The fashion magazine for people who sew!

tHe KeyPointS of aPPlying

Autumn/Winter a lining −
fashion Couture-style
By eddi frantz

creative ideaS
– KwiK•Sew
Inside this issue: K4041
• Perfect fit – Heavy
Thighs
• Rouleau loops
• Sewing witH velvet
• Flat seams
Tips &
Techniques
for sewing
faux fur
 Contents – Vol 30 no 3

Regular Features
48 Book Reviews
52 Australian Sewing Guild

Trends
5 Latest Fabric Trends
By Martin & Savage
15 Latest Patterns – Vogue
29 Latest Patterns – Butterick
31 Latest Patterns – Kwik•Sew
41 Latest Patterns – New Look
47 Latest Patterns – McCall’s
54 Latest Patterns – Simplicity

Wear What When

6 Fashion’s Keypoints –
Autumn/Winter overview
By Eddi Frantz

Get The Look

24 Fashion Flash – That ‘70s Show
By Eddi Frantz

Perfect Fit
16 In The Saddle − fitting heavy
thighs and saddlebags

Creative Ideas
34 Ombre Dress
50 Kwik·Sew K4041

Technically Speaking
11 Applying a Lining − Couture-style
By Susan Khalje
20 Quit Clipping
26 In The Loop
37 Drawing the Line for Beginners
42 Velvet and Other Plush Fabrics
44 Faux Fur
56 Controlling the Gaping Neckline

Vogue V9135
 h ion me e t s a
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 Latest Fabric Trends

BLACK WHITE AND

BLUE ALL OVER!
Black and winter white harps back to the Sixties – the days of Courrges 1. Gotham, design: Plain, 95% polyester/5% spandex, colour:
and the structured shift dress, ensemble coat, jacket and skirt suits and the Black, 147/150cm wide.
classic pants suit. 2. Mya, 96% polyester/4% spandex, colours: Black, White and
Cobalt, 136/140cm wide.
Texture reigns as do stretch fabrics! Travel perfect and transseasonal so you 3. Alpha, 80% polyester/17% cotton/3% elastane,
can layer and layer! colours: Black/White, Cobalt, 147/150cm wide.
4. Suba Crepe, 95% polyester/5% spandex, colour: Ivory,
Watch out for geometrics, bubble treatments, crepe nishes, chequerboard 147/152cm wide.
and ribs! 5. Mod Jersey, 97% polyester/3% elastane, colour: Black/White,
147/150cm wide.
ADD A TOUCH OF COBALT – so you will be black and white and blue all over! 6. Sincerity, design: 33114, 96% polyester/4% spandex,
colour: Black/White, 147/148cm wide.
Happy Sewing – David Tinworth, CEO Martin & Savage Fabrics – 7. Ptd Remix, design: 28590, 96% polyester/4% spandex,
[email protected] colour: Electric, 147/148cm wide.
8. Gravity, 97% polyester/3% elastane, colour: Black/White,
133/135cm wide.
9. Fiction, 85% polyester/13% rayon/2% spandex,
colours: Grey, Black, 145/148cm wide.

Available from Martin & Savage fabrics (02) 8323 5777 or email [email protected]

1 3 4

5
8

9 7

6 9
)DVKLRQ¾V

When it comes to fashion, how does one distinguish a winner from

an also-ran? An up-and-comer from a has-been? The directions
that matter from mere trends? Fear not! Here’s your quick and easy
cheat sheet to the new season …

Note: More fashion news that counts in our ‘Fashion Flash’ and in the Pattern
Trends pages throughout this issue.

• Tailoring softens up this year, with the classic blazer replaced with a feminine wrap
jacket or coat, which adds a kind womanly curve to all those menswear-inspired looks.

• Just as with jackets, pants loosen up, in slouchier, wider-legged menswear-styled

lines … softer, drape-y fabrics and slicker, simpler cuts are the feminising factor.

• Forsake black for rich, offbeat 70’s shades − teal, chocolate, camel, burgundy,
cognac, amber, wine and caramel are the hottest hues of the season.

• Now commanding attention − last year’s cape gets updated with a military edge
with regulation epaulets and brass-buttoned nery. If a cape is too much swagger
for you, capelet details such as the detachable one over that creamy trench from
Simplicity at left is a softer salute to all that military polish … and are just as major.

• Mixed textures amp up the feel-good factor, in newly energised (and colourised!)
tweeds, leather, buttery suede, lush velvet, fun faux furs and the cuddliest, cosiest
knits we’ve seen in years (see more of those on page 33).

• Classics get current, with the turtleneck or roll-neck sweater making a big
comeback, in ribbed stitches and slick, small shapes that easily take to layering.

• So-long stilettos − the latest footwear comes down to earth ... in fabulous
ats, from ballets to brogues, and in very ‘70s block-heeled shoes and boots that go
so well with those looser-legged trousers and softer ared skirts (for more great ‘70s
revivals, turn to pages 28 and 29).
Top inset: New Look 6396 cape.

Bottom inset: Simplicity 1016 Mimi G coat.

6 Autumn/Winter
Stiches 2016 fashion overview
 Wear What When
By Eddi Frantz

MENSWEAR STYLING
IS BORROWED
FROM THE BOYS,
BUT SHAPED
FOR WOMEN …
OUTERWEAR
ENLISTS IN THE
MILITARY WITH
BRASS BUTTONS
AND CAPES ...

Main image: Simplicity 1015 wrap jacket.

Similar pants Simplicity Amazing Fit 2860.

Above inset: Simplicity Amazing Fit 1017 pants.

Right inset: Burda Style 6704 wrap jacket.

Wear What When

DRESSES FLARE AND LAYER … CHECKS BOUNCE

• Everything  − dresses, skirts,
even knit tunics! Keep the rest of your silhouette
sleek and body dening for maximum gure


•  Even dresses love it now,

with slick, sleeveless styles over winter’s
essential ne knit top, opaque tights and boots
of any length.

•  of every stripe are coming on strong

for another year, best in those layer-friendly
dresses and most dramatic in the surprise
comeback item of the season, the poncho (more
sophisticated than it ever was back in the ‘70s,
McCall’s scarf-tied number at right is one of the

• Sporrty items such as  now dress up in

simplied cuts and shiny, silky fabrics (Kathryn
Brenne’s stunner forr Vogue on the facing page
is our pick of the seaason). They also have a taste
for ; it’s the most
delicious shade arouund, now splashed over
everything, head-to-toe!
BACK! … WINE AND SHINE ENRICHES SPORTY SHAPES ...

Main image, this page: McCall’s M7202 ‘Learn To

Sew For Fun’ poncho.

Above inset, this page: Vogue Kathryn Brenne

V9135 jacket. V9155 pants.

Main image, facing page: McCall’s M7188 dress.

Bag, facing page: McCall’s M7264 waist purse with

convertible strap.

Top inset, facing page: Very Easy Vogue V9122

jumper dress.

Bottom inset, facing page: McCall’s M7187 dress.

 Technically Speaking

Applying a Lining –
Couture-style By Susan Khalje
Generally speaking, facings are seldom used in couture to match and re-apply (of course, any changes to the
garments. Instead, seam allowances are left generous seamlines have to be reected in the muslin, so that
(at least an inch wide), and once folded back, serve the lining matches the garment). Another advantage is
as built-in facings. Linings are then applied by hand, that the softness of hand stitches really does make a
usually right up to the edges of the garment. difference – the hand-applied lining is more pliable,
It’s a lovely treatment – one advantage is that it’s often, than one sewn (and understitched) by machine.
easy to modify the placement of the seamline right up As you’ll see, it’s a very clever (and logical) process …
until the time the lining is attached – there’s no facing

I’ll reference the steps below as if I were applying a lining to a back into shape (you can always reference your muslin or
neck edge, but the same process applies to other areas – such your paper pattern to tell you the original dimensions if
as armholes and the centre front − of a garment as well. something has stretched).

