Claire Shaeffer''s fabric sewing guide

142 fabric sewing guide Số trang: 530 trang Ngôn ngữ: English Introduction All sewing (fashion garments, artwear, home décor, accessories, and quilts) begins with the fabric, and understanding the fabric is the key to success. Claire Shaeff er’s Fabric Sewing Guide focuses on the fabrics and materials used to make garments. It is designed to give you the confi dence to sew fabrics you have not sewn before and the skills to sew all fabrics better. Th is single-volume reference includes complete and practical information for sewing all of today’s fabrics, but since there will be more new materials tomorrow, next month, or next year, this book also provides the information you need to develop the skills and techniques needed to sew those fabrics successfully. Th e book is organized for easy reference, with seven sections and extensive appendices: part one: Prologue, presents the basics of planning a garment. part two: Fiber Content, outlines the characteristics of fi bers, natural and manufactured. part three: Fabric Structure, describes the various weaves and knits with the details for sewing them. part four: Fabric Types, describes methods for handling fabrics with specialty surfaces and structures. part five: Interfacings and Linings, provides complete details about lining, interfacing, and other fabrics used for interior support. part six: Sewing Techniques, describes the basic techniques referenced in the previous sections. part seven: Appendices and Glossaries is a comprehensive listing of important textile terms and frequently used fabrics. Unlike most sewing books, which focus only on techniques, this guide focuses on fabrics and their characteristics, as well as how to sew them successfully. It will help you select fabrics and become a more knowledgeable consumer, even if you don’t sew. It addresses fabric-related situations that cannot be included on pattern guides and warns you about problems or mistakes before they occur. It will help you choose the most appropriate techniques for individual garments and fabrics, depending on the garment quality and use, as well as your time commitments and sewing experience. (For example, if I am sewing an everyday wash-and-wear cotton blouse, I choose quick-and-easy machine techniques that will launder well. When sewing a cotton tapestry party dress that will be dry-cleaned, I use more hand sewing and design details.) Th is book will broaden your understanding of fabrics and sewing techniques so you can apply your knowledge intelligently. It includes many fashion photographs from friends, colleagues, homesewers, fashion-focused businesses, and vintage collections that will stimulate your imagination for future designs. My personal style is classic and appropriate for my age and lifestyle, and yes, there are some designs that refl ect my taste, particularly those from the Custom Couture Collection, which I design for Vogue Patterns. But this is a book for everyone who sews, so I have included designs appropriate for many diff erent lifestyles, age groups, and individual tastes that are quite diff erent from those I sew and wear. I have also included some vintage garments because the designs showcase the fabrics well, include interesting details, and provide inspiration for new designs. I might add that I oft en see the infl uence of designs from the past in the current collections of the world’s best designers. Some photographs show the garments on dress forms, others are on models, both professional and amateur. You will see a variety of fi gure types since my readers can be any age and any size. I have also included a few fabulous quilts, some accessories, and home décor items because they are easy to sew and provide a great way to learn to sew on diff erent fabrics. How to Use This Book Th is sewing guide is organized for easy reference. First, identify your fabric, its fi ber content, structure, and type, including its texture, weight, transparency, and surface design. Th en review any appropriate sections in the book that apply. I usually begin my review with the fabric type unless it’s a fi ber I have not sewn recently. For example, if the fabric is a striped silk chiff on, like the design on page 49, I begin with the fabric types: Sheers, Stripes, and Prints. If I haven’t sewn lightweight silks recently, I’ll review the section on Lightweight Silk. Each fabric section begins with the fabric’s characteristics so you will know what to expect. Th e sewing checklists summarize the basic equipment, supplies, and techniques for handling the fabric. Th e core of the section details specifi c information for planning the garment, design ideas, selecting quality fabrics, sewing notes for layouts, cutting, marking, stitching tips, construction details, pressing techniques, and garment care. If you have never made a particular type of seam or seam fi nish, need a refresher on a technique, or want to learn new techniques, look for step-by-step instructions in Part Six, Sewing Techniques. If you want to expand your knowledge of techniques even more, consult my other books, Couture Sewing Techniques (Taunton Press, 2001), and High Fashion Secrets from the World’s Best Designers (Rodale Press, 2001). My book, Sew Any Fabric: A Quick Reference Guide to Fabrics from A to Z (Krause Publications, 2003), is a handy, quick guide for shopping expeditions and getting started. When you encounter an unfamiliar textile or fabric term, look it up in the Fiber and Fabric Glossary. It includes a brief defi nition and reference for similar materials. To expand your knowledge, begin a swatch library, using the glossary as a guide. To answer your most frequently asked questions, I have provided appendices with detailed information about needles, threads, interfacings, topstitching, and identifying your fi ber types, as well as a resource list for fabrics, patterns, and notions. Th is fabric sewing guide was written for you. To reap the most from it, read it from cover to cover and make notes in it. Describe the fabrics you sew, the techniques you like or don’t like, and your ideas for future designs or trims. Th is book is only a springboard. It is designed to stimulate your creativity and provide the knowledge you need to sew with confi dence. Dare to experiment with new ideas and new fabrics and share them with me.

C L A I R E S H A E F F E R ’ S

FABRIC SEWING GUIDE

Claire Shaeff er’s Fabric Sewing Guide

is your one-stop sewing resource.

Internationally respected author, lecturer, college instructor and columnist, Claire Shaeff er has completely

guide to the selection, wear, care, and sewing of all fabrics has been updated to include comprehensive information on:

to know, and will surely be a reference you will review again and again In addition to an extensive glossary with answers to the most common sewing questions, this must-have guide includes easy-to-read charts for needle sizes and thread and stabilizer types.

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Krause PublicationsCincinnati, OH 45236

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FABRIC SEWING GUIDE

Krause Publications

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All rights reserved No portion of this publication may be reproduced or transmitted in any form or

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12 11 10 09 08 5 4 3 2 1

Content Editor: Barbara SmithCopyeditor: Barbara Weiland TagartIllustrations: Rachael Knier and Rachael SmithCover designer: Julie Barnett

Interior designer: Sandy Kent and Rachael SmithPhotography (unless otherwise credited):

Claire Shaeff er and Sarah Benson

Library of Congress Cataloging-in-Publication Data

Shaeff er, Claire B

[Fabric sewing guide]

Claire Shaeff er’s fabric sewing guide / by Claire Shaeff er Rev ed

p cm

ISBN 978-0-89689-536-2 (pbk : alk paper)

1 Textile fabrics 2 Dressmaking 3 Sewing

I Title

TT557.S53 2008 646.40028 dc22 2008017158

Th e following registered trademark terms and companies appear in this publication

A.C.E.®, Acrilan®, Agilon®, Airloft ®, Alaskine, Alcantara®, Anso®, Antron®,

Aqua Shell®, Aqua Shell®, Aquator®, Armo® Wool, Armo® Rite, Arnel®, Avisco

XL®, Avlin®, Avril®, Avron®, Avsorb®, Ban-Lon®, Barge™ cement, Barge™ glue,

Beau-Grip™, Bernina®, Bernina® Aurora 440, Bi-Loft ®, Bio Fresh, Biz, Blue C®,

Borgana®, Bully Lock, Byrd Cloth®, Cadon®, Caprolan®, Captiva®, Caressa™,

Casuwool®, Celanese®, Celebrate®, Chinella®, Chromespun®, Citifl eece,

Cleer-span®, Clover™ tire thread, Coloray, Comfort Fiber®, ComFortrel XP®,

Com-Fortrel®, Comiso®, Comuloft ®, Cool Wool®, CoolMax®, Cordura®, Core-Lock™,

Dan-Press®, Dantwill®, Darleen®, Darlexx Superskin®, Darlexx®, Dorlastan®,

Dow XLA™, Drima™, Drizzle Cloth™, Dryline®, Dura Spun®, Rel®,

Du-rene®, Durvil®, Dynel®, Ecofi l®, Eco-Friendly™ Batting, Eco-Friendly™ Batting

Blend, EcoSpun®, Ecsaine®, Eloquent Luster™, Eloquent Touch™, Encron®,

Enka® viscose, Enkacrepe®, Enkair®, Enkalure®, Enkasheer®, Entrant®, ESP®,

Fantastik®, Fibermet®, Fi-lana®, Fine Fuse®, Formula 409®, Fortisan®, Fortrel®

Glospan®, Golden Glow™, Golden Touch™, Gore-Tex®, Gore-Tex®, Hang

Loose™, Harris Tweed®, Heat’n Bond®, Helanca®, Herculon™, Hi-Tech

Sup-plex®, Hollofi l®II, Hump Jumper®, Hydrofi l®, Ingeo®, Interspan®, JetSpun™,

Jean-a-ma-jigs®, Jiff y Fuse™, Kevlar®, Kinderfl eece, K-Kote Plus®, Knit Fuze™,

Kodaire™, Kodalite, Kodel®, Kodofi ll™, Lamous®, Lastex™, Lenzing Lyocell®, Lenzing Modal®, Lethasuede, Lifa®, Lorette®, Lurelon®, Lurex®, Lustra®, Lycra®, Marimekko®, Matte Touch®, Maxi-Lock®, Metalastic®, Metlon®, Me- trofl ock®, Metrolene®, Metrosene Plus™, Mettler Poly Sheen®, Micro Modal™, Microft ®, Micromattique MX®, Microsoft ®, Microsupplex®, MicroSupreme®, Microtherm®, Milium®, MiniMicro®, Mitin®, Mylar®, Mystique™, Natural Luster®, NatureTex™, Naugahyde®, Needle Glide®, No Shock®, Nomelle®, No- mex®, Norae®, Nordic Fleece®, Nupron®, Opelon™, Orlon®, Palm Beach®, Pa- Qel®, Pellon®, Pil-Trol™, Plyloc™, Polarfl eece®, Polarguard®, PolarLite®, Polar- Plus®, Polartec®, Polartec® Power Dry®, Polartec® Power Shield™, Polartec®, Power Stretch®, Posder Dry®, Prima®, Qiana®, Qiviut®, Quallofi l®, Quick Knit, Quick Liner®, Remember®, Retayne, Revere®, ReviveX®, Rexe®, Rib-It®, Savina DPR®, Savina®, Savina DPR®, Scotchgard®, Seam Sure™, Seams Great™, SEF®, Sensuede®, Sensura®, Sesua®, Sewers’ Aid®, Shanton®, Shareen®, Shimmereen™, Slinky®, Sofrina®, Soft Skin®, Soft Touch®, Soft alon®, So-Lara®, SolarKnit®, Solarweave®, Sorbit®, Spandaven®, Spandura®, Spanzelle®, Stitch Witchery®, StretchAire®, Strialine®, Stunner®, Sulky®, Sunbrella®, SunRepel®, Superloft ®, Superwash®, Supplex®, T.E.N.®, Tackle Twill®, Tactel Micro®, Tactel®, Tactel

