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SEWING SVfORIES • 1866
In 1866 George.Clark
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by visiting Coatsa11dCla1-k200years.com developed a slx-cord, soft
finished thread. the first
T11e COATS & CLARK th1-ead suitable for the sewing
machine which revolution-
story begins in Paisley Scotland in ized the thread industry. He
1812) a11d for 200 years families called it "Our New Thread"
which became known as
l1ave stitched their history O.N.T.. the famous trade-
mark for the Clark Thread
\vi.th the name you can trust for company.
all your sewing needs. Nowwe N"_9 l ~"
share the story vvith you. t

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I 1939
Market conditions in the
1940's were reversed by
textile requirements of
World war II. American
women began to sew
again to have garments.
as well as for the thera-
peutic value during the
trying times of war.
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As home sewing
machines became more
advanced. Coats & Clark
recognized the need
for a thread in which
all variables could be
controlled to produce
a consistently smooth
thread and introduced
Dual Duty XP.
~~

www.coatsandclark.com
www.coatsandClark200Years.com --- _________J •
©2012 Ct>IMS & Cta!1<
A·I ngllts resel'llGd Coa1s
& C ark IS a WJ stered
traden 1afl<
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editor's note


sewing
pleasures
I KNO\i\T IT'S STRANGE for the average person to become On th.e earth-friendly side, the Upcycle! section
enamored \Vith fall \vhen summer is just getting into full celebrates the season of harvest with projects that you
bloom, but it's not at all strange for Se\vists, right? 'vVe need can cull from your O\vn closets and storage bins. Create a
a full season of time to mull over projects, drool over fabrics fab denim bag, S\Veet girl's pinafore, and avant-garde neck
and, well, make the stuff so that it's ready to vvear vv hen fall \vrap, all fro·m clothes and fabrics you have on hand. Or try
arrives for the rest of the \Vorld. a shirt blanket, zipper bracelet, ineasuring tape clutch, or a
Fall is one of my favorite seasons to sew for.11aybe it wall pocket panel to store your loose items. These are beau-
began in chi.ldhood with all the excitement of getting ready tiful projects all in the name of recycling and restyling.
for the beginning of school. There was always a new outfit "fhe Embroider This section \vill appeal to the nester
to consider and vvear proudly, especially on the first day. in you, as chilly \veather approaches. You will adore every
I clearly remember "valking hand-in-hand "vith my mother single one of the embroidery projects, from an octopus
to my kindergarten class, sporting a bright red shift \vith clock, woodland animals \Vall art, and autumnal placemats,
an appliqued ladybug, and my mother wearing a dress to sweet baby shoes, pretty plant holders, a fau'.I\ sashi.ko
to match. She had made both to celebrate the first day of pillov.r, and gorgeous guitar strap.
school-and if I had that shift in my size today, you can bet 1'op it all off v.rith Great Hats, a section devoted to
it would be at the front of my closet! toppers from fancy to snuggly. The glam fascinator joins
So \Vhat better \vay to celebrate fall sewing than \Vith a the daytime wardrobe, along \Vith a inod newsboy-style cap.
pretty nevv dress? In "Dress It Up'" you'll find everything- soft cashmere head hugger, and t\VO lovely flowering hats,
from a pretty-in-pink party frock and demure blue number, in felt and fleece.
to an all-business sheath, sleek knit tunic dress, and flirty This issue is ripe for the picking and I hope you enjoy
beaded mini-dress. Something for every occasion! making these projects as much v.re enjoy bringing them to
For t he little ones, the School Days section is ready you. Be sure to visit SewDaily.com and let us kno\v \vhat
for the class bell. From clever and colorful clothing you think, even.if it's only to let us kno"v what you \Vore on
dividers, a hedgehog tote, and bunny nap pad, to a vibrant your very first day of school
vest appliqued \Vith critters (a modern version of my
As al\vays, happy stitching!
ladybug dress!), reusable snack bags. and a pretty notebook
and bookinark for teacher, you \vill find projects that both amkrede~
you and your children can create. stitchsubrnissions@interweave.com

2
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BERNINA'U

The entry-level series from which there is no holding back: the •


BERNINA 3 Series is just the beginning of something beautiful.
Each model combines aesthetics and design with sophisticated technology.
The selection of decorative stitches and sewing alphabets helps you create
a lifetime of possibilit ies for individual creativity and inspiration.

Learn more about the BERNINA 3 Series and downlo<id free patterns at
wv•.'w.berninaLJsa.com/3series.

·~ T . --· .
lr~ ""' .. · ·• ·
. ~...

40
FEATURES
14
technique spotlight:
draping a bodice
GRCTCHEN HIRSCH

24
fabric rosebuds
TOMA A JIMENEZ

26
material worrd:
the bottom line
LINDA TURNER GRIEPENTROG

32 DEPARTMENTS
artist profile:
vicki jensen 2 editor's note 22 wish list
MARY ._,ALTER
•• •
• a what's new+ cool ao sewing basics
34 '
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Tools, Techniques,
+Terms
sewing with knits
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10 sew boutique
LINDA LEE o liome Ee Workshop
sew inspired
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144
.. LINZEE KULL MCCRAY
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KEVJN KOSBAB
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Crafting Hope
SUSAN BEAL
a strand of thread- •• Perfect Pairing
the story behind the • l ND.A TURNER GRIEPENTROG
200-year eyolution •
•• •
of Coats & crark
SUSAN BEAL
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····------
ON T HE COVER: Quick Faux Sash1ko Pillow, page 60
---* Stitch······-
DRESS IT UP
The dress is the iconic 48 beaded silk
fashion statement of handkerchief dress
fall, whether sim ple ALEX SUDALNIK
and elegantly chic or
embellished with stylish 4:9 batwing jersey dress
deta ils. Each of these five EMILY LI MAN DRI
dresses are as versatile 50 prettiest party frock
as they are stylish! GRETCHEN HIRSCH
the big blue
51

S2
AMBE R EDEN
the business edge
*
KATRIN VORBECK

--- ... ----·--·--·-


.. --------- --··----- ·-··--

UPCYCLE!
Fall is the season of harvest and what better time to discover creative
ideas for upcycling. Convert something vintage into something beautiful.
67 upcycled denim 70 retroactive neck wrap
messenger bag RACHEL GUEDON
BETZ WH ITE 71 zippy bracelets
68 upcycled pinafore SHEREE SCH LOTE
SIGRID AR NO TT 72 patched pocket panel
MARY WALTER
69 recycled shirt blanket
MISSY SHEPLER 73 measuring tape tote
LINDA TURNER GRIEPENTROG

--------·----·-·-- --------·····-----·-r- ·----- -·--------·------·------·-··---------{


'

SCHOOLDAYS GREAT HATS


It's tim e to start dreaming abou t Hats are the most perfect of
all the ador able supplies, new accessories for fall. Try these toppers! EMBROIDER THIS
outfits, and crafty projects you From pretty freehand work to intricate
74 the fascinator
can devise . - - embellishment, these embroidery
ALEX SUDALNIK
projects will delight you.
S3 fuzzy hedgehog tote 75 slouchy cashmere hat
CHERYL BUSH SIGRID AR NOTT 60 quick faux sashiko pillow
S4: school days COREY YO DER
76 flowering fleece + felt hat
teacher's set STEPHANIE SMITH 61 embroidered
JUNE MCCRARY JACOBS 77 flapper-inspired felt hat guitar straps
MADELEINE ROBERG
ss snack bags. APRIL MOFFATT
ROSEMARIE D EBOER 78 mod newsboy hat 62 harvest placemats
56 night critters vest JENN RHOADS SUSAN LIU
TINA LEWIS 63 embroid~red mary jane$
57 colorful clothing for baby
dividers A PRIL MOFFATT
JENNIFER RODRIGUEZ 64 oilcloth plant holders
58 bunny nap roll CAROL ZENTGRAF
J ENNIFER WOLAK 65 embroidered critters
HEIDI BOYD
59 chalkboard mat
LISA ANDERSO N 66 embroidered octo-clock
STEFANIE BERGA NINI

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s
sewdaily.com *
*
i• La Todera •••
••
CREATING WITH FABRIC ;- THREAD

i sewing and oraft patterns • : EDITOR Amber Eden


.....................-:e •••,..:
ASSISTANT EDITOR Rosemarie DeBoer
:• TECHNICAL EDITOR Mary Walter
:• DESIGNER Jocelin Damien
:•
:• PHOTOGRAPHY Larry Stein tmlcss olheni>ise credi1e.d
•:• HAIR & MAKEUP Kathleen Schiffmann • ILLUSTRATION Ann Swanson

:• FREELANCE TECHNICAL EDITOR Bernie Ku1isck
CONTRmUTING EDITORS Susan Beal, Linda Turner Griepentrog, Gretchen fTirsch
PRODUCTION DIRECTOR Trish Faubion • PRODUCTION EDITOR Nancv, Arndt
:• PRODUCTION DESIGNER Kate Binder
•••
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•• EDITORIAL DIRECTOR Helen Gregory
•• •
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AD TRAFFICKER Melissa l\!Iarie Brown • MARKETING DIRECTOR Mary KinCannon
:• MARKETING SPECIALIST Heidi Hedger • CIRCULATION DIRECTOR Mark fleet\VOOd
i CIRCULATION MANAGER Jodi Sm~th • SUDBURY OFFICE MANAG.E R Sally Murray
RETAILERS Ifyou are interested in carrying this magazine in your store please contact us at:
Toll free: (866)949-1646; Email: sales@inten-veave.com; Web: interwe.averetailer.co1u
lntenueave Stitch (JSSN: 2160-6838 [_print] ancl 2164-9375 [online]) is published five times per year by
Interweave Press LLC, 201 E. Fourth St., Loveland, CO 80537-5655. (970) 669-767 2 . .All contents of this issua
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mation are for inspiration and personal use only. Reproduction in \Vhole or in part is prohibited, except
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advertisers, products, set\'ices, or views advertised in Interweave Stitch Nor does Inteiweave Stitch evaluate
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tisers, product~, services, .and views advertised in lnte1·weave Stitch Visit the Interweave website at
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Visit our \vebsite interweave.com
* stitch An Aspire Media conrpany
mic~ae mi er
fRBRIC l
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Machine washable, tumble dry \'\IWW.michaeln11llerfabncs.corn
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sewing room

Edit ors' p icks for p roducts,

~
t ools, books + notions

.... -- ... - ... --............ _... _..... --·· -·- - _,,,, ___ ..... ., . . .....
....- ______ ,,......._
...
what's new +cool
The lightest
interfacing ever-
just right for
sheers, silks,
and other light- ~ - . ...,. - .. ~ -
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to mid-weight
fabrics. ULTRA
SHEER FUSIBLE
INTERFACING
offers a touch of
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changing the
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Use in facings, ~,.<-y ~<> <in

collars, or fuse
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to yardage for a
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White, beige, or
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The Sewing Workshop, This non-greasy hand-therapy
sewingworkshop.corn. gel was designed with
$18/yd. sewists in mind. When your
hands are dry Ol' tired, rub
on a drop of MARY ELLEN'S
MADE BY HAND and get
Draw a precise line every time. Garment sewists,
right back to your needle and
quilters, and crafters will all appreciate the accuracy
thread-it won't stain fabrics
of the CHAKONER. This heart-shaped marking tool
or affect your ability to grip
contains a fine white powdered chalk that dispenses
your needle. Made with white
from a rotating serrated wheel located at the
willow bark, a natural anti-
bottom of the heart. Quickly mark darts or pocket
inflammatory agent. 4 oz, Mary
placements or use with an acrylic ruler for straight
Ellen's, maryellenproducts.com, $1.95.
line marking. The Sewing Workshop, sewingworkshop.con1, $ r 5.

Fast, convenient, and effective, the SEWLINE Using a ceramic-based lead, the ·SEWLINE FABRIC
GLUE PEN holds fabric pieces together for sewing. PENCIL is designed to give you a thin clean line while
Great for applique or to keep a hem in place before still being easily removed with the attached eras.er or
stitching. The water-soluble glue is light blue (also sponged off with a damp cloth. Available in five colors:
available in yellow) when applied, but dries clear. white, black, yellow, green, and pink. Cushioned finger
Refillable. $6.95 grip for comfort. sewline·products.com, $15.95.
8
* stitch
sewing room

------------------------- - -------- - ----- - -------------------------------------------------------~ - ------------ - -------------------- - --- --- --~--- -----

CLOVER WONDER CLIPS are an ideal solution for working


with oilcloth and laminates-no more hunting around for
spring-loaded clothespins or hair clips. They are also a great
alternative to trying to pin through upholstery-weight fabrics,
keeping totebag handles in place, or holding piping secure
before stitching. Clover, clover-usa.con1, $6.95/ro clips.

Celebrate gre.a t fabric by


using every scrap- this is As the firs t cafe sewing shop in Paris, the
the premise behind SUNDAY Sweat Shop storefront in Paris marries the
MORNING QUILTS. practicality of a workroom with the ambiance
Modern quilters Amanda of a living room. LESSONS FROM A
Sun<sloY Jean Nyberg and Cheryl SEWING CAFE: SWEAT SHOP PARIS
Morh}ng Arkison share a passion translates this trendy Parisian experience
into book form- with more than fifty DIY
Oui 1ts for scraps . From sorting to
fashion and home projects. Tvy Press, A.ndrews
piecing to finishing, this
book will help you turn your McMeel Publishing, andrewsn1cn1eeLcom, $24.99.
treasured leftovers into a
modern quilt with your own
Sunday-morning style. Stash
Books, stashbooks.com, $22.95.

---- -- ---------------------------------- -- ---------------- ------- -----



A collection of •'
'
projects based on
creative techniques
with fabric, MAKE
IT SEW MODERN
includes more than
twenty sewing ideas- ••
from scarves and '
em.b ellishments to
purses and eye-catch- BROMLEY, a new calico collection from WESTMINSTER
ing quilts. Vanessa FABRICS, is based on selections from the pattern book
Christenson, owner of the Bromley Hall works, a well-known English textile
of V and Co., has a manufacturer near London. The pattern book, now housed
passion for clean lines •' in the Victoria & Albert Museum, dates from around
••
with enough texture to 1760- 1800. The original fabrics, mainly of flowers and
give things a modern, '•• foliage, were printed from copper plates that allowed more
yet soft and personal look. ' detail than the wood blocks previously used for printing.
That Patchwork Place, niartingale-pub.com, $24.99. Westminster Lifestyle Fabrics, wesln1insterfibers.cont

1 · · · ................... · · · .... · · · -........ · .... · · · · · · · · · ... · · ...... · · · · · · · · ...... · · · .... · · · ...... · · · · · · · ..... · · ....... · · · .... · · · · · · · · · · .... · · .... · · ........ · · -......... · · · · · .... · · · ·~ .. · · - · · - · · · · · ........ · · · · · · · · · · · · · · · · ...... · · .... · · · · ·· - · · · · · · · · · · · · · · · · · · · ..... · · - - · · .... · · · · · ·~;wd~ii ~-~; ;.;,9·:,;·····

sewing room

From inspiring people to hot


sew trends, check out the news from
around the sewing world.
-------------------------------------- ---------------------------------------------------------------------------

Ji'
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Owners Alisa Weinstein (left ) and Codi


Josephson (right) provide an inspiring
atmosphere for t heir creative community.
Part shop, part cozy fam ily room- the Home
Ee Workshop is definitely all creativity'
Like many "craft boutiques," Home Ee is
as much a community as a store. "Customers
HOME EC n1ay not kno\¥ exactly vvhat they want to
WORKSHOP make vvhen they come in, but seeing
our materials and ho>v other people use
Text LINZEE KULL MCCRAY them is inspiring," says Alisa. "'vVe .have
Whether it's called a stitch lounge or craft lots of beginners and 'crossover' crafters-
boutique, a new kind of shop is giving knitters try quilting and quilters learn to
textile lovers a place to feed all their screen print." Home Ee also rents sewing
handmade longings. machines, an iron, and cutting table on an
Tn. February 2008, Codi Josephson and hourly basis, and is a popular location for
Alisa Weinstein opened one such shop, baby and wedding showers and birthday and
Home Ee Workshop in lo\va City, ro,va. bachelorette parties.
There they offer classes i11 myriad textile Inspiring supplies bring out the artist in both Similar shops, including Crafty Planet in
tecmliques, stock contemporary books, novice and veteran crafters. Minneapolis; Workroon1 Social in Brooklyn;
patterns, and supplies, and hold indie craft Gather Here in Cambridge, Tvlassachusetts;
fairs and art exhibitions. "We \vanted a shop and oilcloth that line the walls. On a typical and Stitch Lab in Austin, Texas; provide
that wouJd be part of the creative process," day, Codi may be cutting Japanese fabrics "crafting crossover" opportunities around
says Codi. in the sunny front roon1\¥hile Alisa and a the country. "There's a special ki11d of energy
\N'hen you step t11rough Home Ec's customer sit on. the red couch, practicing a in a place like this," says Codi. "Seeing ho\v
doors, it's apparent they've done just that. ne\v knitting stitch. A.guest instructor in our custo1ners use the n1aterials v.re've
In the cozy space, bins overflo\V with shell the "vorkshop may be helping students sew chosen is so inspiring."
buttons, fibers for felting, and folkloric skirts, screen-print fabric for infinity scarves,
ribbons and trin1s; baskets hold embroidery or crochet Japanese-style arnigurumi For more information visit: Home Ee at
HOMEECWORKSHOP.COM, Workroom Social
floss, yarn, needles, and notions. Customers critters. l\bove it all you'll hear the whoosh
at WORKROOMSOCIAL.COM, Crafty Planet
browse through fat quarters filed in vintage of the cappuccino n1achine and the sound at CRAFTYPLANET.COM, and Stitch Lab
bread tins and the bolts of linen, cotton. of laughter. at STITCHLAB.BIZ, and Gather Here at
GATHERHEREONLINE.COM.

10
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1

Crafting Hope
·----"
An activist mother
in Texas changes Craft Hope
lives worldwide with
handmade gifts
Text SUSAN BEAL
theEarth
Jade Las\vell started Craft Hope, a global
website to encourage handinade activism,
out of her kitchen i11 Austin, Texas,
in January 2009. Her first post was a call for
Jade
pillowcase dresses for girls at an orphanage Laswell and
in Jvlexico. She was hoping for five dresses her children
surrou nded
by the deadline, but was delighted to gather by the
and send t\venty-seven (as well as shorts for generosity •
the boys). The next Craft Hope project, two of t he
online
months later, asked for handsewn dolls for crafting •
children at an orphanage in Nicaragua- community. ''
I

and crafters all over the world sent in over •


400 of them. I \Vould guess maybe 20,000 people have
Jade says the dept h of the response participated. Many people sign up to make •
took her breath a\vay. "I \vanted to inspire ite1ns and then rally their friends, craft
others to make a difference. A simple act groups, Girl Scout gro11ps. and church
of making a doll and sending it to a child groups to join them. It's a beautiful thing. '
'
in an orphanage on the other side of the We are so gratified by everyone's outpouring ''
world can change h earts and inspire hope. of love and generosity."
What I didn't expect \Vas the lives changed Jade's 2010 book, Craft Hope:Handmade
for the crafters as \Vell. I thought \Ve Craftsfor a Cause, collects thirty·t'vVO
would make things for people who needed original projects to make for charity, from
a little hope and love. Then it became designers such as Amy Bt1tler and Amanda
the giver \V ho was benefiting as well: Blake Soule. Jade says her favorite project
the simple act of stitching an iten1 for Pillowcase dresses ready to b e delivered to \Vas collecting the sock monkeys, \Vhich her
a person yot1\Vill never meet." an orphanage in Mexico. O\vn kids loved playing \vi.th as well.
Craft Hope has hosted 1nore than "I feel like we are just gaining
sixteen community projects (and momentum and growing," Jade says. I

counting). with new drives announced "Amidst heartache and tragedy I want ••
every few months. Jade, a mother of three, people to stop and think, 'vVhat can I do for
explains, "I really like to focus on. projects someone else?' I V1rould like to plant the seed
for kids." That adds up to 600 h andse\vn in people's minds that one si1nple gesture •
I

sock monkeys for children who lost their changes many lives."
homes to wildfires in Texas; 2,614 hats,
booties, and blankets for babies in India;
5 ,210 delivery kits for mothers and babies
Hllndntade Crafts for Q cause
c__{.'2,c_) For more information,
in .Haiti; and 35,000 colorful beaded, .ti>Ol SIMS
(j() visit CRAFTHOPE.COM.
'-- ----
se\vn, \voven, and knotted bracelets for
orphaned children in Russia.
Jade says, "We have collected over
100,000 handmade items for charity, and

11
sewdaily.com *

sewing room
. ---- -------- ----------- ----------·
~-------------------------------------------------------------------,

PERFECT
PAIRING
Identical twins partner
in their creative work
Text LINDA TURNER GRIEPENTROG

\\Thile many identical t\vins are caught up


in sibling rivalry and competitive feats, Lisa
and Lori Lubbesmeyer of Bend, Oregon, are
working toward the same goal-fabulous
appliqued fiber-art "paintings." But, the most
interesting part is that they \vork on the1n
together, but separately.
Their pieces begin \vith color S\vatches
stitched in place on blank muslin
"canvases." One twin begins the work and l
I
soon, \Vithout a word, hands it off to the
''
- { .
Lori (left) and Lisa Lubbesmeyer work both alone and collaboratively on each f ib er painting.
other. The second continues to add layers of
fabrics and her vision of the outcome. The
piece goes back and forth between the t\vO
I

\VO men-sometimes t\venty times, until


they both "feel" that it's complete. There's
rarely any conflict, as each has respect for
the other's vision of the work, despite not
>-
6:: knowing what that is.
~ Working on about fifteen pietes per year,
~ the t\vins sell their art in their stt1dio/gallery
ii: located in Bend's Old Mill District, and they
::l
w
also do commission \Vork for individuals
CD
w and businesses. In 2003, they \Vere invited
Cl
z to exhibit with the A rt in the Embassies
w
er program, \vhere artists' work is shown in
~

:s>- U.S. embassies around the world.


~ Lisa and Lori use only simple stitches
~ and a very basic machine for their applique
if \Vork, and ironically, neither has any formal
Color is the starting point for each individual Lori, left, and Lisa Lubbesmeyer began their sevving education. Lisa is trained as a print-
piece. The fabric is transformed using only artist ic partnership in the 1990s. maker and Lori as an oil painter, so the fiber
simple stitches and a basic sewing machine.
media \Vas nevv to both \vhen they began
their collaboration in tl1e 1990s.
And, of interest to se\vers- their "stash'.'
consists hundreds o.f 1/.-yard cuts of fashion
and decorator fabrics usually pt1rchased on
an annual shopping spree. Lisa notes "Most
sewers are glad not to be behind us in the
fabric store line!"
...
(J,...Vt:::) For more information,
C10 visit LUBBESMEYER.COM.
12
* stitch
sand dollars and starfish
sling chairs and sunsets
polka dots and stripes
unique fatJric and modern style

/
,.

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. ,-"~ .,_""... ...
.. . .. "\.
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''
'' Text GRETCHEN HIRSCH
''
I ''
'
\
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''
'' IF YOU'RE IN'fERES1'ED IN DESIGNI NG your
'' own sewing patterns, a basic bodice block is
''
) '' \
\
one of the most important tools you can have.
A block (also called a sloper) is a pattern that's
I ' \

j \
\
\
\
in a inly devoid of design details; it's a blank
slate intended as your design starting point.
\
\
\ The basic bodice block has a je,vel neckline,
\
\ waistline darts, and little-to-no >vearing ease.
'' I make my blocks vvith no \vearing ease at all,
'I I
since I often design garments-like retro party
I

'I I
dresses- that are not intended to have ease.
I I fin.d it easier to add ease, if desired, in the
'
I
I
design stage.
I
I There are b.vo methods of patternmaking: flat
I

I
I patten1making, which is done directly on paper
I
with the aid of a reference text; and draping,
I
I ' which is done directly on a dress form. These
I

I
I
methods each have pros and cons, but I prefer
I
I ' draping because it is intuitive and visual, which
• r suits me \vell. On the downside, you need a dress
I
I
I fonn-and a designer dress form is best. This
I
I
I
type of dress for1n is covered in linen and has
I
u
<.f)
0::
.... '
I
I
r
guidemarks that you can feel \vith your fingers
as you're draping-the princess seams, the raised
I
T I side seams, and the metal ar1n hole plates are all
z
w
I
I
I I there to help you out. I bought nune used on
u
'I Craigslist. You can also save 1noney by 1ooki11g
--
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CD
'' for student forms sold through university
~
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fashion progran1s.
0
f- I Ho\vever, I have also draped on an
0
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a_
' I
\ inexpensive adjustable dress form, and it
\
I
\
turned out just fin e. You could even get
I
creative and drape on a hu1nan body! You just
''
need a buddy and a skin-tight top that can be
'
\
\
\ pinned into.
' \

' \
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figure 1 figure 2

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figure 3 figure4 I
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crossgrain of the fabric. To find the '
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DRAPING THE BODICE FRONT 0 Nowthatyourmuslin is in place, smooth I
I

Let's get started! placement of this line, hold your muslin it over the contours of the dress form in a
I
I
I
rectangle up to the dress form and make a counterclockv.rise direction, starting at the
0 First, you need to prep a piece of muslin. pencil mark at the bust position. vVorking
I
I
I
Medium-\veight muslin is ideal. Start by center front neckline. Smooth the muslin I
I
on your muslin, use a clear ruler to dra\v around the neckline, pinning it in place as you I
tearing it into a piece that's large enough I
a line at 90 degrees perpendicular to your go. Pin ctirectly onto your dress form's seam
I

to cover the entire right -front torso of your 'I


center fro11t line. Finally, fold under the lines, \vhich you will be able to feel through I
dress fonn, with about five extra inches to I
vertical center front line and create a the muslin. 1ne fabric v.rill buckle and 'vrinkle I
spare all around. Make sure that the piece is 'II
crease on the line with your fingernail. around the c11rve of the neck, so you v.rill need
wide enough to go around the entire front Now \Ve're ready to drape! I

neck of the dress form. to clip into it with your scissors. Holding a I
I
I

0 If your n1uslin rectangle looks skewed,


0 Start by pinning your muslin in place, pair of scissors vertically, n1ake several clips I
I

matching up the fold to the center front into the fabric, being careful not to cut past I
I
pull o·n the opposite con1ers to straighten the neckline itself. (figure 3) I
line on your dress form, and matching I
I
the grain. Test it by laying the edges on the the horizontal line to the bustline. Pin the I

right-angle corner of a desk- make sure it is f) Next, smoot'h the fabric along the top I
I
muslin in place at the neck, the bust, and plane of the shoulder, placing your pins on I
nice and square. I
the •vaistline. (figure 2) Place a te1nporary your dress form's seam line. I
I

0 On one long edge, draw a pencil liner" pin at the sho1llder line, to keep the muslin I
I

in from the raw edge of the n1uslin. This will out of your \vay as yo11 \vork. Smoot11 the 0 Now yo11're at the armhole. Smooth the I
I

fabric around the armhole, pinning along I



be your center front. (figure 1) horizontal line over the bustline, and place I

two pins at the bust apex, or the fullest point the ridge on yo1lr dress form. Yotlr arm hole I
I

0 Next, dra\v a horizon tal line that of the bust. (T•vo pins anchor this spot inore will end about r/," belO\V the metal plate. I
I
I

\vill be placed at the bust to mark the securely than one.) (figure 4) I
I

I
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.... ....... .... ..,,....................