1. The neckline is stay-stitched by machine, using a fairly 2. The seam allowance of the neckline is pressed to the
small stitch (2 or 2.5mm), right along the seamline. inside; the fabric is oriented so that the staystitches are
See photo 1. Be careful, as you stitch, not to distort the ever so slightly to the inside. See photo 2. The curve
fabric. Almost all couture garments are underlined, so wants to be clipped, of course, before pressing, but if you
that should help things keep their shape, but you’ll want do that, you know as well as I do that little weaknesses
to feed the fabric gently into the machine, making sure form along the curve, every place there’s been a clip. And
there’s no puckering or stretching. If there is, carefully the curve isn’t very pretty – there are little cave-ins every
release any too-tight stitches or steam a stretched area place there’s been a clip. And there’s no way to avoid that

1 2
 Technically Speaking

3 4

– it’s the natural inclination of the fabric – but – if you 7. A fell stitch is used to sew the lining in place (a single
press before you clip, to set the memory of the curve, then thread is fine), see photo 6; care needs to be taken that
your curved line will be nice and smooth. Press carefully, the stitches do go all the way through to the right side of
though – use a ham, and press slowly, bit by bit, inching the fashion fabric. Sometimes a little extra fullness in the
your iron along. Be very careful not to press any folds into fashion fabric needs to be pulled in – a neckline that’s a
the fashion fabric – it’s easy to do, and depending on the little on the loose side, for instance. If that’s the case, the
fabric, they can be difficult to remove. fell stitches can also be used to snug things up – they’re
very useful for that. By the same token, care needs to be
3. Once the curve has been established, it’s safe to clip taken that the stitches don’t overly tighten things if the
– fairly close to the pressed fold line, and as often as seamline is fine as it is.
necessary. See photo 3. Once the clipping is done, the
edge is pressed again. 8. The final step is to apply a row of understitching, along
the top edge of the lining, about 1cm (3/8in) below the
4. The clipped seam allowance is held in place by catch- seamline; it keeps the lining in place, and keeps it from
stitching it to the underlining. See photo 4. creeping up and becoming visible above the seamline.
See photo 7. The stitches are fairly close together (again,
5. The lining is then prepared, not forgetting to make any stitched with a single thread), and they’re about 12mm
last-minute modifications in the seamline. See photo 5. (½in) apart. A prick stitch (a small backstitch) is used
The lining’s seamline is then staystitched, carefully pressed for this; the stitches go through every layer except the
over a ham, clipped and then pressed again. very outermost. The lining is caught, along with the
seam allowances of the lining, the seam allowances of the
6. The lining is attached to the seam allowance of the fashion fashion fabric, and the fashion fabric’s underlining. Care
fabric, just inside the fold, and right along the fashion needs to be taken that the stitches don’t go through to the
fabric’s staystitching. Generous pinning will hold the fashion fabric – in which case they’d dimple the outside of
lining exactly in place. In the event that the lining might the garment. One does develop a ‘feel’ for the layers that
have stretched (and of course, it’s likely cut from a thinner are caught (as well as the layer that needs to be avoided!).
and less stable fabric than the garment, so distortion is
certainly possible), plenty of pins will allow for the even That’s it, apart from a final, careful press of the lining!
distribution of any extra fullness. See photo 8.

12 Stiches
 5 6

7 8

Sewing expert and master teacher Susan Khalje has a rich background in the Couture Sewing School, which offers week-long classes throughout the year.
couture arts. From an apprenticeship at the New York couture salon Chez Cez In addition to her teaching, Susan is a Contributing Editor for Threads
et Bez, to working as a manufacturing supervisor in Afghanistan for a New Magazine. She is also currently continuing to lm sewing videos (the most
York design house. This took her into a long career specializing in the design recent is The Classic French Jacket), and leads a yearly couture-focused tour
and creation of custom wedding gowns. to Paris.
Along the way there were two books (Bridal Couture and Linen & Cotton),
a long-running television program, and the establishment, in 1993, of The Visit Susan’s website at www.SusanKhalje.com
 Latest Pattern Trends

GRAPHIC
By Eddi Frantz – Vogue

DESIGN
'.1<'5$)76&/($135(&,6(/,1(6,1
7+()2502)$6+$53/<6+$3(''5(66
25,17+(&5,636,03/,&,7<2)$&/$66,&
%87721'2:16+,57$//5(1'(5(',1
385(%/$&.$1':+,7(

V1461: (Main image) Fitted, lined dress

(cut on crosswise grain) has front, back and
sleeve pleats, stitched hem, and invisible back
zipper. Purchased trim. Sew in cotton plaids,
gabardine, lightweight woolens, Ponte knit.
Misses’/Misses’ Petite sizes: 6 – 22.
V1462: (Insets) Loose-tting shirt has
collar, collar band, concealed button closing,
sleeves with pleats, placket and button
cuffs, and shaped hemline. Three variations.
Camisole included. Sew in crepe de chine,
chiffon, charmeuse, lightweight broadcloth.
Misses’ sizes: 6 – 22.

ZZZYRJXHSDWWHUQVFRP
19
Perfect Fit

One of the best reasons to sew your own clothes is that you can tailor them to t you, rather than trying
to make you t them. This is especially true if you’re larger than what the pattern companies’ decree as
‘normal’ in the thighs. Here are some simple fashion guidelines and easy pattern adjustments
for pants that t and atter.

Styling guidelines
It is important to avoid hipsters. This also
includes body-hugging silhouettes that cling to
all the curves of the figure. Garments that cling,
regardless if you have smaller bits above will
emphasise the saddlebags making them appear
larger than they actually are. You will also find
that bias-cut garments generally emphasise the 1
body’s silhouette therefore do not make suitable
garments for women with saddlebags. On
occasions some bias-cut garments will
work, however this is related to fabric rather 2
than the style – some bias-cut fabrics drape
without clinging. See photos 1 and 2.

The best design will be one that skims rather

than clings to the body. In trousers this means
choosing a style with soft waistline fullness
moving into a trouser leg that is straight off the
hipline and does not narrow at the hemline. If
there is a waistband feature, it is an excellent idea
to choose a garment with soft pleating, tucks, or
fine gathers. This subtle fullness has a blending
effect for fuller curves. Ideally, a dress or skirt
with princess seamlines increases the number
of alteration points and generally introduces
soft shaping from the waistline to hemline area
of the garment. The important concept is the
introduction of gradual fullness from the waist
down towards the hemline.

Purchasing the correct pattern size

When one part of your figure is dramatically
different from the rest, it can be confusing as to
which pattern size to purchase. The traditional
method for the bottom half of the figure is to
purchase your pattern size by your waist and hip
measurements. If you have saddlebags you must
take this figure variation into consideration along
with your waist and hip measurements.

16 Stiches
 It is recommended that you purchase your pattern size
by your waist and hip unless your saddlebags measurement
is two or more sizes greater than your waist and hipline
indicate. In the case where there is a two size difference or
greater, you should buy the pattern size in between then alter
as required. In this way there will be a more gradual change
in alteration between the waist, hipline and thighs. Here are
two examples: Waist 72cm, Hip 99cm, Saddlebags 103cm.
Size to choose – 14 using the waist/hip measurements; Waist
75cm, Hip 101cm, Saddlebags 113cm. Size to choose – 18,
which is the size in between these measurements.

Alteration techniques Diagram 1

First measure yourself correctly to
determine the exact adjustment
required. Tie a ribbon firmly at your
waistline. Measure down the side of
your body from the ribbon to the fullest
part of the thighs. This measurement Diagram 3 Diagram 4
is your thigh depth and is important
To alter the pattern with
in determining exactly where on
accuracy, mark your thigh depth
the pattern you must alter. You can
on the pattern tissue front and
now measure around the thigh area
back. Now mark a line 7cm (2¾in)
keeping the tape level in the horizontal
above and below the thigh depth.
position. Once you have your thigh
Measure into the pattern 5cm-7cm
measurement add 5cm-7.5cm (2in-3in)
(2in-2¾in) from each of these
to this number to incorporate wearing
lines – join the points to create
ease. See diagram 1.
a rectangular type of box on the
pattern. See diagram 3.
You must now measure around the
pattern tissue at your thigh depth to determine how much
It is now a simple matter of
adjustment will be required. This is known as flat pattern
cutting along the lines of the
measuring. It is important to remember that you want the
rectangle and dragging the box
finished garment measurement at the thighs so exclude seam
outwards to add in the required
allowances and any other design feature that is not part of
amount. Place tissue under the
the normal ease of the garment (for example darts, tucks and
gap in the pattern and tape
pleats). It is necessary to fold out all pleats and darts or avoid
the rectangle of tissue in place.
measuring the tuck/pleat/dart areas. See diagram 2. Diagram 5
You will now have to blend the
original side seams with the new
Once you have determined the adjustment amount, it
side seams. It is important to do this step gradually so that
needs to be quartered since the front and back are cut twice.
a ‘jodhpur-style’ seam is not created. In a simple garment
Diagram 2 style, no further adjustments should be required. If you
are working with an in-between pattern size, you will have
to readjust the waist and possibly the hipline – this same
technique can be used to modify these areas. See diagram 4.
If the adjustment is more than 1.5cm (5/8in), adjust across two
or more points. See diagram 5.

