The Little Black Dress

 Silhouettes & Sewing Darts

Fabric: All the fabrics I use on It's Sew Easy TV come from Vogue Fabrics
Patterns and Sewing Supplies: The Angela Wolf Pattern Collection

 When sewing darts – mark the dart placement

on the wrong side of the fabric. Use an “x” to mark
each dart tip.

Join me …
  Sew each dart with a slight curve to
resemble the body shape.

 Press the darts toward the center of the body.

 Pressing is the most important part of sewing a

professional looking garment.

 Use a tailor’s clapper and pressing ham when pressing

darts.

Tailor’s Clapper Pressing Ham

Use coupon code ITSSEWEASY10 for 10% off everything at
www.AngelaWolfPatterns.com
 Scarves-The Ultimate Accessory 1

Sheer Ruffled Scarf

Cookie Gaynor
www.cookiescreations.com
_____________________________________
Supplies:
•Polyester Chiffon, Silk Chiffon or light
weight cotton voile:
•1 rectangle 13.5 x 72” (Scarf Body)
•4 rectangles 5.5” x 23” (Ruffles)
•Roll hemmer foot
•General all purpose foot
•Matching thread and bobbin thread
•Machine needle to match fabric
•Optional: Ruffler foot for cotton voile works well.

Techniques:
•French Seam
•Narrow rolled hem
•Ruffles

Cutting the fabric may be done on top of tissue paper using a rotary cutter. Use
fabric weights to keep things from shifting. Alternatively, you can tear the fabric to
the needed sizes

Copyright ©2013 by Cookie L. Gaynor. All Rights Reserved. Page 1

Directions

Use the roll hemmer foot and create a narrow

rolled hem on one side of each smaller rectangle
along the length

Rolled Hem: This method may differ from the

directions that came with your presser foot. Try
both methods and use what works best. Working
with one long side of each of the 4 rectangles:
Place a piece of “stitch and tear paper” over the
feed dogs to prevent the fabric from being sucked
into the bobbin as you begin the hemming process.
A one inch square of paper is perfect.

Fold the beginning fabric edge twice to a scant

1/8”. Finger press about 1 inch of fabric. Place the
folded edge under the presser foot. Drop the
needle down and lock the stitch. Take 3-4 stitches.
Now use the right hand with the fabric folded once
and gently pull the fabric upward.

Copyright ©2013 by Cookie L. Gaynor. All Rights Reserved. Page 2

 Scarves-The Ultimate Accessory 3

As you stitch, keep the fabric at an angle at the

mouth of the foot. You will see the fabric feed
along the guide forming a beautiful rolled hem.

Press each of the hems and remove any wispy

threads, if needed for all four rectangles.

Tip: if your fabric frays easily, trim 6 inches at a

time as you are stitching.

Baste the opposite long raw edge either with two

rows of basting stitches or use a zigzag set to 4.0
length and 2.5 max width.

Pull the basting thread tails to match ruffle to the

13.5” side of the large rectangle. Do this step with
Wrong Sides facing each other. Machine baste
ruffle to scarf. Press.

Copyright ©2013 by Cookie L. Gaynor. All Rights Reserved. Page 3

Trim seam down to 1/8 inch seam

Refold the fabric to encase the seam, right sides

together. Press and Stitch using a 1/4 inch seam.
Press finished French Seam.

Repeat procedure on other side.

Optional: add second layer ruffle 3” apart on each

end. Stitch with Right Sides together on right side of
fabric.

Copyright ©2013 by Cookie L. Gaynor. All Rights Reserved. Page 4

 Scarves-The Ultimate Accessory 5

Match the ruffle short edge with the edge of the long
rectangle and baste ruffle 1/8” from the edge to hold
in place.

Finish hemming the two remaining long sides of the

scarf either by hand or use the narrow roll hemmer
foot. Chiffon is light, and will work with the narrow
hemmer foot including the ruffle layer.

Copyright ©2013 by Cookie L. Gaynor. All Rights Reserved. Page 5

 Additional Notes:
Basic Techniques for scarf seams
and edges
Cookie Gaynor www.CookiesCreations.com

Audition the intended fabric by taking a sample piece and try

marking, cutting, stitching and pressing it. This rehearsal will
help you choose the best type of hem and seams needed for
a professional finish.

Cutting tips: Consider using weights, tape and/or silk pins for sheer fabrics. You
can cut your fabric over tissue paper as one unit. Lay your fabric out completely
on the sewing table and let it relax for an hour. Cut the fabric in a single layer when
possible to avoid fabric shifting. Rotary cutters make it easier to cut without
fabric shifting then scissors.

Sewing Tips: Using a straight stitch needle plate helps fabric from being pulled into
the bobbin area when sewing straight stitches on sheer fabric. Use a lock stitch
rather than a back stitch when sewing on sheer fabrics. If not an option on
your machine, leave long tails at the beginning and end of stitching. Hand
stitch the knot ends with the long tails. Use threads that match the weight of
the fabric. Fine rayon embroidery, extra fine silk, light weight cottons are
wonderful choices.
If scarf has fabric cut on the bias, zig zag stitches work best in most instances.
Gently guide your fabric. Let the machine do the work to avoid stretching
seams. Depending on the fabric, you may be able to steam the shape back
into a seamed area.

Copyright ©2013 by Cookie L. Gaynor. All Rights Reserved. Page 6

 Scarves-The Ultimate Accessory 7

The French seam: encloses the seam neatly and used for shear fabrics.
Wonderful for piecing sections of fabric together for creating a long rectangular
scarf.

Place wrong sides of fabric together and stitch a one-quarter inch seam.
Press to lock stitches, and press again to one side to make the next step
simple.
Trim to one-eighth of an inch.
Fold the seam with right sides together. Stitch one-quarter inch seam from
the folded edge.

Press to lock stitches, open and press again.

Machine Hemmed Edges - you should select the type of finished edging
based on the fabric stability and amount of durability needed.

Preparation for Machine Stitching: Press the fabric hem area flat first. Fold one
quarter inch under and press, repeat one quarter inch fold and press, again.

Narrow Roll Hemmer - Stitch in place with a narrow roll hemmer foot. The
foot rolls the right side of the fabric toward the wrong side of the fabric, and
the straight stitch secures the roll in place. Start by rolling an inch worth of
fabric into a tight rolled hem. Place the fabric wrong side facing up under the
foot and position the rolled hemmer as shown.

Start by adding a few stitches to secure the hand rolled hem and then
positioning the fabric into the foot. Guide the fabric to keep the roll edge
positioned correctly at the front of the foot to keep it feeding in properly.

Zig Zag over the edge, creatively accomplished to resemble a serger finish.
Set machine to a small zig zag 2.0 to 3.0 depending on fabric. Set the length

Copyright ©2013 by Cookie L. Gaynor. All Rights Reserved. Page 7

between .5mm to 6.0mm. Placing watersoluble stabilizer under the edge will
prevent stretch and provide a prettier finish. Rinse away once completed.

Straight Stitch: Use a general purpose or one quarter inch foot and straight
stitch one quarter inch away from raw edge of the fabric. Press flat to lock
stitches into the fabric. Fold hem, wrong sides together on line of stitching and
press. Repeat one quarter inch fold for seam allowance. On wrong side of fabric,
place edge foot guide along the fold, move needle to the right one to two
positions to the right and straight stitch seam.

Hand Sewn Finished Edges

Rolled Hem: Using a whipstitch and hiding the long thread jumps in the
tunnel fold of the fabric.

Twitter: twitter.com/cookiegaynor

Enjoy fun projects on Facebook: facebook.com/cookiescreationswebsite

Copyright ©2013 by Cookie L. Gaynor. All Rights Reserved. Page 8

Season 600 - The Little Black Dress
 Sewing French Seams

French seams are perfect for silks, chiffon, and sheer fabrics.

French Seam
Sewing a French Seam:

 With wrong sides together, stitch ¼”

from the fabric edge.

 Press seam to one side.

 Flip the fabric over and press,

enclosing the seam allowance
  One the wrong side of the fabric,
stitch ¼” from the folded edge of
the fabric (enclosing the raw edges
of the seam allowance). Use a
Tailor’s clapper for a crisp seam
edge

Tailor’s Clapper

 Press the seam to one side.

That’s how easy it is to do a French seam!

Embroider Beautiful Bobbin Work on a Pashmina Scarf – Joanne Banko

You can embroider or stitch beautiful bobbin work using a simple straight stitch. Create
motifs using special bobbin work embroidery designs or simply draw an outline on fabric and
manually stitch the motif using a straight stitch. Either way, the tips and techniques
presented in this project will guide you as you experiment with beautiful bobbin work. The
embellished pashmina wrap featured in this project is randomly embroidered with built in
bobbin work embroidery motifs from the Brother Quattro® machine.

Materials and Supplies:

• Purchased blank pashmina scarf.

Note: As an alternative you can make a scarf from lightweight wool or wool blend
fabric.

• Good quality polyester sewing thread for the needle.

• Novelty thread for the bobbin, such as YLI Brand serger threads (Success Serger
Yarn, Ribbon Floss, Designer 7, and Candelight Metallic). Also consider using super
fine yarn, 2mm soft silk ribbon and perle cotton No.5.Threads must be smooth and
not easily separated. Ordinary embroidery floss is not suitable. Be sure to test all
threads before using them for your project.
Note: I used Designer 7 in this project.

• Large eyed tapestry needle for feeding thread tail to wrong side.

• Low tack tape to keep thread tails from tangling.

• Stabilizer appropriate for fabric – Recommended types include wash away, heat
away, and easy tear paper types.
Note: It can be difficult to remove some stabilizers from an intricate design motif. If
you cannot wash or easily tear away the stabilizer, be sure to select motifs that allow
for easy removal of the stabilizer.

• Secondary bobbin case adjusted for heavy novelty threads. The bobbin tension must
be adjusted so the featured thread flows smoothly. Note: Some machines have a
bobbin work kit included as it is for the Brother Quattro used in this project. You may
find a bobbin work bobbin case available as an accessory option. For example the
optional Brother Bobbin Work Kit works with many Brother model machines.

Instructions for Creating Bobbin Work:

To stitch bobbin work embroidery designs on the Brother Quattro, set up the machine as
follows:

Step 1.Select Ordinary Embroidery mode. Set up machine for bobbin work, using your
chosen bobbin thread. NOTE: See Tips and Techniques for bobbin work set up. Select motif
No.3 from built in bobbin work designs. See Figure #1.
Figure #1

Step 2.Prior to working on your project it is a good idea to test your design on a fabric that
is similar. When finished, your bobbin work should look smooth and relatively even. If you
are using matching thread in the needle the prominent thread on the bobbin side should be
your decorative bobbin thread. Adjust the upper (needle) tension or the bobbin tension if
necessary to achieve desired results. The Brother bobbin work kit comes with a manual
describing the details for adjustments as well as additional helpful tips. Layer your fabric or
pashmina wrap with the stabilizer against the wrong side. Using the 5” X 7” hoop, hoop the
piece having the wrong side facing up, and the right side of the fabric against the throat
plate. Place hoop on machine. Increase the upper tension. Generally, you would use a range
between 6-8. NOTE: It is important that the tie off and cutter function are both turned off.
Rotate the design if desired. Advance to the first stitch in the design. Send the needle down
and then tug on the thread up to bring the bobbin thread to the top side. See Figure #2.

Figure #2

Step 3.Advance to the first stitch in the design. Send the needle down and then tug on the
thread up to bring the bobbin thread to the top side. Tape the thread tails to the side. Stitch
the design. When finished, raise the needle, raise the presser foot, and remove the hoop
from the machine. Cut thread tails leaving several extra inches. Tie off the beginning
threads, knotting them by hand. Pull the ending bobbin thread to the wrong side by
threading it through a tapestry needle. Tie off as you did for the first. To further anchor the
threads, treat with seam sealant, weave the tails under previous stitches, or consider using
both methods. Note: On most fabrics seam sealant dries clear. Always test seam sealant in
an inconspicuous area to see if it leaves residue on your fabric.
Step 4.Embroider additional motifs randomly across the fabric. I used a combination of
Motif No.3 and Motif No.1 from the built in patterns. Remove stabilizer.

Admire your beautiful bobbin work!

Tips and Techniques for Successful Bobbin Work:

• Purchase a special bobbin work kit or a secondary ordinary bobbin case for your
machine model. If using an ordinary bobbin case you will need to loosen the tension
to allow various novelty threads to flow smoothly through the tension disk. This will
require some experimentation. Loosen a very small amount at a time and then test
your straight stitching “upside down”. Good results are achieved when your bobbin
work looks smooth and relatively even. If you are using matching thread in the
needle the prominent thread should be your bobbin thread. If your needle thread is
prominent try tightening the upper tension a bit at a time. If your bobbin thread
does not flow smoothly you will need to loosen the tension on the bobbin case. Most
often it is necessary to “tweak” both top and bobbin tensions a bit at a time. Using
matching thread in the needle allows for a better look on the bobbin side. Try not to
be too fussy. Bobbin work is designed to have a textured look and does not have to
be perfectly balanced. Various threads will produce different results.

