Wolff - The Art of Manipulating Fabric

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AR1 0~~
Manipula tin --~ Fabric
Colette Wolff
The Art of
Manipulating
Fabric
Colette Wolff
~ lir~mse
~ publicntions
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Published in loin. Wo-nsm, 64990 by Krause Publications
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pan of tho' lx><>k m''' h. reproduced. tr.on,moncd. or

scortd m Jn\ t\rm tlf b' M1v mc.m ... electroniC' or
ffiC'Chantcal, \\ lthOUI pru,U \HIItC11 pcrl111!!>~100 rom
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pubh,her
Eduor> Robboc l.mning. Rc".1hc Cooke
Producuon Ro,,thc took<
Book dc .. gn: Ro,,tl)'ll C.u,on
Cover dcs<gn Amhon) jocobson
l'h01ogrophy Mcchacl Kagan
Line
;JTI:
C'olcuc Wolff
Proofreader Mcrcdnh Plnlhp'

~bnufacturcd m the lnncd States of Amcnca
Llbral) of Congrc" (' atologmg m l'ubhc.uton Data

Wolff. Coltllt.
The an of mancpuiJtong f.>bnc I Colcnc \\'t>lff
p em.
lndud~ btbhogrphl(,<l rdncnr._ .md mdex
ISO:- 080198-1963 ( phk )

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Otlrcr Boohs Available from Krause PublicaLions

, 'UP{.Ut,lchl) ....l.I,Sl\, H~,.ltl'Jt"
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v.z~.h nt
h\ j.ln s~tunder~
,r-. ".,,1) r't,lllrflaa. by :\.lnc\'
"-llrn\\dl
riiJ'h.l' t 'lit. h'" '" /"mel&- Ma<hrnr.

h\
l~llllhn
\'o:-hurg Hal1
8rhl,,l l.{)ucwc:. by ~us..1n KhalJC

( "'' ~ll,lf[ln
'F,t.Jnic StwmgGtti,ft. by
L llf< II. '-l1.1d!er
U>mrw Bt~t/: oj .\fdchmt Embrordc"

l,y Rohhre nnd Tony Fanmng '
Contor.rcttlt~ .\f~~(hmc fmbroidcn. bv
Deborah Gc,ncl

Embdft,hmo:t- Addmg Glamour to
Garmrnt>. by Unda Fry Kenzie
b \lary :'-.!ulan
jan ScwnJ,s' \\'ardrobc Qurck-Fu:cs. by
J.m S.1unders
I.Jjt Is \'m A Dress Srzc. by Rita Farro
Madt wtth Leur. by Gmny 8ams10n
More Swcatshtrts wuh Style. by Mary
\!ulan
Pattern-Free Fashions, b)' Mary Lee
Trees Cole
Sew & Ga Baby, by jasmine Hubble
Sew & Ga. by Ja,mme Hubble
(r<lllllcnh '"'" .\t>lc,
Se" Any Pauh Pocket, by Clane B.

Shaeffer
.So> Any Set-In Pocket. b)' Clatre B.
Sh;w(fer
5o s~nwtwnal Gifts. by t'aomi Baker

and Tammy Young
Shtrlry Adana' &It Ba~aar by Shorle)'
Adams
Snap It Up!, by jeanone Twtgg

Stlftch & St-w Gurdt to Stwrng on
Kmts, by Ann Person
Sw((Jl\hlltS "'th 5tylr by ~ary \1ulan
Tecuh rout~cl{.\1a(htnc Embroidm, by
~us:m Rock
1c;cturf wtrh To.:ttlrs, by l~nda
\ftCrrhrc
Your 'irwrn..: Ma< hrnr b)' Jan S.1undcrs
All(, u/ \try,lrtg /1y lam my Young and

I 1<11 llollotn
Dhtm(l"' :>trgtt c;r/h & Crafts, by

"\.:''"l1 S.tkcr .mc.l Tammy Young
1""''''<HI\t 5<'X~'1h hv Ga1l Brown :md
r.unmy y,)Ung
"
Nt'\\' C tt'<lllv_c .Scrgm~ lllu\ltatcd. by P~m

f'alml'r G.trl llrown and Sue Green
J\ Ntw Sn!(r Ill Wearable Art, by Ann
ll<lycc
Scw & Scrgt Ptllowsl Pillows' Pillows', by
Jackre Dodson and Jan Saunders
Sa~tc a SIIIIJ~< ProJW. b}' Tammy
Young and Naom1 Saker
Scrg.- rt m un Hour or IL<S. by Cindy
Cummm~
Scr~c Somohmg Suptr for Ym.r Kids. by
Cmd) Cummin>
S." & Scrg, Terrific Tocrurcs. by Jacke
Dodson and Jan Saunders
Sergcd Garments m Mrnutcs. by Tamm)
Young and Naomr Saker
Vlumatf Sal(p Answer Guide, by
Naomi Baker. Gail Brown and Cindy
Kacynsk1
RIBBON ART
Glorious Rlbbons. by Christ.ine
Kmgdom
Morr Rrbbon Embro1dtl) by .\fachmc. by
\1anc Duncan and Betty Farrell
Qut(k and Edsy \\'ays mrh Ribbon, by
Cen Johnson
Rrbbon f:mbrordrry by Machme. br
Mane Ounc;tn and Beuy Farrell
Sea<Oncd Crtatlon,, by Marie Duncan
and Bell)' Farrell
Sec ret\ of Ft~<luomng Rrbbon Flowas, by
llclcn Glbb
QVIUING
All Qutlt Blc~ bar.- \ot Square, by
!Xbrot Wagner
Bnt-f.tn.-d O.")l."<'". U>IIC<llon Quttk
_.,..,.. Qur/1<, by Amends Top
r>.:~rgnn>
(crt Qwlh ctll.l (rcrfts. hy Ll\'cr.l

l . . tf'l~~:lll.Ul
(<llllf>ll'tr /ltk>ll of M<l<htn<" Qwltlll,~. b)
f!uhlur .md Ttlll)' I ,utmng
( omtrlrtr Mlni<ltrll<' Qurlt B<~>h, hy
llm,rh lr,l\'1'
Cor~lmpor~)
P;nnu;~
Crt~tlw
Qutlri!.g TtU""f.US, by
C.anns
lrwnglcs Jor Qullr<rs. by Janet
B Uwrn
Dyrlr Pwntlt' Qurlr It' by Joy<e Mon

.rnd Cynthia M)erberg
l'asl Patch Kids Qurlrs. by Anua

Hallock
fal Patch. by Amt<t Hallock
Hnrloom Qu1lts, b) rhe cduoro of

Workbasket
)apunt>e foldrd
Patch,.~rk.
by \lary
Clar< Cl.uk
Mogt< of Cr"'y QuriMg. by Mama
\hchler
NCI\ Work of Our Hands. h) Mac
R<xkland Tupa
Pmhwn l'lcd Qrulrs u.srng rht
found<uron Mtthod. b) Jane Hall and
i)rxre ll.iywood
Q111lr As You Go, by Sandra tl-hlleu

Sadnko and Beyond. by Sarkoh Takano
Scrap Q111lrs Usmg Fast Patch. by
,-\nua Hallock
Shrrln &~,f,nd's Daddy's T1<s. by
Shrrlev Bot:.ford
Stars Gcllorc and Ewn \lore by Donna
Po<ter
Stot<h n Quilt. by Kathleen fawn

Super Stmpk Qurlb. by K.1thleen E.lton
Tt<hniqu<> of )aponese Enrbr,,.da~. by

ShuJ Lunur.1
Tlua-Dtiii<'IIStonal Prwc/ Qrulrs. by

jodre l);wi>
Tmrllllmlcll Qurlts. T,><lav's Tt(hmtfU<".
by O~bra \\',r~ncr
l'lttmate :>oar Qurlt. by Joyce \\on
ADDITIOML TOPICS
( 1.1fh ( l,lllln~ \\ llh f'I,"Wr> ,&
~.nur,- Cn.tm~e>- \'ll (\.'lhm~
n,-...,d,,th, -
t'-lhn.1km~ w11h
l'.lllll'f \l.ldl<' .md r.lpcr~l.l\ lk.l.l\\tllk -ll.m<hlt;ldc r.1p.:r-
ll<>mr
1\,-.>1,\lm~
J<'wclrv- K1ds
C r.llh Kmlh1.1h- r,nnted Wood
1\>tlrn
1'.11"-'1' (ra[\s
Acknowledgments
ookmg b.lek. I rcmemb.:r

wnh the detp<"-1 gr.unudc ;~II
1ho-e fncnd' who l"tened
The' let me t;t\k .tbom "h,u ''"'
and "'II ".m oh'c'"W .md r.uher
passtonatc p~o.:cupauon \\'lth 1hc
subJeCt ol cloth "' mampuhtto"
.md ;~II the r.umfiCi\Uon' thereof
They allowed me to let off st(;un
so I cottld return to 1hc 'olll.l!j'
pursun re-energized Wnh >pec1al
acknowledgmenh It> Ann Bradlc)'
Dee DanlcyBr<>wn. Norma Ellman.
Sylvia 1'1>hman. Alnnnh Palinka>.
lv
Su>;~n Prokop. and Dee Dee

Tnplen. who were 111 positions 10
c"cnd help of a more tangtble
kmd. thank vou one and all. I
would be >cnously remiss if I didnt
thank m)' husband. Ted Wolff. for
all those cafre lanes during late
mght umes of stress. My thanks to
the crca1ive team who worked 10
gc1 1his book mto print: To Michael
Kagan. whose eye for lighting and
insistence on black-and-white perfection produced such outstanding
photographs: to Rosalie Cooke.
whose pauent and contntiOIU

ednmg challengtd me 1o 'go llut
extra distance to Ro..al'n
' u~
~n.
who a,.;:mbled the ma1cnal ,. 11h
computer magc mto 1hc lund'<()lll(
pages thm follow 10 my hi-<Oil>Lil
editors. Kathy Conover m
Pennsylvania and Robb1t Fannmg
in Cahforma, who coordma1cd
ever;thing-bul parucularl). r......
and last. 10 Robbie. who kepi the
faith, and then some. and mort
Contents
ACKNOWLE DG~I ENTS ................. i v
FOIIUWORD ..................................vi
PRI: I'ACI! ... .. ... ....... ... ... ... ........vii
GETm\v Til E M OST fRO~I
T li!S BooK ............................viii

PII RT ON~
(O'\TROLLED
CRUSHING
Chapter 1- GATHERING ..... ... 3

Ga1 hcl'i ng Basics
PART T HREE
SYSTEMATIC FOLDING
C IIAPTO\ 6 -
PJ.EATING ........ 89
Plca1 ll.1sics
fla1 Plca1s
Paralal Pleats
PrOJCCiing l'leats
Accordion Pleats
Wnnkled Pleating
Double-Controlled PleaiS
Singk -Eclge Gathering

OpposilcEdge Gatbering
All-Sides Gathering
Chapter 7-SMOCKING ......125

Smocking 13asics
IZngllsh Smocking
Dirccl Smocking
Chap ter 2- SHtRRlNG .......... 19

Shirring
rauem Shirring
hall:m Smocking
PA Rl
Two
SurrLE~l EI\'TARY F ULLN55
Chapter 3
-
M AKING R UFFLES ..............43
Ruffic Basics
Gathered Single-Edged Ruffic
GaLhcrcd Double-Edged Ruffic
Plc:11cd Single- or DoublcEdg.:d Ruffle
Chapt er 4
-
M AKING fLOUNCES .......... 67
Circular flounce
Controlled flounce
Chapter 5
- MAKING G ODETS ............ 81
Godet
NorLh American Smocking
Chapter 10- Q u n.TI NG.. .. .. 20S

Quilting Basics
I lund Quilling
~laclunc Quilting
Chapter ll - STUFFING ...... 229
Stuffing ll..sic.
Stuffed Quilting
Stuffed Applique
EJe,Oied Applique
llnlf-Rounds
Connected Rolls
U itk Pillow>
Biscuits
Peaks and VAlleys
PART f i VE
SntucruRED S u RFACES
Chapter 8 - T UCKJNG ........ H 9

Tuck ll..scs
St.1ndard Tucks
Cur\'cd Tucks
Shell Tucks
Contoured Tucks
Sln,hcd Tucks
Cro..,Stitched Tucks
Cross Tucked Tucks
Purtiully Seamed 'licks
Seamless Tucks
Pa1LCI'I1 Tucking
Chapter 12
-
USING D ARTS ............. - .. .267
D:m lktsics
Single-Pornted Dart
Double-Pointed Oar!
PART Stx
M IXED MA,' \IPUl.i\ TlONS
Chap lcr 13
-
COMlllNArl ONS ........ ...... 283
Technique Variations
Crc:ttivc Con1binations
PA RT FOUR
APPI!NDIX ........................... ....... 29 5
Fll.LED RELIEFS
Chapter 9-CORDING .......... 187

Cording Basics
Hand-Se\\,. Corded Quilting
~lnchmeSewn Corded Quilting
Surfoce Cording
Hand Stnches
Gloss.1ry
Seleced Blbhograph)
CosiUmC Exlubitions
Endnote
I NDEX .......................... .... .. ..304
T he Art o f Monipulating Fa bri c
/.
Foreword
erh'l" youre f.llluh.u wnh
the volume of lcucr. !><tween
""w ell l'cr\..m,, the f,lnlOU'
Scnbncr' cduor .md ,urh author.
as I Scott fuzger.1lcl ancllcrnc't
Hemmgw.w rm thmkml\ of pub
hshmg a 'mular one for the lcuc"
and phone calb between me .u>d
Colenc Wolff on thb lx>ok
h \larted innoccllll) enough 1n

the early 1980' Cokuc owned a
mail-order catalog m New York Cuy
called Platypu<, wluc h pubh~hed
her toy and doll de"gn< amJ sold
supplies I wrote a column for a
magazmc called Nrrdlc and Tlurad
My rrader> told me about her cata
log; I wrote for a copy ;tnd was
m1pre>sed. I rncnuoncd the catalog
m a column; and :.he wrote 10
thank me We became long-d"'''"'"
friends
Over the )Car>. I "" conunually

bowltd over not onl) wnh the qualIt)" of her work. but 11\ '<OpcqUihmakmg. topnakmg, dolhn.tk
mg. co\lummg W;h there .In) thmg
thts woman could nut do-and do
well> Furthermore. ,he h.d the mrc
tJient of bemg not on I) J con,um
mate crafl\pcrwn but a l(tftrd
graph" J<lt\1 an cxnptttlnall) dcM
wnter and ;Ill oui\IJndtnl( Itil< her
In the tmddlr I <)ll(h I tnlltatcd ,1
.cnc~ of huuk' for Cluhun lluok
Company Ntlltrally, I appro.ll htd
Coll"llc .1buu 1 dout~ ,\ l)(mk ~ht
had Wrtlttn ,1 """of quth ,llltllt'
nn
thrtt.dllll('ll\1011:11 f.tb l l\
rmltl'-
and felt th.u wr nrcdtd ,, hook

hi>WIIIJ( ,tll!lll' Jlll"lhthlll'' uf
tnallti>Uillll~ f,ohllt IIIJl.lllllt"d hy
lt"duwl 01 ' In du 1 .uly ~~~IW''t, WI'
VI
oiled the book Falmc 111 Relief.

undoub~rdl) d forcshadowong or
uur cchng ,.,~hen 1he book would
finall) be fmi<hcd. One of my early
notes" dated june 22. 1987.
colclle s;l)'> >he can be done with
the book by june 1988."
1 advanced her $100 for materiab. an enurcly laughable amount,
con<idering that 20 yards of material wem into the pleating samples
alone. Another note in my file says,
"july 1989-GW received anocher
200 yards of unbleached muslin."
rhe defining characteristic of
consummate. gifted, exceptional,
Olll~Canding talent is that they do
not skim the surface. If the)' discover a s1dc channel and it opens into
another maJOr nver. they follow the
current And that's why thos book
turned 11110 Niagara Falls. Coleue
would pronnse a ddivery date, then
wmc. t keep pronusing myself that
I won't add an) more samples or
techn1qucs, and then something
.1ppcar... and must be included. and
><> 11 go"
Pcnod1call). I \\Ould be in the
'arne town J' Coleue and ,he
would >h"'' me the .amplcs.
Alwa) >. I would be staggered at the
workm.1nsh1p and the possibilillc>
Who but Coleue could have made
d,orh inltl work> of .~rt? I began to
dra!: other p<oplc mlo the meetIll!(' Ill<' rei)' roo the ptc.O>urc of
watc:hm)t thl'lr f.ll.:l' ' .t .....he pullld

uul ...unH' \O,&mpk., Ae tml' pomt
Uke the boxes. the book greo. and

grew. The due date-. were po-tponcd
then agam. As we approached the '
end. I had a sudden case o! the
willies. What tf she got hu by a
crazy Ne" York taxi and her hu,.
band gave ;~II her samples to
Goodwill' I called htrn and madt
him pro1mse to will me the <.1rnple.
if anything happened to her.
Then the payoff carne: I had the
extreme pleasure of edt ling a m>nuscript that '""s nearly perfect A
seminal book like thos one comes
along on!) once or twtcc m an edt
tor's lifetime. And thai was b(lore
seeing Michael Kagan\ photos.
So here tl is-finall)'! I wosh I

could watch your face and e>'<>
drop as )"OU look through th" book
Are you drawn to cuntlar fonn',
as I am? Look at rhe yo-yos go>nt
ku-ku on page 21 or the cutul.r
smock1ng over pleat> on l"'&t 135
Perhaps you hke an undcrh-m~
grid Look how ,he nude pk.u' o>n
a Perfect Plc.uer, backc<lthrm ""h
ironon lmrrf.lnng. (Ul thtm mto
squares.1nd rca-..'i(mble.lthtm ""~
a block on Jlii):C 123.
But I tuU!ltt return tc.' m~ \\<'Irk;}'
''" ednor The foN ncm ''" the
agcnd.1 ,, 10 rcuund ( <>kllc th.ll
t\pnl 8. I ll&\. ,he" n>lC. ' Rehd
t~chnutut:' t.tk\~ tlw <l'"h U\ ''":h 1
new dncw<>n' th.ul kcl h>ll''"" ~
1
htb1u "' Rrli<1 "nh .t '''"'t.u
"ll,tlkr hll<>k J>,UIIlltl,\1 h (<ll lJIIII
trr' 1... ,, rip\' u\(.1 \hu~.~ ~'" th.tt ,\l '
'""ll'<llll' .11 ( luhun a,ked her to

, lupl ct'l ,,unpk' lo l'luladt'lphut lt>1
.o otll'<'lilll(. Colt'lh' puhhl)' ,l,k<d,
(,\h'l llllW "
"A ll ll hnM,I"
"''Ill'' 1-thll>l
Tht Art <of Mauljwlalln& f abrlt
Robbit
Ftmnin!t
Preface
ho< o< a book of tdeas about

scwmg cloth The tdca> arc
tcchmquc> that change the
look and feel of a ptCCC of cloth
wuh the aso.tstance of a threaded
needle 1 hn tcxtunze. cmbcll"h
mOatc, and support The) create
pu,kcl'>. fold>. w.lvt,, purr,. prnlcc
tiono. lnd openmgs Wuh sutching
by hand or mach me. thC)' resurface.
reshape.'. r('c;trucwrt". omd rccon
StrUCt a Oat. supple lliCCC or cloth
into cloth wuh an entirely diiTcrem
dispOSIItOn .
Mo~t of the'c tcchmques materialized somcwne dunng the long
history of cloth Along the way, persons who handled cloth modified,
varied, and altered the elemental
techntquc;, mto more techmque'
The techmquc. "'qutred tdcnufymg
names like garlt<ring, plrarmg. ruth
mg, ;modmtg, qtultmg. word' that
are now pari of our everyda) vo,abulatj fhc tcchmqucs have bt>tOI)'
and longeV~t) they are J> \Jhd now
ao they '.ere back then Tod<l)'. an)
one ontcrc,ted on the wh.u, wh).
-.hen. and how of the'< tcchmques
can fmd mformauon -,.c~tttrcd 4111
over the plcc tn pnntcd matertab
and actUal ;.cw n-cloth ex;Jmplt'
Some yea" .1go. I nredcd to

re.carch tutk' for J prOJCtarltd loukong Abu from
th" bonk, a lot from that houk .
due' [rum "'cong ,lttual .oppht.o
uon..-<vtntu.olly 1 tnlltrtcd '
of tnfonnauun A ftw uf thr turk' I
dt"OV<rt!d dtdn't 'CI'II1 like Ill( k'
m."'
JcJ undt'r~lo.uuJ dJ"-IIIlfUOii,, I 111Vt' ..
11)ttcd plt.ol\, thnt kd "' l lll ill,ll)'
about ;mocking. shimng. gathermg. and how they rela<e. Always

lht sources were a bit here. a lo1
there. wuh clues from pictures and
pre:).enlations-and almost always
the ~ourccs associaled a techmque
wllh one parttcular usage.
nc that would adju~t to ahr rrqutrc
1 was frustra1cd because the

needed wasn't put
together in one place in a manner
that allowed me to pick and choose
and make my own decisions rcgardmg application. Embroiderers and
nccdlepointers have any number of
manuals that show and describe the
stitches or their craft, isolated from
anything those stitches are used to
produce. Similar directories exist
for those who knit, crochet, knot,
and weave. I wanted that kind of
comprehensove, order!) reference
for the scwong techniques tdenttlied
wuh rabric manipul:nion.
So 1 set our on a journey to sew.
wnte. and draw this book.
1 had a working objecthe: To
ca1alog fabnc manipulatton techmques, emphasizing what they are.
"hat the) do to a ptecc of cloth.
and how tt'> done. de~nched from
.b~iations , .. tth product For mt.
domg thai mean1 generalized
m.. truclions ,.. uh enough specifics
to be ,1 gutde for you. 1he reader, to
con>uh when adapung a techmquc
to the project of your chotec h
me.nll doagrams to clartf)' the dorrc
110,,. and photograph' ''"'" mg
t.x.unplt~., or lhr tc:-chmqut~s wuhout
rcvtillm~ any parucul:ar envmJI\
11H'nt II ~l'u nu-.Ull fandang ' ~urro
g.&h' for ahe ovct ,, lu.lnung 1o.mp.r ol
Juluk pm.'>tiHIHk-.. om P,l'IU..~rk fo\b
softness and mana.geabht)' It was

washed with dcu:rgem. ~put-dncd,
dampened, and oroncd before U>C.
When sewn lnto samplts. it~ plam.
smoothlr woven surface doesn't di~~
tract from the mam pomt, the
manipulation. It> bland color
proved exceptionally recepttve to
the light and shadow of hlnck and
while photography.
The subjects In 1he book dttect
ed their own organlz.tmon. The
Chapter tttles whtch break down
in1o techniques. the tcchmqu< dell
nuions thou expand anto Procedurt~
whtch arc 1hen amphftcd wnit
Note. and stretched wnh
Varianons. J.nd tht techmcJI mfor
matton perunem to nt()rC th.m c:mt
techmqur collec-ttd under &'tl' .u
the bcgmnmg of 1hc ChJpttr- -tht
stntcturr be<.ame ob\t()U' ~ w(lrk
progress.:d The poctun-. du,ttred
ahtr thr how-to\ t:\pl.unm~ ccn~
MMICIIOO ..tn group<d t~;1gtlht"r tn
~utnC"t-.., that rmph..t-..a:.t rtl.mc.\n
~ht(kt- 1 ,, ,mttd to rn.tke: u "'uJ.lh
informa1ion I
ments of dtlfenng tcchmque- nd

present those techmqun on t\en
tenns.
I chose a medmm-wcight. cvtn
weave, 100% colton unblrachtd
muslin. To ancrease the mu)hn\
convcntrnt for \'(Hl tP c.\h"'t~l'\ t ~\

p.uucul.n nt.mtpul.uu.ln '' n tiC'' d
<,~ .md dMn~W' w th.n '"-'" ~;; .m
m.tkr dt,('()\'l'11l'' \)r \(.~\l( ~;\\\ll
The Art of Manipulating fabric
vii
Getting the Most from this Book

tart with the pu.:turc-... Rffic
through the P'f.e< unnl om
or a c\u,ter of the photo
graphed nl.lmpul.u1on' l.Udle'
vour eve '-'top. 'on,1dcr. twn l<l<lk
at the dr..\wmg... relc,.lnt to y1.Htr
unmedi~lll" mtcrr't
hnd out 1 1herc .uc -.uml.u
mampuhuion"' C'l-cwher~ in the
book. Comp.ue S.ilfch for conntc
tions and conlr;l~h that 'Polfk each
other Bmld combinauon<. When
)'OU need to know. rrad the mstruc
tlon~ ror your chchl'fl technique:,. tr
you're so mchncd. )'OU can ccrtamlr
>tart at the begmnmg wuh the tllus
tratcd text and rclcr 10 the ptcturt'
as you read. but take 11 m ,mall
do>e.
Tlus " a book of tdea~ about

sewing doth [or you tO interpret
as )'OU sec fit ru mcJnmg
proper beconung, 'uu;lblc . .td)U\t
cd or altered to the sub-t.lncc, form,
or :,IZ.C requared I:Ht\ fr<htu'lur m
thiS book h Jll bt~ c lwngnl, mMt' m
In~. b) hh(U )CIU IHIII~ tc> 11 Jrdm OIH
srdc You'll need to tntcf.r.llc tht
tt{hmquc you\c dlO'>Cn \\llh the
-,uuauon you \\Jnl to put u m , omd
the fahnt )<IU hJ\C m nund

Quahfte<IIIUth th.u wtll.1Uect the
fu of .1 tt< hnrqu<' u1dudt:
111<'1')\Cr of f.lbnc and ttchnique for

~m unr.xpcctcd and umquc result.
Color/texture/pattern.
I he>< be.uuful dtstracuons
:tffcct hght and shadow and the
nouccabil11y of a manrpulation
in ways that can't always be fore
seen. Some techniques wHI be
overwhelmed by the color/tex
Lure/pattern in the fabric. Some
will be intensified.
Design.
The vbual. bas-relief elements of
a manipulation need to be
arranged rnto a pleasing compo
suion. Depending on 1he tech
niquc. >titchmg. scam lines. folds.
proJections. depressions. edges.
and opemng> are components of
manrpulatcd design.
Scale and proportion.
1 hmk ahout juxtaposing b1g and
\OI.III rn adpcent techniques. or
d"torung the customan rela
llonshop of >tZC between a techmque and ItS sttung. \lsuali:ze a
tcchmque expanded to fit wrthm
' grgantrc format hke a hangmg
for tht Jlnum of a skyscraper. or
behn .1bl) muuJtunzed to doll
huu"' and doll frgure >tandards
Pr".lctrc-.11 apphcability
Wrllthe tcchmque beh,l\'e when
lh moved> ~'ill normal han
fabnc
A tedmrquc ''P''"d to tht
wcrght .<nd phahrht) of tht
unhlc.rd~<d llltl\hll tl'l'd 111 th"
hook m,t)' IX" wrttnl( fm tht J.rh11r
111 ynur h.md I hl'll
)<1111
fothnc c.ould tl.lll,fnrm ,1 ll'c.h
tht tnhruquc .od,cNh? \\'rll 11

'm' ' c l.nmdcnng or dr) dC'.m
o,cuJitthlfiH "tl>t't ml OJ
you t ould m.ln.tgt' .UI Ullti,U,,I
"""' llllt'lllkdl
"*""
dhn~. 'lf.lltt, or prc'!>urc .1ffcct
mJt' '"'llltht hrmnr..~.
fiiC{Ul' lUlU
vui
Jhe Att of Mtnlpulatln& fabric
n~ut-.~
'"'""' '"'tl(ht .oddt'<l hr the

lt't hlll<jlll' llllrthtlll' l<l tht (lUI
Skill.
Sewmg craftsman~h1p ~fleets tit(
mstallanon of a ttchmquc for
bttter or worst !VIt>haP'
inevitably occur. but whn th~
do. don't gwe up. Booboos ar<
mnovauons m dtsgmse.
\ktween the techmquc>. undtr
neath the descnp\ton>. and around
the procedures descnbed in thi<
hook, there are devmnons and
mutations wailing to be di~overtd

Invent )'Our own modtlkauons.
Imagine what would happen 1....
Test and experunent. Cloth and
what we do with it i\ il rc~lless
study. as restless as the cloth 11"'\f
Approach wuh a <pmt of ad\'tnturt
Controlled
Crushing
PART
a thering convert~ t~e edge
of a piece of fabnc mto
mini-folds bunched together on

thread stitched close to the edge.
Gathering shonens the fabric at
the stitching line. Beyond the
gathered stitching, the full extent
of the fabric erupts into irregular,
rolling folds.
A field of fabric gathered only
at the top drops in spreading,
fluctuating folds to a floating,
lower edge. When fields or strips
of fabric are gathered on opposite
sides, variable folds flow unfastened between constricted edges.
Fabric shapes gathered all around
project loose folds that inflate
into the center.
GATHERIN
1 Gathering
GATHERING BASICS .................. 3
Gathering Mcthods ..................3
Hand Gathenng ...................... 3
Machine Gathering ..................4
Automatic Gathering .............. 5

Ela>tiC Gathering ....................5
Channel Gathering .................. 6
Stabili:ing G:nl>ered Stitchi ng .... 6

Binding .................................... 6
Extension ................................ 7
Founda~lon Stn)' ...................... 7
Star ......................................
f:lting ...................................... 8
OPPOSITE-EDG E
GATHERING ............................ 16
Procedures ................................ 16
:-Jotcs & Variations ..~ ....... ...... 16
Draped opposite-edge
gathering ............................16
Puffed opposite-edge
gathering ............................ 16
Skewed opposite-edge
gnthering ............................ 16
Curved opposite-edge
gat hering .... ........................ 16
Circular opposite-edge
gathering ............................17
Ru(llcd edge ............................8
ALL-S IDES GATHERING ............ 21
Stops ...................................... 9
Procedures ............ .................... 21
FuiTO\Vi ng ..................................9
Notes & Variation.s .................. 21

Puffs .................................... 21
SINGLE-EDGE GA1'11 ERING .... 10

Procedures ................................ I0
Notes & Vnri~tions .................. 10
Puff gatl1cring ........................ 22

YO)'OS ....................... ..... ... ..... 23
Draped single-edge
gathering ............................ ! 0
Contoured >inglc-cdgc
gathering ............................ 10
Sta) cd single-edge
gathcrmg ............................ !!
Tiered single-edge
gathering ..........................!!
Note: Th is chapter begins with

BASICS, indicated by a gray band
loc;ntd unde:rnealb 1.bc rclevanl
columns.
G ATHERING
B ASICS
G ATHERING M ETHODS
here are flve ways to gather:
by hand, by machine. auto

matically, wllh clastic. and
Lhrough channels. Ihtndt mnchane,

automatic, and one kind or cluslic
gathering are standa,d, stitched
thread methods. Other kinds of
clastic gathering and channel gath
cting arc spcdahy varitJtions lh:u
use dilfcrcnt means to gather.
Thread-based hand and machine
gathering involves 1wo procedures:
(l) stitching across the designmcd
edge or tltc fabric wi thin tht scom
allowance; (2) pulling on the loose
tluead dangllng llll!>ccurcd from the
end of the stitching \\1th one hand
while using the other hand to push
the fabric imo it>clf along the tautly
held thread. The sparsity or dcnsilr
of the mimfolds created by the
gathering. in combmauon wuh
stitch length. determine fullness,
which is the amowu and depth of
the folds liberated from the stitches
Long stitches tightly gathercd
release the most abundam fullness.
fland gathering de1><:nds on ntn
tling stitches. Because sewing tltrcad
15 vulnerable to breaks undtr ten
sion. use doubled o r c~tm-strong
thread in the needle. Anchor U>c
first stitch with a good-;ized knot at
the end of the thread. For plain
hand gathering. draw tl1c fabric up
Ol1l0 Ul O
thread of a single 1'0\V or
C\'en rmming stitches (rig. 1-1).
GATH ERING BAS ICS
gntltc,.lng is fuslcr than

hand gthcring. Like hand gathermg. SLnch length affects fullness.
longer sutch len~:ths g:11hcr imo
deeper mmi-fold~ "hLch rei=
more fullness in Lhe fobnc berond
the sLhclung. For s traigbt-sLiLched
machine gathering. gather the fab
ric onto Lhe bobbin 1hre~d of one,
tWO, or t..hree rows or:,.1 raight Stitc hing scwu wilh the llpper Lcnsion
loosened. Use cxtrn s <rong thread in
the bobbin 10 improve break rcsis
Me~chinr
F.g 11.
Equa/ly
spaced mn-
ning sfjrches,
paroally
garhered.
LhrNdg.llhered mmi-folds are

''"mP' !he fullness produced in the
...,.,L oiL he fabnc will be. sligln.
Pknttful, dose mini-folds produce
gencruU> fullness. llowever. fabric
llrmly crushed imn copious minifolds on a ~inglc row of running
sLucbcs Lends LO muddle at the gatlt
ered edge, espeaally if !he sLilches
are enlarged. SLroking imposes order
on >Uch dense gaLhcring. Sliding !he
Lip of a blunt needle up and under a
surfnce SLhdt. "stroke" and straighten the groove of fnblic beneath the
stllch from <he top edge of 1he fabric
down. One :<f1cr 1he other, stroke 1hc
groove; behind adjacent s titches in<o
shallow, leveled. tidy folds (Fig. l -2).
l tll'lt:C.
Ftg. I -3. Fabnc garhered on too rows

of hand or machin&-stitching.
fron1 ser:e; the dis1anrc between minifolds; <he sLilch in hack sets Lhc
depth. Sew 111 least rwo, preferably
Ll1ree, par.lllcl rows of identically
spaced and vcrlically nligned stitches
acros> the fabtics cdg. Push the fa""
ric 1111 the Llu eads imo L;ghtl)'
JXcked, unifom1 folds Lhat collapse
10 one side in naucnd layers when
Lhc gaugc!(3thercd edge is seamed to
another piece of fabric (Fig. l--1).
(for an addilional g:mged gathering
Lcchniquc, rcfer to "Buncd Cartridge
Pleats" 011 p.~gc 107.)
Zig::tg mnchlnc g:11hcring !Oierates the Stntin of length)' or heavy

fabric gaLhering when e,en strong
sewing thread In the bobbm snaps
from Lhc pulling and pushing. The
fabnc slides imo ga~hers on sturdy
string or cord loosely confined
instdc a Lunnel of :ig,.g smchcs
(Ftg. 1-5). To increase the cfficiencr
of ~igzag gathering: (I ) Color-mark
the su-ing OJ' cord wilh after-gather
ing rargcl me:~surcmc:nts, one. mrll'k
indicating a point 10 he anchored to
tbc fabric. a second marl; indicating
Lhe L:trget length for the gathering.
( 2) Start sewing b)' c:uching the
anchoring mark on thr string or
cord wtth a couple of smught

smchcs: change 10 a :ig20g <hat
encloses Lhe stnng or cord inside
thread for the length of Lhe SLitching
Une. ( 3) GaLher until the Largct mark
Fig. I 2. Stroking running-stitched

gathering into orderly folds.
Rq;;ular hand galhcling accunm-
Fig. 14. The deep

gathers produced
on I/Jr99 rows of
gauged hand
srltching look /Ike
fine pl9ats.
latcs ort two or three rows of even
running sti lches. The resulling minifolds. nent and mo1c c:~sily comrollcd
than those formed on plain hand
gaLhering. n11 n hand as wide liS the
combmed rows of stitching, usuaUr
sp:O<td Y" (6nnn) or less a pan
(Fig. 1-3). Gauging is a vari.1Lion of
regular h.1nd g:uhering used when
C.\tra\'2j\3nt fullness is Lhe goal and a
loug length of fabric must be gathered
10 a VCI)' shortm~;burc mcnL Ooluging
stitches nrc une,cn----shon on the
1iglll side and long on rhc wrong side
of the mmcrial. The Sl itch in
Tho Art o f Manlpulacing Fabric
Fl(l. 15. Two
rows of zigzag
stitching encas9
one gathering
cord caught with
stirchos where
each row srarts.
GAT HERI NG BAS ICS
o n the soing or cord appeaTs.

Another :ig:ag-gathcring method.
IC>S strong than the abon, utilizes
bobhln thread: { I ) Sto p after the first
stitch and bnng the bobbin.thread to
the surface; (2) pull the bobbin
thread out to the lengtl of the fabric
to he gothcrt-d: (3) zigzag over the
bobbin thread; (-t) gather on the
bobbin thread.
- ------m-- --. .
_ ------------~
..........
_:__
(a)
Fig. HI. The rulfler attachment traps

puckers or pleats Into stitches as it
sews. II generates fullness ranging
from sllg/!1 to lavish with different
stitch lengths combined with settings
selected on the attachment.
W hcthor gathering on hand or
much inc ~thching. fabric can be

pushed alo ng from the unsecured
end of the s titches to the beginning
w here the gathering thread is knotted, tied, or anchored-<>r the fabric
can be worked into gathers by pushIng it in townrd the center from each
end or the gathering thread. both
un.<;ecured. To gather a very long
piece of Iabrie. di\'ide the length mto
managt,.ble segments and stitch and
g.1thcr each <;egmtnt separate!)'
When gathering stitches cross
>cums tluu join two pieces of fabric
together, the extra layer of fabric at
the scnm :>llowances tl1ickcns the
gather ing. To detach the seam
allowances fro m the stitching, notch
Lhe scam allowances to the point

where machine-sewn gathering
stitches cross, o r ;uspend machine
<ewing o n cith<r side of the seam
allowances (Fig. 1-6). If band
St\\ ing. continue without ca1ching
the scam allo\\nces in the stitches.
After gathering to the tatgct
measurement. secure the gathering
( 1) with tiny stuchcs overcast in
place (lmndscwing); (2) by t)ing the
bo hhln thread to the needle thread
(machine sewing) . including any
zigzagged suing o r cord in the tic;
OJ by " 1nd ing the thread figme-8
(b)
Fig. 1-6. When machine-stitching to

be gathered crosses structural seam
allowances: (a) Notch the seam
allowances in adVance. (b) lntetnJpt
the stitcNng to free the seam
allowances.
C!tSier 10 manage when the seam that

conncc~< the gathered edge to another piece of fabric runs hev.veen l\\'0
" ' " "' nf gathering, o ne (or two)
inside the sc"m allowance and o ne
just outside the se:am allownncc.
After <eaming, remove 1he gathered
s titching thread that shows in fro nt.
For some purposes, automatic,
elastic, and channel gathering may
be more r mclicnlthan rhe hand and
mnchine gathering methods pre\1ously de<eribcd. With autonwtic
gatiJtrlng, the qualil) and quantit)'
of the bunched mini-folds is
machmc-se1 hthilr sewing rarher rhan
arrnngcd b)r maneuvering after
sewing. Two attachments, the easyto-usc gm hering foot (Fig. 1.-7) and
the onort cnmplicatcd, but versatile,
rulllcr (Fig. 1-8), comerr Oat f:obric
Into gathct-ed o r finely pleated fabric.
style ~trou nd n pin inserted into the

Iabrie at the b st stitch (a tempo rary
fnste nmg). Gathers an: usually distnbutcd C\'enly along the length of
the stitching, but ouay also change
from hglu to hca'')~ tf desired.
GJthcnng rtmains adjusmble with
its thread ba.<e susceptible to breaks
untilu i> pcm1ancntly stabiliz<-d
(refer to "Stabilizing Gathered
Stitching" o n page 6). Stabilizing is
F.g.
1-7. The gathering foot is as

easy to use as a regular presser foot.
The longest stitch length ccmbined
with tightened upper tension produces the fullest gathers.
Both lock a bit of extra fabric into
the stitches ns sewing proceeds.

With the gathering foot o r ruffier
tounched to the machme, sew until
the automatic:oll)' gathered fabric
reaches target size. To estimate the
fabric rcqulremem, automatically
gather a short sam ple of the fabric.
measure bdurc and after ga1hering,
and use 1hose measurements in this
for mu la:
(ungatheoed sample length
+ oatheod sample length!
~ taipei measurement
sllmated fabrJc umgth
Automatically gathered fabric may
also be I rimmed to size by securing

tl1c thread ''here it's cut \\~th tin y
dabs of fabric glue. Although automatic gathering traps extra fabric
wi thin the slitches, the gathering
retains some ndjustabilit)' until sta-
bllim.l.
Elastic gathering wit h clastic
thread , d :tstic cord, or clastic bands
adds st rctchahlll ry to 'lutomatic
full ness. (l) Strnigh t s titching with
elastk thread In the bo bbin gathers
the fab ric softl y: Wind the elastic
around the hohbin b) hand, stretching it >light!); while stitching, hold
the fabric taut before and behind
the needle. {2) The fullness created
by t'Ord clastic caught inside a
zigzagged scam mcreases 10 the

degree the cl:tslic is stretched durmg sutching. and the fabric is gath
ered o n the dastic fter stitching.
Chapter I
GATHER ING
ci~
cnttoor
-""'"' ~ lm.:th
!he &bot ,.,th
-:f=ac. p:b<r; if !he ci:L<bl->c lcns:rh d ur~~ Fig 1-9
1-a!>rk """
be gath<red on
dame bbatai mto a cl=md o f
bbric
.1...,
-. __ .......... ______.
- ...
(d)
~========::::=::::::==::::::1
'
'
aGIDODDDB
Fig. 1- 10. (a) Gathering on

a rod illserled through a
hem. (b) Casing o/ U!pe
sewn around a tube of fab
ric. A drawstring pulled
through the casing with a
bodkin or safety pin wUI
gather the tube. (c) Loops
caught in the seam joining
fabric and facing wlff be
slipped o ver a rod and
pushed closer to gather the
fabric. (d) Hemmed edge
prepared for gathering on
ribbon woven through buttonhole perfora tions.
..1...-----,-- -- ------H
'
Ftg. 19. Length of elastic, divided

into qustters, pinned at tho divisions
to Iabrie, also divided into qustters.
To sew, replace the pins with
machine basting that crosses the
elastic. Segment by segment, stretch
the elastic to match the Iabrie while
zigzag stitching.
One kin<l of cluumel gculu:ring

starts with a casing fonned ei!her
by a hem at the edge or a tape
apj>licd across the fabric. Openings
at the ends or htt crnal slits :1llow
access mto the channel cn:atcd
between !he two layers of fabnc.
The fabric slides into gathers over a
gathering elcmcm- a length IJf
string. cord. tape. rilibon. elastic.
rope. chain. wire. dowel, or rodm o,ed througb the hem or tape
casing. To fadll t:llc gathering. the
ca<i ng channel should fit loo~ely
around the element inside.
Another k;nd of channel g.1lhering exposes the got hering clement
to view. A row of loops attached co
the fabrics edge. or holes or slots
!hat pierce the fabric. create channet. witlt open spaces th rough
which t he gat hcri11g clcnmil moves
in nnd O UL Two reanucs exclusive
to all channel gathering: The gath-
The Art of Manipulating Fabric
ets may be adjusted an<l re-adjusted

at any time, ond the g,thering clement may be removed a1 any lime,
returning the fab ric to its ungathered s tare. ( Fig. 1-10)
STABILIZING G ATHERED
STITCHING
Su>bilizing fixes hand und
machine gath<ring. It ends chc
shifting of gathers on the thread.
prevents the gathering th rcnd fro m
snapping, and conceals the gather
ing stitches.
Stabilizing mar be 'isil>lr-a
hlndil>g, extension , foundation stay,
o r ufncd edge, o r i11visiiJit~a stay
o r facing. Where t hey connect. the
stabilizing fabnc matches the gathered stitching in lcngtl1 and shape,
nnd the stabil izing fab ric udds o ne
or more Inver-;
by
10
a fabric :.drcady
thickened
bunched gathers.
During the stabilizing process, the
gathering .rhches d isappear from
s igh t.
GATHERING BASICS
A binding visibly stabilizes t he

gathtring and encloses the stil.c hing
ond seam allowances front and back
inside a tunnel of smooth rnbric. A
bou nd edge is neat and firm , and
adds three or four b yers of binding
fabric to the bulk of the gathering.
Binding a gathered edge with a
long, narrow Sllip of rabl'iC Is a lWO<Sl'am opcrotion. To prepare the bind
ing strip for methods =I and ::2, turn
the seam allowance alon~: one
lengthy edge 10 the back nnd press.
For method # l , sew the umum ed
edge o{ the binding to the gathered
edge with right sides together. Bring
Lhe binding up and over the scam
" llow"nccs, Lhcn bandscw 1he t u rncd
edge of the binding to the joining
se:tmlgathering in back (sec (a} in
Fig. 111 ). For method #2, sew the
unnm1ecl edge of the bit1ding, wJvll.~
side u p. to the wmng side of the
gachering. Bring the htnding up and
over the sc-nm allowance~ 10 lhe
from~ covering all previous stilching.
and edgestitch next to the mrncd
edge of the binding (see (b) in
fig.l-11 ). To prepare for method =3.
which rcmmes one layer of fabric

from the binding. serge one long
edge of the binding strip. \'\lith
nght sides together. sc" the
unse~&td tdge of the binding to the
gathered edge. Fold the se~&ed edge
to the back. pulling it dom1 below
the stltchmg. \\~th righ t side up,
~itch in the ditch, against the fold
of the bind ing. catching the scrged
edge o l the binding in the seam
(sec (c) In Fig. I - l l). Note thm a
fin ished binding wider tiHtn the
~cum ~llowaoce-s will feel empty
above the enclosed scam
allownnc:cs.
(Fig. 1-12). 1\vo or more rows of

cdgcstitchlng reinforce the sc-am
and add nmme.<.s while compressing the bunched gathers in the
scam allowance underneath..
(a)
(a)
(b)
Fig. 1-13. Sewing a gathered inser
lion into a cutout In a foundation stay
with (8) edges/itching and (b) blind
stitching. Edgeslitching emp hasizes
the outline of the cutout; for more
emphasis, satin stitch over the
edge stitch ing.
(a)
(b)
( b)
(c)
Fig. 1 11 . Binding a gathered edge:
(a) With no stitching visible in front.

(b) With edges/itching visible in front.
(c) Wi th "in the ditch' stitching hidden
in front.
An extension of fabric covers

tltc scam allowances and gathering
stilche-; in front, but not in back.
To tldd an extension. either (l) sew
the extension to the gathered fabric
\\1th tdgcs Dllltching and right sides
together, or (2 ) cdgcstitch next to
the turned edge of an cxtc~;on
plnced on top of the g<~thcring
smchc.s, or (3) combine (I ) and (2)
Fig . 1-12. Gathering stabilized by a

fabric extension attac/1ed (a) wilh an
Invisible seam. (b) with visible
edgestitching.
A foundatio n stay surrounds a con

toured and gathertd insertion <-ith
fabric. Method "1 Ill Is a cutout in
the foundation fabric with a gathered inscr11on. Sew the turned edge
of the cmout oer the g<~thered
edge or the insert ion with
edgcstitchfng by machine o r blindstitching b) hand (Fig. 113).
For Method #2, fabric shapes
gathered 0 11 o pposite sides or all
around nrc appliqucd to matching
<mtli ncs marked on the surface of a
foundation ~Lay. Edge.s gathered ou
straight machine stitching are the
easiest to manage. Before gathering.
turn tht edge under ou the stitch
ing and heat press or finger crease.
After gathering, blinds titch the edge

to the om llnc: Catch the gathering
thread and scvctai th reads of the
fab ric In the needle befo re pushing
it through the fou ndatio n and out
V." (3mm) ahead, just in fro nt of
the gathered edge, ready for the
next smch (see (a) in fig. l -H ).
(b)
Fig. 1-14. Gathered applique options:
(a) Blindstltch an edge gathered on
machine stitching. (b) Flute an edge
gathered on hand stitching.
Chapter I
GAT HERIN G
Flu1ing is a hand-applique tech

mquo unique to hand-gathered
edges. It aiTanges gathers into
gTOO\'CS betwn standing folds.
Gthtr the already turned edge of
the fabric on the thread of cquallr
sp.1cod nmning stitches (the larger
tho stitches, the higher the
nutcs"), Distribute the gathers
even I)' Start each tacki ng stitch by
Sl roking 1he
The rujJicd edge is a decorative,

frill)' finish for th<' gathered edge.
When the stitehlng to be garhercd
is St.."-'''n a distance a\Yay f.rom the

fabncs edge, the stnp of fabric
hen,..n tht stitchmg and the edge
breaks into a ruffie after g:<tbering.
To smbilize: ( I ) Wllh the edge of an
extension slipped beneath the gathering sticchcs. topstitch over t11c,
g:uhcring Stitches. then cover them
(a)
groove with a needle
from 1he inside out to the edge; at

the edge, catch several threads or
the labl'ic in the needle before stabbing It through the o utline o n the
foun<l:uion. Bring the needle up in
front ol the lleXt groove and conLill
ue (sec (b) m Fig. 1-14). RemO\e
the gathering thread when all the
groove~ have lx-en t.u:-kcd.
t\n Invisible sray is an underlinmg that controls gathering before it
is stabilized in a finished manner. If
the fabric is soft and s linky, a partial
StOI)' s teadies the garhc,ed edge
before binding or adding an extension. 1\ full edge-to-edge stay makes
n gathered insertiotteasier to han-
dle while sewing into a cutout

inside a fo undMiun May (Fig. 1-15).
When the layer of fabric added by a
permanent s tay is undesirable. use a
temporary st.~y- paper or a com
mercia! product de,-cloped for the
purpos.:-whu;h can be tom awar
whtn ItS usefulness is o\er.
wilh dccornllve stitching or an
applique. Or topslli ('h next

~athering stitches
10 the
nhd remove the
gathcling Lhn:acl ~titer topslhcbing.

(b)
Fig. 115. (a) Target-s/zed stay fora

gather8d square (b) which is stayed
when the two are basted together
An imisible faring is a linillg

that stabilizes;~; wcU as finishes a
gathered edge. Sewn to the gathered
f:tbric w lth edges matching and
right sides together, a facing, wben
turned over to the hack. also turns
the gnt he red seam allowance to the
insidt~. A f11cing for single-edge
gat hcrlnJI, has a loose edge in back;
opposite-edge and all-sides gathering need full edge-to-edge facings
( Fig. 1- 16).
(2) Sew a s tay or tape to the back of

the go1 hering stitches. (Jaunting tbc
gathers for decorative effect in from.
(3) Sew a decorathe 513)' of ribbon.
tape. or br:ud on top of the gathering stitches in from ( Fig. 1-17),
( Refer to "Edge Finishing for
Ruln<'S" on page 43.)
(a)
F'19. 116. (a) Pattie/ facing stabilizing a gathered edge. (b) Gathered
edge of a fabric circle surched to a
target-siz8d facing before (c) turning
right side out through a slash in the
facing. The gathered circle rolls at
the edge and inflates.
The Art of Monipulo:rcing Fab r ic
GATHERING BASICS
(c)
Fig. 1-17. SUJbilizing a ruffled edge:

(a) With an extension slipped underneath /he satfnStitched gathering
stitches. (b) With a tape handsewn to
the back of the gathering stitches.
(c) With s tape edgestitched over the
gathering stitches.
:::mg gathered stitching"

appl) to srrttchable elastic
C::.~=it. but tf the elastic is inside
:,_"-'= u nteds srnps to prevem
IDlO tho channel Other
..:=:=:1-gothtnng elements of fiber,
.as tnnl!,. cord, tape, and rib...-..1 tOps as well. Depending
clemtm :md the silttation.
n>d. can be stopped by fas tenthe f,tbric, o r the)' can be
~< bc)ond channel capacity
i<noL.<, bead.s, msscls, or
o (Ftg. 1-18). For encircling
wb. the ends c:m be tied or
.J together, or COIUICCLCU with
>ll.lp>. buttons, or Velcro.
bcr gathering d ements such
m.
\\'1~.
dowel. or rods are
,d "uh suitable hardware
F URROWING
With tin)' tacking stitches
furro"1ng creatc, a controlled
relief of meandering. suirling
grooves and crests from the fabric
that balloons between all-sidesgathered edges appliqued to a foundation StO)' The tacks sian widely
spaced and get closer and closer,
alwn)'S reducing the innmcd fabric
left bctwcel1 previous tacks, adding
more tidges 10 1he d,cloping maze.
Mnrl< the surface of a fou ndation

stay wit h the o utline of the gathered slwpc 10 be furrowed. Cut the
fabric 10 be gathered and furrowed
two tunes larger than the oUiline on
the foundauon. even larg~r for
dense furrowing with deep crc,1n-s.
Dot lhe fabric in the center and at
equally ~paced points between the
center nd the edges. Mru:k the
back of tl1e foundatio n s~1y. behind
the om line. wi th similarly spaced
dots. Stretch the stay in a hoop.
Gather the fnbric and applique it to
the outline marked on the s tay.
r ush" threaded needle straight
118. Stops at the ends of a

..Stnng block accidental removal.
A s:cp could be a large knot or, as
own. a bead held in place between
ots
up and out 1hrough the center do t

marked
0 11
the smy in back and the
center doL marked on the swelling

fabric above. Take a stitch three or
four threads-of-the-fabric wide and
push lhc needle stright down
through the St3) and out the back.
Pull on the thread 10 bring the fabric down to foundation le,el.
Secure \\~th a second stitch mcr the
first. In back. muvc the needle to an
adj:occnt clot position and make
anot her double-tncl<, pulling the
dot above and the clot below
togcthct. When all the dots have
(a)
(b)
Fig. 119. (s) Furrowing a puffy. gath

ered app/iqu6 with double-tacks.
(b) When tha furrowing is finished,
thread crisscrosses the foundation in
back.
T he height of the crests bet ween
funows diminishes as the number

of ln~ks Increases. With a densely
furrowed surf::tce, the crests h:wt
JiuJc 1'00111 [or collapse, but 3 Ja)'Cr
of bauing or loose fiberfill insencd
between the guthcrcd fabric and the
foundation sta) adds suppon.
been -:mchorc:d, refine the remaining

bulges with more tacks tO make
new furrows. Use the needle's point
to assist the grooving as tacking
conunucs. (Fig. 1-19)
End of GATHERING BAS ICS
SrNGLE-EDGE
GATHERING
-one side of a piece of fabric
reduced to a smaller measurement
when crushed onto pulled thread
stitching. elastic. or over channelled
elements. Below the gathered edge.
the loose fabric drops and spreads in
graceful. unstructured folds to a
flooting lower edge.
PROCEDURES
1. Decide how much fuUne.ss the
r~hrlc below the gathered edge
<hould displar-<light. moder
ate. generous, abundant. Set an
aftcrgatherlng target measurement for the gathered edge. To
csumatc the length of uogath
cred fabric needed to produce
the desired full ness in the gath -
ered fubric, tnuhipl) the rarget

me-asuremen t by Lhc amount
indicated in the followiog chan:
1
silghtluliness
moder.ne iullness
generous luliness
abundant lullness
(targetJ
(tnrgeq
(largetJ
Jtarget]
x
x
x
x
1~
2
3
4 (+more)
As the tlo!Tcrcncc between the

target mcru.urtmcnt and the
length of the fabric gathered to
match that target mcreases, the
fullness relea.ed br the gathering
also increa!>cs.
2. Add 111dth to the estimated
le ngth for the tongathercd fabric,
<tnd cut the fabric. If necessary,
piece the fabric to achieve the
necCSSIITY le ngth.
3. Di\1de the edge to be gad>ered
into halves, quarLers, o r eighths,
:mel rnark Lhc divhions between
segments \\1lh pins. nips, no<ehes, or chalk. Equate to similar
but >mJUcr tli\'isions on a
g:mgt-a ntler, a snip of paper
or fabric- that represents the
target measurement.
10
Tho Art
o(
4. Gather the edge (refer to

'Gm hering Methods' on page 3),
segment b) scgmcm. to fit the
target mea_~uremem. Distribute
the gathers as desired.
5. Stablli:e the gnthcrlng ( refer to

"Stabilizing Gathered Stitching"
on page 6).
NOTES & VARIATIONS

The <tnndard fo r lngle-edge
gath e ri ng Is "cut , s titch, a nd gather
on t he strnightgrnin of woven fabric: stabili:c h orlzon uolly ;m d
straight." Also, "st itching on the
crossgrnin b preferred O\'cr stitching on the lcngthgruin because the
folds released from crossgrain gathering hang more ruuurolly than
folds from lengtlgrain gathering.
tlowc,er, de,1atlons from these
:aandard~ to ~uh spedf1c circum~
stances are normal for gathered
applicnrions. l'or example:
Drtopetl shogle-rdge gathering

extends to two adj<Occnt edges of a
squ:orcd piece of f:obric. As a result.
the rdea>cd folds tlmpe toward the
center, and che n()ating edge, wi tb OUI the ripples and w.-cs ty pical of
straight-hanging folds. descends to
a point (see (a) In Fig. 1-20).
Stabili=ing tl1e gathered edge at an
angle tighter or ,,;dcr than tht original angle alters the curYe of the
draping nd the length of the point.
For concourrd slngle-lge gatlotring, the gathered edge veers from
the straight uncl horizontul while
retaining. noating edge that ripples
and waves. A straight, gathered
edge may be swbilized to slant up
o1 down , and , hecnusc of Its ilcxibiliry, to c ur\'e: o r angle . \Vhen a
straight, gathered edge is stabilized
to arch or angle upward, the folds
releoscd fro m che contoured stabilizing deepen and swell. and 1he silhoucnc of che noating edge imitates
in reverse the contour at the top
(sec (b) In Fog. l-20). Straoghtening
the floating edge br tnmming
places it o ff-gr.un.
Manipu laring Fabric
SINGLE- EDGE GATHERiNG
FI!J. I -20. Singleedge gathering variations: (a) FOlds released from adja
centedqe gathering drape.
(b) Straight, gathered edge stabilized
at an angle. (c) Straight, galhered
edge stabilized to cutve. (d) Straight,
gathered edge stabilized in a flat cir
cle becomes e ruffle.
Stabilizing n straight , gathe red
edge to clip in a curve stretches
folds Olll o f the 0onting tdgC, more
so as the dcplh or the curve increa.ses. unless (1) the fabric Is le ngth y
and weighty enough to hung
straight down from the gathering.
or ( 2) rhe \\~dtnlng silhouette of
che floating edge 1S considered in
advance (see (c) in Fig. L-20).
Instead of the gathered-edge target
measurement, u~ the silhouette of
the noacing edge us the target
measurement to estimate the
length of ungathcrcd fabric needed
to produce t he desired fullness i n
a floatin g edAe hanging from con-
cave srnhili zing.

