/N OVE MBER 2005 15

notions continued
_-+--- ,I:tanuLO_llght_lLILJII'----_
iron sewingtools
T
hese iron tools-an awl and a point turner-look
old-fashioned, but their function is state-of-the-
art. Designed and handcrafted by a blacksmith for
Christine Jonson, who teaches sewing and publishes a line of
independent patterns, they're ergomonic and ideal for improv-
ing your sewing accuracy. Handsome to look at and handy to use,
they're a perfect gift for any sewer who values high-quality tools. To
prevent them from rusting, Christine recommends using them regularly
and keeping them dry; over time, they'll develop a lovely patina. (Awl and
collar pointer, $15 each or $25 for a set; cjpatterns.com; 248-547-1080.)
INDEPENDENT PATTERN
CD�J�t'l ALLIANCL
"Boutique" patterns-ones published by in set standards of quality and increase aware
" Elegance is dependently owned fashion pattern compa ness of these patterns. Specifically, they'll
nies-are popular with creative sewers, and focus on professional packaging, drafting,
when it is there are lots of them available. But because grading, and instruction sheets, so the con
as beautiful " they're produced by individuals, there's not sumer is assured of purchasing a pattern
inside as out. always consistency among the patterns. she can work with successfully. To find out
To provide a more standardized product, more and to see a list of IPCA members, go
-Coco Chanel
a number of independent designers have to patterncompanies.com.
formed a business alliance; their goals are to
• embroidered organza (back cover)

Iridescent organza with Coral organza with tone-on Blue organza with embroidery
embroidery and minisequins tone embroidery and beading and velvet applique
Silk Road, Inc. The Fabric Place N.Y. Elegant Fabrics

3910 N. Lamar Blvd. 136 Berlin Road 111 West 40th Street
Austin, Tex. 78756 Cromwell, Conn. 06416 New York, NY 10018
512-3°1-0844 860-631-5744 111-301-4984
srfabrics.com fabricplace.com nyelegant@aol.com
L ----
----- - ---
16 TH READS
Over
$].,000
alinl Value
forjust
$
A Place for Every Spool,

plus shipping
A Co] r for Every Project.

.MAEE
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Madei radThread Spools (194) 5657.50 retail value
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Color Cards
Thread Snips&&Conversi on Chart
Seam Ripper $10.00
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yd. s&poolnfusl'65010 Metyd.asllipoolc 220s yd. spools
Madeira Embroidery Qy.ilting Thread Treasure Chest
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__ Clling Tro\\e�
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these colors - and what a bargain!"
For a limited time, get this wonderful Hemline
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Nancy Zieman, PBS host if "Sewing with Nancy." FREE with your Treasure Chest
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•
SEW SMARTER, BETTER, FASTER
.LCe,___
To mark a hem without a helper, I stretch a
stri ng tautly across a doorway at the desired
hem height a nd tack or tape it to the jamb on
both sides . I then d ust bath powder o nto the
string. With the un hemmed garment on, I brush
lightly aga i nst the powdered string, which
transfers a light dust i ng onto the garment at
the correct height. I ca n the n remove the ga r
ment a nd fi nish the hem, a nd i t wi ll b e perfect ly
paral le l to the floor. This works great
for skirts, dresses, a nd coats .
-Bonnie Wheaton, Wheaton, III.
B EH IND A BOUND BUTTONHOL E fore you sew any seams. When you finish cutting surface as well as on the little
I've used several methods to finish the sewing the pants, lay them on the ironing shelf above the cutting edges. I now use a
backs of bound buttonholes, but I find board with the front crease already in soft brush to wipe away the lint, and the
the quickest and least bulky method is place-you'll find it a breeze to crease the pinking shears are as good as new.
to work a machine buttonhole on the back of the pants. -Fay M. Dorr, West Palm Beach, Fla.
facing that corresponds to the bound -Stephanie Gajewski, St. Thomas, ON,
buttonhole. I then stitch-in-the-ditch of Canada BON ED - BODI C E A LT ER ATION TRI C K
the buttonhole lip seam to hold the lay Taking in the sides of a lined and boned
ers together. K E E P PIN K ING SH E ARS IN TH E PIN K bodice can look daunting, but there is a
-Susan Hutchins, Sagamore Beach, Mass. Pinking shears are a vital part of my shortcut. After separating the lining from
sewing equipment, and I own about the garment with a seam ripper, stitch
P ERF E CT PANTS CR E A S E half a dozen pairs. Over the years, I've the new side seam in the garment as you "E
When you know your pants pattern fits had trouble keeping the shears working normally would. To take in the lining ��
perfectly and won't need any adjust properly, even with periodic sharpen that has boning in the seam, simply sew
crn
Via
ments, cut out the pattern pieces and set ing. Recently I discovered the problem: a dart right next to the lining seam, mak- �a
the crease in the front of the pants, be- Lint accumulates along the edge of the ing it the same size as the amount taken if
18 TH READS
clothes
C O U T U R E FA B R IC S M U L B E R RY S I L KS
Scottsdale, Arizona and F I N E FA B R I C S
(480) 949-8238 Carrboro, North Carolina
coutfab @ ms n . com (Chapel Hill area) , (9 1 9) 942-7455
BUTTONS 'N' BO Lll S

Tucson, Arizona
(520) 795- 1 533
'-}.\..-
B A N ASC H ' S FA B R I C S
Cincinnati, Ohio
(51 3) 731 -5757
www.buttonsnboltsfabrics.c
F & S FA B R I C S
�,
THHEADS AT' �\.
G I N G E R B R EA D H I L L
Aur6r (Cleveland area), Ohio
Los Angeles, California (330) 562-7 1 00
(31 0) 475- 1 637 www.th readsg i n g e rbread h i l l .com
www. FAN DSFAB RICS.COM ,
J A N E ' S FA B R I Q U E
TH E C
'OTH M E RCHANTS
\
Tulsa, Oklahoma
LaJolia (San Diego area) , California
(858) 459-5828
Janesfabri q u e @ san . rr.com
thecloth e rc
.
h\
(91 8) 760-,7965 'Or (9 1 8) 269-4342
nts @ sW be l l . net
PRIZE FOR BEST TI P

'-..
STO N E M O U NTA I N a,nd
DAU G H T E R FA B R I CS
•
Berkeley (San Francisco area) , Califorp ia
\ LI
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DA' S S EWIN G CENTER
J
orvallis, Oregon
(54 1 ) 757-1 3 1 7
'
lindasse w i n g @ p roax i s . co m
(866) 4SEW-FUN ,
Do you have a good sewing tip?
Send it in, and we'll pay you if www. sto nemountainfab ric.com 27th STREET FA B R ICS
Eugene, Oregon
we publish it. We'll also select the
D ' L EAS FAB R I C & B U TTON STUDI(\) (54 1 ) 345-7221
( \
cleverest tip in each issue, and Denver, Colorado www.27streetfabrics.com
the winner will receive a prize (303) 388-5665 I
package of sewing goodies. www. d l eas.com J S E P H I N E ' S D RY GOODS
Portland, Oregon
This issue's winner receives: FA B R I C G A L L E RY (503) 224-4202
Will iamston (Lansing area) ichigan www.jose p h i n es d rygoods.com
Itt
• Sewing basket with $20 gift (51 7) 655-4573
certificate from Create for Less www.fab ricgallery. net T H E FA B R I C P LACE
($39.99; createforless.com; .
.
Pittsburgh, Pennsylvania
866-333-4463) G I N NY'S FINE FAB R I S (4 1 2) 341 -8868
�\
and S U PPORT GR04P fax (4 1 2) 341 -8650
• Cleaner and conditioner for
all fibers from Eucalan ($15;
eucalan.com; 800-561-9731)
Rochester, M i n n esota
(507) 285-9 1 34 J - 'THE G A P EV I N E C O L L ECTION
. (81 7) 5 1 4-6061
• Scissors gift set from Havel's ($51.50; T R E A D L E YA R D GOOOS www. sewit u p . com
havels.com; 800-638-4770) St Pau l , M i n nesota
(65 1 ) 698-9690
\ FAS H I O N AFFA I R
• U n iversal Presser Foot Lifter from
J.I.M. Enterprises ($64·95;
--
E U N I C E FA R M E R FA B R ICS
"""\ Salt Lake City, Utah
(80 1 ) 486-7600
\ \ 'Y:!
presserfootlifter.com; 877-542-8377) St Louis, M issouri fas h i o naffa i r @ m s n . com
(31 4) 997- 1 53 1 \!
• Decorative Touch Hot-Fix Applicator efarm e r @ sbcg lobal . net C UR R A N D E S I G N E R FA B R I C S
with Swarovski Crystals from McLean (Was h i ngton D . C . area), Virginia
Kandi Corp ($30; I-orna.com; KAPLAN ' S FA B R I C S \ (703) 556-9292
800-985-2634) Kansas City, Missouri w w. cu rran designersfabrics.com
(81 6) 531 -48 1 8
\
• On-UTE True-Color Hawthorne Floor www. kaplansf i n efabrics.com 1 NANCY.'S SEWI N G BAS KET
Lamp ($269.99; ottlite.com; Seattle, Washington
I
800-842-8848)
n�
SEW N AT U RAL'S (800) 443-2964
C R EATIVE TEXTI L E S www. nCyssewi n g basket com
• Fray Stop S pray from Sullivans USA Santa F e , N e w Mexico
($11-49; su llivans. net/usa; (505) 982-8389 t EST E E ' S FA B R I C S
800-862-8586) Edmonton, Alberta, Canada
(780) 436-7533
• Colorh ue Sampler from Things www.estees-fabrics.com
Japanese ($35; silkthings.com;
425-821-2287)
on locally owned stores
www .finefabricstores.com
2005 19
O C T O BER/N OVE MBER
in at the garment seam. There's no need made look. Keep a sketch pad and pencil
to rip out the boning or lining seam. The next to your remote control-it might
boning will line up very close to the new just make all the difference on your next
garment seam. If the side seam must sewing project.
be taken in more than an inch, sew two -Helene Muriel Doyle,
darts, one on each side of the boning. Valcartier Village, QC, Canada
-Mary McCarthy, Rockledge, Fla.
P I P E CLEANERS C LEAN MORE
S E W I N G I N S P I RAT I O N F R O M THAN PI PES
I have a great way to clean out difficult
�end
O L D M OV I E S
US.
��your tlps
As creative dressmakers, we are always
looking for inspiring new ideas, or a new
to-reach nooks and crannies in my
sewing machine: I use chenille stems
twist on an old one. Keeping a scrapbook (formerly known as pipe cleaners) found
of garment pictures is one way to stir in a craft store. They're pliable and easily
We will pay for all the
ones we publish. one's imagination. I also like to sketch in attract the dust. Just wipe them with
Threads Tips teresting garment details while watching your finger to clean them off.
PO Box 5506 movies at home. Movie costumes of the -Cheryl Hilbrands, George, Iowa
Newtown, CT 06470-5506
'30s and '40s (especially those by Edith
or via email:
Head and Adrian) often have appealing WA S H AWAY TA P E H E L P S
ThreadsTips@tau nton.com
style lines and unusual dress detailing WITH NARROW H EMS
that can give your wardrobe a custom- To make a n even, double-folded, %-inch
hem on hard-to-press fabrics, try using
Wash-A-Way Wonder Tape (available at
Egg_cup fOl pjns _____ many fabric stores, or by mail at

nancysnotions.com) in a % inch width.
I Although I love my magnetic pin-
holder, I've found a nother way to

Lay a strip of tape along the raw edge of
the fabric, on the wrong side. Fold the
fabric up, using the edge of the tape as
keep pins at-a nd not in-my finger a guide, and stick it in place. The tape
tips: I use a small egg cup. It's exactly holds the first fold in place while you
the right size and shape to hold my make and stitch the second fold, and you
1 �-inch long pins with the points

don't have to measure, pin, or baste.
-Cynthia Young, Fresham, are.
down and the heads u p. The pins
a re easy to drop i n a s I sew a long, B R E A K , D O N ' T C U T, B E A D S

and just as easy to grab when I need F R O M B E A D E D FA B R I C
them. When the cup is full, I empty

When sewing seams in beaded fabrics,
I crush or shatter the beads within the
it onto the magnetic pin-holder, and
seam allowances, using small needle nose
a l l the pins land facing i n the same pliers instead of clipping the threads. I
direction rather than in a prickly wear safety glasses, hold the fabric over
heap. I keep the cup next to my sew- a wastepaper basket, and take care not
to catch the fabric in the pliers. Because
ing machine; my spill-proof magnetic
I'm not cutting the threads that hold the
pin-holder travels with me when I
beads on, the remainder of the beads
move a round the sewing room. won't fall off and the threads under the
-Carol Fresia, New Fairfield, Conn. crushed beads are still there in case you
need to go back and fill in the beaded
pattern. I always save a few intact beads
in case I need to replace any.
-Dorothy Small, Poughkeepsie, NY.
20 T H READS
MONOGRAMS ARE ONLY THE BEGINNING ...
e 've tapped into something really Plus, with the text you 'll also have the ability
great here at Amazing Designs . . . to create single lines of text with 78 fonts and 600
now personalizing your monograms additional designs !
to fit your style is simple, fun , and
Step outside of the box by creating unique and person
practically limitless with the new
alized monograms with Magnificent Monograms II!
Magnificent Monograms II.
If you're already enjoying the original Magnificent
Magnificent Monograms II can work Monograms, an upgrade version is also available.
either on its own, or with your other Amazing
To find o u t more,
Designs p rograms to guide you through the creation
visit your local
process step-by-step. The easy-to-use monogram
Amazing Designs
and text wizards make it simple to select, align,
retailer or go to
rotate, re-size, and re-shape your designs .
amazingdesigns . com
There are over 70 monograms and 60 embellish today!
ments to choose from in the monogram wizard.
'} fl/OIJCrea
0s.rwtet/exqu
s andisiu
"]Mi' "
lext to
www.amazingdesigns.com
888-874-6760 dealer locator
800-553-1691 service+support IIII tt::.,ill'"
EMBROIOERY SOLUTIONS READER SERVICE NO. 134 "' ' i,·.:;..,; ,
BASICS B Y J A N B O N E S
K
nowing one simple
fact-that most fabrics
are either knit or wo
ven-can make your next trip
to the fabric store a whole
lot easier. Understanding the To d ecide if a fa bric is the best cho ice fo r you r patte rn,
way these two fabric types
look at h ow it's m a d e
are formed, and being able to
recognize their distinct yarn
configurations, will help you loop formation, or knit stitch: 43Yt In
make informed purchases, tricot, interlock, rib-knit,

prevent all sorts of sewing and double-knit, to name a
and fitting frustrations, and few. With woven fabrics, the
improve the overall look, names identify the way the
comfort, and fit of your final fabric is woven, such as satin,
creations.
One pkg. of X' wide straight seam binding. B, 1 :\ yd. of W to I' Wide lace.
denim, corduroy, jacquard. C.L :\ yd. ofX' Wide ribbon. 0, 1% yd. of X' wide nbbon. L % yd. of W to " wide
On the next pages, you'll find