• For embroidery machines without built in bobbin work designs, explore your options
for purchasing designs digitized specifically for bobbin work.

• For machines without embroidery capability, explore your options for creating bobbin
work with free motion stitching. You can also trace a simple outline and stitch the
motif manually using a medium length straight stitch.

• Hand wind thick threads or threads that easily twist.

• Clip or otherwise secure bobbins after winding by hand to prevent unraveling of

thread. Wind several bobbins if you are stitching more than one design. Depending
on the design and the thread, you may be better off beginning with a full bobbin for
each new motif.

Resources:

• For additional embellishment ideas and bobbin work projects visit the project and
tutorial section at Brothersews.com.

• Visit your local sewing machine dealer for serger threads and special machine
accessories.

• Novelty Serger threads also available atwww.Ylicorp.com.

• Pashmina/Silk Wrap: I used a 2 ply wool/silk pashmina wrap from The Pashmina
Store, available from www.thepashminastore.com.
• Please visit Joanne Banko at her website www.letsgosew.com. See more embellished
pashminas and embroidered wrap garments in her book, Wrapped In Embroidery by
Joanne Banko, www.wrappedinembroidery.com .
Precutting Appliqués – Cindy Hogan

Materials needed:
Brother ScanNCut machine
Embroidery software
Printer
Double sided adhesive stabilizer

Instructions:
1. Open your embroidery software.
2. Choose the Cut line and copy or cut it into a new design page. Different software
programs do this in different manners, so consult your software instructions.
3. Change the color of the stitch to black.
4. Click Print Setup.
5. Make sure you are printing actual size.
6. If possible, turn off any grid and axes functions (you just want the design not any
alignment features).
7. Choose Print.
8. The design will print.
9. Use the print to scan into the ScanNCut to cut the appliqué pieces.
10. Take the print to the ScanNCut
11. Scan to Data
12. Crop the area that you wish to cut.
13. Save into the machine’s memory.
14. Choose Home and then choose Cut.
15. Choose Saved Data and then machine.
16. Select the design.
17. Follow the instructions to cut.
 18. Place the double adhesive backed black fabric onto the cutting mat and cut the dress
pieces.
19. Embroider the appliqué as usual when it is time to place the appliqué piece on the fabric,
press it into place while it is still in the hoop.

If you do not have a cutting machine, you may print out the templates and turn the printout
upside down. Trace to the back side of the adhesive backed stabilizer paper after it has been
ironed onto the fabric and then manually cut.

You may also cut the fabric as usual after the appliqué fabric has been tacked onto the project,
cut the outer edge of the appliqué away.

For more information visit: www.cynthiasembroidery.com .

Little black dress in the hoop change purse – Cindy Hogan

Materials needed:
Brother ScanNCut machine
Embroidery software this lesson uses PE-DESIGN NEXT (9.23)
Printer
5 x7 inch embroidery frame
1 piece of red fabric 5 x7 inches
2 pieces of red fabric 5 x 5 inches
1 piece of 5 x 7 inch black fabric with double sided adhesive ironed onto the back
Little black dress change purse designs (front and back)
7 inch zipper to match fabric

Instructions:

1. Open Layout and Editing.

2. Open the Little black dress change purse design back.
3. Click on the Stitches Attributes Tab and choose Divide by Color.
4. In the Sewing Order window, double click on the first piece of the dress appliqué (this is
the cut line).
5. Click on the Home tab and choose Cut.
6. Send the embroidery design to the machine via your preferred method.
7. Start a new session of Layout and Editing from the Start menu of the computer (do not
close this session or choose new page).
8. Press Paste to paste the cut line into the new Layout and Editing window.
9. From the flower pull down menu (this is the file pull down menu), choose Print and then
Print Setup.
10. In the Embroidery Print Mode area, choose Actual Size and Realistic Stitch Image.
11. Remove the checkmark if there is one in front of Print sewing area box and center axes
and Print template grid. These items will interfere with the cut process on the Scan N
Cut.
12. In the Stitch image area, click on the Attributes button.
13. Change the Thread Width to Thick, the Brightness to Dark and then click OK.
14. Click Print.
15. Choose Page 1 to 1. Page 2 is the design information.
16. The design will print.
17. Repeat the process for the Little black dress change purse back design.
18. Use the print to scan into the ScanNCut to cut the appliqué pieces.
19. Take the print to the ScanNCut and Scan to Data.
20. Save into the machine’s memory.
21. Place the double adhesive backed black fabric onto the cutting mat and cut the dress
pieces.
22. At the embroidery machine.
23. Bring up the embroidery design.
24. Hoop a piece of Tear away stabilizer in the 5 x 7 inch embroidery hoop.
25. Embroider the first segment.
26. Tape a zipper inside the side stitch lines with painters tape.
27. Embroider the next 2 segments. They will stitch the zipper in place.
28. Lay the top piece of 5 x 5 inch fabric along the top of the zipper flipped face side down
over the zipper.
29. Embroider the next stitch and then flip it to the top of the hoop.
30. Lay the second piece of 5 x5 inch fabric face side down over the zipper and stitch the
next segment flip to the opposite side.
31. Finger press both pieces of fabric down.
32. Embroider the next 2 segments.
33. Open the zipper to the center of the embroidered lines.
34. Stitch the next segment and then the appliqué segments.
35. Remove from the embroidery machine.
36. Hoop a piece of Tear away stabilizer in the 5x7 inch hoop.
37. Place the 5 x 7 inch fabric on top of the hoop.
38. Embroider the design until you reach the last stitch segment the rectangle.
39. Place the front face side down on top of the embroidery matching up the basting stitch
lines.
40. Embroider the last segment.
41. Remove the embroidery from the machine and trim to ¼ inch on all sides.
42. Take a seam ripper and open the back of the tear away and turn the project through the
zipper opening.
43. Press.
Season 600 - The Little Black Dress
 Seam Finishes including Hong Kong

There are so many seam finishes to choose

from. Be sure to pick one that compliments
the garment and the fabric.

Hong Kong Finish

Flat Felled Seam

Serged Edge
Stitch, Cut and Sew
By Eileen Roche

Custom clothing, designed by you, is fairly easy to achieve. You’ll need a few hours of
your time, a pattern from a reputable company, appropriate fabric, stabilizer and
gorgeous embroidery designs. Since all the embroidery is stitched on flat fabric,
placement and hooping is a breeze. Here’s how to do it.

Trace the thumbnail of the pattern and then doodle on the sketch. Your doodling
represents the embroidery and gives you an idea of where the eye is drawn on the figure.
On these two tunics, I started at the neckline because embroidery near the face flatters
most figures and draws attention to your smile – your best feature! A thumbnail sketch is
a good ‘go-by’ (magazine lingo for a look you’re trying to achieve) but actual size is best.
Use the go-by to make the embroidery layout in actual size.

Print templates of the embroidery designs you intend to use. Set aside for now. Open
your pattern and find the section that will display the embroidery. Trace the section onto
a large sheet of paper. Most pattern pieces are cut on two layers of fabric so you have to
trace it once then flip the pattern and trace it right next to the first tracing.

Now play with your embroidery design templates. Audition them on the pattern piece.
Use a digital camera to document the different positions then review your images. Once
you decide on a favorite, pin the templates to the pattern. Place the pattern on the fabric
and trace the outline. Cut the fabric leaving ample seam allowance for hooping. Take the
cut fabric piece and hold it on your figure or place it on a dress form to view. Critique
the position of the embroidery. Make sure it’s flattering your figure and not drawing
attention to areas you’d rather camouflage. Now, transfer the crosshairs for the
embroidery onto the fabric. I use target stickers because they stay in place until I remove
them and don’t leave a mark.

Once all embroidery is complete, place the pattern section on the embroidered fabric and
cut the fabric. Follow the pattern instructions for completing the garment.

Here’s a bit more detail.

Embroidery Products
Perfect Placement Software available at your local sewing machine dealer or
www.dzgns.com

Materials needed:
McCall’s pattern 6398; View C
Cotton jersey fabric per pattern requirements
Crystals
Instructions:

Step 1. Open a new file in Perfect Placement Software. Click on the design icon and
select design LeahBorder. Select the reference line from the placement guide icon. Copy
and paste the reference line. Position the reference lines to mimic the outline of the
tunic’s yoke shape. Place the LeahBorder along the line in a flattering position. Print a
template of the layout.

Place the template on tunic pattern yoke section. If you’re pleased with the arrangement
and size of the border, save the design, if not, make the appropriate adjustments and then
save the design.

Trace the tunic pattern yoke section onto the fabric. Cut out the yoke leaving ample
room around the tracing for hooping.

Hoop the fabric with cut-away stabilizer and stitch the design. Mirror image the design
and repeat for the opposite side.

Follow the pattern instructions for completing the garment.

Serging Basics - Amy Alan

Materials Needed:
• Thread snips
• Serger Thread
• Tweezers
• Serger
• 2” x 18” fabric strips for making stitch samples
• Sewing pins

4-thread overlock
This stitch uses both the upper looper and the lower looper, and also both
needles. It is a very strong stitch, and it’s perfect for seaming. Because it is so
durable, it’s one of the most commonly used serger stitches. To set up your
serger for this stitch, first check your machine manual to read over the
correct threading sequence. The most common sequence is upper looper,
lower looper, right needle and then left needle. After you have threaded your
machine, always lower your presser foot and create a thread chain before
making a stitch sample.
Stitch Tip:
Use when gathering (tighten the needle tensions) for more dramatic ruffling.

3-thread overlock (use left or right needle)

To set up this stitch, use the upper looper, lower looper, and one of the
needles. Choosing to use the left needle is best for thick or medium weight
fabric, and the right needle is best for thin fabrics. Remove the needle that is
not being used. This stitch is a nice choice for seaming, as long as the stitch
won’t have lots of stress put on it. It is also a great stitch choice for finishing
fabric edges.
Stitch Tip:
This is one of the easiest stitches to pair with thick decorative threads.

3-thread flatlock
Using the same serger set-up as the 3-thread overlock, the tensions are
adjusted to create a stitch that lays completely flat when opened. The needle
thread tension should be very loose, and the lower looper tension will be very
flat to form a straight line of thread down the side of the stitch. The upper
looper tension stays near the standard setting. This stitch can be used along a
fold or two edges of fabric, and then opened so the fabric lays flat. The stitch
has two optional sides for you to use on your projects. One looks like ladders,
and the other side is a series of loops. It is a great choice for seaming
sportswear and adding decorative threads to a project.
Stitch Tip:
Once the stitch is opened up, ribbon can be fed thru the ladder side of the
stitch for added color.

3-thread rolled hem

The upper looper, lower looper and right needle are used for this stitch. The
lower looper tension will be tight, and the upper looper tension will be set a bit
higher than the standard setting. The needle tension usually is not changed
from the standard setting. The stitch finger should be removed so that the
fabric is encouraged to roll under. This may require that you remove and
replace the stitch plate on your machine, so check your machine manual for
exact set up. This is a wonderful stitch for hemming lightweight fabrics, and
works very well with decorative threads. It does not work well on thick
fabrics.
Stitch Tip:
Use a decorative thread such as textured nylon for a very full rolled hem
stitch.

Stitch Tips
• If a stitch is too narrow, it may not be durable or press flat
• If a stitch is too wide, it can cause puckers in the seam

For more information visit www.reallyhandmade.com .

Season 600 - The Little Black Dress
 Princess Seams

Princess seams are a not only a

design feature in many dresses, but
they also offer easy solutions for
fitting.

Princess seams can end at the

shoulder or armscye.

When sewing princess seams, make

sure to feed the fabric through the
sewing machine evenly so you don’t
end up with puckers in the full bust
area.

If the dress is unlined (like the beige

dress above), one idea is to finish
the seam edges by serging, press the
seam allowance toward the center
of the body, and topstitch in place.

