Mimi G & Norris Dánta Ford
M I M I G is an award-winning fashion and DIY influencer.
Her blog and videos on DIY sewing, self-empowerment
and lifestyle have propelled her from blogger (on her
award-winning Mimi G Style blog) to an international
brand that empowers and motivates people of all ages
and walks of life.
Since 2014, Mimi G Style has partnered with Simplicity
Creative Group to license, design and market
commercial sewing patterns. In 2016 Mimi founded
Sew It! Academy, an online sewing school designed to
be accessible and affordable for anyone interested in
learning to sew and design. She has been featured on
Essence.com and in InStyle, Vanity Fair and Rolling Out,
and named Best Latina Blogger by Hispanicize 2015.
Mimi made her television debut on Lifetime TV’s Project
Runway Junior as a mentor and design consultant for
the show's young designers.
A sought-after speaker and consultant, Mimi G also
hosts Business S.H.E.T, a podcast discussing business
and self-empowerment.
HE SEWED SHE SEWED with Mimi G & Norris Dánta Ford
N O R R I S D Á N TA F O R D is the editor of
Norrisdantaford.com, a style and DIY blog encouraging
men to challenge themselves through their wardrobes.
Norris's blog showcases the keen sense of detail
and exceptional style he developed as a professional
model, stylist and influencer in menswear. When
Norris decided to learn to sew, he quickly became
passionate about learning the finer points of menswear
construction and tailoring. His parents’ motto, “Always
dress to impress, because the first impression is always
the last impression,” has guided him to success in the
fashion, sewing and lifestyle industries, and continues
to fuel his passions. He teaches with Mimi G at Sew It!
Academy, and his patterns for menswear designs are
featured as part of the Mimi G Style line of Simplicity
patterns.
©Craftsy craftsy.com 2
 Resources
Patterns & Fabrics

Patterns Used EPISODE 5: LACE

E P I S O D E 1 : F LO R A L •• Norris used Simplicity 8427, a Mimi G Style pattern,

for his button-up shirt with contrasting white collar
•• Mimi used Vogue 9355.
and cuffs, lined with a solid yellow matte lining
•• Norris used Simplicity 8659. fabric.
•• Norris also used Simplicity 8845 for men, women •• Mimi sewed McCall 7752 in the strapless version
and teens to make the bright blue corduroy jean without sleeve treatments, lengthening the peplum
jacket that he wears in the episode. to create a mini-dress and adding narrow straps
made from lining fabric and 3D flowers cut from
the lace.
EPISODE 2: PLAID

•• Mimi started with Vogue 9357 (dress with full skirt

and pockets) and switched to New Look 6560 for
Pattern Companies
her final wrap top. •• McCall's Patterns

•• Norris used Sew Sew Def #1011 The Levine •• New Look
downloadable pattern for his cargo pants. •• Sew Sew Def Patterns

•• Simplicity Patterns
EPISODE 3: DENIM
•• Vogue Patterns
•• Mimi used Vogue 9083, a reissued vintage style,
and changed the skirt to a circle skirt. (Find
yardage requirements for a half- or full-circle
Fabrics
skirt using the circle skirt calculator at By Hand •• Floral stretch cotton panel fabric, Tencel™ denim,
London's website.) and metallic brocade were purchased from
Moodfabrics.com.
•• Norris sewed Vogue 8988 for a fast-tailored jacket
•• Plaid fabric was purchased from Fabric.com.
and pants with a traditional tailored menswear
waistband. •• Yellow embroidered lace was purchased through
Tritone Shoppe on Etsy.
EPISODE 4: BROCADE

•• Mimi made her trench-coat-inspired jacket using Learn to Sew Online

Simplicity 8890, a Mimi G Style pattern. • Craftsy offers more than 200 sewing classes online
•• Norris's jacket is Vogue 7004, an out-of-print for all skill levels, from absolute beginners to those
pattern; look for copies on your favorite vintage looking for couture sewing or pattern drafting skills.

pattern sites, eBay or Etsy. Norris removed the Check out the entire Craftsy sewing catalog!

center back seam and added custom 3D pockets • Want to learn more from Mimi G and Norris Dánta
in two sizes with hidden snaps in the pocket flaps, Ford? Check out Sew It! Academy, their subscription
inspired by designer Virgil Abloh. online sewing school for women, men, and kids.

HE SEWED SHE SEWED with Mimi G & Norris Dánta Ford ©Craftsy craftsy.com 3
 Tips & Techniques
Sewing Menswear

Are you inspired to sew menswear after seeing Norris's bold wardrobe?
Here are a few tips for getting started.

•• Begin with garments that are easy to sew and fit: boxer shorts; a knit tee such as SImplicity 8613, Sew
Sew Def The Westbrook, or Thread Theory Strathcona Henley; a camp-collar shirt such as Hawaiian
Classics #220 from Victoria Jones Collection; or swim trunks such as Sew Sew Def The Beckham.