15 ..
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s~wdai ly.com *
.

sewing room

0 'fhen comes the side sea1n. Use your


v hands to pull the fabric taut to the side sean1.
You will begin to notice a "cone" of excess
fabric forming underneath the bust; this \\rill
be your dart. Pull the fabric toward the side
seam, smoothing it to the point that you don't
see any diagonal pull lines. Place pins do\vn
the side seain, feeling for the raised seams on
the dress form underneath. (figure 5 )
1
I (i) Our last steps are the dart and the
waistline. Gather up the "cone" of the dart
figure s excess in your hand and place a pin on either
\ side of it. (figure 6) The dart excess should
'' be placed directly t1ndemeath the fullest
'' \ point of the bust. Use the princess seam line
' \
\ on the dress form to locate this point.
\

' \
\
\
\
l a. No\v, sn1ooth and pin the fabric along
\ the \vaistline. If your dress form has a tape
\
I
\
that n1arks the \vaistline, use the bottom of
I
l the tape as your guide. Make vertical clips
\

' ,,I
along the curve of the \Vaistline, just as you
I did with the neckline. Pin the \vaistline all
' \
\
the way to the center front.
t

' I ~ Finally. pin up the legs of the dart, until


figure 6
' I
I you reach the bust apex.
t

I
I
I
MARK YOUR DRAPING
I
I Q) Trim your sean1 allowances down to 1"
I
I
I
outside of your pins. Using a pencil (I like
I
I
one with soft lead because it's easier to \>.Trite
,.
I
on muslin), you \vi]l make little dot marks
I

I
I all the way around your draped bodice. Start
I
I at the center front neck and make dots along
I y;;lj.
...
I the neckline. (figure 7)
;
I

~ Repeat rnarking with the shoulder seam,
I
I
I
I
I ann hole, side seam, and \vaistline. (figure 8)
·I

I
I
I
I
,_ 0
e }..1Iake little L-shapes that mark the base
I
I figure? of the dart, then mark next to the pins that
I
I are holding the dart in place. (figure 9)
I
I
I
I
G) Once everything is marked, remove
I
I your drape frorn the dress fonn and place
I
I
j
it flat on a table. See ho\V your pattern is
I
I taking shape?
I
I
I
I
~

G) Using a clear nller and French curve,


I
I
\ connect your dots. Start at the center front
I
I
• ~ neckline and use your ruler to draw a short
..t I line (about an inch) that is 90 degrees
I
\
I
perpendicular to your center front line.
I
I (figure 10) This horizontal line will keep

\ your front neckline smooth, rather than
I
I
\
I figures
••• .. 16
.. ~ -~ ''
\
\
\
t

figure~ figure 10

figure 11 figuntl2

I
I A

figure 13 figure 14

dipping into a little Vat center front. Use do\vn from the apex and connect your dart DRAPE THE BODICE BACK
your ruler and French curve to connect your legs to this new lo,ver point. Fold in the () This process is much the saine as the
dots all the way arou11d the bodice front Be dart as it 'vill be sewn and make sure your front bodice.1'repyourmuslin, making your
sure to draw that same short perpendicular \\raistline seam is straight. Using a spike· vertical and horizontal lines. The horizontal
line anywhere two lines meet to fonn a right tooth tracing wheel and a lot of pressure, line on the back will be placed along the
angle, like the u nderann, waistline side, and draw over the base of the darL When you broadest part of the upper back. (figure 12)
waistline center front. open up the dart, you'll see little dots from Pin the muslin in place at center back and
the wheel that indicate the shape of the drape in a c1ockvvise direction-drape the
G) When you get to your dart, shorten it
dart excess. Draw over these dots \vith your neckline, the shoulder, (figure 13) arrnhole,
slightly, so that the dart doesrrt end directly
pencil to "true" the dart. (figure 11) side seam, waistline, and \va:istline dart.
on the apex of the bust. Make a n1ark •/,"
(figure lLa)


17
sewdally.com *

sewing room
---- --- ------------------------------------ ------ --·--------
------------------------------ --
- -~----

. ---.
----
<"!.-If!".

... .,. ....... --- --

figu~ lS

ABOUT THE AUTHOR


Gretchen ''Gertie" Hirsch is a
contributing editor for Stitch and ci
passionate home sean1stress. She is also
the creator of fhe popular sewing blog,
Gertie's New Blog for Better Sewing.
She teaches sewing_in New York City,
around the country, on PBS's It's Sew
figure 16 Easy, and on Craftsy.com. Her work
ha$ beenfeaturedin various sewing
magazines and wev<>ites.

(!) Trim your sean1 allo•vances to about 1"


(figure 15) and inark your draped muslin.
(figure 16) Then remove it from the dress
form and connect your dots as you did for
the front bodice.

TEST YOUR DRAPE


$ It's time to p1.1t yotrr •vork to the test
figure 17 by doing a fitting on the dress form. Pin
the darts closed on the front and back.
(figure 17) Now, fold under the seam
allo\vances on the bodice front and match
up the seam lines to the bodice back on
the shoulder and side seams, placing pins
vertically to hold the bodice together.
ED Place the bodice on your dress fonn,
pinning it only \vhere necessary to make
it stay on. Place a pin at center front a·nd
back at the neckline and waistline. f\iJake
sure that your center front and ce11ter back
lines n1atch the center lines on your dress
form and th at there is sufficient ease at
figure 18
18
... .. .......... --·
,'
;~

--- -.
;

----"'"
,-;'
_, ;;

--- ,-'

--- ------ --
--
----- DESIGN YOUR NECKLINE
Start with a basic bodice block that fits you well. I've kept the darts as
they were and left the focus on th e design of t he neckline. For drafting
purposes, it's easiest to work with a bodice wi th out seam allowances.
0 First, mark the \vidth of the neckline. Drav-r a mark \vhere you want
your neckline to start; mine is about r" in from the shoulder.
O NO\V, figu re out ho•v lo"v you want the neckline to be; an in.ch or
t\¥0 lower than the base of your throat is a good guideline for a classic
boatneck. Mark the depth of the neckline, inaking a 1" horizontal mark
at center front tbat is at a 90-degree angle to the center front lin.e of the
bodice.
O Using a French curve, draw a gently curved line from the shoulder
mark to your center front mark.
0 Repeat Step r on the back bodice shoulder.
0 Decide \Vhere you want your lo\v V-neck in the back to end. I ended
mine so that it just covers a regular bra strap, so no special lingerie will
be needed to wear this party dress! Nlark that point v-rith a small dot.
Using a ruler, draw a ne\v back neckline from your shoulder point down
to your low V-neck point.
O Add seam allov-rances to your pattern.
O Cut out your bodice front and back in your garment fabric.

DRAFT FACINGS
An all-in-one facing finishes both the neckline and armholes of a
sleeveless garment, giving you a tidy look on th e inside of the dress.
O On your bodice front and back pattern pieces, make a mark 2s/s" belov,1
the armhole on the side sea1n and another 1nark 2s/8' below the neckline
at the center front line.
O Using a French curve, connect these nvo lines. This is your facing
shape.
tn Transfer the facing patterns to a fresh sheet of pattern paper.
G> Cut out the facings in your garment fabric and fusible interfacing.

the bustline. To test the ease, place three f! Transfer your pattern to paper at this
fingers under the front at the bustline. point. It's no\V complete and ready for your
(D Next, evaluate the fit and check that o\vn designs!
\ your seam lines match up. I found a
J mismatched point on my shoulder seam, Tfyou'd like to delve further into draping and
so Tcorrected it \Vith an orange pencil. pattemmaking, check out the books Draping
The other problem I found \Vas that the for Apparel Design andPattemmaking
:c
u
'$ front \vaistline didn't quite meet at center for Fashion Design, both by Helen foseph-
V) front; it \Vas too small. So I unfolded a bit Arn1stron9. Though a bit on the pricey side, these
-
Cl:'.
I of my r" extra at my muslin center front books are the gold standard.
zw
:c and made that my ne\v center front line.
u
I- (figure 18) NOW TRY THIS
UI
Cl:'.
(.!:)
>-
co
- ~ After you've addressed any problems,
In Stitch Winter 2011, we showed you
how to draft a skirt. Now you know
0
I-
make the corrections on your muslin in a how to drape a bodice. Put the. two
0
I contrasting color. (figure 19) together and you have a dre.ss. Try it!
CL

figure 19
19
sewdaily.com *

sewing room

TOOLS + TERMS
Draping and pattern draft ing come w ith their own
language. Fortunately, ifs not a difficult l anguage t o spiked-tooth tracing wheel
master-and you will reap t he benefits immediately by
being able to make your own patterns and mo re easily SPIKED-TOOTH TRACING WHEEL. If you're browsing the
alter commercial pattern s. Let's take a look at some of notions wall at your local fabr ic st ore, you s hould have
the tools and t hen catch up wi th the term s. access to three different styles of tracing wheels. The
most com mon has a w heel w ith rounded serrated teeth
TOOLS and is used to tr ansfer patter n m arkings to fa br ic w ith
DRESS FORMS. Basically a body double, dress fo rm s t he aid of dressmaker's tracing !or transfer ) paper. The
range from the professi onal dress form such as the one rounded teeth leave a patter n of dot ted l ines anyw here
shown in this story, to fo rms made by being wrapped it is rolled over the transfer paper. Also used to t ra nsfer
(and removed) from duct tape- to many, many options in markin gs are t racing w heels with smooth edges that will
between. Although well wor th the money, professional leave continuous lines instead of dotted lines. The third
dress fo rm s can be expensive, so if you 're on a budget, type of w heel is used by pat tern drafters and is what you
try to find a used form or start w ith an inexpensive should use tor drafting this bodice. It has very sha r p,
model. pointed teeth and is designed to leave precise marks in
the muslin for the pattern maker to follow. It's also per fect
for copying a pattern .

TERMS
clear ruler
BLOCK/SLOPER. A very fitted muslin shell tha t is then
tr ansfe rred to a paper pattern, the sloper is intended to
,. j J repl icate th e body shape as a guide for fitting and design.
" ,,
"' It is generally made up of a bodice and straight skirt,
hip curve w hich can be changed to creat e different designs. The
sloper is usually a starting point fo r a garm ent rather
than t he final pattern piece.
trench curve
DART LEGS. To eli minate excess full ness, a dart is a
stitched fo ld, usually a triangle, that shapes that fa bric.
The two lines that are brought together to create the fold
RULERS. If you have a clear ruler and a French curve in are called the "legs."
your toolbox, you'll be rea dy fo r almost anything. Because
you need to see the small dot s that you've marke d on the DRAPE. When a designer or pattern maker gets ready t o
m usl in w hile it was on the dress fo rm , a basic 2" x 18" dr ape, it refers to laying fab ri c over a dress fo r m to create
CLEAR RULER will help you create the lines needed fo r a design .
seams and darts. And since not all lines on your sloper
are straight lines, you will also need a FRENCH CURVE to MUSLIN. Muslin is often t he fabric used for draping, and
help you make smoothly rou nded neckl ines and arm - w hen designers speak of "a m usli n" they are re ferring to
holes. Often fou nd in art-supply stor es, French curves a sloper. Made from an inexpensive fabr ic that r epl icates
come in many different sizes with curves ranging from the dr ape and weight of the final fashion fabric, a
a gentle arc to tight coils. An 8" or 10" model w ith soft well- constructed muslin is worth its weight in gold.
s.lopes w ill give you plenty of good options fo r working In general, you will drape a design w ith an inexpensive
with a bodice. For longer and more subtle curves, espe- version of the final garment fabr ic. For instance, you
cially if you venture forward into pants dra fting, you may could drape a polyest er ch iffon muslin for a silk
want to invest in a HIP CURVE, wh ich is a longer ruler chiffon gown. !For home sewists, a muslin is a test
with a very gentle curve. gar ment made to solve any fitting problems.)

20
* stitch

oen 1 .. ..

You've got sewing questions. We have interactive classes


taught by award-winning experts. So you get more than answers.
You get access anytime, advice, insight, and instruction.

Gretchen
Hirsch

Visit Craftsy now to view TWO online


classes taught by Gretchen Hirsch.
She'll teach you how to sew with style,
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22
* stitch
Freedom to play
and create.
FreeSpirit Fabrics
www.freespiritfabric.com
866-907-3305
<: upyr11-1hr 20 12 , All rights reserved.

\\ 1c11t~ (/11 1s1n1crs C.ocoon Curious l\1at 111 c


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r1c

I HAVE ALWAYS LOVED FABRIC FLOWERS.


Depending on the fabric, they can be elegant
or -vvhin1sical-and are a great way to use up
some favorite fabric scraps. Vlhatever their
shape or shade. these roseb11ds always make
n1e smile. Beca1tse they are so easy to n1ake.
you ca11 experiment -vvith fabric and color to
make flo-vvers that inake you happy. These
beautiful embellishments are attached to
a felt base, so it's easy to pin them onto a
gam1ent or a favorite accessory.

FABRIC
- A piece of fabric 22"x 17"\vill yield about
four flo\vers. Fabric should be lightweight
but still have some body, such as satin,
organza, or cotton sateen.

OTHER SUPPLIES
- Templates A, B, and C and Circle
Template, provided on i.nsert
- 2" square of felt to coordinate with fabric
- Handsewi11g needle
- Thread to inatch fabric
-Thimble
- Safety pin

FINISHED SIZE
Each rosebud is 2" tall. This project consists
of three flo,vers in a small corsage.

NOTES
- All sean1 allowances are 1f.4'.
- Finished flowers are sewn onto a felt base
to attach to a garn1ent.
-1'hread should 1natch the fabric. The
samples shov.1n use contrasting thread to
sho\v the stitches clearly.
- Note the grainline on the templates.
Fabric needs to be cut on the bias so the
petals \vill curve easily.
- See Se\\ring Basics for handSe\ving
techniques.

* stitch

Fold each Gather


. .
piece 1n Pull st itched the next
half and line and shape petal
baste. into a flower around
bud. the bud.

Add the Smooth Combine


last petal the t hree t hree
and tack petals. rosebuds
tightly. on a felt
base.

CUT FABRIC Template B, but as yo11gather it, envelop straight pins. Whipstitch along the edges
Trace Templates A, B, and C onto paper to the smaller bud within it. Secure the of the felt circle where it covers the base
create the pattern pieces. Mark the grainline nlid-size bud to the smaller bud by tacking to the :flovvers to conceal the ra\v edges.
on. each piece. through all layers. This piece is now called Taking a sn1all tack in between each
Carefully follow the grain line \Vhen the inner bud. (figure 3) flower into the felt base \vill help to
pinning the fabric. Finished pieces will be Using the piece fro1n Template A, stabilize the buds. The amount of stitching
cut on the bias. han<lsew a running stitch, then gather and necessary \vill depend or1 the weight of the
Cut 3 each of Templates A, B, and C. surround the inner bud. Tack through all fabric. (figure 6)
layers. It n1ay be difficult to push the needle Attach tl1e bouquet of flowers to yoi.1r
GATHER+ SHAPE PETALS through all the layers, so go slowly and be garn1ent with the safety pin.
· Fold each fabric piece in halflength\vise. sure to use a thimble. (figure 'a)
Do not press. Starting \vi th a secure knot, Yott n_o\v have a beat1tiful rosebud. TOMASA JIMENEZ is a niember ofthe
handse\v a running stitch 114· a\vay from (figure 5) Repeat Steps 4-7 to create t\vo Association ofSewing and Design Professionals,
the ra\v edge. Leave a. thread tail of 3" for more rosebuds. 1Vorth Jersey Chapter. She unites for sewing
gathering. (figure 1) niagazines and is currently pursuing a
Starting with the basted piece from CREATE BASE certificaJe in Haute Couture at the Fashion
Template C, pull the thread to gatherthe . Using the Circle Template, cut out the lnstitute ofTechnology in ,New York City.
fabric and shape it into a bud. Secure the base for the corsage fron1 the felt.
gathered bud by tacking several tin1es at the e Whipstitch a safety pin to the back For further reading:
base to retain the shape. (figure 2) of the circle. Center the flower on the COUTURE: THE ART OF
Repeat Step 4 using the piece fro1n opposite side. Secure with a couple of FINE SEWING by Roberta Carr

25
···-····-····-~ .. -- -·· ··--·· ···-
sewdaily.corn *
material world

'
_,
. . ' -
••
" '"'Jc .. . 4

'

A professionally finished
hem can make the difference
between a handmade and
homemade look.
Text LINDA TURNER GRIEPENTROG
- - - - - - - - - - -- - - - - - - - - -- - - - - - - - - - - - - - - - - - - - -
-------- ·- ---------------------------------

26
* stitch
HAND
Hemming by hand is preferred by many sewists, as it creates an almost
invisible finish and offers more control than machine hemming.
----------------------------------------------
----------------------------------- -
1. BLIND HEM
Anytime you want an mvisible hemline that
goes Vlrith the fl ow, so to speak, a handstitched
blmd hem is the ans'vver. Stitched under the
hen1's upper edge, it looks good on the inside
and supports the weight of the hem Vlrithout a
visible ridge on the garment side.
To create a handstitched blind hem, first
press up an even hem allo\vance. Choose an
appropriate edge finish (See "On The Edge,"
page 30).
Gently fold fonvard the upper hem edge
and catch a small portion of the hem edge and
then a small portion of the garment fabric.
Because this is a "blind hen1," only the tiniest
of stitches should show on the garment right
side. Be sure to catch only a fevv threads of the
garment fabric and leave the thread slightly
rela,'<edso there won't be visible pull lines on
the right side. Using a n1atching thread aids in
more invisible stitches. To make the hemline as invisible as
Working from right to left, continue possible, take tiny bites of fabric and
stitching, alternately catching the hem and don't pull the hemming thread too tight.
the wrong side of the garment.
This hem works equally well on knits
(no edge finish needed) or wovens.

2 . FACED HEM
If you're ready to hem a coat, faux-fur jacket,
or something heavy and bulky, turning up a
layer for a hem may not look as finished as
---- r

you'd like. Eliminate the bulk by makmg a


faced he1n .
Begin by marking the garment hem-
line. Then trim on the inside 1/2" belo\v t he
finished length.
For the facing, choose a fabric si1nilar in
color but lighter in weight than the outer
garment fabric. Cut a bias strip of the facing
fabric equal to the he1nlme circumference F?lced hems give you th.e opportunity to
plus any seam allo\vances-usually adding introduce a little color or pattern to the inside
1-2" will \vork. The facing should be \vide of a garment.
enough to support the fabric edge \\rithout
Note: All of t he samples use a contrasting thread for better
rippling or boVlring. Machine stitch the visibility. Selecting a matching thread color will result in a more
bias strip to create a circle. Finish the invisible hem finish .
upper facing edge by turning under and

.......... -........... ...., .... .,._..,..............·27


~ ............ "'...... ,,._
sewdaily.com *
stitching or by pinking or serging for a
:flatter finish.
vVith right sides together, sew the facing
to the ganuent hem line circumference \Vi.th
a 1/4" seam allowance. Turn the facing to the
inside 1/4" from the lo\ver edge and lightly
press the fold line. lJse the blind-hemming
technique to stitch the upper facing edge to
the garment, but not so tightly that it pulls
or sho\vs on the right side.

3. HAND-ROLLED HEM
Practice making rolled hems on leftover fabric pieces.
You'll soon develop the rhythm of rolling the hem and
3 Delicate fabrics demand a light touch, and a
hand-rolled hem can give even the wispiest
of fabrics a soft, flexible edge. Handkerchief
making the tiny stitches.
hemlines, circular skirts, and bias hemlines
on thin, sheer, or light,veight fabrics >vork
'vell \vith this technique.
l'viark your hemline. With a light\veight
thread, staystitch 1/s"from the hem 1nark-
ing. Trim the hem r/8' beyond the stitched
line. Tum the hem up and lightly press on
the stitched line. Roll ai.1other /s'" over the
1

stitched line and hold the hem roll between


your thumb and forefinger. Carrying the
hemnung thread through the fold, invisibly
tack the rolled edge to the outer garment
\vi th stitches about r/~" apart. Leave the edge
\Vitha soft roll

4 . EASED HEMLINE
Frequent pinning will help keep the gentle
gathers in place on flared hems. Not all garments have straight-cut side seams;
son1e create a flare so the edge being hemmed
is actually wider than the garrnent area it's
tuming into. What to do \vith the excess
fullness? A11 eased hemline is the answer.
Mark your hemline and add the extra
for the hem. Trin1 the hem line edge evenly.
Lightly press the lo\ver fold so the hen1 rests
inside the garn1ent.
Determine an appropriate edge finish for
the hen1. A pinked edge works well as it doesrrt
add any additional bulk to the seam. For a
lace-or seam-tape finish, apply it to the upper
edge \vhile keeping the fullness gathered in.
To dra\v up the excess fullness, run a
basting stitch (hand or machine) along the
upper hem edge and gently gather until
the hem fits smoothly inside the garment's
Press hems in place first-it will be much wrong side. Don't pull too tightly- leave a
easier to keep your stitching lines even. little play in the gathers.
Choose an appropriate hem stitch for
the fabric and attach the upper edge to the
garn1ent.

28
* stitc h
MACHINE
For casual garments, those with straight hemlines, or simply for a quick finish,
machine hemming works well. Keep in mind that the stitching will show on the
right side. Although a machine-stitched hem can be any depth, most commonly
the hem is narrow, and the stitching is done near the top fold of the inside edge.
--------------------------------
---- - -----
-----------------~--------------- ----
5. NARROW HEM
One of the easiest machine hems to make,
a narrow hem is also quick to stitch. It's
appropriate for the lower edge of a shirt
or blouse, a full skirt, or the layers of
light"Vveight sheers for evening\vear.
Trim the garn1ent hen1 to length plus =

