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DENIM REBOOT: 3 FRESH WAYS TO UPDATE YOUR FAVE JEAN JACKET P. 36

Princess Seams Fit Them, Love Them Pro Tips for Sewing

Stretch Velvet P. 60

The Trusted Sewing Source

FEB/MAR 2019

Stitch Yourself

One Cool Cape Sew a Zippy Blouse

The perfect spring basic + FREE pattern!

Quick & Scrappy

Experiment with Improv Piecing P. 40

Sustainable Sewing Can it ďŹ x fast fashion?

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CONTENTS

FEATURES 32 SUSTAINABLE SEWING: PART 1, INDUSTRY & THE INDIVIDUAL (MINI SERIES!) Dig into fast fashion and how sewing can counteract its impact.

36 DENIM MIXER Upcycle a denim jacket with quilted, sashiko or sequin panels that pop.

40 PIECE OUT Experiment with improv piecing techniques.

46 FIVE POINTS BLOUSE Stitch a zippy top with an urban edge.

FREE PATTERN!

50 NATALIE EBAUGH & HER FABULOUS QUILTED COATS Go behind the scenes with artist Natalie Ebaugh.

54 MODERN BLUSH Create cool textures with quilting and chenille strips.

57 LIP SERVICE TOTE Stitch a statement tote that sparkles.

60 VELVET AFFAIR Learn tricks for sewing this season’s favorite fabric, stretch velvet.

64 SHOULDER STYLE Upgrade a shift dress with custom embellished shoulders.

70 MASTERCLASS: COLLARS, PART 2 Sew perfect collars, inside and out.

76 THE COMMON THREAD: #MILLENNIALSEWING Read about sewing from the millennial perspective with blogger Maddie McDermott.

FEB/MAR 2019 ISSUE 369

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F E B R UA R Y / M A R C H 2 0 1 9

sewnews.com email: sewnews@sewnews.com EDITORIAL Community Content Director Ellen March Senior Editor Amanda Carestio Creative Editor Kate Zaynard Online Editor Jill Case Technical Editor Kim Saba Art Director Photography Illustrator Photo Stylist Hair & Makeup Artist

ART Kerry Jackson Jessica Grenier, Matt Graves Ann Swanson Tina Gill Beauty on Location Studio

MARKETING & ADVERTISING Ad Trafficker Lori Hauser Advertising Managers Nancy Mayhall, Mary-Evelyn Dalton BUSINESS Director of Content, Craft Tiffany Warble Group Art Director, Craft Emily Simpson Director of Media Sales Julie Macdonald

F+W, A CONTENT + ECOMMERCE COMPANY Chief Executive Officer Gregory J. Osberg Chief Financial Officer Kenneth Kharbanda SVP, General Manager, F+W Craft Group David Pyle Managing Director, F+W International James Woollam VP, Consumer Marketing John Phelan VP, General Counsel Robert Sporn VP, Product Management Pat Fitzgerald Newsstand Sales Scott T. Hill Scott.hill@procirc.com

40 57

SUBSCRIPTIONS: To subscribe to Sew News magazine or change the address of your current subscription, visit Subscriber Services online at sewnews.com. You may also call or write: Phone: (800) 289-6397, International: (386) 597-4387 E-mail: sewnews@emailcustomerservice.com Subscriber Services: Sew News, P.O. Box 420235, Palm Coast, FL 32142-0235 Subscription rates for the United States and possessions: $23.98 for one year (six issues). Canadian subscriptions add $6 per year (includes GST and postage). Elsewhere outside the U.S., add $12 per year postage. Payment in U.S. funds must accompany all orders outside the U.S. Major credit cards accepted. Some back issues of Sew News magazine are available for $5.99, payable in advance. TO ORDER BACK ISSUES: Call (800) 590-3465 or go to interweave.com/sewing. REPRINTS: Contact Wright’s Reprints to purchase quality custom reprints or e-prints of articles appearing in this publication at (877) 652-5295 or (281) 419-5725 outside the U.S. and Canada. RETAILERS: If you are interested in carrying this magazine in your store, please contact us: Toll Free (800) 289-0963; or e-mail sales@fwcommunity.com Occasionally, our subscriber list is made available to reputable firms offering goods and services that we believe would be of interest to our readers. If you prefer to be excluded, please send your current address label and a note requesting to be excluded from these promotions to: SEW NEWS, a division of F+W, A Content + eCommerce Company, 741 Corporate Circle, Ste. A, Golden, CO, 80401, Attn.: Privacy Coordinator. Sew News February/March 2019 • No. 1 Copyright ©2019 by F+W, a content + ecommerce company. All rights reserved. Nothing may be printed in whole or in part without permission from the publisher. Single-copy rate U.S. $5.99; Canada $6.99. Subscriptions are $23.98 for one year (6 issues). Canadian subscriptions add $6 per year (includes GST and postage). Elsewhere outside the U.S., add $12 per year postage. Payment in U.S. funds must accompany all orders outside the U.S. For subscriptions, address changes or adjustments, write to SEW NEWS, P.O. Box 420235, Palm Coast, FL 32142. Eight weeks are required for a change of address. Please give both new and old addresses and, if possible, the mailing label of the old address. The information in this publication is presented in good faith, but no warranty is given nor results guaranteed. Since SEW NEWS has no control over your choice of materials or procedures, neither SEW NEWS nor the various manufacturers assume any responsibility for the use of this data.

COLUMNS

IN EVERY ISSUE

14 BASIC SKILLS: Binding Basics

Editor’s Letter

18 SERGER SCHOOL: Basic Maintenance

Reader Tips

22 CURVE APPEAL: Bodice Boss

Staff Picks

26 PATTERN PLAY: Copper Tone Cape

12 Meet the Maker

30 MEN WHO SEW: Jamie Kemp

83 Off the Shelf

80 SEW ALONG: Estes Dress

87 Experts

82 PATTERN ROUNDUP: High-End Sweats

88 All Sewn Up

86 GET THE LOOK: Sweater Weather

PRINTED IN THE USA

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EDITOR SHARE THE LOVE! S

Denim Mixer p. 36

Itt’s a new year and a chance to approach yyour sewing practice with fresh eyes. Do you have goals for 2019? I know I do! After y finally sewing a bazillion basic wardrobe f items—hello, jeans and t-shirts!—I’m ready to create some one-of-a-kind r items. Perfect timing—this issue is full of ideas for just that! Take a basic shift and make it special with a variety of embellishments, including crystals and sequins, with “Shoulder Style” on page 64. Or head a different direction and make a basic pattern in luxe fabric like stretch velvet—we’ve got sewing tips and pattern recommendations for this amazing fabric on page 60. Is head-to-toe velvet a thing?

We’ll also be spending part of the year focused on eco-sewing topics. We’re so excited to bring you “Sustainable Sewing,” a new mini-series focusing on fast fashion’s impact, how sewing is a good alternative (though not without pitfalls!) and how to sew and plan with an eco-conscious perspective, some of which you’re probably already doing. Check it out on page 32! On that note, how much do you love the pieced panels on the “Denim Mixer” jackets, page 36? And Natalie Ebaugh’s amazing quilted coat creations, page 50? Both stories illustrate how you can upcycle creatively and stitch one-of-akind items you’ll love.

London

Join us in this fall! We’ve partnered with Craftours to bring you a vacation of a lifetime. We’ll see the sights, eat and drink like locals, shop for fabric and more! Learn more at craftours.com.

Velvet Affair

p. 60

Finally, we’re super excited to have some younger voices in this issue! Founder of the #millennialsewing hashtag, blogger Maddie McDermott shares her experiences as a millennial sewing enthusiast and how younger sewists are connecting and creating community together. Enjoy the issue, The Sew News team

SEW TELL

Tune in for a little SEW & TELL! If you haven’t heard, we’ve launched a brand new sewing podcast featuring Meg Healy of BurdaStyle and Amanda Carestio and Kate Zaynard of Sew News and Creative Machine Embroidery. Find our episodes at sewdaily.com/sewandtell.

Modern Sewing, Seam by Seam 6

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F E B R UA R Y / M A R C H 2 0 1 9

WHAT’S NEXT? WELCOME SPRING WITH THE APRIL/MAY ISSUE. WE’LL ADD SCALLOPS TO NECKLINES, HACK A SHIRTDRESS AND REIMAGINE A CLASSIC TRENCH COAT. PLUS, LEARN HOW TO BE A MORE CONSCIOUS SEWING CONSUMER IN PART TWO OF OUR “SUSTAINABLE SEWING” SERIES. ALL THIS AND MORE HITS NEWSSTANDS MARCH 12, 2019.

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READER TIPS

Featured readers received a gift for submitting a tip. Send your tips to sewnews@sewnews.com or post them at facebook.com/sewnews.

1. PINTUCK PERFECT Use an Edge Stitch foot to sew perfect pintuck pleats. Wendy W., email 2. PRACTICE & REPURPOSE Instead of buying actual muslin fabric, use quilting fabric to make a toile. After noting any needed alterations on the paper pattern pieces, take the toile apart and cut it into usable pieces for your next pieced project.

2 1 3

Jeanne F., email 3. HANDY HOLSTER Fashion a handy scissor holder from cardboard tubing from wrapping paper. Decorate the tube with washi tape, wrapping paper or fabric scraps, attach it to your sewing machine table and store scissors in it, point down.

Mary T, Facebook 4. BOBBIN’S BEST FRIEND If you don’t have an automatic bobbin fill reminder, wind two bobbins when you start a new project. Use one on the spool and one in the bobbin case—you’ll know how much is left on the bobbin because the top bobbin is emptying at the same rate.

5. FREE FALL If allowed to drop, chances are a falling bobbin or thread spool won’t roll and unwind very much. However, if the thread is caught and held onto while the bobbin is falling, you’ll have to chase it down.

Linda S., email

HIDE & SEEK

Frances F., Facebook

Play & Win!

Congratulations

What is it? Pictured at left is part of a photo from this issue. When you find it, enter online at sewnews.com or send a postcard with the page you found it on to Sew News, Hide & Seek, 741 Corporate Circle, Ste. A, Golden, CO 80401.

to the Dec '18/Jan ’19 Hide & Seek winners!

Responses are due Jan. 31, 2019. From the correct responses, we’ll randomly draw five winners, one of which could be you.

Jone L., Riverside, CA

Meet the Ovo 150GT. It’s an iron. It’s a steamer. It’s both! But don’t be fooled by its charm. This portable powerhouse travels light and takes out wrinkles without taking up space. The Feb/Mar '19 WIN! winners will receive an Ovo 150GT.

Virginia H., Santa Ana, CA

Retail value: $49.00.