Tre-vira®, Tuft ex®, Turtle Fur®, Type 420®, Tyvek®, Ultra Touch®, Ultraglow®, traleather®, Ultrasuede®, Ultrex®, Ultron®, Velcro®, VelvaBoard, Verel®, Ver- satech®, Vincel®, Vyrene™, WeatherBloc®, Whisper Weft ®, Windbloc®, Wind Pro®, Wonder-Under®, Xena®, Yukon Fleece®, Zankara®, Zantrel®, Zefran®, Zeft ron®, Zirpro®, Zitkrome®

Ul-I like sewing them, Ul-I’m very well adjusted Aft er all, everyone collects something (recipes, coins, stamps, dolls, wine, guns, woodworking equipment, records, china fi gurines, records, videos) or has a hobby to enjoy in his or her leisure hours, so it’s all right for me to collect fabrics

Unlike most collections, the only constant in mine is change I am an avid sewer, and unlike many fabric collectors, I have the confi dence to cut or sew any fabric Long ago,

I decided to discard fabrics that no longer meet my standards, are the wrong color, or make me feel guilty I don’t have room for them to clutter my space and life

For me, sewing fulfi lls both the desire to make something creative and to show it off , and part of my joy is taking a risk to achieve the unexpected and conquer the unknown I love to experiment, try new techniques, fi ne-tune old methods, and combine fabrics and designs innovatively

Most of my results have been successful, and some have been stunning creations yond my wildest expectations When I have the occasional failure, I remind myself that professionals have them, too, and it really is no worse than burning the brownies

be-Th is book is the only comprehensive sewing reference that focuses on fabrics It gan several decades ago when I fi rst taught Sewing Special Fabrics at the College of the Desert in Palm Desert, California Th ere was no book that came close to being a text-book As I researched my subject, I realized that, in addition to the wealth of material

be-on special fabrics scattered in a variety of diff erent sources, a great deal of informatibe-on about traditional fabrics was no longer available, some of the information provided by the home-sewing industry was incorrect, and many of the techniques I had learned as a professional had never been put into print So the project mushroomed into a very large book that includes techniques for sewing all types of fabrics Th e information is based

on my experiences as an educator and professional home sewer; interviews with ers, experts, and educators in the home-sewing and fashion industries; visits to factories and designer workrooms; research in consumer and trade publications; research in the costume collections at the Victoria and Albert Museum, Metropolitan Museum of Art, Fashion Institute of Technology, Fine Arts Museums of San Francisco, Phoenix Art Mu-seum, and the Museum of the City of New York; countless snoop-shopping expeditions

design-to examine ready-design-to-wear in all price ranges; and reexamining the garments in my own personal collection Th e Second Edition has been revised extensively to incorporate new fabrics, fi bers, design ideas, and techniques It continues to be the most comprehensive reference available and includes 300 diagrams and 248 color photographs

If you are new to sewing, you will fi nd all the basic information needed for your fi rst projects As you grow more experienced, you will discover a variety of construction al-ternatives and learn to select diff erent methods appropriate for the fi ber, fabric, garment’s use, your skill level, time available, and personal preferences If you are an educator, sew-ing professional, or a very experienced home sewer, you will be inspired by the many new ideas, and you will learn new ways to apply skills you already have

I know I am obsessed.

Once again, I would like to thank the many individuals

and businesses who provided information and photographs for the original edition (1989) and the updated edition (1994)

For this Second Edition, I would like thank the following:

Th e businesses and individuals who provided fabrics and products:

American & Efi rd, Inc (Mettler), Bernatex, Britex Fabrics, Coats &

Clark, Emma One Sock, Marcia Cohen, Jean Dilworth, Something

Wonderful!, Plumridge Inc., Sawyer Brook, Sew Beautiful magazine,

Linda Stewart, Superior Th reads, Audrey Szmyd, Terri Tipps, mann of America, Inc., and YLI

Guter-Everyone who provided photographs: Jennifer Amor, Lisa Aherns, Susan Andriks, Ileana Andruchovici, Apple Annie Fabrics, Paula

Archbold, Karen Augusta, Australian Stitches magazine, Kathy

Bar-nard, Annie Barnes, Sarah Benson, Bernina of America, Inc., elle Billing, Sharon Blair, Barb Blum, Ellie Bremer, Kathryn Brenne, Bonnie Browning, Nancy Cain, Linda Calvo, Christie Chase, Ruth Ciemnoczolowski, Marcia Cohen, Barbara Cohn, Lynn Cook, Mary Corbett, Susan Crane, Terry Crawford, Anna Csaba, Patti Dee Wa-zny, Joyce DeLoca for Signe, Jean Dilworth, Pamela Erny, Karen Evanetz, Karmen Flach, Jessica Franklin, Wendy Gardiner, Michelle Gillmartin, Gini’s Greyhound Fashions, Nancy Gray, Judy Gross, Melissa Hayden, Bianca Herrera, Sara Hochhauser, Hoff man Me-dia, Cathie Hoover, Doreen Hund, Susan Igou, Anna Marie Isaac-son, Mimi Jackson, Jana Jamieson, Tomasa Jimenez, Laura Johansen, Adrena Johnson-Telfair, Mary Johnson-Voss, Christine Kazmerzak, Kayla Kennington, Kacie Killen, Juliette Kimes, Leah Klingelhofer, Sandi Knutie, Rachel Kurland, Michelle LaFortune-Wamego, Car-

Dani-ol Lambeth, Joy Landeira, Martha Leefson, Marie Lehfeldt, Justine Limpus Parish, Stephanie Link, Angel Livingston, Justine Livings-

Elaine Mintzer, Debbie Mocnik, Gayle Moline, Jon Moore, Patricia

Mundwiler, Teresa Nieswaag, Tammy O’Connell, Meredith Olds,

Phoenix Art Museum, Cheryl Pollock, Alison Ray, Mary Ray, Faith

Reynolds, Bob Ruggiero, David Sassoon, Paula Scaffi di, Penny Schwyn,

Melissa Schultz, Claudia Scroggins, Denise Severson, Dennita Sewell,

Lisa Shepard Stewart, Rachel Siegel, Silhouette Patterns, Simplicity

Pattern Co., Sandy Snowden, Cherrelle Sowell, Shelma Sperry,

Rosemary St Claire, Gabrielle Stanley, Linda Stewart, Marinda Stewart,

Susan Stewart, Linda Teufel, Th e McCall Pattern Co., Taunton Press,

Cathy Th omas, Dot Treece, Charles Whitaker, Darlene Wilson, and

Debra Young Every eff ort has been made to provide appropriate credit

If the credit is incorrect or missing, please advise

Sarah Benson, for photographing numerous fabrics and garments, organizing the photographs and photo releases, and making samples

Cheri Collins for developing the stabilizer chart

Bernina of America, Inc for continued support and excellent ment

equip-My colleagues, students, and Internet friends who shared their pertise and enthusiasm

ex-My parents, the late Juanita and Louie Brightwell, who gave me wings and taught me how to use them, and my husband, Charlie, who

supports and encourages me

My editors Toni Toomey and Vanessa Lyman and the staff at F+W

Publications for their expertise,

support and countless hours of

hard work and attention to detail

Introduction, 10

Chapter One

Basic Guide for Sewing

Any Fabric, 12

Plan the Garment, 13 | Design Ideas and Pattern

Selection, 19 | Assemble the Equipment, 21 |

Sewing Notes, 25 | Urban Myths, 31 | How to Sew a

Cotton, 34 | Ethnic Cottons, 40 | Linen, 40 |

Hankerchief Linen, 45 | Ramie, 45 | Hemp,

46 | Bamboo, 47 | Silk, 48 | Silk Blends, 52 |

Lightweight Silks, 56 | Wool, 61 | Woolens and

Worsteds, 62 | Lightweight Wools, 69 | Textured

Woolens, 71 | Worsted Suitings, 72 | Wool

Coatings, 74 | Washable Wool, 78 | Hair Fibers, 79

Rayon, 82 | Lyocell, 84 | Acetate and Triacetate, 86 | Nylon, 88 | Polyester, 90 | Lightweight Polyesters, 94 | Acrylic, 97 | Modacrylics, 99 | Stretch Fibers, 99 | DOW XLA, 101 | PLA, 101 | Olefi n, 101 | Microfi bers,

Chapter Nine

Woven Fabrics, 140

Plain Weave, 140 | Twill Weave, 143 | Denim, 145 |

Loosely Woven, 148 | Satin Weave, 154 |

Knit Types, 163 | Zebra, 171 | Jersey and Single,

172 | Double, 175 | Interlock, 180 | Textured,

181 | Sweatshirt, 184 | Mesh, 186 | Tricot, 187

| Milanese, 189 | Sweater, 190 | Ribbing, 193 |

Stretch Terry and Velour, 195 | Power Stretch, 198 |

Power Net, 201 | Fleece, 202 | Slinky, 205

Special Occasion Fabrics, 236

Satin and Sateen, 236 | Ribbed, 241 | Taff eta, 245

| Brocade, Damask, Matelasse, and Jacquards, 248

| Pleated, 252 | Metallics, 257 | Embellished, 260 | White, 263

Chapter Fifteen

Napped and Pile Fabrics, 266

Napped, 266 | Pile, 268 | Corduroy, 271 | Velveteen, 274 | Velvet, 277 | Panné and Devoré Velvets, 282 | Woven Terry and Velour, 283 | Tuft ed Piles, 285 | Fake Fur, 287

F A B R I C

T Y P E S

Interfacings, 350 | Underlinings, 357 | Linings, 359

| Battings and Insulating, 363

Chapter Twenty-Three

Seams, 366

Abutted, 366 | Appliqué, 367 | Bound, 369 | Channel, 372 | Corded, 372 | Decorative, 372 | Double-Cloth, 373 | Double-Lapped, 373 | Double-Ply, 373 | Double-Stitched, 373 | Double-Welt,

373 | Draw , 373 | Drapery French, 374 | Enclosed Seam Allowances, 374 | False Merrow, 375 | False French, 375 | Flat-Fell, 375 | Flatlocked, 377 | French, 377 | Fringed, 378 | Fur, 379 | Hairline,

380 | Insertion, 380 | Laced, 381 | Lapped, 381

| Leather, 382 | Felled, 383 | Rolled, 383 | Nonwoven, 383 | Piped, 385 | Plain,

Machine-387 | Reversed, Machine-387 | Self-Finished, Machine-387 | Serged,

388 | Sheer, 389 | Slot , 389 | Standing-Fell, 390 | Stand-up, 390 | Strap, 391 | Stretch, 391 | Taped,

392 | Tissue-Stitched, 394 | Topstitched, 394 | Tucked, 394 | Twin-Needle, 396 | Wadmal, 396 | Welt, 396 | Whipped, 396 | Wrong-Side-Out, 397 | Zigzagged, 397