When ao1 PilliCntion requires a
straight. on-grain. lloaung edge
wuh the desired fullness hanging
perpendicular and even from a
contoured gathering {-dgc. the fabric needs to be cue from a pattern.
(I) Mak full-slu pttcm. ";thout a scam allowance. of the target
shape the gathered fabric is co
match. (2) Slosh copy of that p3l
tern inl o strip~. cuuin$; in the tlirecrion the folds wil l h nng. (3) Tape
the \ tnps to another piece o[ paper,

'P"'~d ~prt
I()
stretch out the pat-
tern ~nd add the desired fullnessa! crgJlhering to the target edge.
~ (omtl-.:ting the separated strips
(a)
(a)
"'"h 1m~. re-draw the outline,. htch becomes the pattern for the
>bnc to be gatltered. Variation:
"J>r<ad the strips more at the hottom thon t he top to add Oare to
the folds released from the gathered
edge ( Fig. 1-2 1). Add a seam
.tltownncc tO the fi nal pattern.
. .- -IS
8
-~ ~-!!. ~ ~ ~
/~ ~ ~ ~ ~ ~
/~ ~
ror applicaticms so large that

' orkmg with a ullsizc targcLpaltern ts unprnnical. reduce the target
(b)
( b)
r ::::~s::: t:: ~
~ ~ ~ ~ ~ ~
~ ~~~~~~
dtmcnsio ns and s hape to a workl>te ;cole for panern dr-afting pur-
~ ~ ~ ~ ~ ~
Record actual-size measure1rnb on the ~:tied-down gather-
. "'"PC"S
'"~ pottem and opply those mea-
(c)
...ur.:nu:nb when cuuing the fabric.
StaJ rd singlr-ttlge gatlreri11g

hxwe a lloating edge. The
dcx.~nt
dtmcn<ional folds released from the

1\Jthcrinp. stitches d iminish and tlb.tppenr at the opposite edge wh ich
1> "retched smoodt and stayed Oat
co prevent ripples nnd movemcnL
To maintain a nat. straigh t. stayed
edge. the opposite edge can be
~thcred only up to the point where
the >1dcs begin to drag the stayed
edge OUt of nlignmcm. Too much
~athcring \\ill force the stayed edge
to curw up. \\'hen one edge is
<t.tycd In a curw that encircles. like
tube of f3bric sewn to a circular
cuto ut in a foundation, the opposite
rdge. tightly gathered, closes the
ctrcubr opening with folds fhat
r-.1dinlc from '' cennal poi.m-pro~

mled the wid th o f the tu be equals
the rndi us of t he circular cu tout.
Lc>> than tht' radius-an opening
'urr~unded by gathers: Mo re than
the mdiu<- thc gathering closes but
p uff; ( rig. 1-12).
(c)
Fig. 1-21. Slash-and-spread pattern

drafting lor an Inset gathered on a
contoured edge: (a) One-hall of the
miffOr-lmage target pattern
(b) slashed imo narrow strips which
are sp~ead out on folded paper. The
re-drawn outline is the gathered inset
pattem. (c) Adding optional flare to
the floating edge by increasing the
sp~ead at the bonom.
Fullness multiplies with each

addition to a buildup of tkrecl
slngle-eclgccl gatltering because rhe
ungathcrcd edge of o ne tier stabilizes the gnthercd ed ge. of the next
tier. Tlte gutlterecl edge of fab ric
strip #2 Is sewn to the u ngathered
edge of strip #I: gmhorcd tier :;3 is
sewn tu the ungathcred edge of (icr
#2: and 'iO on. Each tier increases

the length of the gathered edge for
the next tier {Fig. 1-13). If the
11ghtnc~s of the gathering is also
increa~ed for successive tiers, full-
Fig. 1-22. (a) Gathering limited by the

opposite edge whlcll is stayed flat
and straight. (b) Tuoo stitched into a
circular cutout will flatten and almost
close In the center when tightly gathered. (c) Tube stayed over a rigid
form with the end of the tube closed
by gathering.
Fig. 123. From tightly gathered

stitching at the top, fullness increases
gradually but dramatically when gathering is tiered.
ness wi11 increase e:xrravag.antl}~
Chapter I
GATHER IN G
II
An01hcr varhuion of stayed single-edge gothenng invohes pauem

drafting to enlarge the edge LObe
gathered. hut not the oppostte edge.
The Meps followed when drafting
the panent duplit'tltc those
described for Fig. 1-21 \\lth a crucial difference- instead of slashing
the ta'l\CI pattern into strips. lhc
cuts stop !lio" ( 1.5mm) from the
edge opposite 1he edge to be gmhcrccl. Stlckl11g the slashed wrgt l
paucrn LO :mother piece of paper,
fan <>Ut the strips to enlarge the
edge designated fo r gathering.
Filling in the spaces. outline the
gathering p:tttcrn ( Fig. 1-H ). Use
the onginal "''llct pattern as a stay
for the g.1thcrcd piece. Add seam
allowance> to final patterns.
I 1- L<)]IItly fiatncted on mrJCtooroed so<chmg.

m1.1Si1fl etllarged r 11} (1tr1t~.S tile torger dJn1Cn5!01i
npples !.O[tly ot rho fl!kolirog ed~o.
SINGLE-EDGE GATHERING
( c)
Fig. 1-24. $/ash-and-spread pattern

dmtting for stayed smg/6-edge gathering: (a) One-half of target pattern A
(t:J) stashed t:Jut hinged at the oppoSite edge, fanned out on folded
paper to enlarge the edge designated tor garhering. and with the
expanded edge re-drawn. (c) Pattern
C cut out and marked with a notched
edge that, when gathered, wit/ match
the notchos on patterns A and B.
I 2 Mu>!n !l"fho ed moderoteiy (ull on

macht11e sewn sr1tchng loses 50% at as
ong~..,a: length
12
The Art of M an ipu l ating. Fabric
..
'
<lose gmi:enng on lhrco

f!lQChrne sotcl11r'lg rcducrn.
-..sfln ro one.lhJrd t.s ongml
ttl ar.d re.toase:; gMtrous
/illds below lloe ;Jihrmg.
J.c,oSJ> fullneSS Wlrh deep IOld$ deS<end;
hancJ.s~tdled ~ougod eorl>cnne wl>och

"'ttndenSlf.J the mus!rn tJS!d {ot rtus samp.1.e to
7: cr1cs ai$"011et>R:I>.
1-5
The drap!'d (oJds com}' ;;ct'lei.M ~~""'
edges Oj 0
mliS1,n SC'jurJre tO ha,fihcif length.
Chapter I
GATHERING
13
I 6--Garheted t'M\ \\1th a cornOUI"ed r.eoc1ing sc:

(~lOfl stay (for ihe P<metn see Fig 1-71)
~ruo o MM ., o
1-7--Gm/le<ed fior" <!~ tKJ~el o( mustw\ twO {Cl>-s.'l-.:>e<l

oppl,ccrJcr.s ..m suJyed ~es sho:>e<I"UO ""'~ CO<>tlled by o'le
deJoS>ty of the goth"""~
l~ut (tom o pottem eni<Jf!1cd for gc!henng on one W. orxJ

Stated honzontafiy. lhe loose, lower edge of !he gcth<>recl sample
(ails nto o cu.-vo
14
The An o f Mallipulacing Fabri c
~9-T/rte llers. eoch &<'fT.-./ (t/4 than rho I>C< <lbooe, ...ctOOSe ~
"'tumterence of lhe flooong edge extro,r~gam!y '"lhout bulky galh<)rs
1!1.~kerong
d1e blrl<Nnll at lho lOp.
I I ~"Drunf<a/tJs P<lth." a 110'J,1Janol pmchwotk pattern. wlh

parcloes dmens'Oil(Ji,<fd by folds lha; "'"""" (rom a a..->1
(iG!i>e-ed """"'11>! f/Oii><'<
1\tre sro; I be{Ote
assemi>Y,(For the ponern. sec F1g. I 24.)
retches
I 11- Stnps w1~1 one edge ser '""' a ''""'or cutout before tijihtly
gmllet"'!!lhe Of!POS'!C ecr,e.A{rer gat~><~ Coe/i) 0 SO>:> .... >~ode
than me rud...s of the curcut letMS o cc111er openog; (ceotor) o

strt> os wide as d1e rod:us re'eoses {old> til!lt""dOI~ (."'m a
ce<>tnJI p.,,pa,nc(ni/lt) a ""0 ,,<Jer than lhe rod>us 'll;iole; lllO
musl.n IIIIo o <brr.e.
Choptcr I
GATH ERI NG
IS
OPPOSITE-EDGE
GATHERING
'
--<>pposite sides of a piece of fabric

made smaller when crushed onto
pulled t hread stitching. e lastic. or
over channelled inserts. The freed
fab tic between the gathered edges
collects into variable, directed folds.
~ ----
PROCEDURES
-=
-- -
!o;;:. ~
-:::;;:
--
.--:;;
Fig. 125.
Opposite-edge
gathering beforo
stabilizing to a
shorter stay-
which will cause

the long, loose
horizontal folds
to drape.
~...,
To g3ther the opposite edges of a

length of fabric. adapt the proce
dures described for "Single edge
Gthcring" on page 10.
NOTES & VARIATIONS

Opposite-edge gatherl ng requires
opposhecdgc smbiliting to nnchor
both gathered edges and maintain
the released folds in a directional
and taut or slack condi11on. The
folds can mme straight between the
gathered edges, or 1h ey c.1n drape,
puff. radime. or skew. The forma
l iOn of the sculpted folds thm a rc
libemtcd between the gathered
edges is the primary design focus of
opposne-edge gathering.
When oppositegathered edges
are ~!itched to a star that b >mallcr
than the g3thertd fabric, the
cramped folds in between either
dmpe or puff. For drapctl OtJ/JIISitc
cdgr gathering, the rclc.1secl folds
mus1 be hotizomal ~nd lengthy
enough to droop o f their own weight
when the gathered edges >rc St:tbi
lizcd closer together (Fig. 125).
For pujf<d opp~~sit<<dgc gmltering.

the folds released between the g,'tth
cred edges must be rel:uhel) short. as
they are between the gathered edges
of a narrow s1rip of fabric. lrtstcad of
draping, 1he folds thrust upward
when the gathe.ring stitches arc tOP
stitched to an even nan'Owcr stay,
brCltking up into swirling ridges und
peaks ( Fig. 1-26). The dmpcd or
Fig. 1-26. Strip of Iabrie gathered on

opposite edges, stabilized to a stay
that's smaller thsn tho strip is wide,
puffs up into craggy folds.
Skewed Ol'l'osilrrtlgt gcultering

fixes tbe folds into a chagonal relalionship \nth the edges. After stabi
lizing the left edge by basting the
gathering stitchc. 10 a stay, pull the
right edge downword forcdully
before basting t hat gathered edge to
t he st.~)' To provem t he pulled edge
from wandt:ring whi1c topsLiLching,
match the l'dgc to n guideline
marked on the stay (Fig. 1-27).
Skewing decreases the original
\\idth of the gathered fabric.
puiTtd effect grows more pronounced
site lightly (the outside curve). and

stabllizmg the edges according!)'
(Fig. 128).
sections immedi~
rotated in any direction, 'md the cle

vnnons collapse u nder preswrc.
The Art of M>nipulatlng Fabric
Cwwd oppositecdge g(ttltuing

arc> anU I urns. Curvature is ro1'Ctd
by g:11 he1i n g ~ segme n t on one side
of the fnhric strip tightly (the in net
curve). the segment directly oppo
Fig. 128. Strip of

opposite-edge
gathering that
CUNeS when SIIC
/iolls ol ooe edge
are gathered
lighter than the
as the st:t)' becomes smalkr. Unlike

draped opposite-edge g31hcring.
puiT<xl oppostlc-edge g3thcring c:tn be
16
Fig. 127. Opposite-edge gathering

skewed by tugging the right edge
down to angle the folds before bast
ing to the stay.
ately opposite.
OPPOSITE -EDGE GAT HERIN G
(a)
Fig. 129. Long strips of

fabric with ends joined,
gathered on opposite
edges, (a) fashion a wheel
and (b) create a dome.
Fig. 130. Using the stash-and

spread method to draft an opposite
edgegathering pattern that will be
gathered more on one edge than the
other and stayed to a rectangle.
For circular opposite-edge gather

lng. the end.< of a fabric strip are
'4!\\11 roge1her. One edge- the
'""de edge-needs ,cry tight gath
cnng on large slirches (rhc larger
the "itches, the smaller the central
>pcning). The opposite edge- the
out< ide of the circle-is lightly
~.llhcred. T he gathered strip Call be
m.mi;>ulat<tl into a nat. wheel-like
'hape or nn elevated, domed form,
.1-' determined by l-hc nmou1H of
gathering on the outside edge.
lk'th have deep folds . collected
Fig. 131. Using the

slash-and-spread
method to draft an
oppositeedgegath
ering pattern. based
on an unusually
shaped large~ to be
gathorod unequally
along selected por
lions of the outline.
Match points (..)
direct the adjustment
of the gathers.
around n cencrnl axis, th3t dimin"h a> they radiate toward the
out<r edge (Fig. 1 29). To gather

he outer edge. the strip must be
ongcr than the circumference of
he target circle to which the outer
dAe "II cvcmually be stabilized.
"' the target circle's circumfcr
m:c (ci rnunference = diarneter x
l H) as the wrget measurement
"'hen estimating the length needed
to g.tthcr the outer edge, A s trip as
' tdc the radius of the imended
trcular om line will gather n..
nhin that outline. A strip wider
han the r,,dius of the intended cirular l)Utline, when gathered on
pposltc t dges, will ele,.atc in the
ntcr within that om line.
\\~>en none of these fh the situa

tion, draft slash-and-spread patrems
for 1he oppo~itc-cdge gathering.
Insertions of a target shape covered
with folds that cross from a densely
gathered edge to a lightly gathered
edge (Fig. 1-30), or a target shape
wi Lh nn unus,unl outline covered
with folds that cross from edge to
edge (Fig. 131J', need patterns.
Sl:ISh n cop}' of the target shape
>lr:ight ncross from edge to edge in
the direction of the folds; spread
the pe.< apart on another piece of
paper to enlarge the edges for gatb
cring and stick to the paper; draw a
new outline that fills in the spaces.
Add scam allowances after drafting
After ~tob1h:mg the gathered

edges in a l'inishcd manner. arrange
the \lnfastcncd folds agreeably,
~Hre1ching ~m<.l pinning the tdgcs to
a padded board if needed. Steam
with ttn iron held nhove the gathc.ring. Allow to cool and dry before
moving.
pancrns.
Chapter I
G ATHERING
17
I-I 2-lvlusl"' garhered on and Slfocclltd berw~n <lowels ~nsenod 111to hems
1-13-Musl:r. garhcrod on and dmped between dowels
tf"'sened into he.-riS.
0 PPOSITE - EDG E GATHERING
1- I4- Tropezoid of muslin worh rl> slonr.ns edges gorh<>ll!<l

before sure/ling to o mctanll"lar ""Y as wide as d1c rop o( tile
crapezo.od. The ll!feosed folds drope wrth onci'Ms.ng depth to n
per.d<lntlowe! eclge.
18
The Art o f Monipuloclng Fobrl c
1-15- MusJrn pottemed w)/h o c!esogn Chat conrroscs smoolh (abnc w:rh
rhe dime.'lSIOIJOf, dfteCIJonol (ofcls o( auromctica!Jy .arherad ~rlsPrts.
f. f ~11<11\KtlOn U>U( cx,m.ts !he Oroct"'n 0(g<;!/lered (old$ lO

dlso~gwsh t>o<v.~<n rile Portt o( o p.ece<l desgn. 8oltkr garhenng
a:ound cl>c '""""' souu~ IS s<eo~ stayed sngle ec'ge gathering

{lis Ull! e:gh! lncnges OUIJ.<Ie lhe border. Af/ P:ces were Stayed
before ossemt>.'y
1-l 7- Generousiy gorhe1e<1 inserts fill unusvol~ shoped cutovtt 1n

a muslin (oumtauon. Tlie gather'S 1n the border start .smoorl1 o( the
corner and grodually mcreose 111 denSJty.
..
OPPOSITE-EDGE GATHERING
'
'
1- 18- Co~rugoted Ratlle""'' <lrown l1f' on motch.,g

,-o...s o( C\o1!rlftspaced '"'MinR smdlet. Tnt! g/"00'.~
...,stroked and the ~s Puted ~>hen opp/HJUM
W
Clle {oundar1or?
l-19- SerpenMe canstrua.-on o(gorhe:ed SlfiPS curved by a<!lust!ng

lhe gaU1ers, occ~ted \"'ith ar~ws of smooth (obnc. All ctcmenr~ we~
srirclled ro a (XIper st.at Ol.lV>ned WJU> rho deSJRn The 1J11ne po(fed
slrlps have permanent swys o( (obnc.
Chapcer I
GATHERING
19
Thl' SIIPS on d-.ecen~a on' sl<""ed the stnps an Ilk'

sdes puff too
of 31" (2cm)
1.20
""if''
OPPOSITE-EDGE GATHERING
1-2 t- Mcdal/1o" canstttKte<l (rom S{f(ligh< S<nps of '"vsln gathered to

rrdlate ancl enc;rc1c. 5tJfdled to a stt{(enr:d fotJndrJtton, foJds spread our
from o c~l'l'l11 oper.ocg wOilcd ~ th c<re;> gatt-m, to <l c~'e of toPS<otd1
"'11 thot ~-.. "ruffed e<lgc The ''""''"j..g ,,. o; "'"""gaY- "'R
I:S
purttd
~12-S:ro>s;/11 Sw,>S gmMft<1 "'"' <wo dome</ <ho~s -
"" oory (abrlco!ton
of b"','ow1ng mus/ln-, rhe ocher molded cJno seorrHet Chef o tOI.Inde<4 sobo J4t'1Tl
20
Tho Art of Manipu l ating Fabr i c
ALL-SIDES
GATHERING
-a fabric shape condensed Into a
smaller version of itself when its
entire edge is drawn up on pulled

thread stitching. elastic, or over
channelled inserts, inflating the fabric
between the gathers.
PROCEDURES
I. Sd ectl:trgtl shapes \\i lh <lmplc,
uncomplica1cd o ullmes. To drnh
an all sidesgalhtr<-d p.111cm for
a l>rgCI, enlarge 1hr 1arge1
1em by an equal amoun1 all
around 10 aUow for puffing. A> a
broad rulc-of lhumh. cslhnalc a
heigh! for the inOa~ed fullncs>
and enlarge b) u1at amoun1 (see
Fig. l -31). Dh<idc 1hc curved
CdJ!.CS of the gatherm)\ pallcrn
imo halves and quancr>. mnrk
ing the divisions wit h notches.
Divide long straight cdgco in a
similar manner. Mark 1he 1mget

pallern wilh comparably sp~ced
notche~.
2. Garher ;1ll around the edge or fab

ric cu1 from 1he gMhcring pa1tcrn.
mmching 1he gmhered lcuglh
between notches or sides 10 1he
length between related n01ches o r
sidt'S on the t3rget pallern, or on a

stay em or outlined from the lar
get pouem. Distribute the gathers
evenly. (Refer to "Gathering
Method~ on page 3.)
3. Stabilize the ga1hered edges and
shape, choosing a method !hat
<uns 1he requiremcms of lhe
applicauon (refer to "Stabilizing
Gathcn-d Su1ching' on page 6).
NOTES
or
!'riffs he"d sub Iist hand

sewing 1echniques that limit 'Lil
sides gtuhcring 10 >mall circles.
Gather a linlc circle of fabric very
tightlr around Ute edges. ,~.;~nd Ute
bunched ga~hers on foundalion fabric. "nd lack securely. With 1he nee
dies polm, tease open Jnd <prcad
out 1he bundled fabric abo\C lhe8"1hcrs Ia m.1ke a puff that looks
something like a squJII) 1ood>Lool
(Fig. 133). A puff finishes shglulr
less than one-half hs origmal circu
Jar diamtltr.
& VARlATIONS
The s1andnrd for all-sides galhcring Is a square ga1hered to a

<malkr squore. an oval gathered to
a. smaller oval, a clrcle ga1hered to
n smaller circle, or variations
!hereof, with the edgc.s swbilizcd
oppropri,ucly. The air-supported
fragilil)' of the fabric that billows
up between the edges is part I he
appeal of all-sides ga1hering. 1\o
all-sides-gathered applica1 io n needs
nn environ mcm w here such quali
tics arc a~selS.
(b)
Fig. 133. To make

a puff: (a) Stltcl>
around the odgo of
a small fabric circle.
(b) Gather tightly
and tack the gath
ers /o foundation
Iabrie. (c) Cap lh9
puff over Its base.
or
Furrowing is an unusua,l adjunct

tn all-sides gt1thcring, utilizing 11eedle and 1hread co collapse the puffy.
uns1cady folds delibcnucly. fur
ro\\ ing convcr"> I he ballooning fab
ric between 1he stabilized edges
into a ma.::elikc relief of ridges and

crevices with 1iny 1acldng sli1chcs
( rdcr co Furrowing= on page 9).
Tbe rufOed puff carrks 1he puff

concept a step ftmhcr. Ccmcr the
puff circle inside a larger circ!t.: of
fabric. Stitch on 1he ou1line of the
puff circle and gather, "indlng 1he
thread around the guU1cring s.:vcrol
Limes before secunng. Auach !he
gathers be1wcen lhe ruffle and 1hc
puff 10 a fowubuon (Fig. 1-34).
Fig. 132. To cover a round foon with

a circle of fabnc gathered an around,
measure the foon BCIO$S the diame
ter of the top and down the sides to
the points where the ccvering wll
stop. Thu measurement Includes
enlargement for height.
Rg. 1-34. To make a

roffled puff: (8) Stitch
around the inner circle.
and (b) gather tiglltfy.
{c) Tack the gathors to
a foundation.
Chapter I
GATH ERING
21
Fig. 135. For a

ruffled pull on a
base: (a) Stitch
around both inner
circles. (b) Gather
tightly. pushing the
gatherad ring of
base Iabrie down.
(c) Tack tile base
to a foundation.
Massed ruffled puffs exaend the

co,crogc of frill)' nofnc> and n<-stled
puffs to an area ddined b)' the
n um ber of rufllctl pulfs a ttached to
tJ>e foundation: The trlck-auach
so closcl)Ttl1ao adjnc<oH rurflcd
edges arc forced upward. The rufncd puiT on a base snuggles the
puff inside a fuller nornc roiscd
from a cushion of glllhcrs. Outline
lwo conccnt:ric circles spaced abouL
Vl'' ( L. 3cm) apan , cen tered inside a
larger circle of fnbrlc. With two
threaded needles. stitch o n th e outlines. Gather both rows tightl)' while
pushing the puff circle on the cemer
up, and the gathered fabnc between
Using the stencil. troce the paucrn

onto the right side of the fabric.
Stitch and gather each circu lar out
line tightly. Push the pulfs up a nd
spread out th e bunched puff f:tb ric
with the point o f o.he need le. Gather
the edges of the fabric to match the
measurements of the puff-gathered
ontcrior o the fabric. A hght\\eight
lining tacked to the gathering
behind the puffs steadies the f.1bric
ovcoall and p revents puff-jlathcring
threads from breaking under stress.
Star gathering describes the

"'' crse sode of puff gathering when
it becomes the right side. Dimplelike points surrounded b)' nodlating
folds rcplae< the puffs. Trace the
circulut outlines on the bad< of the
fabric and proceed as dtscribed for
puff gath ering. For p ierced sutr
gatheting, tbc dimples exp:1nd into
round openings. Pierccdstnrgathering stetlcils h.-e cirtlcs at lca>t
twice as large in ditomcter ns the target openings nfrer gathering . Cut
out on Lhc cir<.u)ar outlines tr~ced
on the front of th e fabric. Wi th a
scanty seam allowance clipped and
norned under wbile se\\1ng, g.1ther
each circle on overca.~L stitching
pulled tight around " remov.,ble
gnugc like tl p encil or dowel. Usc
strong t h read and secure the guth
crcd sti tc h ing well to deter future
accidents.
For puff gathering and ns \'aria
nons. the coronccring folds released
b)' the gathering become longe r as
th e dlst;~n ce between circles
increases. and deepe r as t he circks
increase in size.
the: f0\\1'$ down to rorm :.1 b<lst under

the p uff a nd ruffic. Sew tJtc oosc to a
fou nd ation (Fig. J 35). (Refer to
"Edge Finishing foo Rufrles" on
poge 43.}
Fig. 1-36. Two pull or
With puff gatlocrirog. the puffs

and the folds connecting the puffs
remnstruct the fabtic Into a pat
tcrned rc.Ucr. Puff gathering starts
with a s tencil o f cutout drdcs
urr:mged on a g rid (l'lg. 1-36) .
star gathering stencils (a) pl8nned on a
radiating grid bisected by concentric circles, (b) drawn on a

squared grid. The cir
c/es are spacad more
than their width apart
to prevent the pulls
from bumping into
each other.
(b)
22
The Art of Manipulating Fabl"ic:
ALL-SI D ES GATHER.IN G
perhuctcr of the finished yo-yo,

inside the circle of fabric cut for the
)'Oyo. Because the fabric between
the inner circle and the outer edge
"Ill be mmed toward the center of
the y<>)'O by thr gathering, 1he dis
tmacc bel ween rhe inner circle tu1d

the otucr edge should be less than
the rodius of the inside circle.
Tum ing the seam allowance inside,
sew next to the lold with ~trgc.
(b)
F.g. 137. To make a yo-yo: (a) Stitch. (b) Gather tightly.

and flatten. (c) Join two yoyos together with tiny over
fland stitches. (d) Two yo-yos start a row of yo-yos which
Mil be joined to another row of yoyos and so on.
\'0-yos squash the in Rated resuh

f >11-sidcs gathering and show a
nng of gathers on the top. A yo-yo

"'=!\ins as a circle of fabric cut rwicc
..... large in diameler as lhC inLended
Appliquf<! to a foundation fabric.

)'<> yos arc dements for surface dec
oration. Outbne smaller circle, the
C\'en running stitches. but don't

gather until the )'o-ro is attached to
the founda1ion "~th stitching
around the inner circle. Stabilize
the gathered edge with fluting thnt
spaces 1he groo"cs in the gut hcs
(Fig. 138). When some-size cicks
arc nppliqul'd, the finished size and
"ppenrance of the yo-yos m"y be
changed b)' varying che size of the
inner circle, which will abo ch:mge
the ~11e of the opening framed h)'
tle gathers. and by pl:lcing the
inner circle off-center.
Hlyo. Turning the senm tlllowancc
Fig. 138. To
applique a
yo-yo: (a) Stitch
through the
turned seam
allowance, S6w
to the foundation
fabric around tho
inner circle, and
gather. (b) Flute
the edge while
stabilizing the
gathers.
onside, sew next to the fold wirh

Luge, even running stitches: Lnrxe
1r1mning
scilclrcs : smaU u utc1 open ..
ng; smnll nmning sduhcs IIIIJ:t

rnrtr opening. Gather tightlr and
buen the ba&oy fabnc mto a circle
-urrnunding an inner ctrcle of gath
,,., A multiplication of round
)D-)'OS joined together where they
touch creates a fabric or uim
uniquely textured whh g:tthcrs nnd
openings (Fig. 1-37).
Chapter I
GAT HERING
23
1-23- Three gclhere<i-cirdo

SUlJCWl'OS,
(left)
OM Jhal
puffs
now""'r. (ntw) one moJdees
from a chcnnel!ed drows01ng
~2 4 Son:~<! c!OS';;n wlh p.~ffi-.gs

mCJcle from lcrger OVCJis go:/lerecl
nnd hondstrtched i.nro smaf.'er
rMJ! CtJIOI.its, above on mseroon
o{cpposou. ed5e gmne.,ng.
ALL-SIDES GATHERING
I 20-Sccmered puffs occem o design of

~0V1ercd drcular elemMts: (!op} Six ruffled
puffs. dlree wolh center~ puffs on top, d1re~
~15-h<ed cJcs,gn l/1ar C1liiUriSIS putted st'<JpS and smoorh <>=,
Except (or C/1o CW<r ofpuffs UIO:<d 11> tile sut(oce dl )/Otl>erod
peces ...,,.. S!o)'ed before assembly.
24
The Art of Manipulating Fab ric
onod"ed ~th the pvffs voxtem.?o:, , (oor

om) 1hree stnpS " lh C.'l<li p rtee-ed"" or.c '<"
121----(luM!< "f!!l) Massed rvt1l< puff;.

(lof!) fi= ruffie<J pu,~;. (cer>lotJ puffs.
(upper ng~t) throe ruflied puffs "" boscs
128-Puffi/<Jfhem2 del'gn. H>nt ~ 0t1

r/!c fabnc lfl<kalt 1/>e ~ gn<! lilor tegulctes thc por.wn
ALL-SIDES GATHERING
129----Star galhermg (the p;J/Fgathcnng

de;,-gn, te'll:lSCd).
~30 - Rod>ol deso!l"
rhot comb.nes Slor and

puff fl'Jii>cnog. t( tr:e bO'denn~ p<J}fs were
tw.ce a.s, '"rge. or 1{ there were 24 msread
of 12, the Cof((Jm(crence would shrmk and
tbe centef V<'OUfd cJcvale uuo a dotrte
Chapt er I
GATH ERIN G
15
1-31
l'letred '"''"
~g.
ALL-SIDES GAT H ERI N G
1-JJ -Row o;yo-yos InSerted a~ an openwork barrier.

J.32- A>stmbly of yo-yos that coold bo continued lO orr ,;,e
26
T he Art
or
Man i pulating Fabric
AL L -S I DES
GATHERING
j.J( -A~ )'0-)'0$ ..,,(/>
Puted stabrlizmg orovnd lhe

lo!Jer openings.
-35---funowl'g ex~ SlOtted W>!h ,.,..,;;, wt cw.ce as~ os rhe ccrger

5hope: (top left) Wrdely tp<J(I!d tacl<s rh d..,ptst furrows. (lower lefr) Moo
tackrrrg redrJCes ri1e helglu o(lh ce.sts (top nght) Oosely s~ed tacks-<:ICSI$
t\'l.ci: os hRir as !he O'OS<S (lower rieht) '" the densely lOCked """'
o bond
o: ~"''I OfOI.If>:i rhe i~s~
"''rh
Exueme en\Jrge.
outsk!e lhe oppli<jve su"hrng outi<nes Pl&llded the
swolling iobnc (or (IJflowirlg
1-36---Appliqu~ and fUrrowed yo-yos.
m~nc
Chapter I
GATHERING
27
hirring configures fabric with
bands of soft, rolling folds
released between rows of gathering.

The pinched, puckery, stitching lines
that bisect shirred fabric run parallel
or diagonal to the fabric's edge, cross

each other, or form multi-directional
patterns. With its network of gathered
stitching separated by zones of fabric
crowded with variable folds, s hirring
shrinks the original fabric while
adding substance to the decorative
fabric it creates.
S HI R
2
SIIIRRING ....................................29
Procedures ................................ 29
Not~s & Variations ....... ........... 30
Mock smocking .................... 31
Elas1ic shirring ...................... 31
Am~m~lically ga1hered
shirrmg ..............................31
warne or cross shirring ........31
Puffed s hirring ......................32
Omped shirring ..... ... .... ........32
Skewed shirring ....... ............. 32
Channel shirring ....................J 2
PATTEllN S ~liRR1NG .................. 38

Procedures ........... ..................... 3f!
Notes & Variations .................. 38
Meander shirring ..................38
Shirring
SHIRRING
- fabric contracted to a smaller size
when gathered on multiple rows of
stitching sewn straight across the
designated area in parallel rows.
PROCEDURES
I. Set an after-shirring target
measurement for the s hirred
fnhric tn match . Decide how
3. !'Inn Ashirring pa11ern with par

allcl stitching lines spaced out
over the shirring area. Mark the
Slitching lines on the reverse side
of the fabric "ilh a fabric-safe
marker or lightly pressed folds.
or depend on a sewing machine
auachmem. o..;de leng1hy
K\\ing lines mto segmentshal\'cS, quancrs-that "ill be
ma1ched to corresponding seg-
much fullness the fabric

released between 1he rows of
jl31hcd ng Slitchcs should diS
play- sUght. moderate. generous. To cs1ima1e the length of
un shirred fabric needed to pro
duce the desired fullness in the
shirred fabric, multiply 1he targel measurement by the amount
indicated 10 the chan bdow:
Sllghll~lness
(Wge!J x t ~
mocltralelunness (lirgel) x 2
generous fullness large!) x 3 ( more)
2. Adding a scconcl measurement for

1he non-shirred length, em the
fabric. No1e that shirred fabric
shrinks slightl) ttcross the gath
ered Slitching. (For example, a
12" (30.5cm) square shiJTed 10
6" ( 15cm) may shrink W' (6mm)
from its non-shirred 12" (30.5cm)
length. As 1he number of gathered rows increases, shrinkage
increases.)
menL~
4.
:o
rng,
o n a targeLgauge.
prcpar~
the fabric for gather-
cover the marked lin es with
ungaugcd. hand-sewn running

Slitches, machinesewn straight
stitching, or zigzag stitching over
string or cords (refer to

"Gathering Methods" on page 3).
Lea,e al lea." J" (7.5 ern) of
thread. siring. or cord at one end
(hand s.:wing) or both ends
(machine s.:wing) or e-dch seam.
5. Ga1her each row of stitching 10 a
specific target measuremenL
Hand hold the fabric . or pin or
Ulck one end or the center of
each row to a rlat surface marked
wilh Htrgct mea$uremcnts. Grasp
the dangling threads, su ings or

cords nt t.hc ends of two or more
adj nccm rows of SLitching in one
hand: u'e the other hand 10
crush Lhc fabric imo itself on the
1amly held 1hreads. Gather inch
b) inch, working back and fonh
across the fabric. until all rows of
stilching are ga1hcrcd 10 size
(Fig. 2-1).
Chapter 2
SHI RRING
29
Fig. 2-2. On Ute left, gathered stitchIng that stops attlte fabric's edge
secured with bobbin-and-needlethread knots and a vertical fine of
machine stitching that crosses each
knot. On the rigltt, gathered stitching
that stops within the fabric secured
with bobbin-and-needle-thread knots
and a vertical pin tuck that catches
each knot inside the tuck seam.
(a)
Fig. 2-4. Shirring, with a stay underneath, stabilized by satin stitching

over the rows of gathering stitches.
If a layer of fabric underneath the.
shining is undesirable. use a temporary stay and stabilize with narrow libbon or tapes stitched over
each gathered r<lw ( Fig. 2-5). For
shirring gathr:rcd on Sl\l(dy Siring
or cords, stabilizing is optional.
""""..
(b)
Rg. 2-1. Fabric prepared tor shirring:

(a) Pinned at the end of each
machine~sewn row to one of two target fines marked on the surface
underneath. (b) Tacked at the center
of each zigzagged row to the midpoint between two target fines
marked on the surface.
(a)
Fig. 2 -5. Shirring stabilized with tape

or ribbon machine-stitched over the
rows of gathered stitching.
Secure han<.l-s titched gathering

with tiny stitches, one over the
other. Secure machinc-sthchod
gathering b) tying t.he bobbin
and needle threads together and
then machine StiJching across
the knots . If rows of shirring end
inside the fabric rather than
insi_dt Lhc scam allowance, cap
NOTES & VARIATIONS

Fully shirred fab ric is gmhcred
from one side
wrc the knotted threads with a
(b)
titl)' tuck (Fig. 2-2). Adj ust the.

shirring evenly.
6. To set the shining, pin to a flat
s-uracc. stretching gc.ml}'~ and

steam with an iron held above
the fabric. Allow to cool and dry
bl'forc moving.
7. Stabilize thread-gathered shirring

with an invisible stay stitched to
the bacl< ( Fig. 2-3), antVor sew
th e shirring to the stay by topstitelling ovcr ~cach gathered row
(Fig. 2-4)
30
Fig. 2 -3. Shirring stabilized with a

stay hand-stitched to the last row of
gat/Jering stitches by catching the
gathering thread and one or two
threads of the fabric In each stitch:
(a} Stay hand-stitched on one side
and machine-basted to the seam
allowances around the other three
sides. (b) Stay hand-stitched to the
gathering stitches and bordering pin
tucks.
T he A rt of Manip ulating Fabric
to
the otiu:r on
stitching spaced out from top to

bottom. Partially shirred fabric is
confined to an area isolated in tho
rniddlc of the fabric, a section dtat
runs clown the ccmcr o[ the fabric,
SHIRRING
or a section Lhat c rosses the tQp o r
botrom of the fabric. When the

shirred section is a heading, the
released fabtic falls in spreading
folds to a floating edge.
Always locate the last row of gathering stitdtcs \Vithin the seam
aUowance for shini ng that will be
auacl)cd to an extension or inset
behind n cutout within foundation
fabtic. If a gathered edge isn't meant
to become the seam allowance for a
Future seam, the e-dge may be fmishcd
with a ruffie. ( Rder to ''Stabilizing
Gathered Stitching" on page 8.)
l
5ulnli:ing prevents the gatherthreads from breaking and also
CURS the dismbution of the
hers. WiLh a sray undcrntath,
"lnchmg over each gaLhered
"' locks rhe arrangemem in
pl.tce, next besr- hidden Lacking
"Jtches spaced out along each row.
When rows of gathered Slhching
ue topslitched to a permanem or
anporary stay with decorative
l.tlld or machine stitching.
,bming is sometimes called moch
...,oc:king {fig. 2-4 and refer 10
\lock Smocking on page 133).
If all the stitched I'OwS arc gathcrtd to Ute same cargct me~sure
mem, a recrangle of f<\bric s hirrs
mto a smaller recranglc ur a square.
But tf each row is gathered looser
than the previous seam, the seams
.,ll CUrYe, the Sides of lhC Shirred
f.Jbric at the ends of the Stitching
,.,ll fan outward, ond rhe densuy of
the connecting folds will gmduolly
dm1inish. Rows of s rlrchlng spaced
uound a long scrip of fnlll'ic with
ends seamed together nmy be gar hcrcd wil h unequal dens II y 10 con en rhe cirdc of fabric into a wheel
,.,th radiating folds conrrolled bv
concentric seamlines, or rhc circie
or fabric can be gathered over a
ng.d form into n domed shape
(refer 10 "circular opposite-edge
gathering" on page 17). Shirred fabric acquires stiffncss across 1he
scams, a useftll attribute ror struc
turttl applications.
Onc-srcp aulomaric garhering,
no srabilizing, and stretchable
adaptabilil}' are three reasons for
the popularity or elasri< shining.
Machine-gathered wilh clastic
thread in the bobbin or clastic cord
inside zigzagged tunnels, t lnstic
shirring dings and conforms when
stretched over a solid, curvy substructure. (Refer to ''Gathering
Mer hods" on page 5.)
Aulomar.icaUy garlocred sloirrlng
&.
results \Vh~n the rows n~ sewn with
a gathering foor. a specialized

machine attachment that crimps
each stitch (refer to "G31hering
Methods" on page 5). Tension and
stitch setrings regulniC the density of
(a)
Fig. 26. For waffle or cross

shirring: (8) Mark
stitching lines on
the back of the
Iabrie. (b) Alter
stitching, gsther
parallel rows in
one direction.
(c) Gather the
crossing rows.
(c)
the gathcrtng-a high lension combined wilh 1he longesl stitch cause.<
the fullest gathering; shorter stilches
decrease fullness. Test before shirring with the g.1thcring foot. The
lighmess of the gathers. the widrh of
the foot, and the nature of the f.1bric
affect the man.1grnble distance
between rows. Within irs limitations.
auromatic g;nhcring with rhc gathering foor speeds nil kinds o( shirring.
The pockets of puffy. crumpled
fabric I hat spring up between cri<Scrossing rows of gothercd >litebing
characterize wCtffic or avss shining.
Sritched by hand or machme over a
grid of lints marked on the wrong
side or the fabric, !he fabric is gathered in one dirccuon to rhe target
measurement and then the crosss titched lines are gat hcrcd to the ""
get measurement (Fig. 2-6). When
straight stitching by machine. s~;p
the needle O\er previously stitched
TOWS 10 avoid 01<!\"US through the
thread, a catch 1ha1 would impede
the gathering process. Before steam
setting the wnffic slurring. push ou1
and pull up 1he fabric released
belween the rows, stretch and piJl
the em~< of 1he slilchtd rows 10 a
padded bo<rd. steam, and allow to
cool and dry before moving. To stabilize, hand tack a sLay 10 the back
or the shinrlng nl the points where
stitching lines cross.
For pulfctl slolrrlng, the loose folds
between rows or gathered stirching
are elcvared imo a JlUnble of swirling
ridges when adjacent rows arc
pushed toward each othc.r as they're

topstitt hcd to a sray. Mark 1he slay
wioh lines tbat repeal the shirred
stitching lines but space the lines
closer together {the tighter the spacIng compared 10 the shirred spacing.
the higher the puiD. Pin match the
g.1thcred rows 10 corresponding I inc>
on the stay and topstirch O\'Cr the
gat hering stitches (Fig. 2-7) .
Fig. 2 7. To puff shirring whllo topstitching to a stay. shorten the space

between adjacent gathered rows. In
this diagram. topstitched section 1
has not boen putted, sections 2 and
3 are puffed, section 4 will be puffed
when the gathered stitching is top
stitched to the guideline marked on
the stay.
An alternate method: Elevare rhc

folds over a dowel or tube rempol':lr
II) inscned between the shlnrlng and
stay. and topstirch over the garhered
Slitching whh a zipper fool (In 1he
machine.
Chapter 2
SHIRRING
3I
Fig. 28. Puffed

trim: (a) Shirr a
fabric strip on
spaced out rows of
machine stitching.
(b) Push the gathered rows closer
together and blind
stitch the curving
edges in between
to a foundation.
t\ vario tion of pu tTed sbjrring,
Fig. 2 10. Skewed shirring paffcm:

Aller seam 1. seam 2 is not skewed;
seams 3, 4. and 5 are skewed: seam 6
Is not skewed; seam 7, pin-matched to
a line on the stay. will be skewed when
topstffched. When the skewed anglo
tums up, rum the Shirring so that topstitching iJ/IVBys moves doiWI, foRewing
the descending slant ol the skewed
puffed trim eml>ellis hes foundation fob1ic with chains of oval or
circular fabric puffs connected by

row~ of gathered stitching. Puffed
trim SLaru ,,,th a narrow snip of
fabric: (I) Press the scam allowanc~ on the long edges underneath. (2) At measured intervals
spaced out along the length of the
s trip. s titch across the strip and
gather tightly. (3) Reducing the cUscancc between the gathertd in tersections to puff the intervening
falll'ic, blindstitch the folded edges
to a founclnt ion, shaping scalloped
ou t line~ rm<.l securing the gathered
s titching as sewing p i'Octcds
(Fig. 2-8). Shorten the distance
bel Ween i ntersections
to
incre:a(Oe
the outward curve of the edges

attached to the foundation.
For sh1rring 10 puff. the distance
between the gathered rows must be
short enough for the folds to stay
aloft when the rows arc bunched. As
1he distance between gathertd rows
increases. the folds in between begin
to clrvop instead of puff wbt11 adjatocnt rows arc forced closer and.
eventually, longer folds drape of
their own weight. Ahltougb similar
10 puffed shirring in consrruclion,
the scale of draped sltining is com
pamti"cly large (Fig. 2-9). Draped
shtrring n<eds to hang from ''crtical
g.thering, whereas puffed shirring
hul<b up whatc-er its position.
The rtlauonship between folds
and rows of gathered sutching
changes from perpendicular to diagonal when shirring is skewed.
32
folds.
Fig. 29. Large, heavy application of

draped shirring gathered on cords
lnsirfe tapes (see Fig. 2 11). Rigid
reinforcement from side to side at the
top and bottom of tl1e tapes keeps the
sides straight.
gathering clement inscncd between

two fabric layers. .~ full or partial
underlining or a tnpe behind every
pair of scams nwkcs up the second
layer (Fig. 2-1 I). Arter shirring the
fabric 10 size on channelled cord.~ or
rods, SlOpS Ill Ihe end> ol' the cords Or
rods prevent the gllthcring from coming undone but :11low the gllthering
10 be rcadjus1cd lll :tny time.
Sl1e" fll shining requires a stay

abuut as ";de as the shirred fabric
measured across the gathered rows.
but longer than the rows to allow
sp:tce for anghng. (If the Silly fabric is
limJ>. stiffen h '' nh P'pcr or a <:ommerciaI product which can be tom
away nftcr the ; !itching. or starch it.)
After topstitching the first mw to the
Sla)\ pull the fokls released from the
gathered stitching up m down forcefully :mel hold In thnr slanted position
whik tupslitching the next row of
g;uhcrcd stitching. Mca.~urc ns tOp
s 1itching proceeds 10 maintain a
stmight nnd . ,en dismnce from pre1ous rows (Fig. 210). Skewing short
ens 1he acmc;s.row measurement of
the sh1rred fubric.
Chcmnd shirring is gathered on
cords or rods concealed UlSlde fabric
conduitS (refer to "Gathering
Methods.. on page 6). The folds arc
released between seams stitched in
pairs, cllch pair spaced lO enclose a
The Art o( Manipulating Fabric
SHIRRING
Fig. 2 t 1. Shirring in progress on

cords confined inside hems on the
outside, and in channels of tape on
the Inside of the fabric .
SHIRRING
t Halldstuched sro,,lflg Wl'lh eodt S(rtdwg !tnc d1'vJded it1to

oe segments. God1ered segmnt by segmtnt "'"' tisf>dy R<Jth<red segments Interrupt the looser gothonng m th< ccnwr and
de segments.
1~2-M<Jchne
sutchod slwnnK
gathered on bobbn threads
1--4- Shmng soob!llzed 'Mt/1 topes and broids ll>ot cuer rows of~~~~
ournm(J!JCOI!y golherro w,rh o gothel'l<tg fool To apply rlM bi'Od and zatntr
111 the same opett::t!Of\ mse:t the braid ~nto the need.'e "o!e n the ~rhefllli
foor and brong it ovr bel>nd ti1e foot before srartrng to goth! r the iabnc.
fi-3--V.rnwl pmwcf<s. "f>ch look l'e >eams from d1e (tom.
noody ~rush <he nds of rJ1<! god~ed rows o($!>!Chong, and sepal!l!e the shr~ed s!Kt10n from tho smooth fObr<at rJ1<! ~des.
Ch>pter 2
SHI RR I NG
33
II 6-Cil<JMel shirring over Sl)[i yam and rwi/1 rape. The
seamlines separovng rhe yarn d>Onne's on the le(t look mccid.'ed compared ro U:e de[ined seamtines on the rJghc- where
the seams are bobbin-cilrcad gathered co match ihe! length
of dre yam over whlch rl-re (obr': is channel-gathered.
11-5-(rop) Shimng 0-adl!:remg. (touom) Sh1rring produced on cord's
dosely con(lne<! ins<ie 7.igzag sVrchog s much m~ disrma
ond c.ont.ro!Ted.
SHIRRING
11-7- Srobl. rhid<. (~m tJ>x(}Je creored by gJ>then:,g
!he Slirchfng between ~of snuglY channelled
cob!e cord. To pte-pme for gorheting, cords wetP.
seamed uno douf>Jed (obtic with exlro-s(!Cng
cilread in the bobbin. Til(! fabric vtGS pushed onro

the cord's a; bobbin-<hrer.Ri garhemrg p:1>gresscd.
1/.8-!.ong recran(.e of muslin shirred

'""' a half-crcle by gradu<Jung the gothenng of succcssr.,-e seams (rom very11ght
1n rhe cemer ro light on the outside. A{ier
topstndiirrg ro a (oundor1 sray. fhe
""~''""/ stroJg.~t-sutchod
gathering
rhreods W'fli: pulled out of the sllimng.
The Art of Manipu lat ing Fabric
SHIRRING
IJ.9--Gn:ulcl.' om.rr.onf Rodrered oo

a:rcenmc .stromS .ruo smota on:f.es.
(le{t) r.. o ~our~ gam.
ered "'!I> a 0{11/>eJ.ng fOot cfso ose
""" Oldablf 11'10 cooes. (ogl>t) Woth
hand RalhOMB ro comml deilS!ty. a
/erg.!
orde '"'"' mro o ilot medamon
around o cemer of bolloonJng (aboc.

whKh waf ser~ed with fUrrowing.
by.-.
JJ.J 0-Sculpted form shaped

the g<~rhenn~
<ten$0ty o( succe,.,.., 1llWS to coo(orm to the doml!d
sh<;pe o{o mo1<t I.DosoMg !he ~ oo the oulS>de
ro.; created !he ~ rvn edged ,,izh ~
/1.1 I Wolh e!o5lJc tT<reod " the bo!iCon

<llld !he mvsM Sllached UM ., 0 l1cop.
fl1!e-mob0fl """""" ""''"''i " 0

~ng panem ptlldoces '"rcny
sh:rdng 'Nith o amkly texture.
IJ./2- Two ""omptes of waffle oc

ClOSS sill<-. rufomatJCa'o/ go<hcte<l
w !h o ~ (oocA[ter go<.'>emi
.. """ ct.ect"OO.!I>e god"'Efflg {oo1
hod lo pu~ thf f>e<r.,y "'"'it"' of u;e

,.hmed mtJSIIf\ COUSin;; slightly fooser
ROII>er"'B donng cross s"r.chlng.
Chapte r 2
SHI RR ING
35
Jl. I J- Wo(fle Of cross sh:rnng bobi.M

rl>reod goihere<l to one-iloif the origl
nol si;e of (he (obric. The example on
the ">1. bose<l on a gri<l o( 2 (Scm)
squares gathered w o lOfiet of t "
(2.5cm) sqtl<l<'es, releases sweHings of
mushn lhot peak I (Z.Scm) abovE
gathe"'ckutch~ !eYe/.
~-15-Sillrring puffed when lhe guth<'red ""''~Cit ropstitched w o

surt v. >lh folds elevo"ed ""' o dowel und o ''PP" (oo< atrocll<d l!J
1M l'l!OChine.
fi.14-Hond ~ woff.e or GO<S s'>:mflg, ~Stltcll<d on on
~ gild cell!~ bel\>eet1
bor.ds of pla:n s/1 mng
SH I RRING
IJ.I f>-H:>gt><e ef p.;fftd

!hmng sejXJ(O{ed oy boncls OJ
ltY.v-re!;e{ plain shrring,
36
The Art of
Manioul atin~?
Fabri c
7- Puffed tnm oppled 10 (Oilndotoon;oboc.
1118-A band o(honzontol si>lmng at !/1e lop releases {ullnes; Into the
faboc below.Widely spaced row< o[veruw/
garhercd on nbborn
hlSJdc cl1<lfloels ofz;gzagged !/1read. create howontol folds and dropmg or
!h<! fewer edge. To seaJIC the hem/me s,.mg. !/1e channelled nbboo was
bawucd !0 ana!/1er /eng!/1 of ribbofl tod<ed to !he top O( eOCh C/)(lnol('l,
'""""ll
SHIRRING
1120-Shimng OfOfl<?$ between W>dely spaced. \'CI'IJCO(IxJnc/s 0( cf1onnc/

garhenng
Chapter 2
SH IRRING
PATTERN
SHIRRING
-fabric automatically shirred with
the gathering foot following a design
of lines that twist and wm back and
forth as they cross the fabric.
PROCEDURES
1. Plan a repenting pat<em of continuous lines thnt move in
cur\'cS uncVor angles from one

sid.: of the Iabrie to the other
(Fig. 2- 12).
2. Trnce the design onto the "Tong
side of the fabric '"ith n fabricsafe marker.