A FA B R I C BY A N Y a four-step test that will help Your pattern providesfabric clues. On the back of the
OT H E R N A M E you identify any fabric's basic envelope, pay careful attention to the "Suggestedfabrics"
As you stroll through your lo structure, no matter its name. section. A pattern draftedfor knits only, such as thefuchsia
top at top left, will say so. It depends on thefabric to closely
cal fabric store, you'll notice
hug the body and stretch as the garment is put on and
a plethora offabric names, Jan Bones (SewingLingerie. moves. A pattern createdfor wovens relies on thefabric to
but don't let these intimidate com) teaches patternmaking provide body and create crisp lines.
you. With knits, the specific and design at the University of
names simply refer to the Manitoba in Canada. conti nued � H
22 TH R EADS
----.,
.. - -...._.o!.. .._
People say
Innov-is 1000 1 500D Innov-is
they take after their mother
I ntroducing the Innov·is 1000 and 15000

Conceived from the same advanced technology and innova The Innov-is 1 500D also includes 70 built-in Disney embroidery
tion that created the legendary Innov-is 4000D, the Innov-is designs and the ability to read the entire Disney Embroidery
1 000 and Innov-is 1 500D deliver the most advanced features in Card Collection: Use the USB port to connect your Innov-is
their class at most affordable prices, 1 500D directly to your computer. *
These completely new, fast and easy to use computerized Their best feature has to be their extremely modest price,
sewing and embroidery machines help you manage your which makes them both tremendous values, Now the hard
sewing and embroidery functions with a simple touch of the part, Deciding which model you should buy.
LCD display, Each is equipped with an advanced needle
Welcome to the Brother family,
threading system and 7-point feed dogs for precise
stitching quality, just like Mom,
(Mom)
To find a dealer near you, call
The Innov-is 1 000 and Innov-is 1 500D both feature a 1.800.4.A.BROTHER or visit our website at
built-in card slot that is compatible with Brother's www.brother.com
extensive library of Embroidery Memory Cards, * 'Embroidery cords and USB cables require separate purchase,
Innov-is 4000D Your Total Sewing Solution
fiI .. : . a • • • •• • • • It . READER SERVICE NO. 54

lillit woven
• I t stretches, then recovers, or bounces back to sha pe. • It reta ins its shape and won't stretch.
• Stretch a l lows for reduced a mounts of ease, which • It's firm, durable, and has body.
•
equals less fa bric.
It's soft, wri n kle-resistant, and easy to care for
• It's reversible, unless pri nted or finished with special treatments
on one side.
Great for: exercise and loungewear, T-shirts, pajamas, • It's manufactured in a wide range of textures and widths
children's garments, and eveningwear. Great for: structured and ta i lored jackets, d resses, pants, and
skirts; home-decorating items, and quilts.
How to identify a fabric's structure

When you can't tell if a fabric is knit or woven, put it through these tests:
Loo k for loops or g ra i n

I n KNIT fa bric, the yarns interloop. A knitting
machine forms a row of loops, then a nother
row of loops is d rawn through that row,
again a n d again.
I n WOVEN fa bric, below, ya rns cross each

other at right a ngles; this is ca l led "grain." A
loom a rranges one set of yarns lengthwise
(also ca lled the warp), then crosswise yarns
(also called the weft) a re interlaced, or wo
ven in, at right angles.
Lengthwise grain
�'"u
Crosswise grain
co n t i n u e d H �
24 TH R E A D S
Nancy:S Notions
specialS avln
sewinlJ inspiration . education · tools more
• &
gs
Fo r
OTTOBRE
cQ] ® � ]
� lJll ®
Sew for ki ds!
+3On desour0-1igns5website
SIZES yearfor lasdi/62-1
esyouin eac70hemis ue
�
eGull can
can browse through
�eri The America Sewing Guild has been
celebrating sewing as a creative art and
27
all issues and SUBSCRIBE to your awn
magazine. A FREE GIFT for subscribers!
[))j !.)}� j' :2 -sJ ,.
life skill for years. To discover the
joys and benefits of ASG membership
and how to join, visit www.asg.org '/J '/J '/J.
PJIJfE;m5 1 1' I Sm U CTl O I' I S Sf1lE F;\Sfl I O :
��t;;��
M C) nta n a
Leather Com pan�
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TheWe
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O C T OBER/NOVEMBER 2005 25
BAS I CS
How to identify a fabric's structure (cont i n u ed )
Apply the stretch test

With a KNIT fa bric, you ca n stretch the fabric
across its width and sometimes its length.
It will also rol l or curl toward its right side
when stretched across its width. If a knit fab
ric is stretched excessively, a run may form.
With a WOVEN fabric, you can't stretch it

along its lengthwise grain. There may be
minimal give a long the crosswise gra i n . Ex
ception: stretch wovens (with 3% Lycra) will
have some crosswise stretch.
Both knits and wovens stretch along the bias,

o r a ny a ngle between the lengthwise and
crosswise grain.
Check the wri n kle resista nce

When you bal l u p a KNIT in the pal m of you r hand, it will
crush easi ly. When you release it, the fa bric will spring
back into shape, with few, if any, wrinkles.
When you wad up a WOVEN

fa bric, it won't crush softly into
you r hand. When you release it,
it won't recover its shape easily,
and the resu lting wrinkles will
only disappear when pressed.
I ns pect t h e edges
A KNIT is either sold in a tube or flat. On flat knits, facto
ries a pply round blobs of starch or glue along the length
wise edges to prevent them from curli ng. A cut edge
doesn't fray.
The lengthwise edges of a WOVEN fabric, called the sel

vages, a re strong and fin ished. A cut edge (the crosswise
grain) frays. In fact, you can pull a yarn out in both the
lengthwise and crosswise d i rections.
26 TH R EADS
The th read of you r i magi nation
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READER SERVICE NO. 16S

PATTE R N REVI EWS TESTED AND SEWN BY T H R E A D S
Fa st a nd
ea sy styl es
W
e've all been there-a termediate, or advanced
party to attend the these simple, stylish,
next day and nothing versatile patterns should
in the closet is appropriate. enjoy a special place in
Wouldn't it be wonderful to your pattern collection.
grab a tried-and-true pattern
and a luscious fabric from Anna Mazur sews couture
your stash and whip up a new clothing in Avon, Conn. She is
frock, Cinderella-style? Well, a self-describedfashionista, as
now you can. No matter your well as a proud pattern-aholic.
level of sewing-beginner, in-
tt A g reat c hoice for a rtfu l accents.
Favorite Thi ngs, The Ca rd iga n Jacket (FavoriteThi ngs.

net) This i s a very basic shawl-co l l a r jacket, but it has a wonderfu l
shape-ease can be adjusted with the vest-like fa bric self-ties in back.
And with o n ly t h ree pattern pieces, it couldn't be easier to construct.
The menswea r-style sleeves (th e a r mscye is sewn flat prior to sewi ng
the side sea ms) mean you don't need to worry a bout setting sleeves.
JACKET:
Favorite Things,
The Cardigan
For a cardiga n style, m a ke up the pattern in a single layer of fa bric, or
Ja(ket
for more of a jacket look-which is also reversible-try double layers.
The bound outer edges give either style a tai
lored fla i r. Our tester tells us that this pattern
is great for novelty cottons or double-sided
fabrics and any a rt-to-wea r techniques. (Sized
4-22,jor busts 31 0-48 in.) •
-Tested by J a n i c e Av r i l l , West H a v e n , C o n n .
28 T H R EADS
II A fa bu l ou s travel coat-a n d
t h e h ooded version is reversi ble. '
Encore Designs, The Cudd le Coat/ Robe 107 (Encore-

Designs.com ) This roomy, u n l i ned, a bove-knee or m idcalf-Iength coat
has a 3 14-inch inverted pleat at center back that can be i ncreased for
a n even roomier fit if ya rdage a l lows. The
shawl-collar version is finished with a facing;
the hood is a single layer with a bound edge,
so you r fa bric's reverse side w i l l be visible.
Instructions a re given for flat-fell seam s and
a va riety of edge finishes. Our tester tells us
that the fa bric options for this pattern a re
ma ny: wool, raincoat fa bric, l ightweight lin
en, cotton, or even orga nza. Or for a comfy,
stylish robe, choose fleece, terry, or a soft silk.
(Sized XS-XXLJor busts 30 '/2-48 in.) •+
-Tested by E l i s a beth G i l l e m , P o rt l a n d , O re .
_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ • _ _ _ _ M _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
IA s m ooth fit, a nd very comfy.
Li ngerie Secrets, Ladies PJ/Yoga Pant (Sewi ngLingerie.

com ) These easy and smooth-fitting tapered pa nts, designed for knits
or wovens, come in three lengths: knee, calf, a nd a n kle. With the knit
version, there is a n option for shaping the side sea ms, which creates
a d a rt-l i ke effect. The pant can ride at waist level or 3
'/2 i nch below the waist, and a separate knit waistband
is recommended for both the knit and woven pant. We
t h i n k a band from a woven fa b ric would a lso work.
Our tester especia l ly loved the fit and comfort of the
d rawstring/partial elastic waist. She suggests trying
these pants i n a soft rayon or wool for work, a d ressy
fa bric for an evening on the town, and a knit or flannel
for loungi ng. (Sized S-XL4Jor hips 34-55 in.) •+
-Tested by J e n ny F reed m a n , A ptos, C a l if.
-- ---- -- -- --- ---- --� II

I
>- -
LOOK FOR THESE ICONS ON TH E PATTERN REVI EWS
• Fast and easy A Challenging techniques • + Includes size
Petite options * 24 and up :
For knits only :
_ _ _ _ ----.I I
conti nued � � �
l· · PATTERN REVIE d ,.o_t_in_ue_d_____________ -t
II The vertica l pri ncess sea m s

, U.TOP:
Designs,
m a ke fitt i n g a breeze. Margarita
Tan k Top
loJ. Designs, Ma rgarita Ta n k Top (LJ DesignsO n l i n e.com)

This ta n k has distinctive and flattering princess seams. It is very strik
i n g a n d d ressy in stretch velvet, a n d cutting the front i n set from a
contrast color can fu rther custom ize the look. Beca use this pattern
is recommended for kn its on ly, hemming with the s uggested double
needle can be tricky. To avoid stretch ing a n d rippli ng, our tester fused
a lightweight strip of i nterfacing to the entire hem a l lowa nce before
stitch i ng. She a lso fou n d that the yardage
req uirements on the pattern envelope a re
very generous, so it is possible to use less
fa bric then w h at is recom mended. (Sized
XXS-XXL,jor busts 27-50 in.) • + *
-Tested by L i n d a H e n ry, Fa i r O a k s , Ca l if.
, PANT:
O n ly t h ree pattern pieces ! The Sewing
Workshop
Collection,
The Sewing Workshop Collection, Duplicity Cu lotte
Duplicity
(SewingWorkshop.com) Our tester liked the comfort and versatility of Culotte
this fitted A-line culotte, not to mention its subtle, fu n ky style: It has
the look of a skirt when sta nding still, but the comfort of very long
shorts. And with o n ly t h ree pattern pieces, the sewi ng i s l ightn ing
fast. We discovered that the garment looks and behaves best i n fa bric
with lots of d rape; stiff fa brics sta nd away from the body. The pattern
recommends using a center back invisible zip
per, but a lapped or center back zipper a pplica
tion works just a s well. (Sized XS-XXL,jor hips
34-47 )7 in.) •
-Tested by Betty B ro w n , C u l v e r C i ty, C a l if.
r-------------------------
I _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
I: LOOK FOR THESE ICONS ON THE PATTERN REVI EWS + I ncludes size and u p
L_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
•
:I • Fast and easy ... Cha llenging techn iques Petite options For knits only * 24
_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ •
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O C T OBER/N OVEMBER 2005 31
- - - - - - - - - - - .- - - --- -1
PAT T E R N R E V I EW c on t in u e d
�------ ------ ----�
tt The s h a pe of the season. Dress it

up o r down, you r c �oice.
New look 6938 (Simplicity.com) The long-sleeve version of this

col u m n a r empi re waist d ress is the new trend i n even i n gwear, but
the cap, shoulder-wrap, and spaghetti-strap styles a re a lso adorable.
The long sleeve has elastic i n the ca p so the sleeve cou ld be pul led
down off the shoulder. Two bodice shapes a re a lso included: one with
darts and one with gathers (a great way to enha nce a small bust) . The
body of the d ress is li ned and our tester experimented with letting the
l i n i n g h a n g below the n a rrow outer hem for an a lternative, layered
look. I n structions a re well-written and organized. (Sized 6-16,for busts
30 'A-38 in. and hips 32 'A-40 in.) •
-Tested by M a ry A n n D u ff, A l ex a n d r i a , Va .
�---------------------------------------------------------------�
I
24
: LOOK FOR THESE ICONS ON THE PATTERN REVI EWS + I ncl udes size a nd up
I
DRESS:
I I
�----------- • *
:I • Fast and easy ... Chal lenging techniq ues Petite options For knits only
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Inside a
Designer Jacket
I
Subtle quilting, hand- n the list of iconic fashion garments, there are a few classics that
finished seams, a chain are included without fail: the little black dress, the crisp white shirt,
the belted trench coat, and the classic French cardigan jacket. What
weight hem, and fine they share is an uncomplicated elegance and a clever marriage of
fabric, fit, and design. But in none of these garments is the partner-
trims are hallmarks of ship more splendid than in the cardigan jacket. With the added
element of sewing techniques that brilliantly bring the design to life, it’s
this classic garment no wonder the term “classic” so aptly applies.
I’ve always been a devotee of haute couture sewing, starting way
back when my grandmother was a client at New York’s couture salon
Chez Cez et Bez. When a wrist injury cut short my career as a classical
by Susan Khal j e (from issue #121) pianist, I applied for a job almost on a lark at Chez Cez
et Bez. To my amazement, I was hired to train with the
most talented designers and seamstresses, and at the
salon, I was able to poke around in boxes of fantastic
garments from various couture houses. Packages from
Chanel were my favorites—when I inspected the gar-
ments’ seams or oh-so-carefully peeked inside a lining, I
was amazed by the fine, ingenious handiwork.
In the following pages, I will show you how to sew the
four key features of a classic cardigan jacket—quilted
rows of stitches that anchor the soft bouclé fashion
fabric to a slinky lining; hand-finished seams that pro-
vide hidden strength and support; a hard-working and
decorative chain weight at the hem; and bold trim and
buttons for design interest and stability. There really is
nothing like a classic French cardigan jacket, and every
woman deserves to have the simple style, luxury, and ut-
ter comfort of this unique garment in her wardrobe.
Susan Khalje (SusanKhalje.com) is a couturier and cou-

ture sewing teacher, host of DIY.net’s “Sew Much More,” and
Threads’ newest contributing editor.
THREADS
“Luxury must remain almost invisible,
w w w. t h r e a d s m a g a z i n e . c o m
Jacket
provided by Quilt the fashion fabric
directly to the lining
Chanel USA,
from the Fall
2005-2006
collection.
Soft, drapey wool bouclés are typical of a cardigan
jacket. They’re backed by a charmeuse or crepe
de Chine lining and supported by machine quilting.
The effect is soft, with just the right amount of
underlying structure.
1. Fit a muslin, then use the muslin pieces as your

pattern. When you are pleased with the fit, rip out
all stitches and press the pieces flat. To help align the
muslin pieces along the lengthwise and crosswise
grain of your fabric, cut off the seam allowances, and
draw grainlines that extend to the seamlines on each
piece. Lay out your wool in a single layer, then carefully
position your full set of muslin pattern pieces (left
and right fronts, left and right sleeves, etc.) along the
fabric’s grains. Using a double length of contrast thread,
baste around each muslin piece to clearly identify your
seamlines and hemlines, then cut out with at least a
two-inch seam allowance.
but it must be felt…