Plaids and Stripes, 318

Plaids, 318 | Tartans, 329 | Checks, 329 | Stripes,

T ips for Topstitching, 476

Fiber and Fabric Glossary, 478

Glossary of Sewing Terms, 508

Plain, 403 | Faced, 406 | Quick, 407 |

Interfaced, 407 | Machine Blindstitched, 409

| Narrow Machine Hems, 410 | Mitered, 412 |

Topstitched, 414 | Weighted, 417 | Miscellaneous,

Button Loops, 434 | Buttonholes, 435 | Covered

Snaps, 444 | Ties and Straps, 444 | Zippers, 444

Chapter Twenty-Eight

Hand Stitches, 448

Backstitch, 448 | Basting, 448 | Blanket, 449 |

Blindstitch, 449 | Blind Catchstitch, 449 |

Buttonhole Stitch, 449 |Catchstitch, 450 |

Cross-Stitch, 450 | Fell, 450 | Figure-eight, 451 |

Overcasting, 451 | Pad, 451 | Running, 451 |

Stabstitch, 452 | Slipstitch, 452 | Tailor’s Tacks, 452

| Whipstitch, 453

All sewing (fashion garments, artwear,

home décor, accessories, and quilts) begins with

the fabric, and understanding the fabric is the key

to success Claire Shaeff er’s Fabric Sewing Guide

fo-cuses on the fabrics and materials used to make

gar-ments It is designed to give you the confi dence to

sew fabrics you have not sewn before and the skills

to sew all fabrics better

fabrics, but since there will be more new materials tomorrow, next month, or next year, this book also provides the information you need to develop the skills and techniques needed to sew those fabrics successfully Th e book is organized for easy reference, with seven sections and extensive appendices:

part one: Prologue, presents the basics of ning a garment

plan-part two: Fiber Content, outlines the teristics of fi bers, natural and manufactured

charac-part three: Fabric Structure, describes the various weaves and knits with the details for sewing them

part four: Fabric Types, describes methods for handling fabrics with specialty surfaces and structures

part five: Interfacings and Linings, provides complete details about lining, interfacing, and other fabrics used for interior support

part six: Sewing Techniques, describes the basic techniques referenced in the previous sections

part seven: Appendices and Glossaries is a comprehensive listing of important textile terms and frequently used fabrics

Unlike most sewing books, which focus only on techniques, this guide focuses on fabrics and their characteristics, as well as how to sew them success-fully It will help you select fabrics and become a more knowledgeable consumer, even if you don’t sew It addresses fabric-related situations that can-not be included on pattern guides and warns you about problems or mistakes before they occur It will help you choose the most appropriate tech-niques for individual garments and fabrics, depend-ing on the garment quality and use, as well as your time commitments and sewing experience (For ex-ample, if I am sewing an everyday wash-and-wear cotton blouse, I choose quick-and-easy machine techniques that will launder well When sewing a

cotton tapestry party dress that will be dry-cleaned,

I use more hand sewing and design details.)

Th is book will broaden your understanding of fabrics and sewing techniques so you can apply

your knowledge intelligently It includes many

fashion photographs from friends, colleagues,

home-sewers, fashion-focused businesses, and vintage

collections that will stimulate your imagination for

future designs

My personal style is classic and appropriate for my age and lifestyle, and yes, there are some

designs that refl ect my taste, particularly those from

the Custom Couture Collection, which I design for

Vogue Patterns But this is a book for everyone who

sews, so I have included designs appropriate for

many diff erent lifestyles, age groups, and individual

tastes that are quite diff erent from those I sew and

wear I have also included some vintage garments

because the designs showcase the fabrics well,

include interesting details, and provide inspiration

for new designs I might add that I oft en see the

infl uence of designs from the past in the current

collections of the world’s best designers

Some photographs show the garments on dress forms, others are on models, both professional and

amateur You will see a variety of fi gure types since

my readers can be any age and any size I have also

included a few fabulous quilts, some accessories,

and home décor items because they are easy to

sew and provide a great way to learn to sew on

diff erent fabrics

How to Use This Book

Th is sewing guide is organized for easy reference

First, identify your fabric, its fi ber content,

struc-ture, and type, including its texstruc-ture, weight,

trans-parency, and surface design Th en review any

appropriate sections in the book that apply I usually

begin my review with the fabric type unless it’s a

fi ber I have not sewn recently For example, if the

fabric is a striped silk chiff on, like the design on page

49, I begin with the fabric types: Sheers, Stripes, and

Prints If I haven’t sewn lightweight silks recently, I’ll review the section on Lightweight Silk

Each fabric section begins with the fabric’s acteristics so you will know what to expect Th e sewing checklists summarize the basic equipment, supplies, and techniques for handling the fabric

char-Th e core of the section details specifi c information for planning the garment, design ideas, selecting quality fabrics, sewing notes for layouts, cutting, marking, stitching tips, construction details, press-ing techniques, and garment care

If you have never made a particular type of seam

or seam fi nish, need a refresher on a technique, or want to learn new techniques, look for step-by-step instructions in Part Six, Sewing Techniques If you want to expand your knowledge of techniques even

more, consult my other books, Couture Sewing

Tech-niques (Taunton Press, 2001), and High Fashion crets from the World’s Best Designers (Rodale Press,

Se-2001) My book, Sew Any Fabric: A Quick Reference

Guide to Fabrics from A to Z (Krause Publications,

2003), is a handy, quick guide for shopping tions and getting started

expedi-When you encounter an unfamiliar textile or fabric term, look it up in the Fiber and Fabric Glos-sary It includes a brief defi nition and reference for similar materials To expand your knowledge, begin

a swatch library, using the glossary as a guide

To answer your most frequently asked questions,

I have provided appendices with detailed tion about needles, threads, interfacings, topstitch-ing, and identifying your fi ber types, as well as a resource list for fabrics, patterns, and notions

informa-Th is fabric sewing guide was written for you To reap the most from it, read it from cover to cover and make notes in it Describe the fabrics you sew, the techniques you like or don’t like, and your ideas for future designs or trims

Th is book is only a springboard It is designed

to stimulate your creativity and provide the edge you need to sew with confi dence Dare to ex-periment with new ideas and new fabrics and share them with me

knowl-Basic Guide for Sewing Any Fabric

Welcome to the exciting world of sewing! You can enjoy the pleasures of wearing what you sew and astonish your friends with your creativity and your successes You can use your imagination to create one-of-a-kind garments, accessories, home décor items, and gift s You can quilt, embroider, bead, appliqué, and felt fabrics

You can create trendy avant-garde designs, couture creations, or practical everyday wearables

Today, there are hundreds of diff erent fabrics, but many are sewn using similar techniques Th is fabric sewing guide focuses on the most frequently sewn fabrics In each chapter, I have included suggestions for planning the design and preparing the fabric, along with some sewing notes Th e Fiber and Fab-

ric Glossary (page 478) defi nes even more fabrics

Almost every fabric can be used for a variety of signs, from everyday casual garments to high-fash-ion evening wear Th e photographs feature many diverse designs to inspire and excite you Some are original, one-of-a-kind creations, while others were made using commercial patterns

de-Th e models are just as diverse as the designs

Some are professionals, while others are home sewers Some are pencil-thin; others pleasingly plump Some are very young; others not so young

P A R T O N E

PROLOGUE

Plan the Garment

Th e fi rst phase of sewing, planning the garment, is

one of the most important Deciding which comes

fi rst, the fabric or the design, can be compared to

“the chicken or the egg.” Designs can begin with

either the fabric or the design Most develop when

the fabric and design are considered together

Each garment will require a variety of decisions based on the garment type; its planned use, quality,

and current fashion trends; the fabric

characteris-tics and quality; the garment design and pattern;

the compatibility of the fabric and the design; and

Th is beautiful evening gown by Bellville Sassoon is when

fabricated in emerald green satin Th is gown and the red

plaid gown at right were made from the same pattern

Bellville Sassoon designed for Vogue Patterns.

(Photo courtesy of The McCall Pattern Co.)

What a diff erence a fabric makes! Th is gown displayed in the Bellville Sassoon Boutique is the same as the one to the left except for the fabric

(Photo courtesy of David Sassoon and Bellville Sassoon.)

your sewing ability, time available, lifestyle, and personal preferences

Begin with the garment and its end use Describe

it in detail: identify the garment type—blouse, skirt, suit, leotard, nightgown, or evening gown; the gar-ment style—avant-garde or classic; the garment structure and silhouette—soft , draped, structured, bouff ant; the desired quality—luxury or moderate;

the relationship of the design to other garments in your wardrobe; and the design’s relationship to cur-rent fashion trends

Consider where the garment will be worn—

home, work, grocery store, PTA, symphony, ding, or job interview, as well as when it will be worn—morning, aft ernoon, evening, every day, special occasion, winter or summer, or all of these

wed-Th en think about how oft en it will be worn—once, occasionally, frequently, or for several years

Once you have described the garment, consider the fabrication Review the fabrics in your collec-tion, visit fabric retailers, examine the latest mail-order swatches, and survey current trends Good-quality, natural-fi ber fabrics never go out of fashion, and since I do not live near a store with fi ne fabrics,

Cl a ir e’s Secr ets for Success

Sew with a positive attitude.

To save time, stitch it right the fi rst time.

Test, test, test When in doubt, practice before stitching the garment.

Stitch directionally with the fabric.

Stitch with the fabric bulk to the left of the needle.

Stitch in the direction of the nap, as if you were petting an animal.

Begin stitching at the point of diffi culty For example, when stitching reverse corners, begin at the corner When stitching notched collars, begin at the notch.

Stitch with the longer layer on the bottom.

Sew fl at For example, set the pockets before sewing the side seams.

Sew inside loops, circles, sleeves, pant legs, and collars carefully to avoid inadvertently stitching through unwanted layers.

When topstitching, stitch with the piece right-side up unless directed otherwise.

When straight stitching, use a foot that holds the fabric fi rmly I prefer a wide, straight- stitch foot instead of an all-purpose or embroidery foot

Understitch faced edges.

I have a large stash of fabrics, and I frequently order

fabrics by mail To be on the safe side, I always buy

a little extra

Most fabrics for adult designs, especially luxury and novelty fabrics, are purchased because the fab-

ric’s design, pattern, or color appeals to you, not

be-cause it’s durable When purchasing fabric for

chil-dren, durability is generally more important

To eliminate an unsuitable fabric, evaluate its quality, type, structure, design, weight, hand (how it

feels), care requirements, comfort factors, and

dura-bility, and then compare it to the garment style you have chosen Hold the fabric, crush it, and drape it

to determine whether it is crisp or soft , thick or thin, heavy or lightweight, loosely or fi rmly woven, fl at

or textured, silky or rough, transparent or opaque, sleazy or luxurious

Evaluate the fabric’s suitability for the garment type, design, occasion, and your lifestyle; how the fabric will fi t, or not fi t, into your wardrobe; how it will look on you; and whether you have the skills, time, and patience to sew it

Consider the cost of the fabric and its care ments Determine whether the total cost is appropri-ate for this type of garment and whether it works within your budget Do not be tempted to economize

require-on interfacings, linings, or buttrequire-ons to save mrequire-oney

Cheap fi ndings can spoil an otherwise beautiful sign If necessary, select a less expensive fabric, but

de-fi nish it with de-fi ndings appropriate to its quality

A combination of knits and wovens makes a great fashion statement for the younger set.