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Pat S., Berkeley, CA Sharon B., Parker, CO Mona A., Portland, OR

STAFF PICKS 1. Add a touch of glam to your fastenings with Dritz Sew-on Flower Snaps and Hooks and Eyes. The snaps each feature eight petal-shaped loops that can be sewn through and delicate interior details in black or white. The hooks and eyes are subtle, but definitely a step up, with a textured finish, rhinestone elements or clean, attractive geometric lines in silver or gunmetal. dritz.com

2. You don’t clean your silk dress the same way you wash your cotton jeans. Now let your iron differentiate between materials, too. The first to feature a touchscreen control panel similar to smartphone technology, the CHI C Touchscreen Clothing Iron allows you to choose the material, temperature or power for a customized experience in your sewing room. The touchscreen technology also provides peace of mind with step-by-step ng alerts and an auto shut-off capability. Featuring titanium-infused heatin mic soleplate technology, it’s scratch resistant, heats quickly and is ceram prised of 400 steam holes for superior performance. chisteam.com comp

3. Stitch an important reminder to keep or give with the Junebug & Darlin “You Are Enough” Cross Stitch Kit. The kit comes with everything you need, including a 10" hoop, fabric, needles, thread and backing materials for framing once the stitching is complete. junebuganddarlin.com

4. Take your love of sewing to the kitchen with the Sewing Scissors Mug. The handle replicates the shape of scissor handles for easy sipping, and the design continues onto the front where the printed blades prepare to snip a marked cutting line. It’s a perfect gift for any sewist. fatquartershop.com

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5. Start your spring sewing off right with one (or more!) of this trio of patterns from Liesl & Co. The Afternoon Tea Blouse is a semi-fitted blouse that features a fun chest detail to make it extra special. The Neighborhood Sweatshirt + Hoodie is a versatile raglan sweatshirt designed specifically for knit fabrics that can be sewn either as a front-zip hoodie or as a pull-on sweatshirt. The Hollywood Trousers are very fitted, moderately high-rise, widelegged trousers that will have you looking and feeling like a classic movie star. oliverands.com

7. Make planning and organizing sewing projects easy with the Simplicity 12-Month Vintage Sewing Planner Gift Set. The planner showcases elegant, authentic Simplicity vintage artwork and fashion illustrations from the 1930s to the 1970s. Start the planner in any month of the year. It includes moveable pages, an extensive sewing glossary and reference section, sewing tips and inspiration, inventory and swatch organizing pages and a project section that includes sketch, measurement and inspiration pages to help you create, organize and record your sewing projects step by step. simplicity.com

6. Revolutionize your hand embroidery with Sulky Printable Stick â&#x20AC;&#x2122;n Stitch. Simply print a design onto the fabric side using any laser or bubble-jet printer, remove the backing to expose the adhesive, stick the sheet to the fabric and stitch. The material easily rinses away with warm water once the embroidery is complete. sulky.com

8. Leave the annoyance of serger threading behind with the Acclaim Serger featuring Baby Lockâ&#x20AC;&#x2122;s RevolutionAir threading technology, which requires only the touch of two buttons to thread the machine. The 4-thread machine features an exclusive wave stitch, a wider workspace with 2" to the right of the needles, pure lighting with three LEDs for improved visibility, dial adjustable stitch length and automatic rolled hem. babylock.com

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9. Get ready for spring with Waxed Canvas from Fabric Funhouse. Whether a new rucksack, windbreaker or tote, this high-performance material holds up against all kinds of spring weather while still bringing color to the party, even before the daffodils and tulips start popping up. fabricfunhouse.com

11. The Somerfield Coat by Australia-based Elbe Textiles is the spring coat you've been dreaming about, the quintessential understated statement piece. Depending on the fabric used and with two hem and sleeve length options, create a cozy late winter coat or a linen layer perfect for those first warm days of spring. elbetextiles.com.au

10. Say goodbye to cutting woes withÂ the DIYStyle Pattern and Cutting System. The cutting surface has a magnetic rotary cutting surface on one side and a patternmakerâ&#x20AC;&#x2122;s cork surface on the other. The specially designed T-ruler grips the side of the board to ensure perfect alignment. Strong, stackable magnets fit into the ruler and firmly hold fabric to the surface without need for pins. Together they create a unique and effective system that takes the frustration out of cutting. diystyleshop.com

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MEET THE MAKER

SN: Describe your perfect ct day day. Helen: A perfect day would begin with a delicious eggs Benedict at our local brunch place. The afternoon would be sewing with friends and then a picnic dinner on the beach with my partner, Sam. Caroline: My perfect day includes yoga, followed by a leisurely morning with coffee on our patio, lots of cuddles with my animals and cooking a delicious brunch for my partner. There would be sewing, too, of course! Preferably a magical sewing session where everything turns out exactly how I want and I don’t have to rip a single seam. SN: What’s your favorite fabric to work with? Helen: Currently it’s linen. I’m coming up with ways to wear it year-round because I enjoy working with it so much. A close second is denim. Making jeans is so much fun and quality denim is a joy to sew. Caroline: Natural-fiber knits. They are my favorite to sew and wear. Easy, quick and my most-worn garments are made from knits. SN: What’s the last hobby you picked up? Helen: I took a ukulele class in February 2018 and I’ve been loving playing this cheerful instrument! I played guitar for years and the uke was a pleasant change. Now I can play and sing along with my ukulele whenever I need a quick pick-me-up. SN: What’s your most treasured possession? Caroline: My Bernina 530 sewing machine, of course! It was a big investment but I have no regrets.

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SN: What’s your must-have tool in your studio? Caroline: Hands down, my rotary cutter and cutting mat. I love that these tools make quick work of cutting, and they’re very accurate. Once I started cutting projects this way, I’ve never looked back. SN: What’s your greatest extravagance? Helen: My partner and I were just talking about how we spend way too much money on cheese, but I’m unwilling to cut back. I need my daily cheese snack! Caroline: I just booked a “work-cation” for the first time. I used credit card points to book the nicest hotel I could find, right on the water, with a fireplace and an amazing restaurant. I’m going to bring my pup and spend two days digging into some major planning for my business. SN: Where do you find inspiration? Helen: I love to shop thrift and vintage stores for inspiration. There’s so much variety in the garments, and you can get loads of good ideas for construction methods, designs and fabric pairings. You can also try on lots of different styles and experiment with your look. Caroline: Pattern designers and talented sewists in the community. They are the reason I do what I do and they inspire the fabrics I source and the products I offer in my shop.

CAROLINE SOMOS is the founder of Blackbird Fabrics, an online fabric store based in Vancouver, Canada, and specializing in apparel fabrics and garment sewing supplies. She is passionate about sourcing high-quality, beautiful and easy-to-wear materials for home sewists. www.blackbirdfabrics.com HELEN WILKINSON is the sewing pattern designer and blogger behind Helen’s Closet. She designs patterns for the modern home sewist looking to create their own handmade wardrobe. Follow her blog for pattern news, indie sewing community updates and indie pattern projects. www.helenscloset.ca Helen Wilkinson and Caroline Somos host LOVE TO SEW, a fun weekly podcast about making clothes, the sewing community and small business. They talk (and laugh) about their passion for sewing handmade wardrobes and their daily lives as creative entrepreneurs. Listen to interviews with indie business owners and inspiring sewists who totally understand your obsession with sewing. lovetosewpodcast.com

SN: What’s your best way to decompress? Helen: I have a seated hammock on my patio and it’s truly my place to escape. I love taking 30 minutes to lie in the sun, taking in the fresh air and the trees around our apartment. SN: What’s your motto? Helen & Caroline: You can do anything! We like to repeat this mantra on the podcast because it is so true. You can do anything you set your mind to, and you should just go for it. You may not get it perfect on the first try, but that’s OK. You’ll get there eventually.

Pattern designers and talented sewists in the community [are] the reason I do what I do and they inspire the fabrics I source and the products I offer in my shop. S E W N E W S.CO M

BASIC SKILLS

BINDING BASICS Bound edges are one of the sturdiest edge finishes. Bindings add style, define edges and add polish to a finished project. Learn several binding methods, including bias tape, French binding and using a binder attachment on a sewing machine.

PREMADE BIAS TAPE Various widths of premade bias tape are sold in packages and can be a huge time-saver. Choose from several varieties depending on the desired finished look.

Single-fold bias tape is used for casings, trims and ties (1). It has a finished width of ½". Use single-fold bias tape as a binding for less bulk than a double-fold bias tape, but be aware that single-fold isn’t as sturdy.

Extra-wide single-fold bias tape is often used in place of single-fold bias tape and has a finished width of 1" (2).

Double-fold bias tape is used for narrow ties and straps and is used as an edge finish (3). It’s a single-fold bias tape that’s been folded in half and has a finished width of ¼".

Extra-wide double-fold bias tape is often used in place of double-fold bias tape and has a finished width of ½" (4). Quilt binding is a double-fold binding that has a finished width of 7⁄8" (5). Blanket binding is a flat binding folded in half lengthwise with finished edges. It has a finished width of 2" (6).

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CUSTOM BIAS TAPE

Create custom bias tape to coordinate with a project. When cutting fabric for bias tape, always cut the fabric along the bias for the most stretch. To easily cut along the bias, place the 45° line on a ruler along one fabric straight edge (7). Cut along the ruler long edge. To create single-fold bias tape using a bias tape maker, cut a fabric strip according to the desired width. Feed the strip wrong side up into the biastape channel and pull it out the open end so the strip edges fold to the wrong side center. Press the tape flat (8).

To create double-fold bias tape, follow the previous step, and then fold the tape in half lengthwise; press.

STRIP MEASUREMENTS To determine the strip width to cut, determine the desired finished binding width and then multiply it by two; record. Multiply the seam allowance by two; add to the recorded measurement. For high-loft or thick quilts, add an extra 1⁄8" to ¼" to ensure the binding covers the stitching on the quilt backing. To determine the strip length, measure the item perimeter and add 10" to 12" to account for mitering corners and finishing.

Joining Join strips using a diagonal seam to reduce bulk and achieve more inconspicuous joining points. With wrong sides together, align the strip ends at a right angle. Stitch at a 45° angle, and then trim the seam allowance to ¼"; press open the seam (9).

Create custom bias tape to coordinate with any project.

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FRENCH BINDING

A French binding is also called a double binding. This binding works well on quilt edges and is the most durable binding method. Piece bias strips to achieve the necessary length for binding the desired edges. Add an extra 10" to 12" to account for mitering the corners and finishing the ends. Cut one short end at a 45° angle. Fold the angled end ½" toward the wrong side; press. With wrong sides together, fold the binding strip in half lengthwise; press (10). With right sides together, center the folded end along one edge.

Stitch the strip using a ¼" seam allowance, ending ¼" from the fabric edge. Fold the binding up at a 45° angle (11). Then fold the binding back down over itself to miter the corner. Raise the presser foot and rotate the fabric 90°. Stitch the adjacent edge, beginning ¼" from the corner (12). Continue stitching, mitering each corner.

Trim the binding end 1½" beyond the beginning. Tuck the end into the folded beginning and continue stitching.

14 Fold the binding toward the wrong side, enclosing the raw edges (13). Slipstitch the fold to the wrong side.

MACHINE BINDING Attachments are available for some machines that hold, fold and wrap fabric strips around a project edge, enclosing and finishing it all at once (14). Cut fabric strips that fit into the attachment and adjust the needle position to stitch on the binding in one easy step.

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SOURCES Baby Lock provided the Ellisimo sewing machine and serger double-fold bias binder attachment: babylock.com. Bernina provided the walking foot: bernina.com.

F E B R UA R Y / M A R C H 2 0 1 9

BEAUTIFUL BINDINGS Follow these helpful tips to stitch beautiful bindings every time. • Use a walking foot to apply binding, especially on a quilt (A). The foot feeds all of the layers together so that the binding is evenly stitched and not stretched. • Use a guide on the presser foot and adjust the needle position to ensure consistent seam allowances. • Use double-sided adhesive tape to hold the binding around the edge for stitching. Place the tape on the back seam allowance, and then remove the protective

A paper. Wrap the binding around the edge and press firmly onto the tape. Secure the binding with hand or machine stitching (B). • Use fusible thread in the bobbin when attaching the binding. After stitching, wrap the binding to the wrong side; press to secure the binding for hand or machine stitching. • Achieve quick, professionallooking results by using a double-fold bias binder on your serger (C). Test on a sample for proper alignment before serging your project.

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SERGER SCHOOL BROUGHT TO YOU BY JANOME OF AMERICA

BASIC MAINTENANCE As with any piece of mechanical equipment, the life of a serger and the quality of its performance are greatly enhanced by regular care, maintenance and some basic troubleshooting knowledge.