3. \\'i1h the gthering fOOt anached to
the m:>ehinc (refer to "Gathering
Methods" on page :>). stitch-andgather cxh line of the design. Sew
slowly. Slapping to lift !he presser
foo1 and pivo1 1he fabric on the
ncccUc when Sl".amline direction
tcqulrcs t'C:tdjusnncnt In general,

light to modcr:uc ga1hering suiIS
shining lO ~' paucm.
4. Slrclchlng gently. pin the cclgcs

of the pancrn-shirred fabric to a
p<tddl'(l surfJcc nnd steam ";th
an non held above the shirring.
Allow to cool and dry before
moving.
NOTES
&
VARIATIONS
1'c>t >C\'CF.Il repeals of the design

on a s.1mplt- of 1hc dc.ignalcd fabric
to detenninc the appropria1c stitch
lcngllt and tension se1dng for amo
malic gnlhct'lng and 10 assess overall
design effecti\'cness. The p:tltcm
may he difficult to follow if the gath
ering is too full or the st.,lc of the
design is too small. To estimate the
amount of f~bric required for a spe
ciflc application, memue a sample
o the fabnc before and after a test
shimng of the p~uem and equate
with the wrgc1 mcasurcmeniS.
Mcm~elct slrirring is improvised.
htSlead of following a pauern , the
deSign wand<r> freely forward and
hackwaJd, ~idcwa)':), across, find
around , developing configurations
of puc.l<ers. fold. and puffs as
Fig. 2-12. Designs for

automatically gath
erBd pattern shirring
have lines that start at
the top and continue,
with changes in direction bill without
breaks, to the lower
edge.
38
Tha Arc of M iln ipulati ng Fabric
PATTER N SH IRRING
stitcbing-"nd-gulhcring proceed.
Variations in the spacing and irrcgularilies in the Slitchmg path produce dhersit)' In the relief of mean
dcr shirring. St!lclt length and ten
sion adjustmentS thai modify the
tigbUtessllightness of the gathering
add more dimen>ion. The foot's
gathering action can be manually
reduced by inhibhing the fabric
from movlttg easi ly toward 1he nee
die. To mcreasc fullness, jam 1he
fabric by holding il down with a
finger as it emerges behind the
gathering foot; after''" inch or so
of fabric build> up In b~ck of the
fool. release It and "'pc:u.
Because of 1he densll)' and complexity of the g;othcrcd >thching.
paucrn and meander-shirred fabrics arc reL111vel) StTong and DU)'
not need protection from streSs and
stTain. but if the shin'lng. because
of the pattern. acqmrcs some elas
ticity. s1abllizlng may be required.
13aste a stay to Lhc shirred fabric
"round Lhc oulsklc nnd iuck il m
intervals tO 1he gathered s1 hching.
1~22-The a"'l'l lines o; !he d-...-.,.,n ooaom J'etd sroJMndPM>r auromaoc IIU<her:ng ((or the pottem sec Ftg. 2 12)
~-21-The CllfV<S of dl
tmg ((
"""" pG!".em re<p~< sfo-, """"""tl< g<W>-
rt.e po~rem. see F>5. Z-12).
PATTERN SHIRRING
11-23 (rop) RJ,.vs 0{ puff(''"*'

d""eloj' M>en deeplf CltiV"''1 l>r>es char
ems E<JCh ocher are ouwmar.colly
gall>ered. (borrom) Wit/1 the seosl1elt
patrern. additiono//,nes ofgoll>eong
red" the puffing ns<Je !he Cllcles

(li>r dle potrems. !A!e Fg 212)
Chapter 2
SH IRRING
39
1~21-The sowtooth
pouern ((Or h porum. s.c Fig. 2 12).
PATTERN SHIRRING
U-25- CheckerboClfd shimng (dis af<emare squares of a grid <l1<lrlold
on the fObnc. The sqJ.rares. which have an uneven number ofouromadcally gathered llnes. ar~ completed in d:agot1al sequence.
40
The Art of M an i pu l ati ng Fabr ic
It 26-MOOilder shlm'ng I! improvJsed as

<Jutomatic gathenr:g proceeds
Supplementary
Fullness
ruffle is a strip of fabric

reduced in length by gathering or pleating which releases
folds that configure its floating
edge. Attached to another piece
of fabric, ruffles add the dimensionality of multiple folds and
fluttering edges to the surface
they adorn.
A ruffle is always smaller than

the whole assembly of which it is
a part. Within its setting, it can
be narrow or wide and have one
or two floating edges that hang
down, stand up, or extend sideways. Ruffles are flexible, adjusting to straight, curving, and
angled lines of application, and
they inspire simple or elaborate
arrangements, alone or in combination, separated or crowded,
localized or allover.
U F F L
3 Making Ruffles
RUFFLE BASICS ........................ 43
Edge Finishing for Ruffles ........ 43
Plam Cut... .............................++
Pinked ....................................44
Selvedge ................................44
Fringed ..................................44
Fusing .................................... 44
Doubled Fnbric ......................H
Lining ....................................45
Facing .................................... 45
Oinding .................................. 45
Hand-Rolled Hcm .................. 46
Shell Hem .............................. 46
Double-Polcl Hem ...... ............ 46
Flm Hem ................................47
Satin-Stitched Edgi ng ............ 47
Hairline Edging ....................48
Wired Edge ............................48
lettuce Edge .......................... 49
Wavy Edge ............................ '19
Overlocked Edge .................. 49
Rolled Overlocked Edging .... +9
GATHERED SINGLEEDGED
RUFFLE ....................................49
Procedures ................................+9
:-lotcs & Variations .................. 51
Single-shell ruffle .................. 52
layered single edged ruffles . .52
Puffed single-edged ruffle ......52
GATHERED DOUBLE-EDGED
RUFFLE ....................................SS
Procedures ............................... .55
Notes & Variations ..................55
Sprcad-seam or shirred
ruffle ..................................55
Double-shell ruffle ................ 56
Ruflle designs ........................ 56
M~sscd ruffies ........................56
layered double-edged ruffles 57
Pllffed double-edged ruffle .... 57
Tucl<cd rufne ..........................57
H'Cadcd ruffle ........................ 58
PLEATED SINGLE OR
DOUBLE-E DGED RUFFLE ......62
Procedures ................................62
Notes & Variations ..................()3
Box/inverted pleat ruillc ........ 63
R UFFLE B ASICS
EDGE F INlSlfiNG F OR
R UFFr.ES
boose an edge finish befort

making the rurnc. Anything
imposed on the rufne Strip
co finish lhc edge, whe<her it's a
layer of stitched thread or another
layer of fabric, not on ly protects the
edge of the ruffle bm also affects the
swirling cxpansivene$S and
endumncc of the mfnc's noac after
it's gathered or pleated. A soft,
unlaycred edge finish has 1he least
effect on the float; a firm . layered
edge finish changes the sweep of tltc
Ooat (Fig. 31).
Pinked Ed go Finlah
Double-Fold MaehlneStltehod Hom
Ftg. 31. Demonstrating the difference

an edge finish can make, the edge
profiles of two muslin ruffles (same
1
v.- (3cm) width. identically gath
ered).
Note: This chapter begins with

BASICS, intlicated by a gray band
located undcrueath the relevam
columns.
RUFFLE BASICS
Select an edge finish for its
appearance as well as its impact on

the noal. Tlte Onish can be minimized (a selvedge o r doubkd fabric) , it can blur the edge (a fringed
or doubled-and-puffed ruffle), or
naur'll il (a smin-s tilched or c;:onLOurcd-and-faccd ruffle) . A few edge
finishes have no righL- or wrongside association. There are no-sew,

fo lded-and-seamed, and threadbound edge finisht-s. Wilh some,
lines of stitched thread arc ob,'ious
o n both sides of the ru ffle.; with others, the stitching is inconspicuous.
CooJtlinare tht edge jlnish with the

nawrc of the fabic, tile "'idth of the
fringe edge, threads parallel 10 the

edge arc removed, one by one, from
the weave of the fabric. As the
fringing deepens, avoid snags and

breaks by dividing lengthy edges
man.ngeable secLions with pcrpenciic\llar cuts. Stirch wi1h r\ llilrrow zigzag across the base of the
into
fringe LO prevent coarse weaves

from u nravelling further. With cuts
perpendicular w the ed ge, a snipfringed rufne is slashed in to tiny,
uniform st:rips along its entire
leng th (Fig. 3-2), After gathering,

deeply fringed ruffles tend to twist
and need patient un\vi nding as
applicatio n proceeds.
mffle, the de1sfty of the gmhe1i ng or

pleating. and the practical requirements ofthe 11pplicalion. Test one or
more edge finishes on a scrap of the
ruffle fabric before maki ng a fi nal
ributes a distinctive sawlOoLh ouL-
Iine to the edge.

When the selvedge of the fabric
is used as Lhc edge of a ru fllc, th e
edge is self-finis hed. The combination of a selvedge, which is fi nuc.r
thau the w~a ve between selvedges,
and fabric cut on the leng thgraln ,
which is finner than the crossgrain
of the fa bric. pcsl<s up the noat of a
rufne.
The soft, indetluitc quality of a
ruffle with a fringed ed ge increases
with the depth of the fringing.
W hen the flinging stops j ust s ho rt
of the gat hering line, a ruffle with a
fringed edge looks more like thick
fringe than a ruflk For a ravelled-
The Art of Manfpu l:a ting .Fabr ic
(b)
Fig. 3 -3 . Fusing a single-fold edge

finish: (a) Prepare the ruffle strip as
shown. (b) Fold at !he inner edge of
!he fusible web and heat bond the
hem.
A fold finishes the noating edge

o r edges of a ru ffle made from
<lou bled fltbric. Doubling adds body
to the w hole ruffle and bulk 10 the
bunched gathers or pleat folds at the
m ffle snip t:\\'ice as wide as the mffle
ing the ruffle. always finish tlle

edge or edges of the rufne strip.
T he pi11hcd edge of a woven fabric ruffle eventually fuzzes out but

rcsisLs ravell ing. Pinking doesn't
a her the float of the ruffle but con-
(a)
slitching line. Cut a single.. edgcd
dc<.:ision. Before gathering or pleat-
A r>lain cut edge, appropriate for

tlon-wovcn mo.ucriais-: has no effect
on the Ooat and adds no thing to the
definition of the ruffle's edge. Cm
from woven fabric, an edge straightcut on the grain withom additional
finishing quickly star~s to unravel.
I( straight-cut on the hias, the edge
will evemually fuzz.
Waste
Allowance
plus two seam allo,v;mc.cs; match

the long edges to do uble the rufnc
strip. Cut Lhe strip fo r a m fAe with
two siMs (a double-edged roUic)
twice as wide as bo th ntffles plus
two seam allow.mces: tum one seam
allowance to the back and press; lap
the seam allowances over the cen~~
(b)
y'VV
v"
'
Fig. 3 -2. (a) Sturdy needle extracting

threads from !he fabric's weave for a
ravelled-fringe edge finish.
(b) Snipped-fringe finish slashed at
the inside angles of a pinked edge.
Fusing allows the edge of a ntiHe

to be 1urned without sewing. Insert
a strip of pape.r-backcd. fusible
transfer web inside a single-fold
hem and. followi ng the manufactur-
tered sdtching line to doub.le tbe rufnc s trip (Fig. 3-4). Edge folds can he
sharply creased or, if the rulllc strip
is cut on Lite bias, unpressed and
soflly rolled. After applica1ion , a
doublcd-andgaihered rufne with
un pressed edge-folds may be puffed
by pulling the layers apan.
--~~====]~
(a)
er'S directions, bonclLhc layers
together with a hot iron (Fig. 3-3),

Wilh heat, the webbing dissolves
into an adhesive Lhat also prevents

the cu1 edge of the fabric-from rav-
(b)
elling and stiffe ns the Aoating edge

of the rufllc.
Fig, 3-4. Doubled-fabric ruffle sCrips

with pressed folds finishing the floatIng edges: (a) Single edged ruffle
scrip. (b) Double-edged ruffle strip
with four layers of fabric atlhe centered stilchinglgathering/p leating fine.
RUFfLE BAS ICS
r..,ld, on a seam finL;h <he edge

a ruffir when it"s lined wi th a
pla.ate of ilself. A rullle with a
barng h;r_., four la)ers of fabric plus
a SGllll .u the Ooating edge or edges.
md th< rest of the ruffie, including
U.., 'utclnng line. is two layers
thtek For a loned rullle, em 1he ruffl(" 'tnp with a scam allowance
.>deled 10 ruffic width at the noatlng
n!11,e or edges, and em a lining 10
m.1cch. Stw lhl' lining to the n1fne
,.uh nght sides wgcther, turn right
...,u]c ou1with 1he seam or seams on
old>, and press (Fig. 3-5). Options:
Contour the seam joining the fining
10 the ruffic; edgestitch next to the
turned edge.
A decorative facing is sewn righL

side down to the back of the rufllc
sr.rip nnd turned to r.he from of the
ruffie. Options: Contour the Ooatlng edg<. Contour the inside edge
of a decornti\'C facing. Edge-stitch
after turning to steady the folding
and firm the edge. (fig. 36)
I
(a)
:==~-~(b~)----
(cl r v v v v
(d)
Fig. 35. W/l(m a ruffle stlip is lined,

each side of {a) a single-edged Nffle,
or {b) a double-edged rtJifle, is the right
Side, and each side may be cut from a
different fabric.
Folds on a seam edge a ruffie
''"P fono~hed ";th a fadng, but.

unhkt linings, facings are never as
""de :1> ruffic strips and n.-er cover
<tltching lines. For a faced ruffie,
cut Lhe ntffle strip wi tb a seam
allowance added tO rurne width at
the Oo"ing edge; cut the facing
s horter than ruffiewtdth plus two
ocnm allowances. Application is a
lWOSeam p i'OCCSS: ( 1) Sew r.h e fac
mg to the noat ing edge of the rufne
.mc.lturn the facing righ side ou t,
folding it on the seam. (2) Wilh its
~am allowance turned under. sew
the other edge of the facing to the
ntfne strip. enclosing all seam
allowJnce~ U1 the process. An imisible facing 1s S\\, 10 the ruffic
~trip with rtght sides together and
then turned 10 the back or the rurne.
(a)
tv;;;;;
Fig. 36. {a) Invisible facing sewn to

a rullle strip, {b) tumed to the back
and slipstltched. {c) Invisible facing
with a contoured and edgestitclled
floating edge, slipstltched In back.
{ri) Decorative facing with both edges
8dgeslltched.
A binding wraps the Ooating

edge of a ruffie in a separate strip of
fabric which makes the edge five
fabric layers thick. The traditional
binding Is a bias strip cutt\\'ice as
wide as the \!Sible ";dth of the
binding in front, plus two scam
allowances. Pres. the seam
allowance along one edge of the
binding to the ins ide. Application
involves two seams: (1) Sew the
unfolded edge of the binding Lo the
rufne Strip. (2) After LUrtting tht
binuing over to the other side of
the uffie. sew the folded edge of
the binding to the rufne (Fig. 3-7) .
Fig. 37. Three ways to bind the edge

of a ruffle strip: {a) Machine-stitch the
binding to the strip with righl sides
together. Either {b) hand stitch the
folded edge to the joining seam in
back. or (c) puR the binding's iokfed
edge beyond the joining seam in
back; from the front, machineslitch
;n the ditch. (d) Sew the binding
right side down to the back of the
strip, tum the binding to the front,
and edgoslllch.
With fl binder foot auached to the

machine, one scam docs the job.
The binder's slots align the folded
edge of the binding on top of the
rurne 10 the hidden, also folded,
edge of the bmding underneath
so that one ~nm neatly catches
both fol~ (fig. 3-8). Variation:
A no-sew hmdlng. cut \\;tltout
scam ~llowances. backed with
fusible web. folded and bonded
over the edge or the rumc.
Fig. 38. Th6 binder attachment

applies foldad binding to the edge of
a ruffle strip in one operation.
Chapter 3
MAI<,ING RUFF LES
45
The nristocnu of double-fold

edge finishes, a tmy ltand-mlled
Item turns the edge soft!) with fine
hand stitching that's invisible
except for miniscule pricks bordering the from. Purists accomplish
the rolling ";th only a hand-held
needle and tlucad. but a line of
stnystllchlng next to the trimmed
edge conllibutes a measure of control to the cut edge of delicate fabrics. When cutting the ruffie, add
(6mm) \0 ruffle width for the
hem allowance and :dd a was te
rtllowancc to be trimmed away after
suystllch ing. The stitching process
rolls the hem (Fig. 3-9}.
Waste Allow ance
:::::
I e: -- ----...~...... .'~~~~~.f.~~~~~J!~~~~~~.
A
A shell Item finishes the edge

of a ruffie with a dainty scallop.
Preparation for a hand-stitched
shell hem imolvcs adding a 14''
(6mm) hem allowance to ruffie
width when cutting the fabric sllip.
Turn the hem allowance down
\Is'' (Jmm} and press: nam it 0\er
itself :mother
(3mm) and press.
Thread, brougllt O\'Cr the top of the
hem while stitching and pulled
taut, bites Into the fold to create a
twisty edging (Fig. 310).
A machintSt\\~l shell hem requires

a tightened sti tch that swings over
the edge, leaving a trail of sthches
in front. Before cuning the strip and
pressing a double-fold hem into the
edge, test on scrnp fabric to corre
late hem width 10 the bile of the
machine stitch (Fig. J.lJ ).
Fig. 3-11.
Machill8
stitched shell
hem shaped by
an overedge
stitch with needle-thread ten
sion increased.
Ruffle
Width
tey Slltching '- .............._ Hemline
Ruffl e
( b)
Width
The strnightsmched double-fold

is n ne:n and sturdy edge finish
for a rufne. Add n small hem allowance when culling the ruffic strip.
Tum the hem allowance twice and
press. Edgcstitch next to the inside
fold of the narrow hem (Fig. 3-12}.
Item
(a)
( b)
(b)
( c)
Fig. 39. Hendrolled hem:

(a) Prepare the ruffle strip.
(b) To slips/Itch: Turn the hem
allowance down
(3mm). Take
a V. (6mm) stitch In the hem allowance just below the turn. Moving
straight down. pick up one or two
threads of the Iabrie just below the
hemline. Moving straight up, take
another V. (6mm) stitch in the hem
allowance below the turn. Continue
for t (2.5cm). Stopping after a
stitch below the tum, (c) pull the
thread taut to roll the hem, and
resume stitching.
Th e Art of Manipu l ati ng Fabr ic
Rg. 3 10. (8) Ruffle strip for a shelf

hem. (b) Double fold hem allowance
and press. (c) The stitching: Bury the
thread knot inside the outer hem fold.
Bring ltle nt~lldle down and ahead by
1/4' (6mm): push It through the inner
hem fold and out in back. (d) Carry
the needle up end over /he top and
repeat, making several stitches and
flips over the hem. (e) Puff the thread
taut and ccntlnue.
RUFFLE BASICS
Fig. 3-12. (a) Straight-stitching a dou

ble-fo/d hem. (b) Optional edgesmching
of the outer fold firms and accents the
floating edge.
\:an th< appearance o f the stitching
nuchme sewing with a dccora..tnc:h or, i a no~seam look is

~tr.lblt m front. hand sew the
bern The hemmer foor. a time,.., cr whtn yards of ruffies need a
ftU>h. combines the double folding
n.! ' traight stitching of little hems
nto o nt smooth and consistent
'l'Cr'Jtio n (Fi~. 313).
~
(a)
Fig. 3-13.
Hemmer
toot.
( b)
(c)
Fig. 314. One-seam flat hems: (a) Straight-stitched when cut with a pinked
odgli. (b) Zigzag-stitched when the edge is straight-cut. (c) Stitched from the
front wi/fl a twin-needle, and (d) trimmed in back next to the stitches.
A machine-stitched flat Item

<tlges ruffirs with one seam visible
m front. one fold. and one additional
~)Cr o f fabric. In back, the singlefold hem stops at a cut edge which
needs appropriate auention to discourage fraying-unless the fab ric is
ftnuly non-woven. C u t rurnc strips
w1th a hem :>llowancc added to ruf.
fle width, and a waste allowance, if
needed. For a one-scam Oat hem,
turn lhC hem aUowance to the back,
press, and secure \\1th a straight,
:1gzagged, or twin-needle scam
Ftg. 3-14). For a two-seam flat
htm, SI3)'Stitch, 0\'Cl'Snv \\ith
thrt:~d, or anach tape to the straight
cut edge before turning, pressing,
and ~titchlng 10 secure the hem
(Fig. 3-15).
( d)
(I)
(c)
(b)
A solid covering of thread wraps

the straight tdgc of a ruffle strip finIShed with sarin-stitcltcd edging. The
tidy, smooth appearance of pcrlect
satin ~tltcltlng depends on coordinating the method of application
with sewing thread a11d ruffic fabric.
Using scrap r.,bric, test first. Select a
med ium-lt>wide zigzag, reduce
stilch lengt h ro 0 or almost, and
guide the rurne strip under the
presser foot so that the needle j ust
misses the edge when it wings to
the right. As tht chosen method
requires, CUI rufOe Strips WithOUt
any allownncts added to ruffle
width 31 the floating edge, with a
waste allowance onl)\ or with a ht'IIl
allowance and a waste allowance.
Fig. 3-15. Two-seam

flat hems: (a) For
sheer, flimsy fabrics,
or knits, staystifch
next to the hemline;
straight stitch a scant
V<" (6mm) /10m the
staystltching; trim the
excess hem fabric.
(b) For firm, stable
fabrics. zigzag or
Overlock the edge
I:JGfore turning and
stitching. (c) For
heavier fabrics. sew
one edge of a tape
over the cut edge and
the other edge Jo the
ruffle.
(l ) The one-seam/one-layer method

la)S satin stitching directly o,er the
stratght-cut edge of slftble fabric
'\oith n close weave. To contour the

edge with thts method, choose a
decorative stitch appropriate for
satin smcblng. such as the scallop,
and trim on the outer needle holes
o f the stitching. (2) The twoscam/one-layer met hod primes t he
edge with tlgzagging. Satin stitching
co,ers the zigzag stitches. (3) for
fab ric that tends to mvel. the oneseam/two-layer method replaces the
cut edge with a fold and bolsters the
l'<lgc with a second thiclrness for the
satin stitchrng to envelop. (-f) The
two-scam/two-layer methods control
Chapter 3
MAKING RUFFLES
~7
Fig. 3-18.
Ruffle strip
finished
:
(a)
tvilh halfline edging

loses a
tiny frac
lion of its
original
width.
(b)
(C)
Bdort zigzagging u hairline edge

uno Ouid. sheer fabric. add stability
by staystitching next to the edge.
As zigzag-stitch length moves closer
to 0. the firmnc~; of the edging
increases. A single-fold hairline
edging, 21g:gged or satm-stitched
over a tiny one-fold hem pre,iouslr
pressed into the edge. is ext:ra firm
and neal.
(e)
Fig. 3-16. Satin-stitcned edgings: (a) Sewn directly over the cur edge. (b) Sewn
over an edge trimmed after zigzag-stitched preparation. (c) Sewn over a folded
edge with the waste a/towance trimmed altar satin stitchtng. (d) Sewn over an
edge turned on 8 staystitched fold with the waste allowance trimmed after satin
stitching. (c) Sewn over a tiny, straight-stitched single-told hem that disappears
under the satin-stitched covering.
soft. shifty fabl"ic with straight

stitching that Mabilizes the folded
edge before s.Un stitching ca,crs
all. (Fig. 3-16) To pre\'cnt the cupping that occur.; when satin stitching. ~\\' with an 0\'('re:dge: root
anached to the machine (Fig. 3-17).
Fig. 317.
Medium-towide satinstitched edgings lie flat
when sewn
with an
overedge foot.
The Rnest of the thread-bound

edgings. the lwlrline edging, is tiny.
firm. and secure. Select a mediumtO\\~dc dg:ag stitch and mise the
upper- thread tenston to 7. 8. or 9.
With the ntffic stnp \nang stde up.
sew with the needle JUSt missing
the edge "hen 11 ;wings to the
nght. As the need le S\\~ngs back to
the left, the tightened tension
brings bohhin thread up and
mound to the top Mtd the fabric's
edge wit h h. trapping a fold inside
Lhc s tilching. A h"i rline edging
emerge< hnlf the width of the medium-tn-widc :.lgz.ag seLling on L.hc
machine (rig. 3-18).
A "ired etlgc , suff and holds

its own. Thin, plasttc-coated wire
buried inside t he fold o f a hairliltc
edging enahlcs the Ooating edge of
the rufne to he curved, twisted, and
angled into ecccn lric conngurations.
While sewing. guick lhc wire under
t he presser foo t,laying it next to the
edge where it will be cndoscd
inside the fold cnu;cd by the action
or tlle tcnsion-uglncned zig=ag or
s:~lln stitchmg (Ftg. 3-19). Options:
For an extr:1-flnn edge mthout stiffness. substitute thin cord. c.~tm
srrong thread. or monofilament ftShing line for the wire. Enclose the
firming or stiffening element inside
a tiny single-fold hem before rigz:tgging uvcr the edge.
Fig. 3-19.
Thin wire
enclosed
inside a
hairline
edging.
48
Th Art of Manipulating- Fabrl<
RUFFLE BAS ICS
d~< brushes a ruffie s trip
a lc~u wnh a [rilly. fluttery

.,.1111'!1. " " "'"' tdge finishes a ntf"" the bias Of WOIen
.,_ rolling. twisty edging.

~ ,tretchiness to achieve
"!<.lcct SC\\ing machine
--..-. ,,. a hairline edging as pre
dc>crib<d. While sewing,

'''" the edge progressing
th< needle. holding th e fabric
' 1 and back of the presser
'>lop to stretch o u t t he section
"~ up when i L becomes ne:cesThe zigzag-stitc.bed edge will
ftUln the stretch while the bod)' of
ntffie strip returns to its
rrctched condition ( Fig. 3-20).
An "''" ''"""' cdge requires a

strger. Ovcrlocked stitching enclos
cs the cu1 edge o[ a ruffle strip
Ubidc a laddered c hain onoopr
threads ( fig. 3-21). \\lth stitch
length shortened for dense thread
co1erage. the satin-stitched edgmgs
described and illustrated previous!)'
can be duplica ted by overlocking
with a strger. The scrgcr lmife elim-
inates trimming rhc waste allow-
ance wiLit scissors.
G ATHERED
SINGLE-EDGED
R UFFLE
-a strip of fabric with one long
edge gathered to a shorter target
measurement and attached to flat
fabric. The opposite edge floats in
irregul>r, serpentine folds.
PROCEDURES
Fig. 3-21.
Over/ocked
stitching finishes
the edge of a
ruffle strip.
1. Choo~e an a ppropriate and cffeclivc edge fi n ish for the ruffie

( refer to "Edge Pinishin g for
Ruffles" on page +3). To set a
width lor 1he nfne s1rip. add a
seam allowance to the finished
\\1dlh sdccted for the ruffie and
include allowances for the select
cd edge finish ( Fig. 3-22).
w..te Allowanc.e (If neede-d)

II )
- Se;m- oTHim AiiOwanCc(if n; eded)

A rolled overloched edgi11g is the
(b)
Ag 3-20. (a) Lettuce edging on a

J6fSBY knit. (b) Wavy edging on blascvt muslm.
scrgcr version of hairline edging, th~

zigzag finish described p reviouslywith a proceduml dilfcrencc. A rolled
ovcrlocl<ed ed ge is stitched with U>C
righ1 side of the fabric up. On a sergcr with n 3-thread stitch, tightened
lower looper tension fortes the upper
looper thread to roll around 10 the
lxtck of the fabric, turning the edge
to the back with UIC thread.
-;,~~;~;~~~~----r Fin ishod

RuHle
Width
_ ~ot~.'!'~g~Aep~c~u_en_S!!.." _ _ 1_
Soam Allowance
Fig. 322. Fabric strips cut for gath

ered single-edged ruffles must
include measurements for finished
rume width and a seam allowance
beside the gathering seam, Mth
measurements added to the floating
edge if and as required for the chosen edge finish.
2. Dc<:idc how much fullness the
gathered mffic should displaysligh t, mndcratc, generous,
ubundunt. Set an afler-1he-gath
crlng target measureme n t for the
ruffle. To estimate the length o f
1l1e s1rlp needed to produce the
desired fullness in the ruCile,
muiLiply the target measurement
by the amount indicated in the
following ch>rt:
SIIQhtlutrness
= (target) x 11'1
mode<alt I!Ainoss (target) x 2
oenerout luDness = (~arget) x 3
abundant tullne., = [targel) x 4 (t mo<e)
End of RUFFLE BASICS
------
MAK ING RU FFLES
49
To eva)u,ue fullness, gather

matching lengths of the ruffie
fabric, Identical in "idth and fmish, using different ratios from
the chart.
3. Cut the ruffie strips to size:
Align the tdgcs of strips cut on
the straightgrain of the fabric
with thre:~ds in the weave. To
extend the length of a ruffie
strip, sew the short edges of
two suips together with Tight
sides facing and edges matchIng; press the scam allowances
open (fig. 3-23). (For a continuous rulflc strip cut on the
srmlghtgrain, refer to Fig. 10-1
on page 207.)
Fig. 323. Crossgrain ruffle strips. To

have a selvedge edge finish, a
longer ruffle strip. and extra fabric
firmness-cut lengthgrain ruffle
strips.
For bias-cut strips. mark the

fabnc "ith lines that cross the
wea,e at 45-degree angle. To
extend the length of a ruffie
'
strip, sew the angled edges of
two strips together with light
sides fucing and seamlines
matching at the ends; press
the seam allowances open
(Fig. 324). (For a contin\tous ruffie Strip CUI On the bias,
refer to Fig. 9 18 0 11 page 200.)
4. Appl) the sclecttd finish to one
long edge of the ruffle strip.
50
T ho Art o f Manipulating Fabric
- - - - - --
_____..__
...................
( b)
Fig. 324. Bias ruffle strips. Accurate

measurements between cutting lines
are taken at right angles to both
lines.
ftbrlc 2
5. Gather the unfmisbcd edge to
the target mtasurement {refer to

Gathering Methods' on page 3),
sewing beside the designated
seam line Inside the seam allowance. To deal with lengthy ruffle strip gathered on pulledthread s titching, divide the edge
to be gnthered into halves, quarters, or eighths; mark tl1e divisions between segments with
pins, ni))S, notches, or chalk.
Equat e to similar but smaller
dh~slons on a lltrget gauge.
Gat her segment by segment to
the target measurement.
Distribute the gathers evenl)\
6. Pin the gathered tdgc of the ruffle strip to the fabric where it is
to be apphed; baste dir<etly over
the gathering s titches. Machine
sew the Onat seam immediat.e ly
beside the basting/gathering
stitches, hiding all construction
stitching and the gathered scam
allowance in the process of
application:
\id1in a seam connecting two
pieces of fabric (Fig. 325).
Fig. 3-25. To insert a rume into a

seam: (a) Basta tho ruffle to fabric
#1. (b) Pin fabric 112 over the rullle,
tum the assembly over. and stitch
beside the basting. (c) Optional
edgestitching.
As n hem ruffle that lies ou

top of the fabt"lc to which it
is attached, or extends out
from the fabric to which it
is attachtd. For top ruffies,
cover lhe seam allowances
with binding ( rdcr tO
Fig. I-ll on pagc 7). For
rufne extenstotlS. optioi1S
for treating seam allowances
include: (1) Zigzag stitching
or serglng over tltc edges
(Fig. 3-26); (l) covering with
a lining or invisible facing
(refer to Fig. '19 on P'tge 70):
(3) covering with a decorative
facing (sew the ruffie right
side up to the wrong side of
the fal>ric and turn the facing
10 the fTont): (4) tdgcstitching after application.
GATHERED SI NGLE-EDGE D RUFFLE

-
rufOc Strips need gat herlng, UUIO

malic gathe1ing using chc gnthcri11g
(c)
Rg. 328. (a) Ruffle basted to the

edge of a circle before (b) edgestitching the circle to a foundation.
(c) Ruffle arrached to a band
edgestilched to a foundation.
Fig. 326. Ruffled extension to e

hem: (a) Sew the roffle to the fabric's
edge. Zigzag or Overlock the seam
allowance edges. (b) Ruffled hem.
-ro a foundru lon In u Licrcd
nrrnngemctu (l'ig. 3-27). The

floating edge of the rufOe
above overlnps and covers the
applitntion dewils of the rurne
helo'v. The scam nllowance of
the I'UfOe at the lOp may be
covered with binding,
appliqutd wpc, or nn exten>ion of fabric. Th~ rulllc at the
bottom muy be treated as nn
extended hem rufOe.
NOTES & VARIATIONS

A rufOc of soft, thin fabrk can
be gathered much more tightly than
a ruffic of stiff, heavy fabric.
Because a rufOc cut on the bias
tends to absorb gathers at the
s ti tching line, a bias-cutruffie may
be gathered much more tigl1dy than
a rufOc Cltl on the Straightgrain of
the same fabric. To produce attrac
tioe fullness at the Ooating edge, a
wide rurne needs tighter gathering
than " narrow rume.
Ruffle strips may be gathered on
thread stitched by hand or straight
or !ig:ag-stitched hy machine. One
row may be enough for narrow
strips gathered with light to moderate density, but tighter gathering is
more e:ISily comrolled ";th two
rows of stitching. When yards of
foot or runer attachment is a fa>t

and dfkicnt alternative. (Refer to
"Gathering Methods" on page 5.)
As gathering density increases,
scam allo,v-Jnces accrue more bulk.
To nauen the bunched gathers,
(1) press u rufOcs scam allo"~tnce
(only the seam allowance}, leaning
hard on the iron; (l ) crush the seam
allowance accwnulation under
str:ught, zigzagged, or O\'erlocked
stitching; (3) edgcstitcb through all
layers afrer applying the mfne;
( 4) or any combination of the abo,e.
Bull..y seam allowances contribute an
underlying firmness to applications
with rows of gathered single-edged
rurncs floating on U1C surface.
The gathered edge of a singleedged n.tffle is ncxiblc, pcnnitting
CUl'Vtcl and even angled npplkn
L
ions. A ntfnc scwn uround n curve,
circle, or angle wUl suctclt out and
curl tu the floating edge unless it Is
gathered Cx lm tightly at the SOlii'Ce.
Add length to d1c tuflle Sll'ip tO
allow for the dense gathering
curved and angled applications
require. Couvcrscl), a runlc sewn
inside a curve, circle. or angle will
bulge with squeezed folds at the
floating edge unles. the gathering I~
lightened. For a rurnc applied
around a curve or circle-more
gathering; for a rurne applied inside

a curve or circle-less gathering
(Fig. 3-29).
Frg. 327. Tiered roffles applied to e

foundation with straight stitching over
the gathered stitching. and zigzag
sUtching over the edge of the roffle's
seam allowance.
Attbc edge of an clement thnt

will be appliqutd to a foundn
tlon {l"ig. 328).
Fig. 329. To prepare a roffle ior application in a wavy line, divide

the roll/e strip into longer segments gathered closely for outside
curves and shorter segments gathered loosely for inside cvrves.
Chapter 3
MAKING RUFFLES
51
The ends of rufnes that encircle

are stitched together, hut nther rutIle applic:llions start and f'inish with
loose ends. The ends of ruffics that
stop at the edge of the foundation
fabrit wtll he caught in the seam
rha eventually completes Lhe edge.
The ends nf ruffi.es that stop within
the foundat io n fabric >hould taper
or fan into the application seam
( Rg. 3-30).
Fig. 3-33. Two ruffles, the upper rufffe

shorter than the ruffle underneath,
applied as one to the fabric s edge.
The floating lodge of a puffed >in

glcc<lged nl}]lr disappears m a
cloud of billowy fabric. The puffed
Fig. 3-31. Two ruffles with widths that
change from broad to narrow
because the gathering edge of the
strip was contoured.
~-~
........... .. ...
(b)
A single-shell ruffle has a gathering edge shaped in a scallop pattern. Gathering straightens out the
cunes, making the gatltercd
slltthingta;,plication line <traightnnd making the floaling edge scalloped to rcllcct the silhouclle o rigi
nail)' cut into the ga<hering edge
( Fig. 3-32). If a single-shell rufnc
is cut from doubled fabric (refer to
" Edge Fi11ishlng for Rufnes" on
page -14) , the shells can be puffed
after application.
- .- (a)
~.
(c)
~
.
Fog. 330. (a) Ruffles with straight-cut

ends anchored in a binding. (b) To
taper out: Curve the gathering stitch
es into the edge; trim. gather. and
attach the ruffle from start to tapered
end. (c) To fan out: Pull the straight
cut, ungathered end down to the
seamline and catch in the stitching.
When n rufOe is lined or faced

( n:fer to "Edge Finishing for Runles''
on page 4 5). contouring the Roanng
edge, an option. shiftS the edge silhouette from straight 111 n shaped
ou~line
thnt angles and cun~es. Ha
lining or facing isn't appropriate but

a simply comoured floating edge is
the desired profile, contour the gath
ering edge. Vllitlt}hc gnthcring edge
CO!ItOll rcd, Lhe Oonting edge Of Lhe
ruffle strip remains strnight for easy
apphcouon of the desired edge finish
( Fig. 331 ).
52
- -----
---
(b)
ment ar the stal'ling corner when

stitching the edges together for
gathering. If the rufne strip Is rut
on the bias. skewing is unnecessary.

Don't press the fold at the no~ting
edge. After gathering and application. puU the two iayco:s oft he ruf
fle apart to pouf the body or the
ntffie (Fig. 3 -34). Ruffies less than
!" (2.5tm ) wide frustrate :[forts Ill
scpMating the byers. Doubled u ffles of crisp fabric 2" (Snn) wide o r
more puff with the most buormcy;
doubled ntnlcs of soft, limp fabric
hardly puff at all. Tu stabilize the
puff, tack the spreading rufllc fabric
at intervals to each side of the
application scam. For puffings that
stop where the foundation fabric
end, ga1her around the wbulnr
opening, nau cn, nnd basce to the

Fig. 3-32. (s) Single-shell rvtlte pattem with curved outlines lllat are
elOngated v11rsioos (b) of the ahergalhering sheN shapes.
An application of laycretl singleedged ruffles compound> the decorall"e effect of frilly edge>. Two o r
more ruffles, gathered scparatcl~- to
avoid nestled folds at the gathered
stitching, are smckcd one on Lop of
the oLher with gathered edges
matching, and sewn to the foundation as one. Whether the rufnes are
equal or unequal in widtl1, the
lloating edge of the upper ruffic sits
on top of the folds of the ruffic
below, increasing the total elevation
of the fl(),lt ( Fig. 3-33).
rufllc startS with ~ doubled-fabric

rufne strip (refer to Edge Finishing
for Rufnes" on page -H) . If the
edges of the ruffic strip are cut on
the srraighrgrnin, skew the align
c;cam allo,vancc.
y-----..~-------------7
y,.,
Fig. 334. (a) Doubled-fabric ruffle

srrtp cur oo tile slraightgrain alld
skewed at each end to prepare for
puffing. (b) Separating the gathered
layers with the help of a dowel.
GATHERED SINGLE -EDGED RUFFLE

---
14-1 Ruffle; gu.T.-ci (rom Slllp5 cut 200% longer lhon (/10 !Oige< ~
IS r.,;ce rn. .oo:h cf tile ruffle on lop ond
ap~rs len fU!I. The edge (lrnsh. o s1ngf{oltl ilar ,,em .SCIUn-s~tched <Ncr
!he (oi<J, s~(fens ""' edge and ggnifrcnnrly affects dw qor~JI(y of !he ~=
. . - LThe bottom rvff1e
Ruflie d10ti !hat <>splays !he etrea o; lllCte<lSU1g (U '""' on

., J~Tes of tdcniiCd ...ad! gotheted ro !he same <argct
.~menl (top) RuiP gmt,ered (rom o $Urp cut 201J11.1onger
171011 d1~ torgeL(center) !he rufile scnp ""' 300% longer rhon
._,
GATHERED SINGLE-EDGED
!tie WROt (bouom) 400% long!!f. Tl~e p111~d edge finiSh doe.,,,
RUFFLES
' ~-ence tJre (iooc..
111-J- /J!os-cut ruffles cJpplicd N1-seom <md

orrcn~ed :n ovelloPPA8 ncrs. The top rier
is gathered {tom o ruffe srno cut 151J11.
Jongcr than the ~~ mea-xnmenL !he
rufl!e srnp cut (or todl SIICceSSA<t w
111erooscs 50% on length. A wavy edge {l!l

... ~sh on tile 0.9$ S:[(lps conwbttre-s on excta
Pip to the f/Qor o("' ruffles.
Chapter 3
MAKING RUFFlES
53
1/1-4-Norrow rv(fles sewn orovnd etrdes and to each socfe of o curved bJa; stnp
~lOre edgc"'rcl>ed app.<a!IOn The PocMi ecJse; of !he ruff1es botdtnng the
~stnp Of'!' S(C!iopeci(he Otf[f.r
rufft Wlih SIJ[ln Sllcdw;g. Jia IMef" rujJ;:e
Wo!h o machone sntched snell hem.A ho,rlr.e edgong (.noshes !he fll/res
SVffOO,"l(j
/1~5- !Wws of N(f1 chor.grng (rom SJtojl/~she/1 ruff.es 1111.he cemer. to ruffles thot taper OUl in-.stom
bot<'.em;: ru/Pc golhe<OO OKtm ~ 0! !he

comer Cllrve~ A hclorlone edg"'! (.,.,.shu a' fll/Pes.
(0 0
ng t.he dJdel,
GATHER ED
SINGLE-EDGED
R.U FFLES
11~6-ta,..re<J111/11es. The norrow 11J(fle on lOP, gorhere<l

(rem o SlflP cur rv.o omes rhe ~t lengrl\""' ~n
<'hed"-.h (I~ (.or""" The~~~.. U'dirrwtn gotr.e<ed (icm o WIP CUI !/vee 011.s the >get
length. """ (111oshed ""lh o laced scoto:;<!d edge
11~7- Pvlfed ruffles (top) Three ro"'

plle.-ed from ~ SlllpS (okletJ !0 0
I (l.Scm) wx!ift (boom) Two rows
gathered (rom stroJgilt<ut strips fi>ided
ro o width o( 2 V (5.8cm).
s..
The Art
or
Man ipulating Fabric
fold, or gauge the stitching dis

tance from the right edge of the
strip with a device on the bed of
the sewing machine. Following
the designatecl hue, s titch and
gather to the target measuremen t
(refer to "Gathering Methods"
on page 3). To deal with a
lengthy ruffle strip gath~red on
pulled thread s titching. divide
the line to be gathered into
halves, quarters, or eighths;
mark the divisions between scg
mcnts with pins or chalk. Equate
to similar but smaller divisions
on a target gauge. Gather segmem by segment to tl1e target
measurement'. Distribute the
gathers evenly.
5. With a fabric-safe medium, mark
the foundation fabric with
siraight or curving lines that indi
cate the placement of the ruffle's
gathered stitching. For easy accu
mcy, mark another line to the
right for the right edge of the nf
fle to meet (usc chalk, dis.,ppearing pen, a row of pins, or a tern
porary, lightly pressed fold).
Matching the ruffie to the guide
line, topstitch over the gathering
s titches to att.1ch the ruffle to the
foundation. Use straight or appro
priately decorative srirching when
sewing by machine (Fig. 336).
Usc the half backstitch for hand
sewn applications.
GATHERED
D OUBLE- E DGED
R UFFLE
-
strip of fabric gathered to a
smaller target measureme nt o n cc nrered stitching. Applied to a founda
with both edges free to float in

nnable, rolling folds, the topW<Ched-and-gathered stitching in the
unter is a visible feature of double
edged ruffles.
1:>011
PROCEDURES
I Choose an appropriate and effec
ove finish for the floating edges
of the rufne. Each edge may have

the same or a different finish.
(Refer to "Edge Finishing for
Rufnes" on page 43.) To determine the width of the ruffie.
stTip: Set a finished width for the
rufne on each side of the centered stitching line; include, for
each side, an allowance for the
selected edge finish; total all
measuremems (Fig. 335).
L Follow the procedures described
for "gathered single-edged ruffie,"
steps 4'2 and #3, on pages 49- 50.
3. Apply the selected finish to botl1
long edges of the ruflle strip.
i . On the ruffie strip, mark the
cemcrcd stitching line with a
fabric-safe medium, or a pressed
_ _ - - - - - - -
- -
Seam or Hem Allowance (if needed)
-- -
---
- --
F ini shed Edge o f R uffle
---
---
_ 1 _
Waste
Allowance
(if n eeded)
Flnl&hed
R uffle
t___ _
Width
__o..?'!':'~~~~~t~~~g-s..?:m__ __ _
Finished
Ruffle
Width
Finished Edge of Rutile
- S8ani Or Hem Allo'Wniito(i~.;;ded) -- ----- -
- -
Fig. 336. Topstitched application for

doubleedged ruffles: (a) Straight
stitching with gathering thread
removed afterwards. (b) Zigzag
stitching straddles the gathered
stitching. (c) Satin stitching and (d)
decorative stitching cover the gather
ing stitches.
NOTES
&
VARIATIO NS
Edge fulish, gatheri ng density,

fabric characteristics, and mffie
\vidth interac t to gcncraLc the wavy
dimensionality of the noating edges
at the sides of doublcctlgcd rufnes.
The standard double-edged ruffle is
gathered with hand s titching, with
stright or zigzagged machine
stitc hing , or \Vith a1nomatic
mach ine gathering using the gather

ing foot or mffler attachment (refer
to "Gathering Methods" on page J),
and it is gathered on a straight row
of stitching centered between tl1e
edges of the rufne strip.
De,~ating [rom the standard, gath
ering expanded to two, three, or more
parallel rows of stitching- the spread
seam or slti>T<d n!l)le- introduces a
decorali"c band of confined folds
between the loose folds released at the
sides (Fig. 3-37). Other deviations: A
mffie gathered a little off-center or on
a stitching line that curves. Applied to
a foundation witll tl1c gathered stitch
ing straightened out, the curving fiucntations that were present in (he
stitching line before gathering transfer
to the silhouettes of the Jloaling edges.
Waste
- - -
-- - -
Allowance
- ......-- (lt needed)
Fig. 335. Fabric strips cut tor gathered doubleedged ruffles must include mea
surements fo r finished ruffle widths on either side of the centered seamllne,
with measurements added to each floating edge if and as required for the cho
sen edge finish.
Fig. 33T. Spread-seam ruffle with

shirred folds between two rows of
gathering. Add extra width tor the
expa nded gathering area when cut
ling the rofffe strip.
Chapte r 3
MAKING RUFFLES
55
If the stitching to be gathered

veers from edge to edge but is gath ered until the stitching is strnight,
the noating edges assume shell-like
formations. Pattern.< for the gathering that produces a <louble-s hdl
ruffle have spaces enclosed by stitching lines. After marking the stitching
line on t:he back of the ruffie strip.
gather a double-shell ruffic b)' hand
to regulate the. shaping of the shells.
Because of its unusual shaping, a
clouble-shell ruffie may be easier to
auach to a foundation with hand
stitching (Fig. 3-38).
(a)
With moderate-to-generous gathering , they negotiate tight curves with
unobtrusive strttining and squeezing at opposite edges. RufOe designs

exploit the contrast between winding bands of ruffles with rippli11g
edges and s mooth background
areas. A scrolled mffie design conforms 10 a planned, repeating pattern of lines traced on the right side
of the foundation fabric (Fig. 3-39).
..-.._
Fig. 3-39. Narrow. doubleedged ruffle scrolled in a repeating wave
design.
(b)
Fig. 3-41. Double-edged ruffles top

stitched with edges toucling, following
application lines spaced a bit Closer
than Mo-ruffle-widths apart
For high massed ruffles, rows of

double-edged mffics arc topstitched
together SCI closely t:hat adjacent mfOed edges are forced upward to Ooat
about one-ruffie\Vidth above foundation level. burying the topstitchedand-gathcrcd seams (f ig. 3-42).
An allover ruffie design patterns

the surface with a meandering,
unplanned application of ruffles
(Fig. 3-40).
Fig. 338. (a) Stitch one 90-degree

angle of this double-shell ruffle pattern, gather until the angled stitching
line straightens, secure. and continue
to the next angle. {b) Gathered dou
ble-she/1 ruffle. (c) Curvy version of
(a). Ruffles gathered from paNerns
(d) and (e) have unequal side forma
tions.
The flexibility of double-edged

ruffies inviLtS curving arrangcmems. Curving the ruffie alters the
float of both edges: The floating
folds on the inside edge of the
curve increase while the folds on
tbe outs ide edge decrease. If the
side ruffles arc wide and the c:urvc-s
steep, t:he lloaring edge locat:ed on
the outer curve will stretch ou t and
turn up unless the gathering at the
source is especially light- which
will cause the fullness released on
the inside of thCcunre_ Lo swell imo
bulging folds. Only narrow rufOes
l" (2.5cm) or less from edge to
edge are used for ruffle designs.
56
Fig. 3-42. Double-edged ruffles topstitched in congested rows re-surface

foundation fabric with swirling edges
elevated above shadowy depths.
Fig. 340. Narrow, double-edged ruffles swirled over the surface in a

design improvised while topstitching,
with one end coiled to diversify the
relief.
The foundation f.1bric disappears.

or almost disappears, underneath
mttSs.etl ruffles. For low massed rufncs. straight or curving rows of double-edgecl ruffies are applied to a
foundation with floating edges touching. The gathercd-and-topstit:ched
scams arc a visible componem of Ihe
re-deSigned surface (Fig. 3 +1).
T he Art of Mani pulat ing Fabric
Scrnight or slightly curving rows of

ruffles can be massed and topslitched
by machine: With previously attached
mOles off to the left of the presser
root, bold the edge of the closest ruffle away from the needle with a ruler
while topslitcbing the new n tffie. A
coihl application will11eed hand
sewing, at least at Lht start To prevent distortion, stiffen the foundation
fabric with a temporary stabilizer.
GAT HERED DOUBLE-EDGED RU FFLE
Layerrd cloublc-cdgrcl ruj]lcs :1re
sucked one over the o ther with

then gthering stitches matched,
'l<ltopo;Ut<hed to a foundation ns
tc Fig. 3-H).
(a)
(b)
Fjg. 3-47.
Tucked ruffle
(a) afler galhtHing; (b) with
its side ruffles
separated
and pinned to
a foundation
prior to eppfi
calion.
Fig. 3-43. Layered flOating edgos of
.-o dovbte-edged ruffles accumulate

~U~~ght,
rising high above lhe top
SLtched golhering.
\puffed doublr-cdgecl n@e must he

cut Jnd stilched from doubled fabric
\\1th unpressed fo lds (see "Edge
Fmisbing for Ruffies" on page 44) .
Uter gatbenng and application, puff
the side ruffics by pulling the layers
(refer to 'puffed s ingle-edged
ruffie" on page 52). Variation:
Double-edged rumc \\;th one side
puffed and th e other >ide a stnndnrd,
floating-edged runic (Fig. 3-44).
I"'"
----------------------------
Fig. 3-44. Preparing a double-edged

ruffle strip with lhe Iabrie on one side
doubled for puffing afler gathering
and app/Jcarioo.
Taper or fan th e e nds of doubleedged rurnes that stop within thc

fou ndation fabric. Tapering imolves
folding the end of the ruffie strip on
the stitch ing line with right sides
facing and sewing a scam that gradually curves from the fold to the
matched edges. Trim the excess,
open the suip, gather to the tip.
and wpslitch to the foundation. To
!an the end of a ruffle, ~w the ends
o f the side ruffles together w ith
edge; mutdting and right s ides
together. open, pull down, and tack
to the foundation (Fog. 3--15).
(d)
To a linch to a foundation , topstitch

next u-. the gm lll'l'ed seam wlth the
side
;l zipper foot up against the
center ruffle, anti then topo;titch
n ext tO the other side of the !Plhered senm. By ha nd. sew over th e
gathered seam with stitches that
alternate bc1ween a stitch on one
side und a stitch on the other side
o [ the ccmcr rufllc. Tucked nofflc
options include enlarging or decreasing tht \1 idth of the center rume.
snip-fringing o r puffing the center
ruffic. a nd gathering the ccmcr ruffle
over a cord inscm-d inside the fold.
or
3-45. Two ways to end a dOubleedped ruffle: (a) Teper the end of the
F'~g.
strip (b) before gathering. (c) After gathering, join the ends of lhe side ruffles
(d) and fan down to foundation level.
A tucked n@e has thn:c floating

edges and one gathering seam. The
ovcmll wiu th o f the ruffle strip
includes three ruffle widths, two at
the sides of one doublecl-fabric ruf
flc in the center (Fig. 3--!6). The
!loating edge o l the ruffle In the
center is always on the fold. The
gathering scam is stitched through
two layers of fnhric a ruffle's widt h
from the fold. With the finished
edges helow the gathered stilching
sprc.td out into side ruffles, the ruffle sits on its scnm, w h ich is under
t he cen ter ruffle ( Fig. 3--17).
_ _ _ ___ _ _ _ _ _ _ __ _ _ _ - 1 -
\Vasto Allowance
!_e~ ~ .!:!,e!!!, ~~a1!_C!_(I!J'I!!d_!dL _ _ _ _
(If noodod}
f inished Edge of Sldt RuHle
Finletted Side
Rullle Width
~
--- --- -----------------1--
Gathering Soam
Center Aufflo
Width
.S.
Folded Edgo of Center Rullle
- - -- - - - -- -- -- -- - - f - "
Canter Autllo
Width
__
___ ____________ ____ t ____
_
Oethering Seam
~
Fig. 3-46. The fabric

srrtp cur for a tucked
rufflo must include
measurements lor
side and center ruffle
widths, with addition
al allowances on
each side as required
by rhe chosen edge
finish.
Finfahcd Side
Ruffle Width
Finished Edgo of Sldo RuHle
SHmO;:HtmAttOwan~!!.!f M'c.dedi - - - - -
-- - - -- - - -
Waate Allowance
- - =t- - - --, ~~ (llnttdtd)
Waste Allowance (It needed)
Chapter 3
MAKING RU FFLES
57
A double-edged ruffic will have
a perky appearance. whether it's

applied horizontally, venically, or
muhi-dircctionall); if rume fabric.
rurne width. and edge finishing arc
sclcCLcd with that effect in mind. A
vertically applled do uble-edged rufOe will d rape rom its topstilchedand-gathcrcd scam if the width of
the side rumes becomes more than
the fabric and the edge finishing
can support, or wbcn the rume fabric is soft and Ouid. If applied horizontall); the ruffle above the topstitched-and-gathered seam will
nor over the n tffle bene~th.
tleaded ruffles, double-edged

rufncs gathered off-center between
a wide ruffle and a smaller heading.
arc always applied horizontally.
Calculate the width of the heading.
as affected by fabric type and edge
fulish. so that it will stand up and
Ooat at the top (Fig. 3-~8).
'""""i
Two ruWes w~n-slltched 10 o (oundauon. The

roffle has strorghtsulched
clouble-[old /lems; 1/>e ru/Pe '"Jh rl>e (OllCJ[ul. "''"'>' Poot has wired edges.
Jll-8
G ATHERED DOUBLE-EDGED RUFFLES
Fig. 3-48. Headed ruffle.

l~eaded ruffle options involve com
blntu lo ns with a spread scam, a
J)uffed heading, and a tucked 0 1
layered ruffle. A split headed rurne
allows for di fferences, such as fabric, gathering densit); or plc~ting,
between the heading and the rume.
A( tU211); a split-headed ruffic Is
(Om posed of two slngle-edgtd ruffles with their gathered scam
allowances butted. The wide ruffle
and the n'trrow head ing may be
stitched to opposite sides of a band
before topsti tching to 1he foundation. or. af[er direct topsthching,
lhc scam allowances may be covered with an edgestitched band or
a double-edged ruffie.
SS
The Art o f Man ip ulating Fa bric
1/1-9- Ruffles. fimsh~d wrlh halrlkle edging. opplted rn rows with edges touchi<Jg
(low massed N(fles).
1o-(lt/1)
r..o tONS of
fiom eoc:h
cttw:r. (n2hr) ~ some rv(.
'ies o.pplted In 10'-"'$ so
tl. -~... ~: apc1'l
tho! cqo.
cent ed~ ore {olr.O<J
<4M<Jid (l>jlh mouod rv(
close~
ks) The "'SUI(aced musl<n

tS <hod< and hec;y.AA 1t1(f10
edges ore eerlod<ed.
GATHERED
DOUBLE-EDGED
RUFFLES
Nl-11~ pottemed alb.,..-Mth 0 ~
""'~"'>~ <Jesign o{ ptn.l:od nf,fes
31" (2an)
lr/.f 2-MUS!on ~t~f1!es

apol+ed Ill tliht cofs: w;rh
edges (oniShed (left ro
llflhl) w!lh sonif'r
swched dpubfe.(olo
hems: wolh hoorllne ecfg.
ong; w1ff> one ed~ ponked
rJr>d one edge selvedRe:
wnh ravelled (r/OJie
Chapte r 3
MAK IN G RU FF LES
III-I 3--{top) A snp.rivlfN
wll'< thO{ ends"' 0 cool (bo:

tom) T.o do<.b'..sne., ru{f'es
che smo/ler 11on<1 smcned imo

0 C~"ght fiower-1 !<t C0'1.
GATHERED DOUBLE-EDGED RUFFLES
li~ 14-Four {ana(ol rufll>. all fi<JII>orlld VOm rufl1e
stnps CUI s/i~nt/y
lan~et tilon twoce rile "''ll~t lon~tll. (1~(1 to rojlht) Horlnc edged rufllc
sprooo s.om garhct!ld on twO corded scam~ smp-{nngcd ruflic layered

over a ruflie 1vM (trm, doub!c-(old horl.nc edg ng: tuc~d ruffle Wlrh a
sna!Jow ruflle centered between Side ruffles fmhed wt/1 deep. smgle-(old
hem> tucked ruffle Wlrh tht centtr rufl1 puffed and Side rufl1es ~nr;hed
Wirh ON/floOeediNU/he<J, SIM81e.(ofd hemS
60
The Ar t of M nnipu luln& Fabric
1/J J5- Unoacochc-rl ruffles ga!hercd 1ntc long. #e>~ble, {lufft cyl n
ders on seams zigzagged atcr suil1g. Far each cyfu1der. tvtO rufile
slftps il1a1 111plcd !he torgct lcngrh we"' galhe,.d m 011e.
(righr) SmpC1ngcd edge (irosh. (lef!) Douhle{old fx,,/,ne tdR"R
111-17-Hcaded ruflle with 0 band orsnmmg sepa'Utl11g d>e neadon~ (rom de rut
11e. The edges .veto {lmsned woth s!!'O.ghtSUtchec:( dooble;olcl hems.
GATHERED DOUBLE-EDGED RUFFLES
Il-l b-S<Ie n;ftie> ; \.'l " (II Scm) M<Ie jl<Jiled OC>..r>~<1'11 by~ weogltt o{tJ>t rrll45n
111-18-Splot headed ruffle. The gaihered seam allowances o( tile ru/Pcs and the
edgesiJ!Ched wpe with the~r bulk.
levered neod;ng pad the
Chapter 3
MAK ING RU FFLES
61
P LEATED SINGLEOR D OUBLEE DGED R UFFLE