(Photo courtesy of Simplicity Pattern Co., Inc.)

Choose a pattern with a silhouette and design details that will fl atter your fi gure, look attractive on

you, and be appropriate for your age, size, and fi gure

type Study the line drawings in the pattern catalog,

try on similar garments in your wardrobe, and go

shopping to try on some ready-to-wear pieces

Before marrying the fabric to a pattern, ine the fabric’s character, including its fi ber content,

exam-hand, weight, texture, drape, transparency, and

weave Evaluate its compatibility with the garment

design Review the fabric recommendations on the

pattern, analyze successful fabric-design

combina-tions, and survey current fashion trends If the

fab-ric is not perfect for the selected design, can its

char-acter be changed with interfacing or an underlining

so the fabric and design will work well together?

Consider your sewing skills, diffi culty of the design, characteristics of the fabric, amount of time

available, and your patience Unfortunately, you will

have an occasional failure It happens to the very best

sewers, so do not be discouraged

more fl attering to large fi gures than those that line the silhouette

out-Medium values are usually more slimming than dark or light ones, but in the Sunbelt states, light and bright colors may be better

All shiny fabrics—satin weaves, metallics, and beaded materials—refl ect light and make you look heavier, but dull fabrics—dull-faced satins, peau de soie, and dull metallics—add less visual weight than acetate satin and shiny sequins

Although textured fabric—piles, thick woolens and tweeds, mohair, fake furs and real furs—add bulk, they can be worn by larger fi gure types if they are selected carefully Velour knits are more slim-ming than woven velours, and short-haired furs have less bulk than long-haired furs Cotton velvet and velveteen, which absorb light, are more fl atter-ing to a large fi gure than rayon velvet, which refl ects light, thus enlarging the fi gure

Most soft fabrics fl atter heavier fi gures, but when they are fi tted too closely, the fabric clings, empha-sizing size and shape

Since stiff fabrics stand away from the body, they can be used to hide fi gure irregularities, but they make the fi gure appear larger when used for exag-gerated silhouettes

Fa br ic Qua lit y

To keep disappointments to a minimum, learn to recognize fabric quality Examine it carefully Check for fl aws in the weave, printing, or fi nishing Even the best-quality fabrics will sometimes have fl aws

If you know this before you buy, you can purchase extra so you can cut around them

a pattern I have sewn before.

Fa br ics for

Figu r e Fl attery

Choose fabrics that will fl atter your fi gure Select

colors you like and think are becoming Generally,

cool hues such as blue, green, and violet are more

slimming than warm hues, like red, orange, and

yellow Colors that blend into the background are

Wove n Fab ric s

Examine the fabric It should be on grain with the warp (lengthwise yarns) and fi lling (crosswise yarns), straight and at right angles to each other

Look for slubs, printing errors, permanent wrinkles, and snags Good dyes penetrate the fabric

well so that the color is good on the back as well as

the face

Generally, plain fabric is judged by the number

of threads per square inch Hold the fabric up to the

light and examine the weave It should be uniform

Patches of light and dark indicate poor construction,

poor-quality yarns, or heavy sizing If the fabric is

not a novelty weave, the threads should be fi ne and

closely spaced To test for fraying and seam slippage,

scrape your thumbnail across the warp threads to

see if they separate If they do, the fabric will fray

and the threads will pull apart at stress points

Test for resiliency and the ability to recover from

wrinkling by squeezing the fabric in your hand It should spring back with few creases

Generally, woven plaid, checked, and striped rics are better quality than similar printed patterns, but there are exceptions

fab-K nit Fab ric s

Examine the ribs on knit fabrics Th ey should be parallel to the edges and at right angles to the hori-zontal rows on the wrong side of the fabric If the ribs are badly skewed, the garment will not hang properly when the fabric pattern looks right, and if

it does hang properly, then the fabric pattern will be distorted To check for shape retention, stretch the knit to see if it returns to its original shape

Fib er C onte nt

Th e fabric’s fi ber content determines its comfort and care qualities To determine the fi ber content, ask for a small swatch so you can test it If it is not convenient to take it home for testing, ask the sales-person to do a burn test, or take it outside and test the swatch yourself (See the updated Burn Test for Fiber Identifi cation, page 475.)

When you think the fabric is made from more than one fi ber, burn the warp and fi lling threads separately for best results Hold the swatch or yarns securely in a pair of tweezers and work over a sink

Fa br ic Serv ice a bilit y

Th e life of a fabric depends on the fi ber: the kind, tensile strength, and the twist; the number of plies and number of yarns per inch; and the weave and compactness of the fabric construction Natural-

fi ber fabrics with long-staple fi bers, such as cotton percales and worsted wools, are stronger, smoother, and more serviceable than those with short-staple

fi bers like muslin and woolens Natural-fi ber fabrics may be more or less serviceable than fabrics made of synthetic fi laments

Th e twist of the yarns determines the behavior, durability, and appearance Fabrics made from

fi ne, high-twist yarns, like men’s worsted suitings,

fi t as you will be cutting them off grain.

Iden tif y i ng the Wa r p

When you have a fabric scrap with no selvage, use these guides to identify the warp threads that run parallel to the selvage.

• In plain weaves, there are usually more yarns

• In sateen, the fi lling yarns make the fl oats.

• The direction of the fabric with the least stretch is generally the warp.

• Inferior or thicker yarns and yarns with slubs, lower twist, or fewer plies are usually in the

fi lling.

• Plaid fabrics often have vertical rectangles.

are stronger, smoother, more durable, more elastic,

more absorbent, more resistant to soil, and more

crease-resistant than those made from low-twist

yarns, such as women’s soft woolens

Fabrics made with several yarns twisted together are more durable than fabric made with single-ply

yarns or multi-ply yarns that are not twisted When

the yarns are not twisted together, the fabric will

be soft er and more luxurious but less resistant to

abrasion and snags

Fabrics woven from staple fi bers, such as ton, linen, and wool, slip less at seams than fabrics

cot-woven from fi lament yarns, such as silk, nylon, and

polyester

Fabrics that are made with slubbed, looped, or novelty yarns for decorative eff ects—bouclés and

shantungs, for example—are not as serviceable as

fl annels and silk linens

Closely woven fabrics that have a high thread count, that is, more threads per inch, are more du-rable, shrink less, and hold their shape better Th ey also have less slippage at the seams Th e closeness of the weave or thread count is determined by adding the number of warp threads per inch to the num-ber of fi lling threads per inch For example, burlap, which is a coarse weave, has 20 threads per inch, while fi ne sheets can have as many as 600 threads per inch

Compared to plain-weave fabrics, basket-weave fabrics drape better Th ey are not as durable because

of their loose weave, and the low-twist and low sile strength of the yarns typically used to create them Twill-weave fabrics with the same number of threads per inch drape better When they are more tightly woven, they are stronger, fi rmer, and heavier

ten-To see for yourself, examine two neckties, one plain weave and one twill weave

Satin-weave fabrics, such as charmeuse, are less durable but more lustrous than plain-weave fabrics like broadcloth, or twill-weave such as gabardine

Fabrics woven with fi ne, tightly twisted yarns and a close weave, organdy for example, are more durable than loosely woven fabrics such as damask, which is made with low-twist yarns and long fl oats

Fabrics with long fl oats, open weaves, and bellishments—embroidered fabrics, laces, quilted fabrics, and satin—snag easily

em-Woven fabrics, such as seersuckers, are more rable than embossed materials such as plissé Em-bossed designs are more durable on heat-sensitive

du-fi bers, such as polyester and nylon, than on ral fi bers or cellulosic manufactured fi bers, such as rayon and lyocell

natu-Flocked fabrics are less durable than fabrics with similar woven designs

Custom made for actor Hank Fincken, this worsted wool

suit was inspired by a 1932 suit worn by Henry Ford.

(Photo courtesy of Terry Crawford and Graphics 35, Inc.)

Fa br ic Comfort a n d Ca r e

Read the information on the end of the bolt Check

the fi ber content and care requirements Generally,

natural fi bers are more comfortable to wear, and

synthetic fi bers are easier and cheaper to clean

Blends combine the best, and sometimes the worst, of the fi bers used For example, when poly-

ester is blended with cotton, the new fabric is more

resistant to wrinkles, but it pills and stains more

easily

Fun and fashionable, consider easy-to-sew designs when

you have limited time to sew

(Photo courtesy of Simplicity Pattern Co., Inc.)

Time Sav ers

If your time to sew is limited, choose fabrics that do not require special handling For skirts, slacks, and outerwear, select fabrics that do not require inter-linings or linings Firmly woven, opaque, medium-weight fabrics and knits are easier to sew than slip-pery, soft , or loosely woven ones Broadcloths are easier to sew than soft , slippery crepes Avoid using fabrics that require matching, such as plaids; mak-ing a test garment from an expensive fabric, such as velvet or leather; and sewing special seam and hem

fi nishes on transparent fabrics

Pr ice

Purchase the best quality you can aff ord quality fabrics are not necessarily the most expen-sive, and once you have learned to recognize the characteristics of diff erent grades, you will oft en

Fine-fi nd that medium-priced fabrics are attractive and wear well

When your budget is limited, select a quality fabric from a less expensive group instead of poor-quality fabric from a more expensive group

good-For example, choose a good-quality polyester blouse fabric over a cheap silk one, velveteen over velvet, or

a linen-look or cotton over linen

Another way to preserve your budget is to bine two diff erent kinds of fabrics, such as lace with

com-a plcom-ain fcom-abric, velvet with com-a scom-atin, or novelty wool with a wool jersey To fi gure the cost of the garment, add the cost of cleaning to the initial cost of the fabric, notions and other fi ndings, then divide by the expected number of wearings

Ga r m en t Ca r e

Garment care depends on the fi ber content; the yarn construction; the fabric construction; the fi n-ishes and dyes applied to the fi bers, yarns, or fabric;

and the garment construction Clean all garments before they become heavily soiled I dry clean most

of my garments so they will maintain their like-new appearance longer I rarely try to remove spots and stains because many spot removers will set stains

Th is elegant veil is fi nished with a wide lace trim.

(Photo courtesy of Simplicity Pattern Co., Inc.)

Th is smart princess style is a good choice when sewing a diffi cult fabric

(Claire Shaeffer’s Custom Couture Collection for Vogue Patterns Photo courtesy

of The McCall Pattern Company.)