•• As you gain confidence, begin to learn and practice menswear details and skills such as making welt
pockets, buttonholes and sleeve plackets; sewing on shirt buttons; and topstitching.

•• If you'd like to make structured jackets and suits, get to know both traditional and modern "fast
tailoring" techniques and materials. Supports such as tailor's cloth, horsehair and wool felt (for
shoulder padding) will help you get pro results.

•• Learn to love pressing and shaping your fabric with steam — good pressing tools such as a tailor's
ham, sleeve board and clapper will help, whether you're working with cotton and linen shirting fabrics
or fine menswear wools.

Menswear Sewing Resources

ONLINE

•• Sew It! Academy: Men's Edition offers online menswear sewing classes

•• Thread Theory has a range of sewing patterns, tools, and notions focused on menswear sewing

BOOKS

•• Making Trousers for Men & Women by David Page Coffin (Creative Publishing International, 2009)

•• Tailoring: A Complete Course on Making a Professional Suit by Editors at Skills Institute Press (Skills
Institute Press, 2011)

•• Tailoring: The Classic Guide to Sewing the Perfect Jacket by Creative Publishing International (Creative
Publishing International, 2011)

•• The Shirtmaking Workbook: Pattern, Design, and Construction Resources by David Page Coffin (Creative
Publishing International, 2015)

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 Tips & Techniques
Border & Panel Prints

• Border prints have a pattern that runs along the selvage (often both selvages). To use a
border print with the border running along the lower edges of the garment, toss out the
layout recommended in the pattern and instead use a crosswise grain with the lower
edge of the garment carefully placed along the border (or with the border placed as
desired). This might mean a completely different yardage requirement, so plan ahead!

• You'll want to match the border print carefully on side seams and center front/back
seams to maximize design impact. For tips on pattern matching, check out Perfect
Pattern Matching: Plaids, Stripes & Beyond on Craftsy.

• Panel prints have a large printed repeat that runs along the entirety of the fabric; for
example, if panel dimensions are 30" by the width of the fabric, and you purchased 1½
yards, you'd have one full panel and an additional 24" of the next panel, but not two full
panels. Here, too, think through the number of panels you'll need, and plan for the
length of each pattern piece and how it will fit on an individual panel.

• Have fun with pattern placement for pockets, collars and other details, keeping the
entire visual impact of your finished garment in mind. Check out how Mimi G and Norris
use their panel print effectively in the Floral episode.

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 Tips & Techniques
Matching Plaids & Prints

In In the Plaid episode, both Mimi and Norris make

working with plaid fabric look effortless — those lines
just match up! If you're nervous about working with
plaid, though, you're not alone. A little planning and
some understanding of different types of plaids will
have you sporting some beautifully matched plaids,
a sign of true sewing skills. Maybe your next project
should be a kilt?

•• Always buy extra fabric when you're choosing a

plaid. How much more? That depends on the size
of the repeat, or the measurement of the pattern
before it starts again along the length of the fabric.
Repeats can be any size; for example, you might
see a 6" repeat, a 12" repeat or an even larger
repeat. The larger the repeat, the more extra
fabric you should buy. For a small repeat, you
might need only an extra ¼ yard; for a large repeat,
a full extra yard. (Some fabric stores will let you lay
out your main pattern pieces in the store before
cutting to estimate how much fabric you need.)

•• Plaids can be even — when you fold up a corner

of the fabric, the lines and colors match in both
directions — or uneven. Most experts strongly
recommend that you start out with even plaids, as
uneven plaids can be challenging to match.
•• As you place the pattern pieces, match the plaid at
the stitching lines, not the cutting lines.
•• Watch the episode to see how Norris cuts one
piece single-layer, then flips it visually to match the
fabric to the remaining fabric.
•• As you get ready to stitch, baste or use a double-
sided adhesive tape or fusible web to align the
plaids perfectly. Then stitch!
• Consider using the bias grain of the plaid for small
details, such as pockets, cuffs or plackets.
• One way to work with prints is to eliminate seams
(as Norris does in Episode 4 working with metallic
brocade). That way, the flow of the print is
undisturbed.
• These same tips apply when you're matching large
prints across seam lines. Buy extra fabric, baste,
and take your time! For more on matching plaids
and prints, check out Perfect Pattern Matching:
Plaids, Stripes & Beyond with Amy Alan on Craftsy.

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 Tips & Techniques
Welt Pocket

In the Plaid episode, Norris executes a perfect welt pocket on the back of his cargo
pants, made from The Levine pattern by Sew Sew Def (see Page 3 for pattern
resources). The Levine downloadable pattern contains detailed step-by-step
instructions for the welt pocket with flap (check out the episode to see how Norris
added an extra design detail by using a coordinating fabric for the pocket bag). Here
are a few tips for success with welt pockets of all kinds:

• More than almost any technique in sewing, welt pockets require precision
measuring, marking, stitching and cutting. Take your time! Find your inner
perfectionist for this sewing challenge, and you'll master it.