If the dress is lined:

Clip the curve of the bust area as
shown and press the seam open.
Press the curve of the seam on a
pressing ham.
 Embellishments BY KEn n eth D. Ki ng

Stitch folded strips in parallel rows

This method requires constructing a garment foundation, like an underlining layer, to which
Curved tucks the folded bias strips are applied, creating the appearance of skillfully sewn tucks. This gives
Layered bias strips create greater control over the tuck shaping and direction and supports the garment’s shape. In the
basic technique, strips are stitched in even, parallel rows (vertical, horizontal, or diagonal).
dramatic texture and detail Choose any thin, stable fabric, such as cotton muslin, batiste, or cotton shirting, for the founda-
tion layer. Cut the bias strips for the tucks from fabrics with body, such as silk dupioni, satin,
crepe, or broadcloth. Reinforce lightweight fabrics with fusible interfacing.
ave you ever admired an evening
H gown that appeared to be constructed
For the bias strips, multiply the desired finished tuck width 4-inch-wide bias strip, 1⁄2 yard of 45-inch-wide fabric yields
from gracefully curving, overlapping fab-
1 by 2, and add 2 inches for seam allowances. For example, for 51⁄2 yards of bias strips, and 1⁄2 yard of 60-inch-wide fabric yields
ric tucks, and wondered, “How did they do 1-inch-wide finished tucks, cut bias strips 4 inches wide. To cover 7 yards of bias strips. Avoid piecing the bias strips end-to-end to
that?” Wonder no longer. an entire garment with tucks, triple the fabric required for the prevent introducing seams into the design; because of this, the
Fashion designers call this surface garment, and purchase a little extra just in case. Assuming a technique creates some fabric waste.
embellishment “fluting” because it
resembles the carved grooves, or fluting,
Cut the bias strips. Position the first folded strip
on classical architectural columns. It 2 Fold each strip 3 onto the foundation layer. In the
looks complicated, but I’ll show you in half lengthwise, samples shown, the folds point up,
a method for achieving the illusion of wrong sides together, so they are applied from the top
intricately sculpted tucks that depends and press, stretching down. For folds pointing toward the Folded edge Top edge
slightly. garment’s lower edge, work from the
on one of the simplest elements in sew-
bottom up. Pin 1⁄8 inch away from
ing: bias-cut fabric strips. The strips are the fold. The strips are applied like Foundation Layer
folded in half and individually applied in shingles, with each one lapping the
stepped layers onto a foundation fabric. preceding strip’s raw edges.
Use this dramatic effect in all-over Pin the strip to the foundation 1⁄8 inch from the strip’s folded edge.
designs, or confine it to one area of a
garment. Like the grooves on a column,
these faux tucks may run in straight,
parallel lines, but they are at their best
when worked into eye-catching curves
Lift the strip’s upper layer. With a A “jig” cut from cardstock helps keep Stitch through the strip’s underlayer,
and braided details and used to conceal
4 single strand of thread and a hand- 5 the spacing between the strips’ folded 6 the previous strip, and the foundation.
garment seams. sewing needle, sew a running stitch edges consistent. Use a jig or a seam Repeat this process with the subsequent
This is an elegant detail for everyday through the strip’s underlayer and gauge to position the second strip atop the tucks, until you’ve covered the foundation.
garments as well as glamorous special- foundation fabric, stitching 1⁄8 inch to preceding one. Pin the second strip 1⁄8 inch To finish, see step 6 on page 23.
1
occasion wear. You can apply the tucks ⁄4 inch away from the fold. from its fold.
to fabric yardage, or you can strategically
stitch them onto a garment foundation. Folded strip
My version of the technique that is upper layer
Jig First strip
taught at fashion-design schools is much First strip
simpler, more easily controlled, and gives
a cleaner finish. I’ll show you how to use
this method to achieve the basic, paral-
lel fluting effect and the “braided” fluting
Second strip
effect, in which the tucks are shaped into Folded strip
underlayer
curves and their ends overlapped.
Simple folded bias strips form a
stunning and complex surface design Second strip
Stitch the second folded strip’s underlayer to
that re-creates couture fluting. Pattern:
Kenneth D. King is a Threads contributing the foundation, catching the previous strip’s
Simplicity 4079. Fabric: Silk dupioni editor and teaches at the Fashion Institute layers in the stitches.
(MoodFabrics.com). of Technology in New York City.

20 THR E A D S w w w. t h r e a d s m a g a z i n e . c o m A p r i l /M ay 2 0 1 3 21
 Embellishments continued

Sculpt folded strips into curves

For the curved effect, the folded strips are shaped by steam- seams (as shown on the vest, page 23). You can also use it to create After stitching each curved strip, trim the excess fabric from its bottom
pressing before they are stitched to the foundation. You can use more complex sculpted or directional designs that run to a gar- 5 layer. Also, trim the previous strip’s end to reduce bulk. Continue to
this variation to create a braided effect with each strip’s end over- ment edge (also on the vest, page 23). In addition to working verti- apply and trim curved strips in the same way to complete your design.
lapping its neighbor in an alternating pattern, ideal for concealing cally, the braided variation requires working from side to side.

Plan the curved tuck design Prepare the fabric strips as directed in step 2 on page 21. Use your template as a guide to
1 for the best results. Make a 2 steam-press the folded strips into the desired curve, stretching gently. Then, pin the curved
paper template of the garment strip onto the foundation, close to the strip’s folded edge.
by copying the pattern without
its seam allowances, cutting
out the pieces, taping them
together at the stitching lines, Basic technique
and drawing the design. To Trim the
strips’
conceal garment seams with
bottom
the braided effect, first plot the layers.
tuck positions at the seamlines.
Transfer either the complete Sculpted effect
design or simple reference lines
onto the assembled garment
foundation with a fabric pen
or pencil.
Curved strip Once the final strip is sewn in place, stitch across its bottom edge to
6 secure its top layer. Then, baste around the garment’s edges within the
Steam-press the folded strip into the desired seam allowance and trim off all excess strip ends. The garment foundation’s
curve, then pin it to the foundation garment. wrong side shows the running stitches that secure the strips, so you must
Curved tucks and straight tucks can be line the garment to conceal and protect the stitches.
combined in a design, as shown.
Braided effect
Baste around
the garment’s
edges and
Lift the strip’s top layer, and hand-stitch its underlayer For the braided effect, you now begin working on alternating sides. Pin trim off the
strip ends.
3 to the foundation 1⁄8 inch to 1⁄4 inch from the folded 4 the second folded strip next to the first one, overlapping the first strip’s
edge. Steam the work, and smooth it by hand to eliminate end. Hand-stitch the second strip’s underlayer to the foundation as before.
This elegant vest illustrates three of the effects
any bubbling. Again, steam the work, and smooth it by hand.
described. The basic technique creates the parallel
tucks at the shoulders; the sculpted effect creates
the curved tucks throughout the body; and the
Foundation braided effect creates the overlapping design on
Layer the vest’s right side (as worn).
Tip (WS)

Garment
Layer
(RS)

Stitch the strip’s

First curved strip Second curved strip
WEB extra
underlayer to For a tutorial on making the
the garment
frog closure shown on the vest,
foundation.
Pin the next curved strip beside the first, overlapping the first strip’s end. visit Threads.Magazine.com.
Photos: (p. 20) Jack Deutsch, stylist: Jessica Saal, hair and makeup: Patrycja for Halley Resources; (p. 23, right) Sloan Howard; all others,
Kenneth D. King. Styling credits: top—BCBG (Macys.com), earrings—Robert Lee Morris (Macys.com), pants—Calvin Klein (Macys.com)

22 THR E A D S w w w. t h r e a d s m a g a z i n e . c o m A p r i l /M ay 2 0 1 3 23
 Play Mat Pillow
Designed by Vanessa Vargas Wilson (Crafty Gemini)
www.craftygemini.com
Materials & Supplies:
• 23” x 37” of fabric for play mat side
• 23” x 37” of backing fabric
• 24” x 38” piece of low loft batting (cotton or poly blend will work fine)
• Two 11” x 11” fabric squares for pillow pocket
• One 12” x 12” batting square for pillow pocket
• Paper backed fusible web to create appliqués
• Scrap fabrics of all kinds- solids, prints, novelty, etc.
• Brother ScanNCut
• Rotary cutter + mat
• Scissors
• Clear quilting rulers
• Iron + ironing board
• Spray starch (optional)
• Fabric safe marking pen or marker
• Pins
• Coordinating thread
• Walking or dual feed presser foot {optional, but recommended}

Designing play mat:

1. Take the 23” x 37” piece of fabric for the background of the play mat theme and
embellish it anyway you’d like. Think of a fun theme and go with that!
2. To create the appliqués for your mat design here are a ton of things you can do. Some
examples are:
• Use an electronic die cutting machine like the Brother ScanNCut to cut out pre-
loaded or scanned in shapes from the machine’s memory.
• Fussy cut images and shapes out of novelty and/or print fabrics.
• Cut images out free hand with a pair of scissors.

Creating pillow pocket:

1. Lay the 12” x 12” square of batting down. Lay one of the 11” x 11” squares on top with
the pretty side of the fabric facing up. Place the other 11” x 11” square on top with the
pretty side of the fabric facing down.
2. Pin all around the sides. With a fabric pen mark a 3”-4” line on one of the sides. This will
be a reminder to leave the area un-stitched when you are at the sewing machine.
3. Use a ¼” seam allowance and sew around all four sides except the space you marked in
Step 2. Be sure to backstitch at the beginning and at the end of your stitches.
4. Trim any excess batting from sides and trim corners to reduce bulk.
5. Turn right side out through opening and give it a good press. Tuck in fabric and batting
edge at opening and press again.

Assembly:
1. Fold backing fabric in half lengthwise and press to create a crease. Repeat for pillow
pocket. Lay pillow pocket center crease line on top of the backing fabric’s crease so one
side of the pocket is flush with one short edge of your backing fabric. Pin in place. Stitch
along the edge of pillow pocket that is touching edge of backing fabric using a 1/8” -1/4”
seam allowance.
 2. Lay the 24” x 38” piece of batting down on table. Lay play mat side with the pretty side
of fabric facing up. Then lay the backing fabric on top with pretty side facing down.
3. Pin all around. With a fabric pen mark a 5”-6” line on one of the sides. This will be a
reminder to leave the area un-stitched when you are at the sewing machine.
4. Use a ¼” seam allowance and stitch all the way around all four sides except on the
opening you left. Remember to backstitch at the beginning and end of your stitch line.
5. Trim excess batting and clip corners to reduce bulk.
6. Turn right side out and press. Tuck edges in at opening and press again.
7. Make sure pocket flap is flipped towards the backing. Pin in place.
8. With a ruler and fabric pen measure and mark two lines across the backing (lengthwise)
so the lines cross through the pocket at ¼” in from the side edges. These will be your
stitch lines.
9. With the walking foot or dual feed foot on your machine stitch on the two lines you
marked making sure to backstitch at the beginning and end of the line and also right at
the top of the pockets for extra security. This area will get a lot of wear & tear and you
don’t want the pocket to come apart.

Folding into pillow

1. Lay play mat side up and fold in the two sides on stitch line creases.
2. Fold everything in half and then in half again until you end up with an accordion looking
stack of fabric. The pocket should be on the bottom of the stack.
3. Reach into the pocket and flip bulk of mat into pocket by pulling it all through the pocket
as you pull.
4. Adjust for even distribution and that’s it!

For more fun & easy projects visit:

www.craftygemini.com
Season 600 - The Little Black Dress
 Alter Neckline Curve and Add Facing

Here is an easy trick for a perfect

neckline regardless of the shape:

¼” wide cotton twill tape

 Take the fashion fabric and

facing, with right sides
together, stitch the neckline.

 Add a piece of twill tape,

following the same stitch
line. Slightly pull the twill
tape while stitching.

 For a v-neck, snip into the

point of the V (snip all the
way to the stitch line, but
not through the stitch line).

 Press the seam open and flip

the facing over.
It’s very easy to alter a pattern neckline. Starting with the
original neckline curve, draw a new curve or v-neck. It’s easiest
to start at the original shoulder seam.

Alter the facing piece to match the new neckline or simply draw
a new facing piece on the center front piece and the side front
piece.

Refer to my blog for more sewing tip and tricks!

Cheers,
 Nappy Nap Sack, Bed Roll & Pillow
22” X 30” X 1 1/2” Bed Roll, 22” X 18” Nap Sack & 9 1/2” X 14” Pillow
By Pearl Krush
A Pearl Louise Design
www.pearllouisedesigns.com

Materials Needed:
2 Yards Blue Print
1 ¼ Yards Green Print
1 ¼ Yards Home Foam Bed Roll
Fat ¼ Cream Tone on Tone Print
Fat 1/8 Brown Weave Print
Fat 1/16 Black Print
One Yard Steam A Seam 2 Lite
Basic Sewing Supplies
Travel Pillow Form (Cut in Half) Basic Instructions

1. Trace, “Fuse” and Cut out all appliqués as stated.

2. Cut all Fabrics as stated. WOF = Width of fabric (42”)
3. 1/4” seams are allowed
4. Press all seams.

Cutting Instructions:
Bed Roll
1. From the Blue Print, Cut:
Two 18 1/2” X 33 1/2” Rectangles (Bed Roll)
One 16 1/2” X 36 1/2” Rectangle (Nap Sack)
One 6 1/2” X 18 1/2” Rectangle (Pillow Case)

2. From the Green Print, Cut:

Two 4 1/2” X 18 1/2” Rectangles (Bed Roll Bottom)
Two 3 1/2” X 18 1/2” Rectangles (Bed Roll Top)
One 2” X WOF Strip (Bed Roll Tie)
Two 3 1/2” X 37 1/2” Rectangles (Nap Sack Top & Bottom)
Two 1 1/2” X WOF Strips (Bed Roll Ties)
One 10 1/2” X 18 1/2” Rectangle (Pillowcase)

3. Cut all Appliques as stated.

Building the Bed Roll

1. From the Home Foam, Cut:

One 17” X 40” Length
2. With right sides together, sew a 3 1/2” X 18 1/2” Green Print Rectangle to the top of the
18 1/2” X 33 1/2” Blue Print Rectangles. Repeat and sew the 4 1/2” X 18 1/2” Green
Print Rectangles to the bottom of each 18 1/2” X 33 1/2” Blue Print Rectangle.
3. Trace, “Fuse” and Cut all appliqués as stated. Place and press the appliqués in place on the lower front
section made in Step #2. Stitch a decorative stitch around each appliqué.
4. Place the back and front sections of the bed roll cover right sides together. Sew the sides and top seams
together. Leave the bottom open. Turn right side out.
5. Fold the raw edges on the 2” X WOF Strip to the center. Fold again. Top sew the outer edges together
to make the tie.
6. Fold the tie in half. Fold the bottom opening on the bed roll cover under 1/2”. Pin the
fold of the tie inside the folded bottom edge on the top center.
7. Carefully insert the Home Foam Rectangle inside the cover. Pin the folded bottom seam together.
8. Place the bottom seam onto the sewing machine and top sew the seam shut.