-a strip of fabt'i< reduced in lengm
by systematic folding anchored with
stitching along one edge or down the
center. The edge or edges of a pleated ruffle float in regular, orderly folds.
P ROCEDURES
pl c;~ti ng arrangement
for the rufllc (Fig. 349). Decide
wheeher the folds will be pressed
or unprc;.scd.
2. Select an edge finish tbat \\;II affect
chc folds at the float agreenbl): or. if
the pleats ore to be pressed an
edge finish chat will a<:ccpt sbatp
cn."lStS (refer co "Edge Finishing
for Ruffies" on page -13).
1 . Choose a
3. Determine the width of tbe

pleated n tffie strip, including
allowances for the selected edge
finish: For a singlt-<:dgcd ruJDe.
refer to Fig. 3-22 on page 49; for
a double-edged rume. refer to
Fig. 3-35 on page 55.
4. To calculate the length required
for a rurnc strip pleated to the
targcLmeasurement: Make a
folding gauge from a short strip
of paper marked with dots
spaced W' (6m m) or v.''
(l.3cm) apart, as appropriate for
plentlng depth and implcmcmation. The tlot.s indicate pleat
folds: tl1c dbtance between dots
equals ple.1c depth; count dots to
regubt< pleat sp;1cing. Matching
dots. fold into the chosen plea<
arrangement. Apply the following formula:
(prtfoldmg leng;h/paper
- aftcrloldtng length/paper(
x C<lrget measurement for pleated ruffle
Escltnaled Length of RuHle Strip
5. Cut noffie srrlps to size on the

s~n~iglngr.tin of the f;~bric, piecing
stnps together if tlCCCS.<ia'}' (refer to
Fig. 3-23 on page 50). For a singleedged nome, appl)' the sclected
edge finish to one long edge of the
ruffie S!rip; for a double-edged nof.
flc, finbh both long edge,.
6. Marking with a disappearing pen
or chnlk on the right side of the
ruffic Strip, sp;t~C dots \!..''
(6mm ) to !li" (l.3cm) apart. as
pre-planned. along the unfin .
ished edge for a single-edged ruf
fle, or centered for a double
edged rullle. Matching dots,
pleat the ruffic strip. securing
each fold with hand basting or
machine stitching. If the ruffic
snip is wide or the f~bric limp.
hand form, pm and hand baste
the folds before machme smch
ing over the dots. For rufle
strips of rnann~tenble width and
fabric, form che pleuc.:. while
machine stitching (Fig. 350).
For a t>lcmed rufne \\ith s harply
creased folds, ptess the folds
from sentn to finished edge.
Knife Pleats
Box Pleats
Inverted Pleats
( Top Row Unpressed; Bottom Row Prossed)
r..-..-...-.......-........ .-. ' ' ' '' ...,.,
--+- - ... .....
Inverted Pleats Between Wide Box Pleats
......... ---
Fig. 349. Pleated ruffle arrangements.
The Art of Manipulating
Clustered Knife Pleats
-- r r- ........ -
Spaced Out Box and Inverted Pleats
62
'r-'
r __
..,..__-__-_-_,_-__- -_,
F ab r l~;
Closed Box/Inverted Pl eat s
Frg. 3-50. To form pleats while

machine-stitching: Prick s dot
marked on the strip with the lip of a
sturdy needle or pointed tool. Push it
under or lift ir over to make an outer
fold that matches the correct dots.
Grip the just formed fold with the
pointed tip as the fabric slips under
the presser foot.
PLEATED SINGLE-O R DOU BLE- EDGED RU FFLE
7. ro nunch n pleated single-edged

rume to Oat fabric. conceal the
...:;~m allowance inside another
scam, at :t hem. or ,,,;th suitable
surface application ( refer to Figs.
3-25, 3-26, 3-17. & 3-28 on
pages 50-51). Topstitch a pleat
ed double-edged ruffic to foundation fabric, sewing ovcr the
rurnes seam line. Match the ruf
fie's scnmlinc or the right edge of
the rumc 10 gtiddine marked
on the fabic (refer to fig. 3-36
on pugc 55).
NOTES & VARIATIONS

Beneath the application seam,
pleated rurncs nrc smooth "ith discphned folds and underlayers.
Compared 10 gathered single-edged
ruffies, the seam allowances of
ple:ued single-edged rufDes (same
length, same target) are less bulky.
At the Ooat, pleated ruffies roll into
rounded, repetitive folds or, if
pressed, angle into creased,
arr:mgccl folds. The 'YlJe of pleat
affects the lloat-invcrtcd pleats
remain close to foundatio n level
while box pleats elevate. Pleating
arrangements that feature localized
fullness-pleats isolated in between
unpleated segments of the ruffle
strip-<ontrast bur.;ts of folded fulln<SS with areas of smooth ruffie
fnbnc.
Pleat depth based o n a folding

gauge of dots spaced no more than
!.1" (L.3cm) apart relates propor
tionall)' 10 most rurne widths and
applications. For pleat formation,
consecutive dots indicate the outer
fold, the onner fold, and the omer
fold match point of one pleat. and.
if the arrangement dictates, some
dots are counted as spaces between
pleats. To pleat wide ruffie strips,
particularly If tloc pleat~ are to be
pressed, marl< 1he edge or edges
with a d uplicnte of the dots on the
scamlinc: match all the aligned dots
when folding and pinning each
plent; nnd baste ot the edge or edges
as well as on the seamline. Locate
pleat folds on the straightgrnin of
the fabric. Press lighU)' to bold the
pleats. remo,e the basting at tbe
edge or edges, >nd steam press
thorough!)' to produce a ruffie with
crisp folds (don't move until cool
and dry). To maintain the integrity
of the folds, apply a pressed, pleat
ed l'lofne to the fotmdation in a
stn1igln line.
The spread-scum noflle, layered

rurnes, low massed rumes, and
headed rurnes, variations described
for g.1lhcred single- and double
edged rumes. pertain to pleated rufnes as well. For applications rhat
require quantities of pleated ruffies,
usc the rufller attachment 10 con
vert ruffie strips into automatically
knife-ple>ted and straight-stitched
s ingle o r double-edged ruflles.
Simple adjustmen ts change the
attachment [l'Om gathering to pleat
ing mode and oegulate the separation bet ween knife pleats by stitch
count- a pleat every stitch. a pleat
every 6 stitches, a pleat every l2
stitches. Stitch length regulates
pleat depth. (Fig. 352).
Like gathered nfnes, applications of unpressed pleared ruffles

can be curved as much as the pleat
mg will accept gracefully. The folds
of a narrow box/inverted pleat ruffle
adapt nicely to the sinuous curves
of scrolled or allo,er ruffie patterns
( Fig. 3-51).
Rg. 352. The ruffler, a sewing

machine attachment, looks more
complicated to operate than it
actually Is.
Fig. 351. The plealing of a narrov.

inverted/box pleated ruffle alternately
stretches and flattens on the outside,
and ccndenses and heightens on the
inside as it negotiates a tight cuNe.
Chapter 3
MAK ING RUFFLES
63
Ill- I 9- 0wrt of ro(/les ~~wmc~colly f<ni(e-pleoted wtlh o ruiiler

mrorhment (top) R11fl1e p!Mced on every I 2111 s~tch. (center) Two
rows of rofl1es p!e<>ted on e>'ery 611> s6tch. (bottom) Ru(fle pleated
on everl sut.<lt with u fiouung edge ll>ut looks likiJ the r&suiL of
gadl!2:lng.
/1!-20-Norrow roftle strips outomot'cally kfll(e-p/eaied on every sricch.
{tnished wit/> floirline edging. (cop) 8ant1 with o fiJ(fle ouocheo' befOre
edgesurching 1.0 rile founc}arion. (bottom) Cm:les appiiqued over <he
seam o#o....ance of a previously attnched ruffle.
PLEATED SINGLE-EDGED
RUFFLE
111-22- Th<'ee O'lflr/apptngliers o( pressed. klli{e-piecned rofl!es

single-fold. Min-need!e- edge (tn;sfl.
111-21 - Four rufl1es I (2.5cm) wide; (Pom ihe top) kni;C-plecied

and pressed: unpr&ssed box plects: box pleal5 wtrh two unprc$Sed
kll<(e pleats on eitro<l~sirJe; close kll1(e pleoung w11h ihe folds
sroomcd ro OO.'d.
64
T he Arc of M anipulaci ng f abric
WJ!h
PLEATED DOUBLE-EDGED RUFFLE
111-2 3-(le~) Klll(e pieal' Wolli o bllfl<l o( ntrNJ (olcls that

reverse d:1ec1Jon between topslltd1ecJ s~ns
(r~gilt) Atron~ement o( bo<. kno(o, and orwertod plecus wttil a
ccmctcd ladder of folds botwoen oun-sto<<hod scams.
111-24-8oxi11W'ed ple<n raffles I 1/1" (1cm) w.(Jt.
Ill 26- EI<>boro<e ruffle bw1t q,er a llcodod rofl!c '""( pleated on
a Perfect Plearer. Galhercd ru,Pes bon:kr !he scalloped edge o( !he

band that a~'erlays rho deop. p'c<Ited ruffle. A double ..d~d ruffle
gathered off<enre.r CO'Iers the spirt
111-25 Hcodod rufflo wt<h box pleats b~<lweon deep poonts cantowcd miD each faced edR Two laye~s o( boxhnvettcd pleat Nffles,
notrltno edged. covtr !he appiiCOtoOn seom.
"W<os" of !he ruffle
on wp are tack~ cogcthCt 11'1 clle center:
nte
Ch pter 3
MAKING 1\UF FLES
65
flounce is a flowing attachment that gradually flares
and swells from a smooth seamline to a floating edge of rolling

waves and folds. It starts as a
curvilinear piece of fabric with
one edge longer than the other.
When its incurved shorter edge
is straightened and stitched to a
stabilizing fabric, the longer edge
develops graceful fullness. As
part of a whole, the flou nce can
be a solo addition, or flounces
can be applied in rows that
either partially or completely
cover the base fabric.
LOUNC
4 Making Flounces
C IRCULAR FLOUNCE .............. 67
Procedures ................................ 67
Notes & Variations ..................70
Spiralcut circular flounce .... 71
Layered circular flounce ........ 72
Tiered clrcular llouncc .......... 72

Double edged circular
flounce ........... ..... ..... ......... 72
Layered doublcedgcd
circular flounce .................. 72
Massed do ub lccdgcd
circu lar flounces ................ 72
CONTROLLED FLOUNCE ........ 77
FLOUNCE
-a circle of fabric with a round
cutout in the center. split open.
straightened out, and seamed to
another piece of fabric along its
inner, sho~est edge. The longo>st
edge floats in waves and folds.
maximum. mocle:nue, or mlnimal

narc as controlled by the radius
of t he ro und c uto ut In the mid
dlc of a circular no uncc pattern ,
1. A refresher vocabulary:
nnd the length of the nounce:
Circumference- th e distance
around a circle.
Notes & Varia tions .................. 78
Oimnewr-any straight line
Double-edged .. ..... ............... 78
curving section at any point.

2. C hoose between a flounce with
PROCEDURES
Procedures ................................ 77
Layered .................. ................ 78
RadittS- a straight line extending

from the center of a circle to any
point on 1he circumference.
Radil.s of a curving section of"
cirdt- nodius of the circle which
has the same curvature as the
C IRCULAR
passing through the center of a

circle from o ne side of the cir
T he smaller the radius of the

central cutout. th e g1eatcr th<:
flare at the floating edg< of n
flounce after it i.s appUcd
(Fig. 4 1).
cumference to the other.
Fig. 41 ..Circle divided into three rings of equal depth to demonstrat9 th9 r9la
tionship between the //are at the floating edge and tile radius of the circular
curve that becomes the straightened edge of the flounce.
Chapter 4
MAK IN G FLO UN CES
67
f lounce depth as it increases

also increases the flaring. As
the d ifference between the circumference of the cenoal
<:uLouL and the circumrcrcncc
of t he floating edge increases,

the folds at the edge becomt
mo re voluminous (Fig. 4-2) .
(a)
Fi nished Edge
Of Flounce
"'
Circular Flounce Pattern
Fig. 43.
(a, b, c) Using
a string compass and a
ruler to draft a
circular flounce
pattern.
(c)
Fig. 4-2. Three flounces cut with

identical circular curves at the top.
but increasing in depth.
To evaluate a Uouncc.) sampJe: tJ,e

effect of central cutouts that vary
in sire. on a llouucc Lhat remains
the same in depth and straightened
length aL the application Se<llll.
3. To draft a circular flounce patlC.t'tl, establish two measurements, one for the radius of the
centra] circle and a sc.cond for
the depth of tbe flo u nce:
a. Draw the central dn:le using a
compass set to the radius meas urement ((a) in Fig. 4-3).
Adding a measurement for
flounce depth w the radius,
resel I he compass ilnd draw a
second circle outside the ftrsL
((b) i11 F ig. 4-3).
c. 1ndicate. one or more side

open;11gs. Align side. optnings
to a mdius o f the outlined circles ((c) in Fig. 4-3). Cut out
the circular nouncc. pauem .
4. To estimate the 1bric requirement for a particular circular

flounce application (Fig. 4-4):
a. Calculace the length of the circular seamline on Ihe paucrn:

(2 x radius)
x 3.14 (I
whole circular seamline length

whole circular seamline length
- side opening seam allowances

= Circular Seamline Length
b. To provide a seam allowance,
draw a smallet ~.~irck. inside

the center circle. To include a
hem allowance fo r a finish
applicablc.J.o a curving edge
(refer to "Edge Finishing for
RufOes" on pag e 43) , enlarge
the outer circle.
68
The: Art of M ani pulating Fabtic
Sid e
Opening
Sea m
Allowances
Fig. 4-4. Alter calculating !he number o/ circular flounce pattern pieces a particular application will need, use the diameter of the flounce pattern to plan a
cutting arrangement, and figure how much fabric will be required.
CI RCULAR FLOUNCE
b. Figure out how many circular

flou nce pieces will be needed
to cover the applic:ttion's
seamlinc(s):
..
0
0
0
c. lktemlinc how much fabric

will be needed to cut the
required number of circular
flounce paucm pieces:
fabnc: "'dlh
diameter of crcular flounce pane<n
Corel<$ fin1110 CIOS$01310
cirtles to cut
- circles hUing aossoraln

: lengthgrain IOIYS or CirtiOS
(a fracuon counts as a row)
:'
:
.!
0
0
'0
.'
I
I'
total length or seam lines on application

- c~rcular seamlme length
Cirtlesto Cut
:'
I'
'
'0
''
'
''
(c)
(b)
Fig. 4-5. French seam: (a) With

wrong sides together, march the
edges to be joined and sew down the
center of the seam anowance.
(b) Trim the seam allowances next to
the seam. (c) Fokiing on the seam,
tum Inside out with righr sides togeth
er. and sew on the stitching lines.
'0
1
lengthgrain rows ol circles

x drameter ol circular flounce pauorn
Fabric length Required
5. Cut each cin:ular flounce from

fabric fo llo\\1ng the pcl'imeter of
the p~per pnuem or ItS U'acccl
outline. Locale 1he side opening
thttt cutS each cirdc npnrt o n the
stmig htgrnin of the J'ubric. When
se\\oing two or more circles togclh
er to extend the sc:unline length
of a flo unce, join with n reversible
French or flat-fell scum. espccinlly
if the S\ving of the floating edge is
Likely to rcve<1l both sides of the
fabric (Fig. 4-5).
With an appropriate surface

applicalion- Using a fabriC
safe marker. dmw sc:~mllne
nnd edge-matching g uidelines
on the foundatio n. Matching
the guidelines, stmight stitch
the flounce to the fo undation.
Zigzag stitch over the edge of
the scam allowance, or CO\'Cr
the seam allowance whh an
edgestitchcd bal1d of rabric
(Fig. 4-7).
(d)
(e)
( f)
Flal-fe/1 seam: (d) With right sides

together, march the edges to be
joined and sew the stitching lines
together. (e) Trim one seam
allowance by half; told and press the
untrimmed seam allowance over the
trimmed seam allowance. (f) Open
up the fabric, right sides down, and
edgestltch next to the fold of seam
allowance.
Fig. 47. To apply a flounce to a foun

dalion: (a) When rows of flounces
overlap the flounce below, sew each
flounce right side up. (1:1) Sew a
flounce wrong side up and 11/p it over
its seam allowance. (c) Sew right
side up and cover the seam
allowance with an applique.
6. Apply the selected Anlsh 10 lhe

Ooaring edge of c:~ch Oounce.
7. Allach the Oounce or Oounces to

the stabilizing fabric. sewing on
the designated seam line. To
enable straightening the eur\'ing
seam allow ncc/scamltne of the
flounce to match the Straighter
scamline on the fabric with min
imal strain, clip into 1hc Oounce
scam allowance at regular intervals. Make as many clips as
necessary, but never overclip

(Fig 4-6). Conceal the flounces
seam allowunce:
Fig. 4-6. Seam allowance of flounce

clipped ro straighten for the applica
tlon seam.
Chapter 4
MAKING FLOUNCES
69
Inside n stam-Matching
edges. baste the Oounce, rigln
side up. to the right side of fabric =I. Whh right sides togemcr. pin bbric ::2 o,er both and
sew through all layers next to
me lx1Sting seam; or lap me
turned edge of fabric " 2 o,er
the scr1m :ollowancc o( the
Oouncc and edgestitch through
all layers (Fig. 4-8) .
I\
- .i 'I .. -- -- i--..----I\
Fabric 2
Fig. 49. (a) Alter machine-basting the flounce over lhe underlying fabric. {b)
encase the edges inside a blnd'mg. (c) Pin a fao'ng over a flounce basted to a
Iabrie extension, sew through aR layers. (d) tum 1he facing 10 the back, and
sllpslilch 10 1116 fabric.
Face the edge when a

Oounce extends beyond the
fabric to which it is aunc:bed.
Sew a fnclng, right side down,
0 \ 'Cl' 1he back of a fiounce
which is basted to the righ t
side of the fnbric. Turn the
facing to the b:~ek of rhe fabric and the [loutlCC right side
out; sllpstltch the facing to
the fabric above the flounce
(see (c) and (d) in Fig. 4-9) .
A decorative facing is an
option: Sew the facmg, right
side down, over the front of a
Oounce which is basted to the
back of the fabric; tum the
facing 10 the front and
cdgcstitch over its wrned
seam nllowancc.
(b)
Fabric 11
Fabric #2
abric #1
Rg. 4-8. In-seam applications for a

flounce: (a) Allar machine-basting the
ttounct1 to fllbric #I, (b) pin fllbric 12
over both with right sides together,
rum to the bocl<, and machine-stitch;
or (c) pin end edgestitch the rumed
edge ottsbric 112 ovor all seam
allowances.
Inn hem treauncnt-(a) Bind

the edge when a nounce lies
on lOp of the fabric to which
tt is auuchcd. Sew a narrow
s trip of bias-cut binding, right
side down, over tl1e flounce;
mrn the bi nding over all seam

allowances to the back, and
hand ~titch its turned edge to
the fabric under the nounce
((a) and (b) in Fig. -t-9).
70
(c)
Fabric M1
NOTES
&
tOWS 011 1hc rnbriC
V ARIAT IONS
A circular floLUlCC generates noating fullness i>y encouraging flare. and

docs it without bulking up the seamline. The circularit}' and depth of me
Oounce pancm, the fabric component, and the edge finish interrelate
to produce ma.~imum. moderate. or
minimal waviness at the noating
edge, but a smooth layer of Uounce
fabric at the seamline is a constant.
The Art o f Manipulating Fabric
Since the gr'Jin on a Clrcul.v

flounce is consrallll)' changing. a
Oouncc appllcmlon needs grninline
balance If it is to hang Lhc same way
on either side of a ccnll'al poinL Place
the stmighr~.trnin of a nouncc in the
cemcr so that grninli11e ch:mges mow
idc.mically on Lhc sides. or hang the
mre bias of Lhc fiounce In tht center.
For flounces Applied in multiple
rows. repc<!t the s:unc balance.
Long rows and multiple tiers of
flounces require the chammg together of man)' circles. For shon rows of
nounct'S with modcmtc to minilJlal
narc, a segment or the entire circular
nounce pancm may be all that's
needed for one ro\V. To balance the
grainlinc on all rows :and save on rab
ric as well, align 1hc segments in
CI RCU LAR FLOUNCE
when CUlli ng Out
the Oounccs (Fig. 4-10).
Rg. 410. Culling guide th<lt repeats

the same grain alignment for each
circular flounce segmenr.
finishing an edge that contin uousl}' curvc.s :tnd changes grain i.s a
challengc. When selecting an edge
!UU>h. consider ease of application,
compcnibilh)' with the characteristics
of the fobrk, and how the finish \\ill
mflucnce rhe quality of the float
n:fcr to "Edge Finihing for RuJDes"
on page -+3). If both sides of the
flounce "ill be visible when applied.
ll1c appe.1rancc of the back of an edge
Ftg. 4- 12.
Ccntrast the
effect on the floating edge when
the same circular
flounce is applied
(a) in a straight
line, (b) to an
inside curve, (c)
to an outside
curve.
fmish is :ts importam as how it looks

m fl'ont. A flounce that's completely
hned cnnvcns both sides of 1he
Oouncc in1o u right side, avoids prob-
lems caused by cune and weave. and

cn:tbles edge contouring such as S<;allops or points. A faced or bound edge
IS al.o n:vcrsiblc. For other kinds of
finiSh, ~ta)'Sihch ncx110 the edge
before apphcalion. keep hem folds
lin)\ and gently ease the fabric as il
mo,cs under the presser fooL
The application takes care of the
.)lciCS of n nounce when a COntinUOUS
nount'C encircles a tubular foundation,
or when both sick-s of a flounce arc
caught into cross scanLo;. for silu.ations
where n flounce stops micl-fabric, the
~ide~ of I he Oounce need io be flnbhed a1 the same time as tbe floating
edge ls finished, before the OowiCe is
applitd. Unless sid~ \\;th dangling
co!TIT< ore appropriate, eliminate the
con~ers by cun1ng the lloating fdge
mto the se-.unline of the Oounce hcforc
finishing the tdgc (Rg. 4-11).
When a flounce is lengthy from

seam 10 hem, finish the edge after
the flounce has be-en applied. let il
bang for 24 hours to allow the portions located on the bia.< to settle..
Where the hemline droops, trim it
l'\'enly, and then finish the edge.
The llexiblc seam line of a circular
flounce wiII follow curving as well
as stmight lines of upplication. The
folds ntthe Ooatlng edge of a flounce
sewn uround an outward curve
spread nnd diminish~ sewing a
nounce inside an inw-ard curve
squeezes and deepens the folds
(Ftg. 4-12). lfthe deviation between
the seamhnc curve of 1he flounce
and the applicanon line is great
((b) in Fig. 4-12). clipping the scam
allownncc before stitching is a neccssit): If rhe de,1ation is middling to
slight ((c) in Fig. t-12). attach the
0oWICC wit hout pre-clipping, StOp
ph1g frequently while sewing to liit
the preser foot tlnd realign seamlines and edges before continuing.
After application. dip the sc.-am

allowance as the netd 10 release any
pull on the Iabrie dtcut<S. Every clip
into 1he scam allowance of a dn::ular
Oounce weakens the se.1m: Less is
ahvli)'S bcucr and none before
sewing i.s bct!Cr still.
The Ooarlnp. edge of a <j>iml-cut
circulnr-.flouiiCf becomes loss and
lcs..c; WUV)' {tS ll l"noves Out rrom the.
center of the circle. l' or an application where gradually diminisbjng

waviness cnn b1 exploited, spiralC\11 nounccs SO\' e fnhric. Draft a spiral-cut flounce panern over a base
of concentric circles spaced the
depth of the flounce apan (stigluly
more for a flounce with a lining).
Finish 1he edge with ztgzag stitching or a hning bclorc cutting ou1
the flounce. Compared 10 a
F~g.
4 I I. Circular flounce pattern

with one side of the opening cuNed.
After finishing the floa ting edge plus
the cuNed and straight sides, the
flounco. set into a vertical seam, fa/Is
in swinging folds from a curving top
to a hanging point at the end.
Chapter 4
MAKING FLOUNCES
71
.- . ....
~-
....
-. ',
-..
(a)
Fig. 413. (a) SpiraiCUt

flounce pattern.
(b) Zigzag edge finish
stitched over the outllno
before cutting on the
outer needle holes Ollhe
slitchfng. (c) Sewing a
lining, right sides facing,
to the flounce by stitching
just Inside the oulllne
before culling out.
Before joining the seamlincs of tltc

two nounccs, piece extensions (0
each flounce togetltcr and finish
the edges. If lining is the flni>h
o( choice, sew the lining to the
nouncc artcr ~ewing the two lmings
and the two flounces 10gerher
( fig. 4- 16). Sew the lining l~ the
flounce on one of the side openings
before tunung nght side out: after
turning. tum the s..-am allowances
on the open end to the inside and
stitch toge1her- if Ll1c application
requireS such finishing.
(c)
standard circular flounce. the

seamhne on one spiral-cut nouncc
goes a long way (Fig. + 13).
( 2) The rows of flounces are connected. The second Oouncc ls

auached to the lloaring edge of the
A laycrctl circulur.flmutcc consists

of two or more flounces, stacked
ed~:e over edge, applied as one \\;lh
all scam lines matching. If the fabric
is cri~p or finn enough 1o remain
sepnr::uecl when [he lnyers are
pulled up.m after llc>unce applica
tion. the flounce has an ail')~ llufTy
appearance (Fig. -1- H).
Hrst nouncc, nounce
Fig. 4 14. Two-layered flounce.
l..ayccd llounces cut Irom soft.

supple fabric resist separation-the
fold< tend to nestle togethcrunlc<< ver1ical apphcation allows
the folds to slip apllrt as they hang
*'
~~ Se\ Vll to
the Ooa1lng edge of flounce #2, and

won. The measurement around the
top edge a each SUCCCSSI\'e flounce
mcrcases s >gniflcantl)' to the final
floating edge which "~II be exrravagantly culargctl. way beyond the
Oaring potential of flounce PI even
if its length were extended to the
total length of the tiered Ootltlres.
Fig. 4 15. (8) Two circular flounces

sewn together (b) and applied with
zigzagged topslilching over tha joining seam.
A cfouf>k-crlg e<l circulm'}Jounce

begins as lWO Oounces sewn togeLher
For a layered doublc-edgc<l circufttr .flounce, h;LStc the scamlincs of

two or more double-edged flounces
together and topsrhch 10 1he foundation as one (f.tbric affects tltc separation of the layers, as dc<crihed in
a previous paragraph).
with right >ides facing before application. Opened and topstitchcclto a

foundation, the doublc-t'tlgcd Oounce
flares Olll Into spreading folds at each
side of the seaniline both flou nces
>bare (Fig. -1-15).
Applied in rows spaced less 1han

the dep1h of one Oounce apart. the
noating edges of ma.<Se<l doublt
edged cii'Cirlar']lounccs stand
upright because the seam lines are
crowded together so closely.
and SWl.\)'
There arc two kind> of !icrcd cfr
arlnr jlourru applications. (I) Rows
of flounce ars_ applied to a foundntion with the floatiug edge of the
F'tg. 416. Lined dou

bte-edged circular
flounce before tum
lng right side out.
Oouncc above concenling the

applied edge of the flounce below.
72
The Art of Manipu lating Fabric
CIRCULA R FLOUNCE
N-2- flounces 2 (Scm) deep, cut oroJI!ld em <nner dn:Jc w<l/i

oI
(4cm) radus.Abo~ (/le foUJ' cm:rlapprt~g rows at lht
bouom. o conrltlUOUs (;.ounce te'Vei"S6 bock a'C1 (orJ; Ill lOWS
!hot shor.et> OS they an(,e ..,.,...,rd
'n"
I'g cdl;e of a
cur V.11h ()11 .,,., orr:ie rhar hos a 4 1~
(f I 5) rorl;us:(ce<>ter) modorc11t pare-a 3" (7.5cm) tl1di<J>:(bonom)
max1mum Pa1c -o I 0 (4cm) rodius.
r.ouoc
CIRCULAR FLOUNCE
ri/3--Cm from
c,fdes w;m a I ..
(2.5cm) mner rorl1u!l.
a flounce tl:ar
Spte<Jd$ lri(O dCCfA
lux<A:JUS (0/ds bol
~r~red wrfh o dot.'b'<:!
(old hem.
Chapter 4
MAKING FLOUNCES
73
IV-4-T.;o muslm f/Cuocts ~

(I Ocm) deep (o:l into ~ swong.
mg. altemavng (i>'<ls UM(ue ro
vertJcaJ oppi!COlJOIIS.A h01ri1fll
1!(/ge (.nosh. Stotd1od Cwoce. adds

bacJy 10 1/1< fioadng <<ige
CIRCULAR FLOUNCE
/V-5- (top) A r..o l<l)'er f1ocm<,e

nses from o {(J(e<f edR
(ballom} An:ned knts of <~ppl.ccwon
one! $<urcJy. dooble (oklllems lntcn
Sift Ill< (oJds oc the fioating odges
o( c/lree l'n<Jdcvrefyf/arcd flounces.
74
The Art ol Man i pu lating Fabric
r -
IV-6-l'NO sp1rol~ut Poonces 2 (Scm) deep. 'M!h a ''IVOI/ECd edge (on>sh. SIJI(Ound
a poc~tshoped af>PIque. The Pare of each P<>Jnco g!Vduolly dll'llOJs/les

mum ot the futcre<J lower edge 10 mirnmum /Of' the ~Je<r:d lOWS on tcp.
from maxi-
CIRCULAR FLOUNCE
IV-7---fou< OO<II>e-Edged
""'*' f<JOO<e;, modero<e.y

flcncl arid sel(looed
float
M{/1
"'8 ed-0es !hot srond m srately.

stu.p:.ured .,.,'0'..es when applied
n dose rows-.
Chapter 4
MAK ING FLOUNC ES
75
IV.a-&o,alt appl;coooo
of'"' doul>'e-edged musl.iJtbK>ces ser .., $1.ihOy
"""'~ ,...~ spo:ed ~ do5e rogt!!w
(Old Item.
Tne ed,<.s are fin.$hed ...o> o . . .
IV9-P.eJ<0. ~ 01 t"""" eJOdng ~ !hot

S"""& from 0 ~ ~ /loonce Tile 1Jom.
bomd flounces roper 110m J~ ~- (9un) ID I r (4cm) on
de[JI)T. meosurea Olll<JIId a cenrer curOU! w1!h o I (2.Scm)

radius for moXofl111m jlore.
Cl RCU LAR
FLOUNCE
IV- /~TiffEd Poonces Tne O<OJm(er

ence at the ~ edRe IS 10 tmes
gre<)!er than r/lc Olt~e orrhe
bm<J;ng at rhe top, clrJ>oup.l> lite rop!o-lt<!m meos..remenr of 1/le (I<Junces
Is Ofl/t 80" (2 I Bcm).
76
Th e A rt of M an ipu lating Fa bric
height of a ripple or wave or

the overlap of a !olcL Usc a
CONTROLLED
F LOUNCE
compa.).S to mca.<mrc and
shaped piece of fabric designed

to spread out into rolling folds at
assigned positions on the ftoating
edge when its incurved, shorter edge
IS straightened and seamed to a
foundation.
-Q
PROCEDURES
I. Cue a target pattern chat dupli
cares 1h< size and shape of the
nren the llountc will cover when
Its npphecl. If one s ide of the
art:a is a mirror imagc or the
ocher side. or if the same contour repeats many times, make a
panern chat includes one compiece scgmcnc of the repeat
(Fig. -+-17}.
4
Fig. 417. Three target pal/ems, each

representing an area to be covered
with a controlled flounce. Shading
maills the mirror-image segments
that w>'H be slashed-and-spread into
pal/ems.
2. Decide whee her deep folds. modcmce w"es, or slight ripples will
be 11ppropria1e for che floating
edge of the flounce to be developed from the target pauern:
a. li t che location of each fold.
W(WC, or ripple planned for
rhc lloating edge, pencil a
line on the cut-out rarget pattern <hac conncciS the floaclllg edge to the sea.mline and
ind1caces the hang of the fold
((a) in Figs. -+-18, 4-19, and
-+-20).
I ~Il!l
(d)
Fig. 4-18. (a) Target pattern w;th lines

indicating fold locations (b) slashed
and equally spread. (c) Final pal/em
with s/1/ching line, dipping, and
gralnline notations. Note !hat one
stde must be matched to !he fold
of doubled Iabrie when cutting.
(d) Controlled flounce made from
thepallem.
b. Starting nt the Ooating edge.

slash each pencilled line,
scopping about V." (1.5mm)
from the scamlinc edge. Fan
out each slash l<l en large the
nonclng edge, and glue or cape
the expancbl u.rget pauern to
:mother sheet of paper. Rclat<
the extent of each spread to
the effect desired: For a softly
rippled edge, open the slashes
a llulc; !or an edge with
sweeping folds, open the
slashes very wide. Estimate
chat one-half the spread at 1he
Oonting edge will equal the
duplicace the spread of a slash

at the flo:mng edge ((b) in
Fig:.. -+-18, -+-19, and 4-10).
c. Draw a new floating edge thac
curve~ smoothly across t.he
Ol>cnings, always recaining the
length SCI by the target pattern. Add n seam allowance to
the scamline edge and a hccn
allowance to the floating edge
for the chosen edge finish
(rde1 10 "Edge r inishing for
Ruffics" on page 4 3), Add
sca111 olluwanccs to the sides.
except for n side to be
matched 10 the fold where a
!>C.om ollow:mce is superfluous. Since e\ery sla<h-andspread location requires a cltp
in clc sc"m allowance abo\'C
to enable returning 1he
nounoc to lLS target scamline
con1our, nocc the apex of each
opening wirh n ma1k inside
the ~cmn allowance 1hat indicates n cl1p. Cut out cl1e
fluunce paucm ((c) in
Fig~. -+-18, 4- 19, -1-10).
3. Cue the controlled flounce from
f.1hric following cltc J"'rimcccr of
the p.tper p.1uem or its traced
ol111incs. ~ln<ch che lcngthgmin
of the fabric co a cencral and balanced posicion on the Oounce.
Sew the sections of tllc flounce
cogctbcr
Fig. 4-19. (8) Target pattern with lines indicating fold locations, (b) slashed and
unequally spread. (c) Final pattern with stitching line, clipping, and graintine
notations. (d) Controlled flounce made from the pal/ern.
Chapter 4
MAKING FLOUNCES
77
The amount of spread to allot to

a slash involves info nucd guess
(a)
'
.--.. ,-------:
...
4. Apply the selwed finish to the

floating edge ( refer to "Edge
Finishing for Ruffles" on p.~gc -13).
but if the nomiC~ Is lengthy from
scam to hem, finuh the edge
after the nouncc is applied. Let It
hang for 2+ hours tO allow the
portions located on the bias to
senle: Where the hemline
droops, tcim it evenly. and then
finish the edge.
5. Sew the flounce to nat fab ric,
clipping the seam allowance
where the patttm indicates to let
the flounce seamline match the
sc.am llne on the application
((d) in Figs. + 18, t -19, +10).
Conceal the seam allowance of
the nounce in a manner appropriate for the application (refer

to Figs. 4-7. t-8, and -1-9 on
page 69-70).
78
......~/
NOTES
&
Fig. 420. (a)

Target pattern
with lines Indica/
ing fold /ocatiollS,
(b) stashed and
widely spread.
The halfwidlh
section on the leh
edge will be full
size when
seamed to a
duplicate pattem
piece. (c) Final
pat/em with
stitching line, clip
ping, and grainline oorations. (d)
Controlled flounce
mado from the
pattern.
VAR IATIONS
For situnlions where a circular

flounce ''"'on work. a controlled
nounce can be custOmdCSigned tO
fit and fill the special requirements
of <1 pnrtlcul:~r appllcat.ion. Using
the slash-and-spread technique of
pattern devtlopmcnt, a controlled
flounce can be variably Oared ";th
deep fold~ fnr one pan of the noat
ing edge nnd delicate ripples elsewhere. With a comrollcd flou nce.
folds, \\'lii'Cs. or ripples can be iso
latcd to spcctfic ponions of the
noating edge. T.he spacing between
the folds, waves, or ripples can be
regulated. A controlled flou nce can
be devised to fall with equal flare
from all pomts of a convoluted
scamline.
CONTROLLED FLOUNCE
work. PanlmCLCrs for the widc11i ng

that will produce slight ripples,
moderate waves. or lavish folds in
the noating edge are expressed in
generalities-a little. a whole lot,
somewhere in belween. Acldilion:tlly. the d'"ractcristics of the
mtended fabric and the finish
applied to th~ Ooatmg edge will
uffcct lhe appe.nrance or any nmount
of nared fullness. l'tst bcfote final
!zing a controlled Oounce puucrn.
To continue controlling lhe
flounce after It ts applied. arrange

the flaring at the noating edge to
reflect th e Intentions of the pattern
while the flounce is hanging, or

arrange and pin to a fiat surface.
Steam. Wail until the fabric cools
and dries before moving.
like circular llo~mc, comrollcd

nounces may be layered (two or
more Oounca applied one on lop
or the other) and tloublt'-edgcd (two
Oounccs flaring out to the sides
Irom a s hared seamline).
Pl-11--iloorn:e designed co Pae ovt lmo o poir of

spreading (olds ot intervals thor coir.<:!C4l vmh the
sowtootl> spooi>g of tile lapped l!ec<!ing A oaoU<Y.
ub!e-(okl hem edges the tiered f.ovnc.e.s
CONTROL L ED FLO U NC E
/V-/2-flowxe tha< srarts oot ~mat cl!e rap <md

gtockJCJIIy de<elops deep folds ar !he bottom of
the arcufar oper.-,1ng. A satin-sdtdled hairline (l'nisil
wpports the roll of the folds.
IV-13- EiaborcJte foov.r.ce

desig:>ed to spread no
sweeping fOlds from on
orched-and-lobl)ed seamfine.
A single fold hem, zigzagged.

(lms/Jes the fioa~ng edge
Chapter 4
MAK ING FLOUNCES
79
odcls arc triangular inserts
that inject flaring fullness
into fiat fabric. Used alone or in

multiples, a godet starts at any
selected mid-point within the
fabric and ends at the lower edge
which floats in waves or folds
caused by the expansion. Slender
godets sculpt fabric into a tmmpet-like shape; medium-width
godets swell into cone-shaped
projections of fabric; wide godets
burst out from the background
fabric into a cascade of spreading
folds.
DET
5 Making Godets
GOOET ........................................81
Procedures ................................ 8 1
"'o tes & Variauons ..................83
Handkcn:hid edge ................83
Mock god<I. ........................... B-1
~lark the pattern, then the

"rong side of the fabric "ith
slashlines that follow the
gmin, o r mark directly on the
fabric ((a ) in Fig. 51).
GoDET
(pronounced go-day'}-a section of
a circle set into a seam or a slash
within a piece of fabric to expand
the floating edge at that place. A
godet develops rolling waves or folds
as it spreads.
If the fabric has n vertical

seam ar gode t locmio n, position the po in t o n the $Cam.
The stam remains open
P ROCEDURES
I . For each godet. select a point
inside the pattern or the fabric
where the godct will bcgiJl its
spread. The d istance fro m poina
to lower edge equals the length
tl1c godct, and includes a hem
r~llowancc.
lf the fabric is unscamcd, connect each point to ahe lower

edg e with a straig ht slashline
pcavcndicular to the edge.
''
''
1he
2. Using a mechanical or string
or
'
''
to
lo wer c.dgc lo r god ct I n~c rtio n

((b) in Fig. 5-1).
compass set to the leng th uf the
godet, draft the godet pnttem.
Draw a ci rcle or :t potion ora
circle. Estimate how m uch of tltc

circumference the godcc s ho uld
add to the edge w here it will be
inserted to achieve the dcsircc.l
noat. Iso late that amo unt b)
connecting the ci i'C'umf.:rc:nce 1o
the compass point with two
straight lines. establishing the
wid th
the godct at the lo wer
or
' '
edge (note that after hemming

the width will mea~ure .son,ewhat less). \ dd a scam allow
ancc to the strJight sides of the
circular segment ({c) and (d ) in
Fig. 5- I ). The pattern as ready to
cut out and use.
Fig. 51. (a) Stashllne, or (b) seam opening. into which {c) this segment of a cir
cle, /he godet. \VIII fit. (d) Godet pattern with stitching line, godet point, and
straightgraln markings.
Chapter 5
MAKING GODETS
91
Fig. 5 2.
(a) One side of
s godet pinned
into sn opened
seam (b) and
stitched.
(c) The inserted
godet with
seam
allowances
pressed.
3. Cut out the godet from fabric

following tltc perimeter of the
pattern or tiS meed oudine. The
crmer axis of a godet IS always
matched to the stmightgrain of
the fnhr1c. On the godct's wrong
side, mark the point wltcrc the
side ~cam lines meet at the tip.
for InseT! io n into a slash, mark
Lhc side sc.amlines as well.
4. Insert th~:godet:
Into n seam opened to godct
lcngtlt. With riglu sides

together and edges matching.
pin rn>Lch the last stitch of
1hc :,.cam abo\e: the opening

to the point of the godet. "nd
pin one side of the godct to
one side of the opening. Sew
from the point of the god<tto
the lower edge, backstitching
at the poin t. .-\nach the other
side of the godet to the other
side of the opening. When
Onishccl , the break between
the godct scam and 1he scam
above >ho uld be imperceptible
((a) and (b) in Fig. 5-2}.
l mo a godct-lcngth slash.
a. !!(fore slashing the fabric.

mdocate seamlines that
angle from the lower edge
tO the godct> point o n each
<ide of the slashlinc. Hand
b:tstc a 2" (Scm} o r 3"
( 7.5cnl) Stlu;.tre of o rganza
o r lining material to the
fron t of 1ht: fa btic behind
the top of the s lash line.
Swn ing at Lite oonom of
I he squaoe. machine stitch
up to Lhe: point on one
side: pivot on the needle:
tak~ a horizomal slitch
ncl'IXS the pomt: povot and
sew down the other sule to
the bonom of the square.
Stitch nght beside the
scam line with very small
stilehcs ((a) and (h} in
Fig. 53).
h. Slash up to the horizontal

stitch at the point. Rcmo,e
the b.1stlng. pull the reinforcing square to the back:
press the seam allowances
toward the S<]uarc. Treat
the rein forcement as an
extension of the se-am
allowance. With right sides
together, pin mmch the
hoizonial stitch at the
point of the odnforclng
scam 10 1he goclct's point.
Marching scam lines, pin
and ba;te one side of the
godet tO one ;ode of the
opening. ptn and baste the
other side of the godet 10
the opcnmg. Machine
stitch and rcrnov~: the bast
mg ((c) and (d) in fig. 5-3).
5. Press the godct'> >C:Im allowance

toward the fabric at the top of
the godet. About l" {2.5cm} to
2" {5crn) below the point, cl ip
and pre.'i.< 1he sc~m allowances
open {(c) ond (e) in l'ig. 53).
6. Hem the noating edge of the

godet and the fabric on the sides.
82
Tho Art o f Manipulating Fabric
GODET
NOTES
~-
--,
Fig. 5-3.
1,
- __
I
1-...J-1'--
(c)
(b)
(a)
(a) Reinforcing
square basted, and
{b) opening machinestitched (c) before
Slashing and puHing
the square to the
back. (d) Pinning
and basting the
seamline beside the
slash to tile godet
seamline on one
side. (e) The inserted
godet with seam
allowances pressed.
&
VARCATIONS
Ahhough triangular goders arc

ttSual, godcts as wide as a half circle
and as large ns a full circle are feasible when exceptional!,- lush. luxurious folds arc the desired rcsuh. A
wide godet of fabric with sufficient
bod,- to stand out and awa)' from
the insertion fnbric will rise ar the
noating edge as it projects unless
the lower edge ls elongated when
the godet ls designed ( Fig. 5--t).
If the godct is w ide and long.
hung the upplication for 24 hours
before hemming t O !lllow t he bias or
the fabric to scule. If the fabric is
soft and loosely woven, the godet is
li3blc to ;.:ag from it!> scams unless
allowed to stretch out before insertion. Hang the godet from its point
for 2~ hours before sewing into the
scam or slash. In either case, hem
after trimming the overextended
fabric cvcnl) 01 the edge.
When planning a hem trcaoncm
for goilcts. <onsidcr the degree or
curve at the Ooa1ing edge o f the
godet, the chnrncteristics or the illbric, and the effect o f an edge fmisb
on the sweep of the Ooat. "Edge
{d)
Finishing for Ruffies o n page 43

describes possibilities: For largescale gndeL~. ndd to those choices a
deeper. single-fold Oat hem, eased
around the curve, perhaps with a
suiw;blc >tiffening laid inside the
fold.
(e)
Fig. 5-4. Halfcircle godet of

stiff fabric falls
into folds that
(a) lilt at the
lower edge as
/hey pile up
unless (b) the
circumference
of the godet
pattem is
gradually
elongated to
compensate.
(a)
(b)
The lomodlwcl!ief edge is peculiar Lo godets. h stan.s as a square.

usually of light, delicate fabric. One
corner o f the square becomes the
point o r the godet; each side or the
square equals the length o r the
godcr. For two sides o f the square,
select an edge llnlsh that favors a
soft, Ouid Ooat (fig. 5-5). After
inkrtion, the un:ntached comer of
the square dips to a Ooating point
in the center.
Chapter S
MAKING GODETS
83
A moch godct cotwcns an inscum

godet insertion into a onc-sc~m
..
,'
'
I I
' 't
o
o
\I
'
I
I
I
I
I
I
I
I
I
I
I
I
'
'
'-'(b)
(a)
l n~enion
in :'1 s lnc;h is
ric, trrtding LW() side ~c.nm:> for om:

centered seam th:u continu~ from
the seam abcl\'e (Fig. 59 ). Although
a mock godct stre~mllncs cutting
and sewing procedures. it has a
dls.~dvamagc: 8oth sides of a mock
gooet fall on the bias of the fabrtc .
which mar begin lo s.1g rom the
firmer stitching in tltc .c.m1.
I 0
"I '0
Fig. 55. Square godet creates 8

IJandkerchief edge. Tile 1/oetlng cor
ner and sides of the godet can be
adjusted for fongth .
tOtlSU'tttliOtl. ln;,tcatl of cutting :1

separate godet, one-h:~lf the intended
godet is CLllinwone with Uw side fttb
Fig. 56. To relieve lhe squeeze at

the point of a slash, (a) move lhe
seamfines farther away from the
slashline at the lower edge, or
(b) locate the seamlines beside a
Vshaped cutour.
''
''
mon.~
'' '
',
''
''
''
',
troublesome: rhnn goclct insert ion in
a seam. Even wit h a J'dnf!H'dng

square. lh(' minbcuh: ~cum
allowance nl Jhc lOp of th $lash
makes ntm ill<cnlon trick)'. Tilling
the seamli ncs further "way from the
slashline helps. Cuuing a vccy n.tr
row V-shaptd sl.csh permits mnn
ageable sc:m allow:u>ces around rhe
point, but pltttC> both >I:L>h und
godet seamlines on dlfferenr ~l anes
of the bias. That mar cal5c strcrch
problems. a consideration before
selectmg rlns option (rig. 56).
\\"rderung the slash to J narro".
an:bcd cutolll and roundmg the
.-.~
;
''
''
''
''
,....
.' ..
. '
'
''
Fig. 5 9. A "cut 2' mock godct pallom

has one seam down the middle. A
circle ( ) Indicates the point wllere a
true godot would have pcakod.
'
''
''
''
''
Fig. 57. The seam allowanc6 around

the cuNe of an arched cutout will
need close clipping to accommodale
godet insertion. The rounded lip of
lhe godet matches the arch of the
op611ing.
pomt of rhc godct equnh:c> the

seam allowances at the top. but also
eliminates t11c vJnhhlng JlOlnl that
IS a
distinctive fe:uurc of the trian
gular godet ( fig. 57).

Fig. 58. A stay slilched
to the seam allowances:
(a) Holds the top of an
mseam opening closed.
(b) Restricts the opening
at t11e lop of an inslash
godot.
Rcstricunggcxlct openings at the

tip with a stay in back forces godet
fullness forw:trd :tnd prevents soft,
slippery, godct fab1ic from <lidlng
behind the insertion sean" (Fig. 58).
84
The Art
or
Manipulating Fab r ic
GO DET
"'''m;
V-Z. fight slim JIO<Ie<S on,ortcd ltlta e.gh<

sr<Jpe o t.bu'ar
mus!n cons~ruct.oo ""'' ~ !lore ,..,.,., !he JI0(1ers 5tclll-
... "' "'""' ROIJCIS TWo ;hM1, lfiOflgu.'a RodelS [lank a tall. hal{
~ode '
thor prOjem. 1ro1ni:ke, (rom 11s msc.-oon seams.
GODETS
\1. J ( OLtt musl:n godetS 1/lSertcd Jn(O S(CJShes.
Chapter 5
MAKING GODETS
85
V 4-fNO godeu set onto s!os~es

Slepped on l""grh.Airhough each
RO<i<>t rs OJt (n>m the some
5~ sect/On o( a c.'tle.
I'Jetn ~TeaSe OS
!he go<ku ~ on length
GODETS
VS-Quor.cr-otde godet
wnh 0 I1XJtJded Ill> "'se<ted
""" o wndo< ll'thed cutout
86
Th,e Art of Manipulating Fab ric
Systematic
Folding
Ieats are measured folds

rormed at the edge of a piece
of fabric where they are secured

with stitching. Beyond the stitching, pleats become loose folds that
continue the arrangement set at

the edge.
At the edge, pleat folds are
either levelled or manipulated to
project. The folds are released in
sharply creased order, or they
continue unpressed and modify
into softly spreading rolls. After
reducing fabric measurement at
the source, the full extent of the
pleated fabric becomes accessible
where the folds are unconfined,
all the way to an opposite edge
that floats or another edge where
the folds are again secured with
stitching.
PL EAT I
6 Pleating
PLEAT BASICS ............................89
Pressing Pleats ................... ... 89
I lemming Flat ami Panial
Pleats ............... ...................90
FLAT PLEATS
Knife Pleats Box Pleats
hwcned Pleats ............ ..........91
Procedures ..................... .. .....!1 1
\lotcs &: Vari3tions ................93
Kih plents .......... .......... ......93
Pleat topstitching ........... ... 9~
Doubled or tripled
pleating ..........................94
Underlays .. ........................94
Perfect Plc:uer ....................94
PARTIAL PLEATS
l!xlcnsion l'leal!i
Set-In Plc:tts .......................... 98
Procedures ............................98
N01es &: Variation$ ................99
PROJECTING PLEATS
Doubled Box Pleats
Single Box Pleats
t hree-Fo ld ~nd Four-Fold
Pinch (French) Pleats
Rollback Pinch Pleats
Pipe Organ Pleats
Rollback C:mridgc Plea1s
Cartridge Pleats ................ .... I03
Procedures for box, pinch.
pipe orgun, and rollback
carrridgc pleats .. ............ ..... . 103
I\mes &: VariatiOil> .............. 106
ACCORDION PLEATS
ll;lnd-formed Accordio n
Pleats
Mini-Accordion Pleating ...... Ill
l'roccdurc;; for hand
fo m>ed accordion pleats .. I II
Notes &: Variations .. .......... .. ll2
Procedures fo r miniaccordion pleati ng .......... .. ll 2
Notes &: Variations ........... ... 113
WRINKLED PLEATING
Droomstlck Pleating
Contortion Pleating ............ 115
Procedures .... .......... ... ....... ..115
Notes &: Variatio ns .......... .... 116
DOUBLE-CONTROLLED
PLEATS .... ............ ..... ... ....... ... 118
l'toccdures ........... ............... 118

Notes &: Variations .............. 118
Crossed pleats ................ .. 11 S
Fixed plcats ........ .............. ll 8
Needlefonned pleating .. 118
Solid mini-accordion
pleating .. .. .................... 118
PRESSING PLEATS
t o ne time or rmother d uring
the formation of pleated fabric. the iron becomes an

essential tooL Somet imes heat,
steam~ and pn:ssurc arc as much n
pan of pleat preparation as needle

and thread. At other times, steam
ing finishes the job. preserv;ng a
careful arrangement of rolling folds.
There~ mo re 10 pressing the folds
of O:tt and partial pleats into sharp,
lasting creases than proper setting of
the controls on an iron. After basting
tht: pleat arrangement , :t gentle

pressing with S<eam makes the pre
liminatvcrcases. For the final , hard
pressing, a bmad surface is more
efficient for large applic:ttio ns than
the narrow surface of a regular tron
ing board . Prepare a toble top with
p:tdding- laycrs of blanket or towels
co,cred with sheeting. underlined
''1th aluminum foil. If using a rcgu
lar ironing bnard , bacl< it u p agains t
a table or chair to suppon o\erhanging fabric.
To prevent irnprinclng. remove

all pins and basting threads from
the first group of pleats to be
Goblet pleats ........ ..... .. ..... 106

Procedures for cartridge
pleats ................ ................ I06
Notes&: Vnriations .............. 107
Soflc:trtridge plrnts.......... l 07
Continuous cartridge
pleats ................ ..... ....... 107
llumcl cartridge pleats .. .. 107
PLEAT BASICS

located tllldcrneath the relevanl
columns.
pressed. Arrange these pleats o n the

pressing sw-face, smoo thing,
strnightemng. and aligning into the
correct posil ion . To prevent the
otHer folds fro m leaving an im pres
sion on the fabric beneath, place a
smp of brown Jlapcr, CUI slighter
\\1dcr than plem depth and ltmgcr
thnn ple!ltlcngth, inside the under
fold ol each pleat to be pressed.
PLEAT BASICS
89
f f _[ I r--Ff
.I
Knife
Flat Pleats
Box
I (t
I
Inverted
------
Single Box
--
1--
\ 17
\ 17
Doubled Box
Three-Fold Pinch
'f
Four-Fold Pinch
Projecting
Pleats
Rollback Pinch
v-wr
IF
'
~~
Plpo Organ
~ (\@ ~
Rollback
Cartridge
Cartridge
"1
- !
~;;-.j '
Accordion Pleats
Broomstick Pleats
Fig. 61. Pleat profiles.

Im merse a press clod1 in W:\tCJ',
wring it out, and spread the damp

cloth over the pleats. Press with ~
hot iron until tl!c doth is dl): holdmg the tron fmnly m place 10 send
steam down through the folds
underneath. Dont slide the iron;
pick il up and re-position. Remove
90
T he Art of Manipul atlns Fabric
the dry cioLh but let tht r:1brit COOl

and dry thoroughly bdotc moving
on to the next group of pleats.
Tailors use a clapper. a narrow,
smooth hardwood block about 12"
(30.5cm} long, to pound the folds
of the steamy-warm ple~ts until
they cool. When all the pleats ha\'c
PL~AT
BASICS
been pressure-and-steam-creased,
rum the fabric to the other side and
repeat the process.
for extra setting power. dip the
press cloth into a solution of one
part whhc v;ncgar lo nine parts
water. Usc two press cloths, one
under the pleat.' and one on mp.
To complete an application of
unpru5ed pleats. tug the folds into
an equalized arrangement while
hanging. or arrange the folds while
pinning the edges to a padded
board, <lab pinning imertor folds, if
neetSSM)'. Sctde the arrangement by
steaming with an iron or steamer
moved slowly above the surface of
1he fabric. f\ llow to cool and dry
before moving.
H E,.,IMING FLA.T
&
PARTIAL P LEATS
When pleating lengthy fabric,
the scams that join two pieces of
fabric :ore always s ituated unobmt
sivel)\ Unks> the application and
plem ing arrangcmem make it
unavoidable. never locate joining
scam~ on an outer fold. When
forming n:u pleats. place joining
scams on mncr folds. or centered
behind an lmerted pleat.
Scams on the mner folds of Oat

and partial pleats present problems
when hemming. there are two
option< when dealing with the scam
:lllow:lllCcS: ( I ) Press the inner-fold
scam allowance open and fiat rrom
the lower edge 10 the depth of the
hem. lum up the hem and stitch .
dip the scam allowance at the top
of the hem to free it from confine
ment, re-fold the pleat, and steam
press the hemmed pleat fold.
(2} II em each piece of [abric first.
then sew 1he pieces together,
matchi11g the hem folds exactly.
Form the plc<lts with the joining
scam aligned to an inner fold. Trim
the seam allowances diagonally
across the hem folds. 0\'Cr<':lSt the
cut edges of the ;erun allowances to
the depth of the hem ( Rg. 61).
(o)
FLAT PLEATS
(a) -
- - . . . L_
'
:
rl
-parallel folds lifted from the sur

face of the fabric and laid down
smoothly to me Sid~. The folds,
arnnged in a systematic fashion, are
secured wim stitching at me top and
released below:
j Placemon1
- . . L_ _ _ _ _:::::""{,..._Lino
._outer
Fold
'-4- Pleat Depth

(b)
KNIFE (SIDE) PLEATS
-adjacent underfolds turned in the

same direction.
BOX PLEATS
- adj>cent underfolds of equal depth

turned In opposite d irections.
INVERTED PLEATS
(b)
- adjacent underfolds of equal depm
turned to meet in the center.