—Coco Chanel
” continued
THREADS 3
Quilt the fashion fabric… continued Hand-finish
the lining seams
2. Layer the lining and fabric
Hand-finished seams provide a cardigan
piece, then quilt vertical lines
2 about one inch apart. Place
the charmeuse wrong side up
jacket with hidden strength. Sewing by
hand also allows better control of the
on a flat surface, then place slippery fabrics. I call this the “woolly
the cut fabric pieces right side mammoth” stage—the wide seam allow-
up on top, making sure the ances are frayed.
grainlines are perfectly aligned.
Cut the charmeuse roughly in
the same shape as each fabric 1. Machine-baste the pieces along the
piece (no need to be precise traced lines, but don’t catch the lining.
yet), then mark the quilting Pin the fabric pieces together along the
lines with pins spaced one inch hand-basted seamlines. Use a walking foot
apart. Machine-quilt along the and a long stitch length (I used 5mm) to
pinned lines using a walking join the fabric pieces, and hold or pin the
foot, on 3mm stitch length, and charmeuse out of the way as you stitch.
holding the fabric taut as you Try on the garment to evaluate the fit, and
3 sew. Stitch all quilt lines in the

same direction, and start and
when satisfied, stitch the seams for real.
Remove any stray basting lines.
stop one inch from seamlines,
2. Press the seam allowances open, then
and two inches from hemlines.
trim. Using a sleeve board to isolate the
To keep the lines straight, you
seam, press the seam allowances open. Trim
may not be able to extend
them down to about 3⁄4 inch (leave as much
them all the way to the top of
as you can to strengthen the seamlines, but
the jacket’s side panels.
make sure the seam allowances will clear
3. Tie off the thread ends the nearest line of quilting). Press the seam
between the layers. As allowances open again.
you quilt, don’t back-tack at
either end; this looks messy
and can distort the fabrics.
Instead, pull up each pair of
threads between the wool and Fell stitches secure all seams
charmeuse layers and knot of the fluid lining fabric.
them securely with jeweler’s
knot (tied around a pin at left).
Clip the thread ends down
to 1⁄2 inch.
tip Extra-wide seam allowances are a must
The loosely woven bouclé frays considerably during the

construction process. Wide allowances also allow for any
pulling up of the fabric during quilting. And because the
armholes of cardigan jackets are typically high and tight, this
extra fabric provides more opportunities for fit adjustments.
THREADS w w w. t h r e a d s m a g a z i n e . c o m
1 2
3. Overlap the lining layers, using pins to
transfer the seamline. Gently smooth one
3
of the charmeuse seam allowances over
the garment seamline (do not pull or tug
it, though, and make sure the grain doesn’t
shift), then pin along the seamline as
shown at right. Start and stop pinning one
inch from seamlines and two inches from
hemlines. Trim that seam allowance of the
charmeuse down to about 3⁄4 inch. Overlap
the other charmeuse seam allowance, and
lightly press over the pins. The pin heads
create indentations in the charmeuse,
indicating the seamline. Trim this seam
allowance as well, 3⁄4 inch from indentations.
4. Fold the upper layer of lining in place,

then secure with fell stitches. Fold under
4
the charmeuse along the indentation and
pin in place. Gently press to create a sharp
foldline, which will be easier to sew. Lift
the garment off the sleeve board and
secure with a fell stitch, catching the
wool underneath.
5. Set the sleeve by hand and finish the

neck and center front. Place the garment
on a dressform and pin the sleeve in place.
The sleeves are then easiest to sew in by
5
hand—the all-important grainlines can be
perfectly positioned and controlled, and
any extra fullness in the cap area is easy to
distribute. Staystitch the fashion fabric’s
neckline and center front, then trim, clip,
and turn the seam allowance to the inside.
Trim, clip, and turn the lining (cheating
the lining about 1⁄8 inch to the inside), then
secure it to the fashion fabric with small,
tight fell stitches.
w w w. t h r e a d s m a g a z i n e . c o m threads
Insert a chain weight at the hem
The weight of bold buttons on a classic French cardigan jacket pulls the
jacket forward. A chain at the hem served as a counterbalance; it also en-
couraged the jacket’s back to hang close to the body. It’s really only needed
in the back, but for style, run it along the entire hem.
1. Hem the fashion fabric with

1 a very loose catchstitch. Pin
the lining out of the way, then
press up the fashion fabric
along the basted hemline; trim
the hem allowance so it rests
along the base of the quilting
lines. Hold in place with a
Apply a special
loose catchstitch.
trim and buttons
2. Secure the lining with a
catchstitch. To make turning Use a single purchased trim, combine or
easier, first baste the lining’s layer trims and ribbons, or fringe your
vertical seams closed. Then own trim for a unique look. You’ll need
finger-press the lining in place,
about five yards of trim to embellish all
2 3
⁄8 inch from the jacket
hemline. Finish the vertical of the jacket edges, sleeve vents, and
pocket edges.
seams and the lower edge of
the lining with fell stitches.
3. Hand-sew the chain right 1. Create fringed trim from your fashion
below the lining. Pin the fabric. Cut two strips of fabric about two
chain in place—it should not inches wide, then pull threads to the
be too tight (this will gather desired fringe width. The fabric may have
up the fabric), or too loose (an different fibers in the lengthwise and
unwanted flare will result). crosswise grains, so experiment to see
Strengthen a double thread which gives the most interesting fringe.
with beeswax, and secure the Layer the strips together, then sew a ribbon
top and bottom of each link or trim down the center.
using small backstitches.
2. Pin the trim in place, folding under
loose ends and manipulating it around
corners. Using a single length of thread in
a color that blends in with the trim, firmly
secure both edges of the trim with tiny
backstitches.
3
tip Chain weight should match fabric weight
There are a variety of chain weights to choose from;

you’ll need to hold a few different ones in your hand
to get a feel for what will work best in your jacket. As a
general rule, use a larger, heavier chain with a heavier
wool, and a smaller, lighter one with lighter-weight
wools. You’ll need enough chain to circle the hem of
your jacket (3 to 4 feet usually does the job).
THREADS w w w. t h r e a d s m a g a z i n e . c o m
tip Trim a pocket before you attach it
Fold and firmly press the fabric into your

desired shape, then add the trim to the top
edge. Fell-stitch a matching lining in place, and
sew the pockets on by hand with beeswax-
coated double thread and a firm fell stitch.
(author’s
own pattern)
Start with the right pattern

A classic cardigan jacket is gently shaped and usually
collarless. Look for a pattern with princess seams that
extend from the shoulder; the quilting will be more ef-
fective. The signature three-piece sleeve allows for better
vent placement, as well as fine-tuning the fit, but a two-
piece sleeve will also work. Here are a few patterns that
give you a designer cardigan style.
Burda 8414 McCall’s 4311 Simplicity 4971

Butterick 4028 Simplicity 4954 Vogue 7975
w w w. t h r e a d s m a g a z i n e . c o m threads
SOURCES
LINTON TWEEDS LTD M&J TRIMMING TOHO SHOJI
(produces much of ( fancy trims and buttons) (NEW YORK) INC.
Chanel’s fabric) 1008 and 1000 Sixth Avenue (gold and silver chains,
Shaddon Mills New York, NY 10018 sold by the foot)
Carlisle, Cumbria CA2 5TZ 212-391-6200 990 Sixth Avenue
England MJTrim.com New York, NY 10018
011-44-1228-512062 212-868-7465
LintonTweeds.co.uk TINSEL TRADING COMPANY TohoShojiNY.com
( fancy trims and buttons)
MENDEL GOLDBERG FABRICS 47 West 38th Street
(Chanel-type bouclés and New York, NY 10018
matching charmeuse linings) 212-730-1030
72 Hester Street TinselTrading.com
New York, NY 10018
212-925-9110
Email them at
MendelGoldbergNY@aol. com
History of a Timeless Garment

It’s one thing to be a designer workforce, driving motorcars, Jacket
who reflects the mood of the and participating in sports. provided by
The design provenance of the Chanel USA,
times; it’s quite another to be
from the Fall
a visionary. now-famous Chanel suit is vari-
2005-2006
Coco Chanel (1883-1971), who ously ascribed to Tyrolean jack- collection.
early on encouraged women ets, military dress, riding clothes
to dress with ease, confidence, of the British aristocracy, even
and elegance, once stated, “I bellhops’ uniforms. Regardless,
want to be a part of what is to it’s an eminently wearable bal-
come.” And with faultless taste, ance of a basic jacket/cardigan
audacity, and determination, she and brilliant ornamentation.
Model photos: Jack Deutsch; hair and makeup: Sylvia Pichler; process photos: Jen Sauer;
was. Chanel’s garments were Most of all, it supports Chanel’s
astoundingly different from the claim, “Elegance in clothes
tightly corseted garments of means freedom to move freely.”
the not-so-distant Belle Epoque,
and they suited a generation of
women who were entering the
“ Luxury is the coat a woman

throws on the reverse on a
all other photos Sloan Howard.
”
chair … and the inside is more
precious than the outside.
—Coco Chanel
8 THREADS w w w. t h r e a d s m a g a z i n e . c o m
Sewing is a wenty years ago, in October of1985,
Ruth Fresia got the premiere issue of
Threads. Her daughter, Carol, who is
Family
now an editor at the magazine, started
reading it soon thereafter. Between them,
they have 95 years ofsewing experience.
As we celebrate our anniversary, we
'Fradition
asked them to tellyou their stories be
cause how and what we learn and teach
are huge parts of our craft's tradition.
Carol
What moms I consider myself one of the lucky

ones-sewers, that is. My mother, Ruth,
and their kids was a custom dressmaker during my

early childhood, and her beige Singer sat
ca n l e a rn from in the corner of the kitchen, where she
produced an endless stream of new and
each other unique dresses. I assumed all women
did this, and that I, when I grew up,
B Y R UTH FRESIA would do the same. Mom started me
sewing when I was eight or nine, and I'm
A N D CAROL F R ESIA
I still learning from her today. In recent
years, though, I've discovered some new
materials and techniques on my own. I
may not be as prolific or talented as my
mother, but I think I enjoy sewing at
least as much as she does-and that's
the most important thing of all.
Ruth
I've always loved sewing, for all kinds
of reasons: economy, creativity, the
challenge of solving problems, and
the satisfaction of making some
thing that's all yours. When it was time
to teach my daughters to sew, I wanted
them to learn to love the whole pro
cess, rather than just how to set in a
pucker-free sleeve. So instead of guiding
their every snip and stitch, I consciously
stepped back and let them ask questions
as needed. They figured out a lot on
their own, developed some good habits,
and now sew exactly the way they want
to-and that's the only "right" way. lJv
Ruth Fresia is a retired math professor,

and her daughter Carol Fresia is a for
mer art historian.
O C T OB E R/NOVE MBER 2005 41

What I ta ught my da ughter
a bout sewi ng B Y R U T H FRES I A
6>)<' 'XX' " ><,;( X'

v Sta rt out on the right foot
For successful sewing, I follow these rules to the letter. c
� >V v, (' -N -J
You need to love fabric. Although I d o n 't t h i n k I "taught" my
d a u ghter th is, I ' m s u re s h e caught on after m a ny, m a ny h o u rs s pent
fo l l owing me u p a n d down the a i s les of fabric stores. Whatever fabric
Special details show
you choose (and it's OK to use cheap yardage if it fits you r needs),
up on all of Ruth's
treat it n icely. H a n d le it gently a s you cut, press, and sew, and it w i l l
garments. Above, it's
reward y o u with a wel l - s h a ped garment.
a dainty trim made of
jacquard ribbon edged Follow the fa bric's gra in carefully. T h i s is so obvious there's
with fine lace. h a rd ly a nyth i n g to say a bout it, except that it's the one ru l e I ca n't
i m a g i n e brea k i n g u n der a ny c i rcu m stance. I d o n 't trust my eye when
I ' m laying out a pattern; I m e a s u re from the gra i n l i n e to the fa bric's
selvage with a ruler or yardstick.
Be kind to you r sewing scissors. My kids learned at a very tender

age that you should treat you r (mother's) sew i n g shea rs with the
utmost respect. To keep my best scissors n ice and sha rp, I stored them
with my sew i n g t h i n gs; I then bought seve ra l pa i rs of util ity scissors,
a n d put those where eve ryo ne else co u l d fi nd them.
Three young
Fresia girls
model their
first-day-of
school dresses
Essentia l tech n iq ues for well-sewn garments
",
(Carol's at left).
For accuracy and efficiency, keep these in mind.
Dressm aker's carbon a nd tracing wheels a re too fussy

to bother with ... most of the time. I a lways u se m a r k i n g
s h ortcuts-cli ps, p i n s, pressed-in l i n es-rat her t h a n transfe rri ng
pattern m a rkings to fa bric with carbon paper. It's a lot faster a n d
j u st as accu rate for most pu rposes. U n u s u a l pattern deta i l s, very
heavy or rave l ly fa brics, or h i g h ly fitted garments m ight merit spec i a l
treatment, t h o u g h , i n c l u d i n g tai lor's tacks, t h read tracing, a n d yes,
carbon pa per.
Always finish your seam allowances. Your garm ents w i l l last
Ruth matches seam finishes

I
longer, look better, and be easier to care for. u s u a l ly zigzag sea m
a l l owances s i nce I d o n 't own a serger, or sew enclosed seams, such
to a garment's fabric and use. as French sea ms, flat-fe l led sea m s, or o n e of my favorites for s heer
Narrow,folded and stitched fa brics: Trim one sea m a l lowance to Ys i n ch, d o u b le-fold the other
seam allowances are used on seam a l lowance over it, and sew them togeth er.
sheer voile (above left); sturdy
zigzags and seam tape keep Don't forget to trim , grade, a nd c l i p seam a llowances. When
gathered seam allowances a n edge or o p e n i n g i s fi n is h ed with a fa ci ng, you need to rem ove seam
neat and flat (left bottom). a l lowance bulk so that the fi n i shed fa c i n g will l i e flat and present a
42 TH R EADS
(
s mooth, even l i ne or c u rve. A n d w h i l e you d o n 't want to com prom ise

the strength of the sea m, you do, someti mes, have to s u m m o n the
nerve to trim and clip q u ite closely. I a lways either u nd e rstitch (sew
the fac i n g to the sea m a l lowances) or topstitch, so that the facings
stay out of s i g ht.
Press, press, a nd press again. Press sea m a l lowances open before

sewi ng an i ntersecting sea m. Press d a rts a n d sha ped a reas over
a tai lor's h a m . Press sleeves a n d pant legs on a sleeve board. I use
the i ro n as much as-or more tha n-the sewi ng mach i ne, so my
Treat your sewing machine well, and it will stand by you.
garments won't look homemade.
Ruth has cleaned and oiled her Singer lovinglyfor decades,
and it's still going strong.
Time-tested skills and p h i losophy