BASIC SERGER MAINTENANCE The good news is that sergers are relatively simple to care for. It only takes a few minutes to keep them running well. Follow these steps for cleaning and oiling your serger to make sure it’s ready for the next sewing project.

For deep cleaning, unthread the machine and remove the presser foot and needles. Some models may also allow the removal of the throat plate. Open both doors of the serger for full access to the loopers. (1)

Clean the serger on a regular basis. Some fabrics create a great deal of lint and fuzz; these require more frequent serger cleanings. Others are relatively lint-free, meaning the serger can go longer between cleanings. It’s also a good idea to have it professionally cleaned and checked by a trained technician every one to two years. Gather a few tools to help the process go quickly and smoothly. Some of these tools may be included with the serger while others are common household items: lint brush, oil, tweezers, pipe cleaners, soft cloth, owner’s manual, needle holder if applicable, small screwdriver and vacuum (optional). 18

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F E B R UA R Y / M A R C H 2 0 1 9

Shown here: Janome’s AirThread 2000 D model

Using a soft brush, such as a paintbrush, lint brush or make-up brush, clean the lower area of the serger. Remove all lint from the loopers and the feed dog area. A brush that has stiff bristles is also useful in certain areas to push lint out of the machine. Pull long threads from the machine using tweezers if needed. Use a pipe cleaner for hard-to-reach areas. The stiffness of the cleaner paired with its flexibility allows it to snake into areas too small for hands. The texture of the pipe cleaner acts as a dust catcher to remove lint. Use a small vacuum or vacuum attachment to remove lint quickly. Canned compressed air isn’t usually recommended, as it blows lint into the machine rather than out of it. This can potentially build up inside the serger, causing difficulty for the moving parts.

After cleaning the looper area, oil the needed areas using the type of oil recommended by the serger manufacturer. Generally, oil is applied where metal moves against metal. Only small amounts are needed, usually one or two drops at each point.

TROUBLESHOOTING 101

Floss the tension dials using a length of embroidery floss or Perle cotton. This clears the area of lint and cleans out any bits of thread caught in the tension dials. Buildup here is especially troublesome because it can affect the accuracy of the tension setting and interfere with stitch formation.

If your serger is skipping stitches, try a variety of solutions to correct the issue.

Replace the knife if needed. It’s easy to tell when the knife needs replacing because the fabric has a chewed look rather than a clean edge after passing under the knife. Some sergers have one knife and others have two, featuring an upper and a lower blade. The knife can be changed with a simple process; however, a trained serger technician should replace the knife because of the precise positioning it needs to operate correctly.

Change the needles every time you begin a new project. An old needle may have burrs or other imperfections that aren’t visible to the naked eye.

Replace the presser foot and the stitch plate, if it was removed. Always insert a new needle after each cleaning session. Lastly, wipe off the outside of the serger to remove any smudges or fingerprints.

Make small repairs to a seam that has skipped stitches using a hand sewing needle and clear monofilament thread.

It’s possible that cleaning your serger well and regularly will help you resolve and avoid common issues. However, if you’re still experiencing skipped stitches, tension troubles and loose, loopy stitches, try the steps outlined below.

Make sure the needles are securely inserted and properly positioned. The needles should be inserted as far into their sockets as possible and their positions should be slightly offset.

Check the looper tensions to determine if they’re correctly set for the selected stitch. Reposition the thread. Switch the thread from the loopers to the needles and vice versa.

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Tension is another potential trouble spot when serging. When the stitch is balanced, the fabric edge lays completely flat (2). If the serged stitch is causing the edge to curl or fold, adjust the looper tension settings.

If the fabric curls toward the right side, the upper looper tension may be too tight (3). Loosen the upper looper tension slightly and then test-serge on a fabric scrap. The lower looper tension may need to be tightened to compensate and produce a balanced stitch.

If the fabric curls toward the wrong side, the lower looper tension may be too tight (4). Loosen the lower looper tension slightly and then test-serge on a fabric scrap. the upper looper tension may need to be tightened to compensate and produce a balanced stitch.

If the serger produces a loose stitch with pronounced thread loops, the thread may not be securely placed through the tension disks. When this happens, the needle causes small thread loops to appear on the fabric wrong side (5). This also makes the serged seam weak and prone to stretching. To alleviate this problem, make sure that the needle threads are snuggly seated within the tension disks. Also check the threading diagram in your serger manual to ensure that youâ&#x20AC;&#x2122;ve followed the thread paths as directed. SOURCE Janome of America provided the AT2000D serger: janome.com.

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The stitch samples were created using yellow thread in the left needle, blue thread in the right needle, red thread in the upper looper and green thread in the lower looper.

F E B R UA R Y / M A R C H 2 0 1 9

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CURVE APPEAL BY RAE CUMBIE

BODICE BOSS Get tips for adding boning to off-the-shoulder tops and learn fitting techniques for princess seams (just in time for prom season), plus learn all about pattern ease.

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F E B R UA R Y / M A R C H 2 0 1 9

READ MORE ABOUT SPECIAL OCCASION ALTERATIONS AND CLOSE-FITTING GARMENT FIT IN RAEâ&#x20AC;&#x2122;S INSTRUCTIONAL VIDEO, GET A BETTER FIT: TOPS, DRESSES, SPECIAL OCCASION & VINTAGE, AVAILABLE AT ACADEMY.BURDASTYLE.COM.

I have an off-the-shoulder top that does not stay up when I wear it. I’m always hiking it up even though it fits well. Do you have any suggestions for correcting this problem?

Decipher where the bones are needed by seeing how the top collapses. Use bones in the side seams and other fitting seams. Place some into the neckline to keep it properly shaped or extend a bone from the waist to the neckline in the center front and along the side of the bustline if there’s a place to hide the insertion (2).

Spiral steel boning

Cover the boning ends so they don’t irritate your skin. Close the casing at the upper and lower edges using secure stitches, or wrap a small piece of stable fabric around each boning tip.

If possible, position the bones so they begin at the waist and end just shy of the seam at the garment upper edge (1).

Covered plastic boning

Plastic bones are the easiest to find and insert into a lightweight top. Rigilene is a plastic boning that is

stitched into the lining using the sewing machine. Covered plastic boning has a cotton sheath that is stitched into the garment by machine or by hand. Remove the boning from the cover before stitching it to the top, and then re-insert the boning once the casing is attached.

Rigiline plastic boning

Sounds like your top needs some well-placed bones to keep it erect on the body. Traditionally cut tops fall from the shoulders where they’re supported. Off-the-shoulder and strapless garments need to anchor at the waist and be suspended from the waist up with plastic or metal bones. Hopefully your top has a lining so you can place the boning in the lining. If not, stitch bones into the seams on the wrong side.

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I’m planning to make a fitted satin dress for the prom, but I have a full bust. What kind of pattern is easiest to adjust?

5 Full bust adjustments are most easily made in a princess-seamed bodice. The seams offer plenty of places to make adjustments that will lead to a properly fitting dress (3).

HB FB UB

Most of the adjustments reside to the front and side front pattern pieces so first take your front bust measurements from side seam to side seam. Measure at the high bust, full bust and under bust, then measure the vertical span between these three measurements (4). Compare these measurements to the front pattern pieces when joined at each place along the seamline (5). Full bust adjustments don’t just add width, they also need to add length.

Classic places to adjust the pattern Common adjustments: are in the side front and center front Orange = additions; Blue = seam lines; along the bust curve and in the bust Black = original cut lines length. Make an educated guess how much extra you need and change the pattern accordingly (6). Pin the mock-up closed on your body and observe if it fits smoothly. If there’s gaping fabric, Once you’ve added to the pin it out in the seamlines or in pattern so it’s closer to your body dart-like wedges that end at a measurement, cut out and baste seam to get a smooth fit. If there’s together a mock-up from the waist excessive tightness, release the up in a similar fabric to test the fit. seams and determine how much If the dress fabric has spandex, use additional space is needed (7). a spandex fabric that has similar qualities. Wear the right bra for each Take off the mock-up and fitting and have a friend on hand to help you evaluate and nuance the fit. transfer the adjustments to the 24

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F E B R UA R Y / M A R C H 2 0 1 9

Blue = Pinned out seams; pinned out wedges Orange = Released seams that need extra

flat pattern. Add additional paper to the pattern as needed and use a curved ruler to smooth out the new cutting lines. If you adjust a pattern where it joins another pattern piece, remember to adjust the adjoining pattern as well so they match perfectly along the seamlines. Make a new mock-up to test the changes before cutting the special prom dress fabric.

Why are pattern sizes so variable? I’ve purchased several patterns in the same size from the same company, and some are too small, some too large and some just right.

• Loose-fitting garments are more generously cut and have few fitting elements like darts and shaped seams. They have a generous amount of ease in the pattern pieces. • Very loose-fitting garments tend to be oversized and often feature rectangular pieces that hang away from the body. Another way to assess pattern ease is to compare the body measurements to the finished garment measurements. You can do this with your own garments to assess how much ease you like. Take your body measurements and then measure a couple garments that fit well and compare the two. You’ll discover what your fitting preferences are.

Get smart about reading the written design descriptions in addition to looking at the photos and sketches on your pattern as you make your purchase. Notice the amount of ease built into each pattern. The most common terms used by commercial pattern companies are close fitting, fitted, semi-fitted, loose fitting and very loose fitting.

Use this information to become a savvy sewing consumer. If you prefer clothes to fit closely, choose patterns labeled very close fitting, fitted or semi-fitted. If you prefer easy fitting clothes, choose a semi-fitted to very loose-fitting pattern.

• Close-fitting garments, such as strapless dresses or skinny pants, have very little ease added to the garment measurements. The resulting garment finished measurements will be very close to the body measurements listed on the pattern.

Here are a few extra tips to remember: • Outerwear styles need more ease then tops or dresses just to accommodate general movement and garment layering.

• Fitted garments are usually fitted with seams and darts for a figure-skimming fit. These garments usually have a few inches of built-in ease to accommodate movement.

• Lean bodies require less added ease than fullfigured bodies that shift and spread with changing positions. • Look to see if the pattern is designed for knits or fabrics with spandex. These patterns will have less ease added, which works best with stretchy fabrics.

• Semi-fitted garments sit near the body but don’t hug the curves. There might be a few darts or styling seams, but nothing too snug.

MISSES’ EASE ALLOWANCES Bust Area Silhouette

Dresses, Blouses, Shirts, Tops, Vests

Hip Area Jackets

Coats

Lined or Unlined

Skirts, Pants, Shorts, Culottes

not applicable

0–17⁄8"

Close-Fitting

0–27⁄8"

Fitted

3–4"

3¾–4¼"

5¼–6¾"

2–3"

Semi-Fitted

41⁄8–5"

43⁄8–5¾"

67⁄8–8"

31⁄8–4"

Loose-Fitting

51⁄8–8"

57⁄8–10"

81⁄8–12"

41⁄8–6"

Very Loose-Fitting

over 8"

over 10"

over 12"

over 6"

Chart courtesy of The McCall Pattern Co., Inc.

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COPPER TONE CAPE BY MEG HEALY

Add capelike sleeves to a loose-fitting jacket to create a flowing, stylish effect.

GET 20% OFF THE FEATURED PATTERN! PURCHASE THE BELTED JACKET PATTERN FROM BURDASTYLE.COM AND ENTER CODE JACKET20 AT CHECKOUT.