If your fabric is not listed, compare its istics to those that are If they are similar, continue

character-on If they are not, consider a diff erent pattern or another fabric When you want to be creative, com-bine the two Innovative combinations can lead to fantastic garments Unfortunately, they can also lead to disaster, but I prefer the “nothing ventured, nothing gained” route over safe and dull

Analyze the design features to determine

wheth-er you have the time and ability to sew them well

in the fabric you have selected Features such as set-in-sleeves are always more time-consuming than dropped-shoulder designs, and while they are relatively easy to sew in a soft woolen, they are much more diffi cult to set smoothly in wool gab-ardine because of its tight weave and hard surface

When sewing a fabric for the fi rst time, select an easy design so you can concentrate on mastering the fabric

permanently and may remove the fabric color

Design Ideas and

Pattern Selection

Before selecting a pattern, survey the latest in

ready-to-wear pieces for design ideas Do not just look Try

the garments on, especially if they are in a new

col-or, silhouette, or style Analyze the designs you like

to determine what pleases you Is it the fabric, the

design, or a detail you can adapt? When selecting a

pattern, analyze the design to determine whether it

will fl atter your body Look at the line drawings; do

not rely on the photograph or fashion illustrations

Also consider the fabric’s weight, bulk, texture, opaqueness, drapeability, crispness, surface design,

and care requirements Review the fabric

sugges-tions on the pattern envelope In addition to

specifi c fabrics, these suggestions provide guidance

for selecting other fabrics with a similar hand

uti-Bias-cut sections are larly attractive on plaids and stripes Use the following easy method to cut garment sections

particu-on the bias when the pattern indicates a lengthwise grain: Fold

an envelope diagonally so the short end aligns with one long side of the envelope Align the long side

of the envelope with the grain line on the tissue pattern Draw a new grain line along the folded diagonal edge of the envelope

A ddi ng Se a m li n es

For another easy design change, add a seamline, and for materials such as leather and suede that are purchased in pieces—usually by the skin—this is frequently a necessity

1 Draw the new seamline on the pattern and indicate the match points Make a full pattern

or duplicate pattern pieces when needed

2 Cut the pattern apart and add a seam ance to both edges Before cutting, I check

allow-to be sure the grainline is marked on both pieces

Pr epa r e a n d A dj ust

the Patter n

Press the pattern with a warm, dry iron and adjust

it before cutting the garment Th ere are three ways

to check pattern fi t: Compare your measurements

to those on the pattern envelope If yours are larger,

add to the pattern where needed for bust, waist, or

hip For a large bust, add to the front sections For a

broad back, add to the back section

Pin-fi t the tissue pattern as follows: Trim away the paper margins Match and pin the seamlines

together, then try on the tissue pattern As an added

advantage of this method, you can check a neckline

that might be a little too deep

Make a test garment When sewing intricate designs and fabrics that ravel badly, are marred by

pins and needles, or are easily damaged by excessive

handling, the test garment provides an opportunity

to practice your sewing skills and experiment with

design changes, as well as to perfect the fi t

Test garments are usually made in inexpensive muslin or pattern cloth similar in weight to the

fashion fabric If you don’t like to make test

gar-ments, make a wearable garment in an inexpensive,

easy-to-sew fabric

Du plicate Pat ter n Pieces

Most commercial patterns include a tissue pattern

for the right side of the garment with instructions

to lay out the pattern on a double lay—that is, two

layers of fabric When cutting expensive or bulky

fabrics, or those with designs that require matching,

you will save time and fabric by making a complete

pattern by cutting duplicate pattern pieces

If you made a test garment, carefully rip out the seams of the fi tted test garment and press the pieces

fl at with a dry iron Mark the left and right sides

of the test garment carefully and use the muslin

sections, instead of the paper pattern, to cut your

good fabric If you did not make a test garment,

trace the pattern sections that need to be duplicated

onto pattern cloth or paper For my duplicate pattern

1 Match and pin the

pattern pieces

togeth-er on the seamline

2 Cut the new garment

section in one piece

Pr epa r e the Fa br ic

Most fabrics need to be preshrunk or relaxed

be-fore cutting Using the fi ber content, yarn structure,

fabric weave and color, manufacturer’s

recommen-dations, and garment construction methods as

guides, decide whether the fi nished garment will be

laundered or dry-cleaned

If it will be laundered, wash and dry the uncut fabric the way you plan to wash the garment If the

garment will be dry cleaned, steam-press it well,

which is easy if you have a commercial gravity-fl ow

iron or a steamer As an alternative, you can hang

the fabric in the bathroom, fi ll the tub with hot

water, and close the door to steam-shrink it Take

wools to a dry cleaner to be shrunk

Assembl e the equ ipm en t

You can sew well without a lot of expensive

equipment

S ewin g M a c hine

A quality sewing machine is your most important

tool It does not have to be the latest model or the most expensive machine I have several machines, including my fi rst machine and my grandmother’s machine Both make only straight stitches My favorite newer machine makes fabulous button-holes and decorative stitches I can use it to sew any fabric, from silk chiff on to heavy coating, with little eff ort on my part

If you do not have a machine or want to upgrade, visit a local dealer Th en choose a good-quality machine that meets your needs today When your skills improve or your interests change, you may want a machine with additional features If your dealer off ers classes, take advantage of them No matter how well you sew, classes will help you maximize the features on your machine If you have

a machine that has not been used recently, take it to your dealer to be cleaned and serviced

E x t ra B ob b in C a s e

I have an extra bobbin case to use when ease basting, gathering, topstitching, embroidering, or using textured and heavy threads, so I don’t have

to change the tension on my primary bobbin case

An extra bobbin case is a luxury item, but it is a real headache reducer

Shim

A shim is a device used to level the machine foot and help prevent skipped or uneven stitches when sewing over bulky seams If you do not have a shim, make one by folding a piece of cardboard To use the shim, slide it under the back of the presser foot

as you begin stitching across a bulky seam Th en, before you stitch off the fabric, reposition the shim under the front of the foot and continue to sew

Some commercial shims are avaiable, such as the Hump Jumper or Jean-a-ma-jig

Claire's Hint

Before I had a steamer, I wrapped a wet synthetic chamois around the iron to create a lot of steam I still do this sometimes

Generally, for topstitching, machine buttonholes, and embroidery, a larger needle or a topstitching needle will accommodate a heavier thread better, because the shaft and the hole are larger as the needle size increases

I recommend having a range of needle sizes

on hand because fabrics vary in weight and thickness I always begin stitching with the smallest needle size appropriate for the fabric

Th ere is no need to make a large hole when a small one will do If there are skipped stitches,

I use a larger needle and/or a diff erent type

of needle

Th is elegant dress, designed by Hazel Matthys, is made in

a fi rmly woven, hand-painted silk Th e colors are outlined

with strands of black silk thread She used a sharp needle

in a small size for stitching

(Photo courtesy of Hazel Matthys and Armour Photography.)

are not fussy about the brand, so I use needles from

many manufacturers Your machine may be more

particular

Needles are described by size and name Th e name describes the needle type; that is, universal

(H), sharps, including Microtex (HM), denim (HJ),

and quilting (HQ), stretch (HS), topstitching (N),

and ballpoint (H-SUK) (For a more complete

de-scription of needle types and their uses, see

Appen-dix B: Sewing Machine Needles, on page 458.)

Th e needle size describes the diameter of the needle shaft Th e smaller the number, the smaller

When seaming heavy fabrics, I prefer unglazed threads (40 weight), such as topstitching or embroidery threads When topstitching, I sometimes substitute two strands of all-purpose thread

dium weight and most common (For more

infor-mation about threads, see Appendix A: Th reads, on

page 460.)

Many threads do not indicate the size One reason is that cotton and polyester threads are sized

diff erently; that is, all-purpose cotton thread (50/3)

and polyester thread (100/3) are about the same size,

but the polyester thread is stronger

Th e size (such as 50/3) describes the thread weight (50) and the number of plies (3) that have

been twisted together to make the thread Generally,

a higher fi rst number indicates a fi ner thread

All-purpose or regular threads can be used on most fabrics for general sewing, seaming, button-

holes, and topstitching Th ey are available in

cotton (50/2, 50/3), cotton/poly core, polyester

(100/3), and silk (50, A) Polyester thread is the most

elastic, meaning it has the most inherent stretch

Cotton has the least

Fine or lightweight threads are preferred for chine buttonholes, topstitching, and seaming light-

ma-weight fabrics Th ese threads include fi ne cotton

machine-embroidery thread (60/2, 70/2), lightweight

polyester, extra-fi ne cotton/poly core, lightweight silk

(200,100), and lightweight serger threads (120/2)

Machine embroidery and topstitching or heavy threads are used for topstitching, buttonholes,

machine embroidery, quilting, sewing buttons,

strong seams, and joining heavy fabrics Available in several weights, 60, 50, 40, and 30, these threads can

be all cotton, polyester, or cotton/poly core Th read weights are numbered—the higher the number, the

fi ner the thread For example, 40-weight thread is heavier and stronger than 60-weight thread

Texturized threads include texturized nylon and polyester Soft and elastic, woolly nylon is most readily available It leaves few pressing imprints and adds elasticity to seams, hems, and twin-needle stitching when used in the bobbin or overlock machine (serger)

Serger threads (60/3, 70/3) provide a soft edge

fi nish for serging lightweight fabrics Lightweight serger threads (80/2, 100/2, 120/2) are less likely

to leave a pressing imprint on light- and weight silk and rayon fabrics Th ey can also be used for general sewing on delicate fabrics

medium-Water-soluble basting thread dissolves when pressed with steam or washed Use it in the bobbin

Fusible thread melts when pressed with heat and moisture Use it in the bobbin I oft en use it to create self-basting zippers by stitching a zigzag row on the zipper tapes

Claire's Hint

To avoid accidents, close your rotary cutter every time you set it down Your fi ngers will thank you To avoid damaging your cutting equipment, do not let the pins extend beyond the pattern cutting line

Hint

For natural-fi ber fabrics (cotton, wool, silk, and linen), I prefer cotton threads, which cause fewer stitching problems Cotton threads are not as elastic, strong, or durable as polyester threads With some fabrics such as leather, suede, and waterproof fabrics, cotton threads will mildew or rot.