Newer equipment has made many sewing tasks almost
goof-proof, but there are some things you can do beautifully
with basic tools. For quick marking,
xx pins, clips, and folds
take the place of
You d o n 't need a special presser foot for every sewing
tracing paper and
function. I use m y b a s i c zigzag foot for j u st a bout a l l m y sewing,
tailor's tacks.
except for z i p pers and the occasional ruffle o r pleated edge. When I
do ed gestitc h i n g or topstitch i n g, I l i n e up the edge of my fabric with
a l i n e or groove or other part of my presser foot. I've u sed that presser
foot for more than 40 I
years, so know it well, and trust it to g u i d e my
stitc h i n g l i nes j u st the way I want it to.
A free-a r m machine ca n be h a ndy, but it's not necessary. I n

fact, I prefer a flat-bed machi ne-I was d e l ighted w h e n I fi n a l ly h a d a
custom table b u i lt to house my S i n ger, so I had a wide, even s u rface
for sew i n g. W h e n faced with sewing s m a l l , t u b u l a r ite m s l i ke sl eeve
cuffs or Barbie waistba n d s, it's s i m p l e to stitch from the i n s i d e of the Old or new,
t u be rather than the outside. Anyt h i n g too s m a l l to sew this way is sewing shears
probably too small to fit over a free a rm, a nyway. deserve respect
and thoughtful
Know when to strive for perfection, a nd when to j ust get care.
the job done. You r d a ughter's wed d i n g d ress m i ght d eserve a l l
t h e couture finesse you ca n d evote t o it, b u t h e r H a l l oween cost u m e
probably doesn't. W e a l l have l i m ited time to sew, so it's i m portant
to decide what will give you the g reatest sati sfaction, and to
spend you r time and e n e rgy there. Sew i n g i s a creative
pursuit a n d s h o u l d never feel l i ke a chore.
con t i n ued � � �
OC T OBER / NOVE MBE R 2005 43

leI, J
I�
1 70,101 I
I m po rta nt t h i ngs that I d id n't

l ea rn from my mother
BY C A R O L FRES I A
Today's equipment
makes some tasks C u rrent ready-to-wea r tec h n i q ues
easier and faster, but Traditional dressmaking techniques a r e tried a nd true, but they
you can do a lot with don't cover every situation you might encounter these days.
any machine that can
zigzag. Ruth'sfree
motion monogram (top Knits a ren't d ifficult to sew. Today's wide ra nge of e l a stics, stretch
left, white), compares (
a n d ba l l po i nt needl es, a n d woolly nylon great in a serger's loopers,
quitefavorably to a )
but a l s o exce l l ent when h a n d-wo u n d o n a bobbin has circu mvented
computerized stitch-out the s k i p ped stitches, less-th a n - pe rfect topstitchi ng, a n d popping
(in red). sea m s that plagued m e a n d my mother 30 years ago. Kn it-sewi n g i s
n o w a plea s u re, whether with a serger or a sew i n g m a c h i n e
( bel ow, left) .
I nvisible zippers a re pa i n less to i n sert, a n d practical. Now
the sta n d a rd i n ready-to-wea r clot h i ng, i nvisible zi ppers were a ra rity
I
when was lea r n i n g to sew. Now I use them a l m ost exc l u s ively
they're easier to sew t h a n a sta n d a rd zi pper beca use th ere's n o
topstitch i n g t o m uff u p, a n d very few opport u n ities t o bre a k a need l e
on a n old-fa s h ioned metal zi pper tooth.
If o n ly I'd paid closer attention back then ...

I've seen my mother do these things dozens of times-but I
haven't quite mastered her techniques yet.
You can set in a sleeve without easestitc h ing. Most patterns

i n struct the sewer to r u n two lines of easestitc h i n g a lo n g a s leeve ca p
a n d gather the sl eeve s l i g htly to fit the arm scye. Mom d i s pe n ses with
t h i s, s i m ply p i n n i n g the s leeve in at the s h o u l d e r sea m and front a n d
( )
back notches. H e r secret is i n t h e sew i n g see photo a t left : with the
sl eeve side u p, s h e ca refu l ly "spreads" the fa bric along the sea m l i n e as
she sews to create a smooth, rippl e-free path for the stitches. It looks
easy to do, but trust me, it takes practice.
You don't need an a utomatic button hole stitch to m a ke

great button holes. My mother never u sed the button h o l e
attac h ment t h a t c a m e w i t h her mach i ne, opt i n g i n stead for a satin
stitch to work strong, attractive butto n h o les. To d o so, m a rk the
e n d s of the butto n holes with pi ns, then satin -stitch the sides of the
button h ole, widen i n g the stitch at the e n d s to sew bar tacks. For a
stronger button hole, stitch over the sides twice.
Perfect collars a nd cuffs don't req u i re h a n d sewing or

basting. M i n e sti l l don't come out q u ite as smooth a n d b u l k-free
as my mother's, but she says it's a l l a matter of careful staystitch i n g,
tri m m i ng, c l i p p i n g, a n d pressing the seam a l lowances. These steps,
44 TH R EADS
a lo n g with conscientious p i n n i ng, w i l l keep a l l
t h e layers flat a n d i n place s o you c a n edgestitch
from the i n s i d e or outs ide (yo u r choi ce), and avoid
h a nd stitc h i n g.
Fitting yourself isn't a lways a bout the

measurements. Mom solved her fitti n g problems
by fi n d i n g a few styles s h e l i ked a n d that fit her we l l
a n d red rafting them i nto others. S h e h a d n o formal
tra i n i n g i n pattern-d rafting, but j u st used common
sense a n d , of cou rse, years of experience to tell her what s h e needed
to do. She a l so tau ght herself to m a ke patterns from ready-to-wea r
garme nts, s o s h e cou l d d u p l icate h e r favorite clothes.
Sew early and often,
because the more you
do, the better you get.
Years of experience
enable Ruth to turn out
New stuff ca n help a l l sewers, perfect buttonholes,
even vetera ns collars, and cuffs (right
I can't blame Mom for not teaching me-most of these didn't and bottom) on her 40-
exist when I was learning. year-old Singer. Carol
and her kids, above, are
still working to hone
Fusible interfacings a re OK, after a l l . Today's prod ucts a re those skills.
exce l lent a n d va ried-a fa r cry from the stiff, u n re l i a b l e fu si bles of
the '970s. I'm a big fa n of i ron-on i nterfacings now, but I sti l l fi n d
that s o m e fabrics a re better off with a good, old-fa s h ioned sew-in
i nterfaci ng.
Sergers m a ke sewing faster, easier, and neater. After years

of zigzagg i n g or b i n d i n g a l l my sea m a l l owances, I bought a serger
a n d i m med iately fel l in love with how q u ickly and neatly I could both
I
stitch sea m s and fi n i s h sea m a l lowances. a l so fou nd that can be
i nventive a n d have fu n with my serger.
I
It pays to pick the right machine needle. I n the past five
I
years, I've started to keep a su pply of every k i n d of need l e can fi n d :
u n iversal, ba l l point, stretch, s h a rp, twi n, a n d w i n g needles, i n a
va riety of sizes. The right (new) needle can prevent ski pped stitches,
broken th read, a n d puckery sea m l i n es, not to m e ntion serious
m a c h i n e m is h a ps.
Sta b i lizers belong in every sewing room . Even though don't I

m a c h i n e e m broider, it's i n cred i b ly useful to have a s m a l l s u pply of
sta b i l izers on h a n d for general sewing. These prod ucts s u p port the
fa bric a n d prevent puckers, wobbles a n d waves, fa bric j a m s i n the
bobbin a rea, a n d oth e r u nfo rt u n ate occurrences. I fi n d tea r-away
sta b i l i zers a re the most versatile, but there a re ti m es when a cut-away
or water-s o l u b l e type s u its my needs better.
Build
Lightweight
Warmth
into Coats
Put t h e cozy
w h e re it
co u nts
BY PA D D YE MA N N
Most of the techniques that make a coat warm don't show

from the outside. You can use all of the methods explained
here or any combination of them to create your perfect
coat. This coat is a modified Vogue pattern 2472.
46 TH R E A D S
A d rawstri n g fla nge a n d ri bbed storm cuffs
keep out the d rafts. A detachable hood a nd
wool i nterl i n i ng wa rd off ch i l l s, a nd a b u i lt-i n
wi nd block keeps you
toasty wa rm.
hen the wind blows right through your coat, or drafts enter at
the hem and cuffs and carry your body heat right out through the
neck, it's time to think about how to add warmth. Don't add so
much batting or insulation that your coat gets too heavy or uncom
fortable. What you need are lightweight solutions.
There are different ways to build warmth into a coat. You can add an
interlining between the coat and the lining to hold in body heat, use design
elements that block the wind from running up your sleeves or down your
back, and add a hood to keep you dry and protected.
Here's how I go about selecting a coat pattern for adaptability, fitting
a muslin for comfort and insulation, and using design and construction
techniques to build in lightweight warmth.
Make a muslin to check your fit

It's a good idea to buy a pattern one size larger to allow enough room for
the interlining. To illustrate my adaptation, I've chosen Vogue 2472, a
straight coat pattern with raglan sleeves.
When choosing a coat style, consider the amount of front overlap. For
the most warmth, choose a double-breasted coat, one with a deep overlap,
or an off-center closing. On a coat with a narrower overlap, use a two-way
zipper or hidden buttons to lock in warmth. The two-way zipper opens
from both the top and bottom to enable comfortable sitting-especially
important on longer coats. Hidden buttons require several extra layers of
fabric for the concealed placket-these layers also retain heat.
Make a muslin of your new pattern and try it on over a sweater or jacket
to make sure the coat fits loosely enough to maintain a layer of air for insu
lation. A coat that fits too tightly won't keep you warm.
This is the best time to make fitting adjustments. Be sure to test the fit
in the arms, shoulders, and across the back for comfortable driving and
reaching. Correct the hem length to enable you to walk up and down stairs
and escalators, and step safely into buses and cars. Plan for wearing the
coat with dresses and skirts, when the hem should cover your boot tops.
Once you have adjusted the muslin and pattern, you're ready to consider
fabric and other design details.
Choose a fabric for wear as well as warmth

I use alpaca for coats because it's lightweight and wears well. Wool or
wool/mohair blends are other good fabrics to consider. I have also used
continued � � �
O C T OB E R/NO V E MB E R 2005 47
tightly woven raincoat cotton for winter coats by underlining coat construction. Instead of using a flannel-backed lin-
with two layers of Thinsulate (commercial interlining designed ing, which is typically heavy but not particularly warm, I use
specifically for garment insulation). lambswool, as shown lower right on the previous page, for its
Luxury fibers such as cashmere are delightful to wear and lightweight loft and insulating properties. I cut and sew it in a
have a wonderful hand, but they require careful treatment. double layer as one with the lining. Baste the layers together at
These luxury fibers don't always stand up to a season's the seams before sewing.
hard wear. Now that you've selected your pattern and fabric and inter
Once you've chosen your fabric and lining, preshrink them. lined your lining, decide which of the following techniques
Sponge, steam, or dry-clean your wool and steam or wash your
linings before cutting your pattern pieces. nv
you want to use in making your perfect coat. You can use all of
them or be selective-it's up to you.
Add interlining for warmth Paddye Mann, RCA, designsfrom her studio and shop in Paken
Interlining is one of the most important additions to a basic ham, Ontario, Canada.
I� I n sta l l a wi n d b lock to sh ield shou l d e rs

�
� Tailors often put leather chamois
between coat layers to block wind
from penetrating the coat through
the shoulders. But I prefer a prod
uct called Wind Stop because it is
�� lighter than chamois.
��"- Whatever material you choose, cut the

pieces fo l lowi n g you r coat patte rn, a s Adapt as necessary
� to accommodate
�I i l l u strated a t right, t o cover the u p per

s h o u l d e rs, front a n d back. W h e n you
sew the pieces together, ove r l a p a n d
raglan sleeves.
f. stitch the sea m s (below) rat her t h a n

u s i n g a typical sea m construction. Back
H a n d -tack the wind block to the cor
respo n d i n g seam a l lowa n ces i n s i d e
� the coat before sewi ng in the l i n i n g,
Add Y, inch at the
� as s hown i n m i d d l e photograph on lower edge on fold.
previous page.
Lap Lap
Add 1 inch ease to the back
lower edge tapering to
zero ease at the neck.
48 TH R EADS
�I Stop d rafts with a h i p fl a n ge
A drawstring hip flange protects the upper body from updrafts.
The fou r- i n ch wide fl a n ge carries a d rawstring a n d is atta ched to the l i n i n g

i n side t h e coat. T o m a ke t h e flange, cut a n i ne-inch w i d e st rip o f l i n i n g
fabric the length o f t h e coat l i n i n g h i p c i rc u mference, p l u s two i n ches. H e m
the short e n d s . Fold the st rip with right s i d e s together a n d sew the long
u nfi n i s h ed edges together to form a tu be. Turn right side out and press it
flat, a n d stitch a casing on the fo l d ed edge to conta i n the d rawstring. Then
edgestitch the opposite side a l o n g the hip a ro u n d the c i rcu mference of the
l i n i n g as i l l ustrated. Run a cord t h ro u g h the cas i n g and attach a cord stop (as
pictured in the u pper photogra ph on page 47).
flan ge
RS linin g
�;,-;;......,;:
.;:;;. :;::.
:..,; :...=.
.= �::..=
. -:..:-:..;::. ..:: ::.-:..:.;::: -:..;::.
- :...:- - -.: - - ---------
Edgestitch
to lining.
drawstrin g
casin g
the coat ;s closed
and also adds
extra warm
layers.
SOURCES
LAMBSWOOL T H I N S U LATE
&
G reenberg H a m mer, USA
greenberg-hammer. com
Thinsulate, USA
justmakeit.com
800-955-5135
(not on their website, but it's WI N D STOP
available by phone) Cy R u d nick's Fa brics
816-842-7808
MacDonald Fa ber, Canada Crown Center
877-668-4667 Suite 335
600 Queen Street West Kansas City, MO 64108
Toronto, ON Canada - 816-842-7808
M6J 1R3
conti n ued � � �
Add storm cuffs to keep a i r from
shooti n u p you r a rms
� Most coat patterns don't have a storm cuff, but you can
add your own.
After the garment is com pleted, sew the cuffs by h a n d

to the l i n i n g 4 i nches a bove the h e m edge.
The pe rfect cuff fa bric fits the wrist comfortably a n d

stretches t o fit the s leeve l i n i n g. T o m a ke a storm cuff,
measure you r wrist a n d the width of the s leeve fou r i nches
a bove the s leeve h e m and fo rm the cuff a s i l l u strated i n
the m i d d le i l l u stration bel ow.
hemline
Make cuffsfrom soft, hand-knitted
4 inches
cashmere, ribbed stretch cotton, or wool.
sleeve
Measure
circumference.
For ribbed knit,

cut a double
layer andfold at
the wrist edge.
hemline
sleeve
50 TH R EADS
For su b-zero weather, add a n extra l i ner
Consider making a n optional detached layer from quilted

or wool fabric as a liner.
Fol low you r coat

pattern to m a ke a
vest patte rn. Add
a separat i n g front
zi pper a n d bind the
edges to fi n i s h them.
A l i ner i n the form
of a long vest works
d o u b l e d uty for extra
cold days.
r 1
CF CB
I I
For a sta n d a rd set- i n
I I
sl eeve, j u st u s e the
, I
I I
front a n d back pattern
I I
pieces. For a ra g l a n
I I
s leeve, j o i n the sl eeve
I I
a n d body sea m s a n d
I I
d raw a c u rved a rm h ole.
Add pockets, if desired.
Cove r yo u r neck a nd r------w�........--�'

head with a hood
A detachable hood should stay u p without 2.
collapsing over the face. Add fur or faux fur