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F E B R UA R Y / M A R C H 2 0 1 9

BurdaStyle Belted Jacket #111A 08/2018 (modified)

A MESSAGE FROM MEG, ONLINE EDITOR FOR BURDASTYLE

Skill level: Intermediate

SUPPLIES

• Loose-fitting jacket pattern (such as BurdaStyle #111A 08/2018) • 21⁄2 yards of linen or other light- to mediumweight jacket fabric

Estrop/Getty Images Entertainment/Getty Image s

Ever since I saw these jacket/cape combos on the runways and on the most fashionable influencers on the street, I’ve wanted to sew one. This wearable piece looks like a jacket and effortlessly drapes over the body without falling off. The effect is created by adding long sleeve slits to a loose-silhouette jacket pattern. This piece will keep you warm without compromising style.

• All-purpose thread • Pattern or tracing paper • Rulers: clear straight & curved • Hand-sewing needle • Tape

Grainline

• Fusible interfacing

PREPARE

If using a digital pattern, print, tile, and tape together the pattern pieces. If using the featured BurdaStyle pattern, set aside the sleeve facing (piece 8).

Choose the pattern size based on the bust measurement.

ALTER

To create the sleeve slits, extend the sleeve hems by taping extra paper to the sleeve-front lower edge. Using the straight ruler, extend the grainline 8" beyond the sleeve hem (1). Extend the grainline opposite end so it intersects with the armhole curve at the sleeve-pattern upper edge.

Grainline

Align the ruler to the upper-sleeve seam straight section and extend the line (2).

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From the front-sleeve underarm point, draw a line parallel to the grainline (3). Using a curved ruler, draw in the new sleeve hem shape using the end of the grainline as a guide (4). Measure 17" from the new lower edge along the grainline and mark to indicate the front-sleeve slit upper edge. Place tracing paper over the front sleeve and trace the upper-front sleeve to the grainline, making sure to include the slit mark. Draw a new grainline in the middle of the pattern piece parallel to the original (5). Repeat to trace the lower-front sleeve to the grainline, including the slit mark and drawing in a new grainline. Extend the sleeve back per the sleeve front, but leave as one pattern and don’t create a slit. Walk the corresponding front and back seams together to ensure they’re the same length. Add seam and hem allowances to the altered edges. If using a BurdaStyle pattern, add seam and hem allowances to all pattern pieces except the facing outer edges.

CUT

From the fabric, cut two uppersleeve fronts, two lower-sleeve fronts, two sleeve backs and the remaining pieces according to the pattern guidesheet, transferring all pattern markings including the slit marks. From the interfacing, cut the pieces according to the pattern guidesheet. Fuse the interfacing to the corresponding piece wrong sides following the manufacturer’s instructions. 28

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F E B R UA R Y / M A R C H 2 0 1 9

CONSTRUCT

Stitch the jacket body seams according to the pattern guidesheet, ending before setting in the sleeves.

Grainline

Pin one upper and lower sleeve front with right sides together from the armscye to the slit mark; stitch, and then press open the seams. Press the slit seam allowances toward the wrong side.

Grainline

From the right side, topstitch the slit edges, pivoting at the slit upper edge. Stitch the sleeve back to the lower-sleeve front with right sides together; press open the seams. Pin the sleeve upper edge to the jacket armscye with right sides together and aligning the underarm points; stitch. Finish the seam allowances as one. Pin and baste the shoulder pleats following the pattern guidesheet. Pin and stitch the upper sleeve seamÂ and the shoulder seam in one continuous seam from the sleeve hem to the neckline. Press open theÂ seams.

Repeat to stitch and set in the remaining sleeve. Continue constructing the jacket according to the pattern guidesheet. Finish the sleeve hems by pressing the hem allowance width toward the wrong side; topstitch. SOURCE BurdaStyle provided the Belted Jacket #111A 08/2018 pattern: burdastyle.com.

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NEW

MEN WHO SEW

Join us in 2019 as we talk life, inspiration and all things sewing with a variety of male sewists.

JAMIE KEMP Jamie Kemp is a sewist based in Devon, UK. Jamie appeared on the “Great British Sewing Bee” in 2016 and blogs at Male Devon Sewing, sharing tips, creations, patterns, tutorials and more.

SN: Tell us a bit about yourself. JK: I’ve been sewing since I was a little boy. My Gran, who was a fantastic sewer and maker, taught me pretty much everything. I started on a hand-crank Singer and had a go at making all sorts of things. I continued to sew throughout my adulthood but generally just one or two things a year. When I got married in 2014, it kick-started my sewing adventures again: I wanted six tweed waistcoats and due to the costs, I decided to sew my own. Since that day, I’ve been sewing practically every day. SN: Who has been influential in your sewing journey? JK: One of my biggest influencers has been the tailor Andrew Ramroop from Maurice Sedwell. His style and design have really stood out to me and given me ideas on how tailoring doesn’t have to be so dull and traditional.

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SN: What’s the scope of your current sewing practice? JK: I’ve ventured into the world of bespoke tailoring and regularly make client specified garments. Although I still like to make things for myself and family, being able to create something from scratch is an amazing feeling. SN: What are your favorite kinds of projects to make? JK: I like slow projects. I like taking the time and paying attention to detail. The more hand sewing that’s involved, the better! SN: Where do you find inspiration within the sewing community? JK: Everywhere! There are so many skilled and talented sewers out there and seeing what they make drives me forward. I probably get the majority of inspiration from Instagram, which is filled with amazing makes.

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SN: Are there adequate resources, including patterns, books and fabrics, for male sewists? Where is there room for improvement? JK: Definitely NO! Patterns are, on the whole, poor and dated. All of the big brands make simple basic replicas of each other (shirts, trousers etc.). There’s very little differentiation, which is a shame. If you go into any menswear shop, there’s a vast array of garments, yet no patterns for the styles you can buy. It’s nice to see some of the indie pattern houses starting to cater for men with different styles but it’s a slow

process. I have my own ideas and designs that I’d like to turn into patterns but that will be a long way off. Sewing books are nearly always aimed at dressmaking. SN: Why don’t more men sew? JK: There’s always been a stigma about men sewing, a "sewing is for women!" kind of attitude. Sadly a lot of this attitude comes from women. Now I don't want to get into a gender debate but why do the women in the fabric shops ask "Does your wife sew much?" when I buy some fabric? Why on online sewing groups women start a conversation with "Hello ladies . . ." I don't think it’s intentional but can be off-putting, especially if you’re new to sewing. Personally I’ve never had a man question me or laugh at the idea that I sew but I’ve had plenty of women give me a weird look. SN: Do you wish more men would sew? JK: I think there are more men sewing than we know about, but they keep it hidden. Certainly over the last few years more and more of my followers and people in the sewing community have been men. SN: What do you love most about the sewing community? JK: The spirit of sharing and support is fantastic. People are always keen to help others who are struggling or to share tips. On the whole, people are not judgmental and don't care about race, gender or ability but are keen to see what you have made. SN: What’s the most fulfilling thing about sewing? JK: For me it’s the challenge: engineering meets textiles. It still amazes me how we can take a 2D piece of fabric and convert it into a 3D garment. I love being able to make something that fits and looks good.

SN: What’s your most treasured sewing tool or resource? JK: Probably my pair of 13" tailor’s shears from Ernest Wright that I was gifted last year. Sadly they have since closed down (but I’m hoping they’ll return). They’re beautiful and cut like no other scissors I have owned. True craftsmanship that I hold every day. Find more at maledevonsewing.co.uk, jkemp.co.uk and @maledevonsewing. S E W N E W S.CO M

NEW MINI-SERIES

SUSTAINABLE SEWING Part 1: Industry & the Individual BY KATE NG

n recent years there’s been a resurgence of DIY culture,

A RETURN TO MAKING

and skills like sewing, quilting, knitting and crafting are

Since the 1950s, the advertising stimulus encouraging us to buy more and more (particularly in fashion) has only increased. The model of economic growth is based on producing and consuming more, and the idea of having fashion “seasons” was built around the need to accelerate obsolescence when it came to clothes.

finally becoming cool again among younger generations.

While the term “maker culture” was coined more than 20 years ago, as home sewists, we’re all part of the “makers movement” regardless of how long we have been making. It’s highly unlikely that we’ll ever go back to the time when everyone makes their own clothes, but the skill of being able to mend, alter and sew has never been more important. A culture of buying clothing cheaply and easily has reduced the value that we feel for clothes. If we’re to rebel against fast fashion, we must make efforts to have clothes that last, and that we love to wear time and time again. Making clothes and mending or reviving the ones we already have is a good place to start.

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We haven’t moved on from that model and we still have fast fashion, but the mindset of many consumers has changed. In what feels like a reaction to fast fashion, green is becoming the new black. Consumers are becoming increasingly aware and concerned about the conditions under which their clothing is made and the impact it has on the environment.

The 2013 Rana Plaza disaster resulted in the deaths of 1138 people (mostly garment workers) in a factory collapse in Bangladesh. This placed the failings of fast fashion firmly under the spotlight. Since then, the Fashion Revolution movement (fashionrevolution.org) has become one of the biggest movements advocating change. Their aims include changing the business model of fashion, lessening the impact on people and the environment and shifting the mindset of consumers when it comes to fashion. A wellknown slogan of theirs is “Who made my clothes?” which encourages the consumer to push brands to have more transparent practices within their supply chain. Alongside this, there’s a huge focus on encouraging consumers to seek out sustainable fashion brands if they’re buying ready-to-wear and, of course, to learn sewing skills to maintain, refashion and make clothes. Fashion Revolution has not gone unnoticed by the sewing community, who are often already making clothes. You may laugh if you’ve been making clothes since before it was marketed as a fashionable activity or a way to make fashion consumption more sustainable. But the reality of today is that many more people buy clothes than make them. It’s highly unlikely to go back to the times pre-Industrial Revolution when it was the other way around.

For the newer generation of home sewists, there’s also a certain desire for uniqueness and a disillusionment with clothes shopping where things often don’t fit properly, as well as discovering the joy of sewing purely as an activity. I share this sentiment, though I was never a serial shopper that bought into every trend. Over the years, I’ve bought my fair share of ready-to-wear clothes in an effort to find personal style as well as clothing that fit, would last and suited my lifestyle. Underpinning all of this for someone new to sewing is a shift in mindset. There’s a new appreciation of the

time and labor that goes into making clothing and perhaps thoughts about the true cost of fashion to people and planet. Sewing, aka DIY fashion, allows you to customize what’s in your wardrobe and still keep up with the fashion. In this day and age of massproduced fashion, there’s already a lot of choice, but unless you have bespoke clothing made for you, chances are you’re buying readyto-wear where the choice is already made by somebody else. How often have you walked into a store and been disappointed that an item you like just wasn’t quite right somehow?

C Consumers are becoming increasingly aware and concerned about the conditions under which their clothing is made and the impact it has on the environmentt.

MAKING IT YOURS For those of us who do make (and mend) clothes, there are many reasons beyond the desire to avoid participating in fast fashion. As an example, you might have been taught to sew clothes as a child. Or perhaps there was a make do and mend mindset in your family or community when you were growing up.

Relatives of Bangladeshi workers who lost their lives in a garment factory disaster shout slogans as they gather with banners and placards at the site of Bangladesh's worst industrial disaster. Bangladeshi officials have enacted a series of reforms since the April 24, 2013 collapse of a factory complex in which over 1,100 people were killed. Munir Uz Zaman/AFP/Getty Images

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Or you loved the design but hated the color? Or it just doesn’t fit? Or you can’t find a brand of clothing whose aesthetic you really like? Having the skills to make your own garments allows you to control all of that and cater for personal style. While I’m subliminally influenced by trends, I’ve never actively sought out the latest in trends, such as bell sleeves, off-the-shoulder styles or wide-legged pants. In many ways, sewing is a style challenge — finding inspiration and developing a vision of how a garment should look, then coming up with a pattern and fabric pairing. The danger, of course, is that it doesn't work out as expected, but it can often be saved with a tweak here and there. In any case, even with the odd sewing disaster, sewing all of your clothing results in a more sustainable and satisfying journey than one of regularly purchasing ill-fitting or poor quality ready-to-wear.