Glacé and quilting threads (40/3) are glazed cotton designed for hand-sewing Use them in the

bobbin for gathering and easing Th ese threads leave

a residue in the bobbin case when used extensively

Invisible monofi lament nylon and polyester threads are available in clear and smoke colors

Designed to blend in invisibly, some are soft er

Before sewing a specifi c fabric, review the

appro-priate fabric section to be sure you have the tools

and supplies you need

Scissor s and Shear s

When selecting cutting equipment, quality is

bet-ter than quantity Begin with a good pair of 8"

shears Add stainless, serrated shears for cutting

lightweight or squirmy fabrics Th ey are also good

for fabrics such as microfi bers and polyesters that

dull the blades easily You will also want 5"

trim-mers for trimming and clipping

Rot ar y Cut te r an d M at

A rotary cutter, which requires a cutting mat to

avoid damaging your table, is particularly useful

for cutting straight edges But, like needles and

pins, the blades dull quickly when cutting some

fabrics Replacement blades are readily available

in the notions department

Markin g To ols

Chalk is available in several forms: clay, wax,

chalk wheels, chalk pencils, and disappearing

chalk I prefer white chalks, which cannot leave a

permanent stain Wax chalk should be used only

on wool and hair fi bers A non-greasy soap sliver

is a good substitute

Erasable pens (air-erasable and water-soluble

pens) are handy marking tools, but may stain some fabrics permanently, particularly linen, hemp, and bamboo, which are very absorbent Test them fi rst

Extra-fi ne pins have a diameter of 6 mm

Superfi ne pins have a diameter of 5 mm or less

Th ese are the smallest available and least likely to leave pin scars on delicate fabrics Surprisingly, superfi ne pins also work well on many densely woven fabrics

If you do not have superfi ne pins, use fi ne

hand-Hint

I keep my used pins in a box separate from the new ones, so I can use only new pins when sewing on delicate fabrics I discard all pins that fall on the fl oor.

sewing needles instead (sizes 9 to 12)

Safety pins have a variety of uses: marking the right side of fabrics that look the same on both sides;

marking construction symbols on delicate and

nov-elty fabrics, such as chiff on, mesh, net, and lace; and

marking hems on pants Use small safety pins on

fi ne fabrics and larger ones on other fabrics

We i ght s and Adhe sive Sp rays

When pins will damage the fabric, use weights

and temporary adhesive sprays to hold the

pat-tern pieces in place for cutting If you do not have

pattern weights, use dinner knives, lead drapery

weights, or large washers

I use 202, which is a temporary adhesive spray for patterns It has a light adhesive I prefer 606, an

adhesive with greater sticking power, when placing

appliqués

Ela s t ic s

Braided, clear, and non-roll elastics are the ones I

use most oft en

Braided elastic narrows when stretched, making

it easy to insert into casings

Clear elastic is 100 percent polyurethane that stretches 300 percent Sometimes called “invisible

elastic,” it narrows when stretched and is not

dam-aged when clipped or stitched for gathers or stays

Non-roll elastic is fi rm and strong enough to port elastic waists on heavy knits and heavy skirts

sup-St ab ilize r s for sup-St itc hin g

Generally, I prefer a water-soluble stabilizer, but

I also use spray starch, liquid stabilizer, tissue

paper, lightweight tear-away, and heat-away

stabilizer I use stabilizers when stitching

machine buttonholes, and tissue-stitched seams

(See Appendix D: Stabilizers on page 462.)

St ay Tap e

Many seams and edges need to be stabilized to

prevent them from stretching out of shape You

can purchase lightweight stay tapes or rayon seam

binding, but I generally use a narrow strip of lightweight selvage or silk organza that has been pressed to remove all the stretch To stabilize a seam when I want to retain its ability to stretch, I use clear elastic

Fray Ret ar dant s

Fray retardants, seam sealants, and a solution of diluted white glue reduce fraying Apply carefully

to avoid using too much and leaving a permanent stain It’s best to test fi rst on a scrap

Markin g Tap e

For marking on fabrics, use draft ing tape, which doesn’t leave a sticky residue When stitching on loosely woven and open-knit fabrics, use regular transparent tape to wrap the toes of the presser foot to avoid snagging

Sewing Notes

L ayou t a n d Cu t ti ng

If the fabric looks the same on both sides, decide which side you like better Th en mark the wrong side with a cross stitch, draft ing tape, or small safety pin, or chalk-mark the back with an “X.” To avoid stretching and distorting the fabric, spread

it on the table so it doesn’t hang off the end Use

a nap layout except when you are positive there is

no nap or shade diff erence

If there is room on your cutting surface, place all the pattern pieces on the fabric before pinning If not, check to make sure all pattern pieces will fi t on the fabric before pinning and cutting the ones that

fi t on the cutting surface When using a single-layer layout, make a set of duplicate pattern pieces Label them “left ” and “right” to avoid cutting errors For the layout, place the pattern pieces face up on the right side of the fabric

For fi ne fabrics, use weights or superfi ne pins only, or substitute size 10 needles for pins Place pins within the seam allowances parallel to the

grainline Extend the grainlines on the pattern

pieces so you can pin at the top and bottom in the

Th e marking method you choose will depend on

the fi ber content, fabric type and quality, time

available, and your preferences For most fabrics,

I use clips, chalk, pins, or safety pins, but intricate

seams and some fabrics require thread or a

tracing wheel and tracing carbon

Using short ⅛" clips (snip marking) is the est and easiest marking method Clips are suitable

quick-for fi rmly woven and knit fabrics

I use chalk in all forms: clay, wax, chalk wheels,

chalk pencils, and disappearing chalk Use wax chalk only on wool and hair fi bers It will stain other fabrics, especially hemp, linen, bamboo, cotton, and silk Test your choices on the specifi c fabric fi rst

Pins are a good choice for fabrics that are not easily marred Th ey should not be used on delicate woven fabrics, piles, and some napped fabrics I use pins to mark placement symbols, dart points, and match points Remove the pins as soon as possible

to avoid permanent marks I like small safety pins for sheers, loosely woven fabrics, and slippery fab-rics because they will not fall out

A tracing wheel, tracing carbon, and thread are the best choices when stitching accuracy is critical

I like thread-marking with long basting stitches when other methods might damage the fabric

Th read tracing and tailor’s tacks are suitable for all fi ne fabrics Th ey are accurate but time consum-ing Use a soft thread, such as embroidery fl oss or unglazed basting thread

To mark match points with tailor’s tacks, use a doubled thread without a knot At the match point, take two stitches through the pattern and fabric layers, leaving a large loop between the fi rst and second stitch Clip the loop and remove the pattern

Carefully separate the fabric layers and clip the threads between them

Stitchi ng Tips

Th roughout the book, I’ve described the stitch lengths, tension, and machine feet that I use to make test seams Th ese are just guides You may prefer longer or shorter stitches, depending on your fabric and machine

I use a variety of special feet to eliminate many frustrating stitching problems My favorites in-

If you can sew, you can design Th is stunning couture

blouse from Yves Saint Laurent was pleated to transform

a large houndstooth pattern into a smaller one at the

clude the wide straight-stitch foot, roller foot,

even-feed (walking) foot, zipper foot, and zigzag or

all-purpose foot

I use the wide straight-stitch foot for straight stitching It holds the fabric fi rmly and reduces

stitching problems and puckered seams Th e roller

and even-feed feet reduce underlayer creep If you

don’t have these feet, use the zigzag or all-purpose

foot that came with your machine Th ere are also

many other special feet that you may fi nd useful

Make a test seam to check the needle size, thread size and color, and stitch quality Stitch 10" to 12" to

check for underlayer creep and puckering

Begin with a new needle in the smallest size ommended Th ere’s no need to make a big hole when

rec-a little one will work If skipped stitches or frrec-ayed

threads are a problem, try a new needle If fraying continues, use a larger size with a larger eye

When several needle types are suggested, I list the one that gives the best results fi rst

Sewing Basics

I have focused on techniques that will produce quality garments Some are quick and easy, while others require more time All techniques will provide good results for novices and experts alike

If you are interested in haute couture methods, see

my book Couture Sewing Techniques (Taunton,

2007) If you prefer ready-to-wear techniques,

see Sewing for the Apparel Industry (Prentice

Hall, 2001)

Th is is the same pattern as the one I used for the red jacket above I fabricated this jacket with a novelty tweed and changed the neckline to create a completely diff erent look

(Custom Couture Collection by Claire Shaeffer for Vogue Patterns Photo

courtesy of The McCall Pattern Company and Vogue Pattern magazine.)

I frequently use my patterns multiple times I made this

jacket from a red wool crepe and used the pattern exactly

as it was designed.

(Custom Couture Collection by Claire Shaeffer for Vogue Patterns Photo courtesy

of The McCall Pattern Company and Vogue Pattern magazine.)

Se a ms

Seams and seam fi nishes should be fl at and

inconspicuous from the right side of the garment,

except when they’re designed to be decorative

When selecting the seam or seam fi nish, sider the fabric type, weight, and transparency; the

con-garment design, type, use, care, and quality; the

location and purpose of the seam; and your time

commitments and preferences

For lightweight fabrics, I prefer self-fi nished seams, even when the fabric is not transparent (See

Seams, page 366.) For medium- to heavy-weight

fabrics, plain seams are the fl attest

For heavy wear and sturdy construction, select

a seam with one or more rows of topstitching For

unlined garments, choose a seam or seam fi nish

that is neat on the inside of the garment Most lined

garments do not require seam

fi nishes Use stretch seams on

stretch fabrics

S e a m Fini s h e s

Although the most professional

fi nish is a serged edge, it is not

always my fi rst choice

How-ever, it is used on ready-made

garments that cost as much as

$25,000 Serging can be used

on seams that are pressed open

or on double-ply seams that are

stitched closed

Th e best seam fi nish for

luxu-ry garments is hand overcasting

with cotton thread

Th is fabulous skirt could be made using scraps from other projects

or remnants that were not large enough for a complete design

(Vogue Pattern Photo courtesy of The McCall Pattern Co.)

S e a ming Te c hni qu e s

Several seaming techniques make it easier to sew most fabrics, reduce stitching problems, and improve the fi nished design Th e most useful of these—tissue stitching, sandwich stitching, and seam taping—can be applied anytime you sew, while eliminating or adding seams and changing seamlines requires some advanced planning before the garment is cut

Tissue stitching with a stabilizer, such as tissue, water-soluble stabilizer, or heat-away stabilizer, between the fabric and the feed dogs prevents many stitching problems

Sandwich stitching, similar to tissue stitching, also prevents stitching problems, but sandwich stitching requires two stabilizer layers, one on the top and one on the bottom

PATTERN PATTERN

Claire's Hint

Do not shift the pattern piece to cut off -grain

Th is will distort the drape of the design

new cutting line

Stay taping stabilizes seams, edges, foldlines, and openings to preserve the garment shape and prevent

stretching during construction and when the

gar-ment is worn and cleaned Use the pattern piece as a

guide to mark the fi nished length on the tape

With the fabric wrong side up, center the tape over the seamline, baste, and then stitch perma-

nently When taping a folded edge, center the tape

over the fold and pin

Use a long running

stitch to sew it in place

inconspicuously

For stretch fabrics, use clear elastic instead

of tape to maintain the

shape without losing the

elasticity

Change seamlines that are on the straight

of grain Th ese pucker

more than seams sewn

on a slight bias Redraw

the cutting line so it is

a very slight A-line, as

follows: At the hemline, mark a point ½" from the

original cutting line Draw a line connecting the

point with the cutting line at the hip

Hems a n d Edge Fi n ishes

For many designs, I prefer a plain hem that is

fi nished by hand or machine, but there are many

other hems and edge fi nishes that are more

ap-propriate for some fabrics, specifi c designs, and

special purposes (See Chapter 25: Hems on pages

When sewing lightweight fabrics, use narrow hems on full garments, fl ared skirts, shaped edges, narrow trims, and ruffl es Use wide hems on straight and rectangular skirts to add weight and body Interface or pad hems to prevent sharp fold-lines Use machine-stitched hems on garments that will be machine-washed and -dried, work clothes, children’s garments, casual and everyday wear, and uniforms Use stretch hems on stretch fabrics Sub-stitute bands, ribbings, and bindings for hems when the fabric is diffi cult to hem attractively