I 3.
trim around your hood to block the wind. CB I
1.
1. Mea s u re from the top of the

head to the base of the neck,
p l u s one i nch for ease.
2. Mea s u re from the outside

corner of the eye to the center
4. Reverse back neckline
back of the head.
3. Add sea m a l l owances.
4. U se the neckl i n e s ha pe from

yo u r patte rn, as s h own at right,
to s h a pe the l ower edge.
5. Add button holes to the hood

a n d correspo n d i n g buttons
u n d e r the coat col l a r.
ce
Choosing, Using, and Caring for
•
CIssors
ears
T
here are few milestone events in life: a first kiss, getting
married, buying a home. And, for me, the day I bought my
first pair of "good" sewing scissors. I still use those Singer's,
and I can remember, in great detail, the day my l l-year-old self
How to get the bought them in a summer sewing class. The scissors were ex
pensive, but my mentor stressed the importance of quality scis
very best cut sors. And I never once regretted that purchase. I've depended
on those scissors to give a clean, smooth cut for countless years.
for the tas k When Threads asked me to survey scissors, I thought I had
at hand a good understanding of the styles, but I wasn't prepared for

the sheer volume and variety of scissors available today. So, as
the mailman delivered scissors by the dozens, I simply started
grouping them into three categories: scissors, shears, and
BY C A R O L LA F L I N A H L E S specialty. (Please note that when I use the word "scissors" in a
general sense, I refer to any implement with two blades; "scis
sors" also describes a specific category.) In the following pages,
you'll find descriptions and examples of the main types in each
category, which should help you make informed purchases.
Three basic pairs should do most jobs

There are three basic scissors that can accommodate all
manner of sewing tasks: dressmaker shears for patterns and
heavier-weight fabrics; a 5- or 6-inch pair of sewing scissors or
trimmers for clipping and trimming at your machine; and small
-,�/' ..,1'....--... --------- - -- -.... '\.
'
Style and
....�.. ''''- embroidery scissors for snipping threads and fine detail work.
/'
size are personal \.
Once you have these basics, buy specialty scissors as your needs
l( preference
I Do you prefer h efty carbon steel ,
'\
\:�
dictate. And always test scissors before you plunk down your
money. There really is no other way to become acquainted with
a cutting implement than to hold it in your hand, and snip and
tti\ or l i g htweight sta i n less? And
w h at a bout the h a nd les? R i ngs
li I
slice fabric. Finally don't be afraid to invest in excellent quality.
If you're lucky, like I was with my trusty Singer scissors, they'll
�'\ (robows
u n d fi nger o pe n i ngs) a n d
(elongated ova ls)
r last you a lifetime. 1J.l
,\ come in m a ny s ha pes �,/
\� ..�..
''-
. J'J//r
a n d Sizes,
....,--
... ---------.---_.....-
Carol Laflin Ahles (CaroLAhles.com) is the author of Fine Ma
chine Sewing (The Taunton Press, 2003).
SC I SSORS
Although there isn't a universal language among the manufacturers of dou
ble-blade cutting tools, "scissors" usually have the following characteristics:
they're 6 6 Y2
to inches long or less, and they sport two round finger openings
(called rings). They're designed for lighter, detailed cutting, such as clipping
seams and cutting intricate shapes.
SEWI N G /G E N E RAL P U RPOSE

Sewing scissors feature o n e pointed t i p and o n e slightly round
ed tip for cli pping sea ms and light/med i u m tri m m i ng (at left).
SpiraIe Stickschere
E M B RO I D E RY Gold 18410
Gingher S inch Embroidery Scissors
The fine, na rrow-pointed blades of these smaller scissors (less
Knife Edge (Kretzer-Scissors.com)
Sewing Scissors than 6 i nches long) m a ke easy work of close detail cutting on fine,
{Gingher.com} lightweight fabrics. These scissors are often created in decorative,
vintage-inspired styles (at right) and should be stored in a protective
leather sheath.
T R I M M E RS
Similar in size and shape to sewing/genera l-pu rpose scis
sors, but created especially for trimming: both blades a re
pointed so you ca n clip right up i nto a corner (bottom right).
B U TTON HOLE
D o you have a hard time cutting button holes t o the same
length and worry that you might accidentally snip through
the end of one? Well, then these nifty scissors a re for you.
They feature an adjustable screw that ensures the same ex
act length cut every time (bottom left).
Gingher 4 Yl inch
Buttonhole Scissors
G-BH (Gingher.com)
S H EARS
As compared to "scissors," shears are usually longer than
home use, we found some as long as 12 6 inches (for
inches), and they're designed
for more heavy-d uty and less detailed cutting. Shea rs a re easily iden
tified by their finger openings: the top is a round ring (for the thumb),
and the lower opening (called the bow) is an elongated oval that can
accommodate two or more fingers.
B EN T- H A N D L E D
Also called "dressmaker's" or, in longer
lengths with stronger blades, "tailor's" or
"heavy-duty," the offset finger openings
m a ke it easier to cut fabric on a flat surface
Finny alpha 73225
without lifting the fabric (at right)_
Tai/or's/Carpet Scissors
(Kretzer-Scissors. com)
I
STRA I G H T ALL- P U RPOSE
These straitlaced shears (at left) a re gen
era lly not as heavy or long as their bent
hand led pals, and they are a comfortable
choice when fa bric doesn't need to lay flat
on a table.
P I N KI N G
The blades' jagged edges make a decorative
zigzag cut, which also prevents the cut fabric
from raveling. Pinking shears often require a
little more muscle to use,
because the screws �/'
' ..,.. -- -----
- ---
- --
..�. .. " �'\."
are purposely
/
r�/
Cut hinge \,
tightened to
produce a
i( I
to tip on long cuts \
,
�)
clean cut.
�f,,
Put you r scissors t h ro u g h
their fu l l motion . T h i s saves ti me,
a n d if you r scissor balks at a ny t'I'I
\�
Wiss (5- 1273) 7 inch
\. ''"
,
\,
poi nt in the cut, you ' l l k n ow
right away that they need
s h a rp e n i n g . r� i /
Straight Trimmers
(CooperToo/s.com)
,�
..,'--- .. �,,/'
... --- -------- --..;/'
Finny alpha 97620

Pinking Shears
(Kretzer-Scissors. com)
54 TH R E A D S
S N I PS
tiP
Also called "clips" or "nippers,"
Care and Cleaning
these scissors fit into the palm
of the hand. There are a variety To keep you r blades i n
of styles-some have a ring for t i p-top con d ition, ta ke the

Titanium-coated Micro-serrated Snips
the middle or ring finger, a nd fol lowi ng steps:
738T (Specialty Product Sales; email
some are spring-action for left
ies or righties-but the sole pur
them at MRScissors@yahoo.com) • Wipe the blades after
pose of each is to clip threads. each u se with a clean, soft,

d ry cloth. Even t h e s l i g htest
l i nt b u i l d u p ca n affect t h e
s m ooth cutt i n g action.
• Every few months, place a

d rop of sewin g m a ch i ne o i l
o n the pivot screw, o p e n a n d
%
Mundial 4 inch Thread Clip
(Mundial.com) close the b l a d e s a few ti mes,
a n d wipe off the excess.
J/' ..../.
..-.. - - -- -- - �-..,... ," "- • Always place scissors wel l
/' ,
L' Don t .Loree C �\
/
II
I
a eut
If you feel even a l ittle
\\\
Squizzers (Laschal Surgical,
914-949 -8577)
away from a ta ble edge, as a
fa l l to the floor can cause a
lot of d a m a ge.
II' resistance, stop cutting I
1\ l •
\ \\.
i mmediately. Forcing the
scissors may th row
the blades out of
J'/
/
Keep scissors, especia l ly
fi n e-ti pped scissors, i n a
protective s h eath or box
\..',�. ' a l ignment.
.-# /,1/' and store in a d ry location to
,...._-------------/.... prevent rust.
OmniGrid 2063 {Oritz.com)
FOR LEFTIES
f you are among the right-handed majority, have you ever
I tried to cut with left-handed scissors? Nothing will make you
sympathize with left-handed folks more. Luckily for lefties, there are quite
a few left-handed scissors available today, but their "left-handedness" varies:
AMBIDEXTROUS MODELS TRUE LEFT-HANDED VARIETIES
The handles are designed to be used Scissors labeled "left·handed" are made
with either hand, but a left-handed person completely in reverse of right-handed
still has to squeeze in an unnatural way; ones, which eliminates all hand position
this problem is avoided with spring-action and visibility problems.
scissors. The cutting line is hard to see
because it's blocked by the blade. Fiskars No. 8 Bent Scissors
Left-Handed (Fiskars.com)
O C T OB E R/N O V E MB E R 2 00 5 55
S P E C I A LTY
Quite a few of the specialty scissors o n the market
were originally designed for medical applications. So,
by all means, don't be restricted by a scissors' name.
Use what works best for you.
S E R RATE D Serrated Goldwork Embroidery

Scissors with Chatelaine
Fine serrations o n one blade edge keeps sli ppery fa brics
(CaroIAhles.com)
or threads from slipping while being cut.
MACH I N E E M B RO I D E RY Spirale Duck-bill

Applique Scissors
These scissors (at left) have fine blades, often cu rved,
(Kretzer-Scissors.com)
a n d the shank is offset to aid in clipping thread in em
broidery or q uilting machines.
APPLIQUE
Designed t o trim excess fabric from applique stitch ing.
The narrow/wide blade combo of the duck- or pelican
Machine Embroidery Scissors, bill applique scissors (at right) assists in close trimming,
"Double curved" (Specialty especially if you want to trim away an u pper fabric layer
Product Sales; email them at without cutting the lower. Lace applique scissors a re a
MRScissors@yahoo.com)
mini version of the d uck-bill and a re great for trimming
-. .."...
�/'..../..- '-------------....
a ppliq ued lace and when hemstitching lace. "r ��"-'\
/I'applique scissors
Flatten
Heritage Cutlery 6 )1 inch
Rag Quilting Snips VP7
(HeritageCutlery.com)
S P R I NG-ACT I O N
Designed t o be used right- or left-ha nded, t h e spring i n
l as you trim
\\
the h a ndle a lso reduces fatigue a s you cut. NOTE: The
blades and tips on squeeze action snips (at left) can be
I
I
t,
\
To trim a ro u n d a n
t u r n the scissors so the
applique, !
I,
\
I'
fragile, so use with care. "\,_ rou n d e d blade lays flat
i''
,'\� along the base fa bric.
,
D E CORATIV E / D E S I G N E R S E R I E S
Right i n time for the gift-giving season, Gingher intro
..,-... ....,---. -----------,/" �/'�I
d u ces new decorative 8-inch and embroidery scissors by
a rtist Simonetta Pavoni every fa ll. Other companies also
offer screen-printed hand les or fashion colors.
Dovo Rainbow
ToolTron Silk Embroidery
Screened Needleart Scissors
Scissors (TooITron.com) (Dovo.com)
56 TH R EA D S
Slip n' Snip Folding
Scissors (Professional
Sewing Supplies,
206-324-8823)
Y1
3 inch Blunt-nose
Travel Embroidery
Scissors, (Nifty Notions,
QuiltersResource.com)
------._-,........'-.. .. ....
//� r-",', .,,/A'--------
S "\
T RAVE l / / k
hairstylist
your \
\
These scissors put safety first. The round- or
blunt-tip small scissors (top right) may be car
"l about sharpening
I He or she is sure to be very
\1
I
lI
I\
ried on some airlines. I l i ke to keep a pair on
a "Zinger" (at fa r right), and clip them to my
,\
\...
fussy a bout whom they
trust to sharpen their /l
I
waist so they are a lways handy when I need
to clip threads. And with the blunt tips, I don't
'\�" " �expensive blades.
�/'�,�I
I'
-.......------
. ----�/'
have to worry a bout getting stabbed as I move
from machine to i roning board and back.
FOLDI N G
Folding scissors (top) d o have sharp points
(not for the airplane) but they fit into your
pocket or purse.
4-inch Seam Ripper
SEAM R I P P E R / SC I SSOR COMBO (HeritageCutlery.com)
At first glance, these small a ngled scissors ap
Zinger (Specialty Product
Sales; email them at
pear to have a broken point, but because that
MRScissors@yahoo.com)
blade is shorter and blunt, you can use the other
blade's extending point as a seam ripper.
HOME SHARPENING KITS: DO THEY REALLY DO THE JOB?