• If you haven't made a welt pocket before, practice on a scrap of fabric. Once you
see how the welt works, it makes perfect sense, and it's tailoring magic.

• Don't skip interfacing the area behind the pocket (after you draw the pocket
frame on the right side of the pants piece). Interfacing supports the fabric and
will make it easier to cut open the pocket accurately.

• When you cut open the pocket frame, use sharp scissors and cut right to the
stitching in the corners of the rectangle — but not through the stitching.

• Want to see more welt-pocket tutorials? See Designing Details: Pockets with
Kenneth D. King on Craftsy.

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 Tips & Techniques
Covered Buttons & Buckles

For a classy vintage touch, try buttons and belt buckles covered in a garment's fashion fabric.
Covered buttons can be tiny (think a long row of tiny silk-covered buttons down the back of a
wedding dress), large statement buttons on a coat, or an elegant dressmaker's detail like the
denim buttons and buckle that Mimi covers in the Denim episode.
A few tips:

•• Kits are available at fabric and craft stores for many sizes of covered buttons. These are
typically dome-shaped or flat buttons with shanks. The kit may include a template for
cutting the fabric, and a small tool to help snap the button back on after wrapping the
button in fabric.

•• Choose woven fabrics with a fairly tight weave to smoothly cover buttons and buckles
without any pleats or wrinkles. Avoid slippery, bulky or knit fabrics.

•• If your fabric is very lightweight, try interfacing it with a lightweight tricot or weft
interfacing.

•• Some sewists recommend stitching around the edge of the fabric circle with a hand- or
machine-basting stitch, then pull up the thread to gather the circle; this helps create a
smooth dome of fabric over the button.

•• Your fabric doesn't have to match. Try covering buttons with a print fabric — you can
even fussy-cut details of the print to showcase them on the button.

•• Covering a belt buckle follows the same principles (see Mimi's technique in the Denim
episode). Using a purchased foundation (try WeSewRetro.com), cover it with fabric,
taking your time to be sure the fashion fabric is smooth and even on the outside of the
buckle. Attach the hook that will go through the holes in your belt (make those holes like
a pro with metal eyelets, or stitch eyelets by hand or machine).

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 Tips & Techniques
Circle Skirt Pattern Hack

No need to buy a pattern for circle skirts (or half-circle or quarter-circle variations). Whether
you add a waistband and zipper to make a graceful stand-alone separate for your wardrobe, or
hack a dress pattern as Mimi does in the Denim episode, cutting out a circle skirt is as simple as
taking a few measurements and carefully drawing arcs on a folded piece of fabric.

A few tips:

•• Evaluate the fabric drape carefully — the more body in the fabric, the more the skirt will
stand away from the body, so choose fabric for the effect you want. A half-circle skirt will
be less full but still have graceful waves; a quarter-circle skirt will be most narrow.

•• You'll need two measurements: an accurate waist measurement at the natural waistline
(add 1" for side seam allowance), and the desired length from waist to hem of skirt (add
about 1"– 1½" for seam allowance at the waist and a narrow hem).

•• Use a circle-skirt calculator to estimate needed yardage. We like the Circle Skirt
Calculator at By Hand London.

•• If the length of your desired skirt is too long for the width of your chosen fabric, you'll
need to piece fabric. Consider a French seam or bias-bound seam (see Page 10) for a
pretty finished look on the inside of the skirt.

•• Fold the fabric in half, selvage to selvage, and then in half from cut edges to cut edges.
Draw an arc to match your waist measurement divided by four (the calculator app will
help with this) in the upper folded corner.

•• Draw a matching arc measuring the desired skirt length from the waist marking.

•• Cut along both marked arcs.

•• Sew the seam, insert a zipper, and complete with a waistband, or stitch the skirt to a
bodice. FInish with a narrow double-turned hem.

•• Now, why not make another? Try beautiful silk, a soft cotton, lightweight linen, or even a
georgette or two layers of chiffon.

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 Tips & Techniques
Pro Seam Finish

In the Brocade episode of, Mimi shows a favorite seam finishing technique that she uses on unlined
jackets to create a beautiful, polished finish on the inside of the garment: Bias-bound seams.

Bias-Bound Seam Finish

•• Bound-edge seams, or seams pressed open with both halves of the seam allowance
bound in matching or contrasting fabric, are perfect for unlined jackets. Use purchased
double-fold bias tape or make your own bias tape in a lightweight fabric (try a print,
stripe or pop of contrasting color).

•• With right sides together, pin unfolded bias tape to one side of seam allowance only
(don't pin through garment) and stitch with a ¼" seam. Press.