Building the Nappy Nap Sack

1. Fold the ends of the 6 1/2” X 37 1/2” Green Print Rectangles 1/2” to the wrong side. Press.
2. With right sides together, sew the 6 1/2” X 36 1/2” Green Print Strips to the top and bottom of the
16 ½” X 36 1/2” Blue Print Rectangle.
3. Trace, “Fuse” and Press the appliqué onto the center of the bag. Stitch a decorative stitch around each
appliqué shape.
4. Fold the top and bottom Green Print Rectangles under 1/4”. Fold again covering the seam. Sew in
place.
5. Sew a seam 1” from the folded Green Print Cuff on each end. This will make the casing on the top and
bottom of the bag.
6. Fold the bag wrong sides together. Sew the side seam. Do not sew into the casing spaces at both ends.
7. Fold the raw edges of the 1 1/2” x WOF Green Print Strips to the center lengthwise. Fold again and
sew the folded edge together to make the two bag ties. Place a safety pin into one end of one tie.
Tunnel it through the casing on the bottom of the bag allowing the ends of the tie to be exposed.
Repeat on the top of the bag. Tie a knot into the end of each tie. Trim off any excess fabric to the
knot.
Building the Pillowcase

1. With right sides together, sew the 6 1/2” X 18 1/2” Blue Print Rectangle to one end on the
10 1/2” X 18 1/2” Green Print Rectangle.
2. Sew the sides and bottom seams. Turn right side out.
3. Fold the bottom of the Pillowcase Cuff under 1/4”. Fold the folded edge over the seam and sew in
place.
4. Insert the pillow. (I cut a regular travel sized pillow in half to get the 8” X 13” small
pillow).

Finishing:
1. Place the pillow in the Pillowcase. Place the pillow onto the Bed Roll. Roll the Bed Roll up
and place it into the Nap Sack. Pull the Ties tight.

Enjoy! Pearl Louise

Create a Maternity Top from a Standard Blouse - Kathleen Cheetham

You will need:

Table with cutting mat

Grid ruler or T-square

Scissors, coloured felt pens, coloured office paper, scissors, scotch tape, pattern weights, pattern awl

A top pattern that has a side bust dart. In this example, we are using the Shapely Blouse from Singer
Perfect Plus by Kathleen Cheetham.www.petitepluspatterns.com

It’s your favourite blouse pattern and now that you’re pregnant, wouldn’t it be nice to have it as a
maternity top. Here’s an easy way to do just that.

Copy the front and back pattern pieces. (See Images “Front A” and “Back A”)

Because you’ll need extra fullness through the torso, straighten the curve on the sideseam. Also, you
won’t be sewing in the torso darts on back or front. (See Images “Front E” and “Back B”)

On the Front, draw two lines –the first straight up from the hem to the bust point, the second from the
side seam through the middle of the bust dart to the bust point.(See Image “Front B”)

Cut both lines, leaving a tiny hinge of paper at the bust point.

Swing the bust dart closed sending the fullness to the front tummy.(See Image “Front C”)

Place pattern paper in behind the tummy opening and tape in place.

Tape the bust dart closed. Redraw the hem smoothly. Lengthen at the front slightly if desired. (See
Images “Front D”)
Season 600 - The Little Black Dress
 Attaching Facing and Under Stitch

Now it is time to finish the neckline if the dress has a facing.

Facing is usually cut with the same fashion fabric and

attached at the neckline and armholes (if the dress is a tank).

The most important part of attaching the facing is to make

sure the facing fabric lies flat against the dress fabric.

 Start by attaching a lightweight

fusible interfacing to the facing.
  Attach facing to neckline seam first.

 Understitch along the facing neckline

seam.

 Press

 Attach facing at each armhole.

 Understitch along the underarm area

on the facing.

 Press.

Refer to my blog for more sewing tip and

tricks!

Cheers,
 Updating Every Day Garments with the Ruffler Foot
By Melissa Stramel
Lilac Lane Patterns http://LilacLanePatterns.com

Ruffle fabric used in this demonstration provided by Riley Blake Designs. http://rileyblakedesigns.com
Adding ruffles is an easy way to make a regular garment spectacular. In this segment, Melissa Stramel adds ruffles to a
circle skirt. The ruffles are created with the ruffler foot, an attachment for the sewing machine. The ruffler foot easily
ruffles fabrics without the hassle of gathering.

You will need:

Fabric to create ruffles. Fabric must be twice as long as the desired area to ruffle and also twice as wide as the ruffle size
desired.
Single fold bias tape.
Thread to match bias tape.

Before, the skirt is lovely, but plain.

1. Begin by choosing the width of the ruffle you would like to make. For this project, I wanted a 2 ½” ruffle. Cut fabric
twice as wide as this number (5” for me) by twice the length of the desired length of the ruffle. If a very long ruffle is
needed, such as for the edge of a circle skirt, several widths of fabric may need to be pieced together. Simply sew or
serge together, end to end, until twice the desired length is achieved.

2. Press the fabric width in half with the wrong sides together.

3. You are ready to use the ruffler foot.

Although this foot may look scary, it is really very easy to use. It attaches to the machine by simply placing the black fork
(looks like a backwards C in this photo) on the needle bar and then slowly lowering the presser foot. It will attach itself.
There is a lever in the front that says 1, 6, and 12. 1 means it will make a tuck with each stitch. 6 means it will make a
tuck every 6 stitches and is the setting I normally use. And 12 means it will make a tuck every 12 stitches. I have used this
for heavier fabrics that do not require as much ruffling.

There is also a screw that adjusts the amount of fabric ruffled with each tuck. You may need to play with the settings on
a piece of scrap fabric. We want to ruffle the fabric to half of its beginning length.
4. Insert the fabric 1 inch past the needle.

5. Make sure the needle goes through the hole in the ruffler so that you don’t break a needle. The most important step
in using the ruffler foot is to sew slowly so that the ruffles are very evenly spaced.

6. You are ready to attach the ruffle to the garment. Use a seam gauge to determine where the ruffle should be attached
and pin to garment.
7. Sew the ruffle onto the garment. I like to use a wide zigzag (3.5 length 5 width).

8. To cover the seam, place bias tape over the raw edges and top stitch both sides.

There are many, many uses for ruffles of course. Use your imagination! Your outfits will never be boring again.
A pattern for the basic circle skirt is found in Melissa’s book, A Year of Making Life Beautiful: 45 Projects to Bake, Grow,
Craft, and Sew.

Written by Melissa Stramel. Please e-mail her at [email protected] with any questions.
Serging Lesson - Amy Alan
Materials Needed:
• Thread snips
• Serger Thread
• Tweezers
• Serger
• 2” x 18” fabric strips for making stitch samples
• Sewing pins

2-thread overlock (use left or right needle)

To set up this stitch, use the lower looper and one of the needles. The upper looper should have
the converter (also called a spreader) attached to it to fill in the upper looper eye. The needle
thread tension will need to be loose so it can reach the edge of the fabric to meet the lower looper
thread. Choosing to use the left needle is best for thick or medium weight fabric, and the right
needle is best for thin fabrics. Remove the needle that is not being used. This stitch is not a good
choice for seaming, as the stitch locks on the edge of the fabric where the needle stretches over
to reach the lower looper thread. This stitch is a delicate finish for lightweight fabric and also
nice for using decoratively.
Stitch Tip:
• Use the right needle for an alternative to a rolled hem stitch.

2-thread flatlock (use left or right needle)

The 2-thread flatlock is the true flatlock stitch. It is easier to flatten than the 3-thread flatlock
stitch. As with all other 2-thread stitches, the lower looper and one needle are used, and the upper
looper eye is block with the converter. The needle thread tension should be loose, and the lower
looper tension will likely be slightly tighter than the standard tension setting. This the best stitch
to use for applying lace and lingerie elastic. It is not a strong stitch, so it is not a wise choice to
use for seaming.
Stitch Tip:
• Use this stitch on a folded piece of fabric to create a decorative stitch of either loops or ladders.

2-thread wrapped overlock (use left or right needle)

This stitch uses the lower looper and one of the needles. The upper looper thread should not be
used, as the converter should be placed over the upper looper eye. The needle tension will be a
bit looser and the upper looser tension a bit tighter than the standard settings. The wrapped
overlock is a perfect edge finish for fine and lightweight fabrics. Because the thread wraps
completely around the fabric edge, it is a nice choice to use decorative thread in the lower looper.
The stitch is reversible and it has maximum stretch for knit seams.
Stitch Tip:
• Using stretch nylon thread in the lower looper results in a very soft and stretchy stitch, perfect
for lingerie.

For more information visit www.reallyhandmade.com .

Season 600 - The Little Black Dress
 Lining as Facing

Even if your dress pattern has a facing for the

neckline, it’s really easy to change that to
lining. Simply cut the dress pattern out of
lining. Cut the hemline 1” shorter and trim
off 1/8” along the neckline and armhole
edges.

Attach the lining just like we did in the last

episode with the facing and Understitch
along the lining seam edge.

My favorite lining fabrics:

 Ambiance
 Silk charmeuse
 China silk

Refer to my blog for more sewing tip and

tricks!

Cheers,
 Couture techniques Stabilize with an internal ribbon stay
for improving Incorporating an internal ribbon stay into a waistband strengthens it and helps
it better withstand long-term use. Commercial stabilizers are available, but the
waistline durability preference for couture garments is petersham grosgrain ribbon. Petersham is
firm, but its scalloped edges enable it to be shaped into gentle curves. A 1-inch-
and comfort wide petersham stabilizes a waistband beautifully.
Certainly, incorporating a petersham stay adds another layer to an already-
By Susan Khal je substantial quantity of layers in a waistband. However, if you control the layers
and align them carefully, the results are well worth the effort.
Add a petersham stay after basting the garment’s shell and lining together.
Cut the petersham ribbon 4 inches longer than the waistline measurement.
waistband is a straightforward part Place one long edge of the petersham just a hair above the garment's waistband
of a garment. At its most elemental, stitching line. The petersham tails extend an equal length past the garment
A it secures an item of clothing to the opening on each side. Hand-baste the petersham’s bottom edge to the garment
wearer’s waistline. But with a little extra seam allowance.
For the waistband, cut one 4-inch-wide fashion fabric strip (on the straight
engineering, a waistband can achieve its
grain) the waistline length, plus 4 inches. The finished waistband is 1 inch wide.
purpose with more polish, comfort, and
The seam allowances are also 1 inch wide to place a buffer between the fabric
stability. and the petersham's top edge, which could show through on lightweight fabrics,
Because bodies typically are bigger above such as the challis used below. A thick or dense fashion fabric may conceal the
and below the waistline, the waist is the most ribbon's edge, and the seam allowance could be reduced.
logical area from which to securely suspend Align the waistband, right side down, to the garment’s waistline edge. The
Build a Better a skirt or a pair of trousers. So a waistband
acts as an anchor of sorts. However, the waist
waistband stitching line should rest just a hair below the petersham’s lower
edge. Sew the waistband to the garment by machine. It’s helpful to first hand-
baste it in place to prevent the fabric from stretching during machine stitching
is far from stable or stationary: It twists,
turns, stretches, expands, and contracts as and to prevent stitching through the petersham. Press the waistband upward,
we walk, bend, sit, or tuck in a shirt. To be toward the garment edge, wrong sides together. Then, fold it to the garment’s
wrong side along the petersham’s top edge, enclosing the ribbon. To complete
an effective anchor, a garment’s waistband
the waistband, read “Finish a waistband perfectly,” page 47.
needs to be firm and well supported, yet
comfortable; easy to open and close, but
also secure when fastened. And because the
waistband endures the stress of movement,
it also needs to be sturdy enough to resist
stretching and sagging. Why make a beauti-
Waistband ful garment that will outlast its waistband?
Details like built-in ribbon stays, bulk-
free layers, perfectly placed fasteners,
and durable stitches set apart the refined
Petersham

Baste a petersham
ribbon above a skirt's
Waistband stitching line waistband stitching
waistbands of couture garments from their line, then attach the
average counterparts. A couture waistband is waistband just below
stronger, more stable, and more user friendly the ribbon's edge.