If you find that the previous method of adjustment is not

suitable to your thigh variation, you can add more volume
into the pattern in a different fashion. This method involves
creating tucks or gathers at the waistline and while changing
the fashion look, it can result in a more subtle adjustment. It
is a simple matter of adding width at the waistline dart points.
Draw a line straight down to the hem from the inside edge
of the dart. Slash along the line then spread the pattern open
the required amount. The original dart allowance and new
Perfect Fit
garment width will be folded out at Diagram 6 Solution
the waistline during construction To add width to the front leg only,
to create a garment tuck. During adjust the inseam. This allows
sewing it is more flattering if the more fabric to cover the protruding
tucks are folded so that the fullness thigh muscle. See diagram 10. It
opens out towards the hipline. If may also be necessary to widen the
you prefer a flatter look do not front of the pant in the hip area
hesitate to topstitch the tuck in by re-drawing the centre front,
place. See diagram 6. Should you adding to the hip width as shown
have two darts at the waistline, in diagram 4. The front waist may
you can divide the alteration across require lowering slightly, but this
both darts creating two tucks in the Diagram 7 is best done at the fitting stage,
garment. Of course, it is always after the pants are constructed
possible to convert this extra and before the waist is finished.
fullness into gathers if suitable to Mark the correct waistline by
Diagram 10
the fabric. using elastic around the waist and
marking along the base of it.
For the garment back, simply
incorporate the extra width into 2. Heavy inner thigh
the dart. If your dart becomes too Heavy inner thighs often exist if there is a
big, split the dart allowance into saddlebag problem. Unless the pants fit well
two smaller darts. A fabric tuck they will be uncomfortable as there is no
across the backside is not a good wearing ease in the crotch seam length. Pants
look! See diagram 7. that pull from the crotch toward the outer
thigh often denote heavy inner thighs.
If you do not wish to add any See diagram 11.
Diagram 11
further fullness into the hemline
of the garment, the fullness can
be added in as a diagonal wedge, Solution
tapering off to zero at the hemline. To adjust the crotch, extend the crotch curve on the front
Diagram 8
If you choose to add in the fullness and back. This lengthens the crotch and enlarges the
using this technique, do not spread circumference of the leg in the thigh area. See diagram 12.
the centre panel, move only the side The extension measurement will most likely be different on
piece of tissue. This prevents grain the front and back.
line distortion. See diagram 8. On
the back create one or two darts as The outer thigh is adjusted following the instructions
in diagram 7. of the saddlebag thighs, however tapering the side seam
back to the original leg should be done with care and some
As with most adjustments, thigh experimenting, as the tapered leg will often accentuate the
alterations can be completed in a saddlebags.
variety of manners, it is up to you to
determine the one which best suits Diagram 12
your figure, fabric and design.

Saddlebags or heavy thighs?

Heavy thighs do not always indicate
saddlebags, here’s two examples:
1. Forward thigh
One type of ‘heavy thigh’ is the forward thigh,
where the thigh muscle seems to protrude and
the groin area appears indented. The pants on
this figure will usually pull into diagonal creases
from the crotch up toward the hipbone.
See diagram 9. The pants fabric may also seem
Diagram 9 to pull through the crotch from the back. The
crease on the front leg may pull or twist toward
the inside of the leg.

18 Stiches
Technically Speaking

Clipping, trimming and removing excess fabric to allow the edges of a garment to sit firm-
ly flat is all part and parcel of stitching. We follow the instructions within a pattern and
clip where suggested without even a thought of what we are actually doing to the garment.
The fabrication of a style also needs to be considered when removing bulk and turning out
corners, necklines and armholes.

The method that we know so well is of a hill (rounded edge) The fashion industry uses a more commercial method.
and valley (like an armhole or neckline) which would need to See photo 2. Trim back all the seams that need turning to half
be clipped in one area and dove-tail notched (V clipping) in their value, i.e. 1.5cm (5/8in) would become .75cm (3/16in),
the other before turning through and pressing. See photo 1. perhaps coming a little closer to very curved corners to allow
Before doing this next time, consider what this may be doing the seams to turn back a little better. Whereever possible it’s
to the particular area of the garment you are working on. important to understitch the bulk of the seam to the inside of
The two best examples are necklines and armholes as having the garment. See Photo 3. When understitching a curved area
them slightly stretched or bagging is not a good look. When gently pull the fabric out from each side of the presser foot to
a curved seam is sewn, the raw edge of the seam is smaller in compact the seam (the bias grain around a curve will compress
length than the stitching line itself; therefore, if this seam is under the foot and shorten the seam, thus tightening it slightly).
to be turned through or opened up, the raw edge needs some Around severely curved seam areas it’s still necessary to clip
release to sit flat. Clipping to the stitching line releases the lightly. See Photo 4. The understitching should be even and
tension or tightness in the seam allowance but it also allows sitting close to the seam edge and controls the ‘roll’ of the outer
the stitching line to grow when being pressed. Hence this is fabric so there is no chance of seeing the underside of the work
where some garments don’t sit well on the body. with gaping from the front of the garment. See photo 5.
armholes and fluting necklines and excess fabric needing to
be pinched out on the finished garment.

1. 2.

20 Stiches
3. 4.

5. 6.

Definitions Trim back the seam allowances of the lower curved edge
Understitching is when all the seams are pushed to the of a vest to 5mm (¼in), heat with steam and roll under the
inside of the garment and stitched from the topside on the fingers before setting in place with a final shot of steam and
seam edge to hold all seam layers together. The main reason heat. This edge is not overworked and lies a lot flatter than if
for understitching is to prevent the inside of the garment being it was traditionally ‘dove-tailed’. See photo 6.
visible from the front. Particular examples would be a faced
waistline, armhole and neckline facings and faced hems. HINT: Rolling a curved turn out is easy. Imagine
Topstitching is a line of stitching set in from the finished edge rolling a pencil to and fro with just your finger tips.
of a garment a consistent distance from the edge all around.
This is the same technique that is used when
This can be either a practical finish or a decorative finish and
its main aim is to hold all finished edges firm and flat. rolling out a curved corner. The rolling effect
Edgestitching is topstitching which is stitched on the edge. breaks down the bias grain and allows the seam
allowance inside to become a little more pliable.
Technically Speaking

7. 8.

An armhole that has been bagged out with lining rather than
a fabric facing is understitched and slightly shortened by gently
pulling the fabric either side of the foot when approaching the
curve of the armhole. This armhole will now sit close to the
body and prevent any undergarment from being visible, as
well as looking like the garment was made for the wearer.
See photo 7.

Any part of a garment that needs releasing to make a seam

sit flat or turn out needs careful consideration. It is too late
when the snipping is done! Remember that our bodies are
curved and our garments need to be, too. Pressing a
garment so it is totally flat will almost guarantee that is will
not fit the body once finished. Edges need to be slightly
‘drawn in’ parallel to the curved edges they are sitting
against. The only real straight or flat area on the body is in
the forehead area, so other than making a hat we must work
with curves. The fashion industry does work with a variety
of seam allowances while manufacturing and the use of
1.5cm (5/8in) is not ever used. They use either 1cm (3/8in) or
6mm (¼in) seams and the patterns are generally made for
quick manufacture and the less clipping and handling the
better. Over-handled garments take a lot more pressing and
this is where the cost savings are made.

Clipping corners is another mine field when it comes to

know how close to cut. A rule of thumb is to remain the
distance of the chosen stitch length away from the corner, but
loosely woven fabrics have to be treated with utmost respect
as they sometimes fray by just looking at them! By folding the
corner in and pinching the seams it is possible to make a
slanted snip as a guideline for angling the corner trim. The idea
is to make the clipped edges butt together inside the corner
once pressed, so they lie flat and even. This then acts as a
template to get the correct shaping once pressed. See photo 8.

22 Stiches
 džƉĞƌŝĞŶĐĞdKzKd͛ƐďƌĂŶĚŶĞǁK<</
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ǁŝůůƚĂŬĞLJŽƵƚŽĂďƌĂŶĚŶĞǁǁŽƌůĚ͘

ϭ Brand new technology ‘Variable width Control’ ǁŝƚŚĂŌĞƌ ƐĞǁŝŶŐĂŶĚ

/ŶK<</;ĨƌĞĞŵŽƟŽŶĞŵďƌŽŝĚĞƌLJͿŵŽĚĞ͕ƚŚĞƐƟƚĐŚ ƐĞƌǀŝĐĞ ƚĞĐŚŶŝĐĂů
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Ϯ Accessories ϰ ^ƵƉĞƌ:ĞĂŶƐ&ƵŶĐƟŽŶ
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&Ădž͗;ϬϯͿϴϯϭϭϵϭϬϭͮŵĂŝů͗ƐĞǁŝŶŐΛĂŝƐŝŶ͘ĐŽŵ͘ĂƵ

ǁǁǁ͘ƐĞǁŝŶŐ͘ĂŝƐŝŶ͘ĐŽŵ͘ĂƵ
 H
AS
EARRINGS ARE ORNATE

FL
AGAIN … GO FOR
BEJEWELLED TEARDROPS
ON
OR HOOPS.
HI

Roberta Chiarella earrings, at

www.robertachiarella.com
S
FA

A SQUASHY ‘NEWSBOY’ CAP AND

A RIBBED TURTLENECK IS A HEAD-
TURNING LOOK OF THE SEASON.
Vogue V9044 Patricia Underwood cap.

FRINGE IS
EVERYWHERE,
BUT BEST IN A
SUEDE BAG.
McCall’s M7264
waist purse with
convertible strap.