Although I prefer professional sharpening, Scissors Sharpener #9861 (Fiskars.com).
there are a few home-sharpening devices But we found that it's hard to know if
on the market. Check to make sure they're we were sharpening at the correct angle.
compatible with your particular scissors
OUR PICK: SCISSORPRO
because different styles have different
This electric sharpener has magnets, as
blade angles. Scissors can be ruined by
well as guides, that hold the scissors at
improper sharpening, so it pays to do your
standard or knife-edge angles. There
homework.
are two options of diamond-abrasive ScissorPro MSoo
(EdgeCraft·com)
COMPACT OPTIONS sharpening-coarse and fine. Although
The Threads staff tested three inexpensive this device costs $69.95, Threads staffers
hand-held sharpeners: Gingher's Knife found that it's easy to use, produces
Edge Sharpening Stone (Gingher.com), consistent results, and can be used with
Fiskars SewSharp #9854, and Fiskars left- or right-handed scissors.
O C T OBE R/NOV E MB E R 2005 57

..
PRACTICE MAKES SPOT-ON FIT AND
love the smell of muslin. The subtle,

oz
VI
PERFECT-AND
STRESS-FREE SEWING
STYLE, DOWN TO
THE HEMS
almost earthy aroma emitted from w<t
D' • Before you take your • With a muslin test
the unbleached cotton fabric re bike on a busy highway, garment, you can let in,
minds me to relax, slow down, and REASON
you should pedal around the take out, and otherwise
enjoy the craft of garment creation.
neighborhood's side streets, no? tweak the fit in areas impossible
But my attitude wasn't always so
Zen-like. When I first started sewing, like Think of a muslin test garment to adjust in fashion fabric, such as
many others, I was impatient to finish a as the quiet side street of the slashing and spreading at the waist
garment so I could wear it. I didn't listen sewing world-it allows you to or shoulder area.
when more experienced sewing friends practice techniques and fine
suggested that I test a pattern's fit by cre
tune/streamline. the garment
ating a muslin version. What? That was
making process. With Butterick
double the work! So, I jumped in, cut my FASHION FABRIC
45'5, I found the recommended
oVIz IS SPARED WEAR

fashion fabric directly from an absolute
stranger of a pattern, and started madly %-inch seam allowances too AND TEAR
sewing.
Unfortunately, my haste led to many
bulky, especially in the princ�ss
seams, so switched to Yz-inch
<t
w • Because you adjust
D' fit and figure out
frustrating hours ripping out seams and amounts. I also set sleeves hem placement in a muslin, you
resewing to get a better fit, which wasn't
differently than the pattern don't need to leave extra fabric in
always possible at that late stage. And
instructions, so I didn't need to the seam and hem allowances.
usually my fabric never fully recovered
from all that tugging and tearing. transfer all of those markings.
• You know how sometimes
• You'll only need to sew once
It took me many a fitting disaster to and won't have to rip out stitches,
come around to the idea of testing a pat- the fear of making mistakes can which can leave behind tiny
1: tern, but the first time I did, I became a actually lead to procrastination? pinpricks or tears. The simple act of
j complete and utter convert. I will share Well, in muslin, I can experiment pushing, pulling, and easing fabric
� four excellent reasons for a muslin test
and happily make mistakes, over the feed dogs can also stretch
i��
Vi garment and explain the straightforward
process for making one. You'll see-with
o a good-smelling muslin test garment by
without fear of ruining
expensive fabric.
fabric out of shape.
;;; your side, you'll be able to kick back and

<U
i:<i: focus entirely on sewing your fashion
.i� fabric, confident that all the fitting "t"s
are crossed and "i"s dotted. Jjv IN THE LONG RUN, A TEST GARMENT ACTUALLY SAVES TIME
E
• A muslin test-run may take a little extra time at the beginning
� Jennifer Sauer is an associate editor at of the pattern/fabric relationship, but I like to think of it as the
� Threads who learned the value oftesting ultimate icebreaker-a way to slowly get to know a pattern, learn
��a pattern when she attended the Fashion
� Institute ofDesign and Merchandising REASON
its idiosyncrasies, and coax it into shape before committing to it
in fashion fabric. And, believe it or not, I've found that making a
)ij
oben
(Fidm.com).
muslin version actually saves time-and frustration.
.>;
VQ.
"o contin ued � � �
:2
., O C T OBER/N OVE M B E R 2005 59
Ma king a m u s l i n, step by step
Choose a pattern size using the measurement chart (usually found on the back of the
pattern envelope or on the instruction sheets) as your guide. Press all pattern pieces
with a warm, dry iron; the tiniest fold or wrinkle can affect fit.
1. CUT OUT T H E MAI N GARMENT PIECES. NO N E E D TO
�, \ S P E N D T I M E ON CU F FS, FACI N G S, POCKETS, ETC.

Cut out the main pattern pieces a s m a rked, i n c l u d i n g two sleeves, (As
you ' l l see later, you ' l l sew a n d attach o n e sl eeve first, then check the fit.
O n ly if t h i ngs look too tight or too loose across the s h o u l d ers w i l l you
need to attach the other s leeve a s we l l .)
2. MARK DARTS, G RA I N L I N ES, WAIST, A N D B U ST POINTS

W I T H B L U E PE RMAN E N T MARKER.
M a r k t h e center front l i n es, a n d z i pper or buttonhole placement;
you ca n m a rk the sea m l i nes too, if you l i ke. When you m a ke
a ny fit or style c h a n ges, yo u ' l l know exactly where
you r sta rti n g points a re. Mark pockets d i rectly o n
the m u s l i n t o j u dge placement. Ba ste h e m l i nes
beca use the l i ne of th read is easier to feel a n d
press; i f desired, staystitch the n e c k edges.
3. SEW TOG ETH E R U S I N G LON G BAST I N G

STITCH ES; PRESS.
Follow you r pattern i n structions, s k i p p i n g steps
for deta i l s you decided not to i ncl ude. Sew on one
sl eeve to start. Don't sew closures; s i m ply p i n those
closed. Also, j ust press up and loosely pin the hems.
To m a ke stitch remova l ea sy, o n ly back-tack at
stress pOints,
BLtit-ey'lC.elk.o5
u(
S" l..e 1 2-
Lf5J s 4. PRESS ALL S EAMS AS YOU WOULD
FI NAL GARM E N T.
IN A
You can cut m a ny corners in a m u s l i n , but

never skip pressi n g steps beca u se even a ]l,6 i nch
\\
d ifference can th row off yo u r fit. Press the sea m
as sewn to set the stitches, press it open, then
press again from the right side of the garm ent.
\
Whe never possib le, don't trim o r c l i p seam
a l lowances i n the m u s l i n, a s you m i g ht need to let
out sea m s i n the fitti n g process.
!t '
60 TH R EADS
5. T RY ON O R HANG ON A D RESS FORM TO A muslin doesn't necessarily need
EVALUATE FIT A N D STYLE.
tIP - MUS�� ; I;
• to be sewn in cotton muslin fabric
C h eck fit, style, a n d l e n gth. I f you prefer t o fit t h e test
garment on yourself, e n l ist the h e l p of a fitt i n g buddy.
If the fit looks stra nge across the s h o u l ders, sew on the I
co s �
va rlo s weights a n d blen s
choose one t h at d ra pes a n d behaves l i ke
d�
-
other sl eeve.
you r fas h ion fa bric. For th ick, stiff fa bric l i ke
d e n i m or wool, use i n expensive canvas. For
6. P I N O U T ANY CHANGES OR RE LEASE BAST a k n it ga rment, use i n expensive k n it as

I N G STITC H ES. you r "m u s l i n ." B ut, rea l ly, m a k i n g a m u s l i n
doesn't need t o cost you more t h a n t h e price
Write a dj u stment a m o u nts a n d a ny other notes d i rectly
on the m us l i n . A l so p i n - m a rk a ny style cha nges you wish of t h read. Be resou rcefu l-use scraps of fa bric
to m a ke. When satisfied with the fit a n d style, remove the you have lyi ng a ro u nd, or cut u p old s heets
garment, and lay it flat o n a h a rd s u rface. a n d garments otherwise ma rked for Goodw i l l .
A colorfu l patchwork o f th row-away fa brics
s i m ply i ncreases the fu n factor.
_ji
NOTE: Unless the left and right sides of your body
a " "d;"IIy dOf",ent, you "n make ,h"go< on
one side of the muslin garment.
_,
conti n u ed � � �
f,'t�
eV'+t;dt
S',?t'l!��'f
O C TO B E R I N -OV B 1: 1< 2 o o 5 61
,!'i. � 'fI,.."'\::..� "I
,'.I:" v...,.
/!
I
I
[, 1�I/)s
�rick 'E-S"I" S"
Size 12..
7. TRACE ALONG P I N N E D LI N ES W I T H A R E D
P E R MA N E N T MARK E R . -
U s i n g a dotted l i ne, m a r k both sides of a p i n ned section.
8. R E LEASE PI NS, PRESS F LAT, MEAS U R E CHANG ES,

AND TRA N S F E R TO PATTE R N .
Mea s u re the d ifferences between the red a n d b l u e l i nes. Tran sfer
these cha nges to yo u r patte rn. If you m a ke major a dj u stments, you
' 1<"
,1\[ 'CU!"'-'
m i ght want to m a ke a n other test garment to d o u b l e-check the fit.
t· . Label and save your muslins

Ip! � : � : ; -;'
I
h re no n ed to st rt rom scratch every time: A m us l i n doesn't )

"I,',
ta ke u p m uch room, a n d it w i l l come i n h a ndy m onths or years
I;:' I
j !::
down the road when you wa nt to sew a favorite pattern in a
[ /'II I
d iffe re nt fa bric. If you've lost or ga i ned weight, or wish to m a ke
s u btle style cha nges, you can j u st s h a ke out the m us l i n, try it on,
then m a ke m in o r adj u stments. J ust be s u re to write the date,
pattern n a m e, a n d size d i rectly on the m us l i n in permanent
I I; I«-:
�'Ii �1, --
m a rker before you store it away.
62 T H R EADS
:.L.I, ...
K EY PO I N TS MAKE
Pattern 1 The upper shoulder point-where a

jewel neckline crosses the shoulder
seam-is the key pattern reference
Princi es
point on a garment. The garment
hangs from this point a nd it marks
where you should begin most length
and depth measurements.
2 lengthwise grainlines usually run par

allel with the center front and center
back lines, and perpendicular to the
hipline and biceps line.
Shedding light on the formu las
3 At the point where two pattern piece
of patternmaking and corners join front to back-for ex
ample, at a pants waist side seam, the
modification S U S A N L A ZEAR BY underarm side seam, or each end of
a shoulder seam-the combined cor
ner angles equal 180 degrees, usually
A
fter years of studying how to make pattern pieces and from the right angles at each corner.
observing how successfully they go together, I've noticed This prevents seams from having un
certain universal principles about them. There are several desirable bumps at the edge.
key points in the anatomy of a pattern. And because they are
universal to all garments, they exist on almost every pattern 4 On contoured body styles when the
you use. side seam angles in or out, or the
Use my principles as a guide or checklist to proofread your garment is A-line or flared, use a
patterns, and you'll eliminate many initial pattern glitches. As curved hem. This is true for bodices,
you apply these principles, your mastery of pattern alterations coats, skirts, and a ny garment that
will develop and you'll enjoy sewing better-fitting garments. flares or angles.
Whether drafting or altering, you'll find these principles

extremely helpful the next time you're working with a pattern.
5 A standard jewel neckline width is
approximately a third of the total
People enjoy wearing more fitted garments these days. Hope
shoulder width. The front neckline
fully, my guidelines will help you achieve the look.Ov depth is approximately half of the
neck width. The back neckline is
Susan Lazear is a professor at San Diego Mesa College-and
owns and developed Cochenille Design Studio, a pattern drafting
generally % inch deep on most sizes.
software company. Learn more at cochenille.com.
64 T H R EA D S
M E A S U R E M E N T S CO U N T
6 Darts must always point toward the

apex on the body, i.e., the bust point,
but they don't reach it. Keep the dart
point Y2 , )i4
to inches from the apex so
it ends gracefully and doesn't accen
tuate the bust point.
7 The shoulder slope is essentially a

dart, hidden in the seam, a llowing the
garment to hang on the straight of
grain. The slope on your pattern must
match your own shoulder slope for a
bodice to fit properly.
8 When adding more than , � inches of

flare to a pattern piece (to each gar
ment quadrant), make the addition
internally, not on the side seam. The
allowable amount of flare you can
successfully add at the side seam in
creases as the pattern piece becomes
longer. Adding excessive flare at the
side seams can leave you with a gar ..;r. '.
t! . '
ment that looks like it has fins. .'1'1
\
9 Use seam allowances on large darts
and fold and sew smaller darts as a
wedge. Removing the extra fabric
provides a smoother fit.
10 The front waistline is generally

longer than the back by a pproxi
mately an inch. Conversely, the back
hipline is longer on the back by the
same amount.
..,.
ARM H OLES
Alter the armhole first a nd then adjust the sleeve
cap. The proper armhole fit makes the whole bodice
hang better. And of course, the right armhole is es
sential for a properly fitted sleeve.
1 The upper chest width is generally narrower than
armhole curves in approximately !4 to % 10,

its corresponding shoulder point. On a size
inch on
the
each side.
2 The front armhole angles toward the center

front from the shoulder point down about
two-thirds of the armhole depth before
starting its curve around to the side seam.
3 The back armhole curves toward the side seam

halfway down the armhole depth. You need the
greater scoop in the front to accommodate for
ward arm movement.
4 The lower armhole flattens for a pproximately a

quarter of the armhole inset. As garments become
less fitted, the lower armhole points d rop and
widen.
S L E EVES A N D S L E EV E CAPS
When you alter a n armhole, it's likely that both the 2 When you deepen an armhole, you need to in
sleeve cap and the biceps length of the sleeve need crease the biceps circumference and shorten the
to change, too. cap, creating a looser-fitting sleeve.
1 The sleeve cap height on a fitted garment mea 3 When you increase the width of a garment at the
sures a pproximately � *
to of the length of the
armhole depth, which is measured vertically from
side seam (resulting in a greater armhole inset on
the pattern), the cap height of the sleeve needs to
the shoulder point to the underarm. increase.
66 TH R E A D S
PA N T S A N D S K I R
Pants and skirt patterns offer opportuni
ties to hide darts i n seams, which can be
helpful once you know where they're
located.
1 The side seam curve on pants and

skirts should curve to the depth of
the fullest part of the hip, and then
fall straight. The fullest part on some
people may be the abdomen or thighs.
2 Commercial pants a nd skirts gener

a lly have, on each side, one dart in the
front and two darts i n the back. The
front hip curve is a sharper curve than
the back, and is essentially a hidden
..
inches a nd back darts d rop 5 3 Yz
dart. Front darts generally drop
inches.
3 To allow for longer crotch lengths that

accommodate a full abdomen or but
tocks, raise the center front or back
seam a bove the normal waistline.
"
O C TO B E R / N OV E M B E R 2005 67
Quilted and embroidered ensemble
Eve Kova cs, Woo d r i d ge, I I I .
An expert machine embroiderer and quilter, Eve wanted to

combine both techniques in a single ensemble. The result
is this Asian-themed four-piece outfit; it comprises a Thai
silk top and pa nts, a polyester shantung jacket, and match
ing purse. Eve created a border design by combining
motifs in editing softwa re; she then embroidered trim
for her top and jacket. The jacket features a trapunto
technique to form meda llions, with additional
embroidery and quilting throughout.
Lushly fringed tweed jacket