Create stronger, more stable, when worn.

couture waistbands with In this article, I’ll share how I sew waist- Waistband stitching line
internal ribbon stays, bulk-free bands using couture construction and
layers, and securely stitched finishing techniques for garments that will
fasteners.
withstand many years of wear.
Waistband (WS)

Threads contributing editor Susan Khalje is an

expert on couture garment construction.

44 THREADS w w w. t h r e a d s m a g a z i n e . c o m F e b r ua ry/M a r c h 2 0 1 3 45
 Reduce waistband bulk with a facing Finish a waistband perfectly
The typical waistband is a single fabric strip folded a number of times Regardless of which waistband type you use and where the garment opens, the
lengthwise. If your fashion fabric is thick or heavyweight, a standard waistband waistband ends need special treatment. As you fold, press, and stitch to finish
can result in unnecessary bulk. Instead, construct a faced waistband using the waistband, measure carefully and often. The waistband ends should be the
a lighter-weight fabric, such as lining, for the facing. A faced waistband is same width when finished, but it can be difficult to maintain a consistent width
assembled from two fabric strips: the fashion fabric on the exterior and the through the waistband's entire length.
lining fabric on the interior. This reduces the waistband’s thickness and makes it The waistband closure's orientation depends somewhat on whether the
easier to handle during sewing, as well as more comfortable to wear. wearer is left- or right-handed. For a center-back opening, right-handed
Cut two 2-inch-wide strips of fabric—one from fashion fabric and one from individuals require the waistband underlap on the left side (as worn); reverse
lining—each the length of the waistline measurement, plus 4 inches. If the the orientation for left-handed individuals. For a side-opening garment, the
fashion fabric is very bulky, adjust the waistband width to accommodate the waistband's back extension underlaps the opening's edge. Whether the opening
fabric's turn of cloth. Place the strips right sides together, and sew them along is at the garment's back or its side, the underlap extends 11⁄2 inches beyond the
one lengthwise edge. Use a 1⁄2-inch seam allowance. Press the seam allowance garment opening. But the method for creating square, even ends is the same for
open. Then, fold the waistband wrong sides together and press again. The both waistband types and both closure orientations.
seamline runs along the waistband’s top edge. Start by trimming each petersham end to match the waistband’s finished
If you’re adding an internal petersham stay to the waistband, baste the ribbon length. Then, fold the waistband end seam allowances over the petersham ends
in place (see paragraph three in “Stabilize with an internal ribbon stay,” page 45). and press. Next, fold under the waistband’s long raw edge and press. Trim away
Then, sew the waistband to the garment using a 1⁄2-inch seam allowance. With some of the interior bulk, if necessary. Turn the waistband over the garment's raw
the fashion fabric’s right sides together, align the waistband’s stitching line with edge. Double-check the width of the waistband ends and adjust as necessary.
the garment’s waistband stitching line, below the petersham’s lower edge. Sew Then, sew small fell stitches at the waistband ends to secure the folded layers.
the waistband in place on the right side. Press it toward the waistline edge, wrong Pin the waistband’s folded long edge in place on the garment's wrong side, at
sides together. Fold it to the garment’s wrong side, enclosing the petersham. the waistband seamline. Secure it with fell stitches, catching just the garment
lining in the stitches.

Waistband (RS)
Garment waistline (WS) Folded waistband end

Waistband facing

Seamline at the top edge

Petersham stay on the

garment's right side
Waistband facing

Hanging loop (see page 49)

Garment waistline (WS) Folded waistband edge

A wool tweed
skirt is a perfect Waistband sewn
candidate for to skirt's right
a facing that side
Fold the long raw edge.
helps create a
smooth, flat,
Lightweight wool challis
and bulk-free SkirT lining requires internal support for
waistband. Folded waistband end a firm, stable waistband.
Pattern: Butterick 5391
Pattern: Butterick 5285

Fold the waistband ends over the cut petersham ends, then fold under the
Sew the waistband to the garment on the right side. Press it up to enclose the ribbon waistband's long raw edge. Make sure the waistband end is the same width on
stay, then fold it to the garment's wrong side, pressing along the top seamline. both sides of the garment opening.

46 THREADS w w w. t h r e a d s m a g a z i n e . c o m F e b r ua ry/M a r c h 2 0 1 3 47
 Orient and secure Complementary details
secondary closures
There are a variety of small finishing details that further enhance a waistband.
Covered Hooks and eyes, as well as snaps—often referred to as Below are three that complement the couture construction techniques Half-hitch
snap thread bar
“findings”—are typically employed as secondary closures explained on the previous pages.
on a waistband to augment the primary closure (usually
a zipper) and give extra security. Findings should be Thread bars
oriented for the wearer’s ease of use and for a quality,
Thread bars are often used in place of metal eyes in couture garments. To sew
no-show finish.
them, begin with a length of doubled thread that is waxed and pressed. Anchor
the thread on one side of the bar's placement, hiding the knot. Draw the thread
Hook-and-eye placement over the waistband's surface, and anchor it on the opposite side, then return to
Thread bars Your dominant hand makes the motion required to close a the first side, anchoring it again. These four thread strands form the bar's base.
garment opening. So place hooks on your dominant hand's Use your thumb to hold the thread out of the way, slide the needle under the
side, and place underlaps, metal eyes, or thread bars on your base threads, and pull it most of the way through. Pass the needle back through
Hooks nondominant hand's side. the small loop created from underneath, then pull the loop closed. Repeat until
the entire bar is covered, sliding the knots down along the base threads so they’re
closely packed. Secure the thread at the end with a few small, tight stitches.
Snap placement
Sew thread bars using a half-hitch stitch. Slide
Snaps help secure a waistband’s underlap, keeping it from each knot formed down the base threads'
slipping above the waistband or folding back against the Covered snaps length, stacking one on top of the other.
wearer’s body. To secure the snap, pushing the ball into the In the couture tradition of covering up as much metal as possible, snaps are
socket is easier to do with the dominant hand. So place the usually covered with a small piece of lining fabric.
snap’s ball section on the waistband’s underside, with the Cut a circle of lining fabric larger than the snap. With an awl, make a small
socket section on the waistband underlap. hole in the fabric, and force the snap’s ball through it. For easier handling while
Hooks and eyes, or thread bars, are placed at covering the snap, stitch around the fabric circle’s outer edges with a long Completed covered
the waistband's ends. Snaps are placed on the running stitch and gather it lightly, making a pouch. Then, stitch around the snap set
waistband underlap. Sewing hooks, eyes, and snaps
snap’s back side—through the fabric only—using small backstitches to tighten
Findings often work their way loose because the stitches used to attach them the fabric. Next, sew several stitches across the back, sewing only through the
allow them to move; in effect, they saw themselves off. Use a locking stitch to fabric. Trim off the tuft of fabric, and flatten the remaining edges with your
sew findings securely. fingernail. Cover the socket section the same way, but it’s not necessary to pierce
Knot the end of a doubled, waxed, and pressed thread. Anchor the thread in the fabric first. Snapping the two halves together will create an indentation
the waistband and take one stitch through the finding’s eyelet from underneath. in the socket’s fabric covering. The socket section is a little more slippery than
Take another stitch, but before tightening the loop, slip the needle through it. the ball section, and it’s easy for it to flip over as you work, so take care as
Tighten the thread to create a tiny bead that rests at the finding's base. Follow you’re sewing. One way to prevent this is to snap the covered-ball section into
the finding’s contours as you stitch. If the socket section while you sew the socket's covering in place. Sew the snap
you’re sewing a snap, use two or three sections to the garment with a doubled thread that is waxed and pressed.
stitches on each quadrant. Stitch the
Hooks also can be sewn to the pouch closed.
Locking stitch waistband’s end before it’s finished, to Hanging loops
conceal the hook's eyelets. Place each Another clever feature for a waistband is a pair of hanging loops. They distribute
hook so its eyelets rest just inside the the garment’s weight on a hanger from four points.
waistband end’s foldline. Anchor your Sew two tubes from lining fabric, cut on the straight grain. Press flat. Each
stitches to the petersham to secure should be about 3⁄8 inch wide and 8 inches long when finished. Place the ends of
Hook eyelets
concealed the hooks. each loop perpendicular to the waistline, about 3 inches to either side of the side
seams. Stitch in place by hand or machine. Install hanging loops before finishing
the waistband, so their ends are concealed.

Log On
For a video of Susan Khalje’s hook
insertion technique, go to Hanging loop
ThreadsMagazine.com.

Garment (WS)
Cover metal snaps with a piece of lining fabric.
Sew findings using a locking stitch (left). Hooks may be installed before finishing the waistband so Sew a pouch of lining fabric around a snap
Photos: (p. 44; p. 46, left; and p. 47, right) Jack Deutsch, stylist: Jessica Saal, hair and makeup: Patrycja for Halley Resources; all others, Sloan Howard.
Styling credits: (p. 44, right, and p. 46) top—BCBGeneration (Macys.com), camisole—(AnnTaylor.com), necklace—A.B.S. by Allen Schwartz
(Bloomingdales.com), earrings—Kenneth Cole (Macys.com); (p 44, left, and p. 47) top—(Express.com)

their eyelets are concealed (right). Install hanging loops before finishing a garment's waistband. section, tightening it with stitches.

48 THREADS w w w. t h r e a d s m a g a z i n e . c o m F e b r ua ry/M a r c h 2 0 1 3 49
Dress Up With Decorative Stitches- Joanne Banko

Whether creating dresses from scratch or adding to ready-to-wear, it’s easy to embellish
dresses with decoratively stitched bands. Create a variety of decoratively stitched bands to
transform sundresses and other dress styles, even the little black dress. You can decorate
dress for all seasons. Select patterns that feature separate bands for the hemline, waistline,
pocket tops and more. Stitch multiple rows of your favorite decorative stitches such as the
candlewick style stitch featured here. You can even create your own stitches on Brother
model machines with the My Custom Stitch™ feature. Visit Brothersews.com to download
FREE design coordinates for stitches such as the candlewick style stitch featured on these
dresses.

Materials and Supplies:

• Commercial Dress Pattern featuring inserted bands at the waist, hemline, or other
focal points such as sundress straps or pocket bands.

• Fabric for contrasting bands, purchase coordinating solid fabric as per pattern
requirements. Purchase fabric that will not compete with your dress fabric. I like to
find a light color that is part of the print and use that for my featured contrasting
fabric. Tip: You may want to cut out your pattern pieces and take them shopping
with you as you look for fabric. Be sure to purchase enough for an added margin
around the pattern along with some extra yardage for testing.

• Sewing machine presser foot suitable for sewing decorative stitches. NOTE: Some of
these sample dresses are stitched using the Brother Special Candlewick Foot and
candlewick style stitches.

• Embroidery thread for top and bobbin. Tip: Select thread colors that coordinate with
the colors in your printed dress fabrics for an upscale, custom look.

• Removable fabric marker. Test your marker and remove marks before pressing if
necessary.

• Interfacing to stabilize the fabric bands. I prefer interfacing that does not
significantly change the character of the fabric. See my resource list for details.

• Additional stabilizer such as a wash away, heat away, or tear away type. Choose a
stabilizer that is appropriate for your fabric and determine if this stabilizer needs to
“disappear” when you are finished. A light weight tear-away works well for many
fabrics, especially when the wrong side of the fabric will not show. I used Brother
Pacesetter® Medium Weight Tear-Away, Pacesetter® Lightweight Water Soluble,
 and Pacesetter® Lightweight Adhesive-Backed Water Soluble Stabilizer on the various
sample dresses.

Instructions for Creating Decoratively Stitched Bands:

Step 1. Select the pattern pieces you wish to use for the embellished bands. Look for
pattern pieces that are designed for inserting as a separate band, such as the featured
waistband on the pattern below. See Figure #1. If the pattern is cut on a fold, trace and
cut to create a full pattern. Cut a piece of contrasting fabric large enough to add a margin of
approximately one inch all around the pattern piece. Fuse interfacing to the wrong side of
the entire piece. Pin pattern on the fabric following the guide for the grain line. Trace the
pattern outline onto the fabric. Remove the pattern and roughly trace the stitching line.
Mark a line along the center of the piece. NOTE: This center line can be positioned
horizontally or vertically, depending on how you want to stitch your decorative rows. In
addition, if your pattern is curved you may want to mark the line following the curve of the
pattern piece. You are the designer! Experiment with a variety of different directions for
your stitching.