THE LIFE CYCLE OF CLOTHING Sewing can provide wardrobe longevity. If you have an understanding of how clothing is constructed, you can maintain your clothing. As long as the fabric isn’t worn and threadbare, you can sew on a replacement button, fix a ripped seam, mend a hole or take up a hem. More drastically, old garments can be given a new lease on life. Refashioning your own and other second-hand garments definitely stretches your creative skills. Recently I found a pattern for baby and toddler dungarees cleverly made out of a men’s shirt. The cuffs were used to make the side poppers, and the button placket was reused on the inner leg to give easy access for diaper changes.

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With repair, alteration and refashioning, the longevity of clothing is extended. This in turn helps to consume less and therefore reduces the demand for clothing. Around the world, the statistics regarding the turnover of clothing are alarming. • The average person in North America bought 35 pounds of new clothing in 2014 — the equivalent of 64 t-shirts or 16 pairs of jeans (Greenpeace, “Timeout for fast fashion”)

• The average piece of clothing in the UK lasts for 3.3 years before being discarded. (WRAP UK) • In the UK, Australia and the USA, of all the clothing donated to charity stores, the amounts that they can resell are 30%, 15% and 10% respectively. (Sources: Clothing Poverty by Andrew Brooks; Sustainability Consultant Jane Milburn via ABC News; and True Cost documentary)

SEWING & CONSUMPTION While sewing can be a means to avoid fast fashion, it also has the potential to become DIY fast fashion. While the basis of movements like Fashion Revolution encouraging “making” is appreciating the time and effort that goes into making things, it doesn’t remind us to stop and take stock of how much clothing we have and how much more we want to have. The increased interest in home sewing has resulted in a corresponding increase in the number of independent sewing related stores. No longer are we limited to the “big six” pattern companies, but we also have Tilly and the Buttons, Closet Case patterns, Sew Over It and Grainline Studio, just to name a few of the indie pattern companies

F E B R UA R Y / M A R C H 2 0 1 8

Refashioned silk blouse using contrast back from fabric leftovers.

creating fashion today. These patternmakers release new patterns both seasonally and ad hoc in styles reflecting the latest and greatest trends in fashion. Given the volume of associated social media and advertising, it’s challenging to retain a mindfulness of the garments already in your wardrobe and what you want to make. The distraction could be because of a fear of missing out on new fabrics or new patterns. There can also be maker’s guilt, the feeling that you should make absolutely everything if you have the skills to do so. My own excess fabric purchasing and garment sewing, which more than replaced the volume of readyto-wear clothing I ever bought, led me to creating an Instagram sewing challenge called #makeyourstash. The idea came from wanting to see if anyone else needed help to stop shopping and start sewing from their fabric stash. I was amazed to see how many other people felt that their fabric and pattern stash was out of

control but found it really hard to resist continuing to buy more. Over three months, we had a number of conversations on social media as part of the challenge. These were focused around reducing waste, thinking more consciously about sewing projects and repurposing and upcycling projects. It was deeply gratifying to see people take inspiration from each other and of course looking first at the fabrics they already had and could use.

Repairing doesn’t mean we can’t afford to buy something new; it means we can’t afford something being thrown away. — Fashion Revolution

FABRIC SOURCING Another factor that links sewing to fashion is fabric. While Fashion Revolution encourages the public to question, “Who made my clothes?” home sewers must also ask, “Who made my fabric?” Fabric for home sewing has to come from somewhere. This can be in the form of overstock and/or milled fabric. Overstock (sometimes known as deadstock) is the unwanted leftovers from anyone who wants cloth made, whether in the fashion industry or movie sets for example. Sometimes this is seen in fabric shops advertised as “ex-designer.” Milled fabric is produced for a customer to their requirements, for example, Robert Kaufman. This can also often reflect fashion trends. In 2017 in the UK, fabrics with large floral designs on dark backgrounds were seen in many fabric shops as well as ready-to-wear. The phrase “sustainable sewing” has started to make its way into sewing vocabulary. After all, if there is sustainable fashion, why shouldn’t there be sustainable sewing? The

definition of sustainable is “the ability to maintain at a certain rate or level.” When applying this definition to the term sustainable sewing, the meaning can be quite broad. In addition to considering the amount of wear of a garment might get, home sewists can be much pickier about choice of fiber, choice of pattern (how much waste is there?) and potential ways to use leftovers. While it’s possible for sewing to be an antidote to fast fashion on many levels, the link between sewing and fashion can’t be denied. After all, sewing is DIY fashion and it’s easy to replace a ready-to-wear clothing habit with a fabric shopping habit. But incorporating sustainability in sewing is up to the individual and what they feel they can achieve. In my view, a good first step is thinking about mindset on multiple fronts. • Ensure we fill our wardrobes with garments that last and that we love to wear. • Find a balance between how many clothes we make and fabric we want to buy compared with the joy of sewing all the clothes. • Buy the best quality fabrics we can afford. • Make the best use of sewing skills to mend, alter or refashion and extend the life of our clothes. • Take the time to enjoy the process of sewing and the effort that goes into it.

In pursuit of sustainable sewing, home sewists can be much pickier about choice of fiber, choice of pattern (how much waste is there?) and potential ways to use leftovers.

Then, the next time someone gives you a compliment you can reply, “Why thank you, I made it!” and know that you’ve tried to do your bit against fast fashion.

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ixer NIM

CA SPRINGER

Give an old favorite a fashionable reboot! Customize a readymade denim jacket with three different embellishment options for a look thatâ&#x20AC;&#x2122;s totally you.

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FABRIC FEATURE What do you do when you have a relatively small piece of pretty or precious fabric that you want to use but don’t know what to do with? There are several options, and one of them is to add a panel (or more than one!) to spruce up an existing garment like a denim jacket. The process is simple, but the end result is stunning. The samples feature leftover patchwork blocks, a piece of fabric with sashiko stitching and mermaid sequins, but any special or striking fabric works beautifully in this application. Search your stash and find the perfect scrap!

Skill level: Intermediate

SUPPLIES

Remove the paper, and then cut out the pattern.

• Readymade denim jacket • Reversible sequin fabric, patchwork or orphan quilt blocks or sashiko fabric (amount according to desired embellishment and measurements) • Matching all-purpose thread • Marker • Removable fabric marker • Zipper foot • Size 90/14 denim needle • Freezer paper

Repeat to pattern any remaining jacket sections.

CUT

To cut the sequin fabric, position the first pattern over the fabric wrong side, making sure to note the sequin direction. Trace the pattern using a removable fabric marker, and then add a 1⁄2" seam allowance to the pattern perimeter. Cut out using a rotary cutting system. Repeat to cut any remaining pieces.

• Rotary cutting system

DRAFT

Determine the sections on the jacket to be covered. Center a piece of freezer paper over the desired area with the shiny side facing the jacket. Using a medium-heat iron, lightly press the paper over the jacket, making sure to get close to the seams. Using a marker, trace the first jacket-section perimeter (1).

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To cut the quilt blocks, fold the first pattern piece in half widthwise and lengthwise to determine the pattern centerpoint. Position the quilt block right side up on a flat work surface. Position the pattern over the fabric as desired, using the paper transparency to obtain accurate placement. Trace the pattern using a removable fabric marker, then add a 1⁄2" seam allowance to the pattern perimeter. Cut out using a rotary cutting system. Repeat to cut any remaining pieces. To cut the sashiko fabric, position the first pattern over the fabric wrong side as desired. Lightly press the paper to fuse it to the fabric. Baste along the pattern perimeter to secure the Sashiko stitching. Add a 1⁄2" seam allowance to the pattern perimeter using a removable fabric marker. Cut out using a rotary cutting system. Repeat to cut any remaining pieces.

CONSTRUCT

To attach the sequin panel, smooth the sequins to make sure they’re all going in the same direction. Position the panel right side down over the corresponding jacket-section wrong side. Pin along the jacket section perimeter to prevent shifting during stitching (2).

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F E B R UA R Y / M A R C H 2 0 1 9

DISTRESS BY DESIGN Learn how to distress the jacket over the sequin panels to add extra style and texture. • To create a frayed denim edge over the sequin panel, leave a 1⁄2" seam allowance along the jacket section perimeter. Pull the threads to create fraying. Machine wash and dry to enhance the distressed look.

Install a zipper foot onto the machine and install a denim needle. Working from the jacket right side, stitch along the jacket section perimeter as close to the seamline as possible. Remove the pins. Using small, sharp scissors, cut a small hole in only the jacket section. Cut away the denim within the jacket section as close to the stitching as possible, but making sure not to cut the sequin fabric. Repeat to attach any remaining sequin panels.

• To create distressed cuts, cut the jacket area in random slashes as desired using a rotary cutter or seam ripper, making sure to leave at least a 1⁄2" beyond the jacket section perimeter (A).

½" from edge of cut and stitching

• The closer the cuts, the more the threads fray. Attach the sequin fabric according to the project instructions. Machine wash and dry to enhance the look (B).

To attach the quilt or sashiko panel, fold each panel corner at a 45° angle over the pattern; press (3). Fold the remaining panel perimeter 1⁄2" toward the wrong side; press. Carefully remove the pattern. Pin the panel over the jacket area. Topstitch the panel as close to the edge as possible. Repeat to attach any remaining fabric panels. S E W N E W S.CO M

PIECE OUT BY NATALIE SANTINI

Learn how to use a simple improvisational patchwork technique to create an artful zipperedÂ pouch and pillow cover.

Pillow instructions begin on page 43 40

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F E B R UA R Y / M A R C H 2 0 1 9

THE ART OF IMPROV For many, successful quilting is about precision, tradition and following directions. At the other end of the spectrum is improvisational piecing. With no patterns or templates to follow, scraps and strips are sewn together into larger blocks. Those blocks are then cut to size and joined into a quilt or re-cut and re-joined in unique ways to create an organic design. The process is very creative and freeing; perfection isn’t the goal as the focus is more on experimentation, exploration and finding your individual voice.

• Hand-sewing needle • All-purpose thread

Improvisational Adventure Quilt pattern available at quiltingcompany.com

Trim the panel to measure 10"×12", making sure the seamlines run perpendicular to the long edges.

• Removable fabric marker • Point turner or chopstick

CUT

From the fabric scraps, cut strips approximately 2"×121⁄2". Don’t precisely measure the width. Instead, estimate the measurements for an organic and random look.

STRIPED ZIPPER POUCH

From one fabric scrap, cut two 2"×3" zipper tabs.

Basic pieced strips transform a simple zippered pouch into a dynamic accessory. Add hand stitching for another textural element.

PIECE

Skill level: Beginner

SUPPLIES

Supplies listed are enough to make one 91⁄2"×111⁄2" zipper pouch. • Cotton fabric scraps

Use 1⁄4" seam allowances unless otherwise noted. Stitch the strips together along the long edges with right sides together as desired until the panel measures slightly larger than 12" square. Press open the seam allowances.

Repeat to create a second pieced panel, but cut the panel with the seamlines running parallel to the long edges (1).

CONSTRUCT

Use 1⁄4" seam allowances unless otherwise noted. Fuse a fleece or batting rectangle to each the panel wrong side following the manufacturer’s instructions. Hand stitch embroidery floss or Perle cotton along the pieced panels as desired. Fuse an interfacing rectangle to each lining-panel wrong side following the manufacturer’s instructions.