(Refer to "Pleat Profiles" on page 90.)
PROCEDURES
1. Set a target measurement for the
fabric to match after it is pleated.
(c)
2. Plan an arrangcmen1 of Oat
Rg. 62. To hem pleated fabric with
pleats that will fit wit hin the tar-
seams located on inner folds:

(a) Pross the seam allowances open,
hem, and (b) clip above the hem.
(c) Hem the fabric. After sewing the
hemmed sections together, overcast
the angletrlmmed seam allowances.
get measurement Usc a strip of

paper as long as the target measurement to indicare tht position
To cope with t he fo ld s o f
edge>tit checl pleacs when hemming
the floatm!\ edge: (1) llcm the fab
ric fma. then edgcstitch the pleats.
(2) Stop edgestildting at least I"
( 2.5cm) above the upper lc\CI o f
the finbhecl hem. Hem the plents.
f inish the cdgcsti tching. beginning
\Vith the needle in the last of the
pr<>'ious cdgestitchcs. Leave about
3" (7 .Smm) of thread at the lo"u
edge o f the hem and uc the bobbin
and ne-edle threads together 10
secure t he stitching. Insert hoth
threau end> into a needle; at the
final stitch, p ush the needle inside
the hem fold and bring it nut halfits-length awar before cuuing the
threads.
Folu and !(team press 1he lw nmed
pleat edge. allowing the fabric to cool
and dry before ruo,ing.
fqd of PLEAT BASICS
Fig. 63. (a) Anatomy of a flat pleat.

(b) Types of flat pleats. Arrangements
may consist of one type of pleat or a
combination, and the space between
pleats and ptest depths may vary.
a. Establish a depth. the meas urement between outer fold

and inner fold. for each fold
indicated on the plan.
'1. Using <mother strip of paper ns

long as 1he plcntcd fabric require
ment, or a gnophpaper reduction,
make a pleaung pattern with
measured undufold spaces sepa
rated by perpendicular lines. On
consctlll ivc Unes. indk~ne a n
o uter fold for every pleat fold
marked on the original plan, next
to an inner fold nd a plcemem
line for each pleat. Arrows con
nccting omer folds to placement
lines. indicnting directio n, will
prevent coruusion. Also note
"right side" on the pattern.
b. The mathematics:
5. Add 1hc desired length. includ
of each outer fold. or plot on a

graph-paper reductio n. Specif)'
the t)'pe of 'Oat pleat each fo ld
pos ition reprcsct11S ( Fig. 6-3).
3. Calculate the amount of fab ric
required fo r the ucsired number
of pleats:
ing a hem allowance.
10
the
2 x pteat depth
one pleal undetlold
pleated fabric requirement and

cut t he fabric.
one pleat undctlold

x number ot ptaats
IOQl pteaiiUidorlolcls
6. Decide how the pleats will appear:

With folds unpressed and
soft!)' rolled
With folds pressed and
sharply creased .
total pleat undertoldS

+ target measurement
Pleated Fabric Aequltemenl
Wit h outer nnd!or inner folds

edgestitchcd to ho ld a sharp
crease pcrmanendr ((a) in
fig. 6-i).
Chapter 6
PLEATING
;;;-~
pleats marked and formed on

the wrong skk of the fabric
open in the opposite d irection
on the Tigh t side of tl>e fabric.) f o r inverted pleats,
baste the o uter fold lines on
adjacent pleats wgcther: center the shared placement line
;'
i
i
(b)
(a)
(c)
over rhe basted seam and pin

the undcrfolds. To lowcnhc
release point of any pleat
invisibly~ machine stitch over
the basting from the top to
the designated release point
bclow (fig. 6-6).
When working from the front
of the fabric, fold each pleat
o n its o uter fold line and
bring tl1c folded edge to 1he
placeme.m line; pin, and then
baste through all three layers
of each pleat. lf the fo lds arc
to be edgcstitchccl, distance
the basting seams fro m the
outer fo lds (Fig. 6 -7).
Fig. 6-4. (a) Two box pleats with outer and inner folds edges/itched.
(b) Inverted pleat with release point lowered visibly with edgestilching.
(c) Knife pleats with release points lowered invisibly.
With 11 lowered release point:

Pleats stitched from the wp of
the fab ric down for a specified
distance, either visibly by
cdgcstitching next to th.e [old
through all la)crs, o r invisibly
by sewing fold and placemem
lines together in back ((b)
and (c) in fig. 6-4).
8. Ft>rm the pleats :

When working from the back
of the fabric on a knife or box
pleat arrangem ent, lJaste each
outer fold line to its place-
ment line, sewing through

two layers of fabric. 1\.ITn the
under[old to the appropriate
side and pin. (Note that knife
A combination of the above.
7. Mark 1hc back of the fabric with

pleating lines, reversing the pattern. The exception: Mark pleats
to be edges!itched o n the right
side of the fab ric. Using a long
straig htedge, indicate an o uter
fold and a placement position for
each pleat (the inner fo ld is automatic). Begin with scissor-nip
markings inside the seam
1
I
I
J
I
I
allm\--ances across the top and bot-
tom edges of the fabric. Connect

the n ips d irectly opposite with
lines, following the sn:aiglugrain
of woven fabric. Differentiate
between fold and placement lines
with tlte markings:
(a)
.___.,.I
I
I
Broken and unbroken lines of

a C.'lbric ..safe marker such as
chalk, disappearing pen, or
soap s liver ((a) in Fig. 6-5).
Basting seams using two co l

ors of tluead.
Basting seams using different

stitch lengths ((b) in F ig. 6-5).
Pin-marked lines, changing
the head color of the pins.
92
(b)
~.,:._-
I
I
I
I
I
I
.....__..
I
I
I
I
I
I
.__:.,o-f-
Fig. 6-5. Removable pleat markings: (a) For knife pleats- unbroken chalk lines
lor outer folds, broken lines lor placement lines. (b) For inverted pleats- long
basting stitches for fold lines, short stitches lor shared placement lines.
The Arc C?f M anipu lating Fabric
FLAT PL EAT S
1, 1,T, I
II
I'
II
I,
It
I
I
II ll
I, I
I
1! I
I II I
II
II II
l,
I,
II
I lI l ;_11
(a)
I..___.
..
d,
tI l
I
I
I
I
Jl ,
Il
l II
I I
ArmngemcniS of Oat pleaiS fcarttre 1he repetitive, ordetl) organization of parallel folds 1bat open
when dis wrbcd. Variatio ns in plea!
depth, in the spadng between
pleats, and in the combining of
knife, box, and inverted pleats are
(b)
I
I
1
= I
tI
t Il
NOTES & VARIATIONS
't\
I. J
I I
r-
I
I
the design components of flat-pleat
I
I
(c)
Fig. 6-6. Forming pleats on the back of the fabric: (a) Knife pleats with fold and
pla cement lines basted together. (b) lnverled pleat centered and pinned after
(c) bas ling the fold lines together and lowering lhe release poinl wilh machine
stitching.
I
I
I
I
I
'
'
i i
I I I
I I I
I
I
I I
I
I I
I I
-'
_I,
'
"
i i
I I
I I
I I
I I
I I
I I
_c
~:
Release
Lightly stc>am press all folds

that will be creased.
9. If desired. choose. one of !he fo llowing to edgcstitch the pleat
folds:
.
'''
Starting at the Lop, cdgcsti.tch

through two layers ne><.t to the
omer fold, the inner fold, or
both. ( Refer to "Hcnuning
Flat and Partial Pleats" o n
page 90.)
For pleats with edgcstitched
folds and release poims also
lo\-v.,;-.rc<l wiLh edge'sLftching:
(l) Edgcstitch each pleat fold,
starting at the release point.
(2 ) Edgcstitch fro m I he lop
10 .1he lowered r elease point

th rough all 1hree layers, encling With !he needle fn Ihe [irs!
of the previous cdgesLitches
(Fig. 6 -8) .
Edgestitch ing
side, push a ruler under the fold on

top ( the outer fold) . When it is
stopped by the fold hidden underneath (the inner fold), note lhc mea-
surement on the ruler at the omer

fokl. That's pleat depth. Pkat.dcpth,
doubled, is the underfo lcl. The spacing between pleats refers to the distance between two pleat folds on top.
Fig. 6-8. lnverled pleat edgeslltched

!lt6 (1.5mm) from the folds through
three layers to lower the release
point, and through two layers to
crease the pleat folds permanently.
Pleat knninology in action may
be easier 10 remember than pleat lerminology from a diagram. From the
Point
'-
Fig. 6-7. Pleats formed on the righi

side of the fabric with basting holding
all/ayers together.
y::. . . . . .
arrangements.
Gronpings of knife pleaiS may
be turned ln opposite directions.
Sometimes at11hori1ics define knife
pleats as pleats lis'' (!.Scm) deep
facing in the same direction. and
pleaiS with a depth greater than
W' (1 .5cm) as side pleaK Kilt
ple<1ts arc deep k nife pleats with
undcrfolds that o verlap .
Edgeslitch from the top to il>c

designated release points o nly.
10. Sew the pleats down across the

top inside. t.he seam.allowance.
.II. For <tll bttt unpressed plc1us,

s1e.am press the folds into .sharp
creases (refer 10 r ressing Flat
and Partial Pltats' on page 89) .
When pleating, work o n a surface tl1at allows large sections of 1he

fabric to be spread out from Lop to
lower edge. Use a g ridded cutting
board to hold the fabric straight

and assist when marking the pleat
lines. Where lengths of fab ric arc
joined, place the. seam at the inner
fold of a pleat unless the joining
seam can be located on the placement line behind an inverted plea!.
Topstitching that crosses an
arrangement of pleat folds controls
12. Hanel or machine. sew a singlefold Oat hem into the Ooating
edge (refer to "Hemming Flat
and Parlial Plea1s" o n page 90).
Press again. Bind the top edge of
the pleated fabric, or scam it LO
an extension (refer to "Stabilizing
Gathered Stitching" on page 6
for applicable directions) .
Chapter 6
PLEATING
93
pleat rclc:tSc in an unusually decorative fu.lliou. Pleat ropstilclting

pauem~ the area above the released
ple3l5 ,.;th a hnear dL-sign that
combines \'crticnl rows of folds "~th
horizomal rows of plain or fancy
tops111chmg (Ftg. 6-9). To pre,em
gapping, baste a stay underneath
the pleating before topstitching.
After topsthching. trim rhe stay
where the topstltchlng s tops.
. /. ,.. -, ........
.. ... . -- -- ... .
, . '\ _, .. /,. ... ,/ ', ,'
~
' '
.... / ', , ' '\ / .., ,' .. , ,,:

,,.., , , ,.....,,. ...,, .. ,/ r--,l./
.....
. , / ', .., , ' ...... , / , ' ...
graduat ing their size with the smallest on top (Fig. 6-10). Doubled or
tripled pleating adds the bulk of
man)' fabric larers to the top edge.
Uncltr1a)$ allow change in the

fabric vi!tble at the back of inverted
pleal5 or tn between two box pleats.
An umlcrl:ty 1> :1> wide as the space
between two adjacent inner folds.
Inserted into the fabric of the pleat
inl',, an underlay replaces the back
of the underfolds removed between
the Inner folds ( Fig. 6-11) .
,, ' ,
.
....
.
"
....
' '
.... ,' .., .... , ', ... ,' ..... _,,. ...
'-.., ,/
,'
,'
,'
/'
'
..:
.. ,, ' ,/' .... ,.' .., ,' .., .. .... .

. , /" , .... / !'-.. / .., ..i\-.. / ..
,
:
!
I'
.:i'
.
... .
.:
'
.:.
!
;
'
:'
:
'
.
!
ir-l
.'
'
:'
.'
..:
.
0
l0
~~
Fig. 69. Diagonal topstitching that

towers release points and becomes a
design element In combination with
the folds of the pleats.
Fig. 611. Two inverted pleats with

underlays replacing the back of the
underfolds.
Doubled or tripled pleating produces extravagant folded full ness at

the Ooatmg edge. To double or
tnple a pleat. stack the undcrfolds,
matchtng the layers m depth or
T he Pcofcc/ Plcater is a simple

but ingenious device that sets shallow pleats into a length of fabric
without prior marking and basting.
The fabric, pushed do" n lmo the
Fig. 61 0. Box pleats with the two

side plsats doubled, the center
tripled. and pleat depths staggered.
91
FLAT PLEATS
spaces behind 11 .uccession of clothcovered louvers. cmcrgcs knife or

box ple3ted when steam pressed
while in the plcatcr. Skipping lou,ers-pu~hing the fabnc mto the
slot behtnd C\'l!r)' second, third. or
founh lou,er- varics tl1e spacing
between the pleats Although the
pk'<ltcrs will form continuous plea!S
in fnblic o f any length. the
II" (28cm), 22" (56cm) , or 27"
(68.5tm) width of a pienter limits
the wid th of the fablic it can convcnicmly pleat, and 1he pleaters restrict
pleat depth tow (!em) or lilo"
(3.5cm). \VIthin those hounclarie.s,
the Perfect PIcater is an easy-to-usc
and time-sa,1ng tool (Fig. 6-12).
Fig. 6-12. A Perfect Pteater for knife

pleats.
Yl2-f'res;ed knife ploars. duswcd rn grovps of U!reo.
FLAT PLEATS
'1/.J - Pre<sc<l knife plecrs wi!hlowered ~eleose po.nrs ihor

d!reCIIOn on e:rher side of o cerurof box plem.
'"'I"""
Vf.4-f our box pleors edgesrrched olong !he outer folds.
Chaptor 6
PLEATING
95
VI-5- Doobte-fold box pleats wilh iJ1<J bock pteo!$

e<Jgesdtched end lhe ti'om pteots vnptCSsed.
FLAT PLEATS
Vl-7- lnverted pleors

swd<ed throe deep
wr111oil [otds matchir.g
a,{d t.mpressed.
96
T he Art of M an ip ulacing Fa bric
Vl~rnree 1nverted pleats WliiliMiercli release

'XIinls and mnet and ovter (Clds edgcsritdled
'/1.8----Kn(i: p/rol5 w>tlt ~
~""" """'" de{<w!d by 101>-
tJ>c
fOlds trom Side !0 Side "' 0
JOgged. ''"'gular tnannct
su.d-.ec SCGmS that
FLAT PLEATS
Y!-9 K:>(e p/eols (atmed

on o Perfect Pteot!<
Chaptor 6
PLEAT ING
97
(I) Pleat depth. (2) Spce

between pleats (pleat depth plus
an add itional amount for extra
spread, if desired). (3) Length of
a pleat from the top 10 the lower
edge. ("I) length of a pleat from
the 101> to the release poinL
PARTIAL PLEATS
- flat pleatS that open below the
top of the fabric with underfold layering removed above the release
points.There are cwo kinds of partial
pleats:
Inverted extension pleats:

Add a Sond pa11em for an underlay that duplicates the underfold
extension; at the sides of adjoining
pleat sections ((b) in Fig. 6-13).
EXTENSION PLEATS
-knife or box pleats formed by

sewing specially designed pleat sections together; inverted pleats
formed by sewing underlays between
specially designed pleat sections.
Above the release points, pleat folds
Set-in 11leats:
(I) Draft a pa11ern for the shape
10 be cut out rom the fabric.
( 2) f'o ld a length o[ paper,
slightly lo nger and much wider
than the cuto ut shape, into an
arrangement of knife. box, or
invened ple:~ts. (3) Posiuon the
cu to u t over the folded pleats;
nace and cut on the outline.
Open and pencil folding guidelines on the pleat insen panem
(Fig. 6-1-1). A'oid locJtmg pleat
underfolds too d ose to the sides
of the c ut<llll when trueing its
shape on the folded pleats.
continue as seams.
SET-IN PLEATS
._.nseru or knife, box, or invert

ed pleats stitched inside a segment
remo ved from the lower portio n of
the fabric.
PROCEDURES
I . Draft pattt'rns for the pleat sections:
Knife or box extension pleats:
Establish the following measurements to use when dcvcJoping
the paucrn for one pleat section

((a) m Fig. 6-13):
Rolease
Point
Poin t
Speco
Between
Pleat
Depth
Pleats
""
Longth
Of
Pleat
Pleat
Depth
Pleat Pleat
Dtpth Depth
Pleat Soc tlon

(o)
Underlay
(b)
Frg. 6-13. {a) Pattern lor a partial-pleat section. The side extensions are knifeor box-pleat underfotds. (b) Pattern lor an inverted pleat underlay that duplicates a side extension, doubled. Add seam allowances ro final patterns.
98
' - - -..J
Cutout
(b)
:Pleat!
Pleat
=-
: I f- j
I
Pleat ! .Pleat;
~:1._f
I
Pleat Insertion
2. Cut and sew the pleats:

Knife or box extension pleats:
many pleat ~cd.ons as
( 1) Cut as
required, cuuing around the out-
Release
Frg. 6-14.
(a) Cutout ro
be filled with a
pleated insorlion. (b) Pattern
lor/he pleated
insertion, cut
from folded
paper, thai will
be set Into the
cutout. Add
seam allowances to final
patterns.
(a)
The Ar t of M an ipulating Fabric
PART IA L PLEATS
line of the p;mem or foll0\\1ng a

tracing of the pattern. (2) With
right sides fncing, sew 1he pll"t
sc.ctions 1ogether. Open and
spread out. (3) Measure the depth
of each ple:~t to assure a match
when folding and tuming th<
pleats in 1he desired direction.
lla.<te each pleat through nil layers.
(4) After clipping scam allowances
to the release points, prt'SS the

scam ~dlownnces above the plcm
extensions open a nd Oat. Ughtly
press the pleat rolds (Fig. 6- 15).
"'"'......
,..., / '
3. Secure the loose underlayers of

extension pl~ts h)' topsritching
through all layers from the l'cle.'!Se
point to Lite edge of the undcrlar
er extensions (Fig. 6-18).
,.
Fig. 6-15.
Extension pleat
sections seamad
together, tumad
tofotma box
pleat on the left
and a knife pleat
on the right
!'
!
i
!
! .
..
Inverted cxten-.;lon pleats:

\1) Cut as many pleat SCl'tions
and underlays as needed, cutun~ around the outlines of the
p.lltcrns or followingtrneings
of the pa11crns. (2) With right
s1de.s facing. sew lwo plc:u sec
Lions tog"thcr f1om the IO[> 10
the rclc;~sc pumt. (3) Sthch an
tl nderlay between the two
adjommg plc:u ex1cn~to ns,
~cwlug cac.:h side from 1hc
release point to the lower edge.
(4) Press the scam nllow;tnccs
above the rdeae point open
nd
Ccmcr the underlay
beneath the converging pleat
folds, ha.<te , and prC>> lightlr
(fig. 6-16).
n.,t.
Set-in pleats:
(I) With a fabric-safe marker,
trace t.he scamlinc (the outline

of the cutout) omo the right side
o f lht fitbrk. Cut out a seam~
nllownncc-distance inside the

s.::unline. Clip the scam allowance,
Lurn iL to the back on the se.amllnc. and baste. (2) Cut out the
pleat insert following an outline
traced on the f;~bric. Mark the fold
and placement lines. Fold, baste,
and lightly press the pleats.
(3) Pin and bas te the pleatecl
insertion behind the prepared
opening. Edgcstitch next to the
fold around the opening
(Fig. 6- 17).
/
..
..~
!
;
''
!
i
!
Fig. 6-16. Underlay seemad between
two adjoining pleat extensions with
Inver/ad pleat folds centered In front.
Fig. 6 t 7. Knife-pleated insert set

Into a cutout (see Fig. 6-14 for the
patterns).
Fig. 6-18. Extension pleats fin/shad

with tops/itching that secures the
angled pleat extensions underneath.
4. Steam press creases into the
pleats (refer to "Pressing Flat

and Pnrlial Plc.nts" on page 89).
5. H'md or machine sew a singlefold Oat hem Into the Oonting
edge. (For extension plea~~. refer
to "H emming Flat :mel l'anlnl
Pleats" on page 90.) Press again.
NOTES
& VARIATIONS
Unpressed folds are an option

for an application of set-in pleating.
Other options include cdgcstilching
the folds before insertion, layering
the pleats two or three deep for
additional fullness, and forming the
pleats on a Perfect Pleatcr (a;
described on page 94). The shaping
at the top of a cutout for set-in
pleats can be cuncd. stroight, or
pointed. and the cutout can be wide
enough for one pleat or a succession of plc.ts.
A sta)' t.hm secures the loose tops
of extcostons and undcrln)'S invisi
bl)\ replaces the topstitched stabilizing which IS nsible In front. To J>fC
pare for stabilizing with a SHly. draft
pan ems with undcrfold extensions
that are straight instead ,,f :tnglcd at
the top.
Chapter 6
PLEATING
99
---...- - ..-- - -
Fig. 6 19. Extension pleats stabilized with a stay. hand stitched to

the underlayer extensions. To prevenl stitches from showing In
front, move bei\Veen extensions with running stitches in the stay.
r rom Jining material, cut a smy that

will cover the joined pleat sec lions
from side to side and top to release
points, plus scam allowances. Tum
and press the seam aHowance on one
long edge or the stay to the back.
Working with the extc.nsion-plcatcd
fab1i c wrong side up, b.'lSte 1he
unntn1ed ed~e of the stay to tht top
of the joined sections. Hand~ritch

the tnrnc.d lower edge of the stay to
the scam allowance.s at the top or
each pleat extension (Fig. 6-1 9).
Extension pleating is generally
crisply pressed because the seams in
the underfolds already function as if
creased.
PAR T IAL P L EATS
Vl-1 0-/:Jght pleat seaions 1otilf> exr,en.;~OilS

r/lat create seven kllife pleats. If the skies of
rile sampfe
we~
seamed rogether. anmher
plea; would be formed.
100
Tho Art of Man ipulating Fabric
..
'4
'J
f
:a.
t
l
"'
PART l A L PLEATS
..,_,,
The back of
me
i<ni{e p/MMg sample sh<>N

ng its tearned constructtOn.
'"-! 2- S.X pltot SectiOnS

combot>i ot>d (ol<kd ll!to
five nvertec/ extenson

pieau ~ With onder
lays A COOMUO<Js 10~
$0(C/Ied SI!Om $10b<I.>N!S
Chc !ops of rhe e<rcn"""s
Chapter 6
PLEATING
101
VI I 3-
Thc bock of (/1e
""e<ted pleat somple

show>ng (he ~tnderloy$
PART I AL P LEATS
.,
VI 1~The back o; dle ser-!fl pleat sample Pleat unrfold$ ""'
caughc ana> dle: cor.slltlction seam ooo/ at the toP
VI/ ~1\vo
I 02
""'""ed plem insetiS set mto curvcd-<op Clltouts.
T he A rt o f M>nlp u/o t l ng Fa bri c
PROJECTING
PLEATS
-folds lifted from the surface of the
'>bnc and struCtured at the top. or
"ad. onto rolled arrangements that
5Qnd out from the Iabrie itself.
Below the pleated. self-finished head.nz, the fabric falls in deep. regular,
rounded folds to the floating edge.
PROCEDURES FOR
PINCH, PIPE ORGAN,

AND R OLLBACK
C ARTRIDGE P LEATS
There are seven basic types of pro-
(Procedum for Cartridge Pleats

start on pag~ I 06.}
1. Decide which type of pleat is the
most appropriate for the project
Set n target measurement for the
pleated fa bric to match at the to p.
pectlng pleats:
2. Calculate the am ount of Jabric
DOUBLED BOX PLEATS
required for 1he pleating:
-pl..t allowances subdivided at the
a. Set n pleat allowance mea-
~d
into two tiers of outward fac-
"'1 folds.
SINGLE BOX PLEATS
-have a single pair of oucward fac"'8 folds.

THREE-FOL.D AND FOUR-FOLD
PINCH (FRENCH} PLEATS
-pleat allowances subdivided at the

head Into fanlike arrangements of
lhree o r four smaller pleats.
ROLLBACK PINCH PLEATS
- have an additional turn on the

outer pleats.
PIPE ORGAN PLEATS
-pleat allowances stuffed into cylinders at the head.

ROLLBACK CARTRIDGE PLEATS
-;>feat allowances subdivided at the

head into two smaller pleats covered
WJ!h a rolled box pleat.
CARTRIDGE PLEATS
-pleat allowances arched over and

seamed to a stay.
( Refer 10 "Pleat Profi les" on
page 90.)
Using n strip of fabric, pin

test to flnd the most approprinte spacing for the
pleats. Divide the target
rneasumncm by the s-pace
between pleats, adjusting
the flgure as needed to get
a round number fo r the
pleat.> tltat will fit \\~thin
the target measurement.
With projecting pl~ts, the
wldt.h of 1he space between
pleats as ind icated by a numbeo Is deceptive. In actuality,
the SlrUCIUI'Ccl pleat folds
Box,
surement for each pleat. As

Indicated by the indi\'idual
instructions th~t follow, pleat
allow.mcc requiremenlS '11ry
with the type of pleat, and are
lnOueneed by the nature of
the fabric, the scale of the
application, and prderence.
Larger pleat allowances pro
duce higher projections in the
pleats that structure the headIng. nnd release deeper, more
spacious folds into the f~bric
below. Using a s trip of fabric,
spread Olll into the space:

between pleat scams to a
greater or les~r degree, making the 'istble space between
pleat.> appear smaller than the
alloued measurement.
c. Estimate tltc fabric requirement:
pleat allowance
x number of pleats
total ple~ t allowance
target measurement
+ total pleatallowance
Esllmatod Fabric Requirement
pin test pleats consln Lc ted

front different measurements
before sening an amount for
the pleat allowance.
b. Establish a me-.tSuremem for
the space between two pleats.
and decide how many pleats
will be appropriate for the target me<~Surement, using either
of these methods:
d . Add the necessary length,

including mcasuremems for
the heading turnback and a

hem, to the ";dth of the
ple-dtcd fabric requirement.
Cut tltc fabric.
3. Prepare the heading and pleat
Plel< n number fo r tl1e

pleats 1he target measurement can be e.xpeered 10
accommodate. Divide the
target measurement by that
arbit mry figure to get the
space between pleats.
Chapter 6
allowances:
a. Make a doubled pleat hca,ling
by tut11inJl lhe top of the fabric to the back; press. The
pleat he:lcling sho uld he at
least hnlf-thc-ple:u-allowance
deep. If needed to brace the
StniClllrc of the particular
pleat. Stiffen the heading "~th
mtcrfacmg.
PLEATI NG
103
Pleal
Allowance
Pleal
Ploat
Allowance
Allowance
"'~\::::,::o~::r.~:f"" : ;:~;:::lee
(a)
Depth
Pleats
Pleats
Fig. 6-20. (a} Heading marked with

seamllnes at the sides of each pleat
allowance. (b) Seamlines stitched
together. Seems stop just above the
lower edge of the heading.
Primary Seam
Si ngle box pleat:

(I) For each pleat, nallen the
p)cat allowance. centering the
fold over 1he primal)' scam.

{2) Top>titch str.ught across the
base of the plc.tl where the primal)' ~eam ends, or tack the wtdtrfolds to the fabric behind ";th
invisible stitches (F~g. 6-22).
I
(b)
b. On the right side of the fabric,

dh'l<lc the heading across the
top uuo pleat allowances separnu:d by spaces between plea!S.
Mar~ing \\ith d153ppearing pen,
tack the pleat underfolds with

hand Stitching imisible on lOp
(Fig. 6-ll ).
Three-fold pinch pleat :

( I ) For each pleat. divide the
r., i
chalk, a sliver of soop, or pins.
measure rutd indk;ur the seam

lines on either side of each
pleat allowance with a line that
exte n d~ straight down from the
''
t Primary~
Saom
tO(> to n point slightly above the
(a)
lowc.r edge of the pleat heading
#i
Secondary
Seam
((u) In Fig. 6-20).
c. With t.h< right side outside.

fold. pin match. and sew the
seam lines on either side of
t!.ttch ple.1t allowance LogNhcr.

The...- primary scams establish
the folds that \\ill be struc(b)
lured mto proJecting pleats

((b) in Fig. 6-20).
Fig. 6-21. To form e doubled box

ptear: (a) S11tch the secondary seam.
(b) Re-fold the pleat allowance, centering seams. Topstitch across the
base of the pleating.
4. Structure the pleat allowan=:
Doubled box plcut:

( I ) r or eacl> pleat. subdivide
th e pleat nllowance into two
Fig. 6-22. Single box pleat.
folded pleat allowance into

thll'ds, rnnrkmg the third next to
;he fold with a row or pins that
parallel the fold. (2) Pushing the
pitt-seam down to the primary
scam, open 311d narc the pleat
allow:>ncc below the pin-seam
ouL to Lhc ~ides. making three
equ~l plents, two 0 11 either side
of the center pleat defined by the
pins. At tltc lOp edge. tack the
folded ammgemcnt to the primal)' seam. Finger crease the folds
of the three pleats before remo,ing the pins. (3 ) At the base.
secure the folding ";th machine
sTitching that crosses straight out
from the end the primary
scam to the m:ttchcd pleat folds,
or hnnd tack the folds together
( Fig. 6-23).
or
1>nns whh a secondary seam as

long as, unci parallel to. the primary plcal allowance seam.
Equalize the parts or make tl>c

part next to t.he fold smaller rhan
the part next to the seam.
(2) Collapse the pleat allowance,
centering the secondal) scam
over the pnmary scam. At the
top edge, tack the two scams
together. (3 ) Centering the loose
pk:11 allo" a nee. secure with topsutchang >tralght across all folds
where Lht primary seam ends, or
104
Tho Ar t of
Manl p ~ lati ng
l Primary l
; Seam I'"""
:
l )
Secondary
PlnSoam
(a)
(b)
(d)
Fig. 6-23. To form a three-fold pinch pleat: (a) Establish a pin-seam. (b) Re-fold
Into three pleats and remove the pins. (c) Topslitch across tho base of the
pleating, or (d) hand tack at the x position.
Fabric
PROJECTING PLEATS
Pipe organ pleat:

For each pleat, coovm th< pleat
allow:mce imo a cylinder by stuffing it v.oith polyester fiberfill, or
lnscn into the pleat allowance a
roll of crinoline or other Sl iffcning
as long as the heading. To swbi
lize. tack the cylinder. at the top
and base, 10 the fabnc behind it
for a shon distance on both sides
of the primary scam (Fig. 6-26).
Primary
Pleat
Fold
X
(a)
Second
Creases
(b)
(c)
(d)
Ftg. 624. To form 8 /our-fold pinch pleat: (a) Center and flatten the pleat fold.
Crease at the sides. (b) Turn the side cresses Inside to the primary seam,
making four pleats. (c) Topstitchacross 1/Je base of the pleating, or (d) hand
tack at the x position.
'
~ Primary
Seam
Fig. 626. Two pipe organ pleats.
I
I
Rollback cartridge pleat:
__..-I
Secondary
PinSeam
(a)
(I) For each pleat, finger crease
I
(b)
Fig. 6-25. To form a rollback pinch pleat: (8) Establish a pin-seam. (b) Re-fold
Into three unequal ploats, and remove the pins. (c) Tack all pleats at the x
position and (d) tack the side folds to tho primary seam at the base of the pleat.
four-fold pinch pleat:

( I) for each pleat, nanen the
pleat allowance, pin matching
t ht center fold to the primary
seant Finger crenl'ie the two new
folds created at the sides.
( 2) Push each of the side creases
inward to the primary seam,
creating four equal-sized pleats.
At the top edge, tack the three
inside folds 10 the primary seam.
flngcr press the new outer folds.
(3) Secure as described for three
fold pinch pleats (Fig. 6 -24).
center pleat. At the top edge, tack

the two inner folds 10 the primary
seam. Finger crease all folds before
removing the pins. (3) i\t the base,
hand tack through all three pleats.
catching the fold of the smaller
pleat in the center. (4) Turning
the folds of the side pleats down
to the heading. tack each outer
fold to the primary seam at the
base of the pleat (Fig. 6-25).
Rollback pinch pltat:
'
(I) For each pleat, divide the fold-
ed pleat ..Uowance into fifths.

Mark the ftfd> next to the fold
with a row of pins that parallel the
fold. (2) Push the pin-seam down
to the primary sc.lm, spreading the
pleat ..Uowances between the pin
seam and th~ primary seam out to
the sides. The pleats formed at the
sides owill be twice as derp as the
Pri mary
Seam
(a)
the fold of tl~ pleat allowance.

Dividing the pleat allownnce into
thirds, mark rbe third closest 10 the
primary seam v.oith a mw of pins
thar pamllcl the seam. (2) l lolding
the pleat allowance below 1he pin
scam upright, col~1psc the pleat
allowance above the pin-seam.
matching the linger-creased fold to
the pin-seam. Anger press the new
folds at the sides. (3) Remove the
pins, releasing two interior pleats
thnt fonn a support for the wide
exterior pleaL which curves uround
the interior pleats to the hack. On
both sides, slipstitch tht outer
folds of the sunounding pleat to
the primary seam from the base to
the top (Fig. 6-27).
i~dary
PlnSeam
(b)
Slip
Slip
Stitch
SUtch
(c)
Fig. 6-27. To form a rollback cat1ridge pleat: (B) Establish a secondary p/n
sesm, and (b) stand the pleat whl7e re-fOlding the upper pleat sHowance.
(c) Remove the pins, rolf the surface pleat around to the heading, and
sflpstitch the outer folds beside the primary seam.
Chapter 6
PLEATING
lOS
5.
Finl~h the floating edge of the

pleated fabric with a double- or
single-fold hem. To hang. anach
the pleated beading with suitable
hard\\-are ro a rod or ngid surface.
or slip Q Iabrie extension underneath tltc beading and auach the
lxlsc of each pleat to the fabric
with invisible hand tacks.
N OTES
width space. The length of the

arched fabric between the
pins Is the plea! allowance
measurtmenr.
b. Estimate the fitbric requirement:
!)kat allowanco measurement
- ,,.dth of pftal
drNerence per pleat
& VARIATIONS
dllference per pleat

x number of pleats
extra Iabrie needed for pleats
Compnring the pmjecting p leats,
single bo., pleats <tre the leas t

dimensional with doubled box
pleats next to the least in dimen sionality. Pipe organ ple2ts. panicularly If closely spaced. present the
most sculptural appearance.
Rollback c:anridgc pleats. which

look like small. neat. pipe organ
pleats. conceal the surprising fullness they release inside a deceptively neat, plain heading. Doubled box
pleats can be tripled for la,ish fullness in the hanging fabric below the
heading. Two or more types of projecting pleats can be combined in
the same hc:1Ciing to vary the s tructured appearance at the top :md the
depth of the folds released by the
different plcats.
Pinch pleats may be reduced to
two folds or expanded to lhc folds.
The pleat allowance can be subdivided into as manr folds as rhe fabric will sustain. and the folds can be
varied in depth as well. Stuffing
changes three fold pinch pleats into
goblet p/ccm. With the two inner
folch. between the pll"ats unallathcd
<ttthc top, polyester fiberfill forces
the pleats that rise from the pinchplented base to open up like a bowl
(Fig. 628}.
Doubled box, pinch , and pipe
org:m pleats may need additional
tacking at the top. beside the primary sc.1m, to prevent the pleat formation from Ooppmg forward or wobbling from Stdc to side. Finger pressing and steaming the strucmred
folds sculcs their arrangcmcnL
106
Fig. 628. Goolet pleats.
Unlike nat pleats with their

prtsscd or unpressed options, projecting pleats fall unpressed from
heading 10 noating edge. To control
the spread of the folds. rug and
stroke the folds between heading
and hem into Oowing regularit)<
Hold the arrangement tcmporaril)'
with one or >evcrul strips of fabric
loose!)' wrapped and pinned around
the hanging fabric. Steam. When
the fabl'ic is cool and dry, rctnO\'c
the stl'lp~.
To be inconspicuous. seams join ing lengths of fabric should fall on
or ncx1 to the primary pleat
allowance swms.
extra fabric for pleals

+ target measurement
Pleated Fabtic Requirement
3.
4.
PROCEDURES FOR
C ARTRIDGE P LEATS
(For Rollback Canrldge Pleats. refer
to "Procedures on page 103.)
I. Set target mca.surcmcot for the
fabric to match after it is pleated.
Cut a strip of paper as long as
the L..1rgcLmeasurement! or scale
1he t~rgeL measurement dowrl on
graph paper. Divide it into
spaces which li mit the width of
each cart ridge plc2t after smtcruri ng. separated by spaces
bc1wcen the pleats.
2. C.1lculate the amount of fabric
required for the number of car
tridge pleats planned for tbe targel measure:ment:
T ha A rt o f Manip~la cing Fabri c
a. To determine the appropriate

cuning projection for each
pleat, test by pinning a strip
of fabric Ot' paper to a pleat-
PROJECT IN G PLEATS
5.
6.
c. Add the necessary length,

plus nllowancts for a heading
tumback and a bcm. to the
width required for pleatmg.
and cut the fabric.
Cut a narrow stay of stiff or stilfened fabric as long as the target
measurement and as wide as rhe
chosen depth of the pleat heading. On the pleating fabric, make
a heading as wide as the s Ut)' by
turning the lop to the IJllck; press.
Stiffen the turnback with interfacing if the fabric needs support.
Outline a pleat-allowance space
on t.lte fabric for every pleatwidth spa~ on the stay. separated
bj spaces between pleats that
match. With dtsappearing pen_
chalk or a sliver of soap, mark
perpendicular scam lines on the
stay. Drow perpcndituiar stitching
lines across the top of the fabric,
stopping each line above t.l1c
lower edge of the tum back (usc
an i. -square o follow the fabrics
grain) ((a) and (b) in f ig. b-29 ).
Aligning the top edge of the fabric to the top edge of the sta)\
pin match each stitchi ng line on
the fabric to its corresponding
line on the SUl)' and sew togethci
((c) in Fig. 6-29).
Finish the floating edge of the
pleated fabric wuh a double or
single-fold hem. To hang, <lllach
the stay with suitable hardware
to a rod or hard surface.
Cl
Space
Botweon
creating a packed mass of folds whh

a thick edge ((c) in Fig. 6-JO).
Bullet! carrridgc plcn1lng rcquir~ a
lot of fabric. To calculate the :unoum.
pk<tt " test strip or fabric as directed
In 1he follo"ing. ftnd anach to a cert:lin number or inches on a Slay;
measure 1hc plea1ed fabnc needed to
cover that distance and compu1e
accordingl)c To fom1 the pleat!>.
(I) mark the 10p of the fabric on the
hc-.uling tumback with IWO umfonn
rows of t-quidislolnlly sp.1eed dot>.
The dismntt bet\\ ccn the dots SCIS
the depth of 1hc ple~tS. (2) Run >lurdy thread in and out of 1he do1s in
each row (Fig. 6-31) and gather, packing 1he fabnc into dcnsclr IJ)-crcd
folds. (3) Standing the pleats on end
over a stiiT, sturd> st:t}~ r:~ck che nam
or c!ICb fold to the Slay, nrst along the
lOp, then at the bOllOnt (Fi,~t. 6-32).
Pleats
\ i :
l\l
.J..f L
.ll'!
::
I
l
.L 1
l 1
Spa co Be1ween Pleats - -
Heading
Depth
(b)
I
1
I
-'
I I
Fig. 6-29. (a) Stay and

(b) fabric marked with
seam/ines for cartridge
pleating. (c) Pleals structured by matching the
seamllnes when sewing
the fabric to the stay.
(c)
:VOTES
&
VARIATIONS
ln>tcad of a Slay nligned ICI the

wp of 1he pleated fabric, f~brlc may
be plea led 10 the lower edge lublit
tlu1 ex lends nbO\e the J>lcatetl fnb
nc Betau;c canridge plc.1t> c;m be
Jestgncd to project a liulc or a ln1 ,
the Slay is u<ually \~Sible behmd carmdgc plcaiS. Sta)' fobric >hould be
d~omtivc a.< well as funcoonal
or
Sofr carrritlgc pltars fall mto d

drape msrc:td of projecting outward,
<xposing the sta)' nhove the IOOS<:
iolds of rhc dmpc. To drape. the (:ob"" allow:mcc p<r pl<-at mu>t be
much "ider than rhe <pace alloued
per pleat on the "">: The >lay
,hould be appropriately deep and
(a)
(b)
(c)
Standard
Fig. 6-32. Tacking the rops of butted

cartridge-pleat folds to a stay before
tacking the boNom of each fold to the
stay.
Continuous
Butted
F"lfl. 6-30. Cartridge pleat profiles

from the top.
Butted cami dgc pleats seem like

a misfit in 1hc canridge. category.
The pleaiS nrc formed on gauged
gathering lhrcads (refer tO
"Gathering Methods on page 4),
To t-qualizc 1he spacing of 1he folds,

mark 1hc St.1)' with two dotted guidelines, a dot for every >tilch hue> a
fold. Canridge plea1ed fabric buued
to a stay proJe<:L< outward before
t1lling fn lavish folds 10 the Oonung
edge. The silhoueuc i; bcU-hke when
the stay encircles a soltd Conn. If the
fabric is very stiff and the pleats fairlr
deep, bu11ed cartridge plea IS nr< selfsupporting and St.1nd upright or
extend like a shelf from 1he st:t).
decorative.
For cominuou.s em 11 itlgc fJlccus,

Fig. 6-3 7. Butted
cartridge pleats are
formed wllen rows
of largo, equally
spaced hand stitches are gathered.
the space hctwecn plcaL< sln1nks to the

wichh of one scam thm cw~ a shnrp
valley between the bulging curves on
either side ((b) in Fig. o-30).
Chaptor 6
PLEAT ING
107
Vf. J0--Doubie:<i box preals a/ternatmg wir.h sing:e box pleats.
VI-17- Three-fold pinch pfeats rhar (an our

avet fh~ (olcf rad<ing sri!cr...s at rhe bose.
abtJ~e
PROJECTING PLEA T S
Vl-18- Four-{Oid pinch pl<'<liS.
108
The A r t of Ma nipulat ing Fabric
VJ./9- The wmglike wmbacks <~f ro#bcxk pinch pleal.S

requrre more {abnc 0'10n rhrec-(Ofd pmch pfea!S, and the
{abnc fa/Js in wider. deeper columns below the heading.
....
I
'
'
'
't
I
,_
Vl-7{}-0osely spaced pipe organ p,'<ats pro1ec! ~

much as chc di<Jmerer of the tubular sho)l<!S J11 the
hea</mg
Vf.] /- The cldt s;ruccur;roR o( rol!b<Jd< cortJidgc p.'oats. a ro11nded e><le
rior concealing wpporove f~eaiS insido. reloascs urtCXpocred ful!ness.
PROJECTING PLEATS
Vl22-<:orwrl<Jous Wnridge p!eacs.
Vl-23- Sof! carrndge pleots sewn co a sray VISJble bch1rld lhe dro[Jed
ammgemcnr o( folds lha1 head cacl> p!eo~
Chaprr 6
PLEAT ING
109
PROJECTING
PLEATS
VI Z.i-!Mled cnrmd~
'a (lan) tNck
01 rite Slltd>ed edRe shu..-;
plcov.~
tile~~
choocter.soc o( U.S
tri()/J!od 0{ OlrocilmmL
VJ..2.S Mus1,n s~~ffc-tlcd W'Wi

o(f)(><)(lsnt~foong ard cor.r<lge-
,nared on fiOUied ~ "';;;

..,. tlw:* . . bu."ted and
todct<l co o stay 11-e se(-~
potl"'e (old$ pro,ect sun'S!' our
v.r>e<> rht CO<lStrucbO<l IS ~lied
ole rite S<lt(oce
II 0
The Art o l Manipulating Fabric
ACCORDION
P LEATS
- fabric folded altemately in and out
with even spaces between the parallel folds, creating projecting pleats
th3t resemble the bellows of an
accordion in action and appearance.
There arc two kinds of accordion
pleats:
....... j ......... ~.- ....... ~. . .... .
HAND-FORMED ACCORDION
PLEATS
folds spaced at least 1>1 (l.lcm)

apart. marked, formed. and steam
pressed by hand.
(a)
MINI-ACCORDION PLEATING
folds spaced no more than W'

(3mm) apar t. mechanically formed
..
Align
reases
on a smocking pleater.
Refer to 'Pleat Profiles" on

page 90.)
PROCEDURES FOR
HAND-FORMED
ACCORDION P LEATS
(For Mini-accordion l'lenrlng, refer
to page 112.)
I Set a target m~urcmenr for the
fabric 10 match after il Is pleated.
Pick a pleat depth wider than 1>1
(1.3cm).
2 eo, er all o r a ponion of the target measurement with a st rip of
paper folded ahemnrcly In and
o ut, equating the dis tance
bctwcc.n folds to plc"l depth.
Spread the pleats equally ..s much
as desired. Measure lite test strip,
and estimate the amount of fabric
required for the pleaung nccordmgly. Add the OCSS.11)' length.
pillS allowances for a heading
tumback and hem, to th< width
required for the plc:~ting. Cut 1be
fabric.
3. I lead the top of the fabric with a
turnbatk and hem the lower
edge of the fabric.
Fig. 633.
Accordion-pleating a length of
fabric: (a) Press
the first creases
in the same
direction over a
paper strip that
trues the creas
es. (b) Matching
adjacent creases, press the
second folds In
between.
(b)
b. Turning the fabric over.

form new folds between th<
previous folds. Matching
the first two folds. steam
pr<ss the new fold created
in the middle. Align the third
fold to the second fold, creat
4. Measure and mark a succession

of fold Indicators spaced two
pleat dcr11hs apan. lnsen pins
prpendicular to the edges at the
top and bouom of each fold
position. On woven fabric, the
fold lines In between should parallel Lhc Stmightgrain .
5. Foltl and press the pleats, using
the straight edge of a still strip of
papr cut longer than pleat lcngllt:
a. Press the inward folds first.
With the fabric right side up,
align the edge of the pressing
gmdc tO, and between, the pins
marking the first fold. Remove
the pins. turn tl>C fabric over
the edge or the g uide, and
crease the fold witlt a steam
iron and ptcssure. Open the
fabric, move the guide to align
with the piib marking the next
fold, tum in the same dirttlion
as before, and press that crease.
Continue setting every pinmarked fold in tlte same manner ((n) in Fig. 6-33).
ing anothe:r new
fold~
Slcum
1>ress. Continue aligning folds

and pressing. stacking pleat
over pleat, unt il allln-andOUI
folds arc shar ply cre:~scd ((b)
in Fig. 6-33).
6. Co ntrol the pleating:
Chopter 6
Stabilized but movable at the

lop: Hang the pleats from a
rod, dowel, or cord utscned
through loops or rings
auached to the top between
folds, or pushed through
holts that perforate the hcuding b<tween folds.
PLEATING
Ill
Stabilized permanently at the

Lop: Cul a narrow stny as long
as the targeL mcasurcmenL
Dhide the stay into spaces.
each as wide as 1he destrcd
spread <lf one accordion pleat.
Mark the s paces with perpendicular pins or lines. :.latching !he 10p of 1he plemed fabric 10 the lOp of the stay, tack
c.1ch inward/back crcnsc to
!he stay at the lop edge. or
machine stitch over each hack
crease, stopping before reaching the lower edge of the stay
(Fig. 6-34).
II
F.g. 6-34. Accordionp/eat spread
ccntrolled at the top when back
creases are topstitched to a stay.
To hang the pleati ng, auach

1he stay with appropriate
means 10 a fimt s\lrface. An
option: Use the lower edge of
a piece of fub ric that extends
above and beyond the pleated
fabric as a sta)\
NOTES
&
VARIATIONS
Steam creasing accordio n pleats
In" (l.3cm) or smaller in dep1h is

tricky and trying 10 impossible: The
greater the depth, the easier to pleal.
During and arlcr pressing, accordion

pleats stack up one on top of the
next "';th bock creases and Front
creases aligned. To minimize the
pressing complications 1hat develop
as the extra byers o f L1bric at !he
tumhack and hem build up. use the
selvedge for n hem. serge the edge
o t edges, or fo ld and sew the hem
after pressing and re-set the pleats.
Folds may be pennanemly fixed
with edgestitching.
Accotd io n-pleated fabric Is fii!Xiblc in the directio n of the folds, bm
the in-and-out folding impans slifTness to the fabric in !he 01her directiOn. The pleating "breaks" if forced
to bend across the folds. If a stiff fabric is accordion-pleated, the result is
dose to inflexible across !he creases.
For self-supp<>rting applications that
stand or project, stiffen the u nplcated fabric \\~Lh starch or an iron-o n
interfacing. Bun the !hick edge of
the pleating 10 a stay and tack each
fold to the stay with equiclis tMt
spacing (refer to "Buued Cnrtridge
Pleats" on page 107).
Accordion pleating, tightly bundled at the heading or at a crosssection in the center, opens and
spreads out to a floating edge or
edges. To fan accordion pleats. run
strong thrc.1d or cord run through
the folds, pnck the pleats Into a
solid mass, and fasten ll>c ends
se<:Urclj (Fig. 6-35).
Rg. 6-35. Accordion pleats, lighrty

compressed at the heading, spread
out to a curving edge.
PROCEDURES F OR MiNIAccORDION P LEATING

I. Using a smocking pleater. pleat
the fabric. ( Refer to "Using a
Smocking Pleater on page 126.)
2. Stretch out tl1e fabric on the

pleating threads and press to
smooth out the edge to be
hemmed. Hem the floating edge.
and the top edge, if rcqt>irecl b y
the stabilizing mtthod:
For a pleated edge. fold on

thr final row of pleating
thread. Make a tiny doublefold hem that fits inside the
space before !he next row of
pleating thread (Fig. 6-36).
Re-pleat the Fahric o n its
thrc11ds, including t he hem.
Locate a seam joining two pieces

o f fabric on a back crease.
- l- -
'
112
T he Art of Manipulating Fi:bdc
ACCORDION PlEATS
...!,.
__ _
Fig. 6-36.
Machine-stitchIng a hem into
fabric spread
out after mini
accordion pleat
lng on a smockIng pleater. The
Iabrie will be ropleated after
hemming.
For rt [rilly edge, hem just

the last row of pleatIng thread. For a rufficd edge,
hem a distance away from the
final row of pleating thread.
Re-pleat the fabric on its
threads. excluding the
hemmed edge. (For finishing
options, refer to "Edge FinishIng for Ruffics" o n page f3.)
3. Pushing all the pleats together
tightly on the pleating threads,
steam wi th an iro n held slightly
nhove the surface o[ the pleats.
Allow to cool and dry thoroughJy before conlinuing.
ou~ide
4. To swbilue the pleats across the

top. sew to plain fabric cut as
long as the target measurement:
a. Cover the pleated se-.un
allowance wilh an extension or

bindmg. ( 1) Cut a tempor.ny
st.bilizcr. a strip of paper or a
tear-away product. Spreading
the pleats out evenly on the
pleating threads. pin the edge
o[ the pleating over the stabilizer. (2) Cut plain fabric for
un extensio n or a binding.
Matching edges, cover the
pleating with the plain fabric.
right sides together. and
machine-stitch, squashing the
pleats between the layers. The
pleating will appear gathered
at the top. (3) Remo, e the
temporary Slllbilizer from the
scam. An option: Usc fabtic
for a permanent stabiUzcr.
(Refer to "Stabilizing
Gathered Fabric" o n page 6.)
Fig. 637. Hand stitching a stay over the back of mlnlaccordlon

pleats stabillzeci with three rows of backs/itching.
b.
F~pose the finished edge of

the pleating. attaching it to an
c..rcnson or stay slipped
undcmemh the final rows of
plcaung thread.
To retain the regularity

ond three-dimcnsiolll!tity
of the pleats : (1) Tum the
pleating over to the back.
(2) l'ollowiug the last row
o r pleating thread, catch
the Lip of each r ib witb a
backstitch. Add o ne or
more rows of backstitch-
mg. The Lens1on on tbe

thread controls the spread
of the pleats, allowing
some nexibility for adjustment. ( 3) Pm the extension or stay o,er the backstitched area and handstitch
to the backstitching threads
Fig. 6-37).
An alternative method: Slip
nn extension or stay under

the frilled or ruffied edge.
Following 1he final row or
rows of pleating thread,
bltStc the pleating to the
fabric undemeath. Edgestitch a length of ribbon or
~pe over the basted pleatmg. crushing the pleats
under the stitching.
NOTES
& VARIATIONS
Estimate the fabric requirement

for mini-~ccordlon pleating as three
to four times the target measurement. the general rule-of-thumb for
applications that involve the
smocking plcuter.
Like h:u1d-formed accordion
pleats, fabric plcutcd with the threeto-four-plus pleats per inch that a
smockin~ plentc produces acquires
stllfness up and down the pleating,
although It Is more s upple across
the folds than fabric with deeper
accordion pleats. Unlike handfonncd accordion pleats, which can
usually be re-set by hand pressing,
the folds of mechanically-formed
mini-accordion pleati.ng aren't
r<newoblc when use, dampness, or
laundering destroys their definition.
Fabric can be mini-accordion
pleated by hnnd following a grid of
dots marked o n the fabric, and the
ple:nlng ""' be stabil ized across the
top w1th n hc.ndi ng of decorative
stitching worl;ed I rom the from
( refer to "l:nglish Smocking" o n
page 129).
5. Remove the pleatmg threads.
Chapter 6
PLEATING
113
ACCORDION PLEATS
vt-26 Hand-(orrnecL shorply creased plcors spread oot on a rod 1nscrccd

through holes punc/1!~1 111 lhc lwJad,ng. Tho orronp,ement Js movoble and
temporory.
2& I ~\~ I{ aa aU
rtla ~ r55 #;
I
"
I,
li
:'
VI-18-M m-oaordon P""""E 's (.Jmm) deep, fJ'OdiJC<d""

" 2~ So'fy Sron:er p'-a SIDbolm ocmss ~~w> ""' "':~?
rht.. l'tM'$ o( bocl<s!llc/l.ng md 0 SID( The s"'t>< t>lerriiP'""' "'
rile tegvlor.1y <>( iho nbs about t."'.WOS o( rne "'!' down
re.Ml< the m.smotdl"'g til01 ocrutred ~ II>- (obric ,,.,,
plecr.ec! a secnnd ttme oo ex~nd 1ts lenglh.
Ii
I
vt-27 Arrrm~~"""'"' o(hand (orme<l p.'eats permon~ntly attached

ro o sray wirh u short scam o~er er}dl bock. foJd.
114
T~c Art
of Monlpu l atlng Fabric
Continue twisting und

entwining until the fabric b
contorted into a ;phCI'Ical
knot (Fig. 6-39). Bind the
knot with suing or tic 11
inside the toe of a sock.
WRINKLED
PLEATING
-irregular ridges and grooves set by
bunching and scrunching damp fab
ric. securing it tightly, and letting it
dry. There are two types or wrinkled
pleating:
3. Dry the prepared fabric:
In a warm . dr); well-vemllated

atmosphere. 8roomsuck pl<at
ing will dry in a few dars
without mtlde"1ng, but air
drying IS not ~Tcommended
for contortion pleating. unless
on I)' a small amount of fabric
BROOMSTICK PLEAT ING
-<lamp fabric gathered up. rolled

around a cylinder, and bound to hold
until dry. When unwnpp<!d. the
wrinkled folds arc onedirectlonal.
Refer to "Pleat Prollles" on
page 90.)
CONTORT ION PLEATING
~amp fabric twisted into a rope.
coiled, knotted. and dried in a
microwave oven. When opened out.
the wrinkled folds are multldlrec
tronal.
PROCEDURES
L. Sew~' narr()w hem huo one or
111orc edge> of the fabric, If and

where the :~ppllc:u io n requires.
1. Prepare the fabric for wrinkled
pleating:
is invohed.
\Vlth consecutive cycles Ill an

automatic dJ)er. llroornsuck
pleating prepared in a nylon
stocking (the optional
method) may be automntlcnl
ly dritd. For comortlon pleat
ing. dryingjump-swrted auto
mntkally cnn be completed In
the air.
Fig. 638. Winding a strip of moist

fabric tightly around a broomstick.
Optional preparation:
Stretching and bunching, roll
the damp. gathered fabric
around itself. Shove it imo 1he
leg or a nylon stocking and
bind m close intervals with
nylon >~ocking snips or cord.
A minute al a time in a
mkrow{we oven, untll the
Contort ion pleating:
mo isture inside the oven
a. Immerse [he fabric in water.

wdng it Olll, and roll in lOW
evaporates. M icrowave heat
dries hmh broo111sticl< plc;\1

ing in a nylon stocking and
contortion pleating thOI'Ough
ly and quickly, bu t requires
clling to absorb excess mois

lure.
Broomstick ple:ning:
n. Gather the opposite sides of
tltc fabric with large running
sntches. pushing the gathers
together tightly. Very wide.
lengthy fabTic may need lllle
rior rows of gathering :tS well.
b. Wet UlC fabric thorough!): wring
u out, and rollin towelling to
;~boorb c.xcess moistun:.
b. Fold the damp fabric into layers. mrning it over repeatedly

in one direction. Clamp one
end of the narrow. layered fab
ric in a vtse or ask another
person to hold the end.