S u e B a i l ey, De nve r, Co l o.
A distinctively textured wool-cashmere tweed

gives this classic, princess-seamed jacket its
edge-literally. Sue took advantage of the
multicolored weave of the fabric to create lush
fringe at all the edges, including the pockets
and lapels. In fact, all the fringe on the gar
ment comes directly from the pattern pieces;
there are no inserted strips of fringe. Providing
extra support a long the fringed edges is an
unexpected trim of sheer gimp. To coordinate
with the gray a nd pink hues of the fa bric, Sue
created a closure that consists of a pink shell
button layered on top of a larger, gray one;
a braided loop made of strands of yarn from
the fabric holds the jacket closed. Sue made
this jacket as a surprise for a friend, using the
friend's personal sloper to get the size just
right-and with a single fitting, it was perfect.
Sue Bailey's garments photographed by Judith Neukam
68 T H R EADS
· -
Trendy, layered maternity top
Fred Sch u ltz, B u rto n svi l l e, M d .
Self-taught sewer Fred Schultz, a 64-year-old

grandfather, likes to share his talent and to
challenge himself to master new sewing and
design skills. When a friend requested that he
make a fashionable maternity top, he jumped
at the opportunity to sew his first blouse.
Fred adapted a non-maternity pattern (Vogue
7999), and cut it from a stretch fabric. For com
fort and style, he added a silk chiffon lining,
which is lettuce-hemmed and extends beyond
the edges of the stretch fabric, creating a soft,
ripply trim. Panels of stretch mesh inside keep
the lining in place while providing a bit of
extra give. Fred now teaches sewing and is
about to launch a website, sewmanly.com.
W H AT H AV E YO U B E E N S E W l N Gl
Sharpl
designery taisuilotred
A n n Steeves, B u r l i n gton, M a s s .
S E N D US YO U R PHOTOS
I t was the sharp tailoring that originally
attracted Ann to this Vogue pattern (now SHOW OFF YOUR WORK Send us photos
and a brief description of your recent
out of print), by Karl Lagerfeld. Given the
creations, and we may publish them.
complexity of the jacket, she decided to
We accept film, but prefer digital
go a l l out and use couture and bespoke images on CD.
techniques, including lots of pad-stitch Whenever possible, photograph your
ing by ha nd-the extra work was well well-pressed garment on a dressform
worth it for the smooth, flat lapels that against a neutral background. Avoid
resulted. Ann has fond memories of including people in your pictures if at all
purchasing the fabric for this suit, a lus possible. Use even, adequate lighting.
Take ful l-length and detail shots, and
cious satin gabardine, in Paris, where she
use a high-resolution setting and large
discovered that a love of sewing works as
image size for digital photos. For more
a universal language. Although she made detailed information and an entry form,
the suit a few years ago and finds the visit threadsmagazine.com.
style a little dated now, Ann still loves to
Send entry form plus photos or CDs to:
wear the jacket, only now she tosses it on
Reader's Cl oset, Threads maga z i n e
over jeans and calls it "vintage."
PO Box 5506
Newtown, CT 06470 - 5 506
OCTOB E R / N OV E M B E R 2 0 0 5 69
EMBELLISHME NTS B Y RUTH C I E M N O C Z O LO W S K I
encrusted lapel
just got easier
Co m b i n ed e m be l l is h m e nt tec h n i q ues
add textu re, l ight, a n d style
T
he current trend for with heavy interfacing. Make
embellishment and a coat a muslin of the lapel, so you
lapel by Elsa Schiaparelli, can see how it will fall; this
who has taken dressmaking will also help determine the
to an art, inspired me to com exact boundary for your em
bine beaded fringe, fusible bellishments. Then, cut paper
faux suede, bias-cut ribbon, patterns of your floral motifs
and hand beading to create and pin them to the muslin to
my own version of overdone plan your design.
and gaudy good. Using ready Contruct your lapel in the
made elements diminished following order: Interface up
the labor-intensive side of this per collar first, then fuse faux
ornate embellishment, leaving suede motifs. Sew the upper
me extra time to play with collar to the under collar and
the possibilities. Don't take press a crisp crease along the
yourself too seriously-em edge-but don't press over
bellishment is fun. the motifs again because
they tend to flatten. Add the
STA RT W I T H A G O O D beaded fringe, the stems,
S U P P O RT S Y S T E M vines, and leaves, and finish
Because beads can get heavy, with the hand-beaded pollen.
you should support your lapel For all of the sewn elements,
stitch only through the top
collar layer, leaving the under
collar unembellished and
unmarked.
Ruth Ciemnoczolowski can

sew asfast as she talks, which
isfaster than most people can
listen. See more ofher work at
ruthfromomaha.com.
continued � H
1\,. ,
.. s h�e., -tr� 51 �G.ER
t:.-,� w� CA.� �\oro-�� n-
® \S �e.. ftrs-t � rts
� ��
I��Se., \M� �-tW"'�M

� -to- �Ioro-�UJ I tA.�s-ts-ttA.pl�-cd
CA.S �e., fo.r �\\V\ e.,\e.-\:
.- .c. r�c..- se,.w''''''1 '
'4 rt i�-to- � rye. tA.� ljo-.
o- o.-t
..
�"hvrt"\0...
�-t� � �
� lO\.U'\.t ��.
The choice is yours.

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SINGER® and Quanlum® are registered trademarks and Futura™ is a trademark of t e
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*laptop not included. Computer needed for em b rot ery.
OCTOB E R / N OV E M B E R 2005 71
E M B E L L I S H M E NT S contin ued
Zwade, a fusible fa ux suede

I wanted t o avoid hand appliqueing through real leather,
so I used Zwade, a fusible faux suede, available in
ors from Kandi Corp (ka nd icorp.com). Experiment with
18 col
fusing Zwade before you apply it directly to you r lapel.

I hand-stitched a small pleat at the base of each flower
petal, and fused from the outer edges toward the center
of the petals to keep them from looking too flat. Keep
ing the petals attached in a circle simplifies pressing.
Leave the petals attached when Pressfrom
Brush the Zwade with a soft toothbrush to lift the nap.
you cutyourfloral motifs. the outside
edge of the
petal toward
the center
to hold the
Use ribbo n for vines a n d leaves manipulated
Hanna ribbons a re hand-dyed silk, m ulti-colored, raw shape.
edged bias strips. Available in a variety of colors, weaves,
and widths from fabric stores or from a rtem isinc.com.
It's easy to pull a ribbon-threaded ta pestry needle
through you r lapel if you use a n awl to open the weave as shown (photo left) to cover the stitch. When you
Anchor the ribbon
with a stitch and of the fa bric and then push you r needle up from the come to a flower, use the awl to open the weave, push
then twist the ribbon wrong side. To secure the vine to the lapel, stitch the ribbon through the lape l to the wrong side and then
to cover the stitch. through the center of the ribbon. Then twist the ribbon back u p at a new starting point.
Sew beaded fri nge in c l u sters Stitch the cluster

Use beaded fringe with lightweight plastic beads. Fringe to the center of
comes sewn to a ribbon flange or to a braid-either thefloral motif.
is suitable.
Gather,
Build the center of you r flower by coiling, gathering,
pleat, or
or pleating the flange and sewing it over the center of otherwise
the flower i n a way that pleases your eye. The flange can bundle your
show or not, or you can use a flange with the beads re fringe into
moved to form the vine and leaves. clusters.
A fi n a l touc h : h a n d bea d i n g
One of the most brillia nt elements ofthe Schiaparell i move on to the next bead. On l a rger glass or flat beads,
lapels is t h e seed bead sprinkled a round t h e flowers a n d I take an extra small stitch on the su rface u nder the
vines t o look l i ke pol len. bead to secure it, but with seed beads, it's a good idea
Beading can sound d a u nting, but it's not much more to secure a bout every fourth bead. I use different size
complicated than a scattered running stitch. Use a sil and shape beads to m a ke orga nic forms and clusters.
Create atmosphere
imide thread, push you r threaded need le up from the Pull beads off the extra fringe; they're perfect for filling
in the background
with various sized wrong side, pick up a bead on you r needle, take a stitch i n, because they coordinate and blend with the bead
hand-sewn beads. shorter tha n you r bead back through the fabric and bund les in the center of the flowers.
72 TH R EADS
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O C TO B E R / N OV E M B E R 2005 73
READERS ' QUESTIO NS
EX PERTS ' A N S WERS
Add fl are to a coat patte rn

O-
How can I add extra swing to an A-line or upward from
to a straight coat pattern? six-inches to a swing coat,
-Heather Sullivan, via email follow the drawings below
to make your pattern adjust
A Top Designer in Canada,

Paddye Mann, named ments. Experiment with the
proportions and compare the
designs and builds clothes in amount of flare to an exist
Pakenham, Ontario, replies: ing coat you like. It's always
The basic rule is to add the a good idea to test your
flare evenly on both the front changes in muslin first.
and back pattern pieces Add less than
2-inches offlare
otherwise the side seams
by pivoting side
won't hang straight. If you're the seam.
only adding a couple of inches
at the hemline you can pivot
the side seam as shown up Add more than
per right. But to add greater 2-inches of
amounts of flare internally flare internally,
as shown.
to add two to three-inches
Tyi n g Chi nese buttons

l
o
A editorfor
I lost the Chinese knotted Judith Neukam, associate of your fabric. For a medium you're ready to tie the knot.
_ ball fa bric cufflink from my Threads, replies: to lightweight silk or cotton To make tying the knot
favorite blouse. The fabric should Chinese ball buttons are very cut a strip one-inch wide and easy, form a "J" shape flat on
match but a substitute will work. easy to make once you know eight-inches long. Fold the a table and weave one end
Ca n you show me how to rna ke how. First, you have to make strip in half along the length, over and under the cords fol-
one of these ba lls? the cord to tie into the knot. right sides together, and lowing the illustration at left.
-Deanna Levine, via email Start with a bias strip of fabric. stitch about 3f16-inch away At this point, nothing looks
The width and length of the from the fold. like a ball. You have to pull
strip depends on the weight Stretch the fabric strip as the ends of the cord gently,
you sew, and leave a long constantly coaxing the knot
thread tail when you remove into a ball shape.
the strip from your machine. Tighten the outer loops
Turn the strip right side out to form the ball. Clip off the
I
Start
by threading a needle with extra cord and sew the ends gp�rn
' . . .� the thread tail and sliding the
needle eye-end first through
together under the ball. For
the cufflink, leave the ends
<.J
-'=trn
the tunnel you formed by long enough to form the �'"
sewing along the fold. Gently
pull the thread and the cord
shank and sew them to the
base of a second ball.
'00c:i:
0l"
through itself. The seam al-
lowance stuffs the cord. Now continued H �
74 TH READS
There's a Robison-Anton thread for every season.®
For nearly a century Robison-Anton has lead With over 450 beautiful colors in rayon or
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When you choose Robison-Anton thread, tensile strength and color match - providing
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�urpose of the bust point
o
A ate editorfor Threads,
I'm new to sewing and still Jennifer Sauer, associ your bust with the place
finding my way a round ment of the bust point on the
_
patterns. One particular marking replies: On most commercial pattern. If they don't match,
has me stumped. What does the
circled "X" mark refer to? It's usu
patterns, the circled "X"
identifies the bust point. It is
your garment won't fit the
way the designer intended.
a l ly located near a dart. a great fitting- and pattern-al By comparing the placement,
-April Jake, via email teration aid, because it allows you can alter your pattern
you to compare the apex of accordingly.
Patch pockets sewn i nvisibly by m a c h i n e

o How do you sew a n clapper if needed to establish
unlined patch pocket by good, crisp edges on all four
_
machine so that you can't see sides. Finish facing
the stitching? Sometimes I don't

like the look of a top stitched
pocket. I know it can be sewn
Place the pressed pocket
face up on the right side
of your garment over the
��
---_-..:1._ �� edge.
Foldfacing.
by hand, but tailors do it by positioning marks and pin

machine. How? it down. Using a long, wide,
-T.e. Ferrito, via email zigzag stitch, and a contrast
ing thread, baste the pocket
Staystitch
raw edges.
A
Patricia Moyes, author of to the front of the garment,
Sewing Basics and Just barely catching the pocket
Pockets (The Taunton Press, edges in the zigzag.
1999 and 1997, respectively), Your original staystitch
replies: To prepare your ing, the zigzag thread, and
pocket, cut it with a fold-back the folded seam allowances
facing and mark the fold line. provide a guide to follow as Finish raw
Serge-finish the facing edge you sew from the inside of the edges.
and fold it back with right pocket to attach the pocket
sides together. Sew from one by machine with a straight Press seam
allowance so
end of the fold, following the stitch.
staystitching
seam line on the pocket's
unfolded edges as shown at
upper right.
Start stitching from the
center at the bottom of the
pocket and work toward each
"'M!lEe�!B:!R!! �!f!��- shows on
underside.
Trim the seam allowances

in the fold-back area and
top edge, one side at a time.
Sew an inch, stop with the
Garment RS
serge the remaining seam needle down, adjust the fabric
allowance to 3/s-inch wide. It's so you're always only sewing
easier to work with a nar through two layers at a time,
Zig zag pocket
rower seam allowance. and keep the work as flat
in place-barely
Turn the facing to the right as possible right under the catching pocket
side and press it flat. Press the needle. edge.
seam allowances under so the Sewing inside the pocket is

staystitching shows inside the tight work. It works best with
pocket but can't be seen on a curved corner patch and
the outside. Shape the pocket produces a handsome pocket
over a template and use a that's well worth the effort. cantin ued • • •
76 TH READS
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O C TO B E R / N O V E M B E R 2005 77
��'OO'i O " d
r
Delicate rolled edges by h a nd
0 yO" '"y
Do h,ve tip' /0' In"rt the .h"aded needle
hand rolling the edges of between the layers and bring
_
a silk scarf? it out at the fold. Take a small
-Charlene Parlek, stitch just above the raw edge,
Gretna, Neb. picking up one or two threads
from the fabric. Bring the
A of
Anne Marie Soto, editor needle back down and insert
Notions, the Ameri it into the fold, a thread or
can Sewing Guild national two from where it emerged.
publication, replies: The key Glide it between the layers for
to doing this is to work in 3- about 3/s-inch and then bring
inch to 4-inch increments and it out at the fold. Repeat the
develop a rhythm. sequence, keeping the thread
Fold the raw edge of the relaxed as you work, to create
fabric up a scant 1/s-inch. a "picket fence pattern" with
nice, straight posts. Stop
after you've sewn three or
four-inches and gently pull
Ifyou 've been wailing for an neuse to
on the thread and watch the
buy a serger, walt no longer. B'DI b�fore
fabric curl up into a lovely December 31,
a n djust look
rolled edge. al everything else_you 'll get:
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have a.
� questIon?
Send it to us and we'll find
an expert's answer.
Threads Q&A
PO Box 5506
Newtown, (T 06470-5506
or via email:
Th readsQA@taunton.com
MASTER C LASS B Y LO U I S E C UTT I N G
Raw Edges
La st yea r's favored edge wa s fri nged, but t h i s yea r
it's raw - a n d that's good a s l o n g a s it's we l l d o n e
U
nfinished and rough is now the start looking too rigid and these new free
edge of choice in many fashion edges look more like fluted flower petals.
houses. And who can say where it Though they look unfinished, they're
started? Are these raw edges part of our well-thought-out and provide support for
acclimatization to the deconstructed an edge and unstructured embellishment
fashion trends, an embodiment of Zen at the same time. These edges were con
purity, or a symbol of the freedom we all ceived from the mind of an engineer and
seek-even if it's only in our edges? the eye of a designer to make a master
If you read the fashion magazines or class technique.
visit a designer showroom, you'll see that Here are three fresh edges to try when
they appear on evening and wedding you're sewing something new, revamp
gowns, business suits, blouses, frocks, ing an old favorite garment, or recycling
and sportwear of all sorts. ready-to-wear. These techniques make
Maybe you stand back aghast when alterations easy because they eliminate
you see these deconstructed edges. the need for facings or hems. And by us
But history proves that fashion ing them, you can make an entire jacket
trends change our minds and from only one layer of fabric.
after a while we get used
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READER SERVICE NO. 3 4 READER SERVICE NO. 82
OCTOB E R / NOVEM B E R 2005 81

MAST E R C LASS contin u ed
One-inch bias strips make

a double-sided edge
This trim technique provides a trendy edge on wool, linen, tweed,
a nd boucle garments, and it can finish the front, lapel, cuff, and
hem edges of a jacket. To maintain the proportion of your pattern,
remove the seam allowances before applying the trim.
1. Cut bias strips in matching or contrasting fabric one

inch wide and twice as long as the edges you want to
finish. Pin one strip along the garment edge, one on the
RS and one on the WS with all three raw edges aligned.
2. Attach the strips by sewing through all three

layers;stitch two parallel rows, lis-inch apart, down
the center of the strips. Because both sides of the
edge are trimmed with a strip, they' I I look the
same when the jacket lapel turns back.
3. Use a stiff nail brush to abrade the bias
edges, which makes them bloom.
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o e T O B E R / N OV E M B E R 2005 83
MAS T E R C LASS I contin u ed
TriIl1 and attach a patch

pocket in one step
For a very easy patch pocket using the one-inch bias strip as trim, first
remove the seam allowance from the sides a nd bottom of the pocket,
but leave the top hem allowance.
1. Serge or otherwise finish the raw top pocket edge. Fold back a n d hem the
top edge.
2. Adhere the pocket in position with !I4-inch Steam-A-Seam (a pres s u re-sensitive

fu s i b le tape ava i l a b l e at notions counters).
3. Align the raw end of your bias strip to the hemmed pocket edge, centered
over the raw edge of the pocket. Pin the length of bias a rou nd the pocket to the
opposite side. The two top e n d s of the bias strip rem a i n raw. Attach the pocket
a n d strip to yo u r jacket s i m u ltaneo u sly by sew i n g two stitc h i n g l i nes Ys-inch
a p a rt along the center of the strip and a ro u n d the edge of the pocket. F i n i s h
with a n a i l b r u s h , as before.
double row of stitches
Use '!4-inch Steam-A-Seam to adhere
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The edges at left were
made (from the top
down) a cross-cut
knit strip on the same
fabric-pull along the
unfinished edge until it
ripples; a hand-dyed bias
ribbon on linen; and a
sheer blend bias strip on
a novelty knit.
Use a single strip

for a coordinating edge
An alternative edge that coordinates perfectly with
the previous double-layer bias strip uses a single
one-inch bias cut strip, but this time it's sewn on the
wrong side and turned to the right side.
This edge can coordinate a shell neckline to its jacket.