r/,". Press up the hem </4" to the \Vrong side


t\vice and edgestitch in place using match-
ing thread. Stitch a double row for a ready-
to-wear look. To make narro\v hemn1ing
even easier, insert a piece of 1;· fusible web
1
3
tape to hold th.e pressed layers in place
before stitching. This also adds body to the
he1nline, eliminates the need for pins, and A successful \
assures a no-slip stitching process. blind hem
depends.
6. BLIND HEM on careful
Machine blind hemming is often one of the folding.
first skills taught to ne\v machine owners.
Jt works well on many garn1ents (especially
prints), straight-cut hems, and bulky fabrics
such as \vools and fleece.
'fhe n1achine blind he1n is sewn \Vi th a
stitch that alternates several straight stitches
"Vvith a larger zigzag "bite" stitch that catches
the outside fabric. (Blind hems for knit
fabrics V1rill alternate several narro\v zigzag
stitches with a \vider zigzag bite.) The goal is
to have the bite show only minimally on the
••
garment's right side.
~
The key to successful blind hemming
is all in the folding process. First, finish the
~~~~"'-"'""""'!"; I
hem edge, then fold and press the hem in
1Jlace. Next, fold the gam1ent do\1\rn onto the
hem so that just the hem edge extends be-
yond the fold and pin in place. The stitching Binding the
goes on t he hem extension. hem with a
The straight stitches are lined up on the complementary ,, -:- c
·iJ'·'J
~ .. _
,~••.:.;>_·}.J~
fabric adds ..... , .. ·.•.
....___•• "'···-
folded hem extension- close to the hem .........
. ~· .. ·-- ··,:,..~
··...:-......r.
a delightful _, __
~~

edge-so the zigzag bite barely catches the


designer touch.
garn1ent fold. If the bite is too big, a large
visible stitch "vill sho\v on the gar1nent's

29
..... - ................ .i ..... , ..... ,,, ....................._...,,..... -1. .. -

sewdaily.com *
I
I
I
I

w I
I
right side; if the bite is too small, the hem
will not be held securely. Stitch carefully,

I I
I
I
using the foot as a stitching guide. Once
you've stitched the hem, unfold and press.

~ Depending on the type of hem you're using and the fabric, there
i\tJany machines con1e 'Arith a foot
I designed specifically for this process. If one
I is available for your machine, follO\\' the
are several ways to finish a cut edge before stitching the hem. I instn1ctions for stitch settings. vVork on a
Z Choose a finish appropriate for your fabric and that Is the flattest
possible so yowr hem edge isn't visible on the garment's right side.
I
I
test piece first to get the feel for the process.

0 The simplest and flattest hem edge is an unfinished one..On


fabrics t hat don't ravel- such as knits, faux suedes, or fleece-
or on garments where the upper hem edge w ill be covered with
I
I
I
I
I
7. BOUND HEM
A bound hem adds a little trim detail-and
you can expand your design options by
a fining, there's no need to finish the edge. Otherwise a finished I using either matching or contrasting fabric.
I
edge is the first step in the hemming process. I It's the perfect foil ifyou've accidentally cut
I
To determine the best edge finish for your project, make a I a garment too sh ort, as there's no turn"UP
I
sample usfng your fabric and one of the suggested methods. I length needed. The binding also acts as the
I
Use this same sample to test hem stitches to find the best one I edge finish-it's a t\vo-for-one finishing and
I
for finishing. I hernn1ing method.
I
I This binding technique works on both
I
rf you p refer a slightly I
I curved ai1d straight hemli11es. Bias binding
decorative edge, use I
I is effective for both straight or curved edges.
pinking shears to finish I
I Straight-cut binding can be used only on
the edge. For a little I straight hems.
I
more stability, combine I For a fin ished •/," binding, trim gannent
a row of st itching with a I
I to the desired length. Create enough bind-
pinked edge. I
I ing to go around the entire hem edge-don't
I
I forget to allovv a fevJ extra inches for the
I
I seam allo\va11ces. For a •/," finished binding,
On straight hems where easing isn't I
I cut the original binding strip 2 " wide.
necessary, a turned and stitched I
I Beginning at a side seam, pin binding to
hem edge works well on light- to I
I the ganuent, right sides together, matching
medium-we.ight fabrics. I
I the cut edge of the binding to the hem edge.
I
I In the example of a 1/i" binding, you would
I
I stitch the binding to the garment using a
I
I •/," seam allowance. For other binding
You can also use your serger I
I \vidths, adjust the seam allowance so that
to overcast the hem edge by I
I you are stitching this first seam in the first
machine. If the hem is curved, I
I pressed fold of the binding.
adjust the differential feed I
I Press the seams toward the binding and
setting to help lightly gather in I
I tl1rn the folded binding edge to the wrong
the fullness and finish the edge I
I side just past the stitching line. Pin in place
in one operation. I
I and stitch by hand for an invisible finish or
I I
I stitch in the ditch of the binding seam by
I 1nachine to catch the binding's underlayer.
Covering t he upper
I For a visible stitching line, topstitch on the
hem's raw edge is also
I binding. Press for a crisp edge or leave the
an option. This can be
I binding \Vith a soft fold.
done with seam tape or
narrow lace, or create I
your own lightweight I LINDA TURNER GRIEPENTROG is a
binding. I contributing editor for Stitch and the owner
I ofG Wiz Creative Services. In addition to
I writing, she leads fabric-shopping tours to
I Hong Kong for theA merican Sewing Guild.
I
30 I
* stitc h I
FEL.TED fL@WER BY HWD FELT

~O~CL U,,'1,,CL Modem prints on premium organic cotton


for quilting, sewing, apparel and the home
fresh . organic. fabric .

31
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profile

lab manager by Oay, artist by night


A fiber artis t and
feltmaker gleans
inspiration in the
most likely and
unlikely places
Text MARY WALTER

A DAY TNTHELTFEOF .1\RTIST


VICKI JENSEN is a rich one. H.ovv she
arrived \vhere she is today has been
a complex journey. Her early family
influences and education naturally played
a part in her creative DNA, but in her current
life, they reveal \vhat she has created and
\vhat she might show us next.
Jensen loves vvorking \vlth fibers, vvool,
and dyes- it is \Vhat she thinks about daily.
Professionally Jensen is e1nployed at a
Massachusetts chemical and dye company
\Vith many overlapping tasks that need
attention. An average day could include
scheduling the next group of fiber-related
c:lasses, finding a talented teacher to 111ake it
happen, and then promotingth.e class and
supplies on their website.

z
l.lJ
v;
z
w
-,
:s:
(_}

>
>-
en
<f)
In Fallen Leaves, above, Vicki Jensen uses 0
l-
wool, a time-honored mat erial, for her modern o
:r:
interpretations of t he nat ural world. Right , detail. a..

32
* Stitch
There is a lot of
,
and pa.eJlCe,.
,
to
promoting CJ1 9Jr
- V ICKI JENSEN

In her lab manager role, Jensen tackles


t he testing and quality-control requirements
surrounding the rnany products available
to today's fiber artist. She takes this
responsibility seriously and stresses the
importance of maintaining a quality product
\Vhile providing the necessary instructions
and safety literattue. Jensen adds, "There
is a lot of 1n ath and science to promoting
creativity." At her job she has grown
accustomed to vvearing many hats.
It is not uncommon to find her back in
the lab after hours or on weekends. She is
able to walk to work and often does just that
when she has an idea. The combination of
her technical expertise, t'he influences of the
natural world around her, and her desire to
create, merge in a magical •vay.
When Jensen begins a new piece of
artwork, she has a plan in mind. She has
thought about the imagery and materials include other materials and tech niques
she would like to combine to support her such as silk organza, freeform lace,
artistic vision. and embroidery. In her piece Old Man's
She starts \Vi th merino wool roving. Beard Moss, Jensen incorporates layers
Roving is the natural-colored rav.1 wool that of subtle color and texture, capturing so
is ready to be spun into yarn, dyed, or felted. expertly t he texture of her subject with
She dyes her wool v.rith colorfast acid dyes conte1nporary embroidery and •vet-
to capture the colors of her design.1nis felted merino \l\IOOl that ad1nirers aln1ost
involves adding color, then steaming to forget they are viewing a fiber version of
permanently set the dye. Once the \vool is nature.
dyed, wet felting co1nes next. Tn Fallen Leaves, pale organza leaves are
Jensen is dra\vn to the idea that wool embroidered and layered on a richly dyed Top, in Vicki Jensen's hands,
is one of the oldest forn1s of textiles and stitched ground imbuin.g the rusty reds contemporary embroidery over
wet-felted merino wool creates
u sed. "Wet felting is a tin1e-honored and oranges of the season \vith the stitched a fi b er expression of the natural
t echnique," she says, "that employs shapes of many leaves. Jensen engages world. Detail above.
olive oil, soap, and abrasion to produce her vie\ver to investigate the colors and
a non-woven textile." After fe lting, the shapes of the season in a sophisticated, yet Ge).[) For more information,
animated scene, implying •vind and falling
'(jt:.) visit VICKIJENSEN.NET.
dyed piece is ready for the next step
in t he design process- embellishing leaves. The visual and tactile combination
and handstitching. She employs of her art\vork is a satisfying and inviting
conte1nporary stitching methods on the message to the vie\ver, leaving one with
felted 'vool in her art\vork. the desire to see more. It is a pleasure to see
Most of the thread that Jensen uses is the vision inside the nlind and hand of this
traditional embroidery floss, but she does artist's beautiful textiles.

33
sewdaily.com *
material world

ING
ITH
Text LINDA LEE

I REl\ilEMBER WHEN Kt\JIT FABRICS vvere


hard to find. Novv, the abundance and variety
available to the home sevvist is unbelievable.
And \\r:ith that con1es the challenges of
taming and tackling this huge range of knit
selections.
Where we once had n1ostly cotton
interlock and vvool jersey, novv \Ve have
new fibers and blends such as ban1boo and
soy, nevv weaves and text ures, and many
vreights-from ultra-sheer and super-stretchy
to double strength and fairly stable.
AlJ knits have some things in common,
though. They are created by a single fiber
that is looped, not \voven. They will not ravel
\vhen cut. And they stretch, son1etimes one
\Vay only, but very often, in all directions.

THIN GS TO KNOW
ABOUT KNITS
While there are many terms that apply to the
knit category, there are four that are the most
usefu l to knovv as you n'l.ake a purchasing
decision.
Jerseys, or single knits, have lengthwise
ribs on the face and horizontal purl loops
on t he reverse. All cut edges curl to the right
side. (figure 1)
Double knit s have lengthwise ribs on both
sides so they look the same, and th erefore,
are reversible. They are heavier than jersey
knits and do not curl. (figure 2)
Interlocks have fine ribs on both sides like
LU
LU
....J
a double knit. They are slightly heavier and
~ have less stretch than jersey knits. The edges
z do not curl. (figure 3)
....J
>-
00
(/) Rib knits have prominent ribs on both
0
l-
o sides. They are used mostly for finishing and
:c
Q_
trimming hems, necks, and wrists. (figUl"e 4)

Knits requi re a few special


techniques- worth learning!

* stitch
TYPES OF KNITS

ligure l: jersey figure 2: ligure 3: interlock figure 4:


double knit rib knit

CUTTING AND It is mvays good to keep a supply of all


LAYING OUT PATTERNS sizes and types ofinachine needles. When
PRESSER FOOT
Here are some simple guidelines for success your sewing machine is not behaving and OPTIONS
in laying out patterns and cutting knits. you are seeing puncture marks, skipped
~-
stitches, or puckers, change and experi rnent
• Use the uwith nap" Jayout so you \vill get
with different needles. Start with a univen;al
uniform color shading. A fabric with "nap"
needle. Then,if needed, change to a ball-point
\Vill appear to have different shades from
(also called a jersey) ora stretch needle. For figure Sa:
dlfferent angles. So1netimes it is not until
a finer \vcight of fabric, use a smaller needle. clear presser
the fabric is vertical on the body that you foot
And it's always a good idea to start a ne\v
can discern a tonal difference Cut your knit
project with a new needle.
so that the nap runs down the length of the
The correct presser foot is also helph1l for
pattern piece.
good performance. Using a clear presser foot
• Lay out the pattern pieces so the greatest (figure Sa) allows you to see your work.
stretch goes around the body. Using an edgestitch foot (figure Sb) allows
you to topstitch a precise distance fron1 an
• Do not allow the fabric to hang over the
edge. And add a walking foot, also called an
edge of t he cutting sttrface-it will stretch, figure Sb:
even-feed foot, (figure Sc) to your arsenal edgestitch
and you >vill not get accurate cutting results.
of accessories. Tt will change your life. foot
• If the fabric torques or is hvisted after This foot v.riTI preve11t fabric "creep." thus
v.1ashing, cut a single layer at a time. It will acbjeving sn1ooth and flat seams, hems, an.d
be impossible to line up the selvedges and topstitching.
establish a true straight of grain. Visually Another useful accessory is a single-hole
line up the ribs as best you can. throat plate. If you are using a se,ving
machine that also embroiders, then it is
ACHIEVE GOOD likely that the fabric \viii get pulled do\vn
STITCH QUALITY into the large-opening throat plate that is figure Sc:
Using the appropriate and best thread is designed for multi-directional stitching. A walking foot/
important when se\ving !..-nits. Buy quality single-hole throat plate helps feed Lhe fabric even-feed
foot
polyester thread that is cross-wound on the through more easily.
spool Don't be tempted to buy bargain thread! If you are still having problems getting
Why polyester? Polyester thread has a slighl a quality stitch, try loosening the pressure
give that keeps it frorn breaking when a knit on the presser foot. Check your machine's
stretches. ff you have a serger, buy four spools manual for the location of the pressure
\vnen you buy your fabric-one for your knob or dial, and foUow Lhc rnan ufacturer's
se,ving machine. three for your serger. recommendations for altering the pressure.

... ...... ... 35


.. .
sewdaily,com *
material world

HEMS+ SEAMS

figure 6: single figure 7: two figure Sa: 3-thread figure Sb: 4-thread
narrow zigzag rows of zigzag stitch serged seam stitch serged seam

aJJowance, using a \Vider setting of 31n1u hem. The paper covering is removed, leaving
SEAMS AND HEMS
length x 41n111 width. (figure 7) a narrow band of adhesive. The hem is then
Before beginning to sew a knit gam1ent, it
fused in p]ace, allowing you to topstitch
is iinportant to perform a few tests. Because A note about the stretch stitch: So·rne without fear of fabric creeping.
every knit behaves differently with every se...ving machines come \vith a built-in
machine, no one method of sewing knits "stretch stitch.tt r find this stitch to be a bit A second option is to use a knit fusible
\VOrks every time on every knit. You can heavy and that the single narrow zigzag is hem tape (figure 9b), which is a strip of
make the same pattern in five different more effective. tricot interfacing with fusible on one side
knits and not stitch them in the same only, so it needs to be sewn or serged to the
way. Now is the time to sew so1ne practice All machine-se\\111 seams can be trimmed, or hem first before the hem is fused in place
sa1nples to determ1ne th.e best stitch to left untrimmed, and pressed open OT to one for topstitching. Thls product is available in
use for sean1s and hems, whether you will direction. 1'he degree of curl \'Jill dictate this various wi.dths depending on th.e finished
use a serges or not, and if you need so·me decision. width of your hem.
additional se\~1ing aids. Serged seam: Use a 3-thread stitch STITCHING THE HEM
Here are the seam stitch options. (figure Sa) fonnation for light\veight Once the hem is stabilized, it's ti me to
and semi-sheer knits with a loose fit. Use choose a stitch. Ttis al"'iays a good idea to do
Straight stitch: Use a straight stitch a 4-thread stitch (figure Sb) formation some test hems on your particular knit.
\Vhen the garment is fairly loose and not for heavier knits and more fitted,
extremely fitted. Loose garments do not performance-type garments. Straight stitch: This is the cleanest solution
put a lot of strain on the seams, so popped for a sophisticated look, especia 11y \Vhen the
stitches are less of a problem. HEMMING ON KNITS gannent is not dose fitting.
PREPARING THE HEM Double needle: Thls stitch emttlates a
Single narrow zigzag: Use a narrow
Since a garment is generally hemmed on the ready-to-wear finish '1vithout using a serger.
zigzag of 2.5rnm length x .5mm width when cross grain-\vhich is the direction with the It stretches nicely so stitches don't pop.
the gannent is fitted and needs to stretch most stretch-it is important to control the Experiment with the needle widths. ·rhe
\Vhen it is put on or during \Vear. (figure 6) s:tTetch so the he1n will lie flat. The correct wider the needle set, the more apt the fabric
Two rows of zigzag: Use a double ro\v presser foot, stitch selection, and se\ving aid will tunnel (form a little bu1np) between the
of zigzag stitches when the fabric is curly \vill alleviate this proble1n. stitch ro\VS.
or more reinforcement is needed. Se\.\' the Let's start wi Lb sewing aids. Ln most cases, Cover stitch: With the introduction of the
firsl row along the seamline using a 2.5mm using fu sible web tape (figure 9a) will cover-stitch option to the home se>vist, we
length>< .51nm width stitch setting. Sew the do the trick. These tapes are paper-covered can now create a true ready-to-wear look
seco11d ro\v next to the first, within the seam
strips that are fused to the wrong side of the on our knit garments. Some sergers have a

36
••• •• • • • ••••
* s titch
SEWING AIDS

figure 9a: fusible web tape figure 9b: knit fusible hem tape

cover-stitch fea ture or there are dedicated gently until the binding matches the
cover-stitch machines. neckline. Stitch on the chalk line-fro1n
one set of pins to the next. Keep an eye
Raw edges: Many high-end knit garments
on th.e left side of the presser foot to make
do not have finished edges, and it is an
sure it is al\vays an even distance from the
especially funlook\vhen the fabric curls. It
folded edge. The seam allo\vance may not
makes for a quick-finish garment, too.
necessarily be exact.
0 Fold the seam allo\vance to the wrong
THE READY-TO-WEAR side into the neck opening, exposing the
NECK BINDING finished binding on the right side. Move
This lnethod of finishing a neckline does the needle position to the left of the center
not actually bind or completely cover the position and stitch next to the "veil of the
raw edges of the neck opening, but the seam through the garment and the seam
applied trim lies flat and is less bulky than a allo\vance. Use an edgestitch foot or walking
traditional binding. foot to stitch evenly. (figure 10)
O For the neck binding, cut a strip of knit
on the crossgrain 2 1/ 4" \vi de and the length O Use a 3-thread setting to serge the ra\v
of the neck opening less 10 percent. Sew the edges of the binding and garment. This is
short ends together and press the seam open. delicate \vork, so work slowly and carefully.
Tf you choose not to serge this seam, then
O Fold the binding in half lengthwise, trim the ra\v edges neatly.
wrong sides together. Chalk 1nark a line on
the binding 3/8' from the folded edge {not 0 l'Jace the neck opening over a tailor's ham.
from the raw edge). Lightly steam and finger press the binding.
Shape the binding to a sn1ooth neck curve.
O Divide both the binding and the neckline
into quarters and ptlt a pin at each mark. Mastering basic se\ving v.rith knits techniques
Matching the four markings of the binding \vill give you the confidence to expand your
to the neck opening, pin the binding to sewing horizons. Enjoy the journey.
the right side of the garment, aligning the
ra\v edges. Place the neckline seam of the LIN DA LEE is the owner ojThe Sewing
binding at the center back. Workshop Pattern Collection and producer
ofSevv Confident! Class in a Flash, the only
G As you stitch the binding to the neckline, figure 10: Edgest itch foot
learn-to·sew progran1 with a year ofgarment
hold the garment at the pins and stretch
sewing education in easy-tojollow classes.
37
sewdaily.com *
material world

CREATE A CHIC NEW TOP


FROM OUTGROWN T-SHIRTS Text LINDA LEE

How m any of us have saved our children 's


T- shir ts because they are just too cu te
to throw away? Ra ther t han store them
in a plastic bin, think about getting them
out, cutting t hem up, and using them as •

, ,.•
"fabric" to embellish a new garment that v~

som eone m ight actually wear.

• Choose a basic T- s.h.irt pattern and. use


it as the basis to bre ak apart, ret hink,
and use as a canvas to embellish with
sentimental l ittle bits of fa bri cs ..

• I collected a few fun graphic T-shirts


from my daughter 's cl oset of outg rown
clothes.

• Then I laid out the front pattern pieces


in the w ide- striped knit on a flat su rface.
Carefully (and reluctantly), I cut some
generic- sized squares of fab ri c fro m my
daughter's T-shirts.

• I made a pocket piece in one contrasting


fa bric-makin g sure to choose a m oti f
that was bold but a sim ilar value to the
background.

• Sometimes the mot ifs spoke to me-


a semicircle to preserve , a zigzag to use,
some great lettering as a highlight. Ot her
times, I simply cu t ran dom pieces without
regard to size or shape. Through a process
of moving t he small pieces around like a
puzzle, the balance of color and pattern
emerged. I mixed a few basic stripes f rom
my stash and .continued to play.

• Once I established a look t hat I liked, I


took a dig ital photo to record the placement
of the pieces. This also allowed rne to look Snippets from outgrown T-shirts fin d new life in thi s trendy top. Use fusible web or
at the overall design with a fresh eye. Using temporary spray adhesive to hold things in place· while stitching.
a chalk marker, I outlined the general shape my machine's walking foo t prevent ed the RESOURCE: The pattern
of the appl ique pieces, so I would know knit fab ric creeping and kept t he pieces flat for the shirt shown here
where to place them again. w hen stitching in place. is the Urban T-Shirt from
SEWING WORKSHOP.COM
• I used fusible web tape to hold the pieces The shirt I'm planning next is making
in place. A temporary spray adhesive woul d a Typography T w ith words I'll be cutting
also work well. A.fter all of the pieces were fro m my daughter's high school shirts. Get
fused, I stitched them in place, mixing your fami ly's old T-shirts out of storage-
both straight and zigzag stitches. Using it's easy to stitch new life irito t hem I
Pat;chwork
Forest;
Quilt; Kiti ,. .
• •, • "'"" '.-'l"
,,~ .....,. . ..

.JL.. Uk• ~ on
LJ Facebook

Like us on Facebook to enter:


www.facebook.com/sulkyofamerica
or visit our website at www.sulky.com

........... ··- ... ......... 39 -·~· ~

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profile

a strand of

The story behind the 200 -year evolution of Coats & Clark
Text SUSAN BEAL

WHEN YOU REACH for a new spool of thread to start a sewing project
or mend a favorite garment, chances are you don't thinlz much about
how that thread was made. You probably also don't wonder why each
perfectly consistent, colorfast strand works so effortlessly whether it's
threaded into your machine or used for handstitching with a needle.
Thread's evolution from an undyed, laboriously home-spun product to
being part of a lavish display of thousands of colorful spools has spanned
two centuries of technological innovation. Its evolution mirrors the
Industrial Revolution's impact on industry of every kind.
.rao
* Stitch
THREAD...one of the great small th· .........

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Innovation in thread construction and material made education an


important component of the Coats & Clark story.

The story of Coats & Clark is a blockade had made scarce, and in 1812, the
micro-history of th.e modem se\ving Clark brothers opened a ne\v factory- the
industry itself, from its roots in European first ever dedicated to cotton sevving thread.
trading to its expansive growth.in the United Along >vith supplying shops and mills, they
States. From homegrown inventiveness sold hanks of their thread directly to local
that revolutionized the textile vJorld at a sea1nstresses. They then began winding
small Scottish mill in 181 2 through t\venty it onto wooden spools, another up-to-the-
decades of innovative gro\vth into a global min.ute idea. The French blockade had
com.pany, the 'l\vo Great Nam.es In Thread" inadvertently sparked and nurtured a brand-
have navigated cultural shifts, from the ne>v British industry.
invention of the sewing machine to ha ute
couture. And they have inspired 1nillions of O.N.T. (which stands for "Our New Thread") RIDING THE WESTERN WAVE
women in their home se>ving. But how did was an instantly recognizable trademark. Jan1es Coats, ar1 experienced weaver, adnllied
this company-and modem, mass-produced the Clarks' success and began manufacturing
thread-eve11 come to exist? of sha\vls and other fine fabrics stopped thread himself in a small factory in 1826. His
abruptly. James and Patrick Clark, two sons, James and Peter, took over the fami ly
THANKS TO A brothers who owned a loon1 equipment business in 1830 and called their expanded
FRENCH BLOCKADE shop, savv their once-robust business con1pany J. & P. Coats. Coats \vas knov.rn for
In the early 1800s, Napoleon's France buckling. Patrick came up with a new their six-cord machine cotton thread, \vhich
blockaded British ports from receiving ai.1y technique for tvvisting n1ultiple cotto11 quickly gained prominence in the market.
merchandise or materials. This crippled yarns normally used for \veaving into a Mean\.vhile, Clark's thread was brought
many industries, including the weaving fine, strong, and smooth se'vving tl1read. to the United States on British ships.
mills of Paisley, Scotland, which employed His product vvas versatile enough for use in American fashion and home se\vingvvere
thousands of people to make luxurious loon1s as well. both quickly influenced by this ne\v
shawls in the style of Kashmir, India. The revolutionary Clark cotton thread product, \vhich \Vas affordable, plentiful,
With no ne>v silk available, production replaced the more costly silk that the and easy to use. As the first sewing machines

41
sewdaily.com *
.............................
Two.»a.&.w•11 o>.an•~Te.
~- ..t•"'*'··· .......".... -
2:J lb
~
....

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S£1(0 ORDERS TO s1x-coao.

tlO $;f:!.bEt<iE,f"i;IB CABlti$TS .


- ·
ui;w ,'. N St'X ORAWS~ CABIN.Et.
CHE'.RRY. Bl.ACK WAlNUT OR ASH
FOUR DRAWE:R CABIN!i:T CONTAIN I NO 100-ooz E:>I.
CHS:RRY. 8 LACK WALNUT OR ASl-l
DRAWE'R GABlNET; CONT/.fNINO 50 OOZ'E M

CHERRY S.LACK WALNUT OR ASll •


---
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0
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>- with their
<ft
...,...:,:-..._ •I: I•• thread

--
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'Wnl.. ~ • ....... • .. -a: orders.
• .*.I - :::> These are
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today.

\Vere developed in the r84os and r 85os 1' hough both Coats's and Clark's products
and becanic \videly available overthe next had been .:ivailtlble in the United States
dec.:ides, a whole new style of thread was ror decades. th\! co·1npanies exclusively
needed. manufactured and exported their thread
Un like the sturdy g1azed threads [rom Brit.:ii n. They were very populm in
traditionally used for handsewing, machine America; it was said that every covered wagon
f
thread needed to accommodate a faster heading out on the long journey West carried
stitching pace and a much more intricate a precious supply of their thread to satisfy
Lhreadingpattem \vithout breaking or demand on the frontier.
failing. George Oark, the grandson of James,
inLroduced ·o.N.T." (which stood for "Our BUILDING THE STRAND
NC\\ Thread"), which combined the durability Ho\vever, \Vhen the Civil \Var brought
ofa six-cord thread \\'ith innovative softnes.5 blockades, expensive tariffs. and other
and nexibility-fucling1he new machines as obstacles to their thriving American market.
this phase of the Industrial Revolution S\vept each company set up their own mills
through textile and garment manufacturing. stateside. Jn 1864, Clark opened its first
"O.N.T." became an instantlyrecognizable U.S. factory in Newark. Ne\v Jersey, \Vbile
trademark and \Vas-printed on packaging and ). & P. Coats built its factories in Rhode
the labels on top of thread spools, in general Island six years later. Coats also opened
stores and dry goods sh ops. Clark's was a1so a special ractory to build wooden spool
the first co1Tlpilny to guarantee their black cabinets for displaying thread at general
Lhread as "boiJ-fast," a 1n ajor accomplislrn1enl and dry goods stores. These were distributed
in an era of uncertain dyes. [rec Lo merchants >vith an order. Thousands

........... .... .. .
In 1846, John Clark of
Glasgow, Scotland,
developed a machine that
would turn the spools
for winding thread. The
"Glasgow" Clarks and the
"Paisley" Clarks merged
their interests in 1882.

of spool cabinets, in hundreds of different


styles (one for each selling agent) \Vere
inade. These are valuable antiques today.
By the r 88os, both Coats and Clark
distributed colorful lithographed trade cards
to customers, from hun1orous scenes of
Victorian children to charming Gibson Girls.
These stylish cards \vere very collectible-
Lithographed t ra de cards were very popular w it h customers
1nuch like gaily printed flour sacks-and in t he 1880s.
ofcen included a calendar or color charts
for matching threads. Tn 1896, Clark's and fashion-such as the glamorous dresses Edith
J.P. Coats consolidated their interests \Vhile Head designed for her films- to Butterick
retaining their independent identities. Shortly and Simplicity Se\vingpattems, which
aftenvard, The Spool Cotton Co. became made fashionable clothes accessible to every
the sole selling agent representing both vvoman \vi.th a sevvil1g machine.
co1upanJes. By the early r 96os, a new Coats &
As the t\ventieth century opened Clark product, Dual Duty Plus, combined
and factory-made clothing became more cotton and polyester in a sjngle versatile
prevalent, women's Se\ving shifted to reflect thread. like "0.N.T" decades earlier, it
fashion and tailoring rather than necessity. revolutionized the market by providing an
Coats and Clark began introducing new innovative new product. T11e nevv thread
lines of embroidery floss, darning thread, was perfect for creating Hp-to-the-minute