Stretching the fabric taut.
twist it so rightly that it spi
mls around itself when the
ends arc brought together.
care ;md tntcntlon.

4. Untie. unwrap. open up. and
spread Oil! the fabric when ills
completelr dry. Remove any
gathering thn.>ads.
c. Stretching bet" ecn the gath

ering, roll the fabnc ~round a
broomstick. length of plastic
pipe. or any other sturdy,
moisture and rust-proof
cvlindcr Tie the fabric 10 the
cylinder at the top. then bind
with fabric strips 1" (2.$cm)
to l" (Scm) wide. Wind the
st rip> tightly around nnd
around until the rolled fnbric
is emircly covered (r:ig. 6-38).
Fig. 639. (a) Thick cord Of

tightly twisted, damp fabric,
looped before releasing In
tho contor to cvrl srovnd
itself. (b) Coiled. knotted
ball of Iabrie.
C hapter 6
PL EATI NG
II S
5. To ;onbolile broomsolck pleating.

sew to plain fabric cut to a targel
mc{IS\.Ircmcnt Sml.Jllizc contor-
tion pleming if and as the appli<-auon requires. ( For applicable

directions, refer
10
'"Mini-ao;:or
dion Pkaos; ~4, on page ll3.)
NOTES
& VARIATIONS
Soft. ohin. narural-fiber fabric,

such as China silk and ligho"eiglll
cotton. reacts best 10 wrinkled
pkating mcLhods. Tht amount of
fabric required varies with the.~ wrin
kled fullness approprlaoe for the
applicaoion, bu1 thret umes the targeL cUmension is a worl<ahk mlnl
mum .
When dry and unwrapped,

wrinkled pkati ng retains the
imprinl of ils prcpanu ion. Modifications change 1hc rc-sull. for
example. when preparing d.1mp fabric for broomstick pleanng: Enlarge
or reduce Lhe size of the g:n he:ring
SLilthcs and int rease Lhc number of
rows. lnsoead of thread-gaohering.
scrunch the fabric with fingers.
Tum and owl<! while rolhng ohe
fabric around a cylinder. Lea~e secoioots of the rolled fabric unbound.
Instead of binding. tie the rolled
fabric at mlervals "ith cord ohat
bites into the bundled materiaL
Add tying tightly ";th cord 10 the
layering and owisring proccduocs of
tontorlionpleatlng pre:p11fi.1llon.
Afler pleating. ohe sides of

broomstick-pleated fabnc are more
or lcs> soraight, but the ~ides of
colttortlon-plcaoccl fabric will be as
for maintenance, hand gather

and twist broomstick or contortion
pleated fabric into a roll and store
ilTegul:'tr nnd 1meven as lhe imcrior
loose\)' and keep in a drnwer or

box. 1\ioisturc and hc-d'') pressure
will undo the creases or wriltldcd
pleat ing. buo the pleaiS c~m be reset
by repeaLing the prepar:nion and
drying procedures. The rcsuiLs will
\111)' \\ith every repetition
pleatinl\ The broomstick method

produces ridges and creases that
cross ohc fabric Croon one side to the
other in a dircction:.ll m~Htncr. WJth
con1or1 ion pleaoing, one direction
predominates--the duection that
coincides with the original folded
layering-but subsequent '";siS.
bends, and knoLS inuoduce denec
tlons and interruptions, result ing in
a moT< complex configuration or
inside a nylo n Slocking, 01' coil
wrinkles.
116
The, Art of Manip.ulat\nc Fabri~
WRINKLED PLEATING
vr"Z9- Trn! voroobre,

'"~ pleoung resul!
mg (rom !he broomslick prouss.
WRINKLED PLEATING
'/1.30 Conrornon"pleoted
sqoate o( muslrn
Chapte r 6
PL EATIN G
117
DOU BLECONTROLLED
P LEATS
-pleats confined at both ends. with
folds loose In the center. The stabi
lized pleat arrangements can be
turned In any direction.
PROCEDURES
l. Select a pleat type that sui!$ the
pul'ose. Fonn the pleats on oppo

>itc >i<.lc> of the fabric, foUowing
the procedures described for that
type or pleating. (P;mi,ll pleats are
imtppropriatc for doubk>-<:omroUcd
pleating.)
2. St.1bili1e the pleatS ar both ends.
Either underline/stay the pleated
f.1bric completely before binding or
scwang the edges to another piece
of fabric, or stabilize " ;thout
underlining beforehand, as appro
ptiatc for l11c litbric and the
requirements of 1l1c panicular
ins111llation. Stabilizing and the
type of pleating at Lhc edges, in
combination. affect the appearance
of the folds in the midcUe:
Smooth folds:
Folds Row undisturlx-d bttwOOl
matching arrnngements on oppo9te ends when the pleated fabric is
stretched over a stiff underlining or
held taut between stationary edges.
Turned folds:
Suc tchcd out over a stili underlinIng or held taut between stationary
edge.~. the folds of l11t pleatS
change direction when laid down
in one dlrccrion on one edge and
reversed on the opposite edge., or
when pleat depth and the number
of ple.1ts. or rhe 1)1Je of pleat.
changes on e.1ch side.
Orn]Jed or puffed folds:
The folds m the center either drape
or their own weight or rise up into
puft~ whtn the stabili:ed distance
lJetween the ends of the pleats is
less than tltc length of the pleats.
To drape, rhe folds.oflargc-scalc
applications must be borizomal
118
with the vertical sides where the

pleats originate sL1bilized rigicUr
The folds of small-scale applications
puiT- " ilh t!Je cooperation of fmn
fabnc-when basled ro a full stay
befo~ fintshed application_
3. Settle tl1e orrangernent of folds b)'
stcal1ling wit.h an iron mo,ed
slowly abol'e 1he smface of the
fabric. Allow tO cool and dry
bcrort> rnovln~.
NOTES & VARIATIONS

Thorc :~rc two double-tonrrolled
pleating vurintlons thac require parterns: (I) Pleats fonned on adjacent
edges of the fabric, forcing the folds
to converge nt an angle in the cemer.
( 2) Pleats Com1cd on one edge of rhe
f.1bric with folds 1h.1t dwindle out to
nothing at the opposite edge. The
pleating pa11ems arc developed from
target pauems that are slashed at
pleat locations, following the intended dllcct ion of the folds from edge
to tdge, and spread to allow for a
pleat undcrf,11d nt every lash- (For
directions ndaptnble to pleat ing,
refer to "Singlt Edge Gathering,"
Note> and Variations, on page 12;
and "Opposite Edge Gathering,"
Notes and Variations, on fl'lge l7.)
Pressed Colds. accordion pleats, and
wrinkled plearing are inappropriate
for
1he.se \"3ri31ion.\.
The folds of crossed pleats puff up

when they collide in the OO!ICL Using
thlt pleats. reduce each side of a
square or triangle of fabric \\oth ihe
folds, then b:lste the pleated edges to a
stay which is a smaller version of the
square or rrinngle. The puffed fabtic
may be left as is, ot it can be tacked
down imo" 1nazclikc swirl <Jf <:reslS
and grooves with furrowing (refer to
"Furrowing" on fl'lge 9). or stuffed
into biscuits (refer 10 -lllscuits' on
page 258). Varimion: Lse pinch plerus
for f.1bri<: ~t'tlucllon and topstitch the
pkated edges 10 a foundation.
The folds of ftXC<l plcllLS are stahl

lized into permanent, immovable
arrangements. \Vlthout floating edges
or loose folds, fixing pushes pleats in
non-pleat-like directions. For exam-
The Art o f Manipula ting Fab ri c
pie: fusing an :trrongemem of flat

pleats to iron-on mtcrfacing converts
the pleat folds into unstitched, f.lke
tud;s. \\'1ten l11e b.K:kfolds of cartridge or hand. formed accordion
pleatS are mochine-stitched to a finn
stay from one end to the otl1er, lite
pleating enablcs ~lf.supponing.
sculptuml consmtctions. ~iniaccor
dion, broomstick. or contortion pleating, secured to a stuy Wilh riny hand
stitches sp:ccd out and buried in the
comtgarlons, suggest smocking.
While srnbilitin~:. shift the direction of
the folds or wrinkles :tnd vary the
spacing between the ridges.
Neetlle-fonnetl pletUing l unique,
a continuous arrangement of soft.
Oo";ng, rounded Colds shaped ";th a
needle and sccun...J "tth hand stitch
es. Without prt\iou~ markmgs or
other prcfK1rotion. b-1Ste the top edge
of the pleating fabne to tlte top edge
of a much smalkr. stiffened SUI)\
Work.U1g from the top do""' pull up
a fold with the point of the needle.
hold with pins if necessary, and
ground tl1c fold to the stay with tiny,
separated hack~tlrches. Push and pull
up another fold beneath the first fold;
secure. ConLinuing row by 1'0\~
m;meuver Stthtlt 1rregttlaritics into

lite folds. Limit the length and
change the dnft of the folds with tlttcUe action '"'d stitches. As pleat formation proctc:ds. the securing stitch
cs recede into the gTOO''es between
succeeding row~. Needlcforrned
pleating may be adjU>t<-d to cover a
stay \\1th a modelled surface.
SoJi,lminillCCOrdiollpfenting
restntcture.s fabric in to a different.
finn tc;o.:tile ~s 1hick us its pleal composition, with a finely ribbed surface
tcxntre. To !mild the snlid pleating,
accumulate pleater fomled pleats
into a packed mas> on the pl"uing
threads. l!xtcnd the accumulation
with more pleated lengths of fabric
un11l11 r.aches the target measun:menL The pleating threads, with ends
tied together in f><1ir>. remain in the
textile for ~cunry. !'or additional
texture, run fobric with wrinkle-s
through the pleatcr. (Refer to Using

u Smocking Pleotcr" on page 126.)
DOUBLE-CO NTROLLED PLEATS
YI-J 1-uo~seo kJ>fe P'C<lts

Chot Omnsh ood dsoppeUi
ot l/lc OflllOS'!e ~e.
DOUBLE-CON TROLLED
PLEATS
'JI.Jl-unprtr.sed kn( p~ots rllor

start and srop on od,oce-m tdg~s
V~JJ.-i<Jl(l> pfecrs
;u~ a< !xJU. ends look
Jok hoozomol lo!NetS.
Chapter 6
PL EATI NG
119
V/-34
Draped knife pleots.
DOUBLE-CONTROLLED PLEATS
'II-35--Anoogemenl o{ """rtO<t box.

and i:nJ{e p'eau vert.oeOIIy SltelehM
beM'<'en SU>ps of (ob<ic Tho (o1cJs 01
rne mfe pleot3 "' the center I>Pf>le
because 1~ey chonR drecnon
120
The An o f Monipulotlng Fabr i c
...,.Jb-~mentS
o{ kn(e. box Of1d

.,.;erte<t pk<Jcs sec
lllolO CUfOUCS.
D OU BLE-CONTROL L ED PLEATS
Vl-37
ThfH.(old p.nch
pleca consoucced orxi

suJyed oc oppos.ce erxls
of tile (aoric.
Chapter 6
PLEATING
121
D 0 U B LE-CO N TROLLED
PLEATS
"'-38--Coo:Jnuotls c~ ploot~ scomcd
to a $0(fSlay ;rom end to end. form a se~

sup_oortlng. coJt.rmrt-likt suuctufe-.
'tl-39--ActotOon p/eo!S. {wm!y rod<t<liJlrough !he cetiiCT. spreod

out 1'110 a Clfti""~ lhe $ide pleats
seemed ~t/ler. AI lhe
ptntTKH,t!r. tile IOSidC CII!'CI~S ate Seruft!d (0 0 Sft{f Stay W.(tl My
1000
V~40-Accorc!JO<I ploors monrpulatcd rnto a conc.nuOlJs band oi fans

ond se<~Jred wrth uny rocks 10 o Sfir/ sooy
122
The Art of M an ipu l~ti ng Fabric
YJ.42 Ptr.droNOI'o< w:d! cro<se<J.p.'<ot t'.,.,..,IS The three ~

01f' rec-umg'es C1!l! fl.Jff'O'W~ ;n rht anter:
squares. and
DOUBLE-CONTROLLED
PLEATS
111 J- f>leall {ormecl 011 a Per(ea f>leoW bocke<i w1(h Iron-on IMler
squares. and assemblecll"'r:cl!worksryle m1o o block.
rwo of the squa1t:s. the (o.'d o( occh plea' snagged by o sr rch,
'''" P<J'oe<l bocl< ond to~W ro troe bose of the ploct boh.od.
'0001) cu1 mlo
---
..-.....- r
~ -
s.
Z?
:_
-=
'1143-Neea.eiormecl p/e<IIIOI/Iho<
laol<s l.ke warer nppled by a breeze.
Chapter 6
PLEAT ING
123
mocking secures and adjusts
the folds of a finely pleated
field of fabric with hand stitching.

When the stitching is visible, it
superimposes an ornamental thread
design on the surface of the pleats,
organ izing and bending the underlying folds into cellular formations.
--
When the stitching is invisible, the

fluctuating movement of the folds
becomes the decorative focus.
...
Smocked fabric acquires the same

thickness as its pleats, and loses
flexibility across tbe pleating.
...
MOCKIN
7 Smocking
SMOCKING BASICS ................125
Fabric Required for
Smocking.......................... l25 Using a Smocking Pleater ... . 126
Smocking Embrotdtry
Stitches ..... ....................... 127
O utline ............................ 127
Mock chain ...................... 127
Cable ................................ 127
Do uble cable ............ ........ 127
Wuvc ............ .......... .......... 127
Trellis ...................... .......... 127
Diamond ............... ........... 127
Ho neyco mb ...................... 127
Surface ho nc)comb .......... 128
Vand yke ...... ..... ................. 128
Feather ......... ................... 128
Spoo1 ................................ 128
Cable Flo wcrcucs ............ 128
Managing the SmockingPleated Edge .................... 128
DIRECT SMOCKING ................ 138

Procedures .......................... 138
Notes & Variations .... .......... l39
Re-versed direct
sm ocking ......................139
Experimental d irect
s mocking ............ ..... ..... 139
NO RTH AMERICAN
SMOCKJNG ....................... ..... l41
Procedures ...... .................. .. 141
Notes & Variations.. ....... .....) 4 2
Reversed North
American s mocking ...... l42
Experimental North
Atncrican s mocking .. .... l42
ITALIAN SMOCKING ..... .. .. ,....144
Procedures for Contoured
Italian Smocking ................ .. l 44
Procedures fo r Shirred
Italian Smocking .................. l45
Notes & Variations .............. l46
Crushed and nauencd

pleats ............................ 128
Standing pleats ................ 129
El'\GLISH SMOC KJNG .............. l29
Pmcedurcs .......................... 129
Notes & Variations .............. 132
Experimental smocking .. 133
S MOCKING B ASICS
F ABRIC REQUIRED
FOR
SMOCKING
radilional wisdom advises
three to fo ur times the target
width o r the smocking as a
basis fo r cstinlilting the amo unt or
fabric required fo r a smocki ng t>roject. That's a fairly reliable !,'Uide for
thin fab ric prepared fo r Englis h
smocking on a plcatcr o r huml
pleated on do t-picku p sti tches
spaced '!.!'' (6 mm) apart. but inadeq uate when o ther facw rs npply.
Type of fab ric. W hen pleating a

thicker litbric such tiS wool, each
pleat fold will be mo1e e.'pansivc,
consequently, the pleating "111
match the target mcasurcmcm
with less fa bric than the pleating
of a fabric like batiste pleat-gathered on an identical grid.
Pleat depth. Deeper pleal!l
require more fabric for the same
target measurement than shallow
pleats. Widening the spacing of
the dot grid followed for hand
stitched pleating increa.es the
fabric estimate. Smcbcd on the
same grid, dot-In dot-out gathering requires more fabric than
dot-pickup gathering.
Reverse smocking ............ 133

Interior smocking ............ 133
Mock smoddng ..... ........... l33

BASICS, ind icated by a gray band
located underneath the relevant
columns.
Pleat density. Smocking that features the pallem ing or m assed

pleat folds requires more fabric
than other type.s o r pleating.
Shi rred Italian smocking U>CS the
most fabric. with contoured
Italian smocking a dose second,
follo wed by English smocking.
SMOCK ING BA SICS
125
+ Smocking construction. While
stuching an English or cUrect

smocking design. a tight rather
than light tension on the thread
mo,es the tubes closer. ine:rcas
ang the amount of fabric needed.
Direct smocking generally uses
less fabric than English smock
lng worked on a similar grid.
English, direct, and shirred
ltnlian smocking sh rink slightly
along t he length of the pleats.
The multi-d irectio nal p ull of
Nor1 h A mcrican and con1oured
hnlian stllchinp. reduces measure
m ents in both directions sig
nHicnntly.
To estimate dte fahtic require~
ment nccurntcl). make a small sam
pic "orked on a square of the cho>en fabric. using the grid and slitchmg planned for the smocking project. Measure the fabric in both
dtrecuons before and after smocking. Use Lhosc measurements in the
following equatio n:
!sample measurement before smocking
+ sample measmememalter smocking)
x. target measurement
Fabric Requtrement
P'or North American and contoure<l

Italian smocking, LlSe the equation for
fabric length and then for fabric wklth.
When 1hc fabric 10 be smocked
rtquirc~ piecing 10 extend its
length, locale 1hc seam inside a

pleat channel. llccause seams rha1
cross I he pleats add seam allowance
bulk 10 the folds, the bulging hand
caused by the extra 1hickness will
be OJJ\fiOliS L01Jess offset by plea[
spread elsewhere.
126
Tho Arc of ManiP.YI'Iting Fabri c
USING A SMOCKING
P LEATER
Mmt-accordion pleating is the
foumL1uon for English smocking.
$mocker> have a choice: form the
plea" on rows of gauged hand
stilchrs or use a smocking pleater. a
nifty. handopcra~ed appliance thai
pleats )'Ords of fab ric quickly and
easil)'.
Ph-a1crs have gears thm me.sh
tugether when 1urned. and a long.
s tmigh t row of delicate needles 1hal
51 itch I hrend through t he pleats
forn1ed h)' 1he gears. llasic operation is simple. Thread 1he needles
\\;lh ewing 1hrcad abou1 4"
( I Orm) longer than the length of
1hc fabnc to be plea1ed. Tape the
ends of 1he thread 10 the surface in
lrolll of the plca1cr. ,\ftcr trimming
1he >clvcdges. roll the fabric around
a dowel. Jnsen tl1e dowd inside the
cndpl:ue openings on the plcater.
Stand ing behind 1he plcatcr. mm
tht: handle
10
move
Lhe
fnbric
througlt the gears and o nto 1he need les. When the neNiles fill up with
pleats, Jlll1h the pleuis gcmly onto
the threads. Continue un1il all the
fabric has been plcalcd and pushed
on1o the 1hrcads. CUI the threads
nextlo 1hc needles 10 free the pleated fabric.
Smocking plca~ers produce uniform mini-accordion plca1s. a1 Jcas1
Vo" (3mm) deep, tha1 vaf)' fraction
ally between three-plus to four-plus
pleat for every inch o f fabric,
depending on the manufacturer
of 1he piCIItcr. Also depend ing on
1he manufac turer, the fabric wid t h
n plealcr tu.:ct:pts varies from 5 Yl'~
(Hem) to 11" (30.5cm) . A second
run through the pieater doubles the
wlchh o f the fabric that cao be
pleated. Open and spread the pleated porlion of the fabric on iiS
SMOCK IN G BAS ICS
threads (knot one end of the threads)

and Sleam Jlf<'SS Oat. Re-thrcad
the piea1cr needles. but leave one
needle a1 one end un1hreadcd. Rerolllhe fabric on 1hc dowel. Insert
the dowel instdc the cndpla1c openmg>. m01ching the final row of
pleaung 1hread on the fabric 10 1he
post non of the umhreaded needle
on the plcatcr. Guide the fabric
1hrough the plcmer wirh the
unthreaded need le fo llowi ng the
lnst llne of ;>lculing 1hrcad and, if
possiblt, pien:ing the s:mtc holes.
CuLt hc liHcnds holding the fab ric
to 1hc needles. Re-plcat the na~
tcncd fabric on its th rc.tds.
Umhrcadcd groups of needles
creal< sn1JX of ga1hering be~ween
bands of plea1s. Af1er pleating,
>pread 1hc fnbnc on 1he threads
and tron any folds out of the strips
mcam for g:uhering; rc-plcat. For
cxpcrimcmal pleaung texlllrcs. send
the fabnc through the plcatcr ddibcr.ttcly rumpled or pulled off-grain.
W hen one piece of fabric isn't
lo ng enough. pleat the pieces separately. Matchi11g 1he plcn ing
threads. sew the p re-pleated sections together. locoting the scam i n
a channel between 1wo plea1 tubes.
Tic the plc:uing threads across the
scam. pu>h 1hc plc;u, together and
proceed.
When one piece of fabric bas a
>cam do" n the mtddle, 1hc seam
allowance should be no wider than
the diStance between two adjaccm
needles <>11 1he plea1er. During
pleating. guide 1hc seam to move
between two needles. Angled or
curved sc:nm ollowances musl be

basted clown . The cxua layer of fabric, and fabric t hat's 100 thick and
heavy. tends 10 break needles.
SMOCKJNG EMBROIDERY
STITCHES
For Engli>h and direct smocking,
embroidery stitches have a funcuonal as well a decoratie purpose.
\Iter the pleating threads have been
removed , the stitches hold the folds
of English smocking together. For
direct smocking. the stitches not
on I) hold the folds together, the)'
crc:ue the folds.
Each stilch also has a distinctive

role to piny in the overall decorative
dc,lgn on the sucfacc o r the pleating and in the pMtcrning of the
folds underneath. The stitches con
ncct the tips of consecutive folds,
or lubes. in a manner that arranges
1hc lUbes mto cells between lhe
ro" ~ of stitching. EeT) stitch follow~ il< 0\\ n path. (The arrows in
1he diagrams mdic<llc starting
poilus for a ro" made up of one
particular stilch.}
Cable stitching is an outline-stitching variation. For each successive

backsutch, altemate the thread
poshion between below-and-under
and above-and-under the tip of the
needle (Fig 73).
moving dO\\ n and across two rubes

for baeksmch. witlt a cable type
anchoring s1i1ch m between.
Diamond sutcbing requires two rows
or idcnu,.,.l but reversed stitching
1hat mee1 nt every other cabled
anchoring stiiCh ( f'ig. 7-7).
Fig. 73, Cable stitch.

Spaced rows of double cable stitch
ing change Lltc alig nrncn1 o f the
tubes In one way if the s titches in
successive rows are identical, and in

anotltcr way if the Slilches in successive rows ahemalc between up
and down ( Fig. 7-4}.
The needle action o f backs titch-
ing is chc basis for most smocking

embroidery sti tches. For every
h:.ckstitdt in a s traigh t row of
Olltlilll' st itching, hold the thread
either below and under the. Lip of
the needle as it emerges from a fold.
or above and under the needle
(Fig. 7 I).
For dinmon<l Stilching, the needle

altemates bet" een moving up and
across two tube> for a backstitch and
Fig. 7-4. Double cable stitch.
i\ cable-and-outline com posite d1at

moves diogonally up and down in
close steps outlines a wave. On t he
way up, rhe lhread remains below
1he ongled needle: on the way
down. the thread stays above the
angled needle ( Fig. 7-5).
F~g. 77.
Diamond stitch.
Double rows of honeycomb, sur

fce honercomb, and Vndyke
stitchmg reorganize the tubes of the
pleating in1o a substructure of d ia
mondshaped cells. Because the
needle moves the threlld up and
clown inside the l ubes, one row or
honeycomb stitching looks like two
s 1nggcrcd rows of Llrt)', doubled,
indepcndc111 s tilchcs that bind adja
ccm lubes 1ogether (Fig. 7-8).
Fig. 7-1. Outline stitch.

Two ubuucd rows o f o mline stitch
ing. wit h tlll'ead direction reversed

for the second row, produce the
moclt elwin Slitch (Fig.7-2}.
Fig. 75. Wsve stitch.
Two rows of wave stitching, identical but reversed to meet at the

end of a w:1ve, combine inlo t.hc
ucllls >litch ( Fig. 7-6).
F'tg. 72. MOCk chain stitch.
(c)
Fig. 76. Trellis stitch.
Fig. 78. (a) Moving down inside a

tube. (b) Stitching two tubes together,
and moving up (c) to create rows of
honeycomb stitches.
C~apter
SMOCKING
127
For surfare lroneycomb, the thread

wraps O\er the tube when mo,~iug
up and down between the stitches
that bind two tubes together
(Fig. 7-9).
5r>ool (Fig. 7- 12) and cable

flowcrcrtcs (Fig. 7-13) are spot
stitches. Borh bind tubes together
in i<olatcd locations.
Ff{}. 7- 14. Pleated edge of shallow
English smockmg machine-stitched
to a Iabrie extension. right sides
together. A row of gathering stitches
remains Inside the seam allowance.
Fig. 712. Spool stitches.
Fig. 7-9. Surlace honoycomb stitch.
Like surface honeycomb. th7cad for

\'andyhc >!itching wraps over tl1e
same tube as itmo,es up and down
bet" een binding stilchcs, but,
unlike honeycomb. Vandyke is
sewn from right to left. The binding
stitches pick up two tubes with one
Stitch (Fig. 7- 10).
F~g.
7- 13. Cable llowerelte stitches.
M ANAGING THE
SMOCKING-PLEATED
EDGE
The mer hod used to finish and
stabilize n smocl<lng-pleated edge
either finuerrs th~ wbes under a
mnchincscwn scam or preserves

the stand of rhe tubes with hand
s titching. Whether flattened or
s t.anding, maintain the arran,gcme:nl
of folds established by the final row
of smocked strtchlng in the finishing of the edge.
To end the smocked pleating

\\1th a rum e. locate I he final row of
smocking sthchc. a distance from
the edge and hem rhe rume (rerer
to Edge Finishmg for Ruffies" on
page -13). At the base of the ruffic,
hold the s mocking-plea red arrangement with n row orgathering or
ba$ling stitches. Slipping u fabric
extension or 11UI'rO\V wpc underneath the edge. topstitch with
straight o r decorative st itching over
the stitches holding the arrange
mem ( Fig. 7-l~).
CRUSHED & FlATTENED
Fig. 7-10. Vandylce stitch.
Work feather stitching over horIzontal pleating tubes. l'icking up

two tubes in u stitch, zigzag back
and forth [rom right to left with
the thread fo r each s titch forming
a loot> under the tip of the diagonall y-pointed needle ( Fig. 7-I .I ).
Opened up, the srnooth fabric

extends beyond the smocking.
Opened and turned over the scam
allowances to the back, a strip of
smooth fabric biruls the edge. (Refer
to Stablll:ing Gathered Stitching
on pages 6-7 for directions applicable to smocked edge.)
PLEATS
Leave a row of pleating th;ead inside

the scam allowance or Englishsmocked pleating. For other kind< of
smocking, prcp.1re the edge with a
row crf gut ht~rlng Stitches or basting
inside the scnm allowance. v-r,th right
sides tOgether, sew tlrc smocked edge
to smooth fnbric cut to size for an
extension or binding. Locate the
machincSllldll't.l ~m in between
tire pleating. g.1tl>eriJ1g. or basting
thread and tho final row of smocked
sritching (1-ig. 7-14).
Fig. 7-7 5. Loose folds at the

hemmed edge of directly-smocked
honeycomb pleating, satin-stitched at
the base to a fabric extension, open
into a pleated ruffle.
An ahemntive: Stahilize the ruffic

wilh narrow Lape or ribbon top ..
st itched across its hase.
When the smocked fabric is thin

and light"eight and the pleats shallow. even solid pk-ating can be
crushed and Oaucned under a
machined
ns previouslr
described. But i the abric is hea"
icr and the pleating deep, or if the
pleating was engineered with contoured ltnlinn smocking, a standing
edge is the bcrtcr droice.
=m
Fig. 7-11. Feather stitch.
129
Tho A~t of Manipula_<ing Fabric
SMOCKING BASICS
STANDING PLEATS
llefore smocking the fabric. make a
uny double-fold hem in the edge
next to the final row of stitches.
After smocking. arrange the
hemmed edge over a Oat fabric
extension and tack the groove of
each pleat to the fabric underneath,
continuing the pleat spacing cstab
lishcd by the smocking (Fig. 7- 16).
Use n fab ric-safe maridng tool

to mark the fabric direct!)'
whh grid or dots:
ENGLISH
SMOCKING
Place a dot paucm under

ohe fabnc, using a ligho box
for enhanced visibilil); and
orace.
-a cwo-stcp procedure that

Involves structuring the Iabrie into
shallow pleats with rows of stitching.
and regulating the tubes of the
pleats with rows of embroidery.
Elasticity is an English smocking
attribute.
Tmcc through a doo socncil

placed on top o( the fabric
((a) in Fig. 7-17).
Mark dots as directed by a
PROCEDURES
SUWtOOthcd template ((b)

in Fig. 7- 17).
I . To csolmuoc the amount o f fabric

required, refer to "Fabric Rc.q uircd
for Smocking" on page 125.
Space :tnd mark dots

act-ordlng to the measure
mcnts indicated on an L
shaped ruler aligned, row
by row. lo ohc straighograin
of woven mbric.
2. l' leao the fabric mechanical!)

Fig. 7 16. To maintain the stand and
arrangement of smocked pleats,
hand slitch the tumed-andp/eated
edge over a fabric extension. catch
lng the groove of each pleat with a
tiny stitch.
To Stabilize a ruffied edge and also
keep the swnd of the pleats. hand
Slilch n fahlic extension or tape ro
the ple.1t fnlcl in back, behlncllbe
nnal row or rows orsmocking stitches (refer '" Fig. 6-37 on page ll3).
T he erratic stitching paths of

con lOured h alian smocking force
the edges of the pleated fabric into
uneven curves. Either retain the
shaped edge for its decorative
effect, or start and finish ohe stitching far enough from the fabric's
edge to allow for a straight scam or
a straight trim.
(rdtr to "'Using a Smocking

Plcatcr" on page 126). Skip steps
.:3, =4. and =5. continue with
soep =6.
3. To plea1 ohe fabnc by hand. mark

I he
wrong side or ohc fabric with

u grid of dots aligned to the
straightgmin of woven fab1ic.
The spadng betwe:eu the dots in
a row determines the depth of
ohe plent ing mbcs. C boose an
nppropriale dot-marking meul()d
from the following;
Place a smocking dot transfer
sheet over the fabric. Transfer
the dots 10 the fabnc with an
iron.
Insert dressmakers carbon
bcoween the fabric and a
paper patlern of the do1s. Use
poino pressure over each doo
to transfer impressions to the
fabric.
(a) ' - - - - - --
- ----'
(b)LWW1
Fig. 7-17. (B) Stencil and (b) sawtoothed template used to mark fabric
with rows of smocking dots.
Bnste or pin a dotted tissue

papel' overlay to the fabric.
(To sthch wll h a I issue paper
overiRy, handle overlay and
fnb1ic as one and gemly tear
the paper away when 1he
soltching is done.)
End of SMOCK ING BAS ICS
Chapter 7
SMOCKING
129
- - - -- -+---------- - - - - - -
-==
--
------1'-- --------- - ---
-::::::----------- - - - - .#
------------- - ---
:=----
(a)
___,_._:-_-_.:::::~_:
(a)
- -~
(b)
Ploatlng Profile
Rg. 7-19. Aher pleating, secure the

seams (a) by rytng adjacent threads
together, or (b) wfndlng pairs of
threads, figure-S style, around pins
stuck inro the fabric beside the last
tube.
(c)
'>
1)/\A/lOOA/"'
VVl/0 vVVV
(d)
Pleating Profile
Ag. 7-18. To prepare dot-marked fabric for pleating, hand sew (a) with dot-pick
up stitching or (c) dot-In dot-out stitching. From identical grids, (b) dot-pickup
produces two times as many shallow tubes as (d) dot-in dot-outwith its deeper
tubes.
4. Hand sew each row of dots with
running smchcs U>ing s1rong

ilircad cut ns long M the row
plus 3" (7.5cm), knoucd at one
end. The stitches in each row
should line up ~xnctl) under the
sri1chcs of ilie row bo,c.
To make pleat< "uh mb<s
one-half ~ deep a~ 1h~ space
bem een dms. pick up each
dot with a 1in) stitch. The
1hreads of dot-pickup gthcring C01Ch lhC tube; or the
pleating 01 1he base ((n) and
(b) in Fig. 7- LS).
To make ple:u.s with tubes as

tlccp as the S('llte bctwcc11 dot.
push 1he needl e in to ouc
d o l a nd o ut of I he 11CXI dot.
130
The An o f Manipu lating
F~bric
The threads of dot-in dot-om

gailiering. run ilirough ilic
center of the pleating rubes
((c) and (d ) in fig. 7-18).
5. Graspmg the ends of the threads.
push the fabric imo itself, gailiering h into pleat.-;..
6. Pack ilic pleats 1ogether tighd):
strctchmg length\\iSC to straighten the tubes, and steam wiili an
tron held just abo\'e the fabric's
surface. After the pleating is cool
and dry. spread d1c tubes of 1he
pleats 3pllrt just enough to reveal
the gathcriJ1g threads between
the rubes. Secure the loose
thrt~lds a1 1he ends of the scams,
in pairs, by tying or wincling
around pins (Fig. 7- 19).
ENGLISH SMOCK ING
7. Wi1h 1he pleated founda tion

right <ide up, arrange rows of
ornamental and slltbil izlng
embroider)' SLitches over the
rubes. Usc the gathering threads
10 gauge dis1ancc nnd keep the
rows straight. Pal'.< 1he needle
through the poak or Ci\Ch SIIC
cceding mbe as 1hc panlcul:~r
embroidery stilch direc1s, main
tai11ing a s~ad y 1cnsion on 1he
thread (refer 10 "S111ocking
Embroidery Sfitches" on page
127}. Follow a s tnching pauern:
Prepare a de.<ign on graph
paptr. Bis<!ct 1he printed vcnl
cal line.<. which represent the
pleating tubes, \\lili broken
horizon~allines spaced out 10
indicate the gathenng1hreads.
Using another color or colors.
outline the paths follo\\ed b)
the "rious stilehe.s as they
cross ilic tubes, drawing
short. cun')' line to Indicate
the lay of the 1hrcnd between
stitches (Fig. 7-20). When
stitching, count the tubes to
copy the design. fo center a
balanced design on the pleat
ing, baste the centor rube, nnd
tubes aL counted imcrval~ o n
each s ide, wil h colored
thread.
ll l
-I
1111 11
ll
--- -- --
II I
l IIl l 111 11
Moe k Chain
b-.
. 1-! -
F;
-I- Surface
Honey comb
Spo ol
-i-'
~-
. ...; -
-------- --- ------
- -- -- --:;.-
. , ______ -" ----P -- ------ ~!,.-
"'
- - - t--
- -
r..- ~ - 1-"
~~ -~- ~-- ~- ~~~
-~-l.~. -
Dia
mo{j
1-T-"F -
c able
-F -
:.: - - -!=
~ ~I'lf - - - - - D., - -
R, -
--
---
- - -'-= -
- - - - -
r-.- -
---~ - --- ___ ___
- - - - - - - - - - - - - - - F- -
-- \-
Jt
-
rn- _ .
-1-f-!.-d-1~=114..1-f-1- _ - _ ~+
~ ~ -~tt-f-1- _
~*~~-~~l~H:ot-~~~ - - - - - f~ - - - -e-b:I-.. --'td-'h:t-~l!d-- ~~-:.:;=rJ:!!:l!-
Fig. 720.
Traditional
English smocking pattern with
ornamental
bands devel
oped from com
binerlons of
embroidery
stttches. Note
. - _f-:: -
that tube-stabilizing rows Of

outline {mock
chain) or cable
Sltlching begin
and end the
design.
Chapter 7
SMO CKI NG
131
- --+-- - - ------ - - - - --- --- - -
--4----- --- --- -------------~---------------
--- - - - ---- - ------
(a)
---t--- -- ---- - -------1 - --
- -
----~ --- -----~ - -(b)
- -
- ---
-- - - --- ----.._
- - - - - '
Improvise a design while

embroidering. using a variety
or stitches.
8. Stretclung gcntlr 10 emphasi2e
the structuring of Lhe tubes, pin
the edges of 1he smocking to a
padded >urface. Set \\; lh st.eam.
movmg the irott just above the
fubrlc, nncl allow to cool and dry
before moving. Remove aU gathering threads.
9. l'or finishing options, refer 10

"Managing the Smocking-Piemed
Edge 011 page 128.
NOTES
- r
& VARIATIONS
Manufacture~ determine the

depth of the shallow pleats that
smocking pleatcrs and dol tranSfer
>heets produce. But in dte real
world or variables, Lhe interpretauon of "shallow pleat should be
rclntivc to fubric and application.
WI Ih hand-calibrated dot patterns
and hand-sewn gathering slitches.
pleat depth can he adjusted LOs uit
ntl)' COildillons. The d1sia.Itc~
he1wc-cn the I'OWS of gathering
stitches C:ln be related to Stabilizino
the mbcs sufficiently and having
enough guidelines for 1he. embroidery dC>ign. Dot-in dot-out stitchIng produces pleats wilh deeper
mbes tlmt arc beuer stabilized
bcc-~use thread runs Lhnauoh Lhe
"
middle of the pleats.
Fig. 7-21.
Stitching over
dots marl<ed from
transfer sheets:
(a) Pick up each
dol in a row. (b)
Pick up a dot.
sJ<ip over the
next dot to take a
tiny stitch in the
space between
two dots, skip a
dot to pick up the
next dot, and so
on. Dot-in dot-out
gathering is
another opuon.
The dots printed on transkr

s heetS renee! a rectangular grid
with a rauo of 2 across to 3 down.
To gather .lS tC the dot grid were
squared. a 3 to 3 ratio. and produce
fewer and deeper pleats, stitch from
dot LO >p.oce to clot ralher than the
usual dot t<) dot (Fig. 7-21 ). Skip
Lhrce or more rows of dots when
Stitching to introduce a band of

Irregular gathering imo the repeaLs
of ordcl'ly pleating.
Markl11g dots on the fabric is dispens~lbl( unUct Lwo circumstances:
( 1) With evenly pntttrncd ginghams, plaods, s tripes. and sponed
designs, follow a grid dictated by
the design when stitching.
(2) When the wca\C of the fabric to
be smocked Is pronounced, cotml
tlucads in the weave to regulate Lhe
lcng1h nf the stitches and Lhe space
Bccau>c of its claslitil)', a strip of

English-smnckcd fabric can be steam
set,.., cune ~light I)\ bUI, for smocking mcanL to curve: de:e:pl)' or cncircle-<lnd remain Oat-stan the cunmg nt the begmmng. Cut the fabric
on a cune and adJUSt the smocking
dots tO rndiate omward from the row
of dots :oround the utsidc <:Lu'vc.
Slash a dot p~llem marked on paper
or a Lrnnsfcr sheet between rows o f
dotS: >prcad Lhe slashed p<llLtrn over

the faht1c, opening the slashes and
increasing the distance between the
doL< from 1hc Inside to 1he outside
curve (l'lg. 7-22). Usc the most chistic embroidery stitches- large wave.
diamond. hon<)'tomb. Vandrkefor the rOI\lS of smocking on Lhe
outside curw, >aving outline and
cable, the 1\mter stitches, for 1he
inside edge.
fabric smocked In the English
manner Is as thick us the dcplh of
the plems, nkhough it loses some
heigh! when the pleats are spread.
The smocked fnbiic remains ne~;ble
ln the direction of the tubes, but
resisL< such flexibility in 1hc opposite direc1ion. Allover smocking produces an Ornl\mcnlal 1ex1ilc. Parcial
smocking also manages fullness,

relea<ing the Iabrie imo spreading
folds where the smocking stops.
berween rows.
132
Tho Art o f Manipulating Fab ri c
Fig. 7-22. Dot
panem stashed
be/ween the rows
of dots up to the
dots on the top
row. and spread
out equally a/the
cuts to adapt to
curving fabric.
ENGLISH SMOCK ING
Traditional designs for smockmg

tmbroidery arc formal, repetitive,
and symmetrical, and wmetimcs
mclude pictorial motifs and pntcbcs
of solid sLitdling within the rrcned
bands that cross the pleats. Sixstmnd couon embroidery flo>>
which can be split in!O finer n~ss
by rcmov;ng srrands, is gcnernlly
u.ed to stitch the design>.
E.''l>flimcnlal smocking pushc.
the cOIWCntions of cbssic Enghsb
<mocking. It !launL< uneven pleat
mg. inventive embroidery :tpplica
UOrb, unex-pected thrc;,d textures.
eccentric furrowed and cellular for
mat Io ns. and self-supporting consLrucLions. The deviations from
stnmlard tcdmiqucs that experimentalists exploit include gat he~ing
o n irregular grids (fig. 7-23), asymmetric embroidery sritch pancrning,
unusual embroidery sJiJchcs and
Sutch combinations, multiple tubes
c-ught into a slilch, unequul ami
exaggcmtecl carry-over distance
between s titches, overlapping
Milchcs, variable 1hrcad tcnsioats,

loose threads on the surfncc. objects
anachcd with stitching, nnd sn on.
\Vil h reverse smocking, the: wavy

profiles of the pleat tubes, controlled by imisiblc smocking stitches. are the decorative :nmcuon.
Reverse smocking is Englis h
>mocking wrong side up. The
smocking is worked on the back of
the pleats. Eilch stitch and s titch
combination produces a different
effect on the movement of the
pleats in fronL (lioncycomb slilchong. which requires 1hrend p:>ssed
underneath the fabnc. is unsuitable
for reverse smocking. ~ ~urfacc
honeycomb instead.) Re\erse
smocking and right-s ide smocking
can be combined in the snmc piece.
Lf
\
......
\ \ \
(a)
Fig. 7-23.
Experimental doc
grids chat gather into
pleatlngs with unovon
surface textures on
dol-pickup stitching:
(a) Randomly drawn
grid. (b) Unevenly
spaced grid.
(b)
lnlt P"ior smocking is a variation

of English omocking1hat doesn't
seem like smocking "t all. The
pleating is secured to a slay with
stitching laid dow11 inside the
g rooves be1wccn the tubes. Straigh1
embroidery s hchcs. sttdt as nmning. back, stem, and chain, seu'll
along each groove from end to end.
or cords couched within the
grooves, auach the pleated fabric to
a stiffened stuy. For additional texture, thread curri ed over the top of
a lube and pulled taut breaks the
flow or~ plent. Because interior
smocking requires n Sla)\ it loses all
elasticity.
Moclt smocking combines

shirring with embroidery. The irregular fo lds released by rows of gmhcrcd Slltching replace che m inipleming of real smocking.
Dccomti\'C machine embroidery
topsthched over the machinestitched and gathered rows, with a
pcnnancnt or temporary sta)
undcmeath, replaces the hand
embroidery that Slrlfttures the
pleatS o r real smock;ng. Mock
smocking is a popular coumerlcil
bcrnusc it's fast-e ntirely machine
produced , although some mock
smockers hand embroider over the

rows 10 suggest amhemieiry. ( Refer
"Shirring" on page 31.)
10
Chapter 7
SMOCKING
133
V/1-2-Mus!n os 11 em<fiCS finelt pleated I"'"' a Solly $(<1tl/Cy smocking nleat.er
VII 1- ldonoccf lcn2fl's o( (alx1c hand sht.chcd (ollowmg Klenckal dot Qrids: (lop) Sdmple garhercd on dotp>CJ<up sotc/l!ng h~ shotk>w ple<JIS w,u, lhm wbes;
(/Xli(Om) sample gorheo'ed on <lot on <let-out Sl.tc/long
has P'COIS !W/Ct os <I~P wolh broader rubes.
ENGLISH
SMOCKING
wJ aa.s.c Eng'<s/1 ~
wetl<s:d Wlfh tlree-Sirorld .,-!Jro,
dtry f.oss "" a fi>c_.-.doot;n of
mocl! '1<'-p""*'<:ed pleomg
134
Tho Art o f Monipul a <lng fab r ic
VIJ-1 Hooercarnt> smod<.<!g on mac:t>rremode pleabng. cased mro o curve w111t the
help of the pao!M des,gn and steam.
ENGLISH SMOCKING
VIr- 5 exeii:J>os o <rculor smodong over pleal5 g"thetl!d

(bwer r~ght) The mosl sua:es~(!Jl,
a modo/liOn smocked {rom a on:fe 8 (20.5on) "'
'IOmmr w.th a orcu!ar OJtour m ~ center 4 (I Ocm)
~,.,The smockmg "' the olher excmp!<.'s, on
""""" on:fts v. rh smailer certml c:v10013, IS .oes, el)~?
Jtt s.mlor f'UdiOWlR Rntls
Smoc~ <r~ one of the drries (top
le/!J .nto a cone
VII o-R.,..rse smockmg npplcs 1hc prof, es

o{ mo~ pleou. The smodong ~as tmpm.
...,sed (iflc/ rregviar
Ch>pcer 7
SMOCKING
135
VII 7-HoriLOiltol pleats ltlat

Rrodually docrcoso 1n depth,
smocked Wlrh {eat1Jer s<i!ch
ong on rhe surfixe and
,_rsc.smocked w:rh lt7W> of
OU!Ionc slltdw>g "' bad<.
ENGLISH SMOCKING
136
V/1-9-&perimenwl.
improvised smockmg
worl<ed on a ground
machine-produCed
plea-.; rexwred wollt
or
rorxtom (dds as n '"''

(ed thoog/1 the
ojIff p1eoler.
a-s
ENGL I SH SMOC K I NG
'1!1-1 D-Rugged f*anng hond-godle,.., """' o rondom grid.

omod<ed 111 ploces ,.;v, honeJ1'0r71b sritch:ng. wth gathering
threacf!; assimilated oto the mformol stJlJCUNTng.
C hapter 7
SM OC K ING
13 7
strucwrc the fabric witb pleats

(refer to "Smocking Embroidery
Stitches" on page 127). Each dot
repres<:nlS the pcnk of a future
fold and w1ll be picked up by a
sutch. The spce between dots
becomes a fold when two dots
are pulled together with stitches
(spaces W' (6mm) or 'h" (1 em)
wide arc usually appropriate) .
Straight ho rizontal rows of dots
indicate stitching pmhs for botlcycomb, s urfnce ho neycomb,
Vandyke, o utline, and cable
stitches. Designs that include
wnve, trellis, and dinmond s titch" require sr.1gg<red rows of do t<.
Align the dots vertically as well
as horizontnll)' (Fig. 7-H).
DIRECT
SMOCKING
~titchlng. worked
on a grid-based
pattern ol dots. that draws the Iabrie
into structured folds with pulled
thread while creating a decorative
pattern. Direct smocking mimics
English smocking but accomplishes
the effect with one stitching procedure rather thn two.
PROCEDURES
I. Review the procedures for
English smocking that begin on
page 129.
2. On griddcd paper, prepare a dot
pnern to support tbe smocking
embroidery stitches chosen to
Outline
3 . Mark the l'lght side of the fabric

with the dot pattern, aligning the
rows ";tb the strightgrain of
woven fabric. Before choosing
one of the following dot-marking
methods, test on scrnp of fabric
to make sure that the morking
subs~ance \viii wash out or completely disappear.
Insert dressmaker's c-arbon
betw<c.n th< fabric and a
paper p;tttcm of the dots. Use
point pressm e over each dot
to tron1tfe1' impressions to the
fab ric.
With the dot pattern underne<Hh, copy the dots showing
through the fabric. Use a light
box for enhanced visibility.
Mark dots tluough punctures
in a stencil placed on top of
the fabric.
Use an L-sha)>ed ruler to spot

straight rows of dots.
Surface
Honeycomb
~-~ f,_ ~l- ~
'-lL .:,,
~
J:I
1-t-----.
...
:..._!'~ r
f-
lr
't+'
'11-
;;_
I
-~
1-l--
':"
tc
JIT~
~
.l
Wave
Fig. 7-24.
Direct
smocking
pattern. The
cufVY lines
indicate the
thread direction of the
stitches. Only
the dots are
ma!l<edon
the fabric.
Diamond
t 38
The Art of Manipulating Fabr ic
DIRECT SMOCK ING
4. Picking up each clot as if it were

the fold nc the tit> of a pleat, stitch
across the fabric. Refer to the
wavy lines l)t1 the pattem fo r
d irection. The stitches that connect two adjacent clots from the
same row (outline and cable), o r
two-St<pped but adjacent dots
(\\Jvc and trellis). are pulled ~aut
and together to create the tubeand-chonnel composition olthe
smocking. The stitches that mmc
up and down between the pulled
stitches (surface honeycomb,
honeycomb, dinmond, nnd
Vandyke) rcmnin slack to maintain dot SCj>llrntion (Fig. 7-25).
NOTES &VARIATIONS
(a)
(c)
(b)
Lf t he fabric is woven or prin ted

with n grid-based pauem (ginghams, checks, spotted designs),
smock b)' foUowing evenly spaced
points rep.ated on 1hat grid .
Direct smockmg has an arrange

ment of folds under the stitches, an
obvious difference when compared
to English smocking with its
nnmistak.1blr pleated substructure.
Direct smocktng is mo re flexible
across llc pleating than English
smocking and, started from idenl:i
cal grids, doesn't finish as thick.
Unlike English smocking. it is no t
elastic.
(d)
Fig. 725. Honeycomb stile/ling interpreted for direct smocking: (a) Pick up dots
2 and I on the needle with two separate, tiny stitches. (b) Draw the dots
toge/ll er on pulled thread. (c) Insert the needle Into the Iabrie at dot2 and bring
It out at dot 3 in the row below. Do not pull dots 2 and 3 together. (d) Pick up
dot 4 and then 3 on the needle and draw dots 4 and 3 together on pulled
thread. Continue moving up or down behveen rows of dots, altematlng between
taut and slack stitches.
The distincuve: fom1ation of

folds produced by l't\'trsed direct
sma<:king is much different in
appeamncc than the rippled pleating of reversed English smocking.
Reversed direct smocking is marked
and stitched on the wrong side of
t he fabric, Because of t hread visibil ity. avoid using the honeycomb
slitch.
Expelimentttl direct smoclling is

worked on a grid o f unevenly
spaced dots, wh ich may o r may no t
be marked on the f>bric:. The stitching changes and wanders as inspira
tion directs.
5 Pin ll1c finished smocking
around the edges to a padded
surfoce. gently stretching it into
shape. Steam w ith an iron held
above the fab ric, and allow to
cool and dry before mo,-ing.
6. For finishing options. rder to

"Man3glng the Smocking-Pleoted
Edge" on page 128.
Chapt er 7
SMOCKING
139
VII I3- Expemncntat drect ~mac.l<lng \vtth outhne. cabJe.

hcneycomb. and surface loneywmb sntdli!1g appled at
random lo an erro/Jc god
DIRECT SMOCK I NG
VII-14- The Pad<
become.; !he {rom
for reversed direct

smocking
140
The An ol Manipu lating Fabri c
DIRECT SMOCKING
method, mark t he wrong side of

the fabric with an equidistant
gricJ of clots. For 1he Oower pat
tern only. dot the right side of
the fabnc wtth a prc,1ously
tested. fabric-safe. washout or
diS3flJX'3ring marker (the Oower
vari:nion 1S sutched on the
wrong side of the fnbric).
NORTH AMERICAN
SMOCKING
-a grid-regulAted system of pulled
stitches alternating with slack stitches that invisibly reshapes the fabric
into an intricate composition of
folds.
(a)
3. Following the ><itching path indicated fo1 the pauem, smock row
by t'Ow with stu rdy th read, con
necting pnirs of d ots with pulled
stllches separated by slack, knol
ted stitches (Fig. 7-27). Por the
PROCeDURES
I . Select a paucrn from the diagr:tm$ in r:ig. 7-26. ( Refer to
Fabric Req uired fo r Smocking"
1111 page 125.)
(b)
JE;
~
Onwer and Lhe flower variation
2. Review the English smocking

directions for marking dots on
fabric, step =3 on page 129.
Choosing an appropriate
pa11cms onl)', connect four dots

on one pulled stitch (Fig. 7-28) .
(c)
. 2'~
A~
/~
(d)
' 1- i_ ,i~i..,_.......i.-i.
- ~
_./ -
----+-
I I I.........-...I
. I- I --
Latllce
L.ozenge
F~g. 727. To stitch the lattice, lattice
variation, and lozengo patterns:

(a) Bring the needle up at dot I, pjck
up dot 2 and (b) rerum to pick up dot
1. (c) Pull dots 1 end 2 together. Pick
up dot 3 and Slip knot the thread to
secure. (d) Pick up dot 4, {e) return
to pick up dot 3, end pull dots 3 and
4 together. Continue. alternating
between slack and slipknotted, and
pulled stitches.
Lotllco Variation #1
2
Lattlco Variation #2
.bJ
c-1: 1- 1: nI
6
.......s-~ --
i7i
n il
---
-
. . . .n
i~l . ..~o
Flower
1.,1
l_
l:=l_ []
Flower Variation
Pulled Stitch
Slack Stitch
Fig. 726. North American smocking patterns.
F19. 728. To stifch the flower pattem.

pick up dots 1, 2, 3, and 4 with stitches
angled toward the center. Pull the dots
ragether tightly and secure with a tiny,
Invisible s#tch. Without pulling the ccnnecffng thread, carry the thread in back
to /he next group of four dots and repeaL
Chapter 7
SMOCK ING
141
4. Whh right side up, pin the fi nished smocking around the edges
to a padded surface, su-etching
genLI) while s~n~ightening the
sides. $learn ";th an iron held
just above the smocking. Allow
tO cool and dry before moving.
5. For finishing options, refer to

"Managing 1he Smocking-Pleated
Edge'' on page 128.
NOTES & V ARIATIONS

Fabric already patterned with a
g rid-based design t>f lines or spots
cancels the need for marking with a
grid of dots. Unlike English and
direct smocking. Nonh American
smocking is supple in all directions.
h IS no1 elastic.
For rc\ trsed Nordt American

smocking, the wrong side is the
intended right side, and the marking and Stitching are done accord ingly. Choose decorative thread
bct,IU>C the slack. knotted stitches
wlll be visible.
Experimental Nortlt American
smocllir~g Involves playing wilh
variations: Change from an cquidis-
Yll-1 S The lcUICJl panern.
NORTH AMERICAN
SMOCK I NG
tnm o r squared grid to a rectangular

grid. Gradually increase/decrease
the size of the grid. Combine
Oower l)'pe stitching with the
Slitching for non-Oower panerns.
De''ise original stitching paths.
Ylllb-Ait~nacive s!J'Ucwrmg
142
The Art o f Manfp ula ting Fabric
preset1ted by !he
,.,,erse Side of the lotiJCe smockmg sample.
NORTH AMERICAN
SMOCKING
'Ill-J8- Rowr pouem worlo!d on a

gtaduollj expat>tjng grid o('*>ts.
After~ tJf {olds ex~
!hose oudoning lhe <en!1lll <lomond
were pu->hed up ro lhe ~
CI'OC!orwlhe pew141<e (Mnaoons.
Chapter 7
SMOCKING
143
gQE55=:5555QQ~ QQQQQE55=:
I TALIAN
SMOCKING
. - - ....... ... 1 - - 1 " " - , - - 1"'" '

.I .. 1 .......... 1 1 .......... 1" 1 .... .
~ ~~=~~~ ~~~ ~~~~ ~ ~~~~=~ ~~
- Iabrie drawn up into close pleats

on rows of gauged stitching with
deviations that create patterned
irregularities. There arc two kinds of
. .. . ... I I . . .. . . I I ... . :.. I I . . ' ... I I . .. . . . l I .. .
== == ~ ~ ~ ~ = ===~~~ ~ = == =~~~
:-, :-. .- . :-, :- I ; : I -, :-. .-. .- . :-. .- I : : I -, .- . -. .-. :-: :-: I :
s:
.... . .. , . I _ _ I . . . ... , . , . I - - I .. . . . .. .. . I - ""
Italian smocking:
..~ E:~ E:~ 5gQQQQQQgBE-~ 55EE

,-... --- -... --,
-.. .
CONTOURED ITALIAN
SMOCKING
-fabric gathered into pleats on

rows of stitching that wm and angle,
causing the pleats to bend and crumple where the stitching veel'1\.
SHIRRED ITALIAN SMOCKING
- Iabrie gathered into pleats on

rows of straight stitching with
skipped stitches that fo rm a delicate,
puffy, raised design.
P ROCEDURES F OR
C ONTOURED I TALIAN
SMOCKING
(a)
2. Mark s titching path on rhe

wrong side of the fabric.
Marching Lhc s titching lines ro
the suaighlgrain of the weave,
place rhe pattern undcrncarh the
fabric. Trnce rhc broken lints
with a fabric-safe, fm e-poinr. disappearing pen or pencil. ahcr
nating colo rs fo r successive
rows. Use a light box fo r
enhanced visibility. Carefully
~-
--- --- I
i:: i 1 ~~
:_=_ I
'
1 1
1-: I I
___
- - -- -- I I
-~ ~ I: _
I ' -
- ' I -
-I I'
II
II
-
== =
I .
=- - ,. ,. ._.,.. - ... - . . . .
(b)
I
:
I
__
- -- I- I
-
1 ' ............ .,.,.. _ _ _ ,..,

l ' - - - - - - - .,. ; :._ ~ =- ..,.. .... -:: -:. ~ ...
~ ~
t t. 1.,
- - i
. ~ . I :: ~ ~ _ l ..
-
- -
. ,. ._ . _
- I . - -
-~--
- -
" -"'
~
' I - ;.
' 1 '~ - - b l'
- 1- I - ' - - - ~ 1,...
I I =::' i:;"::l ~' :::: 1 10:-:11:::: _ _ - ~--- ._.-. ~ t.,.....,..,.. -tt"
- . I - - - - t 1 - - - _ ..,
1 I - - 11 '--'
- - I- I -- -- 1 r- - -,
-"'
- ~. -- -- 11
II -- , - -- , ~ - "'
t : - - : l : '' - :: :: - :
_:
. I -
I ' -
=:;
. I - -'
(c)
Fig. 7-29. Throo pallems for contoured flalian smocking. The arrows on the
right indicate where rows of stitching begin. Each short line represents a surface stitch. Stitches move in and out of the spaces between lmes, and they
do not follow a straight path. The large triangles ( ) mark the limits of one
pattem repeat. (Dotted lines are gridline markings, not stitching indications.)
3 With strong thread as long as a

row plus 3" (7.5cm) for each
end, stileh each row as marked,
a surface stirch mer e-ery line.
Do not secure or dip rhe threads
ar the ends of seams.
re-aligning the pauem, nnce :\S

many repeats of the design as
necessary. An ahcrnalivc to trac
ing: Use a tissue-paper overlay
marked wirh rhe panem.
144
- - === =_:
!
==:; .: .: :: .; :; :; :; :; :. : -:
__- -*"
_ ..,
-__ _____ '=" .' t
- -
- -
1. Copy one of the designs In

Fig. 7-29 on appropriately
scaled, griclded paper. To avoid
conrusion, alternate between two
different!)' colo red pens for successive rows. Note that the short
lines and the spaces in between
are equal in size, and that their
length equals the depth of the
pleating fonned when the sti tch
es are gathered.
- I .~' I - - . '1 . I - - - - - - "'

~
I .. ~ ~ 4 . I :_ :: .: :: :: :: :: :: :::
J . . ' I --- - ....,..,.._.~ ~ . . . . i - ._. -...,....,.. - - - ~
I :_: I ' I ~
~
~
I ' . hr
- I . II . I - - - - - - - - - - - - - I . ~ I ' I - "'
- - " I . ,_. - - - . - ...... - - T'..,..-=- Jt ' 1 - - " '
---' I ~ -- - ---- -- ~
,.
---- - . 1 1''
' L ~...,.. ...,.. ,... _ _ _ 1 '
--1 _ _ _ __ 1 ' 1' 1 .__ _ __ ..,
..! -
The Att of M anlpu luing Fabric
ITALIAN SMOCKIN G
4. Grasping the ends of the threads

two-by-IWo. push the fabric inro
itself on rhe stirched thread,
ga!l1cring it into dose plears. To
secure rhe pleating, tie rhc ends
of the rhreads wgelhcr in pairs
nnd trim.
2. Mark dots o n the right side of

the fabric, alig ning the dot rows
with the StTaigbtgrain of woven
fabric. Choose fabric-safe marking substances that wi ll wash o ut
o r d isappear, having been previously tested on a sample of the
fabric:
PROCEDURES FOR
SHIRRED I TALIA N
SMOCKING
l. Copy one. of the designs in
Fig. 7-30 on gridded paper appropriately scaled for the pleating.
The space. between two dots in a
horizontal row becomes a pleal
fold when the stitch ing is gat.he red .
With 1he pauern underneath,

mark the dots that sho w
throug h the fabric. Usc a light
box for en hanced visibility.
+ Mark dots through punctures
in a Slc.nci1.
Use an Lshaped ruler to mea~
sure the separatio ns and mark
the dots.
+ Trace do t impressio ns fro m

the paper pattern o nto lhc
fabr ic with dressmaker's carbon between both.
- -
- o--.-..-..- o -o- .
-- ----------------------- - - - - -- ---------
- - - - - :.: 1 1 lo.- - - - - - - - X > - - --- - - - > X X- -- - - - - - >
X .- -- .c---
--->t
"
oc x--- - -- oo;"' ,. lot- - - - -'1(
x x- - - - - x x x
-- >
>
>- - - -)1.
l<
'II
ot
- X
- ---:1(
- - - -)(
Iii
..:-
It
)1'-
- -- "' >(" ,. - - -- - - x- -- -- - 'JI
---- .
------>
I(
I(
- - -
- X
- X
l"
)II-
- )I( --
x- ----x
x x x-~
--
-------- 'x - ----- ------- -.. . -x----

- -
- -> x >--
- -
- - ->< .. .. ----~---.
- -- -- - o: " - - - - -"' - - x - -- - < k <- - K x- - -- - IC
K x------X X x--- JI V
- -- - - - >o:X ---X
'0: II II 1'. - - - - - >o: ll. x X
--- ---- - -------
)I
'It
)( - - - ! (
1'1 )( )(
1(
,.
lil
11 - -K
~- ~
x - - - -K
1(
0(
I(
~< --- -- ---)(
x -
)(--- ---~
-
- -
>1
- -K
W-k
)( )(--- - - - -- - ------ - --><
-- -- ---- -- -- -- ~ -- ---
( a)
..
. --
- - -- - - - - - - -
- --- - - - ----------------- -- - --
--- ------------ --- -------- ---- --------1(
X -----------------
ll---- - - ----- -- - - -
- - -- --k x---------x
-- -----K x--- " - X------- --X-----
----X
- -------X
'II.
l(
-- - X
- -
- lt
lC
x )(
:.e---x
10--- ---
'll
X lC- -" J t -)(

x - -X X
--X X
- - -'1(.
- - -- <
:J(
, _
)(
X -
: . t -)(
)I
' l C -'11.
x ) t -- - - - 'IC
--
l!f-- lC--x xx- xx - -X X X- -x- - x
'll
"
1t ,..__.,. 11.
IC ! ( - - -It It - -x K
- x l'; )( -1( x- -x 1'.
l C -1( X 1C- -x X x -
)II
x- - - -X X x Xt-- - - IC )( le---W 'll ._,_ .