Experiment with va rious fa brics, including sheers and
knits. Cut knit strips cross-grain instead of on the bias,
2
and after they're sewn, pull the edges u ntil they ruffle.
1. Don't remove the seam allowance around the

neckline. P l ace the bias strip o n the wrong s i d e of the
neckl i ne, a l ign the raw edges, a n d sew the two layers
toget h e r with one row of stitc h i n g down the center
of the strip.
2. Turn the bias strip to the right side and understitch

t h ro u g h o n e side of the strip a n d the neck edge Ys- i n ch
from the first stitch i n g l i ne.
3. Turn the fabric right side up and press the re m a i n i n g

h a lf of the str i p over the u n d erstitc h i n g to fo rm a
clean, fi n i s h ed edge a ro u n d the neck l i n e. The b i a s strip
forms two layers over the neckl i n e seam a l lowance on
the garment's outside.
4. Fluff with a nail brush.
86 TH R E A D S
T H R E A O S® MAGAZINE
COLLEGION
" Step by step to sewing success!"
4403
FROM THE EXPERTS AT

SimprlCity
These fa s h i o n patte r n s a re
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READER READER
SERVICE SERVICE
ADVERTISER NO. WEB ADDRESS PAGE # ADVERTISER NO. WEB ADDRESS PAGE #
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96 T H R EADS
READER READER
SERVICE SERVICE
ADVERTISER NO. WEB ADDRESS PAGE # ADVERTISER NO. WEB ADDRESS PAGE #
Hugo's Amazing Tape 158 www.getcre ative show.com/ The Pillow Lady 119 www.the pillowlady.com p.S9
p.S3
H usqvarna/Viking 4
a ma zingtape . htm
www.husqvarnavi king.com
p.91
p.99 Ptak Couture
Reliable Corporation
179
82
www.pta kcouture .com
www.re lia blecorporation.com p.S1

Independent Pattern Riri USA, Inc. 166 www.ri rizippe rs.com p.p.77S1
Company Alliance
Jacquard Products
111
78
www.patte rncompanie s.com
www.jacquardproducts.com
p.73
p.77 Road to California
Robison-Anton Textile Co.

61
127
www.road2ca.com
www.robison-anton.com p.75
J anome America 178 www.janome .com p.14 Royalwood, Ltd. 9 www.royalwoodltd.com p.p.90S9
JCaroline Creative
Judith M Design
173
69
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p.9p.92 St. Theresa Textile Trove
Sadia's Designs
45
157
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www.sadiasews.com p.92
Kandi Corp 19 www.l-orna.com p.S9 Sawyer Brook Fabrics 121 www.sawye rbrook.com p.73
p.93
Kay Fabric Center
Kayla Kennington
140
53 www.kayla kennington.com
p.95
p.94 Sew Amazing
Sew-Brite
106
99
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Keepsake Quilting Supplies
Koala Cabinets
185
175
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p.7p.S5 Sew Images
Sew Smart Fabrics

71 www.sewimage s.com
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Kyoto Kimono 169 www.kyotokimono.com p.7p.91 Sewabration
Sewing & Stitchery Expo

160
176
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p.ll
LFNTextiles 38 www.lfnte xtiles.com
Lodi Down & Feather 32 www.lod d

i ownandfe athe r.com p.91 Sewing Patterns. com 189 www.sewingpatte rns.com p.S3
Loes Hinse Design
Lorraine Torrence Designs

138
91
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p.31
p.90 The Sewing Place
The Sewing Workshop

85
23
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Lumenlight,com
Mackin & Company, Inc.

122
133
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Shear Precision Scissor Co.
Silk Baron
24
72
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p.7p.S9
p.90
Madeira Embroidery &
QuiltingThread 174 www.nancysnotions.com p.17 The Silk Connection 77 www.t he sil kconnection.com p.31
p.p.S7S9
Malden Mills
Manhattan Fabrics
181
115
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p.90 Silver Reed Knitting Machine
Simplicity
75 www.silve rreed.com
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Manhattan Wardrobe Supply www.wardrobe s u pp lies.com p.S9 Singer 41 www.singe rco.com p.71
p.93
Mary's Productions
Mill End Store 148

www.marymulari.com
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p.93
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Stretch House, Inc.

12
48
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Montana Leather Company 76 www.montana le athe r.com p.25 Sublime Stitching 152 www.su blime stitching.com p.S9
p.92
Monterey Mills
My Embroidery Haven
15
188
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p.77
p.73 Sue's Sparklers
Super Silk
6
164
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My Twin Dress Forms 7 www.mytwindre ssforms.com p.94 Taunton Books www.t aunton.com p.S3
p.SS
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159
170
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Textile Studio Patterns 10

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Nancy's Notions, Ltd. 136 www.nancysnotions.com p.25 Thai Silks 11 www.thaisil ks.com p.10
p.SS
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New Moon Textiles

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104
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ThreadArt
64
62
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Oriental Silk Company 142 www.orientalsil k.com ThreadPro 143 www.t hre ad pro.com p.91p.93
Original Sewing
Ottobre Design
& Quilt Expo 55
21
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p.9p.25 Three Pines Designs
Total Embellishment News

58 www.t hree pinesdesigns.com
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p.95
PM Organics
Pantograms 145
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73
97
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Pattern Studio 151 www.patte rnstudio.com Vestis Books 49 www.ve stisbooks.com p.94
p.10
Patternmaker Software
PatternReview.com
37
172
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www.patte rnrevie w.com

p.p.90S9 Wild Ginger Software, Inc.
You Can Make It, Inc.

43 www.wi d
l ginge r.com
www.youcanmake t
i .com p.91
Patterns of Time 186 www.patte rnsofti me .com p.91p.93 Your Fabric.com
Your Personal Fit

60 www.you rfabric.com
www.yourpe rsonalfit.com/
p.90
Pavelka Design Studio 101 www.pave l kade sign.com
Peak Fabrics by Mail 109 www.pe a kfa brics.com p.92 th re ads.htm p.93
Perfect Buttons
Pfaff
137
42
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p.9p.3 Zipper Source
Zundt Design
149
29
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www.zundtde sign.com p.p.S925

O C TO B E R I N O V E M B E R 2005 97
C LOSURES B Y TO N YA C O O N - B R O O K S
Sewing room
I
n a corner of the basement, between that his mother had bequeathed her still life to me.
the water heater and the dryer, I have a On the other walls hang pictures of my mother,
little room where no one else is allowed grandmother and great-grandmother. My great
to go. My family cannot sit in the chair or grandmother was a farmer's wife with 13 children. The
drop their belongings on the floor. They day of her portrait taking, she wore black silk and tied
aren't permitted to rummage through her hair back severely. In the fashion of her time, she sat
the shelves or baskets. Woe to the person in a large chair and stared grimly into the camera.
who borrows the scissors or uses the I have her apron tucked away in my drawer. It is long,
marking pencils to make school projects. made of cheap cotton, but it has a perfect ruffle on the
I come here at night to work with my bottom. On winter nights, she made quilts and embroi
hands. I feel the sensuous smoothness dered table scarves. After her long work days, she must
of silk or the cool texture of linen as I lay have been tired in the evening. Somehow, she found
the folds of fabric on my cutting table. the time to make hand-stitched quilts with delicately
I measure and mark the cutting lines. colored embroidery.
My heavy silver scissors make a musical Grandma didn't sew, but she canned and made jelly.
sound as they bite through the fabric. What started as a necessary chore during the Depres
The iron sighs as it releases steam sion became her art. I used to open her pantry doors to
into my face. I smell the musty scent of watch the brilliant colors of jars ofjelly, piccalilli and
steamed cloth. The fabric is warm and corn relish flashing on the shelves. They seemed much
smooth. In a room so quiet, I can hear too beautiful to eat.
the tinkle of a straight pin hitting the My mother kept a Singer sewing machine in the little
floor, and my mind goes quiet, too. This room at the top of the back stairs. I would watch her
is the only place where I control the noise pump the treadle with her feet while she guided the
of my life. I can gently press my foot on cloth with her hands. She would sing while she made
a pedal and the sewing machine hums. I our clothes, and her songs echoed down the winding
can stop it and listen to complete silence. staircase. She made a pair of green corduroy overalls for
Sewing is like chanting or praying. Out me when I was six.
of the fidgety, nervous beginning, some When I sew, I think about the women who brought
thing profound happens-something me here, hard-working people who put beauty into their
that never happens at will. It happens
with the surrender of will. I am joyful in
lives in common, ordinary ways. They didn't have to
paint those pictures, make those quilts, and put that
this room. Graceful. Calm. Serene. jelly in fancy jars. Their efforts were probably noticed by
On the wall across from my bench few and praised by fewer. Nonetheless, they gave their
hangs an awful still life, painted by my works of art to the world.
neighbor, Mrs. Cully. She lived next to It is the small act of creation that makes our lives
me when I was six years old, and when shine, that lifts us from the drudgery of our hard
ever I saw her painting in her back yard, I working days. This knowledge brings such peace to my
would go to visit. She was never impa sewing space. I often make mistakes, and some of the
tient or annoyed with my questions. Al things I make are as ugly as the still life on my wall.
though I moved away when I was seven,
Mrs. Cully remained my grandmother's
It doesn't bother me for long. It was the process of
making it that mattered and the company I kept in my
E.'3'"E
neighbor. I don't remember seeing her of sewing room. � Vi.':j'"
ten after that and was astonished when,
00c:
25 years later, her son called to tell me Tanya Coon-Brooks lives in Cincinnati, Ohio.
.o�
98 TH R E A D S
te)Husqvarna VI KI NG
Touch It! I See It! I Embroider It! I Simply Sew!

Interactive Exclusive Interactive 3D Exclusi¥
Designer Screen. E ! Light:M Embroidery. Sensor Syst
Touch the Interactive Turn on the new H usqvarna Touch it. Copy it. Paste it. Every imaginable de ail to
Designer Screen on the Viking Designer SE and you D rag it. Zoom in and out. enhance your sewin joy is
new H usqvarna Viking are greeted with the Customize it. Beautiful n ow yours with the
Designer S E and forever radiance of the exclusive em broidery i n 3D with H usqvarna Viking D signer
change your perception of E! Light.™ Rows of long- 3 D -fabric background and SE. The exclusive S nsor
sewing and embroidery. lasting, light emitting actual th read shades is System® automatic lIy
With higher resolution, the diodes. You adjust the yours with the new senses the thicknes
user-friendly I nteractive intensity and color of the H u sqvarna Viking Designer your fabric and adj
Designer Screen with 3 D E! Light color to accommo- S E and Interactive accordingly for exa ,
view is big and features date the light in your Designer E mbroidery and smooth, easy and a
over 65,000 colors. sewing room or reflections Customizing. hands-free sewing. e
from your fabric. Sewing Advisor® sets the
best stitch, stitch width
and length, thread tension
and sewing speed for you.
..- F
&-
:rhe new Husqvarna Viking Designer SE .• Su enly your sewing is Simply Excellent! Experience
the world's most advanced yet user-friendly , wing machine today. For your nearest retai ler or
a free brochure and CD, visit www.husqvarn� king.com or call 800-358-000 I .
©2004 arks
VSM Sewing Inc. Husqvarna and Viking are registered tradem . rights reserved.
Organza can support all sorts gum left on fibers during pro- organza, pull a yarn and touch it
of pretty embellishments, as cessing; in man-made polyester, to a flame. Silk will burn slowly
illustrated in the embroidery, the stiffness is engineered. Silk and smell like burning leaves
beads, sequins, and velvet ap- organzas are warm, yet breath- (silkworms dine on mulberry
able. They can be weakened by leaves); polyester will melt.
plique above.
While both silk and polyester sunlight or perspiration and are Organza is crisp, durable, and
generally more expensive than presses well but should never
organzas are sheer and Iight-
polyesters, which are strong and be relegated to the interfacing "
weight, they are also deceptively �
very wrinkle-resistant but trap drawer alone. I0
strong, thanks to their tightly
twisted (10-12 turns per inch) body heat and produce static
For buying information,
Vi�
0
filament yarns. The crispness of
silk organza is due to the natural
cling. If you are unsure of the
fiber content of a particular
see Notions on Page 1 6 j

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FOR PEOPLE WHO LOVE TO SEW

34 COVE R STORY Inside a Chanel Jacket

41 Sewing is a Family Tradition

46 Build Lightweight Warmth

52 Choosing, Using, and Caring for

�';; 58 How to Make a Muslin

12 oil injectors, sewing lessons on a

,,..IN THE BACK68

58 An encrusted lapel just got easier

JENNIFER SAUER (" Make a Muslin") d i d n't

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__ OCTOBER/NOVE M BER 2005 13

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O C T OBER/N OVE MBER 2005 15

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SEW SMARTER, BETTER, FASTER

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With this issue, which a lso happens to be a celebra TAUNTON DIRECT

the correct height. I ca n the n remove the ga r

The lengthwise edges of a WOVEN fabric, called the sel