Sl eev es

Sleeve caps with more than 1" of ease can be

dif-fi cult to sew into the armholes attractively To duce sleeve cap ease, make a horizontal fold in the pattern piece across the top of the cap A fold ⅛"

re-deep will reduce a ⅜" ease to ½" Redraw the ting lines without reducing the sleeve width

cut-Pr essi ng

Pressing is an essential phase of sewing Good pressing can enhance a poorly stitched garment, while improper pressing can destroy a well-made design On many garments, I spend more time pressing than stitching

Well-pressed garments have fl at, carefully shaped edges and straight, pucker-free seamlines Th ey do not have imprints of construction details on the right side, unwanted creases or wrinkles, or shine

fold line

and marks left by the iron

Test-press on fabric scraps to determine the heat settings, moisture, and pressure To press well, ex-

periment with various heat settings, damp and dry

press cloths, steamers, and clappers

Press as you go to set seams and darts nently before crossing them with other seams or

perma-hems Press the seam allowances fl at, then press

them open

Remove pins before pressing Press as much as possible from the wrong side Always press collars,

plackets, and lapels wrong side up

Use a press cloth when pressing the right side of the fabric To avoid seam imprints, use a seam roll,

seam stick, or brown paper strips between the seam

or hem allowances and the garment

In addition to a regular steam iron, I use a hand steamer or a larger steamer to shrink and steam fab-

rics and garments, and a small hobby iron to press

inside collars and other hard-to-reach places

To avoid spitting and spewing, the iron should be warmed up and steaming properly before you begin

to press Press all seam allowances fl at, then press

them open When pressing fabrics with multiple

fi ber types, set the heat for the most sensitive fi ber

When pressing fabrics with surface texture, bound pockets, or bound buttonholes, cover the

pressing surface with a thick terry towel

Use a press cloth when pressing the right side of the fabric To avoid seam imprints, use a seam roll

Cover the seam roll with wool and arrange the seam

over it Press the seam allowances open, then spank

them with a clapper until the seam is fl at Do not

move the seam until it dries

Pr e s sing To ol s and Sup p lie s

Use a tailor’s ham, sleeve board, seam roll, and point presser to support the garment sections so you can shape and mold them A ham is a fi rmly shaped pressing cushion that allows you to press curved sections easily A ham holder is a nice addition With it, you can set the ham on its end

or side

If you have a limited budget, substitute a rolled

up towel, a small and fi rm pillow, pot holders, or an oven mitt for pressing pads and tools

A point presser is a wooden tool that allows you

to press seam allowances open on collars, cuff s, and garment edges Some are straight with a point at the end, while others have a variety of curved edges

Th is is an investment item and worth every penny

A seam stick is a half-round hardwood stick I use it for pressing seam allowances open I have a second stick to use on top as a clapper when press-ing diffi cult fabrics

A wooden clapper is used to spank seams and edges to fl atten them

A clean cellulose sponge is indispensable for plying water directly to fabrics that will not water spot or to a press cloth Wet the sponge and shake it out fi rst so it will not drip

ap-Claire's Hint

It is much easier to press a second time than to remove a shine, crease, or scorch from pressing too long the fi rst time

Pressing tools My favorite pressing tools include a

multi-surface point presser, seam stick, clapper, sponge, hobby iron and tailor’s ham.

Press cloths are essential Dry or damp, they tect the fabric from the heat of the iron and unwant-

pro-ed water spots Use white or light-colorpro-ed cloths on

light-colored fabrics and dark cloths on dark fabrics

Launder them frequently to avoid transferring soil

to your new designs You can purchase press cloths

or make your own Lightweight cotton muslin that

has been machine-washed several times makes a

good all-purpose press cloth

Satin-faced silk organza or two layers of plain organza make nice see-through press cloths Wool

press cloths are essential when pressing wool and

hair fi bers Cover the ironing board with a large

piece of wool and use a smaller piece to cover

the fabric

Use a 50/50 solution of white vinegar and water

to set pleats, creases, and seams on microfi ber

fab-rics, polyesters, and other diffi cult-to-press fabrics

Always test fi rst to be sure that the solution does not

spot the fabric or change the colors

Use a bar of Ivory soap for sharper creases and seams on wool fabrics For folded edges, rub the

soap on the wrong side and press For seams, rub

the stitching line on each side, then press the seam

allowances open

Ga r m en t Ca r e

All garments will maintain their pristine

appear-ance longer if dry cleaned If you plan to

laun-der the fi nished design, all components must be

washable Preshrink all fabric before cutting

Urban Myths

Th rough the years, several urban myths have

grown up around home sewing, and I must admit

that I have even taught some of them Here are

some of the most popular ones

Myth: When using polyester thread, wind the

bob-bin slowly to prevent puckered seams If you have

puckered seams, it is usually a tension problem

Myth: Add vinegar, salt, or Epsom salts to the

fi nal rinse to prevent bleeding colors and fading

Research has shown that these products do not reduce bleeding Instead, use a product like Retayne

Consider dry-cleaning your favorites Fabrics fade faster when laundered than when dry-cleaned

Myth: Use wax chalk and temporary fabric

markers on hemp and linen Wax chalk will per

manently stain all fabrics except wools and hair

fi bers Th e color of temporary marking pens that are water-soluble and air-erasable may be permanently absorbed by very absorbent fabrics

Myth: When the horizontal and vertical yarns

are not perpendicular to each other, realign them by stretching the fabric on the bias until they are per- pendicular On many fabrics today, you can realign

the grains only temporarily because they have manent fi nishes and will not remember the new alignment

per-Myth: If the front edges of a jacket or coat swing

toward the side seams, cut the front edges off -grain

by adding a pie section at the edges until they hang straight Th e reason the front edges swing toward the sides is that the garment is too small through the hips or the front edges have been stretched or were not stabilized

Myth: Tilt the pattern pieces for a more eco

nomical layout Frequently recommended for faux

suedes and laces, tilting the pattern pieces may not aff ect the color, but the garment sections will not drape nicely

Myth: Use spray starch on knits to prevent the

edges from curling Th is doesn’t work I use hair clips

or small quilting clothespins to hold the edges fl at and then I stitch with a wide foot or serger

Myth: If your bust measurement is larger than

the pattern, divide the additional amount by two and add an equal amount to the front and back

Th is won’t help if you have a large bust or a broad back Instead, add only to the sections where you are larger

Myth: To prevent gaping, put a button at the

bust-line A button may or may not be at the bustline

since button placement on a garment front is mined by the number of buttons and the location of

the top button If the garment gaps at the bust, it’s

too tight

Myth: Use a satin stitch (a very short zigzag) to

machine-stitch buttonholes A satin stitch makes a

stiff buttonhole Stitch with a slightly longer stitch

and silk-fi nish cotton or fi ne cotton embroidery

thread for a nicer fi nish

Myth: Serge the edges immediately aft er cutting

and before seaming Yes, this will reduce raveling,

but it must be done very carefully to avoid

trim-ming the raw edges, which will be used as a guide

when seaming

How to Sew a Zebra

A zebra is a handsome animal with distinctive

stripes and a challenging personality In the world

of fabrics, a zebra is a rare or unusual fabric that

oft en presents challenges when fi rst encountered

Some unique fabrics that are not readily able or that have limited appeal to the home-sewing market include Luminex, rhinestone mesh, Kevlar, Sunbrella, and Tyvek

avail-Fabrics that you have never sewn can include traditional favorites, such as dotted Swiss and mar-quisette as well as new special-occasion fabrics, new fabrications for microfi bers and lyocell, and other interesting materials, such as chalkboard fabric

I frequently attend fabric trade shows, where retailers purchase much of their fabric Th ere is always an incredible selection of unusual, embel-lished, special-occasion fabrics I could not include them all, so I developed the following plan for sew-ing a zebra successfully

Descr ibe the Zebr a

How is the zebra similar to fabrics that you have sewn before?

What are its characteristics? Is it a woven, knit,

or nonwoven? What kind of weave or knit does it have? Is it densely or loosely woven or knitted?

Does it have a nap or one-way design?

New and unusual fabrics are frequently like zebras—beautiful

to look at and challenging to tame

(Photo by the author.)

Sew i ng a Zebr a i n Six E asy Steps

1 Analyze the fabric for its fi ber, tion, advantages, and disadvantages Com-pare it to similar fabrics

construc-2 Look for similar fabrics in ready-made garments

3 Experiment with seams, edge fi nishes, and pressing, using what you know about simi-lar fabrics Don’t be afraid to try new tech-niques

4 “Talk” to the fabric and “listen” to what it

com-Zebras can be divided into a variety of groups:

fabrics that refl ect new technology, unique fabrics

that are not readily available, unusual fabrics that

have limited uses, specialty fabrics that interest only

a few home sewers, any fabric or material that you

have never sewn

Fabrics that incorporate new technology or clude new fi bers, unusual fabric construction, or a

in-diff erent fi nish are “zebras.” For example, fabrics

such as Ultrasuede, microfi bers, Polarfl eece, Slinky,

and Tencel, which are familiar favorites today, were

zebras not so long ago Th ey are readily available,

and you may have already sewn on some of them

tured fi ber, such as rayon, lyocell, acetate, acrylic,

nylon, polyester, or spandex?

Does it stretch in the width, length, or both?

Is it soft or crisp, lightweight or heavy, thin or bulky?

Does it ravel? Do the yarns separate when you scrape your nail across the fabric?

Does it wrinkle or water-spot? Is it absorbent?

Will it require an underlining for stability, body, support, shaping, modesty, comfort, or color?

Can it be cleaned? What are the tions for cleaning?

recommenda-Identify any similar fabrics How are they similar?

What happens when you burn it? (See the

updat-ed Burn Tests for Fiber Identifi cation, page 475.)

What are its disadvantages? How will they aff ect the design?

What are its advantages? How can you utilize them?

Are designers in the apparel industry using it?

How? What types of garments are they making?

Describe some ready-to-wear designs you have seen and the details on them

One of the fabrics I saw at a trade show was a fabulous embroidered chiff on with a beaded design along one edge It had a border design, and it incor-porated many of the characteristics of chiff on, em-broidered, and beaded fabrics When considered as

a whole, this fabric would be challenging, but if the project is divided into many small steps, it will be easier to manage Yes, it’s just like climbing a moun-tain: one step at a time

Sew i ng a Zebr a

If the zebra is similar to fabrics that you have sewn before, apply what you have learned from those experiences Make samples on the new fab-ric, using techniques that have proven successful

in the past When making seam samples, make them about 20" long Hold them vertically and stand back at least 5" to examine the results

If the fabric is unlike any you have sewn ously, review the Sewing Notes in the chapters for similar fabrics Experiment with the recommended techniques If there are no similar fabrics, keep it simple and plunge ahead

previ-Occasionally, when there are no similar fabrics, you must think creatively To sew a rhinestone mesh bodice, designer Carol Lambeth used pliers and a seam ripper to “cut” the fabric, then she sewed the mesh together by hand

Th ere will always be zebras and new fabrics to inspire, excite, and delight us Some fabrics will be more challenging than others, but with the knowl-edge you acquire from your sewing experiences, you will be able meet those challenges and unravel their secrets to sew any fabric successfully

How do you apply a tinsel garland to a jacket? According

to designer Marinda Stewart, it’s easy—just like strips of

marabou

(“Rocking Around the Christmas Tree” from the 2006 Bernina Fashion Show

Magnifi que! Photo by Kim Coffman, courtesy of Quilts, Inc and Marinda Stewart.)