- - )( )( lli X - -" x--- -- -- - x k --x- - X K x- - - - - - --K X x--- -
It--- - -- -)(
>
x - - - -> x x- - x
)I(
-- .
- ----------- --
----- ------ -,.__---
------><----.
--- - - - - -- - -)( X)(-----X x----- -Xk -l'l------ - -----

-- - - -- ----X --- - --- --------->( k ><---- -- -- --
)(
- - - - -
)(
)C
)(
J(
" ' - - - -
- -
- - - - -- ) (
)(
--------- -- - -- --- -- ------ -- -- -- -----

K
{b)
- -- --------.- - - -- -------- - ,- - - -- -- -
----- -- -- ------------)It,. - ---- - -------,.
)(
x- -K
- - -)( )( Ji-J(--x )x1-------x--- - - - - --- -->-x
x >--
- - x - - x x- - x x- -
x
.11. x- - x " , . _.
- x "'- x x 11. ~ -.. , _ , _ .
x ,c. ~)( )( w ,c - - "A ,. ,.__,
-
- --
- lt
)(
)(
l ( -l(
J(
)(
~
X
It
)I
)(
)(
X-
)1.
- - - -
. _ . ,_
)C.---)1
1t 11.
-
~t-x
)(
)(
- - -
)( - -
l t - -'11:-- )(
- - - - x x
- :.;
- X
)(
"
<------- -
- --
-- -- ~- -- --')1.
M - --
- - -
x- - x x x- - x x - -
l(
'It
1(
)(
I(
I(
)( - - --
)1(- - x x ><-- -
. x - -- - ----- - - -
--x
- -
- -- - -
- --
"
- -- -- - x x '><- ---- - - -- - - - - -- -x
'II
)(
- - -- - --
11. ~ ----
-- --------------- -- -- --- -- -)1-)( - -- -- ------------

X
x---- - --- - - - - 1<.

X---- - - -- - - - x
)I
lt
)(
)t--- -- -- -- -- ~
K-- - - x
>- -- -- -- -- )( )(
-- -----
- -- ---- --------- --
--- )11( 1)(C-J<----- ------- ---------
---
------
-- - --- ><-- -- --
- ---
<
)I
- ----------------------'
- - - - --x x >----- - 1 -. x--- ---
-
- -
- -
- -
'II' lC-
-"
- X
Jl )(
X-
- -
- -
- -
- -
- - -X
>- - )(
)<
~ --
--
Fig. 7-30. Three
designs for shirred

Italian smocking.
- - ------ ------ -- ---------- -- - - - -
(c)
- - --- - - - - - - - --- - --- - --- - - - - -- - - -
- -- --- - -- ---- - - - ---- -- -- -- - ------ -- -
Chapter 7
SMOCKING
145
x:-
---
Counting dotS from the top

and bonom of the design, x
mark the dots that make up
the motifs.
3. Use strong thread as lo ng as a

row plus 3" (7.5cm) for each
end. Without securing or clip
ping the threads at the ends or
rows, follow lhc dots with dotpickup stitching:
n. Pick up each dot in the first
row with a tinr stilch.
b. For the second and all interior rows. pick up every other
dot with a tiny stitch, but
(litcmalc the dots picl~ed up for
a(ljtlwtt rows. Carry the nee
die and thread behind each
grouping or x-mar ked dots
(Fig. 7-31).
c. l'ick up each dot in the final
row witb a Liny stitch.
4. Grasping the ends of the lhreads
IWOb)'two, push the fabric into
itsc!C on the stitched thread.
gathering it into lightly massed
ple:us. Gather from one side to the
center, then the other side to
rhe center. To secure the pleating, tie the ends or the threads
together in pairs and rrim.
146
T he Arc of M anipula cing Fabric
Fig. 7-31. Shirred

Italian smocking Is
based on dot-pickup
gathering. with the
thread skipped underneath the r-marked
dots. Groupings of
x-marked dots are
always in threes or
lives.
NOTES & VARIATIONS

Tradh lo nally, the fabrics used for
halian smocking are S<Jft and thin,
bu t, for contemporary purposes, the
techniques have been successfully
applied LO a variety of uncom'entional materials. In general, Italian
smocking uses extra,-agant amounts
of fabric (refer to "Fabric Required
for Smoc.k.ing' on page 115) . For
finishing options, refer to
"Mnnnging the Smocking-Pleated
Edge" on page US.
After gathering into pleats,
h ulinn smocking designs con traer
into nn llbbreviated version or lhe
design on paper. To offset this
shrinkage, designs a" ' always elongated sideways whco planned.
Shirred italian-s mocking designs
become so compressed that they are
planned on a grid with rows more
closely spaced than the dots widhin
dhe rows. Before developing an original pancm, understand dhe stitching process and how it works.
Indicate stitching padhs for several
repeats Of the design tO make transfer to fabric easier. Stitch from the
bottOn\ Of the fabric up after marking widh chall<y-type subs~mces
that easily rub
orr.
ITALIAN SM OCKING
Using one thread to stitch two
rows is cfficicnl and se:cures one

end of the pleating permanently.
Cut a lengdh of strong rhread l\\~ce
as long as needed for one row, plus
6" (15cm). Thread one end into a
needle and stitch one row. leaving a
3" ( 7.5cm) tail of thread after the
lnst Stitch. Insert dhe long, dangling
end or the thread into the needle
and stitch the next row; Gather rhe
two rows stitched o n the same
thread as o ne, pushing the pleat ing
ns it accumulates from o ne end to
tl>e beginn ing, uud Lie the ends to
secure.
After stitching but before gadhering, sonk or wash out the dot markings for shirred designs and iron
the fabric. Where appropriate to the
application. tic the threads to
secure the gathering- but don't
trim rhe ends. The shirred smocking can be undone for future laundering :ond ironing, and re-pleated
artcrwnrds. Because the gathering

lh tcacl fo r shirred Italian smocking
becomes o visible part of the bas-
kc.twtttvc pleating, the decoralive

ns well as dur:tblc quality of lhc
thread should be considered.
Fabric smocked in the Italian
manner feel~ finn and solid. It is as
thick as dhc pleatS are deep and it is
not elasric. Bodh typeS of smocking
roll widh dhe dlnection o( the pleats
but resist such ncxing across the
pleating. Because the pleats are gathered so tighdy, shirred smocking is
stiffer than contoured smocking.
VII- I 9 Contoured desgn stJ(c/led ~ d.'IJgrumml!t)"' Ag. 7-29 (see (b))
Vl/.20 .U.ntoured deslgo SlJtched os cbagrummed In Fig. 7-29 (see (c)).
I TAL I AN
SMOCKING
VII-21 - Shtrred doSJgn sotch<X) as

cbagmmmed m F1g. 7-30 (sec (c)),
wilh dertcaze, basketweav~ pltat1ng
CtOUnd rhe raised mov[s. The rt!tmed
(<Jbnc (il!ls l'liD ~ fiJ) fold<
bduse lite p.e<nS. vn.dl .., odt
\18 (3tm>) doep.""' so compaa.ct.
Chptcr 7
SMOCKING
147
ucks are slender folds lifted
from the fabric and sewn at
their base from end to end. The

folds are either pressed into low
relief or they are maneuvered to
project with higher relief from
their seamed foundation. Tucks
vary in width from broad to tiny
and pattern the fabric allover or
in isolated bands. Tucked fabric
is stable; from the back, tucks
appear as seams. Tucks add selfthicknesses to fabric.
CKI
8 Tucking
TUCK BASICS ..........................149
l:ixtondlug the Tucking
Fnhric ..............................149
Srams coinciding whh
tuck, ............................ 1~9
Sc.un.> perpendicular to
tucks ......................... - 150
STANDARD TUCKS
Pin Tuck< Spaced Tucks
Bhnd Tucks
Gmtluatctl Tucks
Centered Tucks
Doubled-and-Centered
Tuck>
Tnpcrl Tucks.. .................... ! 50
l'roccdurcs ...... .. ..... .. ..... ...... 151
Notes & va,iations ........... ... l53
Designer tucks ................ 15~
Cro)s Lucking .................. 154
Random tucldng ..............154
Mock pin tucking ............ 154
CURVED TUCKS ......................160
Procedures ..........................160
Notes & Variarions.. .. .. ........ 160
SHELL TUCKS ........... .. ... .. ........ 162
Procedure> ..........................162
Note> & Variations .............. 162
CONTOU RED TUC KS ..............163
Proced ures .......................... I 63
Notes & Varintio ns .......... ....164
Keyhole tucks ..................164
S:uin-stilched comourcd
tuck, ............................164
SLASHED TUCKS
Shark's T<eth
Smp-fnngcd Tucks .............. l67
Procedures .......................... 167
Note. & Variations .............. l 67
Ruvclll-d-fringe t:ucks ...... 168
CROSS-STITCI It: D TUCKS

Undulating Tucks
Bow-Tied Tucks .................... l 71
Proccdu res ..........................171
Notes &: Vanations .............. 171
CROSS-TACKED TUCKS
Bubble Tucks
Cabled Tucks ........................ In
Procedures .......................... 173
Ncues & Variations .............. 173
I'ARTIALLY SEAMED TUCKS
Released Tucks
lntcrruptctl l'uck> ..............175
Procedurts ..........................175
Notes & V<~riatio ns .............. 175
SEAMLESS TUCKS
Cluster Tucl<s
ned Thcks ............................178
Procedures for Clu<ter
Tuck, ................................ J / 8
Procedures for ned Tucks .. 178
Note< & Varhuions .............. l79
RcvtrM'<I cluster tucks .... 179
Meandering tied tucks ....179
PATT ERN TUC KING ................183
T UCK B ASICS
E XTENDING THE
T UCKING FABRIC
ucks reduce fabric measure-
ments m C)ne: and sometimes

both directions. &fore starting to mck, It may be necessary to
increase the length of the fabric

with an addition. After tucking,
extenslon-ndcling metbods vary
with the kind ol tuck.
SEAMS COINCIDING WITH

TUCKS
To join two l>icccs of fnbric with a
seam that pamll cls the tucks, hide
the scam behind an unfinished
tuck. fi nish one pic<c of fabric
\\~th a folded but unstitcbcd tuck.
addmg a seam allowance underneath. Lp the fold o,er the edge
of the second lcn)\th of fabric, pin
together, and <ew the tuck.
Continue the tucking (Fig. 8-l}.
l'roccrlures .......................... 183

Notes & Vuriations .............. l83

locnted undcrnc:LLh the relevant
columns.
F~g. 8- 1. To add fabric undetectab/y.

sew the last tUCk when It is lapped
over the extension.
TUCK BASICS
149
STANDARD
T UCKS
-parallel folds pulled up from the
surface of the Iabrie and held by
stitching from one end to the other.
Standard tuck seams are straight and
sewn at an equal or slanted distance
from the folded edge through two
layers or fabric. There are seven basic
types or stnndard tucks:
.
.
:
l
PIN TUCKS
i I
(a)
(b)
Fig. 82. (a) Tucking continued across previous seams. (b) Tucking pieced
together after sewing the tucks.
SEAMS PERPENDICULAR
TO TUCKS
After sewing two pieces of fabric
together, fold and sew the tucks
across the joining ~am . u nless
there's a compeiHng reason to Luck
r.m and join later ( Fig. 8 2).
1\tcklng fi rs t and j oining later
chnnge.s 1he vertical tucking pat
tern when both pieces or fabric
were rucked with differem arrangementS. or when mismatching identically tucked pieces is intentional.
Matching idcntic-~Uy tucked pieces
with Onlcky precision has a decorative pu~ when the fabric changes,
or when the int:ru!tion of horizontal
scamUnes is a designer choice.
When finished rucks are pressed
Ont, nttaching an extension to Lhc
tucked edge Is simple: Sew the two

toge1her with right sides Jacing, or
lap the tmned edge of the extension
over the tucl<ing and edgestitch.
When tuck folds project or cause the
f~hric to puff. the edge where the
lucking ends needs preparation
before adding the extension:
(I) Flaucn the tuck folds with basting an a manner that continues the
pattern and direction of the folds.
Gnd ( 2) stabilize the scam
allo" anccs of cross-tacked and
seamless tucks. and pattern tucking,
with h:md or machine stitching that
also controls SITctch and dimensions.
I SO
To motntnm the stand of

or projecting tuck folds
when attaching an extension. press
and stitch a single-fold hem into
the fabric before stilching the tucks.
up the hemmed edge of the rucking over the extension and attach
wit h hand stitching (refer tO
rig 7- 16 on IXtgc 129), or zig;;ag or
hc.mstttch by machine. Machine
sew slowly. moving each tuck fold
back and then forward to keep it
between the stitches that straddle
the edge (Fig. 8-3).
unpr~d
- narrow tucks that are sometimes

only a pin's diameter wide but are
never seamed more than 1/s" (3mm)
from the fold.
SPACED TUCKS
-tucks that are identical in width

and visibly spaced an identical distance apart.
BLIND TUCKS
- tucks without visible spacing in

between because folds touch or
overlap the seam lines of adjacent
tucks.
GRA DUATED T U CKS
- a series of tucks that progressively

increase in width with the visible
spaces between also progressively
Increasing. matching the width of the
smaller of the adjacent rucks.
CEN TERED TUCKS
- ..
.......................
..................- ..
- .- ..............

-tucks with two folds made by centering each tuck over its seam.
Fig. 83.
Zigzag top stitching that
a ttaches
tucked fabric
with p roject
ing folds to
an extension.
.................. .
......_.. ..
-~
D OUBLED-A N D-CENTERED
TUCKS
-are subdivided with secondary

seams into two par ts which, when
centered with one seam over the

othet, form two !ltcks stacked one
on top of tho Other.
TAPERED TUCKS
- tucks sewn with straight seams
which move in an oblique rather

than parallel relationship to the fold.
(Refer to fig. 8-4 .)
En d of TUCK BASICS
..
iI
''
laroet meuurement
Jwidlh +viSible space]
llumber ol Tucks
c. Figure the tolal amount of fibric required for the tucking:
II
Pin
lUCk width X 3
Iabrie required lor one tuck
Spacod
fabric required lor one tuck
x number oltucks
.l
i'
I
I
! !
i
:
!
Blind
-- --- -
x number ollucks
fabric needed lor lucks
visible space
! i
i I
I
I'
'
ii
tolal visiblespace
fabric needed lor lucks
+ totJI YIS1blt space
Fabric Fltqulremenl
Graduated
--
--
i
i
,~
i
i
i
I
I
II
:
I'
:
I
Centorad; Doubled and Centered
.
:'
'
I
iI
I i
Formula 1:2:
a. Establish measurements for
the width of a tuck ( the space
between tuck scam and mck
fold) and the seom space
between rwo adjacent tuck
senmlines (Fig. 85).
h. Find out IHlw many tucks will

fit within the target measure
mcnt:
Tapered
Fig. 8-4. Standard lucks
larget measurement
+ saam space
PROCEDURES
I. Estimate the amount offabnc
required for tucking that u;ll
match a target measuremenL
Apply o ne of the follouing
methods:
UNEQUAL DESIGNS
For designs with unequal tuck

widths and spacing, fold paper to
uy o ut dlfferem an-angemems.
MC1\Sure a repeat of the chosen
arrangement befo re and af1er fold
lng, and calcula1e from that basis:
Formula I'll:
a. Establish measurements for
r.he widrh of a tuck ( r.he space
between ruck seam and tuck
fold) and the vislblt spact
between one tuck and the
next ( Fig. 8-5).
number of Tucks
c. Figure the 1otal amount of fabric required for the tuck;ng:

luckwlidlh x 2
tuck width Inside seams
luck width Inside seams
x number or tucks
b. Find oul how many tucks "ill fit

within the tnrgcL measurement:
lotal tuck wodlh Inside seams

101at tuck width Inside seams
+ targe1 measuremenl
.. Fabnc RequlremenL
Soam Spaco Between Tucks

/"""'>, o(""o.r-.., ~ ~,........,.
(btloreloldlng
+ after lolding)
'
:
x tatoet menurement
Fabric Fitquemenl
UNLFORM DESIGNS
For uniform designs. use formula :1 '" formula 112.
r-1 ~!
!.
'
:~
,_
- ~ -o'!?~~p
i:
i:
-:
~:
VIsible Space Between Tucks
Chapter 8
Tuck
Width
F~. 8-5. Tuck ter

m111o/ogy defi'IO()strated In a diagram with two
spaced tucks on
either side of three
centered lucks.
TUCK ING
151
Note: The width of a cemered

tuck, measured from fold to fold ,
is idcmical to hs measureme nt
from fold to scamlinc before centering. When cemered tucks are
doubled. the1r combined uidths
equal the width in the formulas
(Figs. 8-5,8-1 0, and 8- ll).
I
I
I
I
I
I
.-
bl
~Tuck
1
,- 1-,
I
Width
I.,
Fig. 86. Two tucks before sewing.
oiT fold positious for e\'ery

tuck on the top and bottom
edges of the fabric, marking
with a fabric-s.~fe disappearing
pen. chalk, or scissor-nips.
Connect opposile edge marks
\\1th the ruler and indicate
fold Lines with disappearing
pen, chalk, o r thread basting-or fold between the edge
marks nncl crease with an iro n
(for ccnt.ercd tucks, crease

very lig htly). Align folds to
the st:raigbtgmin of woven
fabric.
b. Indicate slitching lines in the
ent markongs (another color,
longer basting Slitchcs, or
narrow masking tape beside
each scam li uc). Mark the
stitching line to the lclt of the
fold lln~~thc line visible on
The Art of M an ipulat ing Fa bric
F'lfl. 8-7. Preparing

Iabrie for tucking with
fold- and stitchingline markings.
I
I
I
assure accuracy when sewing.

3. Sew the tucks by hand or
machine. If not done before. fold
on the indicated lines with
wrong sides together and crease
the folds \\1th an iron, or nm the
length of the l.~utly held fold
over the edge of a table (crease
centered tucks lightly). Pin the
layers together and stitch each
tuck fro m the side that will be
seen. Turn previously sewn Lucks
away from 1he Luck seam in
progress.
a. When stitching lines arc not
indicated, hand sew with an
same manner but with differ
I 52
I
I
I
(Fig. 811). For slippery fabrics. mark a stitching line on

either side of each fold line,
lines that will be matched to
prevent fabric creep and
Fol d Lin e ./
a. Using a long ruler, measure
need two sLilching 1incs
I
I
I
I
I
to p when Lite tuck is folded

for seaming-if marldng is
nece.<MT)' at all (Fig. 8-7).
Scamlinc indications are
optional when tuck width can
be controlled ,.;th a sewingmachine device or a wcklng
gauge while hand SC\v;ng.
Scamlincs for pin tucks are
never marked. Tapered tutks
and unusually wide tucks
need sc:unlinc mdicalions.
Doubled-and-centered tucks
I
I
~:
Seamlines
......---c-.,
I
I I
I
I
2. Mark wcklng guidelines on the

rigl11 side of fabric that has been
cut tO size ( refer to " Extending
the Tucking Fabric" ou page
149). Every tuck has a fold line
centered between two stitching
lines t h111 :Ire matched for seaming (Fig. 86)- but marking all
lines is seldom necessary:
i
I
C:\'en running stitch and a card

board tucking gauge ( fig. 8-S).
. I
Fig. 88. Hand sawing tucks with a

gauge notched to direct the seam in
progress, and to Indicate (1) /he
width of the tuck, and (2) the dis
lance between the stitching line and
fold of tho previously sewn tuck.
For machine sewing, control

needle distance fro m the folded edge b)' aligning the fold
\\1th markings on the needle
plote of the machine, with a
magnelic or scrtw-in scam

allowance guide. ""h masking tape stuck to the bed of
the machmc, or by using the
right edge of the presser fooL
as a gauge (Fig. 8-9).
''
I'
I
I
I
'
li
I
I
.I
!
l ..;
I'
'
I'
I
~
;-
.l..
.i
- :.
.i
1 -
Fig. 89. For precise stitch formation,

sew tucks with a straight-stitch foot
and round-hole needle plate
attached to /he machine.
STANDARD T UCKS
Specialized machine attach

mtnts that assist mck
sCMng-an overedge foot, an
edge stitcher. or an adjustable
blindhem foot- keep pintuck
senms from wandering and,
for wider tucks, the tucker
and the gauged prcsscr foot
save marking time and s up
port precision.
b. Folluw the s titching-li oc
maddngs when sewing. If
bnt h stitching lines are
marked. pin mutcb and baste
each tuck befo re s tarting ro
sew. Avoid snagging the marking or basting threads in the
tuck scams. For doubled-andcentered tucks, sew a secondary as weU as a primary
seam (Ftg. 8-11).
--
!'
'
.
.
'
i'
For centered tucks, center the

tuck fold line over the seamline before pressing (Fig. 8-10).
Fig. 8 - 10.
Centered tucks
(a) after seaming; (b) pressed
with fofd lines
centered over
seamlines.
l:
.
l- --- --
+-
(a I
--
mended for doubled-and-ceotered tucks. After topstitching

press agoln.
o"cr the primary seam before

llftsslng (Fig. 8 -11). As a prel>ressing aid. push a dowel
inside the tuck tube to open
and spread it for centering.
5. Secure the tuck folds at each end
with hasting inside the seam
allowances. Topstilcb down the
middle of centered and doubledand-centered tucks, an option
fo r cc,ntercd tucks but recom-
---
appropriate in so me instance..c;: Draw

out a thread fron1 Ute wro\'e of the
fabric, Tum the fabric to the back
and score Mth a blunt tapcsuy needle. Make rows of tailor tacks.
6 Rercr to "Extending the Tucking

Fabrk" on page 149.
NOTES
---~---
(b)
When cre:~sing folds prior to

stitching. fold and press over the
straight edge of a s trip of hea"y
paper aligned to the straightgrain
between o pj.>osite position marks.
Space the seamlincs of ndjacem
tucks at least a pre.sscr-foot width
apart, ns measured from the needle
to the left. For the final pressing,
& VARIATIONS
T he smooth symmetry that distinguishes standard tucking

demands exact measuring and
marking, accurate fold ing, nnd
scams s titched plumb-straight a
pncisc distance from the fold.
These additional suggestions make
a diJJcrcncc in the result:
avoid excessive steam which may

cause the fabric to pucker.
Before marking, true the grain of

wo\en fabnc and steam press.
Spread the fabric O\'er a surface
latger than iiS length and width and
hold it taut while marking. Use a
griddcd cmting hoard for straight
ness control. Optional methods for
fold-line marking that may be
For doublcd~and-<:cntcred
tucks, center the fold line o"er
the secondary seamline, then

ccnLe:r the sccomL.try seam
-1. Press the tucks:
For all but centered mcks,

prtss in the wrong direction
firs t, then press in the right
di 1ection, us ing a press cloth
tO proten the fabric. Tum the
tucked fahric to 1he back and
press again on a padded sur
face to preserve the dimenStonalit)' of the surface folds.
lf imprinting is a concern,
inscn strips of brown paper
between the tucks and the
fabric before pressing (refer to
"Pressmg Flat and Partial
PleatS o n page 89).
___.,. ___
Seams
Align the folds of tapered tucks

tO the Straightgrain of the rabric
e''en though the tapering scams
slant, either alternating direction
rom tuck to tuck (refer to Fig. 8-4),
or moving In the same direction
(Fig. 8-12).
"->1
I
I
/'I
Primary
Seam
I
I
1":
Secondary
Seam
(a)
(b)
(c)
Rg 8-11 Doubled-and-centered tucks: (a) After sewing, and (b) press~d "'(ith the
fotd tin11 i:entered over botll seams. (c) Stabilized with decoratfllo topslltchmg.
Chapter 8
TUCKING
153
drawings on graph paper, and finally by folding paper. Indicate fold

and stitching lines on the paper and
transfer to the fabric.
Cross wcking embellishes fabric
\\-;th intersecting rows of honzontal
and vertical folds. lf aU the vertical
mcks are stitched first, the
crossover honzomal tucks '"iII
ovcrshndow the kvdled tucks
tlndcrncath. When tuck sotchillg
alternates back and forth between
vcn ical and horizon1J1I, the crosstucked design appears interlaced.
For either approach. press before
changing direction. When stitching
a new tuck over prenous rucks,
sew with the folds of previous tucks
facing away from the approaching
presser foot. Thick fabrics are not
suitable for cross tucking.
R.twclom ludling flaunts the
rules. Working with unmarked fabric, tucks are casually folded and
stitched. Unplanned and irregular,
folds and stams tilt haphazardly
and cross at unusual angles.
Fig. 812. Tapered-tuck seamlines,

slanting In the same direction and
meeting at the widest ends, re-shape
the Iabrie like a fan.
The on-grain folds prevem the off

grain scams from stretcbing and
snapping. l'or tucking applications
purposely dcstgned with olf-gntin
folds and scams. choose firm fabric,
limit the length or the tucks, ami
usc S!rong thread to counter the
stretchy bias. Bias-set tucks reshape tho contours of the fabric.
When lUck foltls and scams are parallel, a ~quare, tucked diagonally,
finishes diamond-s haped; a rectan gle rlnishcs as a parallelogram.
When lucks are not parallel, the
changes in the comours are unpredictable (Fig. 8 -13).
Designer tucks interpret the sundrds freely. mi..xing and contrnsting
different kinds and sizes of tucks
into individualized patterns. Plan
destgner-tucking paucrns with
Mocl: l'in tuc/:ing substitutes

raised cloublcSi ilching, cre,lled
whh twill nccd1c machine sewing,
fo r the folds of s tandard pin tuckIng. By tightening the thread tension or. on some machines.. br run
ning the bobbin thread through the
hole In the Anger of the bobbin case
as well (1'1g. 814). twin-needle
stitching in back pulls close together, making a ridge in front.
Fig. 8-14. Bobbin case for front-load

machines with thread drawn through
the hole In the linger. before inserting
into the machine.
The spnce between the twin nee

dlcs--1.6mm , 2mm, 2.5mm, 3mm,
1fmm , 6rnm-conLrols mock pinmel< size and height. With a correlated pin-tuck fool on the machine,
the spaci ng between parallel twinneedle tucks is easy 1o regulate
(Fig. 8-15). Pin tucks rom1ed \vith
IWIO-nccdlt sutchmg can follow
lines th3t curve. t\\;st, and eros as
well ,.. line> that are straight aud
pnrallel.
Fig. 815. Twin nee

die and the bottom
of the 5-grooved
pin-tuck loot it
matches. Placing
the grooves over
previously sewn
tucks regulates the
distance beMeen
tucks.
The hand of fab ric changes after

it is tucked, becoming thicker by
two la)'crs. firmer. t~nd less pliant
across 1he lliCI<ing. Doubled-andcentered tucks weight the fab ric
with four layers. Crnss-tuckcd fabric loses some nc,jbility il1 both
directions.
Fig. 8 13, Fabric re-shaped with tucks stitched parallel to me folds, and the
space between folds greater at one edge than the other.
IS~
The Art of Man ipu lating F>brlc
STANDARD TUCKS
LLoi - L............... ._ ... ,_...
... .......... ._
L:....... '-'
STANDARD TUCKS
VIII-J - Bind-wcked (obroc '' consosll!<l!Jy rh~ Ia~ Jh:ck
VIII-~ --Grodvored tvc!<s
Yl/1-5 Ccmcte<IIUCI<s S{Of>lozcd "'ofh togla~d IOpSlofChrnR

olrernotc wJth rucks stabl'lzcd wlh seams ocross tJxl ends.
Chapter 8
TUCKING
ISS
WI-~J.ond.coweted t..OO ~
wth dose "Bl"l!i"le down the cenre
Vlfl-7- Tapered rud::s \Wth seams that sfan[ In the some 6rcct1011.
STANDARD TUCKS
VIII-9---0osgner W<king
that c:ommsu dusters of
p1n rucks wilh
tucks
'"'*'
I 56
Tho Art of M an i pu l ating Fobrlt
\111. I I -Voss nd:ing hos o more c.ornplex Mt-<Jitd'1JI>dcr 6mc:"""""'ry

when me se-g ofhorizotllal Dttd ,eJWJ} OKks Oi!emotes bocX end fDnh.
VIII. r1>-CIOSS ruciQng wol/1 hMzc,owl wcks 1/lot oppC<1T tD

ll!Ce<le behod vorucor tucks.
STANDARD TUCKS
'IIII-I2- Rondom IIJd(jng examples: (lef~ A """ety ofttd<s

seamed osymmetricolly in o generally vern<:al directJon.
(nght) Tucks !hot C<ISs.<ross coch other any whch ~"Y
Chapter 8
TUCKING
157
STANDARD TUCKS
VIII- I J Pon Wd<s.

~ p<.1lem lilc
mu$1':11 WJL~ {cks lflaz
stand up Ike ndges.
YJII /5- Freely smelted w:rh o twn nee<d<. mock p;n tucks
a;rve ooa cross and appe<1r ro w<!OVC 0\'tt and under.
I S8
--
STA N DARD TUCKS
VI" It>--Tucked onstttt (!DP) lh>pressco
tucks ~ sw:t>ed ocross o sqoore.

(centet) Tapered ond cent01ed tuoo.
(bouom) Tucks Wllh siCJntng fOlds
r-
.-
II
l-.1
-t
;;
IIi
II
["
i'- ~
81
I'
....
='
~
I .c."
I'
I.
\I~
!ill
......
I
'-.--
~l
---:::e:
.. -
"
~~-_.:.
" '"!'
llJ
._~
ll
"'
I....
i'-
- -~
...,
I.
~~
,~
=
"""
':
I~
I'
...,
-o:. _ _ ___ .-
...
...
'" ;
-~
f:l'
~-
--
-~-
I
t :=.
-,
VII~ I~lV;o kinds o( Wcic"'l! M nto and reossembied

nto (ab;,c parrcmcd ,..,rh tu<k (olds !hot chonge d~
V//1./7- Tu<kod (abric cut Into swps and reassembled to s~r the
l,nes of the (o.lds.
Chapter 8
TUCK ING
159
C URVED TUCKS
Creased Tuck Fold
-blind. spaced. or graduated tucks

that follow a curving path w hich
usually parallels the curving lower
edge of the fabric. Fabric flares
below a curved tuck.
Ftg. 8- 17. CuNed tuck
with the seam/inc underneath gathered to march
the upper seam/ine.
PROCEDURES
I. Review t he procedures for
Sumdurd Tucks th at begin on
page 150.
2. Plan an arrangement orcurved
tuck~ that confo nns to th e circulnr shaping o f the fabric. To
ac.:cotnmodatc tht tucks, add lwo
times the width of each tuck to
the length or radius of the fabric
when cutting. If the fabric is cut
in segmems, scam the segments
together before tuckina
0 '
4. Scam c.:1cb tuck:
a. Hand sew over 1hc. lower seamline with running stitches, o r

machine sew with l:uge, loosc
slitches. \\11th the tuck folded,
gather and ease the stitchino
on the lower scrunline. segment br segment. until it
matches the upper seam line.
which will be shorter. Steam
p tess the eased stitching and
p in or haste the tucl< scamlin cs
together (Fig. 8-17).
..
3. For each tuck. mark a fold line

and a n upper ancl lower seam lin e
by measuring down (rom the
center o f the circle or the a pex o f
n circular seg1nent, or by measurIng up from t he c urving lower
edge of the fabric (Fig. 8-16).
Crease each fold line with the tip
b. f'ollow the upper seamline to

sew the tuck.
of nn iron.
c. Remove any bru;ting and stea m

press before proceeding to t he
nc. t tuck.
Fig. 8 16. Two ways to

mark fold and slilching
lines for cuNed rucks:
(B) Measure down with a
string compass. (b)
Measure up wi th a ruler
placed at a 90-degree
ang le co the lower edge
. . ..... .
. ..... ...
. .. " - ..
______ __...
...
- .. . . . .
.. .
...... :::::;:
..- ....:::. ...
( b)
160
The Ar t o f M arlipu lating Fabric
CURV ED TUC KS
NOTES & VARIATIONS

The fabric between curved rucks
should be pucker free and will be if
the difference between the lower
and upper scamline of each tuck is
cased smoothly. The Unre o[ cur,ing
tucks is progreSSIVe; the amount of
flare incroaS<.'S wath the depth and
number Of the lUCk:.. fluring CSC<I
lates even mol'e when successive
t ucks gradually increase in wid t h.
CURVED TUCKS
Vili-19- TIe
(lJC~prodoced
Poring =umuJotes. Wllb SUC

cessive tucks.
Note: Pro<edures
for Shell Tucks begin on page 162.
SHELL TUCKS
VIII 2 1- Hand-stioched shell tucking

Vll~20-1iJd<s shelkcalloped wh<e machn sewing wi<h an
overed,ge stitch.
Chapter 8
TUCK ING
161
SHELL TUCKS
3. To make band-stitched shell

tucks:
-<Iarrow tucks with shell-like, scalloped edges shaped with thread carried over the folds at regular intervals and pulled taut. Shell rucks can
be sewn by hand or machine.
a. Plan an arrangement of spaced

or hlind tucks \4" (6mm) to
!n" ( 1.3crn) wide. Mark the
positions ol seam and !old
lines on the fabric. Fold
where m~rked and then crea<e
the fold> with an iron.
PROCEDURES
b. Hanel sew each t uck with run -
1. Review the procedures for

S1undnrd litcks rhat begin on
pngc LSO.
ning ~thebes. stopping to

bring the thread over the tuck
fo ld from back to fro nt at
lntctvals >paced m least two
times 1hc luck width apan . To
determine Lhe most satisfaclO
ry spacmg. test on a scrap of
f11bric 0r<;t. For even shells,
m.>rk oeredge poilus with
pin>. chalk. or disappearing
pen. or gauge by counting the
running stitches in between
(Fig. 8- I9).
2. lb make machinc-slilched shell

mck~:
a. On a scra1>of folded fa bric,

1es1 m:u:hine-produced
ovcredge stitching. guiding
the fold 1>0 th.1t when the needle swmgs to the right. it just
misses the edge. juggle stitch
length with tightened tension
until a pleasing shcll edge
resultS (l'ig. 8- 18).
Fig. 8 -18.
Shell tucking
shaped by
machine with
a light
over edge
stitch.
4. Stmch and pin the edges of t he

shcll-tuckctl f:tbric, righ t side up,
10 11 padded surface. and s team
with the iron held j ust obovc the.
tucking. Allow 10 cool ani! dry
before moving.
NOTES & VARIATIONS

The width of machinesewn shell
tucks is limited to what the
machme c.1n produce. However.
";de rucks and graduated. centered,
or tapered tucks can ha e shellscalloped edges by O\'Crcdge stitching after the tuck> have been
seamed into 1he fubnc. Fabric shell-
Lucked by mnchine sti ffens more

crosswise t han fabric shell-tucked
by h<1nd.
The dircctiOt15 for ha nd-stitched
shelllucl<ing He specific: Bring t he
needle and th read over the edge
from bach to fn>llt-wlucb turns the
fold forward to make t he slight rim
suggestive of shells. If the tuck is
"1dcr than W' (I.Jcm). the folds
tend to roll over too much. Wide
rucks m:tr be scalloped with a few
extra stitches runnmg out to the
fold, w hic h helps to gather the
tu ck's width Into the base scorn. If
1he overedgc s1 llches are too close
together fo r the width o f the tuck,
the shells will d mg the w ck from a
level p lnne. Te<t to find the a ppro prime spacing.
(Sec l>ho tos of Shell Tucks o n

page I 6 1).
Fl{l. 8-19. To sheH
ltJCI< by hand:
(B) Sew with running
stitches. Stop at a
pre-set point. draw
the needle out in
back and bring it
over the fold to the
front.
(b) Push tho needle
through the base of
the iuck to the back,
and pull the thread
to crumple the tuck.
Bring the needle torward again and
resume sewing to
tho next crush-point.
b. Taking the reach of the

overedgc stitch as the width
of a tuck, plan an arrange

Of spaced or blind tucks.
Mtc t marking fold positions
on the fab ric, fold ;md tben
crcnsc 1hc folds with a n Iro n.
n1Cill
c. ~lachi"e stitch each tuck with

ovcrcdgc stitching as tested.
Adding a Straight-stitched
seam IICStde the ocredgc
>litching is an option.
162
T he An. or Man ipulating Fabric
(a)
(b)
SHELL TUCKS
4. Contour Lhc edge> of lhc tucksa. Turning the fabric to lhe bad.
connect the sctssor-nip fold
marks on opposue edges \\;th
Fa~
(a)
(b)
a straight line of c:balk. disapJ>l'llring pen, or thread basting. Fold each tuck on the
hne ( the right side of the labric will be ir~ide), pin or
baste, and crease the fold
ligluly with an iron.
Fig. EJ-20.
Contoured-tuck pat
terns: (a & b) With
cutouts separated
by intact portions of
the tuck fold.
(c) Contoured to
reshape /he edge
completely. Patterns
do not include seam
allowances.
b. Using the Lemphuc, trace the

conLoured S<Mnlinc down the.
length of each tuck. Stitch
C!.ach contour on 1hc line, Lrim
n se:tm allowance disLancc
from the scam. and clip lhe
scam allowance at inside
curves and angles (Fig. 8 -21).
Tum 1hc contoured edge of
each tuck righ1 side out and
(c)
press.
CONTOURED
TUCKS
-spaced or blind tucks wider than
112" ( 1.3cm) with folded edges that
have been reshaped to curve and
angle.
PROCEDURES
I. Re'~~w 1he procedures for
Standard Tucks that begin on
page 150.
2. Plan tuck width and spacing using

folded p.~per, testing different conlours for the lucks. Estimale 1he
rubric rt4uirerncnt. Nlakc-a template lor the comourccl edge of the

1t1cks (Fig. 8-20).
3.
M:~rk the right side of the fabric

for lUCking:
Tuck
Seamllna--...:
.-:
a. Using a lo11g ruler. measure off

fold posilions for every tucl<
on t he top and bouom edges
o f the fabric and mark with
stissor-nips thai are ' 'isible o n
both sides. Also indicate a
sc"mlinc position to the lc.Ct
of 1he fold position (the seam
line tha.t \\ill be on top when
the tuck is folded [or sewing).
!..........
..---------
t... ______
b. Connect the opposite seamlincposition marks on lhc
top nnd bouom edges of the

fnbric with a stmigh t line of
f"bric-safe chalk, disappearing
pen. or 1h read b"sting.
l
Fig. 821. Tuck contoured with seams
stitched on traced outlines. To pre
pare for turning right side out, seg
ments inside seams are removed
and corners clipped.
5. Pin or baste. and 1hen sew each
lUck by machine or by hand, followong 1hc marked seamline.
6. S1eom press the tucked fabric.
Chapter 8
TUCKI NG
163
N OTES
&
VARIATIONS
When designing a contoured

tucking pauem, consider the effectiveness of a design when i~s
repealed row after row. Testing with
paper. vary the spacing between the
mck rows und ov~rlaps. stagger the
panem, or turn pairs of rucks to
face each other (Fig. 8-22).
Combine diffcrem contouring pattems. When blind tucks are contoured. note that tuck seamlincs
"~II show unlc,s the amount of
oerlop is tncreascd to compensate
for the dci>Lh of the contouring.
K<yholc lucks. which look as if
openings "ere cut through a top
layer of fabric to expose another
layer underneath , are acmally pairs
of idcntk:tlly cont oured tucks that
meet in the center. Since keyholes
rc.quirc two tucks joined in the
m iddle, the mcasmcments for each
combimu1on mus1 be exact: Two

mcks of cqunl wi<hh after contouring, with seamlincs spaced two
times that width apart. Cut a kc)'hole tucking pauern on tl1c fold of
a strip of paper ( the fold is where
lhe tucks \\Ill meet): open the strip
to sec the kt)hole design. After
contouring the edges, stitching lhe
tucks, and pressing the folds to face
each other, hattd sew the tucks
toget her where they touch using
SarinSiitd trd cmuourcd ruchs urc

shaped after the tud<.> have been
stitched. A border of thread pre,-ems lhc cut edges of the fabric
from frn) ing and also emphasizes
the contoured profllcs of the rucks.
After trnong the contours onto the
front of a finished tuck, cut out on
the line nnd satin stitch over tb.ecut
edges with nn overcclgc foot
attached to the u~:~chi ne. The alternate method: Follow the traced out-
line \Vhh salin stitching; remove the

fahric beyond the satin-stitched
contours by CUlling from needle
ho le to needle ho le with small,
sharp scissors, without snipping a
thread (Fig. 8-24).
clccorm ive Ol' invbiblc srhching

(Fig. 8 -23).
(a)
I
I
I
I
I
I
0
0
0
I
0
Fig. 8-24. Contouring the edge of a

tuck with closely tnmmed satin stitch-
ing.
Machines with a selection of decomrive s tltches can be programmed

to satin sti tch a suitnbly contottred
st:am ror 11'i tnming aflc.rwurd.
Conto ured-tuck edges may also be
thread-bo und with a sergcr.
0
0
(b)
Fig. 8-22. Variations with a contouringparrem.
164
Fig. 8-23. Diamond-shaped keyholes

creat9d by bow tying the points of
rwo zigzag-rontoured tucks together.
CON TO URED TUCKS
VIII 22 W.do blr.C tucks

with edges scalloped on
a turned seam. Tude overlop was calcvlated til

conceal the ruck scams.
Viii-23- SP<Xed
wcks with saw<ootb,
saiJns!llched edges.
CONTOURED
TUCKS
Chapter 8
T UCK IN G
165
CONTOURED TUCKS
VIII~.~ pcltem o(notch~s. repeoted

bL't slightly :;raggered on S<JCCe<!dns wcfcs.
crrtes o SlJOI>R des-gn !hot domnotes
.,.., vertKOI bnes !he bl>lld-<ud< folds.
or
06C
Wj.26 F001'111Ucks '""" o ZlgZCg d>cnne/
between l>glOg<OI>loured ~
c
I
V/1~27-Keyhole
1u<!<s bor l<lcked

!ogelher where they I OUCh
166
Th o A r t of Manipu l ati ng Fabric
SLASHED T UCKS
slashes make three, and so

fonh). Relate the lines on
-spaced or blind tucks at least Vi'

( 1.3cm) wide cross-<:ut at regular
Intervals between fold and seam.
There are two types of slashed
tucks:
adjncen1 tucks lO an O\rerall
SHARK'S TEETH
- tucks slashed more than twice and

folded under on eit her side or the
cuts to create pointS between the
slashes.
SNIP FRINGED TUCKS
-tucks slashed into narrow loops.
PROCEDURES
I. Rt\1cw the procedures for
Standard Tucks lhat ))(,gin on
page ISO.
2. Plan, mark, and sew a succession
of >paced or blind tucks !nn
( l.3cm) wide or wider into
appropriate fabric.
3. To make s hark's teeth:
n. With b bric-safe d isappearing
pctl o t cltal k, l1mrk the front
of each tuck with slash lines
between and perpeuclicular to
th~ fold and seam of the tuck.
Space the lines two times the
\\1dth of the tuck apart. mark
ing at le.~s1 two slash lines per
tuck {two si.1Shes make one
sharks tooth. lhrct slashes
make two shark's teeth. fou r
.... ................. ..
. . !.Y..~. . . .~. . .~. :-'~. . . .~.~
design. Slash where marked,

cuning straight across from
the fold right up to lhe tuck
seam ((a) m Fig. 8-25).
b. Turn the cut edges under,

folding "t a 45-degrec angle to
the mck seam . Press. srroking
the new fold into points midway between the slashes ({b)
in Fig. B-25).
c. Re-sew the tuck scam with a

zigzag Stllch wide enough
::::::::::::::::::::.1
Fig. 826. Cutting Into a tuck with
uniform, closely spaced snips to ere
ate fringe.
lO
calch nnd secure the cut edges

hidden beneath the tuck ({c)
in Hg. 8-25).
d. Ste:~m press with the shark's
Ieeth face down on a padded
surface.
4. For snip-Cringed wcks:
a. With chalk or disappearing
pen, drnw a litu~ ncross the

l'ron 1 of each tuck, indicating
that the >nips arc to stop a
''safe d isumcc i't'Olll tl1c t uck
sc:tm. The safe" distance
r(scrvcs a scant allowance
between tl1c base of the fringe
itnd I he seam.
b. Smp each luck closely. cutting
NOTES
&
V ARIATIONS
Shark, lt-.:tlt are easier to fonn

when the tucks are wide. and easier
to poim if an extra bit of fabric is
shaved from the stdes of the cuts.
Design options for >hark's teeth
include the obvious-identical
lucks slashed idcntic:tlly to produce
rows shuri<'s teeth w itb points in
cvc1y row aligned. or, ror more
d iagonal emp hasis, iden tical tucks
wit h sb shcs staggered in succeed -
or
ing rows. Also. v:uy 1hc amount of

overlap or separation br1ween tuck
rows. ch:mge ruck widths. or space

slashes more than L\\ Ollmes~tuck
\\idth ~port (Fig. 8-27).
straight in from the fold and

Stopping where indicated
( Fig. 826).
(a)
( b)
(c)
Fig. 825. To make shark's teeth: (a) Space slashes two-times-tuck-width apart.
(b) Turn the edges of adjacent slashes to make angled folds. (c) Zigzag stitch
fo catch the edges.
Chapter 8
T U CK IN G
167
Fab1ic can he pile-textured all

over with snip-fringed tucks. Cover
the fabric with very closely spaced.
unpressed bhnd tucks. Fringe the
tucks and, if the fabric is a woven.
amomaucall)' wash and spin dry 10
jumble and soften the snipped
fringe pile.
Fig. 8-27. Varied shark's

teeth designs set into
(a) overlapping blind tucks,
(b) spaced tucks, and
(c) blind tucks.
R"velfed-Jringe tuda are split

into thrend-finc loops wltltout
slashing. One. at a time, on tucks
with folds :tligncd 10 the straightgrain . threads arc pickt el and pulled
out of the weave of the fabric with
the help of a long ncc<llc or pin.
Before unravelling. divide lengthy
tucks imo manageahle sections "~d1
clips perpendicular to tl1c scam..
After fringing. Stabilize with a seam
of narrow zigz.g stuching across
tbe base of the fnngc 10 prevent
more unrn,elling (ftg. 8-30). Tucks
may be fringed to the seam if the
tucked fabric is ~lrengtht:ncd with
lining or prcsson interfacing l O
prevent the scams from pulling out.
Ravd led-fril1gc lUCks are pan icular
ly effective Sci into fabric woven
wi1 h 1hick thread or yarn. Mall)'
woven.s hnve n c.IHrcrcnl w:1rp and
wert; LtSl [or the UlOS1 attractive
fringing direction.
Vnry "~1h sharks teeth obrusely

p01med: Space slash poims more
than IWC>-IImes-tuck-width apart,
remO\'C V-shapcd wedges or fabric
from the t11ck. and fold as usual
(Fig. 8-28). Instead of zigzagging,
choose a suitably wide decorative
stitch.
Fig. 828. Slashing with notches to

shape shark's teeth that point at
angles greater than 90-degrees.
A cnnstruction variation for

shark's teet!>: After slashing. poke
the cm edges inside the ruck rube 10
form the angle ( Fig. 8-29). ladder
stitch the folded edges together,
taking care to prevent fabric threads
from e.~cnping at inside angles, or
machin~ st itch around the poinu of
the folds with a narrow igzag.
168
Slashes may stop shon or the tuck

seam. and the ttnglcs or the poims
may \'3()'.
Fig. 829. Shaping shark's teeth by

pushing the slashed edges inside the
luck tube.
Non.. wovcn materials are particularly appropriate fo r snip-fringed

tucks. Graduated. tapered. even
centered lucks seamed down the
middle may be smp-fringed.
Cuuing the luck apan al the fold
before snippmg alters the fringe
from looped to layered. If the fabric
is a woven. repealing washings will
fuzz and fray the fringe.
T he Art of Manipu lat ing Fabr ic
SLASHED T UCKS
Fig. 830. Ravelled-fringe tuck.
SLASHED TUCKS
V/1128 FiVe wide blond tucks

shaped Into sf>ork's teelh, above
a border o( smaller sf>orks recrlt
'1)11.29- Bind Oid:s thoz

.-.ctt(M m S&Ze ~' ih lhf'eoe sharKS
t~ cemcred"'
e<Jch t1JCk
'1!11-30-Shork's teeth~ by pu$1>u>g the cut edges ""~ ~ tuck rubes.