A RUNAWAY HIT IN THE USA, THE

PONCHO IS THE HOTTEST KNIT LOOK
NOW, IN EASY SHAPES AND SUBDUED,
SOPHISTICATED SHADES.
McCall’s M7255 ‘Easy’ poncho.

uential designer
collections worldwide has spread through the new season, but it’s not a retro costume party this time
around! The very best of the ‘70s re-emerges in the sly slink of a silky print dress … in easy vests and
knits to throw over everything … in those rich, delicious shades of chocolate, wine, cognac and caramel
and very sensual, touchable textures of fur, velvet and suede, as well as in some funky, fun accessories.
24 Stiches
 Get The Look
A LONGLINE FEATHERY FAUX-FUR By Eddi Frantz
GILET IS THE LATEST VEST LOOK AND
SURPRISINGLY FLATTERS A RANGE OF
FIGURES. Save it from looking too
‘Sonny & Cher’ by layering it over
sleek, simple, dark coloured separates.
It can even update your basic sweater
and jeans in a ash.
Left inset: McCall’s M7257 hooded gilet vest.

IF THERE IS ONE ITEM THAT EASILY

SEGUES FROM THE ‘70S TO NOW, IT’S
THE DRESS … in soft, uid, slightly
ared shapes, quirky retro prints
and warm autumnal tones … best
worn with rich chocolate leather or
suede accessories.

Main image: McCall’s M7246 Melissa

Watson for Palmer/Pletsch dress.

Left inset: Kwik•Sew K4133 dress, designed

by Lisa Pahn − Contest Winner of ‘The
Whole of Sweden Is Sewing’

Above inset: Vogue V9124 dress.

STYLING TIP: Don't go

‘70s from head-to-toe … one piece
is enough, worn with sleek, modern
basics or even jeans. That item
could even be just one accessory,
such as those shown here, if you’re
not sure where to start.
Technically Speaking

In The Rouleau loops add a beautiful and delicate

nish to any garment. Although they may look
difficult and tedious to sew, they are actually
easier than inserting a zip. You can make your
own rouleau loops out of matching fabric,
use a decorative cord, or buy the nished
elastic loop which is ready to insert.
Each one has its unique benets!

Loops made out of the same fabric as the garment not only Making your own rouleau loop is easy. Cut bias grain strips
offer a couture finish and look stunning on a bridal gown, of fabric, measuring about 3.5-4cm (13/8-15/8in) wide and
but are sometimes necessary if working with an unusually 50cm (20in) in length. Do not cut the strips too long as you
coloured fabric that does not match any of the decorative will have difficulty turning them through. Fold the strip in half
cord available. A self-made rouleau loop is cut on the bias lengthwise, keeping the right sides together, machine-stitch
grain of fabric, offering a certain amount of give to slip easily approximately 5-7mm (¼in) away from the fold line. Trim the
over a rounded button. See photo 1. seam allowance close to the stitching line and turn through
using a loop turner or needle and thread. See photo 5.
If using a decorative cord, there is a variety to choose from.
However, make sure you don’t use a thick cord which will Loop placement may already be marked on the pattern
only add bulk to the seam and have difficulty fitting over a so you will be able to space the loops perfectly. Transfer this
button. Certain cords, depending on their formation, have information onto your cut fabric piece using pins or tailor’s
a degree of stretch or give, while others do not. Wherever chalk. You can also use tissue paper with loops marked and
possible try to use a cord with some give, otherwise the loop run it alongside the seam line when applying the loops.
must be made to fit over the button exactly. Decorative cords Wherever loops are to be added to a garment, interface the
are often the only option if the garment fabric is too thick, as seam line for extra body and strength. Press the seam line in
with a heavy brocade or velvet. See photo 2. place, as this will become your stitching guideline.

The ready-made elastic rouleau loop insertion tape is great If you want the loops to sit close together, keep the rouleau
if you don’t feel like making your own. As the loops are in one length and form each loop as you are machine-
made from elastic, it can accommodate a greater range of stitching them in place. Then cut each loop open in the seam
button sizes and is extremely useful when working with sheer allowance section so that it sits flat. If you find this method
fabrics. See photo 3. difficult or are worried about ending up with uneven loops,
simply cut all the loops to the correct length and include
This fine tape insert works perfectly here as a self-fabric the seam allowance. Sew on each piece individually. Loops
rouleau would only add bulk and require a larger facing to which are spaced apart will need to be pre-cut to size. Once
encase the seam allowance. The only disadvantage is that it is the loops are stitched in place, the area is finished off with a
not available in a range of colours. See photo 4. facing or bagged out with lining. See photos 6 and 7.

1 2

26 Stiches
 3 4

5 6

7 8

For extra strength and security, especially in a tight-fitting

garment such as a bridal gown, you may want to insert a zip
behind the rouleau loop finish. To do this, finish the opening
with the rouleau loops in place. Place the zipper behind the
seam opening and pin it in place. Machine-stitch the zip
in place by stitching from the wrong side of the fabric, so
that no stitching is visible from the right side. The zipper is
completely concealed under the button and loop closure.
See photo 8.
Stiches
 Latest Pattern Trends
By Eddi Frantz – Butterick
Knits have always been the supreme soft option
in modern dressing, but as they cuddle-up and
get cosy in generous shapes and tweedy, nubbly
marled textures this season, they all luxuriate in

THE

FACTOR

The Layered Tunic

B6247: (Above) Pullover tunic
(close-tting through bust) has collar The Cosy Knit Coat
variations, and narrow hem. Designed
for lightweight moderate stretch knits.
Misses’ sizes: XS (4-6) – XXL (24-26).
B6251 ‘FAST & EASY’: Unlined
B6248: (Right) Pullover tunic has side- sweater jacket/coat in four
front seams, collar, plus pocket and variations. Designed for medium-
hem variations. Designed for lightweight weight to heavyweight moderate
moderate stretch knits. stretch knits. Misses’ sizes:
Misses’ sizes: 8 – 24. The Easy Pullover XS (4-6) − XXL(24-26).

www.butterick.com
33
 SUPER FLEX FIT JP1

FINE REVO layout:

SUPER FLEX FIT

FINE REVO layout:

SUPER FLEX FIT SP2

FINE REVO is designed to shape to the subtle movements of the body while
we are sleeping. Made from a ‘ƐƚLJƌĞŶĞƚŚĞƌŵŽƉůĂƐƟĐĞůĂƐƚŽŵĞƌ͛ complex and a
‘ƉĂƌĂĸ Ŷ ƐLJƐƚĞŵ ŵŝŶĞƌĂů Žŝů͛ resin, these pillows have been designed to
ƐƵƉƉŽƌƚƚŚĞŚĞĂĚĂŶĚŶĞĐŬďLJĐŚĂŶŐŝŶŐĨŽƌŵŝŶĞǀĞƌLJĚŝƌĞĐƟŽŶ͕ĂŶĚĐĂŶĞǀĞŶůLJ
ĚŝƐƚƌŝďƵƚĞ ƚŚĞ ǁĞŝŐŚƚ ŽĨ LJŽƵƌ ŚĞĂĚ ƚŚƌŽƵŐŚ ƚŚĞ ŶĂƚƵƌĂůůLJ ƌĞƐŝůŝĂŶƚ ĂŶĚ ŇĞdžŝďůĞ
material.
FINE REVO layout:

dŚĞ ^>W ƌĂŶŐĞ ŽīĞƌƐ ƚŚƌĞĞ ĚŝīĞƌĞŶƚ ƚLJƉĞƐ ŽĨ ƉŝůůŽǁƐ͘ tŝƚŚ ƚŚĞ ŽƉƟŽŶ ŽĨ
ĚŝīĞƌĞŶƚƐŚĂƉĞƐĂŶĚƐŝnjĞƐ͕ĂƐǁĞůůĂƐƚŚĞŇĞdžŝďŝůŝƚLJƚŽĂĚĚŽƌƚĂŬĞĂǁĂLJƐƉĂĐĞƌƐ͕
these pillows can be adapted to suit any individuals sleeping requirements.

An example of how FINE REVO can

move to support the head and neck
while an individual is sleeping. Becuase the material is virtually
ƵŶĂīĞĐƚĞĚ ďLJ ƚĞŵƉĞƌĂƚƵƌĞ͕ ƚŚŝƐ
ƉŝůůŽǁ ĐĂŶ ďĞ ƵƐĞĚ ĐŽŵĨŽƌƚĂďůLJ
throughout the seasons.

593 Somerville Road, Sunshine VIC 3020 Ph: (03) 8311 9100 www.aisin.com.au
 Latest Pattern Trends
Skirts don’t mean a By Eddi Frantz – Kwik•Sew
thing if they ‘ain’t
got that swing!’
Whether they are
out ever-so-softly and
smoothly from the hip
or really come out
swinging, they have
all the right moves
this season.