•• Wrap bias tape around the edge of the seam allowance. From the upper side of the
seam allowance, stitch in the ditch (stitch right in the fold where the bias tape and seam
allowance fabric meet), catching the bias tape on the underside as you stitch.

•• Repeat on the other side of the seam allowance.

•• Alternately, if using purchased double-fold bias tape, simply enclose the seam allowance
in the folded bias tape. One side of the folded bias tape will be slightly narrower; place
this side on top and edgestitch, catching the slightly wider tape underneath.

•• For straight seams, you can also use your own straight-grain strips to bind seam
allowances.

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 Tips & Techniques
Mimi's Invisible Zipper Method

In the Lace episode, Mimi G inserts a flawless invisible zipper in her fitted dress with a waistline
seam. Watch the episode to see how Mimi uses a standard zipper foot — no special invisible
zipper foot needed. (You can also watch Mimi complete a similar installation in more detail here).
Her steps to success:

1. Use a zipper that's longer than the zipper 6. With a seam ripper, remove the seam basting
opening. stitches above the notch (not the basting

2. Cut long strips of fusible interfacing. Interface stitches holding the zipper to the seam

the seam allowance on both sides of the allowances). Open the zipper to the pin you

zipper seam, on the wrong side of the fabric. placed in Step 5 and remove the pin.

(This step is optional but helps stabilize the 7. Pull the zipper tab completely out of the way,
fabric around the zipper.) to the bottom of the zipper. With the right

3. Mark or notch where the zipper should end side of the garment facing you, place it under

(this may be a notch on your pattern piece). the machine so the needle is close to the

Sew the garment seam below that notch and zipper coil.

machine-baste the seam above the notch, 8. Lower the presser foot and begin stitching
where the zipper will be inserted. Press seam from the top of the garment down one side
open. of the zipper, stitching only through the

4. Working on the wrong side of the garment, zipper tape and seam allowance. Use your

place the zipped-up zipper flat, teeth/ finger and the zipper foot to push the zipper

coil facing you and the side with no teeth coil flat as you go. When you complete one

showing facing down, on the seam. Center side, turn the garment and work from the

the teeth coils on the seam line and have bottom of the zipper up to the top on the

the top of the zipper, with slider, a couple of other side, stitching through seam allowance

inches above the top edge of the garment and zipper tape only. Your zipper is complete!

(slider is facing away from you). Pin the zipper

on both sides to the seam allowance only.

5. WIth a zipper foot on the machine and using

a long basting stitch, baste each side of the
zipper to its respective seam allowance only,
basting all the way to the mark or notch
indicating where your zipper will end. Mark
that point on the right side with a pin.

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 Glossary
• B A C K S T I T C H — Reverse straight stitching at the
beginning and/or end of a seam (usually just a few
stitches) to secure the stitching.
• B A S T I N G — Long stitches used to temporarily
secure a seam or join two pieces of fabric. Basting
is often done to test fit before sewing a final seam,
or to help hold together slippery fabrics. Basting
can be done with long machine stitching (a 5.0
stitch length) or by hand with a running stitch.
• B I A S G R A I N — See grain.
• B O B B I N — A small spool that holds the lower
thread and is inserted either in the front (front-
loading bobbin) or top (top-loading bobbin) of
the stitching area of the machine. Most machines
have a mechanism to wind the bobbin. Choose
bobbins that are the correct size and type for your
machine brand and model. The bobbin thread and
the top thread connect to make what's called a
lock stitch on sewing machines.
• B O D I C E — The portion of a pattern above the
waist. Pattern pieces may be indicated as bodice
front, bodice back, bodice side or other indications.
When sewn together, the bodice pattern pieces
create the bodice of the garment.
• B O LT — Fabric is often packaged for sale on the
bolt, or wrapped around a cardboard or plastic
insert. In a fabric store, you'll take the entire bolt
to a cutting table and request the length of fabric
that you need to be cut from the bolt. The top of
the bolt, around which the fabric is wrapped, has
essential information such as fabric width, fabric
content and fabric care instructions. Take note of
this information.
HE SEWED SHE SEWED with Mimi G & Norris Dánta Ford
• B O N I N G — firm but flexible supports made from
steel or plastic inserted into strapless bodices or
corsets for structure
• B U S T M E A S U R E M E N T — The measurement
around the circumference of the body at the
breast level. Full bust is the measurement
around the fullest part of the bust. High bust is
the measurement under the arms, above the
breasts. Some sewers find that they get a better
fit in Big 4 patterns (Vogue, McCall, Butterick,
Simplicity) if they choose a pattern by the high
bust measurement.
• C H A I N I N G — Also called chain-piecing by quilters,
this refers to sewing seams sequentially, one after
the other, without breaking the thread in between,
for efficiency (the connecting thread is cut after
seams are completed).
• C H A M B R AY — A woven cotton fabric, often used
for shirting, characterized by two different-color
threads in the weave
• C I R C L E M A R K I N G S — Pattern pieces often use
a small circle to indicate the top of the shoulder
or other placements. Transfer circle markings
from the pattern to the fabric after cutting out the
pattern piece.
• C L I P P I N G C U R V E S — Clipping into the seam
allowance of curved seams to (but not through)
the stitching, and perpendicular to the stitching,
at intervals. This releases the curve and allow
the seam to turn gracefully. You'll often see
instructions to clip the curves of a neckline or
armhole facing seam, after trimming the seam.
©Craftsy craftsy.com 12
 Glossary