and other garment se\ving necessities such styles in natural, synthetic, knit, or \voven
as bias tape, seam bindings, and zippers- fabrics-even combining different materials
often in bright, fashionable colors that in the same conte1nporary garment-
coordinated \vith their threads. Coats & \vithout having to stop to change the thread.
Clark offered affordable notions to \vomen Sewing \Vas a boo1ning industry, with
sevving at home during the Great Depression $1 billion spent in 1963. By 197 4, an estilnated
of the 1930s, and sponsored national 4-H 44 million \Vomen in America were sewing.
clothing and textile competitions as the Ronald Reagan proclaimed September as Thomas Edison used a
economic crisis and then World vVar II National Se,ving Month in 1982, an event strand of Coats' Cord
made new fabrics and other materials less Coats & Clark continues to celebrate today. No. 29 in one of his many
accessible. Ne\v thread and se\vingproducts have
changed with the tin1es over the last few experimental light bulbs.
COATS MEETS CLARK decades, reflecting the recent innovations It burned for over thirteen
In 1954, J. & P. Coats and The Clark Thread Co. such as rotary cutters, sergers, and hours and "was the sign
formally merged and first became known as embroidery machines. Though home
Coats & Clark Inc. Tn this golden era ofhome- se\ving has declined from its lofty at last that they are on
Se\ving popularity, the company's thread and nu1nbers of the 196os and 19 70s, today's the right track."
products were always on trend, in colors and sewists and designers enjoy \vorking with
styles reflecting everything fTom couture sophisticated fabrics and are influenced

sewdaily.com *
I

f
Like the popular trade
cards of the 1880s, fun
promotions such as the
"Spool Zoo" were included
tI'
I
in packages of bias tape '::<'.
o;
<{
_J

during the 1930s. Children (.)


oil
<J)
could collect all six printed \:;:
0
(.)
zoo animals-a zebra, u.
0
>
hippo, fox, bear, lion,, and (/')
w
r-
er
elephant-and bring them ::)
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to life by cutting them (/')
0
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0
out and gluing the head ...............
wsiu..W:t .~,., I
" CL

and tail to each end of an An early 1960 s ad focused on both style and education-new
threads for the new fabrics available t o t he home sewist.
empty spool of thread.

In 1924, Mary Brooks Pickens cowrote


the very popu lar Sewing Secrets: Modern
Methods of Stitching, Decorating and
by everything from runway shovvs to Finishing, published by
I ' ready-to-\vear. The Spool Cotton Co.
The color range of all Coats & Clark
After the success of this
threads, from Dual Duty XP (introduced
in 2008 as a polyester-\vrapped, core-spun book, Coats & Clark's
thread) to those specialized for handquilting Education Bureau created
or machine applique, are updated frequently
many craft publications
to reflect fashion and color trends. Today,
they offer more than 300 colors, including for women over the next
Pantone's 2or 2 Color of the Year, Tangerine decades with techniques
Tango. Kno\vn to Coats & Clark as 7650
and original patterns that
Tango, this hot color has been in their color
range for more than fifty years. covered not only sewing, but knitting,
crochet, lacemaking, and other crafts.
SUSAN BEAL is a. craftwriter who loves to
The books and pamphlets reflected the

!• sew. She is the author ofModern Log Cabin
Quilting, World of Geekcraft, Button It popular trends of their day, from shapely,
Up, and Bead Simple, as well as being the fitted dresses of the 1950s to psychedelic
president ofthe Portland Mo.dern Quilt Guild.
afghans of the 1970s.
Visit her at westcoastcrafty.com.

l. . -~. .*---~~---·
Stitch
. . ·--..... ·-· . . . . . . . . . .
HOW IS MADE
Thread- making has evolved dramatically
over the centuries. In the earliest days inside amodern thread ~lant
of sewing, animal sinew was used for
stitching animal hides. When bone, ivory,
and then metal needles were devised,
plant fibers were twisted together t o
create simple threads. As fibers such
as wool, silk. cotton , and linen were
cultivated and used for spinning, people
began weaving multiple strands into
fabri c for clothing and blankets. Of
course, textile techniques changed
greatly as wheels and looms were
developed, making fabric more and more
sophistica ted.
Two hundred years ago. fibers were
brushed and carded by hand. then gently
twisted into roving, and spun on a wheel
t o create a single- ply interlocking strand
Thr ead was often spun .at home and then
delivered to vveavers in small batches,
James Clark's innovative cotton thread
combined multiple strands of cotton to
create a flexible, durable thread for home
sewing and factory weaving alike that was TOP: Thread was once spun by hand and
sold in hanks. Within the next few decades, delivered to weavers in small batches.
both the J. & P. Coats and Clark mills
RIGHT: Although the concept remains the
in troduced new m ill processes, such as same-twisting fibers into a continuous
in-house thread spinning. machine winding strand-the method has changed dramat i-
cally over the decades.
onto wooden spools, and boil -fast dyes.
By the mid-twentieth cen tu ry,
mode r n plants used huge machi nes Duty XP) are a polyester-wrapped, core-
for techniques such as mass con1b ing, spun construction . Some threads have
Lapping , carding , and spinning . They t wo or more single plies twisted together
had the capabilit ies of mercerization, for durabi lity.
bl eaching, and chemical dyeing-and Dyes are carefully mixed accordin.g
coul d wind hundreds of thr eads on to to t he color fo r ecasting and t rends.
their n1ass-produced wooden spool s Th r ead is dyed in huge quantities -
si mu ltaneously. t housands and thousands of ya rds
Today Coats & Clark plants start with at once . The fresh ly dyed th read is
gigantic bales of cotton or polyester that st eamed dry to set the col or, si nged
weigh more than 600 pounds and will to remove any lint . and-depend ing
each yield about 25,000 spools of thread, on what type o f thread it is-given a
Fiber s are cleaned and carded into lubrica te.d or gl ace fin ish .
sl ivers-each hundreds of times thicker Fina lly, the t hread is wound onto
than the fin ished strand. The sl iver s are spools. inspected, labeled, and boxed for
twisted into roving, which are then spun retail stores- ready to becon1e a part of
into yar ns. Some threads (such as Dual your next sewing adventurel
projects

The dress is the iconic fashion
statement of fall-whether simple
and elegantly chic or embellished
with fresh details. Each of these
five dresses are as versatile as they
are stylish. Go uptown with a fancy
brocade or more down-to-earth
with a comfy cotton. The creative
choice is 100% yours.

·rhis sassy silk dress goes from surnmcr


to fa ll witb aplomb, especially when
paired with a bolero cardigan, boots, and
leggings. The chic beading Jlong the
handkerchiefhem adds weight
and S\ving to a dress th.:lt can \\'Ork
day or night
P~w"""""
This is a great basic dress'With a
chio sjlhouetre.The neckline, sleeve
leJlITTh,:and hem can all be changed very
easily to create a completely different
gal'ment. n could also be made with a silk
jersey, wool fersey, or stretch velvet for a
different effect
DESIGNED BY Emily Li Mandri
[project instructions en gage 89]

49
sewdaily.com *
CQmbine this 1g.5o's-style sweet
dress with a boatneck bodice and
gathered skirt and a fancy fabric,
and you've one bombshell of a
garment. A simple silhouette that
is flattering to everyfigure, it also
has lots of'easy-to.add CGuture
details that will make it stitch up
like a dream.
DESIGNED BY Gretchen Hirsch
(proje.<;:t instructions on
page90]

so
...........................
t/1£ ~UteA,s e.%re
Give theclassicsheilth ,1 twisl with
colorful piping on the front Jnd hJck.
This simple style is lined .ind contoured
lo make you look your le\'cl best.
DESIGNED BY Katnn Vorbeck
Lproject instructions on page 92J

52
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·'

When school days


signal the end of
summer, it's time
to start dreaming
about all the adorable
supplies, new outfits,
and crafty projects
you can devise.
Here, you'll find
gifts, garments, and
accessories that both
you and your favorite
little ones can create .

fuzzy
hedgehog tote
A cuddly fr) end made from fuzzy, soft
anti-pill fleece to carry a small person's
favorite things all season lon.g. The soft
overlapping fringe "quills" add cozy
dixnension. sweet hand embroidery
on the face brings out the personality.
This messenger-style bag is just perfect
for putting a little forest-style fashion
into th·e fall wardrob.e.
DESIGNED BY Cheryl Bush
[ project instructio ns o n page 95.]
....... ...Sit
... ••t• ..........
* stitch ··
snack bags
Go green in your own little \Vay by creating
these nifty baggies to be used time and again
by your tots and family. The clever carriers are
lined \vlth waterproof fabric on the inside and
decorated with your choice of happy fabric
on the outside. Way to feel good about your
munchies.
DESIGNED BY Rosemarie DeBoer
[project instructions on page 98]

,<\.{ ..,f
$;>/.:lfJJ
.J(/•

SS
sewdaily.com *
night critters vest
E\ ery child will love '>''earing Lhis
'est replete\\ ith its odd menagerie of
nocturnal animals creeping Jround
under the sleeping moon. Inspired by
a \'1ntagecarpcnter's vest, it is rnade
of coz.~ \~001 mclton. Theappliqucd
\\ool felt animals arc detailed \\ith
en1broidcf), and l he bright facings
and exposed zipper arc created to he
C}C CJLChin~

DESIGNED BY Ttna Lewis


( projPct lnstructioni:; 0 11 paqt• 98 1
colorful clothing dividers
Avoid the 1norning debate with your child on \Vhat
to wear to school They are sure to enjoy helping you
make these delightful clothing dividers. Every Sunday
. ..- .-
:
\y'
.
/
" ....
~.'\.

evening you can help them choose their clothes for the
week and hang them \:vi.th the coordinating divider.
DESIGNED BY Jennifer Rodriguez
[project instructions on page 100]

57
sewdaily.corn *
bunny nap roll
This bunny v.Jnts to accompany }OUT favorite
youngster to preschool or daycare or Grandma's
house for rup time The nap mat has a pillo\"\· at
one end .ind rolls up for por~b1ht}-~'lth the
ears seT\ 1n~ c1 straps lo sccurt: the mat
DESIGNED BY Jennifer Wolak
[proJect 1nstru t10 on e 101J
'\
'
chalkboard mat
Combine cotton prints and chall<board
oilcloth to make this fun, easy-to-clean floor
mat. It can be used outside on a vvarm spring
day or inside to brighten a rainy day. Floor
mat can also double as an "I Spy" game.
Coordinated play inats add to the fun.
DESIGNED BY Lisa Anderson
[project instructions on page 103:]

59
sewdaily.corn *
-=

embroidered guitar straps


Be the envy of your p,icking buddies at the next meet-up
with this custom-embr0id'ered guitar strap. These guitar
straps are inspired by traditional Kantha embroideries.
from the Gujarat region of India Make one today for
I
yovrseJI or your favorite musician:.
DESIGNED BY Madeleine Rooerg
[project instructions on page 106]

....,...,,,.~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ .~t
61
.... ~ ....
sewdaily.corn *
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oilcloth plant holders
Dress up }·our f.i\·ortt? horrseptlnt wl1cp
you mtlke J fabric CO\'er for the pol The
- -

embroiaered ran\'JS on tlie oillSide of the
co\'er: is lined '\vith lammated faoric for a - -
punch of color and \\Jterresistance.
- - - ~,--

Embroider the \\'Ords shown or choose your



own, such clS herb names ortsmaller covers.

-•
-~;-

-
DESIGNED BY Carol 2ehtgrar
!project instructions on page 110] -
-
---·· -··-.
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66
--· ..
* Stitch
sewdally com *

Fall is the season of
harvest and what better
time to discover creative
ideas for upcycling?
Upcycling is the process
of converting something
vintage or used into
something more
beautiful and useful.
Take this commendable
f environmental practice
into the sewing studio to
create beautiful objects
for the home, wardrobe,
family, and friends .

Tum a man's shininto a d.irling


girl's pinafore dress. A bib applique
providNI .:i cameo spot for .a tre.isnred
[Jbric:, .ind some :favorite buttons
;Jnd the re-;t of the dress dazzles with
sn.izzy n1en's shirting.
DESIGNED BY Sigrid Arnott
[pt·oiect instructions on page 121]
-
..•••...• • ••
•• ••
.
••..
. .•• •
.." e ·~.••.•
~ (' I c
(_

.. -·~~...

!oSeou grown.Dr out-of-favor fashions into a


tr5ndy cuddle-up quilt. This sweet twin-size throw
combines women's woven cotton and men's flannel
shirts into easy-to-piece patchwork:, adding an extra
pop of color '\Vi th scraps of cast-off corduroy and a
pocket or two.
DESIGNED BY Missy Shepler
[project instructions on page 123]
69
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-- _........72
, .....-
'if Stitch
73
scwda1ly.corn '*
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'if Stitch
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--····---····.
* stitch
THE SE CS W@R~Stt@P
Learn to Sew-one garment at
a time.
S~ U>MideW\-t\ is the only
itit>'''"" learn-to-sew program that
r o Y,'1 1lea n:
_,__ brings you a year's worth of
,.,....,.:.,;.,-~.,. sewing education in easy-to-
It The importance
of o fitting axis 1 follow step-by-step
and how to use it
personal sewing tutorials,
IC How to recognize t--1-41••·
•"""'"'". by Linda Lee a leading
I
fitting issues. sewing educator.
such as drag
lines and folds Receive a new tutorial
~ '·J.11- every month for an entire
IC Basic pattern-
making skills to ONLY year-with sewing tips, insider
ensure accurate
a lterations t99 tricks, pattern variations, and
fitting solutions.
IC And much more
' PER YEAR ,'
, ........ " Jt\ ~S~vJ__Cof.\~i~V\t_\
,-.,9~~~ ~ --- CLASS IN A FLASH
~ V'~·'* r
Get started today -
go to www.sewingworkshop.com
Available inyout favorite book or <r~t store. www.creativepub.com
More info? Call 1-800-466-1599 Or email: Linda@sewingworkshop.com

therrooy.-ebonli ne-com
·-~
_.,,,_..
•• focebook.com/ThermE>WebMimi
·• Temporary, Sewoble • Repo.s.itioooble • Groot fGr dtuigrun91 pk:ici~ ond 'hastingf blog.tbermoweb.com

..... --.. ...... .. _............. ...........79


_..__.. ~ -.....................
sewdaily.com *
* GETTING STARTED
l Basic tools, techniques,
& term s you'll need
for the projects in
this issue.

SEWING KIT 0 SEAM RIPPER Handy forquickly rippingoutstitches.


The follov.ring items are essential for your Se\ving kit l\tlake 0 SPIKED TRACING WHEEL & COLORED
sure you have these tools at hand before starting any of the TRACING PAPER Use these tools for tracing
projects: patterns and markings onto your fabric.
0 ACRYLIC RULER 'This is a clear flat ruler, \Vith a 0 STRAIGHT PINS & PINCUSHION Al\vayskeep
measuring grid at least 2 " \vide x 18" long. A rigid acrylic lots of pins r1earby.
(quilter's) ruler should be used when working v..rith a 0 WEIGHTS Pattern \veigh.ts or small rocks are great for
rotary cutter. keeping fabric in place v.rhile dra\ving, pinning, and cutting.
0 CLOTH MEASURING TAPE Make sure.it's at least
60" (152.5 cn1) long.
* OPTIONAL . .. butgoodtohave.
0 CRAFT SCISSORS Use these for cutting out paper 0 FRENCH CURVE Atemplate of metal, plastic, OI\Vood
patterns.
that includes many ctuved edges for constructing smooth
0 DRESSMAKER'S SHEARS These sharp long-bladed curves.
scissors are used to cut fabric.
0 NEEDLE T HREADER An inexpensive aid to make
0 EMBROIDERY SCISSORS These small scissors threading the eye of the needle super fast.
are used to trim off threads, clip comers, and do other
intricate cutting \VOrk. 0 POINT TURNER A bluntly pointed tool that helps push
out the comers of a project and/or smooth seams. A knit-
0 FABRIC MARKING PENS & PENCILS Available in
ting needle or chopstick can also be used.
several colors for use on light and dark fabrics; use th.em
for tracing patterns and pattern markings onto your fabric. 0 ROTARY CUTTER & SELF-HEALING MAT Useful
0 HANDSEWING & EMBROIDERY NEEDLES for cutting out fabric quickly. Always use the inat to protect
Keep an assortment of se,ving and embroidery needles the blade and your work surface (a rig.id acrylic ruler
in different sizes, from fine to sturdy. should be used with these to make straight cuts).

0 IRON, IRONING BOARD & PRESS CLOTHS 0 TAILOR'S CHALK Available in triangular pieces,
An iron is an essential tool \Vhen Se\ving. Use cotton rollers, and pencils in various colors, tailor's chalk is
muslin or silk organza as a press cloth to protect delicate useful for marking cloth. Some forms (such as po\vdered)
fabric surfaces from direct heat. can simply be brushed a\vay; refer to manufacturer's
instructions for recommended removal method.
0 PATTERN PAPER Have some pattern paper or other
large paper (such as newsprint, butcher paper, or pattern 0 TAILOR'S HAM A firm cushion used when pressing
tracing cloth) on hand for tracing the patterns from curved areas of garments to preserve the shape and
the pattern insert. }(egular office paper rnay be used for prevent creases.
templates that v.ri.11 fit. 0 THIMBLE Your fingers and thun1bs v.rill thank you.
0 PINKING SHEARS These scissorsv.rith notched teeth
0 ZIPPER FOOT This accessory foot for your 1nachine has
leave a zigzag edge on the cut cloth to prevent fraying.
a narro\v profile that can be positioned to se\v close to the
0 SEAM GAUGE This small ruler \vith a movable slider zipper teeth. Zipper feet are adjustable so the foot can be
is used for n1arking hems, checking seam allo\vances, 1noved to either side of the needle.
placing buttons, and more.

80
* stitch
PATTERN SYMBOLS & MARKINGS
Here is a quick reference guide to the
symbols and markings on the patterns.

,- - - • CUTTING • DARTS Angled lines show where the ,


,• NOTCHES Notches are triangle-
I
'
' LINES : stitching will be, and the dot shows , ~·' shaped symbols used fo r accurately
'
Multisize !
you the position of the dart point , ,-' matching seams. Pieces to be joined will
patterns have :' (signaling the point, at the end of the ,1'
' have corresponding notches.
, ,
different cutting ! dart, where your sti tching should end). ,
,,
lines fo r each : , ,' , .• PATTERN DOTS Filled circles indicate
' , ,, , ,, that a mark needs to be made (often
size. ' , ,,
'' ,, ,' on the right side of the fabric), for place-
'' ,
,'
, ,,
•' , ,, , ment of elements such as a pocket or
' , , '
a dart point. Mark by punching through
the pattern paper only, then mark on the
fabric through the hole.

.• ,• PLACE ON FOLD BRACKET


,'
, This is a grainline marking with arrows
,, '
I
I
i pointing to the edge of the pattern. Place
,' '
' J
, the pattern edge on the fold of the fab r ic
I
I
I
.

so that your finished piece will be twice
I I
• the size of the pattern piece, without
'
I
I I
c
I
I ,, 0 having to add a seam. Do not cut the fold.
I I , ~
I ,,
• •
I
I
I
I
I
I
I
I
I
I
:
I
.I
'
,'
,,
,'
, "'
0.
.. ,•
. • GRAINLINE The double- ended arrow
should be parallel to the lengthwise
~ l ; ~ ••
·~ ~ ,• ' grain or fold unless marked as
I I ,, .
I
I ,•• crosswise.
I
I I
I I
I '
I
---- ·· • BIAS GRAINLINE This grainline is
I

' :i
I

--· .-- .-- diagonal and indicates that the pattern


41 --· -·-
.-·
I
I ~~ piece should be cut on the bias. The
I 1',r
I
I "true·· bias is at a 45- degree angle to the
.I
I
' I • straight grain of the fa bric.
I
.. I
!
I
I
:
I
.• I i
I :
I .-· •• --- --· .- - • SLASH LINE The dashed line indicat es
that the pattern needs to be slashed
---
I

....
I •
I
I
I
I
t

I
: • .- --·--- along the l ine. Slash to the dots only. if
I
i
:
'
I
t' .. - ........
-·· • present . If there are no dots, the pattern
r ••I
·---·1
_ __ _ _ -
.
t
;. - -1


' .I
t
f

;
should be slashed from edge to edge
I• along the entire line.
I' I•
! '
I
I
I I . . ..... - .-· -- - -- .-- -• BUTTON & BUTTONHOLE
PLACEMENT MARKS
••
I' I
• Solid lines indicate buttonholes. A large
I'
I
open circle is the button symbol and

I

shows placement.

I
•"--· - - - - • · - ·• - ~ - - .• - · · - · · - · • - •. - •• - .. - - - - • • - ••- .. -
I
--'- '=...:.~-:--=-= ::.."'.'=.-:.-:..7: ::.:=..":':::::..'":'=.:: :":'.:': .:: -:..=:.:::..";"~ =~-=.:: =~'":"..:.=...-:.-:
• ' l • • •• • .• • • ••••• , , •
=----= =~-..:.=::...":'..:.:::..-.= =~--==-
..-


--- . ·- • • -

• •••
•. - - • - •• - ·• - • •

•• •• •• ' •
CB: Center Back
CF: Center Front

81
sewdaily.com *
s
PATTERN INSERT GUIDE A quick
reference to the full-size patterns on the insert.

LAYOUT, MARKING + CUTTING GUIDELINES D All pattern markings sbould be on the wrong side of the fabric
O The pattern insert features overlapping patterns, so you may not unless othenvise noted.
want to cut patterns or templates directly fron1 the insert. Instead, use IJLay the pattern pieces on the fabric as close together as possible.
pattern paper (or other paper such as ne\vsprint) or pattern tracing Double-check that all pattern pieces cut "on the fold" are placed on
cloth to trace the pattern pieces you need from the insert and then the fold.
cut out your traced pieces. Regular office paper may be used for small 0 1vlake sure all pattern pieces are placed on the fabric with the
templates that will fit. If necessary, use a light box or bright window grainline running parallel to the lengthwise grain unless a bias
for tracing. grainline is present or as otherwise noted.
fJ if you are cutting pattern pieces on the fold or cutting two of D Use weights to hold the pattern pieces dovvn and use pins to secure
the same pattern piece, fold the fabric in half, selvedge to selvedge, the comers as needed.
with right sides together or as indicated in the cutting layout or IJCut pieces slo\vly and carefully.
instructions.

GLOSSARY OF SEWING TERMS


+TECHNIQUES A quick reference to the technical
sewing terms used throughout the project instructions.

BACKTACK Stitching in reverse for a CLIPPING Involves cutting tiny slits or to the edge of the fabric or an existing
short distance at the beginning and ending triangles into the seam allowance of curved seam line.
of a sea1n line to secure the stitches. Most edges so the seam \vill lie flat when turned FABRIC GRAIN The grain is created in
machines have a button or knob for this right side out. Cut slits along concave curves a woven fabric by the threads that travel
function (also called backstitch). and triangles (vvith points toward the seam lengthwise and crosS\1\rise. The length\vise
BARTACK A line of reinforcement line) along a convex curve. Be careful not to grain runs parallel to the selvedges; the cross·
stitching often placed at areas of stress clip into the stitches.
'vise grain should always be perpendicular
on a garment. Bartacks are created with DART This stitched triangular fold is used to the length\1\rise threads. If the grains aren't
short zigzag stitches (by machine) or to give shape and form to the fabric to fit cornpletely straight and perpendicular, grasp
whipstitches (by hand). body curves. the fabric at diagonally opposite comers
BASTING Long, loose stitches to hold EASE/EASE IN V..Then a pattern directs to and pull gently to restore the grain. In knit
something .in place temporarily. To baste "ease" or "ease in," you are generally se..,,ving fabrics, the lengthwise grain runs along the
by machine, use the longest straight stitch a longer piece of fabric to a shorter piece or a wales (ribs), parallel to the selvedges, with the
length available on your machine. To baste curved piece to a straight piece. This creates crossvvise grain running along the courses
by hand, use stitches at least•/," long. Use a shape in agarmentorobjectwithout pleats (perpendicular to the wales).
contrasting thread to make the stitches easier or gathers. To ease, rnatch the ends or notch- FINGER-PRESS Pressing a fold or crease
~

to spot for removal. es of the uneven section and pin together (or \vi th your fingers as opposed to using an
as instructed by the pattern). Continue to
.iron.
BIAS The direction across a fabric that
is located at a 45-degree angle from the pin remaining fabric together, distributing GATHERING STITCH (machine)
lengtnwise or crosswise grain . ·rhe bias has the extra fullness evenly, but making sure These are long stitches used to compress a
high stretch and a very fluid drape. that the seamlines match up as smoothly as length of fabric before Se\ving it to a shorter
possible (you \viii be smoothing the excess piece. To gather, set the machine for a long
BIAS TAPE Made from fabric strips cut on fullness away from the edge); don' t be afraid stitch length (use the shorter length for
a 45-degree angle to the straight grain, the to use a lot of pins. Stitch slowly, smoothing lighter-weight fabrics) and loosen the
bias cut creates an edging fabric that will as necessary to ease the pieces together as tension slightly. With the fabric right side
stretch to enclose smooth or curved edges. evenly as possible, being careful not to catch up, sew on the seam line and again V&" from
You can buy bias tape ready-made or make tucks in the sea1n. the seam line, \vithin the seam allo•vance.
your own.
EDGESTITCH Edgestitching is a row Sometimes you \viii be instructed to place
of topstitching placed very close ('116- '/a") the first line of stitches '/s" from the seam

82
·····-········~········

*titch
line \Vi thin the body of the garment so the appropriate presser foot for tlle chosen line, on top of a flat (unfolded) edge, take
the stitches dont.become tangled in the stitch (often tlle standard presser foot can be stitches about'/." long, alternating between
permanent seam.line. Leave thread tails at used). Azigzag stitch can be used as an alter- the folded edge and the flat edge.
each end and do not backtack. Pin the fabric native to finish ra\v edges if your machine SQUARING UP After you have pieced
to be gathered to the shorter piece right doesn't have an overcast-stitch function. together a fabric block 0r section, check to
sides together, matchjng edges, centers, and PINK To trim with pinking shears, "vhich make sure the edges are straight and the
pattern marhlngs as directed in the pattern. cut the fabric edge into a zigzag pattern to measurements are correct. Use a rotary cutter
Pin at each mark. Grasp the bobbin threads reduce fraying. and a rigid acrylic ruler to trim the block if
from.both lines ofstitching at one end and necessary. Because you might trim off the
pull gently. Work the gathers along the PLACKET A placket is a finished garment
opening, most often at the location of a backtachlng on seams when you square up,
thread until the entire piece is gathered and machine stitch across any trimmed seams
lies flat against the shorter fabric piece. Pull garment closure. A placket can be :finished
by hemming or with binding or a facing. to secure.
the bobbin threads from both ends to gather
long pieces. Stitch the seam, then remove the Plackets are often seen on sleeve vents STAYSTITCHING A line of straight
gathering threads. (above the cuff) and are also used at neck- stitching (through one layer of fabric),
line and waist edge openings, often in con- used to stabilize the fabric and prevent
GRADING SEAM ALLOWANCES 1'he
junction \vi.th buttons or other closures. stretching or distortion. Staystitching is
process of trimming seam allo,vances to usually placed just inside the seam line,
different \vidths to reduce bulk and allow the PRESHRINK Many fabrics shrink \vhen
"vashed; you need to wash, dry, and press often at curved edges such as armholes.
seam to lie flat. The seam allo..,,vance that will
lie to the interior of the project is trirruned all your fabric before you start to sew. Fol- STITCH IN THE DITCH Press a sewn
the most, leaving the seam allo,vance that low the suggested cleaning method from seam open or to one side. Lay tlle seamed
\vill lie closer to the exterior of the project the fabric bolt. Don't skip this step~ fabric right side up under the presser foot
slightly wider. RIGHT SIDE (RS) The front side or side and sew along the seamli:ne "ditch." The
' stitches will fall between the hvo fabric
GRAINLINE A.pattern markin<Yshowino· that should be on the outside of a finished
0 0
garment. On a print fabric, the print will be pieces and disappear into the seam.
the direction of the grain. Niake sure the
grainline marked on the pattern runs stronger on the right side of the fabric. TOPSTITCH Used to hold pieces firmly
parallel to the lengthwise grain of your RIGHT SIDES TOGETHER (RST) '[he in place and/or to add a decorative effect, a
fabric, unless the grainline is specifically right sides of two fabric layers should be topstitch is simply a stitch that can be seen
marked as cross,vise or bias. facing each other. on the outside of the gan11ent or piece. To
topstitch, make a line of stitching on the
INTERFACING/INTERLINING SATIN STITCH (MACHINE) This is a outside (right side) of the piece, usually a
Material used to stabilize or reinforce s1nooth, completely filled column of set distance fTom an existing seam.
fabrics. Fusible interfacing has an adhesive zigzag stitches achieved by setting the
coating on one side that adheres to fabric UNDERLINING Fabric used as a backing
stitch length to 0.2-0.4 mm. The length
wben ironed. Interlining is an additional setting should be short enough for for the shell ofa garment to add structure
fabric layer between the shell and lining, complete coverage but long enough to and/or aid in shaping. It is also sometimes
used to change the garn1ent drape or add prevent bunching and thread buildup. used to make a transparent fabric opaque.
structure or \Varmth. Underlinings are cut to the size and shape
SEAM ALLOWANCE The amount of fabric of each garment piece and the two are
LINING The inner fabric of a garment or benveen the raw edge and the seam. basted together and treated as one during
bag, used to create a finished interior that construction.
SELVEDGE This is the tightly woven
covers the ra\v edges of the seams.
border on the lengthwise edges of woven UNDERSTITCH ING A line of stitches
MITER Joining a seam or fold at an fabric and the finished lengthwise edges of placed on a facing (or lining), very near the
angle that bisects the project corner. knit fabric. facing/garment seam. Understitching
Most common is a 45-degree angle, like holds the facing and seam allowance
SHELL The outer fabric of a garment or
a picture frame, but shapes other than together and to prevent the facing from
bag (as opposed to tlle Jinin g, which will
squares or rectangles will have miters rolling to\vard the outside of the garment.
be on the inside).
with different angles.
SLIP BASTING A temporary slip stitch WRONG SIDE (WS) The \vrong side
OVERCAST STITCH l\ machine stitch
used for basting in curved areas, or for of the fabric is the underside, or the side
that \vraps around the fabric raw edge to that should be on the inside of a finished
matching plffids or stripes in preparation
finish edges and prevent raveling. Some garment. On a print fabric, the print will be
for se\ving seams (it can also be used to
se\ving machines have several overcast lighter or less obvious on the wron<>0 side of
baste zippers in place by hand). \.Vlth a
stitch options; consult your se\vi.ng iuachine the fabric.
folded-under edge lying along the seam
manual for information on stitch settings and