• Two 10"×12" rectangles each of coordinating cotton fabric, fusible fleece or batting & lightweight interfacing • 12"-long zipper • Embroidery floss or Perle cotton

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5 6

sewing line

Cut off the zipper stop. Trim the zipper to measure exactly 11" long from each zipper-tape short end. Press one zipper tab in half lengthwise with wrong sides together; unfold. Fold each long edge toward the foldline with wrong sides together; press. Fold in half lengthwise along the original foldline; press.

zipper tab

lining

6" opening

Repeat to create the remaining zipper tab. Insert one zipper short end into oneÂ zipper tab opening, centering the zipper within the tab and making sure the zipper end abuts the tab foldline; pin. Stitch using an 1â &#x201E;8" seam allowance (2). Repeat to attach the remaining tab to the opposite zipper short end. Trim each tab short end even with the zipper-tape long edges. Position one pieced panel right side up on a flat work surface. Center the left zipper tape over one pieced-panel long edge with right sides together; clip or pin to secure, and then stitchÂ (3).

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F E B R UA R Y / M A R C H 2 0 1 9

Position one lining panel over the pieced panel with right sides together (4). Stitch over the previous zipper stitching line. Press the pieced and lining panels with wrong sides together. Repeat to attach the right zipper tape to the remaining pieced and lining panel. Open the zipper. Press the panels flat (5). Position the pieced panels right sides together; pin. Position the lining panels right sides together; pin. Stitch the pouch perimeter, leaving a centered 6"-long opening along the lining lower edge. To prevent puckered corners, stitch next to the zipper tabs, not over them (6). Measure and mark 11⁄2" squares along the pieced and lining lower-edge corners; cut along the lines. To box the corners, flatten one pieced-panel corner with right sides together, matching the seamline; pin. Stitch several times to reinforce the corner. Repeat to box the remaining corners. Turn the pouch right side out through the lining opening; press. Push out each corner using a point turner or chopstick.

GEOMETRIC PILLOW Cut random-width strips in a basic black and white color scheme to create a bold pillow.

From the black fabric, cut strips between 11⁄4" and 31⁄2" wide by 20" long. Don’t precisely measure the width. Instead, estimate the measurements for an organic and random look.

Skill level: Beginner

SUPPLIES

Supplies listed are enough to make one pillow cover. • 1 yard of white cotton fabric • Scraps of black cotton fabric • 20" square of fusible fleece or batting • 20" square pillow form • All-purpose thread • Removable fabric marker

Machine or hand stitch the lining opening closed.

CUT

• Walking foot

From the white fabric, cut two 14"×20" rectangles for the pillow backs. From the remaining white fabric, cut strips per the black fabric.

PIECE

Use 1⁄4" seam allowances unless otherwise noted. Stitch the strips together along the long edges with right sides together, beginning with a white strip and alternating the colors until the panel measures 10"×20". Press the seam allowances toward the black fabric. Designate as panel A.

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10"

Draw a straight line 4" below the panel upper edge. Cut along the line. Designate as panel B (7).

cut

From the remaining white fabric, cut a panel approximately 4"× the panel-A length. Designate as panel C.

16"

Position one panel-C long edge over the panel-A right long edge; stitch. Press open the seam allowances. Position right side up on a flat work surface (8).

16"

Abut one panel-B long edge to the panel-C long edge. Add as many strips to panel B as necessary to match the panel-C length.

Position one panel B-long edge over the panel-C right long edge; stitch. Press open the seam allowances. From the remaining white fabric, cut four 3" strips. Stitch the strips to the pieced-panel perimeter (9). Trim the panel to 20" square.

CONSTRUCT

Fuse the fleece or batting square to the panel wrong side following the manufacturer’s instructions. Install a walking foot onto the machine. Quilt the panel as desired. The featured pillow is quilted with straight lines spaced apart according to the walking-foot width. Double-fold one pillow-back long edge 1⁄2" toward the wrong side; press. Topstitch 1⁄8" from the first fold. Designate as the upper-back panel.

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Repeat to finish the remaining pillow-back panel. Designate as the lower-back panel.

Stitch the pillow perimeter using a 1⁄2" seam allowance. Trim the pillow corners.

Position the pillow front right side up on a flat work surface. Position the lower-back panel wrong side up over the pillow front, aligning the raw edges. Position the upper-back panel wrong side up over the pillow front and lower-back panel, aligning the raw edges; pin.

Turn the pillow cover right side out through the envelope opening. Press flat, and then insert the pillow form.

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REALLY RANDOM PIECING Use an even more random piecing technique to create panels to use for the pillow or pouch projects. Both random piecing projects feature hand sashiko stitching.

TOTALLY PIECED PILLOW (above) • Begin stitching fabric strips and squares together. Keep adding and trimming the pieced block as desired until it measures slightly larger than 20" square. • Follow the construction instructions for the Geometric Pillow to complete the pillow.

TEENY PIECES POUCH (left) • Stitch fabric strips together however they fit along straight edges. If needed, cut away pieces, and then add more as desired until the panel measures slightly larger than 12" square. • Follow the construction instructions for the Striped Zipper Pouch eliminating the boxed corners and adding a D-ring tab.

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FIVE POINTS BLOUSE BY JENNIFER KEMPLER

Stitch a lightweight blouse and easily add an exposed zipper to the front for extra style.

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F E B R UA R Y / M A R C H 2 0 1 9

RAYON RALLY

Skill level: Intermediate

SUPPLIES

• 13⁄4 yards of 45"-wide or 11⁄4 yards of 54"-wide rayon fabric • Lightweight fusible interfacing • 6"-long metal zipper • Matching all-purpose thread • Zipper foot • Removable fabric marker • Ruler

Tip: Select a zipper weight that corresponds to the chosen fabric weight.

CUT

Download and print the Five Points Blouse pattern from sewnews.com/ web_extras until March 31, 2019. Purchase the pattern at interweave. com/sewing after the expiration date. From the fabric, cut one front bodice on the fold, one back bodice on the fold, two yokes, two sleeve bands on the fold and one 1⁄2"×34" bias strip for the neckline binding. Refer to the cutting layouts on page 49.

Rayon images courtesy of Art Gallery Fabrics

Rayon is a great fiber, as it’s soft, drapey and breathes well. Make this loose-fitting blouse with a single solid or print, or add a contrasting or coordinating fabric on the yoke and sleeve bands for a color-blocked effect. Keep in mind that the zipper weight needs to correspond to the fabric weight. A light and breezy shirt won’t hold up well with a heavy zipper, so make sure the fabric can support the chosen zipper.

From the interfacing, cut one 2"×7" rectangle.

bodice neckline. Fuse, following the manufacturer’s instructions.

Tip: Cut the yoke from a contrasting fabric for more visual interest.

Position the zipper over the interfacing, aligning the pull 1⁄2" from the neckline edge. Draw a line on the interfacing just below the zipper stop (1).

CONSTRUCT

Use 1⁄4" seam allowances unless otherwise noted. Add additional seam allowance during cutting if worried about fit. Staystitch the front- and backbodice necklines.

On the interfacing, draw a line 1⁄4" from either side of the center-front line, beginning at the zipper-stop line and ending at the neckline. Designate as the stitching lines.

Fold the bodice front in half lengthwise with wrong sides together along the center front; press, and then unfold. Draw a straight line along the interfacing-rectangle lengthwise center. Designate as the centerfront line. Position the interfacing rectangle over the bodice-front wrong side, aligning the center-front lines and one rectangle short end with the

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On the zipper right side, draw a line 1⁄4" from either side of the zipper teeth center on the zipper tape. Designate as the stitching lines.

Beginning at the bodice neckline, cut along the interfacing center-front line and ending 3⁄8" before the zipper-end mark. Carefully cut a diagonal line into each corner at the stitching lines to form a Y shape (2). With right sides together, pin the left zipper tape to the bodice center-front right edge, making sure the zipper pull is 1⁄2" below the neckline, the zipper stop is just above the lower line and aligning the stitching lines (3). Install a zipper foot onto the machine. Beginning at the neckline edge, stitch the zipper along the stitching line and ending exactly at the zipper-end mark. If needed, move the zipper pull during stitching. Fold the zipper toward the bodice wrong side. Position the right zipper tape to the bodice center-front left edge, aligning the stitching lines. Repeat to stitch the right zipper tape (4). Fold the bodice fabric to expose the triangle and zipper tape. Stitch along the triangle line to attach the bodice fabric and zipper tape (5).

extending the short ends 1⁄2" beyond the zipper tape; pin. Stitch, using a 1⁄4" seam allowance (6).

Press the bodice flat. Stitch each shoulder yoke to the front and back bodice, matching the notches. Fold the neckline binding in half lengthwise with wrong sides together; press. Beginning at the zipper opening, position the binding over the neckline right side, aligning the raw edges and

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Fold the binding upward to ensure the binding seamlines are an equal distance from the zipper pull (7). Trim the seam allowance. Fold the binding upward; press. Topstitch the binding close to the seamline (8). Press the binding short ends toward the binding wrong sides; pin. Press the binding toward the neckline wrong side; pin (9).

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Edgestitch the binding. With right sides together, stitch the bodice side seams. Fold each sleeve band in half widthwise with right sides together. Stitch the short ends. Fold each sleeve band in half lengthwise with wrong sides together; press. Position one sleeve band over one armscye right side, aligning the seamline with the side seam; stitch.

54" wide fabric Back

fold

Front

Selvages

Bias facing

fold Arm Shoulder Bands

45" wide fabric Front

Back

fold

fold Bias facing

Shoulder

Arm Bands

Cutting Layouts

Repeat to attach the remaining sleeve band to the opposite armscye.

Double-fold the lower edge 1â &#x201E;4" toward the wrong side; topstitch. SOURCE Art Gallery Fabrics provided the rayon swatch images: artgalleryfabrics.com.

Download the Five Points Blouse pattern from sewnews.com/web_ extras until March 31, 2019. Purchase the pattern at interweave.com/sewing after the expiration date.

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NATALIE EBAUGH 50

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F E B R UA R Y / M A R C H 2 0 1 9

& Her Fabulous Quilted Coats

While some sewists strongly identify as either a quilter or a garment maker, designer Natalie Ebaugh has found a way to incorporate her love of both into her work, creating one-of-a-kind quilted coats. BY ERICA HORTON

In her designs, Natalie Ebaugh explores simple, utilitarian shapes, often combining elements of piecing, quilting and wearable art. Her work is characterized by a strong color palette and bold prints, creating an energizing, intricate and playful style. Natalie’s one-of-a-kind quilted coats are whimsical, colorful and visually stimulating. She starts by building each quilt top block-byblock through a mix of improv and traditional piecing styles. She then uses free-motion sewing techniques and automated free-motion designs to quilt her pieces. Once the quilting process is complete, Natalie cuts her jacket pattern pieces from the quilt, sews them together and binds the seams with bias-cut strips of fabric.