• C L O S U R E S — Closures include various notions • E A S E — With pins and/or stitching, gently

used to close the garment, including zippers, manipulating two raw edges of slightly different
buttons, snaps, hooks and eyes, hook-and-loop lengths to match. For example, you may need
tape such as Velcro, and ties. to "ease in" a bit of length in a shoulder seam or

• C O T T O N — A fiber from cotton plants that can be

facing. Ease is drafted into the pattern to aid in the

made into a wide range of both woven and knit fit and drape of the garment.

fabrics. • E D G E S T I T C H — Stitching very close to the edge of

• C R E P E D E C H I N E — A luxurious, drapey, woven

a fold or seam.

fabric made from silk or from synthetic fibers that • FA B R I C L E N GT H — Fabric is sold in yards (36")
appear similar to silk. or meters (100 cm). The width of the fabric (from

• C R O S S W I S E G R A I N — See grain.
selvage to selvage) is predetermined, but the
length is the amount you choose. For example, a
• C U T S I N G L E / D O U B L E — References to "cut
2-yard length of 45"-wide fabric will be a rectangle
single" or "cut double" indicate whether pattern
of fabric measuring 72" in length x 45" in width.
pieces can be cut with the fabric folded, allowing
• FA B R I C S H E A R S — Sharp scissors designed for
you to cut out two pieces at once with a resulting
left and right side, or whether the fabric must cutting fabric, usually with blades 7" to 9" in length,

be a single layer, typically used when only one and often with bent handles for ease of cutting

complete pattern piece is needed or when along a flat surface. Good-quality fabric shears

multiples fit best when cut single (such as the are a worthwhile investment for a sewer; use your

facings in the class dress project). Cutting single fabric shears only for fabric or pattern tissue, as

is also helpful with any fabric that's slippery or cutting paper will dull the shears quickly.

difficult to handle. • FA B R I C W I D T H — The width of the fabric is the

• C U T T I N G L I N E — On patterns that include seam

measurement from one selvage, or tightly woven

allowances (most commercial patterns today), the edge, to the other selvage. Fabric is commonly

cutting line is the outermost line of the pattern produced in widths of 45", 54" or 60" (vintage or

piece, usually a bolder line than the seam line or handwoven fabrics may be narrower). See also

stitching line. fabric length.

• FA C I N G — A piece of fabric cut to mirror the

• D A R T S — Stitched wedges that take up fabric in
order to shape the garment at the bust, waist and shape of a neckline, armhole, waistline, or other

hips, or any other three-dimensional area of the area. When stitched to the outer garment, the

garment. facing is then turned to the inside and lies flat

inside the garment, providing structural support
• D I R E C T I O N A L FA B R I C — Any fabric with a
and a finished edge.
pattern or texture that runs in one direction only
• F E E D D O G — The sawtooth-like gear centered in
(for example, flowers with all the stems pointing
downward). On directional fabrics, pattern pieces the throat plate that moves the fabric forward as

should all be placed going the same direction you stitch. On many machines, the feed dog can

(using a with nap layout). See also nap and layout be "dropped," or disengaged, for activities such as

diagrams. darning or free-motion quilting.

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 Glossary

• F R E E - A R M S E W I N G — Many sewing machines
allow a portion of the flat sewing bed to be
removed, leaving the stitching arm free and
allowing easier manipulation of tubes such as
sleeves. This is referred to as free-arm sewing.
Depending on the placement of the grain line, the
pattern piece may be cut with the lengthwise grain
running up and down the garment section, the
crosswise grain (perpendicular to the selvage) or
the bias grain (at a 45-degree angle to the selvage).