83
..................... ····~· ·-·········· ...
sewdaily.com *
s
STITCH GLOSSARY
A quick reference to the handstitches
used throughout the project ins tructions.

CHAIN STITCH A
Working from top to bottom, bring the needle
..-=::::=:;;l_~,''J.k::~~~,~ up and then reinsert at l to create a loop;
do not pull the thread taul. Bring the needle
, , 3
, , back up at 2 , keeping the needle obovc the
,
I loop and gently pulling th e needle toward you
I
lo lighten the loop flush lo the fabric !leave
a l1tlle slack in the thread to keep the loop
round) Repeal by inserting lhe needle al 2 lo
form a loop and bringing the needle up at 3
Tack the last loop down with a straight stitch

ARROWHEAD STITCH A 1 CROSS·STITCH T


Stitches are worl<ed at nght angles to each Working from right to left, bring the needle up
other Rrst work from left to right and top to at 1. insert at 2 . then bnng the needle back
bottom. Bring !he needle up al l , angle the
I ' up at 3 Finish by inserting the needle at le
needle down and toward the center or lhe BACKSTITCH A Repeat for the desired number of stitches.
slilch 2 . Now working from righl lo left, bring Working from rlg l1l to left, bring the needle
lhe needle up from the backside ot 3 . Ang le up at l and insert behind the starting point al
down and to the left inserting the needle into 2 . Bring lhe needle up al 3 , repeat by insert·
the fabnc finishing the stitch al lhe center le. ing at l and br1ng1ng the needle up at a point
that 1s a shtch length beyond 3 .

BLANKET STITCH A
Working from Left to right. bnng the needle up FLY STITCH T
at l and insert a l 2- Bnng the needle back up
Working from left to right, bring the
at 3 and OYN the woc1<1ng thread Repeal by
needle up at 1 and irsert at 2 . leaving
malung the next stitch 1n the same manner,
keeping the spacing even the thread loose. Bnng the needle back
up at 3 . keeping the needle above the
thread and pulling the needle toward you
BUTTO NHOLE STITCH A gently to lighten the thread so that 111s
flush with the fabric. Tack thread down
Working from r19h l lo tell and wilh the point
by In serting the need le al '*· Repea t for
of the needle toward you. bring the needle
th e desired number of s titches.
above the fabric edge at 1. loop the thread
to the left. then down and to the right.
inserting the needle from the wrong side 2
7
at 2 . keeping the loop of thread behind lhe
BLINDSTITCH needle at both the lop and bottom. Pull the
/ BLIND-HEM STITCH A needle through, tightening the shlch so that
Used mainly for hemming fabrics where an the looped thread hes along the edge of the
1nconsp1cuous hem 1s d1ff1cult to achieve fabnc. Do not tighten so much that the lops
(this stitch is also useful for securing b1nd1ng of the stitches pull together. When using the
on the wrong side]. Fold the hem edge back buttonhole stitch lo f1n1sh a hand button-
about '4". Take a small slltch In the gorrnenl, hole, work lhe stllches so that they are very
picking up only a few threads. closely sp;:iced.
;;

8~
-----··-······
* stitch
s
FRENCH KNOT,.- SATIN STITCH,.- STRAIGHT STITCH/
Bring the need l e up at l and hold t he Ou tline the shape to be satin stitched with RUNNING STITCH 'f'
thread taut above the fabric. Point the ti ny r unning stitches 1. Working from one Working from r ight to left, make a straigh t
needle toward yo ur fingers and move th e edge of the shape, bring the needle up from stitch by bri nging the needle up and insert
needle in a circular motion to w r ap the the back of the fabric. Working from bottom at 1, 1/s- 1/4" from the starting poin t. To make
t hread aroun d the needl e once or twice.
Insert the needle near l and hold th e
'' to top, bring the needle up from th e back
just at the outer edge of the running stitch
a °Line of r unning stitches (a row of striligh t
stitches worked one after the other]. br ing
thr ead taut near the k not as you pull the 2 . Make a long straight stitch inserting the the needle up at 2 and repeat.
needle an d thread th rough the knot and needle into the fabric just at the outside edge
the fa br ic to complete. of the ru nning stitch 3 . repeat until the whole
ou tlined shape is covered with stitches.
'
..
!
. STANDARD HAND-
. APPLIQUE STITCH,.-
' Cut a length of thread 12- 18". Thread
'' the newly cut end through the eye of the
needle, pull this end through, and knot it.
a Using th is techn ique to threa d the needle
an d knot the th read will help keep the
LAZY DAISY STITCH 'T th read's ·· twist'· intact and will al so reduce
k notting. Beginning at the straightest edge
Working from top to bottom. bring the needle
SEED STITCHES of the applique and worki ng from right ·
up at l and create a loop by reinserting at l ;
/ SEEDING STITCH ,.- to left, bring the needle up from the
do not pull the th read taut. Bring the needle
Small stra igh t stitches worked in clusters under side, through the background fa bric
back up at 2 , keeping the needle above the
or scattered at random. Seed stitches can an d the very edge of the applique at 1,
loop and pulling the needle tovvard you gently
also be worked tightly together an d all in the catching only a few threa ds of the applique
to tighten the loop so that it is flush with the
same direction to uniformly fi ll a space. fabric Pull the thread tau t, then insert the
fabric. Tack the loop down by inserting the
needle into the background fabric at 2 . as
needle at 3 . Repea t tor the desired number
close as possible to l . Bring the needle
of stitches.
up th rou gh the background fa bric at 3 . 1/8'
be.yond 2 . Conti nue In this manner, kee ping
the th r ead ta ut (do not pull i t so tigh t that
the fabric puckers) to keep the stitching as
invisible as possible.

l
~
3 2

SLIP STITCH,.- STEM STITCH ,.-


Working from right to le ft, join two pieces of Working from left to r ight, br ing the needle
fabric by taking a •1i.-1/t." long stitch into the up at 1 and insert it'!.- %" away at 2 (do
folded edge of one piece of fabric an d bringing not pull taut). Bring the needle up halfvvay
the needle ou t. Insert the needle into the between 1 and.2 , at 3. Keeping the needle
folded edge of the other piece of fabric, above the loop j ust crea ted. pull the stitch
OVERCAST STITCH ,.- directly across from the point where the tau t. Repeat by inserting th e needle '/s- V."
.Keeping your stitches at consistent depth and th read emerged from the previous stitch. to th e right and bring up a t 2 .
spacing, take a diagonal stitch by bringing Repeat by inserting the needle into the first /

!he needle through the fabric at 1, wrapping piece of fabr ic. The thread will be almost
the thread over the edge, and then bri nging entirely·hidden inside the folds of the fabrics.
the needle through the fabric again at 2 , to
the side of the previous stitch. The result is a
diagonal stitch that wraps around the edge.
- ---

SS
sewdaily.com *
s
UNEVEN SLIP STITCH/ BINDING WITH
SLIP-STITCH HEMMING 'Y MITERED CORNERS 'Y ....
After securing the threa d in the fold, take a If using double-layer binding {option 8 above}
small stitch in the garment or outer fabric. .i follow the alternate italicized instructions in
picking up only a few threads of the fabric. parentheses whereveryou see them.
Then, take a stitch, about 1/i' long, in the ''
Open the bin ding and press 1h " to th e
fold. across from th e stitch in the garment/ wrong side at one short end {refold the
.
outer fabric. Continue, alternating between .' binding at the center crease and proceed}.
tiny stitches in the garment/outer f.abric and ' . Starting with the fol ded- under end of
longer stitches in th e fold. ..' < the binding, place it near the center of
DIAGONAL SEAMS t he first edge of the project to be bound.
' FOR JOINING STRIPS A matching the raw edges, and pin in place.
Lay two strips righ t sides together, at l Begin sewing near the cen ter of one edge,
r ight angles. The area where the strips . along the first crease {at the appropriate
overlap forms a square. Sew diagonally distance from the raw edge}. leaving
across the square as shown above. Trim several i·nche s of the binding f<;ibric free
the excess fabric 1/i' away from the seam at the beginning. Stop sewing 1/i' before
line and press the seam allowances open. reaching the corner, backtack, and cut the
Repeat to join all the strips, form ing one threads. Rotate the project 90 degrees to
long fabric band. posi tion it for sewing the nex t side. Fold
WHIPSTITCH 'Y
" the binding fabric up, away from the
Bring the needle up at 1, insert at 2, and FOLD BINDING• .. project, at a 45-degree angle (1), then
A. Double-fold Binding Th is option will told it back down along the project raw
bring up at 3.
cr eate binding tha t is similar to pack - ' edge (2 ). Th is forms a m iter at the corner.
aged double-fold bias tape/binding. Fold Stitch the second side, beginni ng at the
2
the strip in half lengthwise, with wrong project raw edge (2 ) and ending 1/i' from
sides togethe r; press. Open up the fo ld the next corner, as before. Con ti nue as
and then fol d each l ong edge toward the established until you have completed the
wrong side, so that the raw edges meet last corner. Continue stitching until you
in the middle (l ). Refold the binding along are a few inches from the beginning edge
the existing cen ter crease. enclosing the of the binding fabric. Overlap the pressed
raw edges (2 ). and press again. beginning edge of the binding by 112" (or
CREATE BINDING overlap more as necessary for security)
B. Double-layer Binding This option
and trim the wor ki ng edge to fit. Finish
CUTTING STRAIGHT STRIPS crea tes a double- thickness binding with
sewing the binding {opening the center
Cut strips on the crosswise grain, from only one fold. This binding is often favored
fold and tucking the raw edge inside the
selvedge to selv.edge, cutting to the width by quilters. Fold the strip i n half l ength -
pressed end of the binding strip}. Refold
indicated in the project instructions. Use ·wise with wrong sides together; press.
the binding along all the creases and
a rotary cutter and straightedge to ob tain l then fol d it over the project r aw edges to
a straight cut. Remove the selvedges and the back, enclosing the raw edges [there
join the strips with diagonal seams. are no creases to worry about wi th option
Bl. The fol ded edge of the binding str ip
should just cover the stitches visible on
(

1
2
' the projec t back. Slip-stitch the binding in
place, tucking in the corners to comple te
the m iters as yo u go (3 ).

Never miss ------ - _...,., ___ _


another stitch!
stitch l

'' ---
-·--I
ng ,-~=~· ·

CUTTING BIAS STRIPS A


Cut strips to the width indicated in the -- - ------- - -------- ~ I
I
project instructions. Fol d one cut end of
2 '(
the fa bric to meet one selved ge, for ming a I
told at a 45·degree angle to the selvedge. I
l
With the fabric placed on a self-h ealing I
l
I
mat. cut off the fo ld wi th a rotary cu tter •
using a straight edge as a guide to make
a straigh t cut. With the straigh tedge Download a PDF of our
and rotary cutter, cut strips to the expanded sewing basics
appropriate width. Join the str ips with
section at sewdaily.com!
diagonal seams.

86
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how-to

El Fold Shoulder Straps in ha l f


along the long edges RST. Turn
right -side- out and press with seam
centered on the back. Fold in 1/4" on
each short end and press.
IJ Matching marked notches, stitch
• Bodice to Skirt RST, using a 5/s" SA.
Serge or press under 1/s" on seam
allowance tor an edge finish, wh ich you
will need to make the waist casing.
Beaded Silk
MAKE A WAIST CASING
Handkerchief Dress D To make the waist casing, press
by ALEX SUDALN IK finished waistline seam up toward the
{from pC1ge 48} bodice. Stitch 1/s" from top finished
edge, leaving 1" open at back to insert
elastic.
Elastic in the waistline and upper bust
creat es a custom, comfortable fit .
D Take waist measurement. Cut
elastic to this measurement. Use a
safety pin to guide elastic through
Bust Waist Hip the waistband casing. Overlap elastic
I- . ,_
,25" ends 1" and stitch securely. Slip- stitch
0:: X-S 32~33"
.,-,. 34lft35V1"
<
::c:
s 34-35'.'.
M 36-37111"
26-27"
2a-39Vi"
36l/i:37Y1~·
38%-40"
casing opening closed.

v L 39-411/z" 3.1 -331/i"


.~ '

41 %:43"
•" H
MAKE KERCHIEF TOP + CASING
w XL 42 1(~·44111" D Matching notches, stitch righ t side
341h:361/z" . 45-47"
-
N
Cl> $hown insize Small
of Kerchief Top to the wrong side of
the Bodice using a 5/s" SA. Edge finish
seams by serging or pressing under 1/s"
and topstitching the edge.
NOTES ll Press Kerchief Top seam down
- RST = right sides together toward Bodice. To make the casing,
- WS = wrong side press finished Bod ice seam [serged or
- RS = right side pressed under 1/s" and stitched) down
toward the waist. Stitch 1/s" from top
- SA= seam allowance
finished edge, leaving 1" open at back
- All SA 5/s" unless otherwise noted . to insert elastic.
- All raw edges can be seam- finished ll At underarms, measure around
by serging or turning edge under 1/s" chest. Cut elastic to this measurement
The beaded trim adds weight and swing- and stitching the edge.
as well as style. for Kerchief Top casing. Using a safety
- Press all seams open unless pin, guide elastic t hrough Kerch ief
(:'. DOWNLOAD THE FULL-SIZE otherwise noted. Top casing. Overlap elastic ends 1"
J~ PATTERN FOR THIS PROJECT
- Mark, rather than clip, notches. and stitch securely. Slip- stitch casing
• AT SEWDAILY.COM opening closed .
CUT FABRIC iI!JPlace Strap 1/2" inside front of bodice
FABRIC in yd 0 Cut out Bodice, Shoulder Straps. matching notches and RS front facing
Kerchief Top, and Skirt from pattern out. On the Bodice only, and avoiding
- 45": XS- 23/s, S- 21/2, M- 25/s. L/XL-23/4
pieces provided. Transfer all markings. the Kerchief, handstitch across strap a
- 60": XS/S-17/s, M-2. L/XL- 21/s If desired, extend lengt h of skirt. Let scant 1/a" at the top and bottom edges
skirt and bodice pieces hang overnight of the casing- avoid ing the elastic.
OTHER SUPPLIES
to prevent future stretching. Note: straps can be crossed in the
- Pattern. provided
back or not, as preferred. Adjust strap
- 3 yd 1/4" elastic STITCH DRESS BODY l ength at the back and handstitch
- Beaded trim, in yd El With RST, stitch darts and Bodice above and below the casing in the
XS 6 1/2, S 63/4, M 7. L 7114, XL 71/2 side seams. Finish seam edges as same manner as the front. Repeat with
recommended in Notes. second str ap.
- Thread to match fabric

88
.. -----·····-··-····-~

* stitch
how-to

ADO BEADED TRIM FABRIC D Ptace Back pattern piece on fabr ic


mPress Kerch ief edge under 1/4". - 60": XS -2, S/M/L-21/s, XL-2 1/4 yd using the selvedge to follow grainline .
Pin the beaded trim to the WS of the 0 Cut one each of Front and Back
Kerchief edge, aligning the bottom OTHER SUPPLIES
- Pattern, provided Facings of main fabric and interfacing .
woven edge of the trim with the edge
of the Kerchief. Topstitch on the RS - Matching thread SEW BACK+ SIDE SEAMS
along the bottom edge of the Kerchief, - 1/4yd lightweight fusible tricot D Serge Back pieces toget her. See
catch ing the t rim edge. Add a second interfacing Notes for alternate seam finishing.
row of stitching a scant 1/4" from the
edge of the first stitching , catching in
- Press cloth D Serge Front and Back pieces
the other woven edge of the trim. - Optional: 3mm twin needle for knits togethe r or use the double zigzag
method in Notes.
iE Hem the dress by pressing edge - Optional: Serger
under 1/4". Follow the same directions - Optional: for alternate hemming ll Fuse interfacing to Facings
in Step 11 above to apply the beaded met hod in Step 7: 2 yd paper-backed following manufacturer's directions.
trim to the hem edge. fusible web hem tape Stitch front and back interfacings
toget he r at shoulder seams.
ALEX SUDALNIK is afashion and knitwear ll Pi n to neck edge following marked
designer living and working in Los Angeles, Bust Waist Hip
t- XS 32-33" notches. Stitch to neck edge .
California. a: 25'.' 341/z-35Yi"
DlJ Serge, pink, or press under a 1/4"
c( s 34-35" 26-27" 361/z-37Yi"
:c M 36-371/ /" 28-39Yi" 38i/1-40" and topstit ch facing edge.
Batwing Jersey Dress u L 39-411/i" 31-33%" 4TYi-43" mTurn facing to inside of dress and
by EMILY LI MANDRI LI.I XL 421/i-441/1" 34%-361/z" press using a press cloth.
{from page 4 9}
-
N ,.

en Shown insize Small


' ' ' "
45-47"
iE Optional: t opstitch neck edge with
the same double needle finish if used
for sleeves and hem.
NOTES COMPLETE DRESS
- All seam allowances are S/s". Double Needle Hem
- Sleeve and hem depths are 3/4".
iEJ Hem using the twin needle, with
- Alternate method for seam fin ishing: a 3/4" seam allowance for sleeves and
instead of serging the seam edges, bottom hem.
use a double row of zigzag stitches. Fusible Web Hem Tape
Stitch the first row of zigzag along
the seam line using a 2.5mm iD To use pape r-backed fusible web
length and a narrow .5mm widt h hem tape, first press up a 3/4" seam
setting. Stitch the second row next allowance for hem. Insert a strip of
to the first, staying in the 5/s" seam fusi ble web hem tape with the fusible
allowance, using a wider setting of side toward the dress body. Press using
3mm l ength x 4mm width stitches to a press cloth to prevent scorching .
fin ish the seam s. IE Remove paper backing from hem
- Use a press cloth for synthetics to tape . Press hem using a press cloth.
avoid scorching fabrics. Straight stitch , use a small zigzag, or
double needle to stitch hem in place.
- Alternate method for sleeve and
hem finish ing, use a double need le iD Repeat your chosen hemming
for a different fin ish . met hod for the sleeves.

CUT OUT FABRIC EMILY LI MANDRI is a part-tirne MBA


D Print and cut out the pattern pieces. student at NYU Stern and also the founder
Make a d ouble needle hem f or the look of
ready-to-wear on the soft, cotto n jersey. ofBrooklyn-based fashion brand Natty
fJ Fold the fabric in half with selvedges Paint (nattypaintcorn). '\tVhat started as a
aligned. silkscreened 1'-shirt venture has evolved into a
(l~ DOWNLOAD T.HE FUL.L ·SIZE
J ._ PATTER'N FOR THIS PROJECT D Place Front pattern piece on the contemporary ready-to-wear clothing line.
AT SEWOAILY.COM fold. Pin and cut.

>>
89
sewdaily.com *
how-to

fold, cut 2 back fac ings each from


Prettiest Party Frock fabric and from interfacing.
by GRETCHEN HIRSCH
fJ Transfer all markings to fabric with
{from page SO} chalk or marking pencil.

CUT SKIRT PIECES


D Cut 1 Skirt Front on the fold.
Transfer all markings.
D Cut 2 Skirt Backs as directed on
pattern. Transfer all markings.

SEW THE BODICE


D Sew the waistline darts on the
Bodice Front and Back.
ll Sew the Bodice Front toBodice
Back at the shoulder seams and press
seams open.
D Fuse inter facing following
manufacturer's directions to the Front
and Back Facings.
D Sew the Facings together at the
shoulder seams and press open.
D Edge finish Facings by pinking.
Remove the cord from the piping before zigzagging , or staystitching 1/4" from
the zipper opening to reduce seam bulk.
the outside edge.
iill With
right sides together, pin
the Facing unit to the Bodice at the
Skirt gathers can be arranged to flat ter Bust Waist Hip neckline and armholes. Stitch .
I-
your figure type.
~ XS 32-33" 25" 34Yz-351/1"
iD Trim, grade, and clip seam
<( s 34-,3;5" 26-27'' 36%-371/r." allowances. First press open, then
(j~ DOWNLOAD THE fULL·SIZE ::x: ~ 36-37 h~
1
28-391/{ 38i/1-40"
J ·~ PATTERN FOR THIS, PROJECT u l 39-411/t" 3J-33%" 41 i/i-43"
press seam allowances toward the
~ AT SEWDAILY.COM I.I.I XL 421/1-44V2"
facing. Turn the facing unit to the

FABRIC in yd
-en
N
Shown insizeSmall
34111-361/i ' 45-47" inside of the Bodice.
IE Understitch the facings as far as
possible. [See Sewing Basics.)
- 45": XS/S- 23/s, M- 21/2, L/XL-27/s iEI Flip Facings up andsew facing and
- 60": XS/S- 13/4, M/L/XL- 21/2 NOTES bodice side seams in one continuous
- All seams are 5/s" seam allowance seam. Edge finish the side seams.
OTHER SUPPLIES unless otherwise noted.
- Pattern, supplied ID Tack the Facings to the bodice side
- Edge finish all seams unless seams at the seam allowances by hand.
- 22" medium-weight fusible otherwise noted by serg ing,
interfacing zigzagging, pinking, or turning ADD WAISTLINE PIPING
- XS/S/M - 5/s yd under edges of seams 1/a" and ml Fold the bias strip in ha l f WST. Place
- L/X L- 3/4 yd topstitch i ng. the cording in the middle of the bias
- WST=wrong sides together strip. With a zipper foot , stitch as close
- · 2 yd 1/s" cord for piping
to the cording as possible.
- · 2 yd 1" grosgrain ribbon CUT BODICE PIECES III Baste piping to bodice waistline,
- 18" regular zipper D Bodice Front: Cut 1 on fold using a zipper foot, so piping extends
- Thread to match fabric Bodice Back: Cut 2 just over the 5/s" seam allowance. A
- Chalk or marking pencil Front and Back Facings: Cut 1 front little piping will extend at both ends
facing from fabric and interfacing on of the zipper opening. This will be
t r immed later.

90
.. -----··· . ··-··---~
'if Stitch
how-to

ASSEMBLE SKIRT
llJ Sew the center back skirt seam to QUICK SKIRT PATTERN
the marked notch. Sew the skirt front to
The skirt for the Prettiest Party Frock
the skirt backs at the side seams. Edge
is a simple rectangle. You can use the
finish seam allowances and press open.
enclosed pattern pieces, or easily make
ill Gather the skirt waistline. Tip: to your own skirt pattern. Here's how:
gather, use a wide zigzag stitch over a
0 First, decide how long you \Vant
length of dental floss, stitching within
your skirt to be-24" is generally
the 5/e" seam allowance. Pull the ends
of the dental floss to gather the skirt.
arounciknee length on someone of
average height.
DJ Pin skirt to bodice, right sides
0 Nert decide ho\V \vide your skirt
together, and distribute skirt gathers
front needs to be. For a ga:t hered skirt,
evenly. The sample shows fewer
gathers at the dress front than the
I use <i.TatiO·of 2r/, to 1, meaning that
sides. Gather your dress according to the skirt wiJl be 21/2 times wid,er than
your personal preference. Baste skirt the waistfu1e and then gath.ered to fit
to bodice-continue using a zipper foot the waistline seam. So, ifyo·u hJve a 30"
to keep stitching close to the piping. \vai$t, divide that number by two (for
Tip: before the end of your basting, the front and back)-giving you t5".
trim cording from inside the piping to 8 For the Front Skirt piece, multi ply
just inside the seam allowance at the that by 2 11.. In this example is" x 2•/i
back seams to avoid bulk in the seam. will give you a skirt width of 37 1/,"
Finish basting to end of waistline. before seam allo\vances.
fE Check gathers to make sure you're 0 .-'\.dd1•1~· forsi.deseam alJO\vances, Hidden details- French darts and a waist
happy with them. Stitch again with a stay-enhance the fit of this dress.
sfs" to the top foT \Va.ist seam allO\VJnce,
regular stitch length. Trim waistline and 4" to the bottom for hem J1lowance. ri~ DOWNLOAD THE FULL-SIZE
seam and press toward the bodice. J ._ PATTERN FOR THIS PROJECT
0 Using your measurements, ~tout
AT SEWDAILY.COM
Bl Insert back zipper following the Skirt Front on the fold.
manufacture r's di rec ti ens.
G For the Back Skirt, use your same - 1/2
yd light- to medium-weight woven
ADD A WAISTLINE STAY starting measurements as the front, bu.t fusible interfacing
IE To finish the inside of the waistband add 2 1/1" to allow for both side and
- 2 yd 1/," twill tape
seam, pin the bottom edge of the center back seams. As forthe Skirt
F,ront, add s/i' for a waist sean1 allow- - Thread to match
grosgrain ribbon inside the waistband
aligning the bottom edge of the ribbon ance and 4" to the bottom for a heln - 24" invisible zipper
just inside the waistline seam. Trim allowance. - 6 yd lace hem tape
extra ribbon if necessary: tuck the 0 After you have detennined your - Opt;onal waist stay: 1 1/s yd of 1" wide
ends under the fold of the seam edge measurements, cut out the Skirt Back. grosgrain ribbon plus hook and eye
at the zipper. Handstitch the ribbon Cut this piece m bal[ to create Lhe back
inside the waistband. Handtack at side seam.
seams and zipper edge.
Bust Waist Hip
HEM YOUR DRESS
....
Q: XS 32-JJ" 25" 34'/r35'/1"
• ····-···----·---
fE Press up 2" on the bottom edge ~ s 34-35" 26-27" 36'/i-37'/,"
The Big Blue ::i:: M 36-37'/z" 2.8-39'/i" 38'h-40"
of the dress. Fold up an additional 2"
for the hem. Finish by hand using an
by AMBER EDEN u L 39-41 '/i" 31-33''1" 41 1/i:-43"
{from page 51} w XL 421/2-441/1" 341/2-361'1"
invisible slip stitch to hem the dress.

GRETCHEN rtGERTIE• HIRSCH is a


1 FABRIC in yd
- 45": XS-2 1/4, S-2J/s, M-2 5/a, L-27/e,
-
N
(/) Shown in size.Small
45-47"

contributing editorfor Stitch and a passionate


home sean1stress. She is the creator ofthe XL-2 7/a
popular sewing blog, Gertie's New Blog for - 60": XS-13/4, S-13/1., M-2, L- 21/a, NOTES
Better Set.uing. She teaches sewing in New York XL-2 1/, - First pin-then baste-then stitch.
City, around the country, on PBS's Tt's Sew This is the key to accurate sewing
Easy, and on Craftsy.con1. OTHER SUPPLIES for anything other than a straight
- Pattern, provided seam. })
91
·~····
sewdaily.com *
how-to

- Make a muslin sample as a test Turn up hem 1/2" press. Handstitch hem
garment. Adjust pattern as needed.
D Stitch the Front an d Back Facings at
shoulder seams, leaving center back using a blindstitch.
- Try putting the zipper in by hand with seam open.
a pick-stitch for a clean, couture AMBER EDEN islheeditorofStitch and
finish. A pick-stitch is sewn by hand
D Attach facing to dress neck, RST. SetvD,1i[J•.com She lo11t.'S t11l things sewing
like a straight stitch except the D Understitch neckline seam and and is 11 lifer student at Fashion Institute of
distance between the stitches is less turn facing to 1ns1de, tacking facing Tecltnology. She lives bctu1ccn Boston and
than the length of the stitch. When shoulder seams to bodice shoulder Huntington, New York, c1nd has threefar
finished it resembles a mach1ne- seams. F1n1sh fa cing edges with chilclrcn (nvo golden retrievers, plus a cat ivho
stitched line. a zigzag stitch or as desired.ISee thinks she is one) and a husband who dotes on
Glossary in Sewing Basics ) each oftht•m
- To keep the French dart bias line
from stretching, reinforce with illl Stitch sleeve seams. Run n basting
lightweight woven interfacing. stitch around the sleeve cap from back VISIT THE
- If needed, reinforce the waist, to front notches on each slcevo. Ease
shoulder seams, and neckline with sleeve cap to fit dress armhole. SEWDAILY.COM BLOG!
1
/4" twill tape Vis rt the SewDaily.com mBaste sleeves to armholes, RST, Want to learn a snazzy, easy seam
finish' Check out the Hong Kong
blog for more information. matching front and back notches,
shoulder seams. and side seams. ftn1sh on the SewDaily.com blog.
- Clip curves and grade seams as
Stitch sleeves to armholes 1/4" from You can also read more about the
needed.
edge. Stitch again using 1/2" seam pick-stitch and waist stays.
- Finish seam allowances with
allowahce.
preferred method. A Hong Kong
finish is a seam allowance that is STITCH SKIRT
enclosed wrth bras strips, usually
iB Stitch Skirt Front to Skirt Back at ---------···--··-·-···-···------··-·-···-
silk, a material whose fluidity keeps
side seams. The Business Edge
the seams from becoming too bulky. by KATRIN VORBECK
Serging, pinking, or zigzag stitching IEJ Stitch Skirt Back seam up to the
{from page 52}
are also good scam finishes. zipper opening as marked on pattern.
- Allow dress to hang 24 hours before ATTACH BODICE TO SKIRT FABRIC
hemming. Light· to medium-wetght suiting or
ID Stitch bodice to skirt at waist.
- All seam allowances are 1h" unless wool blend (shown · dark gray wool
otherwise indicated. 111 Insert the invistble zipper following blend of 55% wool, 450/o polyester).
manufacturer's dtrections. Suit fabrics or wool blends work best.
- RST== right sides together Optional: sew zipper 1n by hand with Because of the curved seams with
- For explanations of terms and a pick-stitch. Refer to Notes, above. piping accents, solid-colored fabric s
techniques, see Sewing Basics.
ill Optional waist stay: a waist stay w ithout pattern or direction are
CUT + MARK+ INTERFACE acts as a stabilizer and helps prevent recommended. Fabric needed, 1n yd:
the garment from sliding up or down. - 45". XS-2 1/s, S-2''•· M-21/4, L-23/a,
D Cut out all pieces as 1nd1cated on
To make a waist stay, use a 1" wide XL-2 1/2
pattern.
grosgrain ribbon. Cut to the desired
D Mark notches and darts.
- 60" XS-1 1/, , S-1 1/A, M-1 1/4, l-1 l/s,
waist measurement plus 1". Anchor
XL-2
El Fuse interfacing to facing pieces the waist stay by stitching to the
waistline seam. Fold each end under - 1 fat quarter accent fabric of each of
according to manufacturer's directions.
V2" and add a hook and eye Handstitch 2 colors, for piping !shown: quilting
STITCH BODICE the ribbon ends to the zipper tape. cottons. Fabric A turquoise, Fabric
D Stitch darts 1n Front and Back 8 · lime green). Cottons work well,
Bodice. Reinforce darts with fusible
HEM DRESS+ SLEEVES but for a more elegant look, you may
interfacing as needed. llJ Hang dress for 24 hours before use silk or satin.
hemming. You may also replace fat quarters
0 Stitch shoulder and side seams of
D!I To hem sleeves, press sleeve edge with readymade bias and cording,
bodice
up 1/2". then 1/2" again. Blindst1tch hem OR readymade piping (see amounts
D Staystitch neckline and waistline
in place for each color in cutting l1stl.
of skirt and bodice If your fabric
Lining 1n yd
has a lot of stretch, use twill tape 111 To hem the dress, pin or hand baste
to further stabilize . Cut the desired lace hem tape 1/," from right side edge - 45" : XS/S- 1 1/a yd, M- Xl- 17/a
l ength an d stitch just inside the of hem. Machine stitch lace In place. - 60": 1 1/4 for all sizes
seam allowance

92
..................
* Stitch
how-to

- 18" invisib le zipper


- Tailor's chalk or fabric marker
- Scissors or rotary cutter
- Invisible zipper foot
- Optional: piping foot or zipper foot
for your sewing machine

NOTES
- All seam allowances are 5/a" unless
otherwise noted.
- Hem depth is 2".
- Press seams after every step.
- When pressing curved seams. a
tai lor's ham is helpful. If you don't
own one, a hard stuffed pillow
will do , but make sure it's heat
resistant I
- For expla nations of terms and
techniques, see Sewing Basics.
- Pretreat the fabrics as the finished
garment will be cleaned (wash,
dry, iron, or dry-clean) to avoid
shrinkage after the garment is
sewn.
- As this dress has many seams, it
is recommended to make a muslin
Hand b aste the back seam so that the
first to check the fit. Because of t he piping matches perfectly.
seam lines, this dress can be easily
altered if your measurements are PREPARE THE PIPING
A tailor's ham is an extremely helpful tool between sizes- or to make other fJ Fold and very lightly press piping
for pressing curved seams. adjustments for a better fit. strips in half lengthwise, right side
of fa bric facing out. Insert the piping
CUT THE FABRIC
DOWNLOAD THE FULL-SIZE snugly into the fold of the prepared
PATTERN FOR THIS PROJECT
D Pin pattern pieces to fabrics as