Figure #1

Step 2. Set up machine for sewing in the decorative mode. Be sure to use the appropriate
presser foot. Thread top and bobbin with embroidery thread and use an appropriate needle.

Step 3. Beginning at one end, select your first decorative stitch and sew all along the center
line from end to end. Continue to sew multiple rows from end to end working from the
center outward. Align each row so they are evenly spaced, using the edge of the presser
foot as a guide. Avoid stitching rows in the seam line area as the stitches will not show
when your garment is constructed.

Step 4. After stitching your desired rows, remove markings and excess stabilizer. Press your
finished band. Cut out the band using the actual pattern piece and complete your garment
as per the pattern instructions.

Tips and Techniques for Dressing up with Decorative Stitches:

 • As an alternative you can create a band for a ready-made dress. Use contrasting
fabric and apply to areas described above. To make a pattern for your decoratively
stitched band, simply measure the area on the dress you wish to cover and draw the

measurements on paper or pattern tracing cloth. Allow extra for covering or turning
under the raw edges and also for seam allowance.

• Test your stitches on scraps before sewing on your project pieces. Make a sampler of
different stitches and use them as a reference guide. Many stitches look far prettier
with thread and fabric than they do on the screen or in the machine manual. Mark
down the stitch numbers as well as any helpful notes and save this sampler for
future projects. Experiment with combining stitches, changing the size, using
different width and length settings, and using mirror image options if available.
• Sew decorative stitches using a consistent speed, stitching a little slower than you
would for “normal” stitching.
• If your machine includes the My Custom Stitch™ feature found on many Brother
models, you can use it to create your own original stitches. See Figure #2. Visit
Brothersews.com for stitch coordinates you can use to create a simple candlewick
knot stitch as well as many other unique and special decorative stitches. See Figure
#3. For Candlewick style stitches, use a Special Candlewick Foot to allow the
stitching to flow under the foot.
Figure #2

Figure #3
Some of the stitches featured on the sample sundresses are seen below:
Resources:

• For additional embellishment ideas visit the project and tutorial section at
Brothersews.com.

• Visit your local sewing machine dealer for decorative threads and special machine
accessories.

• Fusible Interfacings, All Bias Sof-Knit and Fusi-Knit Tricot, HTC Interfacings,
http://htc-retail.com/

• Visit Joanne Banko at her website www.letsgosew.com for more tips, tricks, and
special techniques.
Season 600 - The Little Black Dress
 Bias Tape Trim on Neckline

Adding bias tape to the neckline and

armholes is another way to change the look
of the dress.

 Start by cutting bias strips of fabric. Cut

the strips 2” wide and the length of the
neckline and armholes.

 With right sides together, sew one side

of the bias tape to the neckline.

 Press.

 Wrap the bias tape around the seam

allowance.

 Press.
 Topstitch along the edge of the bias
tape.

Refer to my blog for more sewing tip and

tricks!

Cheers,
Petersham Ribbon Waistband – Sunni Standing

1. Instead of using a self fabric waistband, next time consider trying a ribbon waistband.
You'll need to measure the waist area of your garment to determine how much ribbon
you'll need to cut. Cut two of these lengths of ribbon.

2. Attach the ribbon to waist of the garment by first stitching a basting line at the
seamline of the garment shell. From there using the basting stitch as a guide, pin the
ribbon in place. Topstitch along the bottom edge of the ribbon, attaching the ribbon to
the waist area of the skirt shell.

3. Do the same for your lining.

4. Insert the zipper into your skirt shell and from there attach it to your lining.

5. Attach the skirt shell to the lining by topstitching along the ribbon waistband, this time
along the top of the ribbon.

6. Stitch in the ditch, where the skirt and ribbon waistband meet and you're finished!

For more information visit: www.afashionablestitch.com .

Narrow Hem Techniques – Linda Lee

Baby Hem
1. Mark the finished hem length of the garment.

2. Staystitch along the finished hem line.

3. Fold the hem to the wrong side along the staystitching line. Move the needle position to
the left and edgestitch close to the fold.

4. Trim the excess hem allowance close to the stitching.

5. Fold the hem again forming a very narrow hem (about 1/8”) and edgestitch next to the
fold.

Shirtail Hem
1. Staystitch ½” from the raw edge of the hem allowance.

2. Press ½” to the wrong side, using the staystitching as the pressing guide.

3. Finger fold the hem one more time ½”. Insert the folded hem under the presser foot.

4. Using an edgestitch foot and moving the needle position, topstitch the hem in place next
to the inner fold, folding as your sew. Do not press the second fold in place.

Option 2 – Using a double needle, topstitch the hem in place. Use a walking foot or a paper
stabilizer underneath.

Option 3 – Use a 2-thread cover stitch on a serger to topstitch the hem in place.

For more information visit: www.sewingworkshop.com .

Season 600 - The Little Black Dress
 Attaching Bodice to the Skirt

When attaching the skirt of the dress to the

bodice there are a few things to watch for:

 Make sure all seams and darts are

pressed the right direction.
 If a belt or waist embellishment is
added, do so at the center back
seam before attaching the zipper.
 An easy way to cover up the waist
seam is to press the seam up into the
bodice, use lining as facing and
attach the lining to the waist seam.

Refer to my blog for more sewing tip and

tricks!

Cheers,
DESIGNER SECRETS

Learn to
Drape
So many designs start with a simple rectangle
Skirts
ou don’t need a design degree to drape a closet full of unique,
wearable fashions. If you own any kind of fairly sturdy dress
Shopping List form with standard markings, all you need to get started
• 6 to 8 yards muslin with draping are some basic guidelines, a willingness to experiment,
Y
• 1⁄4- to 1⁄2-inch-wide and a few yards of inexpensive muslin fabric.
ribbon Draping is used by designers (just like those on TV’s Project
• Dress form Runway) as a direct, hands-on way to quickly realize a particular
• Fabric marker garment concept. You can try this method of garment design and, at
the same time, create a variety of interesting and pretty skirts. Start-
• Ruler
ing your draping efforts with skirts keeps things simple because
• Pins Once you learn how
there’s no bodice or crotch fitting to worry about, and it increases
• Scissors to drape, the design
the likelihood of getting wearable results right away.
possibilities are endless.
Draping on a dress form that matches your measurements, or
For instructions
directly on a body, eliminates fitting issues and gives you more time on draping this
for design play. Once you’ve learned the basic draping techniques handkerchief-hem skirt,
described in this article, you can drape just about any simple design turn to page 53.
you can imagine and eventually move on to more complicated
garment draping. Fabric: silk charmeuse,
FabricMartFabrics.com.

Adapted from Threads no. 93 “A Skirt Draping Primer” by

Theresa LaQuey.

50 sewstylish ◾ SewStylish.com Fall 2013 51

 Prep the Dress Form and Fabric Start with a Hip Yoke
Before draping, you must properly prepare your materials. No matter what kind of dress form you have, it’s not ready for a draping project It’s much easier to drape a skirt from the bottom seam of a hip yoke than over the curves at the waistline and hip. Here, you’ll learn to drape
without a few clearly marked reference lines. A cheap, lightweight, loosely woven muslin fabric is perfect for draping because a contoured, non-darted hip yoke that fits perfectly. Always start draping at the center front or center back and work toward the sides. As
you can easily see the individual threads. Before draping fabric, mark its straight grain or cross-grain; you’ll need to first straighten the you drape, make sure that the marked grainline on the fabric remains straight. You need to drape only half of a symmetrical design.
fabric’s grain for accuracy.
Begin draping the Shape the waist.
1 front. Start with a 2 Smooth the muslin
MARK THE FORM STRAIGHTEN THE FABRIC GRAIN straight-grained muslin toward one side seam
Use a narrow, contrasting-color ribbon to mark the dress form
Tear enough fabric for your rectangle several inches without distorting the Pin.
at the waistline, center front, center back, and side seams. The
1 draping project from the wider on each side than Pin. center-front grain. Re-
waistline marking should follow your natural waistline, while
bolt. You’ll need about 3 yards your form measures pin at the side seam to
being as horizontal as possible. Make sure the form is firmly
for each of the skirts described from side seam to side hold the muslin precisely.
supported and oriented as parallel as possible to your own
in this article. If the starting seam. Mark the center Trace the waistline tape,
posture. With the form in this position, all vertical lines should Selvage Side-seam
edge was cut, snip near the cut front at the pulled Traced center-front, and side-
be perpendicular to the floor when viewed straight on. grainline marking
and tear across the fabric, from thread marking. Center seam positions onto the
selvage to selvage, so that the at center
the rectangle over the muslin.
Selvage front
cross-grain edge is raw and form’s waist and center-
parallel to the fabric threads. front marks, pin it there
Solid lines on a dress form are required for skirt draping. Pin Front
Sometimes, it’s also helpful to secure it to the form,
contrasting ribbon on the form to mark center front, center back,
to tear away (or at least cut) and loosely pin the sides
side seams, and waistline.
the selvages so that all four to hold it in place.
fabric edges are raw and can be Tear.
corrected easily.
Cut edge Determine the yoke Drape the back
3 depth. Measure 4 yoke. With a second
down from the waist rectangle of fabric, repeat Pin.
Pin.
tape about 4 inches to Ruler steps 1 to 3 on the back of
5 inches and mark the the form. If the back yoke
yoke’s depth evenly from Waistline is deeper or shallower
Fold the fabric in half with selvages aligned. If the torn edges aren’t side seam to center than the front, adjust the
2 perfectly parallel, stretch the fabric on the bias to shift the edges in front. To ensure the yoke front to match. Traced
the direction required. Once all the edges match, mark the straight grain lies smoothly, its bottom Center- center-
or cross-grain (depending on the direction you intend to drape) by pulling edge shouldn’t sit lower front back
a thread near the center of your fabric. To make it more visible, trace the grainline grainline
than the top of any loose
pulled thread with a marker. When you begin draping, this marked grainline folds that form in the
is aligned with the center-front or center-back markings on the dress form. lower part of the muslin. Back
Center front The depth may need
Selvages adjusting after you’ve
draped the back yoke.
Side seams
Waistline True the draped yoke. Unpin the muslins and correct the seamlines to ensure they match Go back to the form. Pin the completed
5 and curve smoothly. Mark notches for matching on the seamlines. Add at least 1⁄2-inch- 6 yoke in place on the form. Now you’re
wide seam allowances to all seams except center front. Mark the center-front line “Place on ready to drape the rest of the skirt.
fold.” (The back yoke receives a zipper at center back.) Cut out the draped and trued front and
back yoke sections from the muslin, including the added seam allowances.
Torn edges

Stretch.

Front Yoke BACK Yoke

Center front

Place on fold. Center back

Fold the torn fabric in half with its selvages aligned. To correct the
grain, stretch the fabric in the direction opposite to the distortion.

52 sewstylish ◾ SewStylish.com Fall 2013 53

 Drape a Straight Skirt Drape an Angled-Hipline Skirt
If the lower skirt section’s hip seamline is straight, then the skirt will fall flat If the lower skirt’s hip seamline has an angle cut into it, the skirt will fall with all fullness directly below the angle when it is sewn to the
against the body, without fullness. However, you can adjust the straight skirt’s yoke. This shape creates fullness in the skirt only at the point of the angle, which is halfway between center front/center back and the side
fullness to provide wearing ease or give the proper fit over fuller thighs. seam. There are two hem options with this style, each giving a completely different finished look: a curved hem or a square handkerchief
hem. Remember, you only need to drape half of the skirt front and half of the skirt back.
Prepare the fabric. Tear a muslin Drape the skirt front. Align the
1 rectangle several inches longer than 2 muslin’s marked center front to the Center front
Cut the skirt’s Hip seamline
your desired skirt length and wider than dress form’s center front, overlapping 1 hip seamline.
one-quarter the total hip circumference. the yoke’s bottom seamline, allowing a Start with two
1
Straighten and mark the grain at center ⁄2-inch-wide seam allowance, and pin. squares of fabric Measure one-
front, running lengthwise on the muslin As you hold the grainline at center front torn 5 inches to half length
rectangle. perpendicular to the floor, smooth the of the hip
8 inches longer than
muslin toward the side seam and pin it seamline.
the desired skirt Cut away
in place. Repeat the process for the skirt length. Shape the the square.
Top edge back. angled hip seamline
by measuring in Side
from one corner seam
on both sides half
the length of the
Muslin rectangle hip seamline from Handkerchief hem
the center front
Center
or center back to the side seam. Cut away the resulting
Side front
Desired skirt Yoke square. The skirt’s hipline seam must extend around the
seam
length plus hipline when clipped from the center front or center back
4 inches to the side seam with enough excess for 1⁄2-inch-wide seam
allowances all around.
One-quarter of
hip circumference
plus 8 inches
Drape the skirt. On the front and the back, start by
2 overlapping and pinning one half of the skirt’s angled
hip seamline over the yoke’s hip seamline at center front
or center back. Smooth the skirt’s hip seamline, clipping if
necessary, along the yoke to the side seam. Mark the hip
Establish the length. Mark the side
seamline, center front or back, and side-seam points. At the
3 seam and center front and extend
form’s side seams, mark the skirt side seams by following
them to the desired skirt length.
the muslin’s thread straight down to the desired hem.