• F R O N T- L O A D I N G B O B B I N — Sewing machines • H E M — The lower edges of a garment, turned

house the bobbin underneath the throat plate under and stitched. Hems may be narrow or wide,
and needle in either a front-loading or top-loading and stitched by hand or by machine.
configuration. A front-loading bobbin is inserted • H E M A L L O W A N C E — The width of the hem
within a door that opens outward toward the indicated on the pattern.
sewer.
• H I G H B U S T — See bust measurement.
• F U L L B U S T — See bust measurement.
• H I P M E A S U R E M E N T — The measurement of the
• G R A D I N G A S E A M — A technique used to reduce circumference of the body around the fullest part
bulk in a seam, grading refers to trimming a seam of the hip, usually 7" - 9" below the waist.
allowance with scissors held on the diagonal so
• I N T E R FA C I N G — A layer of fabric that is not
that one layer is slightly narrower than the other.
visible on the outside of the garment, but adds
Trimming and grading a seam joining a facing to a
stability and strength. Interfacing is sold packaged
garment (followed by understitching) will help you
or by the yard, in a variety of weights and
achieve professional results.
applications, including fusible (heat-adhered with
• G R A I N — Grain refers to the way the pattern an iron) and sew-in. Lightweight or medium-weight
pieces are cut relative to the selvage. Most fusible interfacing is versatile and a good choice
garments are cut on the lengthwise grain, with for beginners.
the weave or threads parallel to the selvage
• I N V I S I B L E Z I P P E R — Zipper made with a nylon
running up and down for maximum stability.
coil that, when inserted, appears to be only a
Some garment pieces (often collars, cuffs or
straight seam on the garment. An invisible zipper
facings) may be cut on the crosswise grain, with
requires special techniques to insert properly.
threads perpendicular to the selvage running
Special invisible zipper presser feet are available
vertically. Finally, some are cut with the bias
for most machines that make for easier insertion,
grain, or the angle at 45 degrees to the selvage,
although with care you can insert an invisible
running vertically. Bias grain is the least stable
zipper without one. (see Mimi's Invisible Zipper
and designs set on the bias grain are best for
Method on Page 11.) See also zipper and zipper
more experienced sewers. Always place the grain
foot.
line marked on the pattern piece parallel to the
selvage.

• G R A I N L I N E — The grain line is shown as a

straight line on a pattern piece (usually with an
arrow on each end) that must be aligned with
the grain of the fabric, or parallel to the selvage.