bias strip. Pin or baste prepared piping.
AT SEWDAILY.COM shown in the cutting layout. Transfer
all pattern markings to the fabric. El Using a piping or zipper foot, sew as
close to the cord as possible, enclosi ng
From main fabric, cut on straight of
the cord in the strip. Use thread that
grain, one each:
matches the piping and a longer stitch
Bust Waist Hip A-Right Front length [3.5 - 4mm) . Repeat with all
t- XS 32-33" 25" 341/2-351/i"
ex B- Center Front piping strips.
~ s 34-35" 26-27" 361h-37V{
:c M 36-371/i" 22-39l/i' 381/i-40"
C- Left Front
SEW THE LINING
u L 39-411/i" 31-33%" 41 1h-43" 0 -Left Back El Sew all lining darts. Press bust
UJ XL E- Center Back
-
N
Cl)
421/z-441/( 341/i-361/i"
Center backleugth ls_35Yi"
Shownin s~e Small
45-47''
F- Right Back
From lining, cut on straight of grain:
darts down and waist darts toward
center front .
D With r ight sides facing, sew center
back seam closed. Press seam open.
Front Lining on fold
OTHER SUPPLIES Back Lining, 2 pieces D With right sides facing, sew the
- Pattern, provided right side seam closed.
From piping fabrics, cut bias strips:
- 43/4 yd piping cord, about 1/a" thick Fabric A: 1 1/2 yd long, 1 1/ 2" wide
D Sew the left side seam from notch
(omit if you are using readymade to hem. Press both side seams open.
Fabric B: 4 yd long, 11/2" wide
piping) D Pin a 3" hem in the lining and baste.
Cut piping cord a few inches longer Blind stitch hem. } }
- Sewing thread to match fabrics
than each fabric strip.
93
sewdaily.com *
how-to

iE Carefully press seam allowances seam allowances at th e zipper. Clip


to one side. Using thread to match the and trim seam allowances around the
piping , topstitch about 1/s" away from neckline and armholes.
piping, securing seam allowances. To Bl Slide your hand through the
reduce bulk, pull out piping cord a bit shoulder seams, grab the hem, and
where the piping meets an edge (hem. slowly turn the dress inside out. Press
armhole, shoulder) and cut it back so seam allowances toward lining, then
there ·s no cord in the piping fabric at press lining into dress.
the seam allowance.
EE Tu rn everything inside out again.
COMPLETE THE EXTERIOR Reach throug h the openings in the
iD Sew right side seam closed. Press shoulder seams of the lining and with
seam allowances open. right sides facing, sew shoulder seams
of exterior fabric closed. Press seams
Ell Following manufacturer's open.
directions, sew the zipper into the left
side seam. Stitch seam below zipper fEJ Sew shoulder seams of lining closed
and press seam allowances open. by hand. Press.

lD From the right side, carefully sew EE Sew left-hand seam allowances
a few stitches across the seam l ine of lining to zipper tape by hand or by
where the zipper ends to lock the end machine.
of t he zipper. mSerge or zigzag around hem edge of
dress.
BAG THE LINING+
E!I Hem dress. As the seam allowances
Clip curved seams to allow the dress t o FINISH THE DRESS and the piping add some bu lk, a
hang smoothly.
Bagging is the quickest way to line single-fold, blindstitched hem is
a dress (or j acket or vest). Once you
SEW THE EXTERIOR recommended.
have done it, you'll never go back to a
ll Serge or zigzag raw edges except
different technique again! Have fun wearing it!
the hem.
ID With right sides together and the KATRIN VORBECK is a passionate
D!I Sew dart on Piece D and press dress inside the lining, pin or baste the sewist--always learning and exploring. It's
toward center back. neckline and armholes of the lining the small details and the sin1ple design features
DI Pin Pieces D and E, right sides and dress together. Do NOT close that she loves most. An adrnitted fiberholic and
together. Stitch the center back seam . shoulder seams! bookworm, her sewing and knitting library
Press seam allowances open. is just as big as her stash. Visit her badly
IE Sew around armholes and neckline.
Begin and end sewing at the shoulder neglected blog at sew-mad.blogspot.com.
ADD THE PIPING
lE Baste piping to right side of the
fabric along seam lines of t he exterior
pieces: piping A to Piece C, piping B to
Pieces A and F. Align seam allowance
of piping with the seam allowance
of the exterior pieces. Tip : it's easier
when you clip the fabric of the piping
where it meets a convex [outside)
curve. Just ease the fabric to concave
!inside) curves.
iEJ Stitch the piped seams on the
front and back sides closed. Tip: this
might be the trickiest step, so take
your t ime. Basting the seams makes
it easier.
IIJ Clipseam allowances along
curves. Depending on the thickness
of your fabric you may want to t rim
the seam allowances of the piping .

.. _...................................
* stitch
how-to

:-=:x::
I

·--::;:
I
I

: -~
I

The smile is made b y topst itchlng a narrow


band of f leece; eyelashes are embroidered.

From stabilizer, fold ed widthwise, cut:


- One set of Template A (two pieces).
figure 1 Transfer strap and opening marks.
- One strip 29" x 5··.
- Sewing thread to match Fabrics B,
C, and D From Fabric B, cut: (sh own: red)
- Ballpoint sewing machine needle - One 4" x 7 1/2" strip
- Embroidery needle - Two 4" x 11" strips
Bonus instructions to convert this tote to a - One 4" x 12" strip
pillow are at the end of the next page. - Air- or water-soluble fabric marker
or tailor's chalk - Four 4" x 13" strips
j..
(~ DOWNLOAD THE FULL-SIZE
PATTERN FOR THIS PROJECT
AT INTERWEAVESTITCH.COM
- Optional: Polyester fiberfill for bonus
Hedgehog Pillow project.
- Three 4" x 13 1/2" strips
From Fabric C, cut: (shown: brown)
See instructions in Bonus Project box
on next page.
- One 3 1/2" x 1/a" strip
- One 1 1/k" x 1/s" strip
FABRIC FINISHED SIZE
- 1 yd anti-pill fleece or felt for body of Fold Fabric D widthwis e, and cut:
20" wide x 14" tall (23" tall with strap) (shown: white)
bag and straps (Fabric A)
- 1/2 yd anti-pill fleece or felt for quills NOTES - One set from Template 8
!Fabric Bl - All seam allowances are 1/2" unless !two pieces]
- For mouth detail: scrap of fleece or otherwise noted. Optional bow: from Fabric E, cut:
felt at least 4 1/2" x 1/a" (Fabric Cl - Trim and clip curves on all seams !shown: purple)
- For ear: scrap of fleece or felt at unless otherwise noted. - One 5" x 1" strip
least 3"x 3" (Fabric DI - For explanation of terms and - One 2 1/1o" x 1/s" strip
- Optional bow: scrap of fleece or felt techniques, see Sewing Basics.
MAKE THE BAG
at least 11/2" x 5" (Fabric El - RST =right sides together
To make the strap: place stabilizer
OTHER SUPPLIES CUT THE FABRIC on wrong side of fab ric strap.
- Template, supplied Fold Fabric A in half, and cut: Fold layers lengthwise RST. Stitch
1/2 yd firm stabilizer (Pellon Decor (shown: beige) the long edge with a •;, .. seam
-
Bond recommended) - Two sets of Template A (four allowance. Trim edge and turn strap
pieces). Transfer strap and opening right side out. Topstitch 1/s" along
- 1 large porn-porn (2" diameter) for both long edges.
nose marks to both pieces. Trace face
and quill markings to one side of To make the quills: take the
- Embroidery floss for eye (to match outer bag. 4" x 71/2" strip of Fabric B and fold
Fabric Cl lengthwise with wrong sides facing.
- One strip 29" x 5" for Strap
Starting at back end of the marked

••
95
..
sewdaily.com *
how-to

outer bag piece, place fold along the a gap at the top between the large
qu ill marking line and pin so that there dots. Double-stitch over straps fo r School Days
is 1/2" on either end of quill [for seam reinforcement. Trim around edges and Teacher's Set
allowance when bag is sewn together]. clip curves. by JUNE MCCRARY JACOBS
Stitch down quill strip 1/a" from fold. D Place bag lining pieces together {from page 54}
Cut 1//' w ide fringe- be careful to stop with RST. Stitch together up to large
just before seam. (figure 1) Repeat with
dots. leaving a 3" opening at the
remaining quill strips [see photo on bottom for turning in Step 9.
facing page]. working in rows from the
back toward the head, in the following llJTurn outer bag right side out.
size order: 4" x 11", 4" x 12", 4" x 13'', Insert into bag lining, so that right
4" x 131/2", 4" x 131/2". 4" x 13 1/2", side of outer bag and lining sections
4" x 13", 4" x 13'', 4" x 13", 4" x 11 ''. are facing. Pin the top opening edges
together. Stitch around opening. Trim
D Place 31/2" x 1/a" strip of Fabric C as
raw edge and turn bag right side out
the longer Smile Mark and topstitch in through the bottom opening in lining .
place. Place 11/4" x 1/a" strip of Fabric C
along the shorter Sm ile Mark Corner ml Sew lining open ing closed by hand
and topstitch into place . with a slip stitch and insert into bag.
Handsew porn- porn nose in pl ace-
D Hand- embroider eye and eyelashes sewing it through all layers will he lp
with embroidery floss using a keep the lining in place.
backstitch. [See Stitch Glossary in
Tote is now complete! Children can participate by learning t he
Sewing Basics). basic embroidery stitches needed.
D With RST. sew Ear pieces around CHERYL BUSH is a selftaught designer
cu rved edge with a 1/4" seam allowance. and mother ofthree. She writes a crafting
FABRIC
- 3/syd of 44" wide 100°/o cotton fabric
Leave straight side open. Clip around blog at sewcando.blogspot.com and offers
curve and turn right side out. Fold open her custon1 wearables, plushes, and patterns [shown: red - and-white gingham
edges inward and topstitch around check]
at thegreenhedgehog.com She also creates
entire Ear 1/a" from seam. Place Ear original projects for Tin1eless Treasures and is - 9" x 12" scrap of 100°/o cotton flannel
piece behind second row of quills as afeatured artist on PellonProjects.com. fabric [shown: black]
marked on pattern Template and stitch - 16" x 6" scrap of wool felt
along straight end 1/a" from edge to [shown: red)
secure.
D Optional Bow: With RST on 5" x 1"
OTHER SUPPLIES
strip of Fabric E, fol d widthwise and
BONUS PROJECT - Embroidery template, supplied
FUZZY HEDGEHOG PILLOW 3/s
stitch raw edges of short side together - yd of 44" wide cotton batting
with a 1/4" seam allowance. Trim seam - 3 buttons, 15mm diameter,
allowance and turn the loop right side [shown: white star- shaped )
out. Cut a sideways V- shape on the top
- 2 buttons, 15rnm diameter.
and the bottom to create a bow. Wrap
[shown: red heart- shaped ]
21/4"X 1/a" strip of Fabric E around the
center to pinch the loop into a bow. - Thread : machine quilting, and perle
Handstitch the ends together and t ri m. cotton
Handstitch bow in place, just behind - 2/3 yd of 3/a" satin ribbon [shown: red)
the first row of fringe and in front of - l/3yd of 3/a" satin r ibbon
the ear. [shown: white)
To t urn the Fuzzy Hedgehog Tote
D Following manufacturer's into a pillow, repeat Steps 1- 6. - 11/4 yd of medium r ickrack trim
instructions, fuse stabilizer to wrong Then pin the prepared front and [shown: white)
sides of both outer bag fr ont and back back sections of the Hedgeho g RST, - Spiral-bound journal [journal used
pieces. Place bag front and bag back leaving a 4" opening at the bottom for sample measures 6" x 8 1/2".l
pieces together with RST. Insert strap for stuffing. Stuff the pillow-start
in between the right sides, with the raw - Rotary cutter, rigid acrylic ruler,
with the head and t hen fill up t he
ends of the strap between the marks self- healing mat
rest of the body. Tuck in opening
on either side of the opening. Pin all used for stuffing and slip stitch - Embroidery needles
layer s toget her. Stitch along raw edges closed . - Pinking shears
with a 1/2" seam allowance. Leave open
- Fabric glue stick

.......96
····-···-~---·

* stitch
how-to

iE Pin wh ite rickrack trim across


journal cover at upper and Lower edges
at about 1 1/ 4 " from the top and bottom
edges. Sew down the center of the trim
using white thread.
iEJ Pin journal cover pieces together in
the follow ing order, from top to bottom:
Wrong -side front, right-side lining
[second gingham rectangle). batting.
ilJ Sew around all edges of journal
cover, leaving a 5" opening on the
bottom edge of the cover fo r turning.
IE Trim corners and turn to right side.
Using a decorative stitch adds definition to the bookmark. The journal cover is attached to
the outside of the journal cover and the inside f lap with fabric glue. Fold raw edges of open ing to inside,
slip-stitch opening closed, and press.
- Non-permanent method of 1:1 From black flannel fabric, cut one
transferring embroidery charts to 5" square for journal and one 21/2 " x 5"
ED Topstitch /1." from edge around
1

black flannel [designer used chalk strip for bookmark. entire cover usi ng red machine qu ilting
wheel] thread.
I] From red wool felt fabri c, cut two
3" x 6 1/2 " strips for bookmark and two in Press again. Now, center cover on
FINISHED SIZE journal. Glue cover securely, beginning
- Journal cover: 20 1/2" x 8 1/ 2" {flat) 2 1/2" squares for bookmark charm.
at the spine and working toward the
- Bookmark: 21/2" x 12" [including D Cut white rickrack into two equal front and back ends of the journal
charm) lengths based on journal length edges. Then fold and glue the flap to
measurements [from Step 21. the inside. Allow glue to dry thoroughly.
NOTES
- All seam allowances are 1/2" unless SEW JOURNAL COVER SEW BOOKMARK
otherwise noted. D Transfer embroidery chart for ill Follow Step 8 above and embroider
"School Days" text to center of th e "ABC" text on black flann el strip for
- All topstitching was sewn with
5" black flanne l square. Stitch words bookmark.
multicolor machine quilting th read
using white perle cotton and a running
and a decorative stitch.
stitch . (You can encourage your child
iD Trim along raw edge of black flannel
- Buttons were sewn on with perle strip [2 1/ 2" x 5") with pinking shears.
to practice th is beginning stitch by
cotton. Pin strip to center of one 3" x 6 1/2" red
stitching the words on this flann el
wool felt strip.
- Measure journal accurately before square.)
cutting fabric, using instructions in Eli] Stitch around edge of black strip 1/a"
D Pin squa re to center front of
Steps 1 and 2. from edge using red thread.
journal cover. To determine the
- A small-scale cotton print would center of the jou rnal, fo ld your outer ED For bookmark charm, sew a star
also work well for this project. journal rectang le in half. Center this button to the center of a 21/2" red wool
halfway mark on the center of the felt square. Fold white satin ribbon in
MEASURE JOURNAL spine of the journal. Tuck under the half and insert about 1" of ribbon end
D Measure journal height from upper flap to the inside for placement to pin between the two 2 1/ 2" red wool fe lt
to lower edge. Add 1" to this number the embroidered square on the front squares, pinning securely.
for height cutting measurement. center panel. Baste square to gingham IE Stitch around all edges of red felt
D Measure journal width from right an 1/a" from ou ter edge. squares at 1/2", using wh ite mach ine
front edge around spine to back left iE Pin red satin ribbon over edge of quilti ng thread.
edge and record measurement. Add black flan nel, fold ribbon corners for a
81/2" to this number for Length cutting
ED Insert about 1" of the oth er end of
smooth border. Stitch around outer and the ribbon loop between two layers of
measurement. inner edges of ribbon using red thread. the 3" x 6 1/2" red wool felt strips and pin
CUT OUT FABRIC mSew two star buttons and two heart securely. [Make sure the button side of
buttons in alternate corners of black the charm is fac ing the same direction
El From gingham or print fabric: cut as the "ABC" side of the bookmark).
two rectangles using measurements flannel applique using white perle
from Steps 1 and 2. cotton . [This is an opportunity to teach Ila Repeat Step 22 above to stitch the
your ch ild how to sew on a butto n.) two red felt rectang les together.
El From batting: cut one rectangle
using same measurement. })
97
sewdaily.com *
~
O OILCLOTH PLANT HOLDERS El EMBROIDERED GUITAR B FLAPPER· INSPIRED FELT 0 THE FASCINATOR
by CAROL ZENTGRAF Project p hoto on STRAPS by MADELEINE ROBERG Proj- HAT by APRIL MOFFATT Project photo on by ALEX SUDALNIK Project photo on page
p;igq 64; instructions on pag<,>TI1. ect photo on page 61: instructions o n page 106. pag~ 77; instructions on page 136. Z4; instructions on P.age 133.

,. •
I

• •

0 UPCYCLED DENIM i1iJ SCHOOL DAYS TEACHER'S mEMBROIDERED iB HARVEST PLACEMATS


by SUSAN LIU Project photo on page 62;
MESSENGER BAG by BETZ WHITE SET by JUNE MCCRARY JACOBS OCTO·CLOCK by STEFANIE
Project photo on i:fa>ie 67; instructions on Project photo on page 54: instructions on BERGA NINI Project photo on ~age 66: instructions on page 108.
page 11ll. page 96. instructions on p1ige TIS.

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0 COLORFUL CLOTHING 1J FABRIC ROSEBUDS 1J MOO NEWSBOY HAT [I SLOUCHY CASHMERE HAT
DIVIDERS by JENNIFER RODRIGUEZ by TOMASA JIMENEZ Project photo and by JENN RHOADS Project photo on page 78; by SIGRID ARNOTT Project photo on p9gc
Project photo on .P.<l9C $7; instructions on P<>9e 100. instructions on page 2!1. instructions on page 13". 75: instructions on page 134.

IEQUICK FAUX SASHIKO i1J EMBROIDERED MARY Im FLOWERING FLEECE + FELT III EMBROIDERED CRITTERS
PILLOW by COREY YODER Project photo JANES FOR BABYby APRIL HAT by STEPHANIE SMITH Project photo by HEIDI BOYD Project photo on
on page 60: instructions o n pag~ 10!!. MOFFATT Project photo on page 63; on page 76: instructions on page 135. page 65; instructions on page n2.
instructions on P<l9.e no.

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PATTERNS + TEMPLATES f.J)


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how-to

EB Trim around edges of the charm and If your loca l fabric store does not iiiJ Fold up the bottom of the Snack
the bookma rk with pinking shears. carry it, check online. Bag. using dotted Fold Line A on the
Some supplies used were: Coats & Clark - 3" hook and loop tape [for two Snack Template as a guide.
thread, Dill Buttons of America Inc., Bags) mBefore stitching the binding to the
Warm & Natural Batting. outer edge, fold under 1/2" of binding
FINISHED SIZE at one bottom corner. Then continue
JUNE MCCRARY JACOBS's original - Small: 6 1/ 2" x 4 1/2" [folded) to bind the sides a nd the curved top
designs and articles have been published in - Large: 8" x 5 1/2 " {folded) using the same method as in Step 9.
sewing and crafting rnagazines in the United Fold under the last 1/2" at the e nd of the
States and the UnitedKingdoni. Lastyear, her NOTES binding before finish ing your binding.
Tic·Tac-Toe Travel Ganze wasfeatured in Fabric- - The construction methods fo r the
by-Fabric: One-Yard \\Tonders. small and the large Snack Bags are iEI Fill with snacks, fold down the top
the same. on Fold Line B, and off you go!
Snack Bags - If you have fabric with words or ROSEMARIE DEBOER is the assistant
by ROSEMARIE DeBOER other di rectioncil patterns, test the editor at Stitch rnagazine and recently moved
{from page SS} layout before trimming the corners. from 1-\Thite Sox to Red Sox territory. Her love
- WST =wrong s ides together for her hon1etown baseball team and all her
fabric came with her.
CUT FABRIC
------------------------~----------------
D From Fabric A [small Snack Bag
Body). cut a rectangle 61/2" x 14". Night Critters Vest
by TINA LEWIS
El From Fabric B (large Snack Bag
Body). cut a rectangle 8" x 18". {from page 56}

D From PUL, cut a rectangle 6 1/2" x 14"


and one 8" x 18".
0 From remaining quilting cotton, cut
enough 2" bias strip to make 36" length
for the small Snack Bag and 45" length
for the large Snack Bag.
ADD THE BIAS BINDING
D Create double-fold binding from the
W aterproof PUL fabric m akes Sn ack Bags bias strips. [See Create Binding section
practical for either crackers or carrots. in Sewing Basics).
[I Layer the Snack Bag Body WST
C:~ DOWNLOAD THE FULL·SIZE
J~ PATTERN FOR THIS PROJECT with the PUL. Pin together in the seam
• AT INTERWEAVESTITCH.COM allowance to avoid puncturing the PUL
fabric. Recycle wool from an outgrown coat-j ust
check for fabric f laws b efore cutt ing.
D Trim the rounded corners on
FABRIC both Snack Bags as shown on the
Cotton quilting fabric: Templates. (i · DOWNLOAD THE FULL-SIZE
- Fabric A: V2 yd for small Snack Bag J~ PATTERN FOR THIS PROJECT
ll Cut the hook and loop tape into 11/2" . AT INTERWEAVESTITCH.COM
Body and bias binding for large pieces. Stitch the loop portion to the
Snack Bag PUL side and the hook portion to the
- Fabric B: 1/2 yd for large Snack Bag FABRIC
fabric side as labeled on the Templates.
Body and bias binding for small - S/s yd of 54- 60" wide blue wool
Snack Bag
ll Stitch the contrasting double-fold melton or similar soft, dense,
binding to the short, straight edge of coat-weight woo l [will make all
OTHER SUPPLIES each Snack Bag as fo llows: unfold sizes of the vest)
- Snack Bag Templates. supplied the bias binding and align one long - 5" x 7" pieces of wool felt for the
raw inside edge to the PU L side of
- 1/3 yd PUL fabr ic. PUL is fabric appliques in the following colors:
the Snack Bag. Stitch along the first
that has been laminated with a Moon: Yellow
fold . Fold the tape up and over the raw
waterproof backing. It is soft, edges to the inside and topstitch close Bats: Dark gray
flexible, and can be machine washed to the second folded edge.
and machine dried on a low setting . Armadillo: Purple

98
"if Stitch
how-to

Porcupine: Orange
Snake: Red, plus scrap of blue- green ~ ---
for t he spots
Lizard: Yellow- green, plus scrap of
orange for the zigzag
Raccoon: Light gray, plus scrap of white
for t he face and dark gray for the
face and tail stripes
- 3/4 yd r ed cotton for the bias binding

OTHER SUPPLIES
- Templates, supplied
1/ 3
A b ias tape maker gives you the freedom
- yd paper- backed fusible web for to make binding in any color you want.
the appliques [Wonder Under or
similar product] - The vest can be made from recycled Take the time to start and stop your
embroidery stitches neatly.
wool from an old coat. Have the wool
- 14" YKK #5 brass separating zipper
[see Sou rces at end of article] cleaned and inspect the fabric for
flaws or holes. The vest can also be With RST, sew the strips together with
- Cotton sewing t hread to match made from heavy corduroy, den im, 1/4 " seams to make 3 3/4 yd. Press the
the vest fabric and each applique or real suede. seams open . To make the binding, draw
fabric
- Because of the thickness of the strip through the bias-tape maker,
- 6- strand embroidery floss: wool, it is easier to take the tiny pressing the binding as it emerges.
Moon: Yellow-orange for all markings whipst itches and backstitches [See Diagona l Seams fo r Joining Strips
Bats: Black for all markings needed for the appliques by using in Sewing Basics.I
the stab- stitch method of stabbing D With RST, unfold one long edge
Snake: Black for eye, red for tongue,
the needle down through the fabric
light gray for spots of the bind ing and pin the r aw edge
and back up from the wrong side. to the lower edge of the vest, having
Lizard: Black for eyes and nose, or ange
- Wool re sponds to pressure and edges even. Stitch a 1/4" seam, easing
for zigzag
steam and requires a press cloth the binding along concave curves and
Raccoon: Black for eyes, nose, inner to prevent imprinting. Pressing the stretch ing it slig htly along convex
ear and claws; wh ite for ears and snout seams is easier when using a seam curves. In the same manner, stitch
Armadillo: Black for eye, ear, and roll. Always allow steamed wool to t he binding to the neckline, easing the
claws; light gray for all markings dry in place. binding around the curve. Stitch the
Porcupine: Black for eye, ear, mouth, - RST =right sides together binding to t he armholes, beginning and
and claws; orange for quills and ending at the underarm seams . Turn
w hiskers; two coordinating lighter CUT FABRIC the end of the binding 1/4" to the wrong
shades of orange for quills. D Trace the front and back pattern side at the start and lap the binding· 1/4"
pieces along the lines for the desired size. over the turned edge at the end. Ease
- Small, sharp embroidery scissors
Pin to the fabric and cut out. Cut napped the binding in around the armhole as
- 3/4" bias tape maker (Clover #18] fabrics with the front and back in the you stitch .
- Press cloth same direction w ith the nap going down. D Press all t he bindings away from
- Handsewing and embroidery the vest. Turn the bindings to the
SEW THE VEST
needles wrong side. Roll the seam out to the
fl With RST, pin vest fronts to vest edge and stab-st itch baste t hroug h
FINISHED SIZE back at side seams and shoulder all thicknesses 1/a" from all bound
Children's sizes 3, 4, 5, and 6 seams. Sew seams with a 1/2" lapped edges to hold in place. Press all of the
[chest 22-25") seam as follows: stitch the seams, basted edges. Handstitch the armhole
then trim the back seam allowance to bindings together at the underarm
NOTES 1/4". Press the seams toward the back.
seam . From the wrong side, topstitch
- Seam allowances are 1/2" at the Topstitch the seam allowances 3/a" from the bindings 1/a" from the folded edges.
shoulder and side seams and 1/4" t he seam lin e, enclosing the trimmed Remove the basting stitches.
on the bound edges- for the neck, seam allowance.
front, armho les, and hem. INSERT THE ZIPPER
PREPARE+ STITCH BIAS BINDING
- Use 3 strands of embroidery floss D Tightly fold the tops of the zipper
for all embroidery. El Cut 11/4"
bias strips from the binding tape to the wrong side at an angle just
fabric, trimming the ends diagonally.
>>
99
sewdaily.com *
how-to

D Remove the paper backings from the edges of the appliques- the
the applique details only- 12 snake raccoon claws , armad illo claws, and
spots, 2 raccoon face pieces, 6 raccoon porcupine whiskers and claws in
tail stripes, and the lizard zigzag. straight stitch; the snake tongue and
Referring to the applique patterns, the porcupine quills in backstitch;
fuse the snake spots, lizard zigzag, and and the porn - porn on the moon cap in
raccoon tail stripes in place according satin st itch.
to the manufacturer's instructions. Resource: Brass separating zipper
Fuse the raccoon face and white face available from zipperstop.com.
stripe in place, slipping the face under
t he stripe as indicated . Remove the TINA LEWIS is a designe1; writer, stylist,
paper backings from the rest of the and seamstress. She designs sewing and
appliques. needlework projects, quilts, and clothing for
niagazines, books, shops, and private clients.
ml Using thread to match the applique
She especially loves to create children's clothing.
details, stitch the snake spots. the
Applique details and critt er bodies are Tina lives on top ofa mountain in Park City,
fused in place before st itching. zigzag , and the raccoon tail stripes
Utah tinalewisdesigns@gn1ail.com.
and face pieces in place using a tiny
whipstitch.
above the zipper stop on both sides.
Handstitch the tape in place and trim
mReferring to the applique patterns Colorful Clothing
and the photos, work the embroidery
off any excess. Unzip the zipper. With
within the edges of each applique. Dividers
RST. baste the edge of each zipper by JENN IFER RODRIGUEZ
tape 1/a" from the vest front edge. The fvfoon: Backstitch for the mouth, eye,
{from page 57}
bottom of the zipper and the top of and cap stripes.
the zipper stop should be 1/4" from the Bats: French knots for the eyes,
bottom and top of the front edges. backstitch for all other markings.
D Unfold one edge of the binding and, Snake: Straight stitch for the eye, gone
RST, pin the edge to the vest right front over 4 times; backst itch around the
edge, sandwiching in the zipper tape, inside edge of each spot.
and extending the binding 1/2" at the Lizard: Straight stitch for the eyes.
top and bottom. Stitch the front edge gone over 4 t imes; backstitch down
using a 1/4" seam, catching in 1/a" of the the center of the zigzag; 2 lazy daisy
zipper tape. Press the binding away stitches for the nose.
from the vest and fold the binding to
Raccoon: Straight stitch for the eyes,
the wrong side. Turn in the top and
bottom binding ends and handstitch
to the neck and hem bind ing . Pull the
gone over 4 times; backst itch for the
ears and tail stripes; satin stitch for the
nose, inner ears, and snout.
,
zipper out from the seam and baste
through all th icknesses of the front Armadillo: Straight stitch for the eye,
gone over 4 t imes; French knots for the Fusible interfacing g ives these clothing
and the binding close to the zipper. dividers stability for daily use.
Press. From the wrong side, topstitch dots; backstitch for all other markings.
the bindings 1/a" from the folded edges. Porcupine: Straight stitch for the eye, FABRIC
Remove the basting. Repeat for the left gone over 4 times; straight stitch for Makes 5 cloth ing dividers
side. the mouth and ear.
- 6" square of five different cotton
PREPARE THE APPLIQUES COMPLETE THE VEST solid fabrics for front of dividers
IJ Trace reversed applique Templates IE Arrange the embroidered appliques - 6" square of five different
and applique details on the paper side on the vest, referring to the applique coord inating cotton print fabrics for
of fusible web. Cut out a rectangle patterns and photos for placement. back of dividers
around each traced image. Fuse each Fuse appliques in place according to
OTHER SUPPLIES
rectangle to a same-sized piece of manufacturer's instructions. Using
- Template. supplied
wool felt following the manufacturer's thread to match each applique, stitch
instructions. Using small, sharp the appliques to the vest using tiny - 1/3yd of medium-weight fusible
embroidery scissors carefully cut out whipstitches. interfacing
each paper- backed applique piece iE Referring to the applique - Thread in coordinating colors
along the pencil-traced lines. patterns and the photos, complete - Skein of size 5 perle cotton, black
the embroidery that goes beyond

100
'if Stitch
how-to

side of cotton solids. Center each day


(':~ . DOWNLOAD THE FULL-SIZE
above the divider line .
.) . _ PATTERN FOR THIS PROJECT
D Thread an embroidery needle with · AT INTERWEAVESTITCH.COM
a Length of black perle cotton. Tie
a small knot and bring the needle FABRIC
up from the wrong side of the fused - 1 yd solid cotton fabric: Bunny Body
fabric. Using a backstitch, embroider [shown: bright pink]
the weekday letters. [For embroidery - 1/4
yd each of four coordinating
inst ructions, see Stitch Glossary in cotton prints or solids: Pieced Stripe
Sewing Basics.] Section
COMPLETE THE - 1 1/2 yd of quilting cotton: Backing
CLOTHING DIVIDERS Panel [shown: animal print]
If you've sewn garment s for your children,
it's fun to use the scrap s for the backing.
D Cut along the marked dividing lines. - 1/4
yd of coordinating quilting cotton:
D Using the curved safety pins. baste Backing Panel [shown: teal)
the embroidered divider fronts to the - 6" square of felt for eyes and mouth
- Embroidery needle
coordinating cotton print backs w ith applique [shown: white]
- Air-erasable fabric marker
wrong sides together. Be sure that the
- Quilter's curved safety pins divider split Lines are lined up. OTHER SUPPLIES
- Templates for Ears. Face, and Paws.
- Fray Check D Machine sew the dividers together
provided
with color-coordinated thread and