HERE

EVERYWHERE!
K4137 KWIKSTART® LEARN-TO-SEW: Pull-on skirts have separate
waist casing with elastic and narrow hems in two lengths, and in ared
(main image) or A-line (inset) shapes. Skirts are very easy to make and
have special easy-to-follow instructions. Designed for stretch knits only
with 25% stretch across the grain, such as jersey, interlock, matt jersey,
www.kwiksew.com Ponte knits. Misses’ sizes: XS−S−M−L−XL.
 NERANG 24 Spencer Rd (07) 5596 4133
WEST BURLEIGH Corner Leda & Kortum Dve (07) 5576 4298
Open: Monday-Friday 9am-5pm & Saturday 9am-1pm

www.fabricfrenzy.com.au
• Dressmaking, Quilting, Embroidery and Software classes available plus lots of different
types of workshops.
• All run by highly qualified and friendly teachers who are only too happy to help you learn.
• Lots of Garments, Quilts, Bags and other interesting ideas on display to help inspire you!
• Both Stores offer quality fashion fabrics for Daywear, Formal and Dancewear,
Upholstery fabrics, Craft fabrics and Accessories. VISIT OU
• PLUS Huge range of Haberdashery, SSS and Birch as well as an assortment of Braids, Janome MC 15000 WEBSITER
Accessories and Patterns Exclusive
F
& Craft F ashion
• Service & Repair to all brands of Sewing Machines & Overlockers at both stores JANOME & ELNA Sewing ABRICS
Machines for SALE Li
mited Sto

HM34-07-06
cks
• Friendly and Qualified staff to assist you – with a Smile

Coastal Breeze
Everything but By Paul Brent for Moda

the Kitchen Sink Tin Pack- was $77.00 now $62.00

*Postage not included
By Yuko Hasegawa
for RJR Fabrics
Tin Pack- was $66.50 now $39.95
*Postage not included

Cobar Q U I LT S H O P Please check out our website for more info. If you would prefer
to contact us by phone we are happy to do phone orders.

25 Marshall Street, Cobar NSW 2835 | Ph: (02) 6836 3606 | Email: [email protected]
www.cobarquiltshop.com.au

APQ25-02_13

32 Stiches
 Clean, Bright & Organised

More than Just Beautiful Fabrics!

When shopping for fabric, sewers love being able to find In addition the Maelena Collection,5Hɪɗ&ɗԧȱHɡIʝɠ
what they are looking for with ease. With that in mind, 5Hɪɗ3Hʝɿȵɏ ready-made range we carry in our in-store
our store is organised into easy to follow areas. This boutique is also a source of inspiration, with many of the
makes selection for a particular project painless. garments made from our own exclusive fabrics on the
We also know that seeing the “finished product” is Gold Coast.
helpful. That is why we have many samples made up in The boutique also boasts a great range of fashion
our beautiful fabrics: to inspire and assist. accessories, with many imported from Europe exclusively
Many of our fabrics are exclusively imported by us from for our store.
Europe, with the balance purchased from Australia’s To keep abreast of new arrivals, events & special offers,
leading wholesalers. we offer an E-mail newsletter.
Our fabric range is complemented by a most To subscribe, send a request to [email protected],
comprehensive range of notions, accessories and patterns. or follow us on Facebook.
Follow us on
Facebook

Vis
it
MA our w
www.thefabricshoprobina.com.au
IL e
OR bsite Shop 3, 76 Robina Town Centre Drive, Robina QLD 4226
DE for Ph: (07) 5593 0016 Email: [email protected]
RS ST24-07_02
Creative Ideas

How to use Hand Dye

1. Weigh dry fabric; wash thoroughly (for new
fabric or items warm wash with washing
powder to remove any dressing). Leave damp.
2. Using rubber gloves, dissolve the dye in
500ml boiling water. Stir in 5Tblespn (250g)
of salt. Continue stirring until salt dissolves.
3. Fill bowl, bucket or stainless steel sink with
approximately 6 litres hottest tap water.
4. Add dye and salt mixture. Stir well.
5. Submerge the fabric in the dye bath.
6. Stir constantly for 15mins, then stir regularly
for 45mins.
7. Rinse fabric in cold water until the water runs
clear. Hand wash in warm water and dry away
from direct heat and sunlight. 1. Dye the entire piece of
fabric in your lightest
colour. Dylon Hand Dye,
colour: China Blue .
Construction
• Stitch the
side seams.
• Cut 2 x 4
cm (1½in)
and stitch to wide bias st
armholes w rips. Fo
the wrong ith a ¼in se ld the strips in half
side. Topst am. Fold th
• Neckban it
d/bead casi ch in place. e binding to
Note: The n ng
eckb
and shoulder and is cut 7cm (2½in)
length (use wide x the fi
With right the elastic gu nished neck
sides togeth ide for lengt line
neckband. e r, st itch h ).
Clip up to th e shoulder
With right the sections of
sides togeth seam line and turn ri the
press open er, stitch th ght side ou
. e centre ba t.
Gather the ck seam an
front and b d
and attach ack neck e
the right si dges to the
Turn under de of the n required w
the seam a e ckband to idth
in-the-ditc llowance o each sectio
h to secure f th n.
opening in in place, bu e wrong side and stitc
the back to t lea h-
insert the b ving a big enough
eads.
CF

Shoulder sect
ion stitching lin
e
Clip
3. Construct Clip
the dress.

34 Stiches
 Bac
k
•E
xte
bac nd fro
k n
you bodi t and
r d ce t
dr es o
• T ess len ired

ht
he n

eng
gth
circ ew h .

l
u e
165 mfere m

ress
• M cm nce
(65

d
ov is
¼h acro ing th in).

New
wid em the ss to i patte
e
plu th h
also m w crease n
e n r
s
allo seam gar i n c i d t h
wan
ce men reases
tw the
idth
.
2. V
ogu
leng e V8953
th an v
d in iew B as
crea
se th base p
e n attern
ishe
d he . Alter th
mlin e
e wi patter
dth. n to
ad ress

titch
Blanket s

bric
t e t he fa l
a l
atur t. Pu se strands
d d ye, s ss into i ow to U c e using 2 ead.
u r e d r e r H s in p la r
t col
o
f the as fo the bead oidery th
d a rkes ection o bottom e c k b a n d to hold strands of embr a 5mm (¼in)
your er s e the nd the n nd use 2 require ve
- b a th of the low t and dy la n k e t s titch arou make a feature a r this project and houlder and cur
ye dip ck ou 5. B e a d o r s e d fo e r th e s
ix a d r and ba g thr
of sewin tic beads have be allow for bendin
en u g ov
4. M ith wate e fabric p la s a d to
w
e of
t h 16mm ach be
etween e
som Dyes.
d spacing b neckline edges.
Han around th
e
 Handy plate makes creating Kanzashi
Flowers quick and easy!
Kanzashi Flower Makers
Art No. 8490 8480 8481 8491 8482 8483
Shape Round Petal Round Petal Round Petal Pointed Petal Pointed Petal Pointed Petal
Size Extra Small Small Large Extra Small Small Large

Package

Flower Made
by the Template

Finished Size
(Approx.) 35 mm 50 mm 75 mm 35 mm 50 mm 75 mm

Art No. 8492 8484 8485 8493 8486 8487

Shape Gathered Petal Gathered Petal Gathered Petal Orchid Petal Orchid Petal Orchid Petal
Size Extra Small Small Large Extra Small Small Large

Package

Flower Made
by the Template

Finished Size
(Approx.) 35 mm 50 mm 75 mm 35 mm 50 mm 75 mm

Art No. 8494 8488 8489 Simply set, cut and sew
Shape Daisy Petal Daisy Petal Daisy Petal
to create beautiful
Size Extra Small Small Large
Kansashi Flowers!

Package

Flower Made
by the Template
APQ23-11_18

Finished Size
(Approx.) 35 mm 50 mm 75 mm

CLOVER MFG. CO. LTD. 3-15-5 Nakamichi, Higashinari-Ku, Osaka, Japan www.clover-mfg.com [email protected]
Australian Distributors NZ Distributors
Ascot Lane Distributors Birch Haberdashery & Craft QH Textiles Ascot Lane Distributors
www.ascotlane.com.au www.birchhaby.com.au www.qhtextiles.com www.ascotlanedistributorsnz.co.nz
 Technically Speaking

Drawing the Line for Beginners

What is a French Curve? How is It Used?