Add fullness for ease. If you

4 prefer or need more ease
through the thigh, raise the skirt’s Center front Shape the Hip seamline
hipline seam slightly at center 3 hem. You can
front and center back. This creates leave the hem
a deeper curve at the seam and Yoke square to create
This draping adds barely noticeable fullness that handkerchief
technique prevents the skirt from clinging. points in the front
You can use this technique to add and back directly An angled hipline seam
makes it
precise amounts of fullness to a below the hipline puts the skirt drape on
easy to fit
straight draped skirt to suit your Raised angle (as shown the bias and creates
a straight
comfort level. hipline on page 51), or you fullness directly below
skirt on any
seam can create a curved the angle.
figure type.
hem (shown at
Fabric: polyester hammered
Fabric: silk right). To mark a charmeuse, Fabric.com.
jacquard, Curved hem
curved hemline,
MoodFabrics.com.
Web EXTRA
For details on how to transfer a use a hem marker
muslin drape to pattern paper, or measure from the floor to the desired length, with the
Photos: (p. 51; p. 54, left; p. 55, right) Jack Deutsch, stylist: Jessica Saal, hair and makeup: Patrycja for Halley Resources; all others, David Page Coffin. Illustrations: Michelle Penney.
Styling credits: (p. 51) top—Kensie (Macys.com), necklace—(JCrew.com), shoes—Marc Fisher (Macys.com); (p. 54) top—Denim & Supply by Ralph Lauren (Macys.com), necklace and
hair accessory—(Anthropologie.com), shoes—Alfani (Macys.com); (p. 55) hair band and top—(Anthropologie.com), shoes—Calvin Klein (Macys.com)

visit SewStylish.com. skirt on the dress form.

54 sewstylish ◾ SewStylish.com Fall 2013 55

Pucker-free Hems in Knits – Linda Lee

1. Using a tagboard template cut to the finished width of the hem, press the hem in place.

2. Use one of the following options to adhere the hem in place before sewing:
Option 1 – Press a strip of fusible web tape on the wrong side of the hem. Remove the paper
covering to expose the line of glue, and press the hem in place.

Option 2 – Sew a ½”-wide strip of fusible tricot hem tape to the wrong side of the hem with the
fusible side facing up. Fold the hem in place and fuse the hem in place.

Option 3 – Open the pressed hem. Spray temporary spray adhesive on the wrong side of the
hem allowance. Fold the hem in place and press to fuse.

3. Use a walking foot and a straight stitch to topstitch the hem in place.

For more information visit: www.sewingworkshop.com .

Season 600 - The Little Black Dress
 Altering Zipper Length

Finding a hidden zipper in a coordinating color and

the correct length can be very challenging for the
home sewer. As a general rule, if you can’t find the
correct length grab a longer one – it’s very easy to
shorten it.

 Align the top of the neckline with the top of

the zipper.

 Attach the zipper.

 At the bottom of the zipper, cut off the

excess length of the zipper.

 Wrap the edge with a lining fabric.

Refer to my blog for more sewing tip and tricks!

Cheers,
Using a Multi Needle Machine with Cutwork to precut appliqué pieces –
Cindy Hogan

Materials needed:
PR 650/1000 series with PE-DESIGN NEXT + CW upgrade installed
8 x 8 or larger embroidery frame
2 10 x 10 inch pieces of background fabric (red was used in this lesson)
1 5 x7 inch piece of black fabric with adhesive
2 10 x 7 inch pieces folded and pressed in half to measure 10 x 3 ½ inches
Embroidery thread to match the project
Little black dress checkbook cover design
Tear away stabilizer

Instructions:
1. In the software change the appliqué design’s cut line color to Applique Material. Usually
when there aren’t multiple parts it will be the first stitch in the design. This design has been
color sorted so the dress cut section is segment 3.
2. Save the design and send it to the machine.
3. Reorder the design so that the segment embroiders first.
4. Turn on cutwork mode on the machine and then restart the machine.
5. Place a stop in the machine after the dress segments for each of the last two embroidery
portions.
6. Hoop a piece of Tear away stabilizer. Place the black fabric with the iron on (double sided)
adhesive stabilizer adhered on top of the stabilizer.
7. Embroider the first segment (these are the dresses).
8. Remove the embroidery from the machine when it is complete and back up the design to the
beginning.
9. Hoop a piece of Tear-away stabilizer in the 8x8 or 8x12, or 8x14 inch hoop.
10. Lay one of the red fabric squares on top of the stabilizer.
11. Do a trace to make sure the fabric is within the embroidery area. If necessary shift the fabric.
12. Fast forward to segment two of the embroidery design.
13. Begin the embroidery. The machine will stop after the placement line for the dress.
14. Remove the hoop from the embroidery machine, place the dress inside the placement line
and touch the iron to it to tack it to the fabric.
15. Return to the embroidery machine and finish the dress.
16. Place the two 7 x10 inch pieces long ways across the top of the 2 dresses and tape into place.
These will form the pockets for the checkbook.
17. After this has stitched, place the last 10 x 10 inch square over the entire design and finish
stitching. Taping it into place is a good idea.
18. Remove from the machine and hoop, tear the stabilizer away, trim the outer edge to a quarter
inch on all sides and turn right side out and press.

If you do not have a multi needle machine with cutwork, you may print out the templates by
copying the cutting segment into another design window. Turn the template upside down and
trace to the back side of the adhesive backed stabilizer paper after it has been ironed onto the
fabric and then manually cut.

You may also cut the fabric as usual after the appliqué fabric has been tacked onto the project,
cut the outer edge of the appliqué away.

For more information visit www.cynthiasembroidery.com .

Little Black Dress Checkbook Cover – Cindy Hogan

Materials needed
PR 650/1000 series with PE-DESIGN NEXT + CW upgrade installed
8 x 8 or larger embroidery frame
2 10 x 10 inch pieces of background fabric (red was used in this lesson)
1 5 x7 inch piece of black fabric with adhesive
2 10 x 7 inch pieces folded and pressed in half to measure 10 x 3 ½ inches
Embroidery thread to match the project
Little black dress checkbook cover design
Tear away stabilizer

Instructions:

1. Open Layout and Editing.

2. Click on the Design Settings icon and place a dot in front of the multi-needle machine.
Change the hoop size to 8x8in or 200x200 mm and click OK.
3. Click on the Import Patterns icon and choose from File.
4. Scroll to the bottom of the list and locate the folder on the computer where you saved this
lesson’s files.
5. Click OK.
6. Select the little black dress checkbook cover design and then click Import.
7. To change the appliqué design to cut when it is used on a PR that has been upgraded to
Cutwork, in the Sewing Order window, click on the stitch that would be the cutline.
Usually when there aren’t multiple parts it will be the first stitch in the design. This
design has been color sorted so the dress cut section is segment 3.
8. In the Integrated Sewing Attributes window, click on the Color Tab.
9. At the bottom of the window, there are 3 appliqué color buttons. The first one will code a
PR when in cutwork to cut the segment.
10. If you want the PR to stop after each appliqué step, without having to do the set up stops
on the PR, you can change the other segments to the different appliqué colors. You may
switch back and forth between the two remaining colors. Just do not apply appliqué
material as a color for any other segments.
11. In the Sewing Order window, reorder the design to where the appliqué material pieces
embroider first.
12. Save the design and send it to the machine via USB media (or your preferred method).
13. At the Machine, place the cutwork needles in the first 4 needle bars according to the
directions.
14. Turn on the cutwork mode. Turn off the machine and restart it to start the machine in
cutwork mode.
15. Bring up the checkbook cover design.
16. Place a stop in the machine after the dress segments for each of the last two embroidery
portions.
17. Hoop a piece of Tear away stabilizer. Place the black fabric with the iron on (double
sided) adhesive stabilizer adhered on top of the stabilizer.
18. Embroider the first segment (these are the dresses).
19. Remove the embroidery from the machine when it is complete and back up the design to
the beginning.
20. Hoop a piece of Tear-away stabilizer in the 8x8 or 8x12, or 8x14 inch hoop.
21. Lay one of the red fabric squares on top of the stabilizer.
22. Do a trace to make sure the fabric is within the embroidery area. If necessary shift the
fabric.
23. Fast forward to segment two of the embroidery design.
24. Begin the embroidery. The machine will stop after the placement line for the dress.
25. Remove the hoop from the embroidery machine, place the dress inside the placement line
and touch the iron to it to tack it to the fabric.
26. Return to the embroidery machine and finish the dress.
27. Place the two 7 x10 inch pieces long ways across the top of the 2 dresses and tape into
place. These will form the pockets for the checkbook.
28. After this has stitched, place the last 10 x 10 inch square over the entire design and finish
stitching. Taping it into place is a good idea.
29. Remove from the machine and hoop, tear the stabilizer away, trim the outer edge to a
quarter inch on all sides and turn right side out and press.
Create a Back Yoke on a blouse with Shoulder Darts - Kathleen Cheetham

You will need:

Table with cutting mat

Grid ruler or T square

Scissors, coloured felt pens, coloured office paper, scissors, scotch tape, pattern weights, pattern awl

A top pattern that has a shoulder dart.In this example, we are using the Shapely Blouse from Singer
Perfect Plus by Kathleen Cheetham.www.petitepluspatterns.com

Creating a back yoke is an easy design change to make to a pattern with a shoulder dart. Consider
making this change just for the fun of adding variety to your existing pattern wardrobe.

Also, if you have a full upper back and have made fitting adjustments, a back yoke is an excellent way to
eliminate the bulk from darts.

Copy the front and back pattern pieces. (See Images “Front A” and “Back A”)

If you’d like extra fullness through the torso, straighten the curve on the side seam and plan to not sew
in the torso darts on back or front. (See Images “Front E” and “Back B”)

On the back use a square or a grid ruler to draw a line perpendicular to the straight of grain just below
the back shoulder dart. (See Image “Back C”)

From the shoulder seam draw a second line though the middle of the shoulder dart to the first line.

Mark a notch at the end of the dart.

Cut off the top section.

On the lower back section, add seam allowance to the cut edge. If desired, add ¾” for a reverse pleat.
Mark the pattern piece as Lower Back, Cut 1 on fold.

On the upper back section (now the yoke), cut through the dart from the shoulder edge all the way to
the end. Close the dart and secure with tape. Add seam allowance to the cut edge. Label as Yoke, Cut 2
on fold. (See Image “Back D”)

PRINT PATTERNS
Season 600 - The Little Black Dress
 Sleeves

If you would like to add sleeves to your dress and

the pattern doesn’t supply a sleeve pattern to use –
no problem!

 If there is a jacket in the pattern, check the

jacket sleeve pattern – quite often the jacket
sleeve will fit into the dress with a few minor
changes.

 Use a sleeve pattern from another pattern.

Before attaching the sleeve, prepare the sleeve

cap by pressing on a tailor’s ham.

Refer to my blog for more sewing tip and tricks!

Cheers,
 Sewing in Circles –Circular Attachment Accessory 1

Sewing in Circles
The Slouch Bag
The perfect embellishment back drop!
by Cookie Gaynor
www.CookiesCreations.com

Supplies:
•Fashion fabric for outside of bag 1 yard 44” wide
•Lining fabric for interior of bag 1 yard 44” wide
•Fusible Fleece or Fusible Interfacing, if fabric needs more stability) 9-1/2” x 19-1/2” or a
fusible interfacing
•Magnetic snaps (optional)
•Circular tool attachment
•Edge foot
•General purpose foot
•Pearl foot
•Applique foot
•Quarter inch foot
•Fast Turn tool for the shoulder straps

Copyright ©2013 by Cookie L. Gaynor. All Rights Reserved. Page 1

DIRECTIONS: Using quarter inch seams unless otherwise noted throughout project.
Download pattern, which is printed on two sheets. Match
X box marking and tape together. The one piece pattern
makes it simple!

Lay out fabric as shown and cut out pattern. Cut two
pieces from outer fabrics for front and back. Cut two with
lining fabric. Note the lining will be visible on the straps so
pick a lining you love!

Apply fusible fleece to outer fabric (or a fusible

interfacing) to outer fabric. Follow manufacturers
directions to achieve a good fuse!

Copyright ©2013 by Cookie L. Gaynor. All Rights Reserved. Page 2

 Sewing in Circles –Circular Attachment Accessory 3

Same process for liner if needed. Another option is to add

an interfacing to the straps alone.

Optional: add magnetic closure to liner. Mark for

magnetic snap placement using the prong backing as a
pattern and do so 1” down from the top end. Insert
magnetic snaps using your placement marks. Add a
small pieced of batting folded in half through the prongs
before bending them outward. The finished side of the
magnets are on the right side of the liner. The prong is on
the wrong side of the fabric.