Tell us about your background. When did you start sewing? My sister and I did a couple of sewing projects with our grandma when we were little, so that was really my first taste of sewing. And then we had a family friend who would let us play around on her machine when we were a little older, but I didn't really get serious about sewing until I was almost out of high school. In my senior year of high school, I had the opportunity to attend a

Photos courtesy of Rebekah Fink Photography

semester-long art program called the Oxbow School. It’s located in Napa, Calif., and it offers an arts-integrated curriculum for high school juniors and seniors. There I was able to explore my interest in fiber arts both technically and conceptually. My final project of the semester was a series of interactive soft sculptures, designed to surround you and create a feeling of comfort. Looking back now, it totally makes sense that I was drawn to quilting, but my trajectory to get there was just a little different. Quilts bring us comfort and also carry history with them, sometimes literally, in the fabric being used or reused and sometimes on a broader conceptual scale. Who were some of your first sewing influences and nspirations? My sister sewed all through high school and would make really cool stuff. She loved using vintage patterns and reworking clothes that

she found at thrift stores. I looked up to her so much because she had created her own look and style that was unlike anyone else. I started sewing more because of her, although I was a less disciplined seamstress. I couldn’t follow a pattern to save my life. I always wanted to make things up as I went along and to figure things out and problem solve along the way. It was more exciting for me that way, even if things looked handmade and rarely fit correctly. It was the process that really excited and challenged me. When did you create your first quilted coat? How has your process evolved? I started exploring quilting more through college, especially in my senior thesis. At the time, I was playing around a lot with found clothing. I cut the clothes apart and pieced them back together, sometimes splicing two garments S E W N E W S.CO M

together to create a new shape. I had all of these scraps left over from these projects and decided to start piecing them together to create quilted panels that I could then insert into jackets. This was when I first started getting really excited about the idea of quilted clothing. In 2012, I created my first fully quilted coat. I used this high-loft polyester batting. I don’t remember if someone gave it to me, or if I bought it myself, but for whatever reason, I decided to double it so the coat would be super thick. I just remembered shoving it through my poor little sewing machine; I definitely broke a handful of needles. I had a little plastic Brother machine that I had purchased during my freshman year of college. I'm actually surprised that it lasted as long as it did. I would piece together panels, then straight line quilt them. After the panels were quilted, I cut out the coat pattern pieces. When I finished that coat, it was almost too hot to wear! I also used a wool for the lining because I had it on hand. At the time, I was mostly sewing with repurposed or recycled fabrics. After creating that initial quilted coat, I went on to complete a few more, playing with different techniques and refining my process each time. In between coats, I also started to explore garment sewing more. I started sewing clothing for myself because I wasn’t finding clothing that inspired me. I also was an avid thrift shopper at the time, and although I loved many of the second-hand and vintage pieces in my closet, I always had issues with fit or fiber content. I started using a long-arm machine about two years ago, and it has really opened up my process of making. I mostly free-motion quilt my pieces, but I also love using automation software. Being able to play with the quilting design adds another layer of visual interest to the

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II a always wanted to make things up as I went along and to figure things out and problem solve along the way. . . . It was the process that really excited and challenged me.

piece. Instead of quilting in panels, I now can quilt yardage of pieced fabric I've created and then cut the pattern pieces from that. Where do you draw your inspiration from? So many things, people, and places: Amish quilts, Gee’s Bend quilts, quilter Nancy Crow, the book Quilts to Wear, traditional Japanese clothing, Japanese anime, 1960s and ’70s fashion trends and so many more! I’m always looking at clothing and what people are wearing and how. I look at clothing we wear everyday as costume, and I love to use it to create a story or feeling or experience. I’ve been drawn to making quilted coats because of the story and history that they carry. To wear all of that as a coat or jacket is meaningful and powerful and is intriguing to people.

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How do you decide on your color story for each piece? Each piece develops organically. Sometimes I’ll start out with a fabric or combination of fabrics that I then build on and change around. I may start with a combination or color story and then end up with something completely different. I love to work this way because it keeps me engaged in the project. Being flexible in your process opens up possibilities that weren't there in your original vision of the piece. Recently you collaborated with Ace & Jig, who design ready-to-wear garment collections from textiles they create. Ace & Jig is well known for their eco-conscious approach to fashion, and they’ve committed to finding a use for each scrap of custom yarn-dye woven textiles they create by partnering with artists and designers who take their fabric

scraps and reinterpret them in their own designs. How does your process differ when you are handed a bunch of scraps versus when you are fully in charge of picking fabric? Do you prefer one way over the other? Working with scraps is a whole different game, but I love the challenge. I love working within guidelines like this because it forces me to think and create in new ways. For me, both ways of working are creatively satisfying. I look at it as exercise! There is so much waste involved in clothing production, and I love that Ace & Jig makes it a priority to use as much of their fabric as possible. Even as they have grown as a company, they still host events all over the country where they encourage their community to swap and repair clothes. This is amazing! Cultivating and nurturing this culture of no waste is so the opposite of what is happening with the majority of the fashion industry. Ace & Jig is the real deal and I love that they practice what they preach.

JACKET JOURNEY Creating your own one-of-a-kind quilted jacket is a great way to push yourself out of your sewing comfort zone and explore many different facets of sewing all in one project. For a fresh, modern look, start with a modern quilt pattern. Follow a specific pattern or pull blocks from multiple patterns and piece them together in a way that inspires you: • Jawbreaker quilt pattern or Meadowland quilt pattern by Then Came June • Pivot quilt pattern or Peak quilt pattern by Modern Handcraft • Solarium quilt pattern or Marrakech quilt pattern by Heather Jones Studio

Create your color story. There is inspiration all around you! Where do you sell your work? I sell my work through my website natalie-ebaugh.com, and I've also done West Coast Craft a couple of times. West Coast Craft is a show that takes place in San Francisco and highlights artists and makers in a variety of mediums. I enjoy doing shows because, as a vendor, you get to meet your customers directly and build relationships with them.

Once your quilt top is complete, think about how you can use the quilting process to add another dimension of visual interest to the piece. • Use a contrasting thread color. • Pick a quilting pattern that introduces another shape or texture. Find a kimono pattern in a shape and style you like, such as the ones shown below. • To learn how to draft your own kimono pattern, check out the detailed instructions in the Sew News April/May 2017 issue.

• Head outside. You can’t beat Mother Nature when it comes to awe-inspiring color. • Open up your closet. Are there colors schemes you naturally gravitate toward in what you wear everyday? • Shop your stash. Grab some of your fabric scraps at random and put together some eye-pleasing combinations.

Kochi Kimono

Sapporo Jacket

papercutpatterns.com

What is your vision for your design future? A big goal of mine for a while now has been to put out a line of sewing patterns. I would love to share the patterns I’ve made for my quilted coats! Wiksten Haori Jacket shopwiksten.com

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MODERN BLUSH BY JENNIFER KEMPLER

Add upscale style to your home with easy quilted pillow covers. Learn basic quilting techniques and how to use chenille trim for an added layer of texture.

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Position the pillow front right side up on a flat work surface. Draw a diagonal straight line from the lower-left corner to the upper-right corner using a water-soluble fabric marker. Draw lines spaced 21⁄2" apart from the first line in both directions. Repeat to mark diagonal lines from the lower-right corner to the upperright corner.

QUILTED PILLOW Skill level: Beginner

SUPPLIES

Supplies listed are enough to make one pillow cover. • 5⁄8 yard of at least 45"-wide fabric • Two 21" square batting pieces

Position the pillow front right side up over one batting square. Baste the layers together between the lines using thread, straight pins or basting safety pins. Install a walking foot onto the machine and select a 4mm stitch length. Topstitch over the pillow lines.

Trim the batting even with each pillow perimeter.

• Water-soluble fabric marker • 20" square pillow form • Presser feet: zipper foot, walking foot (optional) & invisible zipper (optional) • Straight clear ruler (optional) • Hand-sewing needle or basting safety pins (optional)

Position the pillow front right side up on a flat work surface. Center one zipper tape edge over the front-panel lower edge with right sides together, extending each zipper short end beyond the panel sides; pin.

Prewash, dry and press the fabric. From the fabric, cut two 21" squares. Designate one square as the pillow front and the other as the pillow back.

CONSTRUCT

Use 1⁄2" seam allowances unless otherwise noted.

Install a zipper foot onto the machine. To prevent a dog-eared pillow corner, beginning from one zipper stitching end point, stitch along the zipper, angling the seam allowance to 3⁄4" at the corner. Repeat to stitch the opposite zipper end. Stitch the pillow perimeter, angling the seam allowance to 3⁄4" at each corner (1). Trim the corners slightly to reduce bulk. Serge- or zigzag-finish the pillowcase perimeter, excluding the lower edge. Open the zipper. Insert the pillow form into the pillowcase. Close the zipper. Use a damp cloth to remove the fabric marker lines.

Mark 2" from each side edge on the zipper. Open the zipper.

• Serger (optional)

CUT

Open the zipper halfway. Align the front and back panels together with right sides together; pin.

Repeat to create the pillow back.

• Matching all-purpose thread • 18"-long invisible zipper

Mark 2" from each side edge on the zipper. Open the zipper. Stitch the zipper, beginning and ending at the marks.

1 Install an invisible zipper foot onto the machine. Stitch the zipper, beginning and ending at the marks. If using a regular zipper foot, roll the zipper teeth open and stitch as close to the zipper teeth as possible. Close the zipper. Position the opposite zipper tape edge over the pillow-back lower edge with right sides together, aligning the front and back panel sides; pin. S E W N E W S.CO M

Position the pillow front right side up on a flat work surface. Draw a diagonal straight line 2" from the lower-left corner to the upper-right corner using a water-soluble fabric marker (2).

Draw lines spaced 4" apart from the first line in both directions. Repeat to mark diagonal lines from the lower-right corner to the upperright corner.

CHENILLE PILLOW Skill level: Beginner

SUPPLIES

Supplies listed are enough to make one pillow cover. • 5⁄8 yard of at least 45"-wide fabric • Two 21" square batting pieces • Two 20-yard packages of 5⁄8"-wide chenille trim (See “Sources.”) • Matching all-purpose thread • 18"-long invisible zipper • Water-soluble fabric marker • 20" square pillow form • Presser feet: zipper foot, walking foot (optional) & invisible zipper (optional) • Straight clear ruler (optional)

Position the pillow front right side up over one batting square. Baste the layers together between the lines using thread, straight pins or basting safety pins.

3 Install a walking foot onto the machine and select a 4mm stitch length. Center two chenille trim lengths over one marked line, extending the trim ends just beyond the pillow perimeter. Topstitch along the trim lengthwise center. Repeat to attach trim to the remaining lines (3). Trim the chenille ends even with the pillow perimeter.

• Hand-sewing needle or basting safety pins (optional)

Repeat to create the pillow back.

• Serger (optional)

Trim the batting even with each pillow perimeter.

CUT

Prewash, dry and press the fabric. From the fabric, cut two 21" squares. Designate one square as the pillow front and the other as the pillow back.

CONSTRUCT

Use 1⁄2" seam allowances unless otherwise noted.

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Finish constructing the pillow according to the Quilted Pillow instructions. Wash and dry the pillow cover with a few towels to fray and fluff the chenille trim. SOURCE Dritz carries Make Your Own Chenille trim: dritz.com.

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LIP SERVICE

TOTE

BY RACHEL ROBINSON

Use a cutting machine to embellish a basic canvas tote with foil and glitter lips.

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Skill level: Beginner

SUPPLIES

Supplies listed are enough to make one tote bag. • 1 yard each of cotton canvas & lining • 58" length of 11⁄2"-wide cotton webbing • Matching all-purpose thread • Cutting machine (See “Sources.”) • Rose gold heat-transfer foil (See “Sources.”) • Pink & silver glitter heat-transfer film (See “Sources.”) • Heat press (optional; see “Sources.”)

Download the Lip Service cutting design file at sewnews.com/ web_extras. Load the design file onto the cutting machine. From the rose gold, pink glitter and silver glitter heat-transfer film, cut eight to 10 lips each using a cutting machine and following the manufacturer’s instructions.

CONSTRUCT

Use ½" seam allowances unless otherwise noted.

Arrange the lips onto one canvas right side as desired (2). Fuse the lips to the canvas using an iron or heat press following the manufacturer’s instructions.

Fold the canvas rectangle in half lengthwise with right sides together. Designate one short end as the upper edge. Mark 2" below the upper edge along the open long edge.

Repeat to fuse the remaining lips on the opposite canvas right side.

Draw a curved line from the upper edge at the folded long edge to the marking; cut along the line (1). Repeat to curve the lining upper edge. Cut the webbing in half widthwise.

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Press the canvas rectangle in half widthwise with wrong sides together.