The French curve is an invaluable design device used by The French curve ruler is straight on one side, while the
patternmakers and dressmakers the world over. It’s a tool other side is a graduated curve. It is important to use the
which most home sewers have heard about, but one which appropriate side of the ruler when altering different areas of
many are hesitant to use. Here we explain the French curve the pattern.
and show just how easy it is to use.
When making alterations to paper patterns, keep the pattern
This is the information about using the French curve as pieces square. The accurate and easiest way of doing this is to
given inside the Sew Easy French Curve with Grading Rule use a cutting board printed with a grid. Pin the straight grain
packaging. The curve is available in imperial and metric line of the pattern to a vertical line on the board.
standards. If you have a similar tool or have put off buying
one because you don’t know how to use it, you will see how To change a pattern line, seam or dart, lay the straight side
easy it is and be down to your local sewing store in a flash. of the ruler along the line to be altered. If the straight rule
follows the line exactly, use this side of the tool to alter the
The French curve is a sewing tool which represents every pattern line. If the pattern line, seam or dart deviates even
curve on the human body. It is used for pattern design and slightly from the straight edge of the ruler, turn the French
development and for making pattern alterations. The French curve over and match the curve of the ruler to the curved line
curve used for this article had the extra benefit of being a of the pattern.
French curve and a long dressmaking ruler as well.
Hold the French curve where the new and old lines will
For years, French curves have been used for designing and meet and slide the curve to the required position. Draw a new
drafting garment patterns, helping to give them realistic body line along the edge of the French curve.
shape. Most of us, however, have precious little time to sew.
And, while we all strive to achieve the perfect fit, we don’t The French curve can be used in many different ways to
necessarily have the time or experience to design and draft perfect the fit of your pattern:
garments from scratch. Commercial patterns are therefore • Decreasing bodice waistline
the basis for our dressmaking projects. Because none of us • Increasing bodice waistline
are standard sizes, it is inevitable, and indeed assumed by • Moving an armhole curve to suit narrow shoulders
the pattern companies, that we will need to alter commercial • Altering the front neck curve
paper patterns in various ways and on many occasions. • Changing the back neck curve
• Adjusting darts on a bodice
Using a French curve with ruler simplifies this task. • Altering high and low necklines
Pattern alterations should be made at the paper stage of • Altering a scoop neckline
your project, as it is much harder to re-create the designer’s • Altering a V-neckline
intended shape after the garment has been cut and sewn. It • Contouring a bodice dart for a more fitted look
also involves a frustrating waste of time, fitting and refitting • Increasing the width of a sleeve cap
the garment and unpicking seams during the sewing stage. • Increasing the depth of a sleeve cap
• Decreasing skirt waistline
You should know your body measurements and understand • Increasing skirt waistline
how and where your measurements differ from the standard • Tapering a straight pattern line
measurements of pattern manufacturers. In other words, • Straightening a hip curve
if your measurements are generally size 14 but your waist • Raising a waistline for a large tummy
measurement-corresponds to a size 12 or 16, you need to • Lowering a back waistline for a sway back
grade your pattern a size larger or smaller in the waist area. • Adjusting darts on a skirt
Technically Speaking

Decreasing bodice waistline Increasing bodice waistline Moving an armhole curve to suit
narrow shoulders

Altering the front neck curve Changing the back neck curve Adjusting darts on a bodice

Altering high and low necklines Altering a scoop neckline Altering a V-neckline

38 Stiches
Contouring a bodice dart for a more Increasing the width of a sleeve cap Increasing the depth of a sleeve cap
fitted look

Decreasing skirt waistline Increasing skirt waistline Tapering a straight pattern line Straightening a hip curve

Raising a waistline for a large tummy Lowering a back waistline for a sway back Adjusting darts on a skirt
 McCALL PATTERN COMPANY
cing
Introdu alian
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Pattern: V1471
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design s
Pattern
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Nicola

ST24-07_01

McCall’s
Distributed in Australia & New Zealand by McCalls Pattern Service Pty Ltd
26-28 Clements Avenue, Bankstown NSW 2200
Phone: 02 8713 1700 • Email: [email protected]

40 Stiches
www.mccall.com
 Latest Pattern Trends
By Eddi Frantz – New Look
6394 ‘EASY’: You get a variety of sleeve
lengths, hem lengths, and both classic and
stand collars with this easy button-front
pattern, for many different shirt looks! Sew
in cotton/cotton blends, laundered cottons,
chambray, silks and silk types, charmeuse,
jacquards, voile, soft lightweight linen or linen
blends. Misses’ six sizes in one: 8 – 18.

,
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n e wly e an irt
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With inised sh , the sh p
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C H I C
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New Look patterns at www.simplicity.com
 Technically Speaking

Velvet
and other plush fabrics
This is the season to step out of your sewing shell
and attempt a project with a few challenges − hot for
Autumn/Winter is velvet.

Whatever the challenge, remember to keep the iron

to yourself and style the garment with ‘easy peasy’ in
mind! Enjoy the challenge!
Velveteen
Velveteen is differentiated from velvet by it fibre content
and the length of its pile. This cloth is primarily made from
cotton, making it a washable plush fabric with a very short,
very dense all-over pile. It is suitable for smart casual to
dressy daywear garments. It is suitable for children’s special
event clothing as it washes well. It is also possible to find this
cloth in a stretch woven at a reasonable price.

Velvet
The degree of difficulty in sewing with velvet will depend
on the exact nature and fibre content of the piece. Velvet
is available in many forms and in many fibre contents.
‘Authentic’ velvet is very costly and is made from silk. Today
it is possible to find beautiful velvet in rayon and other
blended combinations making it easier to maintain and more
appropriately priced for the average consumer. A silky feel and
a thick, longer all-over pile that has a strong lustre characterise
velvet. It is the extra length of the pile and the silky finish of
the fabric, which makes it the most difficult pile fabric to work
with. Within the velvet category there are other qualities of
this fabric available. Devoré is velvet that has a sheer and plush
pattern emblazoned upon the surface through a chemical burn
Simplicity 1317 out technique. This fabric is particularly difficult to handle,
as the burn out areas are sheer and slippery. Additionally, this
While the finish of velvet appeals to most, the sewing and fabric must be treated for both the sheerness and the pile.
styling is complicated by the raised and cut pile surface. The This can make styling of the fabric complicated and involves a
degree of difficulty is directly related to the height and density combination of advanced sewing techniques.
of the pile and the fibre content of the fabric.
Crushed velvet has the pile pressed in one or more directions
to create a shimmering appearance or pattern. If the fabric is a
Velour stretch it is known as panné. The crushed and panné versions
This is a plush stretch fabric with a short thick all-over
of velvet are slightly easier to work with since the pile is
pile and a deep lustre. This fabric’s appearance will vary
already flattened in various directions making construction
depending upon the fibre content. It often has a high
pressing less of a chore. Embossed velvet is available at
polyester content, hence it is easy to maintain and holds its
various times, depending upon the current fashion trend.
original shape well. It is a suitable fabric for relaxed dressing
This form of velvet has the pile pressed flat to create a specific
and loungewear. At times it is found in after-five garments
pattern or design on the fabric surface.
depending on the current fashion trend.

42 Stiches
Stitching Plush Fabrics guidesheet for a ‘with nap’ layout and even more importantly,
These fabrics are best sewn with a fairly sharp machine needle to check the fabric meterage. Does the garment require more
such as a Microtex or Jeans needle in a size appropriate to meterage for a fabric with nap? Which way is the ‘right way’
the weight of the fabric. Should you be sewing with velour or with a pile surface? The classic guideline is that the pile
panné velvet, you will need to use a ballpoint or stretch needle. should lie flat as you brush down the fabric. On the contrary,
look in the mirror and turn the fabric both ways. In one
These fabrics do not tolerate repeat stitching since the pile direction the fabric will have more lustre yet be a lighter
can be damaged – make a toile so the fit is accurate the first colour – a ‘frosty tone’ (pile down); in the opposite direction,
time! These fabrics should be sewn in the direction of the pile the fabric will have a richer, deeper colour with less lustre
so traditional directional sewing (sewing with the grain line (pile up). The decision is yours! The only important guideline
of the cut edge) does not apply here. You will also find these here is that whichever direction you choose – you must cut
fabrics like to ‘walk’ as you sew them. You can reduce this all the pieces the same! As this fabrics tends to pin mark,
problem by lightening the pressure on your presser foot (if an when laying out your pattern pieces try to pin within the
option on your machine) or by using a ‘walking foot’. Where seam allowance using long, sharp glass head pins. As these
neither option is available, pin the fabric frequently (within fabrics are often slippery, as well as bulky, it is advisable to cut
the seam allowance) and do not allow the fabric to slip over them out as a single layer for accuracy.
the top of the bottom layer. This can be managed by stopping
every 3-5cm (1-2in) with the needle in the fabric, lifting the Pressing: One of the most difficult feats when sewing
presser foot then pulling the bubble of fabric towards the back with plush fabrics is construction pressing. Any amount of
of the sewing machine. This technique should be used for the pressure on the surface of these fabrics will cause the pile to
entire length of the seam. Follow with steaming the stitches be flattened creating permanent damage. To avoid distorting
then finger pressing the seam open. If the plush becomes the surface you can try any of the following methods:
caught in the seam allowance, run a straight pin along the • Needle Board – the pile of the fabric is placed face down into
seam line to help loosen the pile caught in the stitching. the needles; by steaming the fabric from the reverse side, the
pile is held upright by the needles.
Seam Finishes • Towelling – steaming the fabric while face down into the
These garments often benefit from a lining layer to help plush of the towel can work well;
support the loose weave of the base cloth. If you choose not • Self-Fabric – steaming into a piece of the self-fabric, plush
to line your garment then you will need to consider what type sides together, is very successful and inexpensive. For
of seam finish to use. In the dressier weights of the velvets, difficult to reach areas or fine details it may be necessary to
a simple pinked seam or a row of stitching combined with steam the area then finger press the seams open.
pinking can work. Where the pile tends to continually fluff
off on the inside, a bound seam is appropriate. A tulle bound Interfacing
seam is great for the finer weights of velvet including devoré For the most part it will not be possible to use a fusible
or for the heavier fabrics; the use of a lining bound edge interfacing on plush fabrics since the pile would be damaged
(Hong Kong Finish) is suitable. by the fusing technique. You will need to select a stitch-
in type of interfacing in a weight that is appropriate to the
Styling fashion fabric – generally a ‘woven’ light to medium-weight
All plush fabrics are difficult to press, so elaborate designs product. To apply a woven interfacing you will need to hand
should be avoided. Styling these fabrics into fluid yet simple baste the interfacing into the seam allowance area only, then
designs will always be the most successful. trim back the excess from the seam allowance once it has
been permanently stitched.
Storing Plush Fabrics
It is particularly important to store lengths of fabric and Fabric Care
completed garments in a manner that avoids folding and Most of these fabrics benefit from dry cleaning. This method
crushing of the pile. In some qualities of this fabric creasing of care best protects the pile surface and eliminates pressing
can permanently damage the pile. Pre-cut fabric should be problems. This can get expensive and is not really necessary
stored on a cardboard cylinder or hung by the selvedge on for the more casual types like velour and velveteen. These
a skirt hanger. Completed garments should be hung on a fabrics can be washed inside out on the gentle cycle and drip-
padded clothing hanger, covered and stored away from other dried. You may also like to consider using the gentle cycle
garments (eg. avoid hanging in an overcrowded wardrobe). on your washing machine and then machine dry at a warm
Note that dust can become embedded in the pile causing temperature. Machine drying will fluff up the fabric pile,
fabric deterioration and colour distortion. however the garment must be removed immediately from the
dryer to avoid permanent creasing of the pile. If you should
Sewing Techniques choose this method of care, please check the fabric bolt first
Fabric Layout: All pile fabrics have nap and therefore must for care instructions and, most importantly, pre-treat the
be cut out directionally. It is important that you follow the fabric in an identical manner before cutting.
Technically Speaking