FINISHED SIZE bobbin with a tight satin stitch around - 1 yd of 3/4" fusible hook-and- loop
5 1/2" diameter tape
the outside edge, along the divider slit,
and around the interior circle. - 6" square of fusible web
NOTES
- To reduce fraying. treat edges of D Press cloth ing dividers. - 12/3 yd of 90" wide cotton batting
fabric with Fray Check after cutting - Polyester fiberfill for pillow
fabric. JENNIFER RODRIGUEZ quilts, stitches,
and wrangles her two adorable daughters in - Polyester machine thread
- Fusible interfacing provides stability vVest Jordan, Utah, with her sweet husband. - Quilt basting spray
for the embroidery and helps Visit her at allthingsbelle.blogspot.con1 and
ma intain the divider's shape while
allthingsbe/le.etsy.com. FINISHED SIZE
on the clothing rod. - Main body: 25 1/2" x 48"
- Embroidery is done by hand and - Including ears and paws. 34" x 66"
does not require an embroidery Bunny Nap Roll NOTES
hoop. by JENNIFER WOLAK
- All seam allowances are 1/ 4" unless
- Younger children who want to {from page 58}
participate but cannot yet write. otherwise noted.
could dood le an image on each - RST=right sides together
divider.
CUT OUT FABRIC
.CUT THE FABRIC D Fr om the solid fabric for the Bunny
D Cut the following using Template A: Body, cut one rectangle each:
- 5 pieces from the 6" solid cotton - 22 1/2" x 26 1/2"
fabric squares [fused to interfacing - 91/ 2" x 26 1/2"
in Step 2]
D From the coordinating prints. cut
- 5 pieces from the cotton print four rectang les:
D Following manufacturer's - 51/ 2" x 26 1/2"
inst ructions. iron the fusible
- 21/2" x 26 1/2"
interfacing to the wrong side of the
cotton solid fabric . - 6 1/ 2" x 26 1/2"
- 41/2" x 26 1/2"
EMBROIDER THE DIVIDER FRONTS
D With the air-erasable fabric marker,
D For the Backing Panel, cut:
print in freehand the days of the school - 1 1/ 2 yd of Backing Panel A to
Hook-and-loop t ape on t he ears and b ack 42" x 26 1/2"
week and the divider line on the right of the nap roll m ake t his bunny portable.
- 1/4 yd Backing Panel B to 7" x 26 '12" }}
101
sewdaily.com *
how-to

Rolled up and ready for travel or storage.

The bottom section is stuffed with polyfill for a built-in pillow.

up at one end on the stack of batting the next strip and pin. Sew along this
with the 26 1/2" edges as the sides of seam, then fold down, and press.
the bunny's head . [The batting will IE Continue in th is fashion until the
be larger than the body of the bun ny. four coordinating strips are sewn
The eyes and smile are fused, then stitched.
Place the fabric so that there is a 1"
down . For the last row, use the smaller
margin of batting showing at the top rectangle piece of the main solid fabric.
and sides of the main solid fabric piece.
IJ Print the Temp lates for the Ears and ADD THE EARS+ PAWS
Paws. Cut four each ot th e ea rs and D Next, place the first strip of the
paws from the Bunny Body fabric. coordinating prints over the solid fabric iE Using the Templates provided, cut
piece [the bunny's head) wrong side two Ears and two Paws from the piece
PREPARE THE BATTING up . Line up the bottom edge of the of quilt batting you set aside earlier.
D Cut a 6" x 90" strip of batting and solid fabric with the bottom edge of the Im To construct the Ears and Paws, make
set aside for the Ears and Paws. coordinating print and pin down. a stack with a layer of the batting on the
D Cut remaining piece of batting into l11l Stitch along this bottom edg e with a bottom, topped with two of the pieces you
thi r ds - each piece will be 30" x 54". 1/4"seam allowance, catch ing the two cut earlier from the solid fabric.
layers of fabric and the three layers Gl Pin these RST and sew around the
D Stack the three pieces of batting one of batting. Fold down the coordinating
on top of the other, smoothing each edges, leaving the bottom edge open.
print so that the print fa bric is now Trim the excess batting and clip as
flat. Spray baste together.
right side up. Press the seam flat. necessary.
CONSTRUCT THE FRONT mRepeat this process using the next IIJ Turn the Paws right side out, so that
OF THE BUNNY print from Step 2. Place the next printed the batting is inside and the solid fabric
ll Usi ng t he stack of batting as the strip of fabric on top of the first pri nted becomes the front and back of the Paws.
foundation! place the larger rectangle fabric, RST. Line up the bottom edge of Press and topstitch around the edges,
of t he solid Bunny fabric right side the first strip with the bottom edge of

102
* stitch
how-to

again leaving the bottom edge open. Do fD Fuse t o the solid main fabric for - 13/4 yd cotton print for backing
this for both Ears and both Paws. the bunny's face. Topstitch the felt [enough for chalk cloth play mat and
appliq ues in place. four sitting mats)
IE Align the Ears and Paws on t he
bunny base. I placed the outer edge - 1 1/2 yd cotton for border- single
FILL THE PILLOW fabric or a combination of scraps
of the Ears 6" in from the ends of th e
Ii.Ill Stuff t he bot tom segment with
head and t he Paws directly above the - 3/4 yd cotton fabric for binding
fiberfill fo r the pillow.
striped section. Lay them so that the
open edge lines up w ith t he edge of EE Tuck in the opening edges 1/ 4" and OTHER SUPPLIES
the bunny body, as if they were folded slip-stitch closed. - 1 1/ 2 yd batting
inward . Pin in place. - Coordinating thread
ATTACH THE
ATTACH THE BACKING PANEL HOOK-AND-LOOP TAPE FINISHED SIZE
II] Sew toget her the 7" x 26 1/2" Backing Elli Cut the loop side of hook-and -loop - Play mat: 41 1/2" square
Panel B and the 42" x 26 1/ 2" Backing tape into two 17" pieces, trimming
- Sitting mats, each: 10 1/4" square
Panel A to construct a f inished Backing one end to a point. Line up on the
Panel that measures 48 1/2" x 26 1/2". center front of the ears and fuse down NOTES
following manufacturer 's instructions . - Seam allowances are 1/4" unless
1IiJ Place t his Backing Panel on top of
Topst itch in place. otherwise noted .
the Bunny Body, RST.
l!Cll Sew around the edges. Start sewing
ED Roll up the bunny, starting at the - Press seams open.
pillow end, wrapping the ears around
about 1" above the bottom edge on - Do not use pins with the chalk
the ro ll. Mark where the ears line up
the left- hand side and sew around the cloth- they will leave holes.
w ith the back of the quilt.
entire rectangle, stopping 8" from the - Do not iron the front of the chalk
bottom on the right- hand side. Th is EE Place two shortened str ips of t he cloth. The back can be lightly
will leave a 7" opening on the bottom hook side of the tape where it lines up
pressed w ith a warm iron.
right side t hat you wi ll use to turn the and fuse down. Topstitch in place.
- Before writing on the chalk cloth,
shape r ight side out and to later add
JENNIFER WOLAK biogs about condition it by coloring enti re area
the stuffing for the pillow.
quilts, sewing, and other randornness at w ith the side of a piece of chalk and
Ell Trim away any excess batting. blempgoif.blogspot.com then wiping clean.
III Through the open ing , turn right - Chalk cloth can easily be cleaned
side out, pushing out t he corners as w ith a da m p cloth.
needed. Chalk Cloth Play Mat + - RST-= right sides toget her
QUILT THE NAP ROLL Sitting Mats
by LISA L. ANDERSON CUT THE FABRIC
IE Sew a line of stitching at the bottom D For the play mat , cut the following
of the Pieced Strip section, where it {from page 59}
pieces:
meets the solid fabric of the bottom
rectangle. Do not qui lt below this line - From chalk cloth, one piece
of stitching; this section w ill be stuffed 30 1/2" x 30 1/2"
as a pillow. - From backing, one piece 44" x 44"
E?J Above this line of st itching, qui lt as - From batting, one piece 44" x 44"
desired to ensure the top layers and - For scrappy border [as shown).
the backing fabric are qui lted together. 21/2" squares, cut 196
I qu ilted using horizontal str ipes at - OR solid border, two 6 1/2" x 30 1/2"
uneven 3- 5" widths apart. Backstitch strips PLUS two 6 1/2" x 42 1/2"stri ps
at t he begi nning and end of your rows
to help secu re the qui lting . - From binding fabric, seven st rips,
each 2 1/2" x width of fabric
APPLIQUE EYES+ MOUTH To Make Four Sitting Mats:
fD Iron the fusible interfacing to - For mats, one hundred 21/2" squares
the felt, following manufacturer's
I - From backing , four pieces, each
instructions.
Pin chalk cloth in the seam allowances or 11 1/2" x 11 1/2"
fII Trace t he Face Tem plate onto the use clip s to avoid m aking perm anent holes.
- From batting , four pieces, each
felt and cut.
11 1/2" x 11 1/2"
FABRIC
- 1 yd cha lk cloth
>>
103
sewdaily.com *
how-to

, .
, ,,
' ''
,, '
' '
'
'

,
'' '
I , '
'.
' I '
'
' I ,,
' ,,
figure 1

Again, stretch the cotton border as you


sew.

FINISHING
D For both play mat and all four
sitting mats, create a quilt sandwich
by layering the backing [wrong side
up), batting, and assembled top (right
side up). Baste with safety pins every
2" on border secti on only. Due to the
nature of working with two different
fabrics numerous safety pins are
If you use a wide variety of prints for t he scrappy border, you can play I Spy.
required for the fabric to lie flat for
quilting .
- From binding, four strips, each nine-patch blocks with a four-patch iil1
Quilt as desired on border section
2 1/2" x width of fabric block on each end. only of play mat and sitting mats. The
sample is quilted in straight lines with
PIECED BORDER AND 1:1 Sew the remaining ten nine - patch
white thread using a walking foot.
SITTING MATS blocks into two rows of five blocks
0
For the pieced border, you will need
each. mTrim the batting and backing to
match the play mat top. Trim corners
to sew nine- patch blocks and four- D For each sitting mat, sew twenty-
at a 45 -degree angle. (figure 1)
patch blocks using the 21/2" squares. five 21/2" squares into a block with five
To create the nine- patch block, place squares across and five down. Use the iD Trim the batting and backing to
two squares RST and sew one side. same piecing techniques as in Step 2. match t he sitting mat tops.
Add a third square to your chain of IE Join the binding strips to create a
two. Repeat to create two more rows of SEW BORDER TO CHALK CLOTH
continuous length of binding. Press
three squares each . Then join all three D Take the two shorter block border the binding in half lengthwise, wrong
rows together to create a nine- patch chains and with RST, sew to the left
sides together. Bind the play mat and
block. This block will measure 61/2" and right side of chalk cloth. Stretch sitting mats using mitered corners.
square. You will need twenty of the the cotton border pieces as you sew to
[See Binding with Mitered Corn·ers in
nine-patch blocks. get the two different fabrics to line up Sewing Basics.)
properly. Do not pin in place as the pins
D To create a four-p atch block, make will damage the chalk cloth. See Notes
two rows of two squares each and then LISA L. ANDERSON has a design
for instructions on pressing chalk background and loves all things crafty-
join them into a four-patch block. This
cloth. Avoid pressing back seams too especially sewing. She has previously
block wi LL measure 4 1/2" square. You
vigorously as damage to t he chalk cloth contributed designs to Stitch and u;rites
will need 4 four- patch blocks.
may occur. about her creative endeavors on her blog,
D
Sew five of the nin e-patch blocks
D Now take the two longer block Crafting My vVay Through Life at
into a row. Add a fou r-patch block to in1alisawork.blogspot.com.
border chains and with RST. sew to the
each end. Make another row of five
top and bottom sides of the chalk cloth.

104
* stitch
how-to

- Coordinating #8 perle cotton or


#12 sewing thread [shown: plum,
~
_,, ~ ., ' I I
' -
tangerine, moss green, and dark
-
, \ \
golden brown]
"
THIS
\ - Size 100/16 machine needle
- Neutral thread for bobbin ,.... ' ' ~
"'I
- Water-soluble fabric marker
I
'
Quick Faux \ \ \ I
- Temporary spray adhesive ...
~

Sashiko Pillow ~

I
..... I \
~

\" ~

by COREY YODER FINISHED SIZE


{from page 60} 15" square
,I ~
'
..... 'i ...... ~ ~

NOTES
- All seam allowances are 1/4" un less
I
'
I
' I
' ' ,\

otherwise noted. figure l


- For the machine qui lting, use a
longer stitch length and, if possible,
set your needle to end in the down I

position.
\
- Use all-purpose thread in the
bobbin and #8 perle cotton or
Aurifil in the top. If your machine
'
cannot handle the #8 perle cotton,
substitute a #12 sewing thread.
" /
/
' I - ./
' ....

[shown: #8 Finca Mouline perle


cotton from Presencia. A suggestion
'\
Create the look of sashiko by threading for the slightly thinner #12 thread
your sewing machine with perle cotton. J
wou ld be Au rifil.] J

FABRIC CUT THE BINDING \


Pillow Top
D Cut 2 strips of binding fabric
- Main fabric: One 15 1/2" square piece 21/4" x width of fabric. figure 2
of linen or solid qu ilting cotton
- Apptique: Twenty-five 21/2" squares MARK THE QUILTING LINES
of quilting cotton fabric scraps El Using a water-soluble fabric to draw the quilting lines around the
marker, draw a 1/ 4" seam allowance
- Pillow Top Base: 16" sq.uare of perimeter. (figure l)
around the perimeter of the 15 1/2"
muslin or qu ilting cotton ,
square Pillow Top. APPLIQUE THE GRID CENTERS
Pillow Backing
El Measuring from the lines drawn for D Using the Applique Template from
- Two 11 1/2" x 15 1/2" rectangles of the seam allowance-not the fabric the pattern insert, trace 25 Applique
coordinating quilting cotton edge-draw a grid 5 squares across outlines onto the paper side of the
Binding and 5 down. The lines wi ll be 3" apart. fusible web. Cut each piece out about
1/s" from the drawn line. Fuse to the
- 1/s yd quilting cotton for 3/s" finished 0 Trace the Petal Template from the
straight-grain binding pattern insert onto a piece of heavy wrong side of a 2" fabric scrap. Cut on
paper or template plastic and cut it out the traced line and peel away paper
OTHER SUPPLIES carefully. The Petal Template wilt be backing.
- Petal Template and Applique used to mark the quilting lines. D Using the quilting lines as a guide,
Template, supplied
l\'I Use the grid on the Pillow Top to center each fused Applique in one
- 16" square pillow form of the marked grid squares on the
align the points of the Petal Template
- 16" square low-loft batting to the marked intersections. Trace Pillow Top Background. Following
- 1/4 yd lightweight fusible web along the Template using the water- manufacturer·s instructions, fuse
[20" wide] soluble marker. Conti nue marking Appliques into place.
- Heavy paper or template plastic until all of the quilting lines have been D Machine applique each fused fabric
drawn. Use 1/2 of the Petal Template piece into place using a straight stitch
- Neutral thread for applique 1/s" from the cut edge.

lOS
sewdaily.corn *
how-to

Place the other pillow Backing piece - Guitar strap 1 (shown: dark gray and
with its finished edge also towards the terra-cotta I
center_ The Backing pieces will overlap - Guitar strap 2 (shown: sort gold)
in the center. Pin 1n place and machine
- Strap hardware: one 2" tr1-glide and
baste around the perimeter 1/a" from
one 2" rectangular ring
the edge_
- 3" x 59" cotton batting
Join the binding strips into a
- All-purpose sewing thread 1 spool
continuous length with diagonal
black and 1 to match cotton fabrics
seams. Press the binding in half.
lengthwise. with wrong sides together. - Walking foot for your sewing
Bind the pillow using your favorite machine
binding method. (See Create Binding: - Knitting needle or other device for
Diagonal Seams for Joining Strips turning out the strap corners
and Binding w ith Mitered Corners in
- White m ar king penci l
Sewing Basics. )
- Craft knife
E Insert the pillow form and enjoy!
FINISHED SIZE
Curved st itching lines can b e sew n COREY YODER is a dt!signi:r specializing in
32"-57M long x 2" wide
accurat ely b y using t he tem plat e provided. modern quilt and pillotv cit-Sign. Hi:r work has
beenfeatured in various books and '1tagazines. NOTES
PREPARE THE PILLOW TOP VISit Corey's blog 11t litLlenlissshabby_cont - There are two different embroidered
FOR QUILTING
versions of the guitar strap. The
Layer the 16 square Pillow Top
M . ---------· ·- directions below are for one strap.
Base (wrong side up), 16" square Embroidered Follow separate embroidery designs
batting. and Pillow Top (Main Fabric) for each strap shown in Step 10.
right side up Use temporary spray
Guitar Straps
by MADELEINE ROBERG - All seam allowances are 1/2 unless
adhesive to baste layers. or hand baste_
{from page 61} otherwise noted_
STITCHING THE - If you use a bicycle inner tube for
FAUX SASHIKO LINES the tabs. use a walking foot on your
Stitch one vertical and one sewing machine and adjust the
horizontal faux sashiko line (U1ure 2 ) . tension to sew through the rubber.
Beg in stitching at the cut edge of the Start at #8 and adjust the tension
fabric so that the quilting runs through fr om there. The natural curve in the
the seam allow ances. Use a sepa rate bicycl e tu be will disappear w hen the
thread color for each set of vertlca l two pieces are sewn together.
and horizontal lines. Continue until the - The automatic keyhole buttonhole
quilting is complete. function on your sewing machine
Trim away excess Backing and may not be able to handle the
Batting Square up the pillow to 15 1/2M _ rubber_ If so, simply stitch slowly
around the circular end or the
COMPLETING THE keyhole, moving the tab as
PILLOW BACKING necessary.
Place one 11 1/2" x 15 1/2" Backing NOTE: An easy way to get the
piece wrong side up and fold and press FABRIC necessary strap hardware 1s to
down •;, on the 11 1/2" edge. Fold and
M - 1/a yd of 1OOo/o cotton 1n a solid color purchase a cheap [or used) guitar strap
press down an add1t1onal •/,.. and sew - 5 1/2" x 7" wide piece of black leather and disassemble it for the tri-glide.
into place_This Backing piece now or 26" of a used bicycle inner tube rectangular ring, and tabs.
measures 11 x 15 1/2" and has one
M
[Slit along one seam. the tire should
finished edge. Repeat with the other measure at least 2" wide_) CUT OUT FABRIC
Backing piece. From the cotton fabric:
OTHER SUPPLIES D Cut 3 strips, each 3" x 40" .
COMPLETE THE PILLOW - Pattern Templates for strap ends,
Ill With the completed Pillow Top supplied B Cut 1 of these strips in half to create
wrong side up, place one Pillow 2 strips. each 3" x 20".
- 2 to 3 skein s of 6-strand embroidery
Backing piece right side up with
floss
fi nished edge toward the center line. ))
·-·-···106
. .......
* stitch
-
-
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---------------------------------------------------------------------------------------------------
how-to

of the tri-glide-in the same under-


over-under pattern.
mStitch the end to the back of the
guitar st rap, secu ring the tri-glide in

figure 1
.," .
•, ,,
position. To do this, sew a 1/2" x 11/ 2"
rectangular box across t he width of the
strap and then sew an X through t he
center of the box.
DJ Now rock it!
MADELEINE ROBERG co-hosts REPEAT,
From the black leather/bicycle a fabric design con1petition run byThe
tubing:
Printed Bolt. She is also a textile historian
El From Template A, cut 2. With wh ite and designer with a graduate degree from
marking pencil, mark sewing and the University ofNebraska-Lincoln in textiles
cutting lines for keyhole buttonhole. history with a quilt studies en1phasis. Visit her
D From Template B, cut 1. Mark at thep1intedbolt.con1 and papagostudio.cont
sewing and cutting line for keyhole
buttonhole.

SEW STRAP Harvest Placemats


1:1 Sew a 3" x 40" str ip to one of the by SUSAN LIU
3" x 20" strips at a 45-degree angle. {from page 62}
(See Diagonal Seams for Joining Str ips
in Sewing Basics.I Press . Repeat with
the other 2 strips. I

0 Layer the two 3" x 59" strips of


fabric right sides together and place r
the batting on the top.
D Sew around 3 sides of the strap-
Purchase a used or inexpensive guitar strap
and take it apart to reclaim the hardware. ~'
I•.. {
•A.'
1
up one long side, across the short end, •
together. Using a 1/4" seam allowance,
\
and down the other long side. sew completely around the Leather tab.
D Trim batting close to the seam line. Sew across the straight end twice for
durability.
ll Using a knitting needle or sim ilar
blunt object, turn the strap right side iIJ Sew twice along the keyhole
out through the unstitched short end. buttonhole stitching line. Cut along the
Press well. keyhole cutting line using a craft knife
for cutting out the stem and circle. These basic embroidery stitches are easy
EMBROIDER STRAP iE Slide piece cut from Template B to master-and fun to do.
For embroidery diag rams, see the through the rectangular ring and fold
Stitch Glossary in Sewing Basics . FABRIC
in ha lf. Using a 1/4" seam allowance,
Because of the batting, you will not To make 4 placemats:
stitch around the tab, following the
need to use an embroidery hoop. stitching lines shown on Template B. - 1 yd of 45" solid quilting cotton
lllJ For Guitar Strap 1: Use a running Sew the straight st itching line twice. fabric [main)
stitch to create 8 lines of embroidery iD Stitch and cut the keyhole on other - 1 yd of 45" coord inating quilting
lengthwise, about 1/4" apart. Alternate end as described in Step 12. cotton fabric [backing]
embroidery floss colors as desired. - Three 1/4 yd pieces of 45" coordinated
lE Run the end of the embroidered
For Guitar Strap 2: Make random strap with Template A through the quilting cotton fabrics, or 3 fat
V st itches [Arrowhead Stitch) until the tri-glide, with the r ight side of the strap quarters (for vertical strips)
strap is densely covered.
going under the outside bars and over OTHER SUPPLIES
ASSEMBLE STRAP the middle bar. (figure 1)
- Fruit Pattern Embroidery Templates,
mSandwich the unstitched end of ill Run the same end through the provided
the embroidered strap between both rectangular ring and through the back
- 1 yd of low- loft polyester batting,
pieces of Template A, wrong sides such as Pellon Therm olam

108
.. ··········-···-~---·

* stitch
how-to

3" 6"
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13" I I I
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12"
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t.1••.!i". figure l I 6" 6"


I 3
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Inserts are created by piecing three figure 2
different fabrics cut in random widths.
prints RST and stitch along the 31/2"
side. Add another piece in the same D With embroidery needle and the
- Coordinating sewing thread
manner until the strip is 13" long. recommended number of strands
- Various colors of embroidery floss of floss noted on each Embroidery
Fin ished piece will measure 3 1/2" x 13".
for fru its Template, embroider the fruits with
Make 4 vertical strips.
- Embroidery needle stitches indicated . (See pattern insert.)
- Iron -on transfer pencil ASSEMBLE THE PLACEMAT TOP
QUILT+ FINISH
- Fabric-marking pen
D Place one 13'' x 121/4" solid
[I With the backing fabric right side
rectangle next to the pieced strip RST
- Spray-on temporary fabric adhesive and stitch along the 13" side. Add one down and following manufacturer's
13" x 3 1/4" solid rectangle to the other directions, spray temporary fabric
FINISHED SIZE adhesive on the wrong side of the
raw edge of the vertical strip and stitch
13" x 18" each fabric. Center the batting on top of
together along the 13" side (figure 1).
the backing. Spray temporary fabric
NOTES Make 4 placemat tops. Trim tops to
measure 13" x 18". adhesive on top of the batting. Center
- Prewash and iron all fabrics before
and smooth the placemat top, right
cutting.
EMBROIDER THE FRUIT side up, on the batting.
- All seam allowances are 1/4" unless
IJ Following the transfer pencil D Using a fabric -marking pen and
otherwise noted. manufacturer's instructions, trace and a straight edge, trace quilting lines
- Press all seams open unless iron each Embroidery Template onto (figure.2) onto the placemat top.
otherwise noted. the lower left-hand corner of the right Machine quilt along these lines with
- RST = right sides together side of the placemat top . coordinating thread.
- Stem stitch, backstitch, running
stitch, and satin stitches are used
to embroider the fruits. (See Stitch figure 3: folded mitered-comers
Glossary in Sewing Basics.)
Step 1: Step 2: Fold
CUT THE FABRIC Trim the the clipped
D Cut four 13" x 12 1/4" and four corners corner over
13" x 3 1/4" rectangles from main fabric. of the toward the
binding. right side of
- Cut four 16" x 21" rectangles from the placemat.
backing.
- Cut four 15" x 20" rectangles from
batting.
Step 3: Fold half Step4: Now
- Cut a 3 1/2"
strip from each of the of the backing fold the backing
coordinating fabrics. Cut these extension toward over the
strips into pieces with random the placemat top placemat top,
widths between 11/2" and 3". The so that the raw forming miters
variation in widths gives each edge -of the back- at each corner.
vertical strip a distinctive look. ing aligns with the Pin in place.
raw edge of the Slip~stitch the
MAKE THE VERTICAL STRIP placemat top. binding to the
D Using the coordinating fabric strips place mat top.
prepared in Step 1, place two different
>>
109 .
. -...............................................
sewdaily.com *
how-to

FABRIC
- 1/, yd wool felt (shown : soft aqua)
- Scrap wool felt (shown: red)
- 1, yd cotton print for Lining
1

OTHER SUPPLIES
- Mary Jane Templates. provided
- 2 buttons to coordinate with felt. 3/e"
- Matching thread
- Embroidery floss to coordinate with
cotton fabric
- Press cloth
All stitches are illustrated in the St itch
Glossary in our Sewing Basics section. FINISHED SIZE
The blanket stitch embroidery keeps the
Newborn. 0-3 months lining in place and adds a decorative touch.
NOTE : Do not stitch the quilting lines NOTES
through the embroidered fruit motifs. - RST = right sides together 0 To make the Shoe Lining. repeat
D Trtm batting even with placemat top. - Seam allowance is 1/4" unless Steps 1 and 2 with the Lining fabric.
Do not cut inlo the placemat backing otherwise noted. To make the Strap. press the rectangle
D Trim backing fabric to a 1 1/2°' margin - Use a press cloth to press wool felt lengthwise. Stitch along the side and
all around the quilted placemat. before cutting. across one end. Turn right side out.
Tops1itch 1/s'' on folded edge of Strap.
II!] Finish the placemat corners using - Fold fabric so that when cutting you
the folded mitered-corner method Press. Repeat for the other Strap.
get both a right and left Shoe Sole.
shown in (figure 3). Invisibly applique - Transfer all pattern markings. ASSEMBLE THE SHOES
edges and mitered corners in place.
CUT THE FABRIC
D Take the left Outer Shoe Upper and
SUSAN LIU resides in Cupertino, California the left Lining Shoe (the marked Arch
From fo lded wool felt: Point will be on the inside of the shoe).
and is afull tin1e project 1nana9cr. In herfree
tinie, she loves to sew, kni4 and draw. Read - Cut 2 Shoe Uppers Keeping the Outer Shoe (teltl turned
about her creations at so-sue.blogspot.co111. - Cut 2 Soles (mark arch with a pin or right side out, place it inside the Lining
.. - .. . .. .. ..... a pencil mark) of the left shoe RST. Match and pin the
edges around the shoe top. Using the
Embroidered Mary - Cut 2 re ctang les for Straps
(1 1/2" x 4") Strap Guidelines from the Template for
Janes for Baby From folded cotton fabr ic:
placement, slide the unfinished end of
by APRIL MOFFATT the Strap in between the right side of
- Cut 2 Shoe Linings the Outer Shoe and the Lining.
{from page 63}
- Cut 2 Soles (mark arch with a pin or NOTE: The Strap will be stitched on
a pencil mark) the same side of the shoe as the Arch
Point. Strap is adjustable and can be
MAKE THE SHOES shortened if necessary.
D To make the Shoe Upper, with RST, D Stitch around the top edge leaving
pin heel seam together. Stitch 1/&"
a 2" opening along the back of the
seam. Repeat for other shoe.
heel for turning. Turn shoe right side
D With RST, pin the center back out. Gently press Lining seams into
seam of the Shoe Upper to the center the Outer Shoe seams. Turn under the
back dot on the wool felt Sole. Pin the edges of the opening and slip-stitch
center front dot on the Shoe Upper to closed. Press. Repeat for other shoe.
the center front dot of the Sole. Pin
edges, easing the fabric around the FINISHING THE SHOES
curve. Stitch. Clip curves just to the 1J Using coordinating embroidery
stitching line-be careful not to snip floss, blanket- stitch the edges of the
through the thread. Turn right side straps and the upper edges of the
If you would like to make these for an older out. Repeat this process with the other shoe. [See Stitch Glossary in Sewing
baby, enlarg e the pattern on a copier.
outer Shoe Upper. Basics.)

110
--··· .
-···* stitch
how-to

IJ Cut a small horizontal slit into


the end of the strap for the button •
I

to fi t through. Sew buttons in the •


I

appropriate place after measuring the •


I
strap placement. I

D To make the Wool Felt Flower, cut a


5" x 1" rectangle. Press the rectangle
lengthwise. With sharp scissors, cut
the folded edge every 1/ 4", being careful
to not cut through to the other s ide.
Roll up, securing with stitches every -- -'.
"
"

half turn to form a rosette. Attach


.... ~....
--·-
.

I


I ,
, •.

folded -side up to the outer toe with


thread. Re peat for other shoe. Personalize by embroidering the name of a figure 1
friend for a great fall gift.
APRIL MOFFATT comesfron1 a long line
ofsewing divas. .Her grandmother sewed - 1 yd of ultra-firm fusible stablilizer, - one 12" square for the bottom
her way through the Great Depression, such as Peltex [3 pieces total]
and her industrious n1other has sewn just - 6-strand embroidery floss in a color
EMBROIDER THE FRONT PANEL
about everything you can irnagine. April to coordinate with cotton duck
horneschools herfour children and also designs El Trace one of the words from the
- Embroidery needle Pattern Template [or write your own
textiles. She shares her ideas and patterns at
- 1 1/2" to 2" diameter button for each word] on tracing paper. Transfer the
apriln1offattdesign.com.
cover word to be embroidered to the panel.
- Tracing paper centering the bottotn of the word 2" up
Oilcloth Plant Holders - Transfer paper from the bottom of the panel. In placing
your lettering, remember that the top
by CAROL ZENTGRAF - Press cloth edge of the planter will be folded down.
{from page 64}
FINISHED SIZES El Thread the embroidery needle with
- Large cover: 14" x 14 1/2" x 12 1/2" 6 strands of embroidery floss. Embroider
the letters using a running stitch. [See
- Medium cover: 11" x 11 " x 10 1/2"
Stitch Glossary in Sewing Basics.]
- To create other sizes, see Making
Custom Covers at the end of these ASSEMBLE THE COVER
instructions. D Fuse the interfacing pieces to the
wrong sides of each of the cotton duck
NOTES pieces.
- All seam allowances are 1/2".
[I For the outside cover, stitch the
- Always use a press cloth and low
cotton duck side panels together. To
iron temperature with laminated accommodate the bottom panel, start
fabrics. Press on the wrong side
stitching 1/2" from the bottom edge.