CUT

From the canvas and lining fabric, cut one 22"×24½" rectangle each.

Stitch the canvas side edges. Press the lining rectangle in half widthwise with wrong sides together. Stitch the lining sides, leaving a centered 5"-long opening along one side for turning. To box the corners, flatten one canvas corner with right sides together, matching the side seam and lower foldline; pin (3).

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EASY APPLIQUÉS Don’t have a vinyl cutting machine? Learn how to create fabric appliqué lips to embellish the tote. • Choose different fabrics for the lip appliqués as desired. • Download the Lip Service appliqué template at sewnews.com/web_extras. Print out the template. • Trace the lips onto a piece of fusible web. • Adhere the fusible web to the fabric wrong side following the manufacturer’s instructions. • Cut out the lips. Remove the paper backing. • Position the lips onto the canvas rectangle as desired; fuse. • Topstitch the lips perimeter to secure. • Repeat to add the desired number of lips to the canvas fabric.

Turn the tote right side out through the lining opening; press. Topstitch the tote upper edge, favoring the canvas toward the lining.

Stitch 4" from the corner point. Press the corner toward the canvas center.

Repeat to baste the opposite webbing short end 6" from the opposite side seam.

Repeat to box the remaining canvas and lining corners.

Repeat to baste the remaining webbing length to the opposite tote right side.

Machine or hand stitch the lining opening closed.

Place the canvas tote into the lining with right sides together. Stitch the upper edge.

SOURCE Cricut carries the Maker cutting machine, EasyPress heat press, Glitter Iron-On film and Rose Gold Foil Iron-On film: cricut.com.

Position one webbing short end 6" from one canvas side seam on the right side, aligning the raw edges; pin. Baste the webbing short end 3⁄8" from the raw edge.

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affair VELVET Go plush this season! Sew stretch velvet like a pro with these tips and tricks.

Hudson Pants Pattern by True Bias

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START SIMPLE Stretch velvet’s luxurious texture attracts attention on its own. For this reason, opt for simple styles that have clean lines and minimal detailing, so the pronounced nap doesn’t interfere with the style lines and intricate components like plackets or collars. Take the time to tissue fit or make a muslin-fitting sample of the pattern. Even when working with a stretch fabric, fitting a pattern, however simple, is essential to achieving great results. Ripping seams to fix mistakes may cause irreversible damage to the velvet. If the pattern requires buttonholes, consider replacing them with loops, noting the change on the pattern. Machine buttonholes create bulk and will crush the pile. Preshrink the fabric before cutting. Allow it to dry right side out on a shower curtain rod or other bar to prevent creasing or crushing. Purchase an extra ¼ yard of velvet for all projects. Single-layer cutting is essential for this fabric and requires more yardage.

STRETCH VELVET AT A GLANCE

FABRIC CONTENT: 90% Polyester,

Stretch velvet or velour can elevate a casual pattern to elegant statement piece. People shy away from velvet for a number of reasons, including the nap, cutting difficulties, tension issues or the likelihood of crushing the pile. However, stretch velvet is a bit more forgiving than traditional woven velvet, though it still requires special supplies and considerations.

PILE: Medium

10% Spandex (varies)

CARE: Machine wash, hang or

tumble dry cold; do not press. Store rolled. NEEDLE: Stretch 75/10 & Twin

Needle THREAD: Polyester or poly-

cotton blend FOOT: Regular INTERFACING: Sew-in

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CUTTING Cut with the direction of greatest stretch going across the body and with the nap facing the same direction. Use full pattern pieces (rather than cutting on the fold), and cut with a rotary cutter to minimize shedding.

STITCHING Use light pressure and a short to standard stitch length using a zigzag or stretch stitch. Test-stitch scraps before attempting the final garment. To achieve a smooth seam, loosen the upper tension and check the presser-foot pressure. If the presser foot leaves marks on the fabric, reduce the presser-foot pressure or place a piece of tissue paper over the fabric as you sew. Stitch with the nap direction to produce smooth seams.

HEMMING & FINISHING Leave edges raw, pink- or serge-finish them or hem them in the traditional manner. To form a hem, fold the raw edge toward the wrong side and topstitch using a straight stitch or a narrow zigzag if stretch is needed. For fabrics that have a tendency to curl inward, use temporary spray adhesive to secure hems before stitching. For a more finished look, serge the fabric raw edge using a 3-thread overlock stitch. Turn the hem toward the wrong side, and then topstitch. For a neat flat hem with no ripples, use Â˝"-wide fusible hem tape or fusible web. Before hemming the garment, machine stitch or serge the hem tape or fusible web to the hem-edge with the fusible side up. Press the hem toward the garment wrong side. The hem allowance is held in place by the fusible surfaces and ready for topstitching. For necklines, serge a 4-thread stitch formation along the raw edges. Set the differential feed to 1.5 to slightly draw up the edge. Turn the serged edge toward the wrong side and topstitch the folded edge. This technique reinforces curved edges and keeps the garment from over-stretching. You can also finish the neckline by installing a neckband made with a coordinating knit or rib knit fabric or creating a woven facing in a coordinating color to reduce bulk.

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PATTERN PICKER Look for patterns that have simple lines and few finicky design details. It’s great to make a statement with a special occasion garment in velvet, but velvet can also transform a great basic pattern into a stunner, too. Generally speaking, patterns designed for stretch fabrics work best—just make sure they don’t require a higher stretch percentage than the fabric has. If so, consider sizing up. These patterns are great choices to showcase velvet fabric this season.

Knotted Tank 11/2016 #104 by BurdaStyle

Velvet Skirt 11/2017 #107A by BurdaStyle

Waterfall Raglan by Chalk and Notch chalkandnotch.com

Velvet Dress 12/2016 #118B by BurdaStyle

Nikko Dress by True Bias truebias.com

Charleston Dress by Hey June Handmade heyjunehandmade.com

Blackwood Cardigan by Helen’s Closet helenscloset.ca

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BurdaStyle B6450

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BY TINA LEWIS

Embellished shoulders are flattering on everyone, bringing focus to the face and transforming basic garments into showstoppers. Discover seven different ways to add embellishment to a simple sheath dress.

PATTERN SELECTION

PREPARATION

Almost any garment style, from a casual jacket to an evening gown, can be embellished on the shoulders. Look for patterns with a high enough neckline to provide sufficient shoulder area to embellish.

Download the shoulder template at sewnews.com/web_extras. Print out. Trace a right and left copy onto pattern paper according to the selected pattern size.

Different patterns have different armscye curves. To use the shoulder template on a different pattern than the featured sample, pin the pattern front and back shoulders along the seam allowance lines. Position the provided template along the armscye seamline. Make adjustments to the curved edge as needed to match the pattern armscye curve.

Use the template as a pattern, placement guide, stitching guide and an interfacing or stabilizer pattern. Use lightweight fusible interfacing to support heavy embellishments or to stabilize the area for stitching. Before constructing the dress, determine if the shoulder treatment selected is easier to apply before or after the dress side seams are stitched and/or before or after setting in the sleeves.

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SHOULDER TREATMENTS Select from seven different shoulder embellishments to match any garment and style.

RHINESTONE TRIM EMBELLISHMENT

Purchase two yards of 11â &#x201E;4"-wide rhinestone trim. Stitch multiple trim lengths together to create two pieces wide enough to match the shoulder template width. Using the shoulder template, cut out one left and right shoulder piece from the trim panels. Position the shoulder pieces over the garment shoulders; pin, and then slip stitch.

LACE

SUEDE OR LEATHER

Using the shoulder template, cut out one left and right shoulder piece from the lace fabric, making sure to use the lace edges on the shoulder piece perimeters.

Using the shoulder template, cut out one left and right shoulder piece from the suede or leather.

Purchase a 12" square of fabric lace or enough lace pieces to cover the shoulder area and pearls or beads as desired.

Position the shoulder pieces over the garment shoulders; pin, and then slip stitch. If using lace pieces, position the shoulder template over the garment; baste around the template perimeter. Position the lace pieces within the basted area; pin. Once satisfied with the placement use basting glue to secure. Slipstitch the lace pieces. Embellish with pearls or beads as desired.

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Purchase a 12" square of lightweight suede or leather, silk buttonhole twist thread and a leather hand-sewing needle.

Punch stitching holes in each shoulder-piece perimeter using a leather hand-sewing needle. Position the shoulder pieces over the garment shoulders, using basting glue to secure if needed. Hand overcast the shoulder pieces through the pre-punched holes to secure.

SEQUIN FABRIC

Purchase 1⁄4 yard or one 12" square of sequin fabric. Using the shoulder template, cut out one left and right shoulder piece from the sequin fabric, adding a 1⁄4" seam allowance to the pattern perimeter. Baste each shoulder-piece seam allowance toward the fabric wrong side. Position the shoulder pieces over the garment shoulders; pin, and then slip stitch. Remove the basting. Randomly stitch individual sequins around each shoulderpiece perimeter.

CORDING

BUTTONS

Draw the desired cording design onto the shoulder template. Transfer the design onto the garment shoulders using a light table or transfer paper.

Position the shoulder template over the garment; baste around the template perimeter.

To prevent the cord end from fraying, tightly wrap one end with thread, trim close to the thread, and then secure with seam sealant.

Using the shoulder template, cut out one left and right shoulder piece from the interfacing. Fuse the interfacing to each garment shoulder wrong side following the manufacturer’s instructions.

Purchase eight yards of rayon satin rattail cording, matching rayon or silk thread, #10 or #11 milliner’s needle and seam sealant.

Place the cording over the garment, positioning the finished end underneath a loop in the design. Stab stitch the cording through the center, following the traced design lines. Finish the opposite end as before, and then position it under a loop in the design.

Purchase enough buttons in various sizes to cover the shoulder area, a 12" square of lightweight fusible interfacing and thread to match the garment fabric type.

Hand stitch the buttons within the shoulder area basting.

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BOLDER SHOULDERS Discover even more shoulder embellishment ideas. • Stitch pearls in the same or various sizes to the shoulder area. • Apply jeweled or metal studs. • Add a machine-embroidered accent. Download Hand Embroidery Stitch Guide free at sewdaily.com.

HAND EMBROIDERY

Purchase metallic embroidery floss, an embroidery needle and a 12" square of lightweight fusible interfacing. Transfer the shoulder template perimeter to each garment shoulder. Using the shoulder template, cut out one left and right shoulder piece from the interfacing. Fuse the interfacing to each garment shoulder wrong side following the manufacturer’s instructions. To mark guidelines for the embroidery, baste lines 1⁄2" apart and spaced 3⁄8" apart beginning along the curved template edge. Using six strands of embroidery floss, embroider a featherstitch between the 1⁄2" guidelines to create a vine. Embroider French knots and straight stitches to create the flowers. SOURCE BurdaStyle carries B6450: burdastyle.com.

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• Hand stitch eyelets or attach metal eyelets. • Stitch together embroidered or metallic ribbons to create a panel for the shoulder area.

• Hand or machine stitch appliqués, such as stars, flowers or tiny ribbon roses.

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9-DAY

SEW NEWS TOUR TO Package Includes:

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& LONDON KNITTING & STITCHING SHOW

OCTOBER 5 - 13, 2019 Contact: info@Craftours.com

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Round-trip airfare from the USA to England. First-class hotel accommodations. Drive through the charming Cotswolds. Tours in Bath and Stratford-upon-Avon. Visit the American Museum in Bath. Sightseeing and shopping in London. Visit the textiles exhibit at the Victoria & Albert Museum in London. Fabric Shopping at Liberty of London. Visit the The Knitting & Stitching Show in London. An optional tour to Warwick Castle. Travel with a special guest, a member of the Sew News VWD΍ And much more!