P A R T T W O

FIBER CONTENT

Natural-Fiber Fabrics

The natural fiber fabrics are made from materials that grow in nature Th ey can be grouped into two categories: cellulosic fi bers from plants and protein fi bers from animals Natural fi bers include cotton, linen, hemp, bamboo, jute, sisal, ramie, silk, wool, and hair fi bers such as cashmere, alpaca, and mohair

Th e fabrics made from these natural fi bers include cotton, mud cloth, batiks, madras, ikats, Guatema-lan cotton, Th ai cotton, linen, handkerchief linen, ramie, hemp, bamboo, silk, lightweight silk, wool, lightweight wool, textured woolens, worsted suit-ings, wool coatings, washable wools, mohair, cash-mere, alpaca, camel’s hair, and other hair fi bers

Cotton

Cotton is sometimes called the fi ber of a thousand faces It is known for its comfort, appearance, versa-tility, and performance Available in a wide variety

of fabric weights, colors, surfaces, patterns, weaves, and prices, cotton is used to make many diff erent types of fabrics It is frequently blended with rayon

to make less expensive fabrics and with synthetics

to make easy-care, wrinkle-resistant fabrics

Cotton’s use in fabrics may have begun in Egypt

as early as 12,000 BC By 3,000 BC, it was well tablished in India and Peru Some fragments found from this later period are actually fi ner than the fi n-est cottons we have today

es-Unlike Europeans, who thought that cotton was the fl eece from a half-plant beast, we know that

FIBER CONTENT

cotton grows on cotton plants in warm climates

with adequate rain Th e cotton fi bers, which are

taken from the boll (or seedpod), are sometimes as

long as 2½ " and sometimes as short as ⅜ " Th e

long-staple cottons are the most expensive, hardest to

produce, and least abundant

Creamy white or yellow blooms appear mately three months aft er planting Shortly thereaf-

approxi-ter (12 to 72 days), the blooms turn pink, lavender,

or red and fall off the plant, leaving the boll on the

stem to go to seed When the boll matures 50 to 80

days later, it bursts open, exposing the cotton, which

is ready to be picked

Once the cotton is picked, it is separated from the seeds in a cotton gin Long fi bers are spun into

thread Fibers that are too short for spinning, called

“linters,” are made into rayon, and the seeds are

used for fertilizer and cottonseed oil

Th e quality of cotton depends on the fi neness of the fi ber, its color and brightness, and the amount

of foreign matter in it Today, cotton is oft en

blend-ed with a variety of diff erent fi bers to make classic cotton fabrics, such as poplin, gingham, terry, cor-duroy, eyelet, Oxford cloth, broadcloth, challis, and batiste

Cotton burns with a yellow fl ame When the

fl ame is removed, it continues to burn and has an aft erglow Like other cellulosic fi bers, when cotton fabrics burn, they smell like burning paper and leave a fl uff y ash

It drapes well It is relatively dense, which makes

it feel heavier than comparable fabrics

It conducts electricity and does not build up static electricity

Cotton is stronger wet than dry

It has little elasticity and resiliency, and it kles easily

wrin-Cotton fabrics frequently shrink

Th e fabric weakens and deteriorates when exposed to extended periods of sunlight

It soils easily

Compared to fl ax, another cellulosic fi ber, cotton

is weaker Compared to rayon, it is stronger

Mercerized cottons are stronger and more lustrous than unmercerized cottons

Cotton can be laundered or dry-cleaned, pending on the dyes, fi nish, fabric structure, and garment design

Cot ton Sew i ng Check l ist

☐ Machine needles: sharp (HM) or universal

(H), sizes 60/8–120/20, depending on thefabric weight and structure

☐ Machine setting: stitch length 1.5-3 mm

(10-12 stitches per inch)

☐ Th read: Lightweight: lightweight cotton

All-purpose: cotton, cotton/poly core, polyester Heavy: topstitching Topstitching: all-purpose,

topstitching thread (cotton, polyester, rayon, silk)

☐ Hand sewing needles: size 5-10

☐ Markers: all types, except wax

☐ Equipment and supplies: superfi ne pins,

small safety pins, sharp shears, rotary cutter and mat

☐ Seams and hems: depends on the fabric

transparency, weight, structure, care requirements, and garment use and quality

☐ Interfacings, linings, and underlinings:

depends on the fabric weight, garment type and structure, and care requirements

FIBER CONTENT

To determine the fi ber length, pull a thread from the fabric and untwist it If the fi bers are longer than

½", the fabric will wear well

Generally, fi ne fabrics are more closely woven than inexpensive ones Scrape the fabric with your thumbnail If the yarns separate easily, the fabric may not wear well

When durability is desired, rub the fabric ously with a smooth cloth or rub the fabric on itself

vigor-If the fabric roughens, it will not retain its like-new appearance

Rub the fabric with another fabric in a contrasting color to check for dye-crocking and lint-shedding

Generally, better cotton fabrics are soft er because they have little sizing to make them appear fi rmer and heavier Fabrics with sizing lose these qualities when laundered and will not wear well or maintain their appearance Hold the fabric up to the light and look for sizing or starch between the threads, or rub the material briskly between your hands If it feels soft er aft er rubbing or if your hands feel powdery, the fabric is heavily sized

Deter mi n i ng the Face Side

Most cotton fabric is folded right-side out on the bolt.

Generally, the selvage is smoother on the face side.

The face side has fewer imperfections, knots, and slubs than the back.

Printed fabrics are usually brighter on the face.

Textures, ribs, cords, novelty yarns, fl ocked designs, and pile are more pronounced on the face side.

Woven dotted swiss is smooth on the face side with the cut ends on the back Flocked dotted swiss is fl ocked on the face and smooth on the back.

Jacquard and dobby weaves may have a more distinct pattern on the face.

Generally, the knit rather than purl side is the face of jerseys and single knits When in doubt, stretch the cut edge It will curl to the right side.

The diagonal line formed in a twill weave

on cotton fabrics usually runs from right

(Butterick pattern Photo courtesy of The McCall Pattern Company.)

The Fabric

Select cotton fabric appropriate for the garment type

and use Look for fabrics closely woven with even

yarns For strength and durability, choose sturdy,

well-constructed fabrics For dressy garments,

choose lustrous fabrics woven with fi ne,

long-Egyptian, and Peruvian cottons Th ese cotton

vari-eties have the longest fi bers, which make the fi nest,

most lustrous fabrics

FIBER CONTENT

All-purpose mercerized cottons retain their luster even when laundered frequently Fabrics with

cords or ribs in either the warp or fi lling are weaker

than those with cords or ribs in both directions

Fabric Preparation

Preshrink all cotton and cotton-blend fabrics before

cutting Cotton fi bers do not shrink, but cotton

fab-rics do because the warp (lengthwise) yarns are held

under tension during the weaving process When

the fabric is removed from the loom and washed the

fi rst time, the fabric relaxes

When both sides look the same, mark the face with draft ing tape, safety pins, or chalk to avoid

shading diff erences in the completed garment

Straighten Fabric

Off -grain fabrics can be straightened if they are all

cotton and do not have a special fi nish Straighten

the ends fi rst by pulling threads Hold the opposite

corners fi rmly and pull vigorously to straighten the

fabric Th is doesn’t work with cotton blends and

most other fabrics

Fold the fabric lengthwise with right sides gether Baste the straightened ends together then

to-baste the selvages together

Machine-wash the fabric and dry until damp

Iron with, not across, the lengthwise grain until dry Iron carefully so the grains will remain straight and at right angles to each other

Sew i ng Notes

Stitching Tips

Use the fabric weight as a guide when choosing the appropriate needle size and stitch length (refer to the chart below) Make a sample seam on your ma-chine Stitch woven fabrics with a moderate tension

on the needle and bobbin Stitch knits with a loose tension

Pressing

When pressing cotton blends or lightweight or sheer fabrics, reduce the temperature from the cotton or high setting and then test-press a fabric scrap

Ga r m en t Ca r e

Cotton garments are usually laundered in gents or soaps, but they can be dry-cleaned when the fabric weave, construction detail, or trim make laundering undesirable

deter-NEEDLES AND STITCH SETTINGS FOR COTTONS

Stitch Fabric Needle length in Stitches Weight Size millimeters per inch Lightweight 60/8-70/10 1.5 mm-1.75 mm 15-18 spi Medium 70/10-80/12 2 mm 12 spi Heavy 90/14-100/16 2.5 mm 10 spi Very Heavy 110/16-120/20 3-4 mm 6-8 spi

Claire’s Hint

To avoid being caught short of fabric when the fabric is off -grain by several inches, trim only one end.

Easy to sew, cotton is ideal for a fi rst sewing project

Elizabeth Shaeff er is enjoying the quilt she made with a

little help from Grandma Claire

(Photo by author.)

The Cot ton Fa mily

The variety of cotton fabrics ranges from lightweight, loosely woven sheers to heavy, napped velvets Many cotton fabrics do not require special sewing techniques Only a few sewing suggestions that relate

to most cotton fabrics are included in this section When sewing other popular cottons, review the indicated sections.

Designed by Sarah Benson, this cotton knit dress features two diff erent batiks that she hand- dyed

(Photo courtesy of Sarah Benson.)

Batiste: Sheers page 208 Bedford cord: Ribbed Fabrics

page 140

Cluny lace: Lace page 223,

Sheers page 208

Corduroy: Corduroy page 271,

Pile fabrics page 268

Covert: Worsted Suitings page

and-Wear Fabrics page 154

Embroidered cottons: Sheers

page 208, Border Designs page 339, Brocade page 248

Eyelet: Sheers page 208, Border

Weave Fabrics page 143

Gauze: Soft Sheers page 219 Gingham: Checks page 329 Guipure lace: Lace page 223 Homespun: Loosely Woven Fabrics

Fabrics page 140, Sheers page 208

Percale: Plain-Weave Fabrics

page 140, Sheers page 208

FIBER CONTENT

Th ese fabric swatches illustrate the diversity of ethnic cottons Th ey are, from left to right starting at the top, ikat, batik, aboriginal silk- screened cotton, madras, and African mudcloth.

Piqué: Ribbed Fabrics page 241

Plissé: Special Occasion Fabrics

Sailcloth: Denim page 145

Sateen: Satin page 236

Seersucker: Special Occasion

Terry: Woven Terry and Velour

page 283, Stretch Terry and

Velour page 195, Pile page 268

Ticking: Denim page 145

Velour: Woven Terry and Velour

page 283, Stretch and Velour

page 195, Pile page 268

Velvet: Velvet page 277, Pile

page 268

Velveteen: Velveteen page 274,

Pile page 268

Voile: Sheers page 208

Whipcord: Ribbed Fabrics page

241