Following the manufacturer’s directions that came with

the circular attachment to secure it to the sewing
machine.

Copyright ©2013 by Cookie L. Gaynor. All Rights Reserved. Page 3

 Determine the size circles you want to use. The distance
from the machine needle to the pivoting pin should be
half the diameter of the circle size desired.

To create a specific pattern, position templates of the size

circles you want over the fabric. Mark the center of each
circle on the fabric before adding any embellishments.

An eyelet punch is handy for marking the center of the

circles.

Templates are pinned to front and back outer fabric.

Prefer to be spontaneous? Create your circles as you go

without a set pattern.

Copyright ©2013 by Cookie L. Gaynor. All Rights Reserved. Page 4

 Sewing in Circles –Circular Attachment Accessory 5

Stitch circles using the methods and feet shown in the

600 series segment.

Large Circle uses: running stitch, Trim excess along

outside of circle.

Settings for running stitch on sample: length between 2.5

mm and 3.0 mm

Note that the excess fabric was trimmed right up to the

stitching line. Duck bill appliqué scissors make this easy
to do.

Cover raw edge with Zigzag or Decorative Stitch. Move

attachment for inner circle size. Repeat process by
sewing a running stitch and trim excess along inside
edge of circle. Finish with Zigzag.

Settings for zig zag stitch on sample: length between 0.5

mm and 0.6 mm with the width varying from 3.5 and
wider.

Copyright ©2013 by Cookie L. Gaynor. All Rights Reserved. Page 5

 Trim up front and back to ensure they match up and
remove any distortion if needed.

Sew front and back sections of outer fabric with Right

Sides together along side seams and bottom.

To create a flat bottom, fold bottom corners, seam to

seam as shown. Measure 2 inches up from corner and
mark a stitching line. Stitch across with the sewing
machine. Do the same process on the other corner.

Repeat the last two steps above for lining leaving 4”

open, centered along the bottom seam line.

You now have two bags constructed. With right sides

together, Place outer bag inside liner bag. Stitch the two
together along the top and around the straps.

Copyright ©2013 by Cookie L. Gaynor. All Rights Reserved. Page 6

 Sewing in Circles –Circular Attachment Accessory 7

Pull bag right side out through the lining opening. Use
Fast Turn to pull the strap fabric through. Whip stitch by
hand or machine stitch the opening. Press and top stitch
around the bag and handles.

Enjoy how nicely your snaps line up.

Tie the shoulder straps into knots and you are good to
go!

Copyright ©2013 by Cookie L. Gaynor. All Rights Reserved. Page 7

Circular Attachment and Feet: (Fringe foot not shown)
Circular Attachment - used with decorative feet to
create beautiful circular designs including couching
threads, appliqué, echo stitching and stylish
decorative stitches.

5 hole cording foot-7mm

3 thread cord foot-7mm

Pearl foot-5mm

3-11 with medium weight yarn on Brother machine

Copyright ©2013 by Cookie L. Gaynor. All Rights Reserved. Page 8

 Sewing in Circles –Circular Attachment Accessory 9

Adjustable Braiding foot -cording/ribbon

5.0 Width
3.0 Length

N Foot - Decorative

Zig Zag
3.5 Width
2.0 Length

J General sewing foot with built in hump jump feature

All feet are not interchangeable. From Left to right

N,5holeCord and J

J does not have a tunnel like groove on the exit.

Copyright ©2013 by Cookie L. Gaynor. All Rights Reserved. Page 9

Season 600 - The Little Black Dress
 Hemming the Vent

It’s very easy to sew a vent in a hemline, start by:

 Attach a fusible interfacing to each side

of the vent (as shown to the left)

 Press up the hem and make sure the

hemlines align.

 Fold back the vent and press – you are

left with the under flap (which lays flat)
and the inside flap (which is pressed
back)

 Under flap:
o flip the fabric back along the
hemline
o with right sides together, stich
the edge of the hemline
o turn fabric to the right side of
the garment and press.
  Inside flap:
o Sew a metered edge for a
professional finish.
o Fold the fabric with right side
together and stitch on an
angle form the hemline to
the edge of the vent.
o Turn the corner right side
out.
o Press.

Refer to my blog for more sewing tip and

tricks!

Cheers,
Rounded Clutch Purse – Vanessa Vargas Wilson
Designed by Vanessa Vargas Wilson (Crafty Gemini)
www.craftygemini.com

Materials & Supplies:

• 9” x 15” of outer fabric
• 9” x 15” of lining fabric
• 9” x 15” of medium weight double sided fusible interfacing {I use Pellon® Fuse-N-Shape}
• 2” x 9” strip of fabric for pocket binding
• 18” x 18” square of fabric for purse binding
• Two 8.5” x 11” sheets of cardstock for purse template
• Brother ScanNCut
• Rotary cutter + mat
• Clear quilting rulers
• Iron + ironing board
• Spray starch (optional)
• Fabric safe marking pen or marker
• One magnetic snap closure
• Pliers
• Seam ripper
• Pins
• Hand-sewing needle
• Coordinating thread
• Optional embellishments: buttons, appliques

1. Create clutch purse templates using the Brother ScanNCut machine by cutting out 2
circles with an 8.25” diameter from 8.5” x 11” sheets of cardstock. The circle is a pre-
loaded shape on the machine. You will need two cardstock sheets, one for each circle
template.
2. Trim one of the circle templates down by measuring 3” in from top and cutting a straight
line across the circle. {Finished template will be a little taller than a semi-circle}
3. Label the circle “Back” and the trimmed down (semi) circle “Front”.
4. Sandwich interfacing between outer and lining fabric so right sides of fabrics are facing
out and interfacing is touching the backside of each fabric.
5. Fuse ONLY the outer fabric to the interfacing. Leave the lining fabric underneath
unfused for now.
6. Lay templates on top of outer fabric and cut around making sure to cut through all 3
layers (outer fabric, interfacing and unfused lining fabric). Cut one “Front” and one
“Back.”
7. Separate lining fabric (should still be unfused but cut to size at this point) from
sandwiches.
8. On your “Front” piece, fold outer fabric/interfacing combo in half to find center, mark
with fabric safe marking pen. From this point measure 1” down and mark.
9. Attach the metal (male) part of the snap closure in the center of the point you just
marked. Use seam ripper to carefully cut two slits in fabric and fold snap prongs on the
interfacing side either out or in with pliers to secure.
10. Now go back and fuse the lining fabric to the interfacing side of the “Front” to cover up
the snap hardware. {optional- You can cut a small piece of batting and lay behind prongs
before fusing lining fabric to it to reduce wearing}.
11. Cut a strip of fabric (any grain will do) that measures 2” x 9”. Fold strip in half
lengthwise and press. Open strip and fold outer edges in towards center fold and press.
Then refold on initial center fold line and press to create a double folded binding.
12. Sandwich the top straight edge of your “Front” piece inside your binding and top stitch
in place to finish off that raw edge. Trim excess binding flush with bag sides.
13. Fold “Front” in half to find bottom center and mark. Measure 2” to the right and left of
the center mark and mark them.
14. Lay “Front” with lining side up. Make a dart by pinching each side mark so the marks are
right in the center of the dart. The dart should measure ½” in on each side from the fold
and 1” in. Make sure the exposed dart is on the lining side of the “Front.” In other words,
you should not see the dart’s seam allowance if you are looking at the outer fabric of the
“Front.” Sew both darts making sure to backstitch at the beginning and end of stitch line.
15. This is an optional step: Trim your darts to reduce bulk inside the bag. Use pinking
shears or trim about ¼” away from stitch line and zigzag stitch to secure raw edges.
16. Take “Back” piece and fuse lining fabric to interfacing. Lay it so the lining fabric is face
up and fold in half to find bottom center. Repeat the same steps you did for the “Front”
to create two darts on “Back” as well.
17. Lay “Back” with lining side facing up and then “Front” on top of it with the outer fabric
facing up. Pin around and using a 1/8” seam allowance stitch both pieces together
around edge.
18. Cut an 18” x 18” square of fabric for bias binding. Fold square of fabric on a diagonal and
cut off about ¼” to get rid of the fold line. Now cut 2” wide strips along diagonal.
Combine two strips by sewing the diagonal cut edges together to create one continuous
bias strip. Fold in half lengthwise (with right side of fabric facing out)and press.
19. Match raw edges of binding to raw edges of purse and stitch around using a ¼” seam
allowance. With a hand-sewing needle and coordinating thread, hand stitch binding to
back of purse with an invisible stitch.
20. Fold top edge of purse flap in half to find center and mark. Measure down from that
mark to figure out where you want to install the magnetic part of the snap closure.
Install same as you did the first time.
21. Cover up snap hardware on outside of purse with an embellishment. I use industrial
strength craft glue and a large button to add my personal touch to the clutch purse.
 Round Clutch Purse
Template

Cut 1 Full Circle- Clutch Back

Cut 1 Semi Circle- Clutch Front

Season 600 - The Little Black Dress
 Hem the Dress

Congratulations on finishing your dress!

Hemming is the last step and the easiest!

 Mark the hem.

 Check that the hem is even from the floor to hemline all
the way around (especially the front and back).
 Press up the hem.
 There are a few ways to hem:
o Topstitch
o Blind hem with the sewing machine
o Bling hem with a blind hem machine
o Hand stitch the hem in place

Refer to my blog for more sewing tip and tricks!

Cheers,
Monogrammed Placemat Purse- By Marie Zinno
Materials Needed
1 lined stabile placemat
1 set handles or 1 yard webbing
23 inches each of decorative trim (beads, eyelash fringe or feathers)
1 magnetic snap closure
Painters Tape
Chalk

Embroidery Products Needed

Monogram lettering- Savannah 3 inch tall font included in Machine
EmbroideredMonograms for the Home Book-Marie Zinno& Eileen Roche available
from Designs in Machine Embroidery www.dzgns.com
Tear away stabilizer
Centering ruler- included in Embroidery Tool Kit available from Designs in
Machine Embroidery Magazine www.dzgns.com
Target sticker- included in Embroidery Tool Kit
Snap Hoop – 5x7 sizewww.dzgns.cm
Step1.
Lay the placemat on a flat surface vertically. Fold the placemat in half and place
the centering ruler on top. Place the target sticker in the center hole
approximately 4 inches down from top edge of placemat. This will mark the
location for the monogram or initial to be embroidered.
Step2.
Select the initial needed from the Savannah font 3 inch tall lettering on the CD of
Machine Embroidered Monograms for the Home book. Save the initial on a USB
stick or write to your machine.
Step3.
Place the tear away stabilizer and placemat in your Snap Hoop; keep target sticker
in place until needle bar is aligned with cross hair on target sticker. Make sure the
initial will be embroidered in the correct orientation. Embroider the initial and
remove from hoop. Remove excess stabilizer from wrong side of placemat.
Step4.
Sew the short sides of the placemat together; reinforce the top edges at the
seams. Take the bottom corner of placemat and fold into a triangle. Press down
on the sewn seam and measure a 2 inch triangle from point towards the inside of
purse. Sew across the triangle and the 2 inch mark to “box” the bottom. Repeat
for opposite side of purse bottom. The purse shape is now formed into a “bucket”
shape.
Mark with chalk 2 inches down form center top of purse to add the magnetic
closure. The magnetic closure should be above the initial and centered on both
sides of purse. Open up the top center edge of purse with a seam ripper
(approximately 4 inches long). With a pencil on the inside of purse mark the area
for the magnet. Repeat for opposite inside of purse. Follow directions on the
closure to insert the magnet .After magnet is inserted, sew the top edge back
together.
Step5.
Add the webbing handles to each side of purse. It is best to determine the length
of handles you prefer by pinning the webbing sections to the purse before you cut
each length. Generally, 16 inches per handle is a comfortable length. Mark with
chalk where each handle will be placed. Measure for accuracy and repeat for
opposite of purse; make sure handles are even on both sides. Open each 4
sections at the top edges with a seam ripper, about 2 inches wide. Insert the
webbing straps and sew in place, reinforce the straps.
Step6.
Sew the decorative trim at the top edge of the purse, starting and finishing in the
back of purse. Use a small section of clear tape on the wrong side of beaded trim
to keep from separating. The tape will be hidden by feathers or fringe.
• Designer’s tip- Audition all beaded trim and feathers on the purse before
the initial or monogram is embroidered. The trims should not cover the
monogram; move the monogram down or shrink design to fit if needed.
Mark with tape where the beaded trim will lay and do not embroider below
that location.
• Select a placemat that is sturdy and lined. Most placemats can be easily
spot cleaned.
• Get creative with a variety of trims (sequins, beads, pom-pom trim, tassels)
etc. are fun embellishments.
• Use interesting purse handles, up-cycle from old purses or purchase new at
craft stores.

www.sewcreativeemb.com