when possible.
- RST =right sides together
IJ Sew the bottom panel to the side
panels. Press seams away from the
FABRIC CUT THE FABRIC+ INTERFACING bottom panel. Turn the cover right side
OU t. (figure 1)
These plant holders work well for holding D For the large cover-from the cotton
gardening supplies or outdoor toys. duck, cotton laminate, and interfacing, D For the lining, repeat Steps 7 and 8
cut: using the cotton laminate, leaving an
For large cover: 8" ope.ning in the center of one bottom
- four 15" x 17" rectangles for the
- 1 yd of 60" wide cotton duck sides [12 pieces total] edge. Press on the wrong side using a
- 1 yd of 60" wide laminated cotton press cloth . Do not turn right side out.
- one 15" square for the bottom
For medium cover: [3 pieces total] D Place the outside cover inside the
lining, aligning the side seams and top
- 1/2 yd of 60" wide cotton duck
fJ For the medium cover- from the edges. Sew around the top edge.
- 1/2 yd of 60" wide laminated cotton cotton duck, cotton laminate, and
interfacing, cut: il!l Pull the outside cover through the
OTHER SUPPLIES - four 12" x 15" rectangles for the opening in the lining, which will turn ) "'·
- Embroidery Template. supplied the lining right side out. Insert the 'I
sides [12 pieces total]
111
sewdaily.com *
how-to

until the center fabric is taut and ready


Embroidered Critters for stitching.
by HEIDI BOYD D Cut felt from the templates. Cut
{from page 65} each felt piece exactly to the Template
size. Do not add seam allowances.
,, '
''
D Stitch the letters. With the Lettering
I ' 'I 11 Template behind the fabric, center the
,,-, I ' ' I \ " /1 I
I I I I I •
word under the felt animal, 1" up from
''
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the hoop base. Trace the letters with
~ I j
' ·-- '
,.
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I
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an air- erasable fabric marker. Thread
'~- your embroidery needle wit h 3 strands
of black floss. Each letter is formed
with a backstitch. (See Stitch Glossary
figure 2 in Sewing Basics.)
D Finish the embroidery and
lining in the outside cover and press critter appliques. Turn the finished
the top edges using a press cloth . embroidery over and trim away excess
Topstitch 1/2" from the edge. cotton fabric so that only 11/2" extends
beyond the hoop. Thread your sewing
FINISH needle with a Long strand of thread and
mFold the top edge to the outside, make a long running stitch along the
adjusting the depth as desired. Applique and hand embroidery give a outside edge of the trimmed fabric.
whimsical dimension to woodland friends.
i8 Sew a button to the center front of Pull the thread ends to gather the
each folded edge, stitching through all fabric and allow it to hide inside the
layers. GENERAL SUPPLIES back of the hoop. Tie the thread ends
- Templates, supplied in a knot.
IE To add stability to the corners
on the large cover, use 6 strands of - 8" wooden embroidery hoop D Add the backing. To finish the back,
embroidery floss and stitch through - Small amounts of felt in a variety of use the inner hoop as a template to
each corner with a running stitch . colors- scraps are perfect' trace a circle on the 9" square of felt.
(figure 2) Cut out the circle and position it over
- Fine -tip air- erasable fabric marker
the gathered embroidered fabric in
MAKING CUSTOM COVERS - Sewing and embroidery needles the hoop. Temporarily secure t he felt
To make a cover to fit any pot: - Off-white sewing thread circle to the gathered back with a few
D Measure the diameter across the - 9" square of felt for each backing straight pins. Carefully dot fabric glue
top of the pot. Add 2" for the width of or hot glue around the perimeter of the
- Fabric glue or hot glue gun felt circle- working in sections to keep
the rectangle .
FINISHED SIZE it from shifting.
D Measure the height of the pot. Add
7" for the height of the rectangle. 8" diameter BANDIT
D So, if your pot has a 5" diameter and NOTES FABRIC
is 6" tall, cut side rectangles 7" x 13". - The General Supplies and General - 1/3
yd printed brown cotton [shown:
D The bottom square is the same as Instructions are common to each Denyse Schmidt's Hope Valley)
the final measurement in Step 1. In of the embroideries. Individual - Wool felt: silvery gray, off-white,
this example, the bottom would be 7" supplies and instructions are listed black, and light tan
square. below under each critter's name.
(Some supplies for this project - Trace a circle from the 9" square of OTHER SUPPLIES
- Two 1/4" 2-hole buttons, off-white
were provided by James Thompson, felt using the inside diameter of the
Westminster; Rowan, and Pellon.] outer hoop as a template . Set aside - One 1/4" shank button, black
until Step 5.
- 6-strand embroidery floss: silvery
CAROL ZENTGRAF is a writer, designer,
GENERAL INSTRUCTIONS gray, off-white, black, and gold
and editor who specializes in sewing,
embroidery, textiles, painting, and decorating. D Set up the embroidery hoop. Press PREPARE FABRIC FOR
She designs for several n1agazines and fabric the cotton. Center the fabric in the EMBROIDERY
company websites. Carol is also the author of embroidery hoop. Alternate between D Set up the embroidery hoop. [Step 1
seven home decor sewing books. tightening the tension on the outer of General Instructions.]
hoop and pulling the sides of the fabric,

112
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'~----------------------------------------------------~----------------------------------------------------4
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quilting, and mixed-media will keep you inspired with -~·b 01w
flu'"' 1 NTE1, EAVE.coM
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shopping experiences.
how-to

- 6-strand embroidery floss: black,


- 1'
rusty brown, and white

PREPARE FABRIC FOR


EMBROIDERY
mSet up the embroidery hoop. [Step 1
of General Instructions.]
·- '

i8 Cut the Foxy Templates. [Step 2 of


•~ - General Instructions.)
- - - Rusty/Brown: body and face pieces
- White: face and tail tip

- Black: socks
iEJRefer to the photo for the
arrangement of the felt pieces. Layer
Wool felt pieces are layered from large to After the embroidery is complete, applique
the felt pieces largest to smallest.
small. Allow room for the critter's name. stitches will keep the critter in place.
Center the design in the middle of the
hoop- remember to leave room for the
D Cut the Bandit Templates. [Step 2 of - make 5 fan - shaped stitches across
word foxy. Pin in place.
General Instructions.) the chest, varying the stitch length
with the longest stitch in the center. EMBROIDER+ APPLIOUE FOXY
- Silvery gray: body, legs, face strip,
ears, and tail 0 Use 3 strands of silvery gray floss iII Use 3 strands of black floss to:
to: - stitch a button eye to the white felt
- Off-white: tail tip, face base piece
- Black: tail stripes and eye masks - make a row of elon gated vertical on eit her side of the rusty brown
stitches, varying the angles slightly snout.
- · Light tan: 4 leaves across the edges of the black tail - stitch the black button nose to th e
EJ Refer to the photo for the stripes. end of the snout.
arrangement of the felt pieces. Layer D Use 3 strands of gold floss to: - highlight the. inside of each ear with
the felt pieces largest to smallest.
- make a single stitch down the center 3 wedge - shaped straight stitches.
Center the design in the middle of the
of each leaf and a couple of diagonal iE Use 3 strands of ru sty brown floss
hoop-remembering to leave roo.m for
stitches to suggest veins. to:
the word bandit. Pin in place.
[J Switch to sewing need le and sewing - make 3 small backstitches to form a
EMBROIDER+ APPLIQUE BANDIT thread and make tiny applique stitches mouth on white felt under the nose.
IJ Use 3 strands of black floss to: around the outside edge of the felt
- make 3 fa n-shaped stitches t hat
- stitch a button to each eye mask animal to the cotto n backing fabric.
span the connection of the black
piece [See Standard Hand Applique Stitch in
sock to the rusty brown body.
Sewing Basics.)
- stitch the shank button for the nose - make a row of elongated stitches
to the edge of the silvery- gray face 0 Stitch the word bandit. (Step 3 of
that span t he border of the tail and
.
piece. General Instructions.)
the white tail tip . Vary the length and
- make 3 backstitches to form mouth FINISH BANDIT angle of the stitches.
on the white felt under the nose. iI1 Use 3 strands of white floss to:
iE See Steps 4 and 5 of General
- highlight the inside of each ear wi th Instructions. - stitch a pair of angled whiskers on
3 vertical wedged- shaped straight either side of the nose and mouth.
stitches. FOXY
- make several angled stitches that
- make a series of small stitches that FABRIC alternate between the rusty brown
contour and delineate the front legs. - 1/ 3
yd gray print cotton (shown: Far stitches that span the border of the
- make a series of small stitches that Far Away Il l by Heather Ross for tai l and the wh ite tai l t ip.
connect the gray tail to wh ite tail tip . Kokkal. Dl Switch to sewing needle and sewing
B Use 3 strands of white floss to: - Wool felt: r usty brown, off- white, thread and make invisible appliqu e
- · make 3 angled st itches along the top and black stitches to attach the outside edge of
of each black eye mask. the animal to the cotton. [See Standard
OTHER SUPPLIES Hand-Applique in Sewing Basics.]
- Two V4" 2- hole buttons, tan
- One 1/4" toggle button, black ))
114
* stitch
how-to

Center the design in the middle of the


hoop-remember to leave room for the Embroidered
word hoot. Pin in place.
Octo-Clock
EMBROIDER+ APPLIQUE HOOT b_y STEFANIE BERGANINI
IE Stack a white button over the larger {from page 66}
gold button. Position these stacked
buttons over the center of a deep plum
eye circle. Use 3 strands of deep plum 12
floss to stitch the buttons in place. t
Repeat for the other eye.
flJ Continue using 3 strands of deep
I
plum floss to:
- stitch 3 rows or V-shaped stitches
I
Double-stacked buttons on deep plum across the center of the owl's chest •
eyes give this owl a w ise look. - attach the tops of the deep plum feet 4
under the white base of the chest
ID Stitch the word foxy. (Step 3 of - make 3 straight stitches in a wedge
General Instructions.) pattern from each ear
FINISH FOXY - attach the folded beak between
Pretty + practical--<:raft store clockworks
the felt eyes using small applique
ID See Steps 4 and 5 of General turn embroidery into a t ime piece.
Instructions. stitches
E0 Use 3 strands or off-white floss to: FABRIC
HOOT - 18" square of medium-weight woven
- make a decorative running stitch
FABRIC along the bottom edge of each fabric (shown: linen) or 14-count
-
1
yd gold print fabric (shown: Mrs.
/3 lavender wing Aida cloth
March ·s Collection from Lec1enl - make a series of straight stitches - Optional: 6 yd of •;," wide fabric strips
- Wool felt: off-white, lavender, deep that radiate outward from the eyes to wrap around embroidery hoop
plum. yellow. orange to the lavender head (shown : teal linen)

OTHER SUPPLIES fD Use 3 strands of gold floss to OTHER SUPPLIES


- Two V2" 2-hole buttons. gold - make a single stitch down the center - Octo-Clock Embroidery Template
of each leaf and a cou ple diagonal - 14" embroidery hoop
- Two lf4" 2-hole buttons. off-white stitches for veins
- 1/2 yd fusible fleece
- 6-strand embroidery floss: deep
plum. off-white. gold . and black
lliJ Stitch the word hoot as described in
- 6-strand embroidery Hoss
Step 3 of General Instructions
PREPARE FABRIC FOR - 2 skeins each: Color A-Teal:
EMBROIDERY FINISH HOOT Color 8-Burgundy
E1lJ Set up the embroidery hoop. (Step 1
ID See Steps 4 and 5 of General - 1 skein. Color C-Gold
Instructions.
of General Instructions.) - Size 5 embroidery needle or needle
Ell Cut the Hoot Templates. (Step 2 of HEIDI BOYD is the c1uthor ofnian_y with an eye Large enough for
General Instructions.) books-her latest is Stitched \Vhimsy. 6-strands of embroidery floss

- Off-white: body Shere.centl_y launched \\'hi11isy Kits, tuhich - Fray Check


contain everything net•ded to niake _your own - Chalk pencil
- Lavender: head. wing pieces
felt creation. She is con1n1itted to n1akin9
- Deep plum: small head piece, wing - Clock kit (available at major craft
sophisticatt•d design easy and approaclzab/e.
pieces, eyes. beak, and feet stores)
Vzsit her at Heidibo_yd.blogspolconL
- Yellow: branch - Hot glue gun and glue sticks

- Orange: 3 leaves FINISHED SIZE


llB Refer to the photo for the 14" diameter
arrangement of the felt pieces. Layer
the felt pieces l argest to smallest.
NOTES
- Choose a fabr ic sturdy enoug h
to handle the weight of the clock

.. -· 115
sewda1ly com *
how-to

of the octopus. Starting with a new the hoop, periodically securing with a
thread, stitch the small curved lines small dab of hot glue on the outside of


• inside the eyes. the hoop until it is completely covered .
• EJ Also using Color A. fill in the eyes of mWhen the embroidery is dry, press,
the octopus using a satin stitch. then place it back into the embroidery
D Using Color B. create French knots hoop. Center the design in the hoop
for the tentacle suckers. with the top of the hoop aligned over
the number 12. Gently pull around the
I EMBROIDER THE BUBBLES edges until the fabric is taut. Make
j 0 Using Color C, outline each bubble sure the pattern is evenly centered in
using a backstitch. the hoop. Then tighten the hoop.
D Fill in each bubble with satin stitch , IE Leaving an even 1/," around the
varying the direction of stitches for edges, cut the excess fabric from the
each bubble . back of the hoop . Fold the excess fabric
A medium·weight fabric wlll be sturdy
around to the back of the hoop and
enough to hold the clockworks. EMBROIDER THE NUMBERS carefully secure to the inside of the
U Using Color A. outline each number inner hoop with hot glue.
kit. but not so thick as to prevent using a backstitch. iEl According to the manufacturer·s
stretching in the embroidery hoop. If El Using Color B and stitching directions. fuse the fleece circle to the
you choose to hang the clock by the vertically, fill in each number with long back of the embroidery in the hoop,
clock kit instead of by the top or the satin stitches. carefully using the tip of your iron to
embroidery hoop, the fabric must fuse the fleece out to the edge of the
also be able to handle the weight of FINISH THE CLOCK hoop. Use a ruler to find the center of
the entire project. ll Once the embroidery is finished, the clock and mark the location with a
- Embroidery floss is used with all remove the fabric from the hoop. tiny chalk mark.
6-strands together. Gently rinse the fabric to remove any CD Cut a small slit in the center and
visible chalk or pencil marks. Lay insert the clockworks following the
- Use the inside edge of the the embroidery flat and allow to dry
embroidery hoop to trace a circle manufacturer's directions. Add a
thoroughly. battery to your clock kit, set the correct
onto the fusible fleece. Set the
fleece aside until Step 14. D!I Optional: If covering the embroidery time, and hang the clock from the top
hoop with fabric, place a small dab of of the embroidery hoop.
TRANSFER THE TEMPLATE hot glue on the outer part of the hoop
to on e side of the hoop hardware. Test STEFANIE BERGANINI is ihefonner
D Using the Octo-Clock Embroidery
Template, transfer all the embroidery wrap the fabric diagonally-you want n1an11ging editor a/Stitch. She's a dabbler in
lines to your fabric using the cha lk to cover the hoop completely without all areas ofthe textile world.fron1 sewing lo
or mechanical pencil. If your fabric is it becoming too bulky. When satisfied. knilling to weaving and beyond. Frer house is
transparent enough, trace directly from unwrap to your hot glue gun spot and fuU Lo overflowing withfab1ic,parn, books, two
the Template. If not, tape the Template begin rewrapping the fabric around active dogs, and one very fat cat.
to a window and center and tape your
fabric on top. Tip: Folding the pattern
in quarters and your fabric in quarters
will help you to position and transfer
the Embroidery Template accurately.
EMBROIDER THE OCTOPUS
For embroidery stitch instructions,
see Stitch Glossary in Sewing Basics.
To keep the back of your work as neat
as the front. see Embroidery Stitching
Tips sidebar.
D Cut an 18" length of embroidery
floss in Color A. Choose a spot
along the outline of the octopus and
us in g small. evenly s paced stitches,
backstitch around the entire outline

116
-·* st.tch
how-to

EMBROIDERY STITCHING TIPS


You know that feeling \Vhen you open the closet door-and the six threads. From an 011tside edge, separate and grab the
everything is exactly where it should be? Even \Vhen the door number of threads you wish to use. Draw the threads apart in
isn't open, it's a good to know that everything is in its place. a wishbone motion, causing the threads to unwind from each
other. Repeat each time you need to remove threads from the
Making the back of your embroidery neat and tidy "vill give you
length you started.
a little bit of that same satisfaction- in addition to ensuring
that your stitches will not become loose or shadov.1 through on BEAUTIFUL STITCHES+ CLEAN FINISHING
the front of your work.
• Begin and end your stitches neatly. This both secures your
'fhese simple tips "vill get you stitching. threads and prevents long traveling stjtches from sho,ving
through on the front of your embroidery.
USING A HOOP
• For a knotted beginning, use a small overhand knot. Knot
Hooping your fabric gives you a smooth, even surface for your
the end of the floss and trin1 close to the knot. Eron1 the back of
stitching.
the fabric, draw the threaded need.le through the fabric to begin
• Use an embroidery hoop to securely hold the fabric taut Stitching. (figure 1)
while stitching. Start \Vith a piece of fabric about 2" larger than
• For an unknotted beginning, leave a 2- 3'' thread tail. J3ting
your finished project. This \\rill allow for the extra fabric needed
your thread up to the fxont of the fabric and take 2- 3 stitches
to load and stretch the unworked embroidered area into the
holding the thread tail against the back. Contin11e stitching
hoop for stitching.
with the thread. vVhen stitching is con1pleted, return to the
FLOSS TIPS thread tail, thread it through your needle and make an ending
loop in your stitch (described belov.1). Then weave the thread
Embroidery :{loss typically comes in a skein of SL'C-strands of
tail through a couple of stitches on the back of your embroidery.
floss twisted together. Many stitch patterns require less than the
Trim the end. (figure 2)
six-strands of floss.1nese tips "vill keep your floss fron1 tangling
as yo11 pull out the strands that you need. • To end your stitching, draw the thread to the back of the
work close to where the last stitch \Vas taken.. Pass the thread
• Keeping the paper wraps on the skein will prevent tangling.
under your last stitch, creating a loop, pass the thread through
To dispense floss, note that the skein is \Vound in a loop. Look
the loop and dra\v the thread up snugly creating an overhand
for the thread end that is on the outside of the looped floss.
knot around the last stitch. Trim close to the end of the thread
Pulling on this outside thread unwinds the floss ·evenly and
to prevent thread ta:ils from showing.
without tangles. Pull out the desired length of floss and cut.
If you use these tips co11sistently, your e.mbroidery "'ill be
• To separate floss into the number of strands that you need,
(nearly!) as beautiful on the back as on the front.
work fron1 the end you just cut off the skein. Fan the top of

figure 1
c;ut lin.e
figure 2 -
117
sewdaily.com *
how-to

'''"'"~'''''"'''''''''''''''''''''''
Upcycled Denim l
I
Messenger Bag
by BETZ WHITE
I
{from page 67} I
l
Measure 1 112"
to the left of
Interior pockets are edgestitched to the the corner and
stitch straight
lining before being sewn into the bag. It's
across. Trim
easy to add more pockets at t his time. away corner
fabric.
DECONSTRUCTJEANS
D Lay the jeans on a flat work surface.
Cut off both jean legs about 2" below
the crotch. [Set legs aside to be used figure 1
in Steps 10 and 15.l Cut open the
inseams and remove the bulky seam
allowances.
El Next, you'll notice that the curve fabric . Align the pocket pieces RST
of the rise (below the fly) prevents the and pin. Sew around the perimeter,
front from lying flat. To resolve this, Leaving a 3" opening on the lower edge
The bag handle is denim backed with lining cut along the curve of the rise, then for turning. Snip the seam allowance
fabric-or you could upcycle an old t ie. corners. Turn the pocket right side
overlap the two sides until the front
lies flat. Top-stitch along t he cu rve next out through the opening, working out
FABRIC to the flat -felled seam and continue the corners. Press, tucking in seam
- 1 pair of 5-pocket jeans past the point and down the remaining allowances at the opening, which will
- yd of print cotton fabric for Lining
3/4 overlapping inseam. Repeat t his on the be sewn closed when edge stitching in
and appliques seat of the j eans so that the back rise the next step.
lies flat and t he overlapping fabric is [I Pin the sewn lining pocket to the
OTHER SUPPLIES secure. right side of one bag lining piece,
- Hexagon Template, provided centered side to side and about 3"
EJ Even up the bottom edge by
- Fusible web marking a line with a ruler across the down from t he top edge of the lining.
- Coordinating thread "hips" of the jeans, perpend icular to [The unstitched opening from turning
the center front [or the fly) of the jeans. the pocket should be at the bottom
- Jeans/denim machine needle and
Cut along this edge, making the f ront of the pocket.) Edgestitch the lining
hand-sewing needle
and back an even length. pocket sides and bottom, leaving the
- Stiff brush and spray bottle top open. Backstitch at the beginning
- Air- or water-soluble fabric marker CREATE LINING and end of your sewing to reinforce.
- Optional: belt or necktie for strap 0 Lay a double layer of lining fabric 0 Pin both lining pieces together, right
on the work surface, wrong side up. sides facing, and sew around the sides
Place the denim bag-in - progress and bottom edges using a 1/4" seam
NOTES front side up on top and trace the bag allowance. Add a box corner to the
- · RST =right sides together shape with a pencil onto the wrong Lining by alig ning the bottom seam with
- WST =wrong sides together side of the Lining fabric, adding an the side seam at the corner, flattening
extra 1/4" of fabric all around for the corner into a point. Mark a Line
FINISHED SIZE seam al lowance. Cut out the two perpendicular to the bottom seam and
The size of the bag will depend on lining layers. 1 1/2" from the poi nt. Pin and sew along
the size of the jeans used. Sample 0 For an interior pocket, cut two this line. Trim excess and repeat with
measures 11" H x 18" Lx3" 0. 9" x 7" rectangles out of the lining the other Lining corner. (figure 1)

118
* stitch
*
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\
how-to

the raw edges of the flap. Press, pin,


and topstitch bottom edge, closing the
opening of the flap.
Ba With denim facing denim, pin
and topstitch the flap to the bag
back alo ng t he bottom edge of the
waistband. Sew another row of
stitching where the flap meets the top
edge of the waistband .

STRAP
IB To make a strap out of denim
and lining fabric, cut .a rectangle
measuring 3 1/4" wide by 45" long out of
lining fabric and the leftover jean leg.
The bag flap is stitched onto the back Using a jeans or denim needle will help [Piece the denim and lining fabric if
waistband, then flipped over the top. w ith stitching through the thick layers. necessary.) Layer rectangles, RST, and
sew both long sides using a 1/4" seam
allowance . Tu r n right side out through
CONSTRUCT OUTER BAG w ill be the hem of the flap. Measure the short end open ing and press.
ll Turn denim bag - in - progress wrong the height of the bag . Mark the flap Finish t he ends by folding the raw
side out and lay flat. Tip: The side fold w ith a pin to be the same length plus ends 1/4" inside the strap. Edgestitch
on t he bag will typically be slightly 1". Measure the width of the bag at both long sides and short ends 1/s"
behind where the stitched side seams the bottom and also across the top. from the edge.
of t he jeans are because jean fronts Mark the flap with a pin to measure 2"
ID To attach strap to the bag, place
are smaller than the backs. For this less than each of the measurements
one end inside the waistband at
bag, it is important to ignore the jean 's at the top and the bottom. Draw a line
the side of the bag opening. Pin the
stitched side seams and use the actual connecting the top and bottom marks .
strap end, denim side facing. to the
side fold as your sewing guide. Pin True up the lines with a ruler and cut
bottom edge of the denim wa ist band.
bottom opening together and sew with out. Cut a second flap shape the same
Topstitch across the strap. Sew
a 1/4" seam allowance. Add a box corner dimensions out of lining fabric , adding
1/2" extra at the bottom edge for a
another row of topstitching where
as shown in figure 1. the strap meets the top edge of the
lining hem.
denim waistband. Repeat this step for
ASSEMBLE BAG mTo create a frayed - edge decorative the other end of the strap at the other
D With sewn li ning right side out and appliq ue, use a motif from a print side of the bag.
denim bag wrong side out, place denim fabric. Trace the mirror image of a
bag inside lining WST. Fold top edge of hexagon motif onto the paper side of
ID Upcycle a belt or necktie for the
lining under and pin around the bottom strap of your bag- or even use the
a piece of fusible web. Following the
edge of the jean 's waistband. You may strap from another bag. Remove any
manufacturer's instruction, fuse web
need to trim excess lining away from buckles or unwanted hardware that
to the back of the motif. Cut out the
the top edge, especially in the front, may be difficult to stitch through/
hexagon motif with an extra 1/4" margin
if the lining is too long. Be sure to around. Place each end of the belt
of unfused fabric .
leave at least 1/2" to turn under. With inside the waistband edge and sew as
hand- sewing needle and thread,
ID To apply the applique, remove described above. Take care with heavy
paper backing and fuse to the materials: use a heavy- duty sewing
slipstitch the lining to bag. Turn lined
lower front area of the denim flap. needle and sew slowly.
bag right side out.
Topstitch around th e hexagon
CREATE FLAP AND APPLIQUES motif, 1/4" from edge. Spray unfused BETZ WHITE is a designer, green crafter,
raw edges with water and brush and bestselling author ofWarm Fuzzies and
D'.iJ The flap is a trapezoid shape based
edges to fray. Add embroidery or Sewing Green-books that encourage readers
on the measurements of t he bag.
handstitching details if desired. to "stitch beautifully, tread lightly.'' Her Make
Place one of the denim pant legs from
Neiv or Make Do patterns work with new or
Step 1 on your work surface. Cut open lE To construct f lap, place denim repurposed fabrics. vVhen not designing, Betz
the leg along what was the outside flap and lining flap with RST and sew
teaches workshops and is raising two crafty
seam , leaving the flat - felled inseam around top and sides wit h a 1/4" seam
boys. Visit her at BetzWhite.com.
intact. The in seam w ill provide an allowance, leaving bottom edge open.
interesting detail down the center of Turn the flap right side out. Fold in
the flap. The original hem of the jeans

120
··- ··--·····-·· -~---·
* stitch
how-to

....
·--··--··········· -·········--·-··-·-·-·
.. ·,afore
by SIGRID ARNOTT
I
{from page 68}

No need to make b uttonholes-the shirt's


front placket becomes the p inafore's back.

The contrasting bib is f irst fused in place- PREPARATION


making It easier to accurately stitch curves. Cut sleeves off shirt, remove cuffs.
trim side seams. remove yoke and
(~ DOWNLOAD THE FUU.-SIZE collar.
J ._ PAlTERN FOR THIS PROJECT
AT INTERWEAVESTITCH.COM Unpick front pocket with a seam
figure l
ripper.
FABRIC Trace the Dress Templates in
- 1 man·s shirt. (I used a Men's Large desired size.
to make a Girrs 3T dress)
CUT OUT DRESS PIECES
- 6" x 6" piece of contrasting fabric for
The reclaimed sh irt center front will
bib accent
become the dress cen ter back. The
OTHER SUPPLIES shirt back will be the dress front.
- 5 Templates, provided (dress front/ The littl e cap sleeves use th e curve d
back, cap sleeves, bib, front and shirttail hem. If you do not have enough 0 \
back facings) fabric tor the full length of the dress,
an optional ruffle can be added to lhe
- 6 "x 6" piece of sheer to lightweight 0
bottom using fabric from the sleeves.
fusible interfacing (such as
Pellon 906F) Cut out Right Dress Back (fisur• l)
by centering the Dress Template over \
- Thread to match shirt for topstitching
- Three 5/a buttons
0
the line of shirt buttonholes (not the ' _, \
edge of the band). A shirt buttonhole ....
- Large safety pin should be about 5/a" below the Template ~

- Handsew1ng needle top. Pin. Cut out top, side, and bottom. '
- Fray Check B Cut out Left Dress Back by using
I
the back piece you just cut out as a
NOTES Template, flipped facedown over the
- Seam allowance is 1/2" unless I
other shirt side, buttoning the buttons
otherwise noted. otthe shirt. The line of buttons will be -T - - -

- The pattern pieces Ht snugly on the at the center line for one side of the
reclaimed shirt fabric. Lay out all of dress back. Pi n and cut out.
Hgura2
your pattern pieces before cu tting to D Cut out Dress Front by folding the
estimate the placement. sh irt back in hal f. Using th e same
- WS =wrong side Dress Template, pin on the center fold
>>
... .. . ... 121
sewdai]ycorr *
how-to

line of the shirt back, leaving as much


0 ll
extra shirt fabric as possible above the
pattern. Cut out the Dress Front.
D Cut out Front Facing by using the ,1

Dress Facing Template. Lay the Front I


''
Facing Template on the folded shirt back I
~
I
above where the Dress Front was cut out. • I
1
Pin and cut the Front Facing Template as I
)
shown in figure 2. I
I
l.

D Cut out 2 Sleeve Caps from the I \


I
' ~·
~

-- curved hem on the shirttail. Place the


paper cap sleeve pattern on the curved
'
I
l
\
l
part of the shirttail and cut individually l '

as shown in figure 2.
figure&
D Cut out the Back Facing from a sleeve.
After removing the cu ff and side seams, IJil After the fused bib has cooled,
fold a sleeve in half lengthwise. Flip the edgestitch the bib onto the dress.
Back Facing Template upside down on IE Pindress fronts to backs at
top of the sleeve as shown in figure 3. shoulder seams with right sides facing.
figure '.3
IE Cut the contrasting Bib using any Sew and press seams open.
lightweight woven fabric. Quilting ml The shirttail hemmed side is the
cotton is ideal. Also cut Bib interfacing . wrong side of the Cap Sleeve . With
'x' DI Optional Ruffle.If you want a ruffle, right sides together, center sleeve
'
I' you can make one from the remaining notch to shoulder seam and pin Cap