Faux Fur
It’s not often that a season goes by without the
renewal of a fashion from the past.
This season’s revival is ‘faux fur’.
The range of faux fur resembles the natural variety to a
great degree with the exception that it is easily maintained
and socially acceptable to wear. Selections range from the
long-haired versions of fox to the short haired versions of
chinchilla and leopard. Whatever you choose there are a few
basic guidelines to follow when sewing with faux fur.
McCall’s M7257
Fur Types
Faux furs can be divided into three categories: long haired,
short pile, and plush. The most difficult to work with, of
course, is the long hair and the simplest is plush. The plush
varieties resemble heavy velvet or thick corduroy and, while
special considerations are required, they are by far the easiest
to deal with. If you are a novice sewer this latter category is
the one you should be selecting.

Styling guidelines
It is always important to utilise the information readily
Diagram 1 available to you for style selection. The most obvious design
to choose is the one represented on the pattern envelope in
the fur type you have wish to use. This is a good indication
that the pattern will turn out successfully in that particular
fur type.

The faux fur group should always be styled into garments

and accessories that have minimal seams, few design details,
simple closures (or better yet, none at all) and a reasonable
amount of wearing ease for ‘turn of cloth’. These fabrics do
not lend themselves well to tailored designs or accessory
pieces that require multiple seaming.

Fabric Layout
All faux fur has nap regardless of the length of the pile. The
Diagram 2 nap refers to the direction in which the pile will lie when
stroked. The nap should run downwards to the hemline or
lower edge of the item. Mark all your pattern pieces clearly
with the ‘nap’ direction so cutting errors can be avoided.

To improve the accuracy of cutting, trim all the excess tissue

away from the edges of the pattern pieces before attaching
them to the fabric. The fabric will need to be cut one layer at
a time with the backing side up. If you have a ‘place on fold’
pattern piece, trace off a ‘double’ version of the pattern piece
so it can be cut out using one layer. See diagram 1. For pieces
that are marked ‘cut two’, each piece will be cut once with the
printed side up and once with the printed side down.
See diagram 2.

44 Stiches
 If you are working with a faux fur that has ‘pelt lines’, Diagram 5 If pressing is absolutely
utilise this design feature when planning your garment. The essential, press only from the
pelt line will look best and improve ease of construction if it wrong side, using a synthetic
is placed on a centre front or centre back fold line. The pelt setting and the tip of the iron. If
lines are slenderising so they should be placed vertically on you are working with plush faux
the silhouette whenever possible. fur, you can press over a needle
board or use several layers of
When cutting out your fabric use either exceptionally long towelling with a press cloth in
pins or fabric weights to hold pattern pieces in place. Cut place. Caution is required with
through the fabric backing with very sharp scissors, then pull any technique involving the iron!
the fur apart. Do not cut through the fur, as this will damage
the pile. Machine Needles: It is always important to test machine
needles and stitch length on scrap fabric first. It is best to use
Sewing Concerns a longer stitch length and a heavier needle (90-100) with a
Diagram 3 Fabric Bulk: The bulk in the seam sharp tip. A jeans needle is an excellent choice as it is very
allowances is shaved away using sharp and will penetrate the heavy backing easily.
short, even strokes with very sharp
scissors. The hair can be eliminated Seam Finishes: It is always best to line faux fur since the
prior to sewing and this should be backing is uncomfortable against the skin and the shaved
considered for very thick, long fur. seam allowances are unattractive. If the garment is not lined,
It is necessary to eliminate the bulk try a Hong Kong seam finish using a bias strip cut from
prior to sewing the garment but first matching lining.
‘trial fit’ the garment as alterations
cannot be done after the fur has been Interfacing: In most cases interfacing will not be required
removed. See diagram 3. To control due to the nature of the fabric and the garment styling. If
Diagram 4 fabric bulk while stitching the interfacing is needed, use a non-fusible type, hand-stitched to
seams, always sew in the direction of the fabric backing in the appropriate area.
the nap. As you are sewing, smooth
the fur towards the garment, away Hemming: Plush and short pile furs can be overlocked,
from the cut edge of the seam line. turned under and then slip-stitched in place. If the hem
If you cannot adjust the pressure allowance is wider than 2cm, it will be necessary to use two
on your sewing machine foot, press rows of hand stitching to secure the weight of the fabric,
down on the upper layer of fur as it otherwise the hemline will sag. One row of catch stitching
feeds under the presser foot. Other can be done at the halfway point, while the second row is
construction areas such as darts completed at the upper edge. See diagram 6. Long hair faux
will need to be slashed open so the bulk of the fur can be fur is best suited to a false hem made from a lighter weight,
removed. See diagram 4. smooth fabric such as satin.

Fabric Slippage: It is important that you do not allow the Diagram 6

fabric to ride over the top of itself during construction, as
this distorts the grain line and drape of the garment. If pins
are able to pass through the fabric, they should be placed at
frequent intervals so the fabric holds in place. Adjustments
to the sewing machine will also help where applicable.
Reducing the pressure on your presser foot is beneficial, as
is using a walking foot. If these options are not available to
you, try the following technique: sew for 5-7cm, leave the
machine needle embedded in the fabric, lift the presser foot Buttons and Buttonholes: Buttonholes are near impossible
and pull the fabric slippage towards the back of the machine. in faux fur. The best finish for these fabrics will be fur hooks,
Continue using this technique for the duration of the seam. It rouleau or cord loops, or edge-to-edge garment styles.
is important that you do not allow the upper layer of fabric to
ride over the lower layer, thus causing grain line distortion. The most important consideration with faux fur is the
styling of the garment. Complex design lines will add extra
Pressing: These fabrics generally do not like the iron. Finger- burden to an already considerable task. Select plush or short
press the seams open in the direction of the nap, reduce the pile fur for your first project and use for a fashion accessory
bulk and then, from the right side, free any fur that is caught item or as a trim. If you are a more advanced sewer or enjoy a
in the seam line. This can be done using a darning needle, challenge, try the long-hair versions, remembering that bulk
crochet hook or heavy bobby pin. See diagram 5. must be eliminated and fabric slippage prevented!
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 Latest Pattern Trends
By Eddi Frantz – McCall’s

Even the simplest, easiest items of the season – the slick

sweatshirt, the kimono jacket – become something else

whether that print is ethnic, exotic, geometric, or one of those

fresh-looking dark florals that are going to bloom all through winter.
Nothing dresses up denim faster!

attern.com
www.mccallp

M7195: (Main image) Loose-tting, pullover tops in four versions have neck and sleeve bands, and sleeve
length/contrast sleeve or hemline variations. Designed for medium-weight woven fabrics, such as challis,
crepes or charmeuse, with edgings/cuffs in ribbed knit.