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 Glossary
• K N I T FA B R I C S — Fabrics that are produced by
knitting fibers rather than woven threads, and
have some degree of stretch. Knit fabrics are
not difficult to sew, but yield the best results
with specific cutting, sewing and fitting methods.
Patterns may indicate that they are designed for
knit fabrics; this means that the stretch in the
fabric is accounted for in the pattern.
• L AY O U T D I A G R A M S — Schematics included
in pattern instructions that suggest the most
efficient way to lay out the pattern pieces on the
fabric, according to the size, fabric width and
view you've chosen. Diagrams may indicate "with
nap," "without nap" or "with or without nap." A
with-nap layout — a layout with all pieces facing
the same way — is necessary for directional
fabrics or fabrics with a nap, or raised fibers, such
as corduroy or velvet, where the color will shift
depending on the direction of the fabric. With-nap
layouts may require more fabric than those where
pieces can go in either direction.
• L E N GT H E N / S H O R T E N L I N E S — Patterns may
have one or more lengthen/shorten lines to
indicate the best place to separate the pattern to
lengthen the garment, or overlap the pattern to
shorten the garment, without distorting the style
lines.
• L E N GT H W I S E G R A I N — See grain.
• L I N E D R A W I N G S — Flat schematic drawings on
the pattern envelope or instructions that illustrate
the silhouette, seam lines, and details of the
garment. Each view, or style variation, will have a
front and back schematic.
• L I N E N — A fabric made from flax, characterized
by a subtle sheen and a tendency to wrinkle.
• L O C K S T I T C H — Stitching made by interlocking
two threads, a top thread and a bobbin thread. All
modern sewing machines make a lock stitch (while
hand sewing involves only one thread).
HE SEWED SHE SEWED with Mimi G & Norris Dánta Ford
• M U S L I N — refers to a lightweight cotton fabric
often used to make test garments, as well as to
the test garments themselves. "Making a muslin"
typically means cutting and sewing the main
pattern pieces to test fit and make alterations,
using muslin fabric or a fabric that mimics the
weight and drape of the fashion fabric.
• N A P — Nap refers to fabrics made with raised
fibers, such as corduroy and velvet, that may
look significantly different in color from opposite
directions. Fabrics with nap should be cut with
a with-nap layout (see layout diagrams), with all
pattern pieces placed in the same direction.
• N AT U R A L FA B R I C S — Fabrics made from natural
materials such as plants (cotton, linen, hemp) or
animal fibers (wool, silk).
• N E E D L E — The original and essential sewing
notion, a needle is a pointed metal tool with a hole
to hold the thread. Machine sewing needles are
inserted into the machine above the throat plate,
and hold the top thread. Look for machine sewing
needles designed to fit your brand of machine.
Hand-sewing needles come in many variations; for
basic hand sewing on garment projects, look for
Sharps.
• N E E D L E U P / D O W N — A function on the sewing
machine that allows you to set whether the needle
will be in the fabric (needle down) or above the
fabric (needle up) each time you stop stitching and
the motor stops. Needle-down is a useful function
when, for example, you're pivoting stitching at a
corner and want the needle to stay in place.
• N O T C H E S — Diamond-shaped marks on pattern
pieces that are transferred from pattern pieces to
fabric after cutting, to indicate points where pieces
are to be matched up for stitching.
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 Glossary
• P E P L U M — A flounce or flared piece of fabric
sewn to the waist of a bodice and extending to
the hips
• P I N K I N G S H E A R S — Heavy scissors with
sawtooth, or zigzag, blades. Fabric cut with pinking
shears will not ravel; trimming seam allowances
with pinking shears makes for a fast and easy
seam finish on casual garments made from
smooth fabrics.
• P L E AT S — Decorative folds made in fabric, often
in multiples at a consistent distance from each
other, as a style and shaping element in garments.
• P R E S S E R F O O T — A sewing machine attachment
that guides the needle and stitching. Different
types of presser feet have different uses and are
easily removed and attached during sewing; most
sewing machines include several commonly used
feet, including a standard foot for straight and/or
zigzag stitching, a zipper foot, and a buttonhole
foot.
• P R E -T R E AT I N G — Washing and drying fabric
before cutting (in the same manner you plan
to care for the finished garment) in order to
eliminate any shrinkage or change in color or
texture before the garment is made.
• R A W E D G E S — The cut fabric edges on the
pieces of your garment or fabric. Instructions may
indicate "match raw edges" when you are to align
these edges before pinning and stitching.
• R I G H T S I D E S T O G E T H E R — Most seams are
stitched right sides together so that the raw edges
are inside the garment after the seam is stitched.
The right side of the fabric is the side you want
to visible, or facing out when worn. Instructions
may indicate right sides together (sometimes
abbreviated RST) to remind you to put right side to
right side before pinning and stitching.
HE SEWED SHE SEWED with Mimi G & Norris Dánta Ford
• S E A M — A line of stitching that joins two pieces of
fabric. Seams are usually stitched with right sides
together for a smooth appearance on the outside
of the garment or project.
• S E A M A L L O W A N C E — The width between the
raw edges of the fabric pieces and the stitching
line. When aligning the raw edges of the fabric
along a throat plate measurement line, the
needle will be that distance from the edges. The
industry standard in sewing patterns is a ⅝" seam
allowance; patterns will usually indicate if they are
using a different seam allowance.
• S E A M F I N I S H — Any method that prevents the
raw edges from unraveling and/or reduces bulk
in the seam after stitching. Seam finishes include
trimming the seam allowances with pinking shears,
stitching a zigzag stitch along the raw edges, and
turning under and stitching raw edges. See Mimi's
Pro Seam Finish (bias-bound seam) on Page 10.
• S E A M L I N E — The stitching line, usually ⅝" from
the cutting line unless otherwise indicated.
• S E LV A G E — Also spelled selvedge. The selvage
is a tightly woven edge along the length of the
fabric that prevents fraying and sometimes has
the name of the fabric designer or fabric company
printed along it. Grain lines on pattern pieces
should be placed parallel to the selvage.
• S E R G E — using an overlock machine (also called
a serger) to stitch, finish, and trim a seam in one
pass. Serging is a popular ready-to-wear way to
finish seams and keep them from fraying, and
home sergers are widely available.
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 Glossary

• S P E E D C O N T R O L — A function on many • T E N S I O N — The function on a sewing machine

machines that allows you to change the speed of that regulates the balance of bobbin thread and
the motor and stitching mechanism (in addition to top thread in lock stitching. The tension of the top
the manual speed control you have with the foot thread can usually be adjusted by a dial or knob
or knee pedal). on the machine. The bobbin tension is set in the

• S TAY S T I T C H I N G — A single line of straight

bobbin case and should not be adjusted.

stitching just inside the stitching line to prevent • T H R O AT P L AT E — The flat metal plate beneath

fraying and stretching. the needle on a sewing machine. The throat plate
will have a small hole (for straight-stitch machines)
• S T I T C H L E N GT H — The distance between needle
or a wide hole (for machines with zigzag and
entries into the fabric to form a stitch, usually
decorative stitch capabilities). It may also have
measured in millimeters or in the number of
measurement markings to help you align the
stitches to the inch. Stitch length can be adjusted
fabric for the desired seam allowance. The sewing
via a dial, knob or touch screen. 2.5 is a typical
machine manual will illustrate how to remove the
stitch length for seams, while machine basting
throat plate to clean beneath it.
might use a 4.0 or 5.0 stitch length.
• T O P - L O A D I N G B O B B I N — Sewing machines
• S T I T C H W I D T H — Stitches other than straight
house the bobbin underneath the throat plate
stitches, such as zigzag stitching or decorative
and needle in either a front-loading or top-loading
stitches, usually have both a length and width
configuration. A top-loading bobbin is inserted
measurement. The length is the distance between
within a door that opens upward toward the
the needle entering the fabric, and the width is the
needle. Top-loading bobbins often have a visible
horizontal space that the stitch takes up. Both are
cover on the bobbin area making it easier to see
variable and can be adjusted for different fabric
when the bobbin is running low on thread and
types and purposes.
must be rewound.
• S T R A I G H T S T I T C H — Stitching in a straight line
• T O P S T I T C H — Decorative straight stitching
with no sideways movement of the needle; this is
parallel to the edges of a garment. Topstitching
the most commonly used stitch for construction
is often made at about ¼" from an edge, and
with woven fabrics.
decorative or contrasting thread may be used.
• S W AT C H E S — Small samples of fabric that can
• T O P T H R E A D — The top thread is the thread
be helpful in matching color or evaluating texture.
that comes from a spool at the back or top of
Some online fabric retailers will send a swatch of a
the sewing machine and is threaded through the
fabric on request, or for a nominal fee.
tension disc and through the needle. The top
• S Y N T H E T I C FA B R I C S — Man-made fabrics such
thread and bobbin thread interlock when stitching
as polyester. Synthetic fabrics often resemble
to make the lock stitch that characterizes machine
natural fabrics but have less breathability and are
sewing.
sometimes more difficult to sew and press.

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 Glossary
• T R A C I N G PA P E R F O R PAT T E R N S — Any paper
large enough and translucent enough to allow
you to trace full pattern pieces. Dressmaker's
tracing paper is available for this purpose, and
many sewers buy rolls of medical supply paper or
lightweight drawing paper to trace patterns.
• TRACING WHEEL AND WAXED TRACING
PA P E R — Waxed tracing paper is used along with
a serrated or smooth tracing wheel to transfer
markings from the pattern to the fabric after
cutting. The advantage of this method is that it
can transfer to both sides of a piece at the same
time (for example, both darts can be marked
simultaneously), and it works well for interior
marks such as pocket or detail placement and for
long lines such as fold lines or stitching lines.
• T R I M S — Ribbons, beaded ribbons or fringes,
cording, rick-rack or any decorative element used
in a design.
• T U R N O F T H E C L O T H — Refers to cutting one
piece of a collar or lining slightly smaller so that
when sewn together, the seam will roll to the back,
accommodating the thickness of the fabric.
• T W I L L TA P E — A very tightly woven, sturdy ribbon
with a twill weave and finished edges that comes
in various widths and is sold by the yard.
• U N D E R S T I T C H I N G — A row of stitching through
the facing and facing-garment seam, close to the
seam on the facing side, that is made after the
facing and garment are stitched together and the
seam is trimmed and graded. Understitching helps
the facing to roll to the inside for a professional
appearance on the outside of the garment.
• V I E W — Many sewing patterns offer several views
or style variations, such as different necklines,
sleeves, garment length, or other details. These
variations are illustrated on the pattern envelope
or instructions, and given a number or letter
that's referenced on the pattern pieces and in
the instructions. For example, View A might have
HE SEWED SHE SEWED with Mimi G & Norris Dánta Ford
a scoop neck and View D might have a cowl neck.
The pattern instructions will indicate the steps that
apply to each view.
• W A I S T B A N D — A narrow strip of fabric, usually
with interfacing support, at the waist of a skirt or
pants.
• W O V E N FA B R I C S — Fabrics that are produced by
threads crossing at a 90-degree (perpendicular)
angle. Unless a stretch fiber such as spandex is
added to the cloth, woven fabrics typically have no
stretch on the lengthwise grain (threads parallel to
the selvage), slightly more stretch on the crosswise
grain (perpendicular to the selvage), and the
most stretch and least stability on the bias grain
(45-degrees to the selvage).
• W R O N G S I D E S T O G E T H E R — While most seams
are stitched with the right, or outer, sides of the
fabric meeting, you may sometimes be specifically
instructed to place the wrong, or inner, sides
of the fabric together before stitching. This is
sometimes abbreviated as WST.
• Z I G Z A G S T I T C H — A stitch with a sawtooth
pattern as the needle moves in both a horizontal
and vertical direction. Zigzag stitching is useful for
finishing edges and for sewing knits where some
stretch in the seam is necessary.
• Z I P P E R — A closure inserted into the garment.
Standard zippers are made of nylon or metal and
have "teeth" that lock together as the zipper slider
is pulled through them. A standard zipper can be
inserted with a centered application (equal flaps
of fabric covering the two rows of zipper teeth on
either side) or a lapped application (one wider flap
of fabric covering both rows of zipper teeth).
• Z I P P E R F O O T — A presser foot that allows the
needle to ride to the side of the foot, allowing
you to stitch an even line of stitching close to the
zipper teeth when inserting a zipper, or any time
you want to stitch close to an element (such as a
trim) but not on it.
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