M7200: (Inset) Loose-tting, unlined jackets in four versions have front band extending into standing
back collar, self-lined yoke back, and side-back seams. Designed for medium-weight woven fabrics, such
as challis, crepes, gabardine, or wool blends. Both styles this page, Misses' sizes: XS (4-6) − XXL (24-26).
 HOW TO CHOOSE FABRICS –
350 Fabric Swatches and
Combinations to Inspire
Your Sewing Projects
By Sophie Helene
If you love fabric you’ll love this fantastic
guide to choosing and combining
fabrics, trims and notions for sewers,
dressmakers and quilters. Professional
colourist Sophie Helene shares with you
her expertise through the 50 different
fabric and trim combinations featured in
the book, demonstrating which prints
and colours work well together. There
are instructions to create 20 stunning
home decor projects − including curtains,
cushions and bags to help you explore
the fabric combination suggestions. A
comprehensive fabric directory of 300
different fabric swatches, provides an
incredibly useful resource for every sewer.

RRP: $34.99
ISBN: 978-1-4463-0493-8
Publisher: David & Charles

WRAPPED IN COLOUR – 30
shawls to knit
By Koigu Wool Designs, Maie Landra &
Taiu Landra
Made of high-quality, hand-painted
merino, Koigu’s signature yarn is
legendary, cherished for its wearability,
versatility, and stunning colours. This
collection of 30 magnificent shawls, all
knitted with Koigu. With patterns in all
weights, from ultra-luxe lace to popular
bulky yarns, every knitter will find a
perfect project!

RRP: $26.99
ISBN: 978-1-936096-84-8
Publisher: sixth & spring books

All these book are distributed in

Australia by Capricorn Link.
For wholesale enquiries contact
[email protected]
Available from all good book shops.
48 Stiches
SEW FANTASY TOYS – Easy Sewing
Patterns For Magical Creatures from
Dragons to Mermaids
Mums and grannies alike will love the designs for these gorgeous
huggable fantasy creatures − including scary monsters and
mystical unicorns, which will capture their imaginations as
much as their children.
Sewers will adore the bright, modern fabrics used for the
colourful designs and won’t be able to resist the simple but
effective patterns that are fun and easy to sew. There are 10
creatures in this collection so you can choose your favourite
from a friendly monster, brave dragon, pretty mermaid,
marching robot and a mysterious unicorn amongst others, or
you can make them all and create your own fantasy world of
cuddly toys − sure to make very special keepsakes in years to
come.
All the patterns have easy to follow step by step instructions,
quirky photography and full sized templates.

RRP: $29.99
ISBN: 978-1-4463-0600-0
Publisher: David & Charles

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Creative Ideas

Quick to Sew –
Kwik•Sew K4041
Who doesn’t love a pattern that will enable you to get
creative, and produce many different looks from it?
Kwik•Sew K4041 is one such pattern that you might
have to add to the list!

Use a textured fabric

Make as the pattern

 Embellish the neckline
More on this next issue.

cover images

Ombre dye it
See page 38 for how to.
Regular Feature

Rising to the Challenge

Each year the Australia Sewing Guild sets a themed sewing Each category had three levels of judging – (1)
challenge for its annual convention. The theme for the Debutante, for rst time entrants, (2) Past Winner/Tutor,
2015 convention, held in Brisbane, was all about sun and for the more experienced challenge entrant, and (3)
fun. Three different categories were set – Swish Resort Member, for those who had entered previous challenges
Wear, Sunny Accessories and Summer Travel Wardrobe. but never took home a prize. In addition to the formal
The challenge is open to all Guild members, regardless judging, viewer’s choice awards were also awarded for
of experience or expertise. They rose to the occasion, each category. The standard of entries was very high,
producing some of their nest work. making judging a difficult task. For your sewing inspiration,
we share with you the winners in each category.

Category 1 – Swish Resort Wear. Noela McKernan Category 2 – Sunny Accessories.

One to three garments to make a total outt One to three items to compliment a resort
which could be worn either at Convention style/travel wardrobe.
or any Queensland resort. Debutante – Debbie Symes (Qld)
Past Winner/Tutor & Viewers’ Choice –
Debutante – Noela McKernan (Qld). Noela Genevieve Armson (WA)
also received the highest point score Member – Colleen Whittaker (Qld)
Past Winner/Tutor – Annette Krause (NSW)
Member – Alison Carter (NSW)
Viewers’ Choice – Vicki Taggart (Qld)

Vicki Taggart

Debbie Symes

52 Stiches
Category 3 – Sumer Travel Wardrobe. Colleen Whittaker
Five to eight garments to complete a mix
and match wardrobe suitable to wear at
Convention or any resort in Queensland.
Debutante – Sandra Bowman (Qld)
Past Winner/Tutor & Viewers’ Choice–
Susan Wilson (NSW)
Member – Colleen Whittaker (Qld)

Sandra Bowman

Special mention goes to Echidna Sewing Products for

the generous donation of two major prizes – a Brother
Susan Wilson
sewing machine and a Scan ‘N’ Cut machine.

To view convention photo albums, go to

www.aussew.org.au – What’s Happening, Convention.

Colleen Whittaker

Genevieve Armson
Latest Pattern Trends
By Eddi Frantz – Simplicity

Whether it’s with the smooth slide of

jersey or with the lush look of velvet,

in the sleekest,
most sensual
knits around ...
1018 ‘KNITS ONLY’: Pattern features
princess-seamed short, midi and long
dress, ared tunic with high-low option,
separate cowl and pull-on pant. Sized for
stretch knits only, including lightweight
double-knit, jersey, spandex blends or
stretch velvet. Misses' sizes: 6 − 24.
Perfect Fit

Controlling the
Gaping Neckline
As crossover tops and dresses are everywhere at
present, we thought it worth showing you this great
method on overcoming the gaping neckline
and keeping your best assets safe!

This method is for natural bres only. It does not work with polyester.*

Straight grain stays

The most commonly used method for taming necklines on
crossover tops is to ‘stay’ the edge with a lightweight fabric
strip. This not only prevents you from inadvertently stretching
the edge during the construction and pressing but it can also
be used to shape the edge to the contours of the body so the
neckline will stay in place even during movement.
In couture, the stay itself is a narrow strip of lightweight
material; generally it is a strip of the selvedge of silk organza,
silk chiffon or China silk. In ready-to-wear, it is more likely
to be rayon seam binding.
On the crossover top, this style of neckline needs to be held
in by 1cm (3/8in) or more, so the edges fit smoothly and the
neckline does not gape when the wearer sits and moves.

Method
1. Cut the stay 1cm (3/8in) wide and at least 5cm (2in) longer
than the length of the edge. Press the stay with steam.
Claire refers a very lightweight selvedge, but when the
selvedge is too heavy, she cuts a strip on the lengthwise
grain of the garment fabric.

TIP: Generally, the colour doesn’t matter. So use a rayon

seam binding in white or black if you don’t have suitable fabric.
Polyester seam binding doesn’t work because it is crisper and
not as exible as rayon.

First tting Diagram 1

2. Place the garment on, with
the right side out, and pin out
several small tucks along the
edge until the neckline fits
smoothly. See diagram 1. Sit
down, move around and lean
over to be sure the neckline
is hugging the body. Adjust if
necessary until the required fit
is achieved.
McCall’s M7246

56 Stiches
3. Remove the garment and turn to the wrong side. On a flat 5. Using silk thread and a short basting stitch, baste the stay
surface, measure the front neckline with a tape measure in place. Steam press to shrink out the fullness.
from the shoulder line down to the bottom edge; either
at the waistline or side seam depending on your chosen Second tting
pattern. Beginning about 2cm (¾in) from one end of the 6. Check the neckline and shorten or lengthen the stay if it
stay, mark this length. ` is required.
4. With the garment wrong side up, centre the stay over the 7. When the garment has an extended facing (fold), use
seam line or fold line (depending whether the garment matching thread and a short running stitch to stitch the stay
has a facing or fold on the crossover edge). Pin one end of permanently in place. Pick up a very small stitch on the fold
the marked stay at the shoulder seam and the other at the line, and then make a longer stitch on the stay side.
bottom edge. The stay should be taut but not tight. When 8. If there is a separate facing, the stay will be secured when
done, release the pinned tucks and ease out the fullness the facing is stitched in place.
evenly. Generally, when there is only a little fullness, it is 9. Remove all basting and press.
eased over the bust area, but if there is a lot, it can be eased
along the entire length; experiment to determine which is * For polyester or microfibre, you can try using elastic to see
more appropriate for your design and figure. See diagram 2. if this method works depending on your chosen design.

Diagram 2
Seamline or fold line

Release tucks and ease to stay Seam

Jenny’s Sewing Centre

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and OVERLOCKERS
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• HORN Sewing, Embroidery & Quilting Machine Cabinets

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Phone/Fax 08 85642269
Email: [email protected]
ACC24-12-23