!hat "''Y in angutoflty and dtplh,
Chapter 8
T U C K ING
169
VIII 31 - Sn;p.fnnged rucks.
SLASHED TUCKS
Vli!-)2-{'.eit) <'Mon ~ tw.nd

w:rh dwiJt spoced ~
rucks. snopped .nto loops
(lfghi)A 0.1Jbcmc S<1mj)le oft
"""""""' ..w.ng and sp.n dl ritlJl mode " more piOom and soft.
and jumbled the looped (~
Vl/!-3J.-.Rovoi'Y!d-{nnge c!ICks "'

mUSio11 w'!h o 78 78 Wead
coun:. To t<lObie the (ri.1g"ng !he
!l~ks
170
The Art o f Manipulating Fabri c
were cut aporr o< d>e fo.'cis.
C ROSS-5 TITCHED
Fit;. 832. To hand tack

bowtied rucks: (a) lnserl a
needle mto the tuck wbe
and bring tt our at the left
midpoint. (b) Catch the
midpoint fold directly opposite wtth a stitch and pull
the folds together. Secure
with a second stitch.
(c) Insert the needle inside
the tuck tube, bring it out
ltallthe-needle's-length
away, and cui the thread.
T UCKS
\
-<~~ck
folds forced co elevate

between crossover stitching that
holds the tucks down. There are cwo
types of cross-stitched rucks:
UN DULATING TUCKS
- tucks that ripple back and forth

between crosswise stitching that
forces the tucks to change direction.
(o)
(b)
(c)
BOW TIED TUCKS
-centered tucks with folds tacked

together midway between the cross
wise stitching that levels the folds.
PROCEDURES
L. Rc,'icw 1hc procedures for
Smndard Tucks !hat begin on
page 150.
2. t:~wblish a base of rocked fabric:

For undulati ng tucks. choose
pin. spaced. or blind lucks.
1::or bow-tied tud<S. use ce.n

1crcd lucks.
3. Tops1ilch across the rucks,

Slitchmg parallel rows that fol
low struight, regularly spaced
guidelines marked with fabricsafe cholk or disoppcoring pen:
for bow-lied tucks, provide

enough space between the
rows of crossover stiiChing for
1hc folds of the centered rucks
lO be pulled up and tacked
together witliOUl drowing up
the fabnc as well.
-1. Comen segmems of the ccnICrcd tucks into bow-tied tucks.
Midway between the crosso,er
slitchlng. tack 11lc folded edges
toge1hcr (Fig. 8-32).
5. Strclching gently, pin the perime

tcr of the tucked f~l.>ric to a
padded hoard. Set the projecti ng
tucks wi 1h steam from an iron
held just above the fabric. Allow
to cool and dry before unpin
ning.
For undula1ing lucks, alternalc the direction faced by the

tucks with C\cry cross-stitched
ro". Allow sufficient space
between adjacent rows of cross
stitching for the tucks 10
reverse direction \\'ithom drng
gmg up the fabric (Fig. 8 -31).
..............................___
'
!
--------.------...
..
------....
.
~-----
I
.... .. ..... ___.. ------r--------
NOTES & VARJATIONS

The wid<r the tucks, the ,~;der
the space needed between the rows
or topslltching to keep the fabric
fla1. Undulaung lucks reach a
height where 1hcy change direc1ion
that equals the depth of the tucks.
The hdghl of n bowtil"<l tuck is a
linle less 1hnn half the width of the
centered tuck .
Always loc;uc rows of crosso"er
topsrltching inside the scam
allowances al the cuds of tlte lucks.
To mnkc the crosso"cr topstitching
a more t.Jomimun element in the
ovcrnJI design, usc a decorative
Sl itch
when sewlng. Unevenly
spared crossover rows that wander

from the slrictly paralkl and rigidly
srraigh1 , tfftethtl)' panem informol. looser opplicarions of crossSiitched tucks.
lnste~d of mcklng the folds
together incon>picuously as direct
eel nbove, tie ce111ered tuck folds
coget.her wit h bow ties of ornamenlal thrcucl o r cord and allow
the ends 10 dangle. For a design in
two layers, mnkc bow-ties of tlte
tucl<s on 1hc top of doubled-andccnlcred tucks.
:::::..::.:!. ~::-:-:.s.~- ....... L

l
'
... - -~-
Ftg. 831. Undulating an

BffBY of tucks with
crossover rows of stitchIng that change the direc
lien of the folds .
Chapter 8
TUC KING
171
Vlrt-35- Wider. btmd rucks undukited With tapsutching.

I
CROSS-STITCHED TUCKS
VIN-37--I.kldulotJng G:!d t:Xl'"'tJed llJCI:s of WIIIOUS \Wittls """"ed 'Mill
mcondcmg rows ofZJgz<rg surdllng.

Viii )6 Cemeted tuck$ cross-;,omed ot regular intervols
wth bo'No{ICS rn eYef)' other Sf};ment
172
Fig. 833.
Bubble tucks:
(a) Crushed
under pulled
over-the-tuck
sUiches.
(b) With folds
tacked
together and
anchored to
the tuck
seam underneath.
CROSS-TACKED
TUCKS
-centered wcks with folds handstitched together at intervals. There
are two kinds of cross-tacked tucks:
BUBBLE TUCKS
-centered wcks that split open

botwo~n stitches that squeeze the
folds together.
(b)
.A. flattened version for
wid er tucks: (1) h1Scn the

n eedle into t he tu ck from
1he se:am in back, running
i1 1hrough t11c tuck and out
the left fold. (2) Catch t he
fold directly opposite with
a stitch and pull the folds
together. (3} Tack again,
then push tbe needle
through the center of the
tuck and out tbe back,
pulling tbc tucked folds
down. ( 4) Secure and cut
t he 1hread- or carry the
1h rcad to the next tacking
positio n ((b) in Fig. 8 -33).
CABLED TUCKS
- ce11tered tucks that are spread

o pon and secured with tacks, midway between other tacks that bind
the folds together.
PROCEDURES
l. Review the procedures for
Standard Tucks that begin on
page 150.
2. Stitch a succession of centered
tucks into a length o f fabric.
3. Mark 1he surface of each mck
with spaced tacking poims using
pins," fab ric-safe disappearing
pen , or chalk. Test for spacing
nrst, appl)'ing th e sde.ctcd technique 10 a scmp o f lucking . Wi1h
needle and thread. tack th e
oppo>ilc folds or the tudnogetb.er a1 the marked points:
b. For cabled tucks. tack the folds

10gc1her and, in belwecn, tack
each fold to the fabric behind

(fig. 83~ ). The two tacks in
OCt\\ CCII, located just inside the
folds. allo" the edges to curl up.
NOTES
& VARIATIONS
Appear:mce go\'cms the spacing

between bubble-tuck tacks. Bubble
tucks may be tied o n the surface
w ith dccomtlvc thread o r narrow
ribbon, lcuving I he c ut ends dang ling, nnd thC)' ai'C particulArly
effective w hen ribbon or cords are
tacked Ins ide the channels.
Cabled tuck.~ need sufficient space

between tacking points to prevent the
pull on the tuck from bo\ving the fabric nftcr h Is rnblcd.
stand of a
cabled tuck equals a little less than
half the width the centered ruck.
n,.,
or
f or both kinds of cross-tacked

tucks. start and Rnish "ith tacks in
the scam allowances at the beginnmg and end of a tuck. Bo th bubble
a nd cabled tucks can be worked o n
the top layer or centered-a nd -layered t ucks. Cmss-tnchd tucking
stiffens the fabric up and d own tbe
length of the tucks.
a. Alternate hand-stitching techniques for bubble tucks:

For tucks that swcll out
between tacks: (1} Bring
the needle o ut at the tuck's
senlll, unden1eaLh the- tuck.
(2) Car')' the thread over
the t uck to the other side
nnd push the needle under
t he tuck (lllCI out at tl1e
seam . Pull t he thread
light. crushing the ruck.
(3} Repeat once more,
secure the thread in back
and dip-or carry the
thl't'lld to the next tacking
position ((a} in Fig. 8 -33}.
3
4
(D)
(b)
6 5
4
(c)
6 5
6 5
Chapter 8
Fig. 834. To cable a centered tuck: (a) Bring the

needle up through the
tuck seam, Into the tuck
tube, and out the left lola
at dot 1 level. (b) Catch
the fold directly opposite
with a stitch, pull the folds
together. and tack again.
Insert the needle into the
right fold of the tuck and
bring it out at dot 2.
(c) Make two tiny stitches
through to the back of the
fabric, move to dot 3, and
(d) make two tiny stitches.
lfiS6rt the needle klside
the tuck and bring it out
of the left fold, /eve/ with
dot4. (e) Tack the folds
together and continue to
dots 5 and 6 as before.
TUC KIN G
173
{r
:f
CROSS-TACK ED
T U CKS
i .
~
r
n~
Tho Art o f Manipulating Fabric
tt
:1
'i
~~-
'1
I
174
f:,
1
1';
j:
'
'1111 38-&tbboe ruck;

(le/l) "'!h folds =shed
under over-100-wck suldles.
(righ!) w'!h folds )oi~d and
oochored to 1M seom
t:r.derneoth
~-
1
'[
I
:I
'
:
i
r-
-~
can be d on e inconspicuous!)'.
backstitch or stitch in place to
!><:Cure the seam. Hand se" 1ng
ma)' be ~asier tha!l !Wiclune
sewing for crossrucked pattern<
P ART IALLY
SEAMED TUCKS
- t ucks stitched with sca ms that are
deliberately incomplete. There a re
two typ es o f partially seamed t ucks:
RELEASED TUCKS
-parallel cucks w ich portions of

their seams unstitched, releasing
loose folds from the seamed folds.
INTERRUPTED TUCKS
- crossed t ucks with unstitched

intersections, creating puffs o f fabric
between the seamed folds.
PROCEDURES
t-\
For released tu cks. draw par

allcl lin es to ind icate the p in,
spacNl, blind, grnduntcd , cen
tcred. or capered tucl<s that
will op en imo unscnmcd fo lds
a t design.1ted poin l ((a) in
Fig. 8-35). Specify the t)'J'C of
tuck, ruck width. the space
between rucks. and fold-pre.s
ing directions o n the plan.
For i nter rupted tucks, o ut line

a cross-tucking paucm.
Indicate the po hm where mel<
s titching will be suspe nded
( (I>) in Fig. 8-35) . Translate
the plan imo a full-sit ed tuck
ing pauem, sprend out lO
include space for the tuck
folds, 'With mel< scamlines
no ted beside the centered fold
lin es. Limit tucl: width for a n
bue,nqncti-rucl: design w V4"

(6mrn) at tl1c mosr.
}:\
\ .1 \) \} } 7 \.
j~{)
.'~
t \ \./t\\.{t\S-<1\\./
'
>:<
I . Review the proced un!S for

Standa rd Tucks tha t begin o n
page 150.
2. Plan an arrangement o f pmtinll)'
seamed rucks o n graph p.1per,
o utlining t h e se:unlfold positions:
?:"\.
)=\
~$
)\
).\
5. Press the folds of released tucks

Oat in th e direction specified o n
the o riginal pla11, witl1 the
released por tions o f the tu cks
continued as pressed or
u n pressed folds. For unpressed
released-ruck applications and
interTUpted tucks, stretch aJ>d
pin the edges o f the tucking to a
padded b oard. St~am with an
iron he.ld just above tl>c surface
or I h e t ucks, a nd allow to coo)
tmd dry befo re mo,~ng.
6. Refe r to Extending the Tucking

Fabric on page L49.
N OTES &
';( \-{ '>-7 \7

,
X)\ I \ <;.J!\ ;\ -J
CO{
'
\ -J
'
'
'
VARlATIONS
Released tucks are not purely

decorathe; they functio n somewhat
li ke pleats to crea1c and cont rol
Fulln ess in the unt uckcd scctio tts o f
th e fab ric, The fullness can be iso
Iated at o ne or on both ends the
discon tinued tucks, o r the Fu llness
can be centralized . Either the
tucked Slde or t he seamed side or
released tuck< can he selected ror
the right side. When the seamed
<ide Is oul<idc, the mcks in back
are p ressed Oat.
or
(b)
Fig. 835. Designs for partially

seamed tucks with lines indica ting
seams/folds: (a) Released tucks with
brokenv lines wt>ere tuck stitching
stops. {b) Interrupted tucks with broken-fine circles where tuck stitching
breaks.
3. Using a fabricsnfe, vanishing or
removable, murking substance.

mnrk th e righ t side of th e fabric
with fold lines nnd seamlines as
specified o n the planned
arran gement. Mark the po ints
where tuck SC.1111S stop and start.
for released tucks. expand the
]Japer plan b)' adding measured
tuck w1d ths beside the fo ld lines.
For inte rrupted tu cks, trace fold
lines from tln~ pauem~ trace

seam lines ilnccded.
4 . Fold a nd sew t he tucl<s by
machine, stopping and resuming
where ind icated. Wh e n a seam
ends or ~gins inside the fabric,
pull the end of the surface thread
to the back and tie the needle
and bobbin threads together
before trim ming tl1c threads. If it
Un like released tucks. fabric p at

tcrncd with an interrupted tu cking
design re mains s tabilized through
o ut and t he result is more dimcn
sionolized . Tuck Folds stan d. and
the puffs that replace the intersec
tlons where tucks would otherwise
cross project C1'Cn mot(!. The eleva
Lio n of the pu ffs is dete m>ined by
t he n u mber a nd d ep th of the tucks
t hat discha rg e the p uff. Since paper
p h1n ning for an ime mtpted tuck ing
design ca n't full y predict t he clo th
result, test first.
Chapter 8
T UCK ING
175
PART I ALLY
SEAMED TUCKS
VfJ1.4(~Pamr.eJ rocks tn
the tlKks srop..
dusws o( 1/lree ttle0$C loose folds
where
Vltt.41 Spocod woo, pressed., oppos~e <fzre<:(JOI!$ bes>de o CCiltered

wd< "' the rrwddle. releose loose folds of, e and btlow the Wd< seams.
Vllf-42- IJnpressed, parollol, narrow tud<s n:>lcose bands o(

foose {o!ds where wck !Wt.thinRsrops.
1?6
The Art of M an ipu lating Fabr ic
PARTIALLY
SEAMED TUCKS
YIII-43- An imerrup!ed cross-
wckmg destjn. pln-Mked.
C hapter 8
T UCKIN G
177
1uck.\, flvc bacl< folds for four

tucks, etc. Each tuck '";n be
one-half 11> wide as the space
between two back-fold dots.
S.:par:ue the dot clusters \\;th
measured ;p:accs.
b. Connect the hack-fold dots on
opposite edges \nth vertical
rows of dots, ldcnlically spaced.
ilt'causc each dot is a stitch
SEAMLESS TUCKS
-wcks formed and secured with
hand stitches at separated points
along their length. There are two
kinds of seamless tucks:
CLUSTER TUCKS
- three or more fanned rucks

assembled at regular intervals with
hand stitches connecting the base of
the folds. Cluster tucks stand up
from the surface of the fabric.
localiOI\ gauge 1he dLstancc
between vct'tlcal doL~ by the

need tt> assure d~e Shtbiliry of a
cluster along it.> length from
edge to edge ((a) in Fig. 8-35).
TIED TUCKS
- rucks shaped solely with ties that

enclose and crush the tuck fold ar
intervals. Tied tucks puff up from the
surface of the fabric.
~uotors :ll
-\----.....-
PROCEDURES FOR
TIED TUCKS
PROCEDURES FoR
CLUSTER T UCKS
1. Plan the numhcr of mcks in a
clush:r, and the standing width

or c:~ch tuck in the cluster.
Decide how mnny clus ters to
include wh hln the wrget measurement for the tucked application. To f~g~tre the space between
clusters, divide the target mea>urcment by the total number of
tlu>tcr>. Estim.nc the fabric
Back
Fold Dots
I=
I=
1(a)
rcqtHrcmcnt:
SpaeeBotween
Clusters
--~
Slandlflg tUCk 1\idtll X 2

tolal tuct 1\idtll
IOialtUCk Wtdlh
x numlltr of tuctcs per cluster

'
* width or one cluster
width of one tlusler

x total number of clusters
total clustet width
tolal cluster wldlh
+ largct measurement
Estimated Fabric Requirement

2. On the wrong side of fabric d1a1
h:t.s been cut to size, measure
.\
(b)
Fig. 8-36. To make cluster tucks: (a)

Mark the Iabrie with rows of dots
aligned vettlcally and horizontally. (b)
Pick up the dots In each horizontal
row in a cluster, on tiny stitches,
belot1l pulling the stitches together
on the thread.
and mark venical rows of dots:

a. Start with horizontal lines of
dot.> .ocrY. the top 3lld bottom edges of the fabric. Mark
one dot for the back fold of
c.och tuck in a duster, plus
one-fnur back folds for ohree
178
3. Working from the back and

using sturdy tln'Cd in a long
needle, pick up each of the horizomal dotS within a cluster ,,;th
a tiny "itch, and pull d1e stitches
together rightly on the thn-ad.
Repeat, then !CUrt< nnd cut the
thread. Continue to connect each
succession or horitontal dols in a
duster \\1th stitches. moving
down along the lcngt h of the
cluster tuck ((b) in l' ig. S-36).
4. Stretching the cluster Lucks along
their length, pill the ends to a
padded surrace and steam with an
iron held above the fabric. Allow
ro cool nnd dr) before moving.
Tho Art of Manipulating Fab ric
SEAM LESS T UCKS
1. Plan a repeanng, fullslZed tuckmg paucm on graph paper. using

two dots connected with a line to
indicme one tie (Fig. S-37). The
spacing between dots comrols the
amount of fabric that \viii he
enclosed :ond crushed by a rk,
and the spread and pull' l'f the
ruck between Lies. 1Cst the rmtcrn on a >qu:.re of fabric.
Measure 1he fabric before and
after he ltst >nd u>c those measurements as a basis for cstimat
ing the fabrtc requirement for a
lied-tuck applicauon:
[measurement bef01e tesbng
+ measuremenlaller tesMgJ
x large! mmurement
Fabric Requirement
2. With'' fabrlc<.tfc pen or pmcil,
mark fabric th:n has been cut to
s ize with pairs of dots to be tied
together. For surface tics, dot the
right side (the technique \viii
ob>curc the dots): for reYerse
ties, d01 the wrong ide.
l'uncrun< the p>llem wtth holes
10 usc as a dot-marking stencil.
or trace dots \\~th the pallem
under the matertal.
NOTES
&
VARIATIONS
Refer to "1-stcnd mg the Tuckmg

Fabnc on pa)\e 149.
When cltl>ter tucks arr mcrscd.
the back fold> of the clusters peep
out be1wccn the g.>ps m the pulled
stitches. and fan out more when
S!Telched or pushed. For rnrscd
clusw wclzs, reduce the stunding
width o f t he tucks to minimirc bulk
unden1enth. Conceal the starts and
stop> of the th-cnd in back, or secure
the ends w ith deCOI'ative ties in fronL
(b)
(a)
ik>.itlc> following gridha<ed pat

tems. tied w cks can dimcnsionalize
designs "id'l lint~ that curve.
(c)
(d)
Fig. 837. Examples of gridbased tied-tuck patterns: (a) Identical rows of dots
shape vertical tucks when pairs of dots are tied together. (b, c, d) Rows of dots
with staggered spacing and changes in the direction of dots to be lied together
release folds that restructure the fabric Into nontucklike formations.
dhel)\e, converge. nnd disappear,

outlining with lucks that vary in size
and dw;ndle down to nothing.
Patterns for mcmulcri11g tiecl nicks
are linear rather than dotted. They
start on p-~pcr \\1lh llnes th." nOI
only describe the design, bm also
indicntc the center poinr het\vecn

3. With strong t hread in 11 needle,
con nect each pair o f do1s: lnsen.
t he nc.cdlc in to one do t nnd
b ring it out at the other doL
Lcn,~ng a 1ail of thread. repeat
the stitch (fig. 838).
Fig. 839. A square knot. Trim the
endS of iha thread about 'k"
(1.3cm) from the knot.
When urface tying in front.

don't let the crushed fabric
slip under the pulled stitch to
collect in back. T he ends of
the clipped thread become
pan of the surface texture.
Fig. 838. Preparing to tie a tuck by

connecting a pair of dots with repeat
ed stitches.
Pull the dots together on the

thread. crushing the fabric of the
ruck. Tie the ends securely with
n square knot (fig. 8 -39).
l;:or I'Cvcrsc tying~ draw the

dots together with the
crushed fnb ric pushed
1h rough tu the right side. The
end> of the clipped thread will
remain h1dden in back.
4. Stretching gently. pull out and

pin the edges of the fmisbcd
mcklng to a padded board.
S~ram with an ron held just
above the surface or the tucks.
Allow to cool and dry before
removing.
pairs or tics that mise the design

from the fnbrlcs surface. (l) Make a
line drawing o f the meandering
dc...;ign. Convcl't the ti.J:-t\\"ing imo a
paucm, ~pre.,dlng the lines apart to
allow for he fabric that will be
drawn up into luck:, when lhe
design I< tied. (2) Trace the pattern
onto 1he right side of the fabric w;th
fabric-safe disappearing pen or
chalk. onto 1he wrong side of the
fabric with u fabnc pencil, or, for a
design to include >urface :os well as
reverse tying, omllne the design
with thread ba.>ting. (3) Gauging by
eye or measuring. stitch in and out
on eil her side of o Une and knot the
thread :~s previously described. Vay
the distance between ties to accommod;tlC lhC cur\'CS nnd dniations of
1he design. ( 4) When finished. pin
the fabric around the edges 10 a
padded board. stretching to smooth
ou1 1he areas bc1ween the tucks nnd
accentuate the relief or the design.
Steam block. and allow to cool and
dry before unpmnmg. (5) Bausc
meandering tied tuck designs change
the edges of the f:bric from straight
and mit to dl<tortecl. trim the fabric
back to shope. If needec~ slabilizc
with underlining.
Chapter 8
TUCK ING
i 79
SEAMLESS
TUCKS
V/li-1 5-Bcn~
o( tople Clustc; tucks
'
I
I
V/11~16-Reversed clllsl<r n:cks.
180
The Art of Manipulat ing Fabric
'1111-4 7 Rows of surf=-<C!d tucks cros"ng the boas

of the mvs,m. boned too ln1ni.
SEAMLESS TUCKS
VIII-4~Samptes
of reverse-ned t<Kks. See Fig. 8-37 (or </le pauems
used; (abwe left) see (a) a()(! (cj); (above righi) sec (b}; (below left}
see (c): (below right) see (c/).
Chapte r 8
TUCKING
18 1
SEAMLESS TUCKS
Vl/149 A !led llddes;gn limllldt.<ies rutWlg. <MTng.

con.~'11'~ d11opP<anng. croSSlng and scrambled /.nes
18 2
The A r t of Man ipu la ti ng Fabric
PATTERN
TUCKING
--fland-stit~hed pin tucking that
dlmensionalizes designs with rurving
and angular as well as straight lines.
Amid the ridges of the pin tu~king,
paccern-tu~ked fabric shifts between
smooth and puckery.
PROCEDURES
or more >tllche>. pull the

1hread 10 rni5<' the pm rod
(T'ig. 8-.1()). :-Jegotiau: steep
cuncs with >mallcr stitcbe,
on the in.<lde of 1he cune and
lnrgcr stitches on the omside.
-___
/ ". .,/
(,
,.
ti'./
'
'\
\
I.
1. Oral't a full siz~ linear d~ign on

p~pc1.
expanding 1he space

bcawccn lines to compensa1e l'or
1hc lo:.s that occurs aftcr the lines
are pin-tucked. To prove the
design. test with a square of fabnc. \Ieasure 1hc fabric before and
af1cr 1hc tl'>l and lJS(O those mc-.t
;uremcnt.> :1!> a basi!. for c:akulaL
ing the fabric requirement, or
J
\
'
'
Fig. 841. To pattern tuck willl over

cast stitching: Bring the needle up a
scant 1/16"(1.5mm) to the lefl of rhe
line. Moving forward across the line,
take a stitch under the line to the
side directly opposite, staying a scant
'/rB"(I.Smm) from the line on either
side. Moving fonvsrd (ICfOSS the line,
make another stitch in the same
direction. After several stitches, puN
tho thread taut boloro ccntinuing.
- __ ,., ,
(a)
work w1th fabric cut approxi

m:otdy l >;.. limes larger in both
-1. Stretching the pattem-ruch-d
dlrec1ions than the 1arget mea5UI'ement for
the Finished tucking.
2 . Trace 1he design onto 1he right

side of the fabric with fabric-safe
<:halk, (lisnppL~aring pen.. or
1hread basting:
Pin tbe fabric over t.be l'aper
pattern and ;>lace on a ligh1

box or window during d.~)1iglu
10 expose the lines of the patlcm dislinctly enough 10 copy.
Trace the pattern onto tis..<rue:
paper or tc.tr-away stabilizer.

Pon 1he pattern over the fabric. Follomng the lines of 1he
pattern. thread baste 1hrough
b01h, and 1hen gently tear the
pnu crn away.
3. Hnnd sew 1he design:

Running~stitched pin rucks. To
>CW otrnightlincs and slight
curves, fold on the rraced line
just ahead of the needle and
sew with tiny running s1i1ches

no more 1han Yi" 0 .5mm)
fmm the fold. For tight C\li'Vts
and designs thai continually

cur\'c, Uhcmatc between a sur
face s titch on one side of the

line and a s urface slitch on the
Other side of the line. After six
(b)
Fig. 8-40. To pin tuck s curving

design with s ltemsting running stitch
es: (a) lnse/1 the needle Vr6
(I.Smm) from one side of rhe line
and bring it out Vr6 (I.Smm) from
the Hne on the side directly opposite.
Moving fOf\vard slightly. take a tiny
stitch back to the orher side.
ContintJ6 back snd forth. (b) After six
stitches, pull tho thread taut to bring
up ths tuck, a(J(J proceed.
Pin tucking with
ovcrca.~t
Mal<c pulled stitches !1\'' (3mm} wide tbal 11\0VC

under n II ne wi th the needle
always crossing from Lhc same
dorcc1 lon. Overcasting witll
1hre~cl embosses the design
wil h uny ridges tltat have a
rope-like t"<igc (fig. 8--H}.
~thc hin g.
fabric ,~<mly. pin around the

edges to a p.tdded board. Steam
wit h an Iron held just above the
surface of 1he tucks. and allow to
cool untltil')' before moving.
5. Refer to "Extending the Tucking
Pnbrlc" on page 1+9.
NOTES
&
VARIATIONS
Panem tucking is surprismgly

wrsatilc. h c:m foUow lines that
meander, converge. angle. split.
cross. and s1op and s1art anywhere.
Afrer a tulle experience w1th the

technique, fabric can be tucked
wilh a pancrn improvised while
stitching.
Given the C\lrvilincar. at)1lical
pnuem ing of 1he folds raised from
the fntll'ic, Onlshi1tg wit h a fahric
thm lies na~ Overall requires S!iiCh
ing dawn up jus l enough 10 crea1e
the tucked ridge-bUI never so
much that the fnbric begins to g<lthcr beyond the puckering cbar~ctcr
isllc of 1he ttchmque. An e:<ceplion: If the design Includes cudes
within circles or squares within
squares. the outer motifs mar need
some garherin~ to maintain a Jeyef
fabric. Alwny>, 1hc IUcl< i1sclf
should be tiny.
Chapter 8
TUCKING
183
VIII-SO--Rows o( arcles plnllided fforol mo~f repeated "' rM~or>aJ rows.
V/11-52- Sho'low <1/frcost svtc~rng il'J~rnes o sprftll des1gn W!!h twJSty.C<Jgcd p.n wcki11g
184
T he Art o l Mnnlpulntlng Fnbrlc
Filled Reliefs
PA
FOUR
ording raises linear designs
from the surface of the fabric. Inserted inside channels

stitched into doubled fabric, cord
brings elaborate, interlaced compositions up from the surface with
low-relief modelling. Encased
inside tubes stitched into single
fabric, cord lifts parallel rows of
rolls from the surface in high-relief
arrangements.
Besides elevation, cord adds its
own substance to the fabric. Fabric
has more weight and firmness after
cording than before, and its flexibility is affected by the thickness and
closeness of the cords and the tightness of their fabric wrapping.
CORD N
9 Cording
-
CORDING BAS1CS .................... 187

Cords for Cording ..............187
HAND-SEWN CORDED
QU ILl ' lNG .............................. 188
Procedures .......................... 188
Stnng-guidcd yam
cording .......................... l90
Trnpunto .......................... 191
Single-fabric cording ........ l91
Mt\OIINE-SEWN CORDED
QUILTING .................. ............194
Procedures .............. ............ 194
Single-fabri c machinestitched cording ............ l95
SURFACE CORDING ................ 199
Procedures ..........................199
Note. & Vuiations.. ............ 200
Dctoc.hed cording ............ 200
CORDING BASKS
CORDS FOR CORDING
elect a cord for its quality in

hand and in conjunction with
the fabric, for its suitobility to
the cording technique. for its size in
relation to the channel or rube. and
for its practicality.
To bring complex. hand-sewn
designs into relief, the soft, puffy,
resilient , lightweight qu;~Utks of
at rylic yarn make It the contemporary favor! tC. T luetldecl into a nee-
dleS eye, Insertion into narrow

channels is I'Clativcly easy. even
when tWO. 1hrcc, or four S-trands are
combined to incrc<~Se the filler bulk
of the }am. Fabtic corded _.;th yarn
remains supple.
The more solid substance of
cable cord offers the resistonce
needed for hand-stitched sinlc-faho
ric cording, and for machine stitch
ing with :1 zipper or cording foot
next tO the covered cord. llefore
acrylic ynrn. cable cord was the
raising clemenL insencd into the
cha011cb of imricatc clt:signs, and it

is still the choice when sturdy
roundness L~ the desired rcsllit.
A loose lwis t of many plies of black

or white collott or polyester thread.
cable cord is pliable and stable. and
manuf:tcturcd in a ";de range of
sizes identified b)' numbers that

jump betwe<n =6 and =300 as
diamtt<rs mcreasc. Cable cord
finns up when tightly encased in
fabric. One hundred percent cotton
cable cord tcntb to ohrink when
washed.
F<>r thick, fat, surface cording,
either connected or detached welting cord is nvail;~bk in diamc,ter.
that excc.ed the largest cable corcl.
Welt ing cord Is made from couon
fibers shaped into a roll and conmined ins ide a ncuing o{ thread.
Consider crochet cotton . heavy
string, macr>mt cord. and rauail for
t\\~n-nccdle or zigzag cording. for
dehcate cording in n.1rrow channels
or tubes. and for cords brouht to
the surface. When adduionalte:<turc is appropriate, no,elty cords
manufactured with uneven. nubby
surr:tces. Or String Or twine tCXlUrCd
with crocheL, knots. and twists.

imp>rt their Irregularities to thin,
snug fnbrlc coverings.
:-lote: This chapter begins with

BASICS, indicated by a gmf band
locotcd u nclerneath the relevant
cnl um n~.
CO~D IN G BASICS
187
HAND-SEWN
Fig. 9-1. Designs for

hand-se1m corded
quilting.
CORDED
Q UILTING
- two layers of fa bric covering cords
conflnod w ithin stitched channels. a
combination that e mbosses an inter
lacing design into the surface fabric.
Allover
Desi gn
P ROCEDURES
I. Draft a full-size pattern for a
design that uses, as the linear
de,;ce. two parallel. evenly
spaced lines. The lines cleOnc
c hannds tha t follow curving,
a ngular. em wilting pnths thm
appear to weave over nnd undCI'

one a no ther. Where the double
line channels c ross. one channel
stops the progression of the
o ther. and each c hannel ahe.nates between proceeding O\'cr
and disappearing under the
channels it crosses. Because of
the constant interruptions. chan
nels arc divided into short scg
men ts (Fig. 9 - l ). Th e safe wi<hh
for the parallel lines is W'
(6mm) or Jess.
Border
Designs
2. With a fine-line, fabric-s.fc

marker. trace a faint but distinct
copy of the design onto the inner
lining or the surface fabric, both
c ue to t he desired size (refer 10
"Transferring Designs" o n
page 205}:
Medallion
Designs
For running-stitched corded

quilting, trace a mirror-image
of the design onto the inner
lining.
For back-stitched corded
quilting, trace the design onto
t he surface fabric using a vanishing or easily removable
marking substance.
Bflste the inner lining to Lhe
surface fabric.
3. Cover the traced lin~ of the

design with ttn)', uniform stitChes Al polnts where cross-over
cbatmels interrupt the Line being
stitch ed, move the needle
between t he fohric layers to th e
o ther side of the c hannel where
the line cominues, taking a tin y
backstitch on each side of the
When se'"ng "~th running

Stitches, periodkall)' check
the regularity of the stitches
from the front.
When backstitch ing, s tretch
the fa bric in a hoop to p re
vent thread tension from
pulling o n the fabric.
intrrrupLion.
188
The Art ol Man ipu lating F>bric
HAND-S EWN CORD ED QU ILT ING
4. Fill the stil c:h-outlincd channels

of the design with cord, either
cable c01d or acrylic yam (refer
to "Cord!. for Cording" on
page 187), pulled through the
channels with the aid of a tajl<!Stry needle or bod~in :
again. Push the needle o r

hodkin out o f the mner lining
at that point and pull the cord
through the channel, but
leae a tiny loop exposed at
the angle o r curve. When flU.
ing a long channel unimpeded
by abrupt turns. break o ut of
the channel at inten als to
leave outs ide loops fo r slack
a. With the inner-lining side up,

Ioree the cord-threaded needle
or bodkin into one end o f a
chatmcl. piercing a hole
through the lining only. Pu5h
the needle or bodkin th rough
the channel umil its forward
movement is halted by a turn
to relieve the tension accumui(ltctl in t.hc pulled cord.
c. When " seam crossing the

chon nel blocks further
p rogress, bring the ntedk or
bodkin out of the inner linmg. pull the excess cord
through the channel, and cut
the cord a shon !4" (6mm)
[rom the lining where it
emerged ( Figs. 9-1 and 9-3).
or a seam . Bring the needle or

bodkin out of the channel
through a hole punctured in
the lining. Draw the cord
through the channel, leaving a
scanty tail exposed at the

bcgmning.
d. Tug the fabric along the
b. If the needle or bodkin is

stopped by an angle or curve
length o f the corded channel

to stretch o ut any constrictions cattsed by the drag of
it can't negotiate, bring it out

the surface, re-insert it into
Lhe snme ho le . and continue:
shoving It fo rward through
the channel until i t is stopped
the cord. As lhe cording readj usts, the toils and loops
rcucat inside the cham>els.
10
F'tg. 9-3. Cording with doubled yam.
5. Stretch and pin the corded quilting to n p.1dded surface. Steam

with an iron held above the fabric, and allow to cool and dry
before moving.
6. Line tl>e corded des ign. If needed, tncl< the outer lining to the
innc.~l' lining inconspicuously at
intervals. Cover the edges with
blndlng or sew to an extension
fabric, triuuni ng bulky cords
from the seam allowances if the)'
interfere.
Lining
Lining ---
"tgz
' '(dJPJJ~"r7.:;::--::------,
Lining ~-:
/ .... \- \
~-.
..... ...... -\ \
. .
: ...
. ..
'', I \
'
::
... :'
., ..
'
: o :o
/ . "
'
:' o:'
'
.~
- ~- l ... . - -- - ~ .
::
........ . ..... ____ ___ _::
\\'
'
: :
, .
::
'
'
.,,.
'.
........
, ' ' ,.'" '",

..,
'.
'
'( 'r
\
~ \
<
',
.\.... ,~~.
:/
'
("
::
,' :
'(.
\
', .
.t t
~ ~
}::~ ~~~~;;~~~)i, ~~~--~~;~-~~~fT~~~~:~~~~~~~ ~~~_:_: -_:_:_:~_::-_J\:
- --- ------ ---~-~ ~-----------~...

----.. ---.....--.. -- .. ___:-a\-.------ ---'ftL.
(b)
-- -- -- -- --'lll -- (c)
(a)
Fig. 92. Cording with cable cord: (a) Poke and wi ggle the needle into and out
of the inner lining. (b) At sharp turns. push the needle out, re-Insert into the
same hole and move forward. (c) Leave short tails where channels begin and
end, and tiny loops at re-direction points.
Chapter 9
CORDING
189
NOTES
& VARIATIONS
After cordtng, the fabric between

the cord-Oiled channels should be
~mooth and Rat. For this result.
channels Yi" (6mm) wide are safe.
If the surface fabric has sufficiem
give. it will absorb the relief of elaborate cording through wider channels without disturbing the even-
ness or du: Intervening fabric, but

test before application.
Number SO cable cord or two
Strands Of 4-pl) acryiJc yarn provide
ample Oiler for a W' (6mm) channel. One ;trand of yam will fill a
channel V." (3mm) wide.
Comparing a W' (6mm) channel
Oiled with :150 cable cord tO a V."
(6mm) channel filled with two
strands of 4-pl)' acrylic )'3nl, the
t':lble-cordcd channel bas a more
rounded. pronounced reltef than
the Rauer. ram-corded channel.
Cable-corded fabric is firmer in
hand than y.trncorded fabric.
Cable COI'd enters and e..xit.s a y4n

(6mm) channel as do ubled cord,
altho ugh a single cord remains
in~idc, and requires larger openings
and more clfort to pull through the
channels 1han doubled yam.
neath an outer Uning. The inner

lining becomes the outer lining.
Select a loose weave for the one and
only lining fabnc.
tl
Srrlng-guidcd yarn cording eliminates o,ersizcd entry and exit

holes. Thread both ends of doubled
string into a l:orge-eycd needle with
a long, slender >lmnk. Work the
needle into, through. and out of a
channel segment. Loop d o ubled
yarn through the loop aL the wd of
the sning. Pull o n the SITing to lead
the ynm into and thro ugh the channel until the ynm bulls up against
the seam Ul the end . llolding on ro
the string, stretch out the corded
channel and cut the )'m at the
beginning. Le,l\'c SCtnty tails to
"ork Into the channel and provide
slack to ~11.-e any strain on yam
stretched b)' pulling. If the channels
nrc short and SU'aight. the tails can
be minimal. Remove the srring
(Fig. 9-5). john l'lpm developed
the string-~uiclcd method fo r r.ord
insertio n. l ie cords intricmc
des igns from Lhc Lop.
(I
Fig. 94. To fit channel width to the

cord, pin tile cord between scraps of
fabric and lining; test the slid'! of the
cord. Remove the cord and measure
the distance between pins.
Careful!) done, yam-corded

designs arc reversible. If cntr)' and
exit holes are poked through rhe
lining \\'ithout breaking threads in
the weave, if rhc tails and loops left
Olti.Slde rhe openings arc rugged,
pushed, and t<a.ed back inside the
channels, and if the wea\'e distorted
Lo make the openings is restored by
scrntching wit h ~ fingernail and

needle, there won'l be any procedural evidence to conceal under
...----
Doubled yarn enters and exits

through >mallcr boles because pressure compresses its bulk. but, once
inside. u expands to the same bulk
that >lays in the channel. A channel
must ha\'t enough play to allow the
interior movement
or corcl or ynm
without jerking. but if the channel

ts toll loose around the cord, the
finished design wlll lack dtfinition
(t'i&. 9'1). Choose a tapestry needle
m hod ki n with an eye j ust big
enough 10 accept the cord or yarn
that must be threaded through it.
Relate the si:c of the shaft 10 the
puncture the nl-cdle or bodkin
needs 10 make in the inner lining. -~
puncture. prderablr worked by
pushmg a;idc threads in the wea,e.
~hould be barely large enough for
rhe cord to poss through.
190
Tha Art o f Manipulating Fabri c
L..-- - --1
---,
__ .....:--- ...
... ,;.---- ... ,
';,>-~_,...
(a)
-.....
- -
. . ,r.< \
\J I
... '<."
........
'
- __,' ,'
....__,
'
...
__ .... -
, ,
'~,...~v~,
- - ...
I I
, - ... ' "
'~ "
),
'- 1 I
," , ....... __ ~
..,<._,' ... _ __ __
__ , .,.,
(b)
HAND-SEWN CORDED QUILTING
'
I
Fig. 9-5. Stringguided cording

with doubled
yarn: (a) Yam
looped into the
loop at the end
of a doubled
string run
through a channel. {b) Yam
pulled through
the channel on
lhe string.
When corded quilling i~ integrated \\;th stuffed quilling 10 raise

designs that indude shapes as well
as lines, the combined techniques
3re called traiJumo.
\Vilhan outer hning over an

inner lining, cable-tordecl designs
nnd no n-rcvtrsiblc ym'tHMdcd
designs finish as three-l~ycr textiles.
To lighten the layering, u<e a gauzy
inner lining for allo\'er pauern_o;,
and cut away the uncorded lining
around borders and tsolatcd motifs.
For single-fabic cording, thread
crossing over the cord in back sub-
stitutes for an inncl' Lining.

Particularly suitable for medalliontype motifs or abbreviated border
designs, singk-[abric cording is
hand stitched with the fabric
stretched in a frame or hoop large
enough to expose the entire design.
Trace the design on the right side of
the fabric. \\~th one hand, hold a
length of cable cord underneath the
channel to be corded. With the
o ther hand, backstitch over both
lines, aiLernat ing between A s1 itch
on one side and a slit,:h on the

other side. ahvays scooping the neetile down and up over the cord
underneath. l'ullthe sutches
againSI the stdes o the cablr cord,
tndosing the. upper half snugly
with <he fabric (Fig. 9-6).
Fig. 9-7. Worl<mg on

tile wrong side of
the fabric, use the
closed herringbone
stitch to oversew the
cable cord.
Cut the cord where a channel segment bcgms :md ends. Maintain an
even channel width throughouL
Adjust backstitching lengths around
curves~
wking longer stitches on
the o uts ide of the channel matched

to shorter Stitche..< o n the inside. At
outside angles, change tO alternating the hackstltchcs diagonally
across the corner" hen alternating
bctwttn the out~ide and inside of
the channel is no longer possible: at
the lip, turn to the back and tack
the Olller comer to the inside angle
wi1 h s lilchcs lh:tt aren't visible in
fron t. Lining is opllonal. An alternate technique: Hnnd sew singlefabric cording from the back using
a closed herringbone stitch to contain the coni ( Fig. 9-7).
The channels of cord-qu1hed

designs outlined with runnmg
stitches have a soft, blurry appcar-
:1nce. Bnckstitching, which outlines

the ch:m ncls with continuo us,
unbrol<cn li nes of thread. shtll'pcns
the dtsign . Designs raised with singlc-fnbric cording ha,'e the
>Lrongest definition. Cording. espedall)' when elaborate and cxltltshc,
tends to shrink the fabnc.
-4
(a)
(b)
Fig. 9-6:-(a) Using IM alremating backstitch to secure cable cord underneath

lhe fabric. (b) In b8cl<. crossover lhread holds th6 cable cord in place.
Chapter 9
CORDING
I 91
HAND-SEW N
CORDED
QUILTING
IX- I ROJMmg>Otchec!
cable-corded de>ign
IX-2-Dvpl.ca:e
des~g:ts \..1lh
chant>eJs rurr.ogstJl.c:hed on Ule le{i
and bod<st.tcr.ed
on 111 ngfot.
192
Th12 Art of M an ipulating Fab r ic
IX-3 Rcrer5cS~<~eo{the
nn>ong-S!>Idled ~
shtM"'i !lie ends (Jrt(/ loops
oftlw: rol>c<Otd (l"tt
HAND SEWN CORDED

QUILTING
IX-4-SM>g'e-P/xrc """"f' bock

soo:hed ""'"' ;,50 coli cord.
IX-5 R...,,.,. "de of <he lx.'d<sttche<l desogn reveals

!he aoss"""r th!!<!d that holds lhe cable ca<d.
Chapter 9
C ORDING
193
MACHINE- SEWN
CORD ED
Q UILTING
twO layers of fabric covering cords
confined within stitched channels. a
combination that patterns the sur-
face fabric with rounded ridges

arranged In panllel rows.
3 ~"'"' h\ mudnnc . ..:o,e-ring the

lrllced lm~ ""h strnigln stitchmg. If 1he dc>ign requires stopping a scam 10 start again a distantc awa)~ srcure rhe stitching
unnmlceably by t};ng abe ends
of the lhrcild in b.1ck: (1) Pull
the needle 1hread up and out on
the lining side. {1) Tie the needle 1hrcad to the bobbin t hread
wlah n S<]uare kno t. (3) insen
bolh Lhrend~ into a baud-sewing
PROCEDURES
I. l'l'cpa,c u s uiped design com;>o~~d of >Lraight, wavy, or ang led
hands using equidistant double
lines as the linear device. The
most practical designs for
machme-,;e,"' corded quihing
ha\C parallel double-line channels
thnt t\\ ISland tum, thar touch
but don) cross. and that continue
unm1cm1plcd b)' stops and reSHlrb where sewing lhrcad must
be ~cured (Fig. 9-8). The safe
width for the double lines is

(6mm ) o r less, althoug h straight,
striped patterns will 1oleratc
wider churUlcls.
2. Wi lh n fine line, fabric-safe
marker. trace a faint but dis

linct mirror-Image copy of 1hc
design onto ahe lining ( refer
ro '"Tmnsremng Designs- on
page 205). Basae the lining to
the surface fabric.
needle; push 1hc need le into the

lining 01 I he last sti1ch of the
senm; bring it o ut half-lhc-neecllc's lcng1h away, and cu 1 lhc
1hreads at thnt poin t. ( -t) Steam
press to >Ct tbc stitching.
4. Fillahc Slllch-oUIIined channels

of I he design "ith cable cord or
acrylic yam. follo,nng proccdurt-~ described on page 189.
s1cp :4, for "Hand-sewn Corded
Quilting" (also refer to "Cords
for Cording'' on page 187). Most
mnchmc..sl.!wn designs have
6. To prepare the edges of corded

fobric for finishing or cxlension.
remove stilT, l>ulky cord fro m the
st~m allowances. Measure the
corded fabrcc from s1de to side
across the center of the corded
channels. Usc that mcasuremcnl
when cuning 1he fabric that will
be St\\11 10 the edges of 1he cord-
ing :md when cuu.ing an outer

linin~: for the corded design, if
there nrc c.xposed cord ends to
concc.1l. Ease 1he ed ges emplled
o f cords to match the fablic
~:<tension when sewing t..hc Lwo
together.
N OTES & VARIATIONS

Re\ icw the Notes and Variations
abou1 "Hand-~wn Corded Quilting"
thai begin on p.tge 190.
The most efficiem designs fo r
machine-stilched cording require
sewing 1haL moves down 1he fabric
rrom top to hottom without any
may have dosed interior chan-
need t O stt>p and re-position for a

shar;> aurn ur 1hc cndlnglheginning
o f a se-l!m. With ahc d esign rraced
o n the lining, the bobbin side of ahe
nels ns well.
scam shows in fl'ont. Before sewi ng.
chunncls wil h ready-made openIngs ~~ the edge of the fabric. An
elabornac, machine-sewn design
S. S1rc1ch and pin 1he corded quilLing to a padded surface. Steam

with nn Iron held above the fabric. Allo\\ to cool and dry before
removing the pins.
1cs1 1he balance bc1ween tension

and stitch length on scrnps. paying
p-.trlicular aucnuon 10 the appearance of the bobbm stitches.
Strnlght-linc channels may be
slitched from lhc front when the

widah of the presser foot is the
guide followed 10 gauge channel
width and 1hc spacing beawcen
channels. For solid cording, adja-
ccm chnnnds s hnrc the same seam,

w hich cnn be "~clencd with satin
saitching o r twin-needle seaming.

Lead 1he cmd 1hrough straight
channels of modcrale kngth w i1h a
tapestry needle or bodkin ; or pull
1hc cord 1hrough the channels with
a piece of stilT wire, slightly longer
than a channel, bent imo a hook or
loop at one end.
Fig. 98. Continuous-line designs for machine sewing: (a, b, c) Designs with
parallel, uninterrupted channels. (d) Design for solid cording with segmenled
channels. To stitch. sew the straight lines first. then the stepped lines that angle
down and across, and oversew portions of the stralgh/ lines.
194
The Art or Manipu lating Fabric
MACHINE-SEWN COR D ED QUI LT ING
..
l. .
'
'
.
' '
:
' .
:
'
'
'
'
'
' ''
''
'
'
':
:
''
'
'
''' I''
:
'
!
'
Fig. 9-9. Sewing

the channel and
the cord into the
channel in one
operation.
Twin-needle rord1n!i! outlines ro\\ channel; "' th 1 ""''S <md>ing in front and mtrrt..~ ~tli.Chm!:
in bock. Select a finn cord that lib
between 1hc t\\~n nctdles. ti5C a
prcs~r fool \\ilh a groovein the 00,.,_
and choose 1hin fabric that wmp.
the cord eiiSily (Fig, 9-11).
.Iii I~
i
Anoth er option fo r straigln -une

paucrns eliminates cord insertion as
a .cpamte JCthitr Channel stitching
and coni inscnion arc simuiUtnt-ous.

(I) S111n '"th a stiffiy stabili:ed lining c ut to size. Cut the su rface fabric
a~ lo ng a> th e lini ng and co rded
c ha nnels, but wider than th e lining
to compcnoatc for the curving o f the
surfncc f"bric over the co rds. Pin
t he ecl~;e of th e surface fab ric to
th e lining Ot1 o ne side. ( 2) Wit h
the surface fa b ric up, sew the firs t
~eom. (3) Insert " firm cord, su c h
as cable cottl between the surlace
fabric and lining, pushing it up
ag:linst the seam_ With a zipper or
cordmg fooL sew ne.xt to the cord,
enclosing it inside a chan nel.
(-I) Contmue adding corded rows,
one against the other. or with wtcordc..:l sepamtions to ,ary the design
( Fig. 9 -9). Indica te measured spacing
between the cords with thin, faim
ttuidclines marl<cd 0 11 th e su rface
fabric. If the swfuce fabric is bias-cut

and cauuo~ly cased or sm:rched as
~"~ng pmctttls. the cord can he
sutched ln1o row s that curVe.
The humped ridges caused by

the cord unde m ea1h a re mo re pro
no unccd whe n cord is stitched
inside 1he c hannels rath er than
inserted after the channels ~ re
$t amed (fig. 9 10) . Using either
me t hod o f inse rtion, 1he cmbos.~cd
surface will ha\'e mo re texture if the
cord Inside the c hannels is rou gh
wilh knobs and
LWISI S
rhat sl1ow
1hrough
the fabric. Floaters of cord

dclihel"dtel)' brought OUt 10 the SUT
face in cenain places conrributc 1he
texture of cut, brushed -out en ds to
the ovcmll relief.
Fig. 911. Twin needlesizes- 1.6mm.

2mm, 2.5mm, 3mm, 4mm, 6mm-
indicate the space l:>ellveen needles,

and that limits the width of the cord
the stitching will be allle to wrap. The
groove on the base of the presser

foot makes a passageway for the
stitched cord.
Increase lhc machine's top.-tension

se tting to l igh ten the thread that
crosses o ve r th e cord ln b~ck. Te<1
the raised result of various settings
o n a scrap
p rac tice fabric. Sr.m
s titc hing w ith 1he cord located
u nde r Lh e f11b ric a nd be1wccn th e
lowe red n eedles. Guide the cord
under the p resser fool as stitching
progresses ( Fig. 9- 12).
or
With s ingle-fabric machineslirchetl cording, a ne twork of

thread e n closes the cord. Twi n n eed le o r zig zag stitching subsciIUtcs for t he li ni ng .
Surface
Fabric
(a)
lining
Surface
(b)
Fabric~
Lining
Fig. 910. Profile diagram illustrates the dilleronco In surface elevation between
(a) cord insened after sewing the channels and (b) cord lnsened while sewmg.
Ag. 9-12. Place a forefinger on either

sido of tho cord underneath the fabric
to centralize It as It moves toward the
presser foot between the twin needles.
Chapter 9
CORD ING
195
Single-fabric machine-stitched cording will follow straigln ot curving

paths. Mark the design on th~ fubric with faint, temporary, single
lines; usc the pres~cr foot to regulate the sp:~dng between rows: or
improvise a pattern while sewing.
The rigzag cording process is
similar to l\\;n-needle con!Jng but
the stitching in front "'different
Stitched thread crosses back and
forth over the ridge created b) the
cord underneath. Select a firm cord
and choose a :igzag stitch "~dth
that straddles the cord closely.
Ztg;mg s tuchlng also attaches cord
to the surface or the fabric. embellishing the fabric wuh cord thot's
~;stble between the crossover
threads, or, with stitch length
reduced abno>t to 0, with cord
that's im~sible untkr a solid covering of satin -stitched thread.
floaters, loop> nnd ends of cord
released from the covcnng thrcud,
add loose texture to the s urf:tcc. To
interrupt a Line of zigz:og cording
with loops of cord 10 the sides, stop
IX 6- 5ampfcr ofmoehlne-se-Mt po!!m; With channel' cuble<ordea alter <otd1<11g.
MACHINE-SEWN CORDED QUILTING
stitching wh h the needle: dow11,

loop the cord back :tn<.l fon h in
from of the needle, zigzng :tcross
the center of the loops, zig:ag back
ror sccurll )', nnd conLinuc forward
(fig. 9-13).
(b)
(a)
196
Fig. 9-13.
(a) Zigzagstitched cord with
floaters that
break !reo from
the stitching.
(b) Short lengths
of satlnstltched
cable cord with
both ends free
and untwisted.
Tho Ai'c of Mnipu l>elng Fa bri c
IX-7- 1\vo SIZes ofcable core/ ughriy enca~d as dre SO<lm$ wen;> str!ciJerl
IX-8 Mvshn tc><Wred by rhe

cord
the d>o011els: ((mm
d10 top) yolf\ plost~t beods tenor
1ed twill<' smgiMtOCile~ cord.
tcnoue</ cmtlrwSied p.'asuc scnps.
""''*
MACHINE-SEWN
CORDED QUILTING
/X-9 -Cio~ CO/dong thor

eme~ {rom tile d101>ncls os knotrt!d {ronge.
Chapter 9
CORDING
197
l)(.f 0---<llom!~ c.onkd """ """ ;ioote<S bmughl 10 1M SUt(ol:c

ends on w. CMter ~
~,. lht gn4 o( clloonels .,ffiffiS.Yom

bru!/!od Olll
MACH IN E-SEWN
CORDED QU I LT I NG
IX-II - T\V111-i!eetlle single {i!lmc coro/Og rmr /lrov-t crochet cotton.
.' ,..
f '~
...
IX 12- ZigZag-5blche<J songle {almc sompitr ({'Om thelc{t) lr.-s.b'e

and VISible z,gzcg cordm? soun sutt:he<J cOld looped cord: ~nlile-cro
cheted, soMS~tched cc:<i; shon lengths o{ saton sMched cord v.1th
/oo;e ends {royed.
198
Tho Art of Man ipul ating Fabric
SURFACE
C ORDING
-parallel tubular casings, raised and
stitched into the fabric like tucks,
that round o ut over the fo undation
when filled with cord.
P ROCEDURES
l. Decide how much fabric to allow
for a tubular c<ts-ing fo r the
selected cord ( rdcr to "Cords for
Cording" on page l87). Pin the
1!
I ;
(a)
!t
cord ins ide a scrap of the chosen

l'obric. remove the pins and cord,
and measure rhe dis tance
between pinholes:
for cording to be stitched
Fig. 9-15.
(a) Fabric
prepared for
sewing cord
into tubular
casings.
(b) Machine
stitching a
cord into a
pinned fold.
(b)
lmo folds. confine the cord

snugly with pins.
For cording to be insetted
after the casings are se,vn.
ca~c
the covering w m~1ke

room for cord movement
mside ( Fig. 9-H },
3. With a rabric-sak marking tool

or scissor ni ps, mark the top and
bottom edges oEthe cording fabric, dght side up, witl1 measured
spaces fo r each cord casing and
11,ensured sep:u ations in

between:
I
Fig. 9 - 14. Testing the fit of a tubular
casing a round a cord lo set the fabric
a llowance.
2. To estimate the amount of fab ric

rc<;uircd fo r a surface-corded
applicmio n: (l} Mult ipl) the
mno unt of fabric needed to
cnColSc o ne cord by 1he rows of
cord pre-planned for the target
measurement. and (2} add that
IOt.nl to the target mea~un:ment
for the application. Cut fabric for
cording to size- up and down as
well as across tho cords.
For cord inserted-and-stitched

in one ope:rm ion. add a <:enter
point In between theseamline
posilions marked acros.> the
top and bouom edges of the
fabric (see (a) in Fig. 9-15).
Separations between the casings must be more than, or at
least equal to. the width of
the machines cording o r zipper foo t.
Fig. 9 t 6. Profile views of surfacecorded channels demonstrate:

(a) The difference between the
actual space between seams and
the space that's visible betiYeen the
skies of the corded tubes.
(b) The minimum space between
seams for adjacent corded tubes
that touch.
For cord inserted after s titch-
lug, Lhc minimum separation

between casings equals the
ovcrlnp of adjacenl, encased

col'tb ( fig. 9-16). Fo r each
cnsing. indicate seacnlinc posi
Lions across the top and bottom edges of the fabric. and
connect the position marks
opposilc each other with faim
but di>tmct lines up and
down the fabric (see (a} in
Fig. 917).
Chapter 9
CORDING
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
,.,---....., ..,..--...,..
~
I
I
I
I
I
I
I
I
I It
--,
r--;;;:..
~''
''
'
I'
I
I
I
'''
''
(a)
''
'
(b)
I
I
..
:'
'
;'
'
:'
'
'
'
''
:'
'
-1. Stitch and cord the rucks:
To Slltch-nnd<Ord in one opernrion; (1) Fold between Lhe

edge marks Ll,;tt indicaLe the
center of a casing space and pin
awny from Ll1c location of the
scant (2) Inscrt cord inside L11c
1.1lnned fold. (3) l'ushing the
cord ngainst the fold. stitch
next 10 tJ1c cord widl a cording
or zipper foot anached 10 cl1e
machine (see (h) in Fig. 9-13).
:
''
'''
'
'
'
'
''
I'
''
'
'
:'
'
;'
''
'
'
"
I
I
I
I
I
I
I
F~g. 917.
(a) Fabric
marked wi!h
seamlines
for tucks to
be corded
alter sewing.
(b) Sewing
the casings
be/ore
Inserting
cord inside
the tubes.
NOTES & V A RIATIONS

When a surfacl.'-<.-ordcd application
encirelcs. 1hc corded rubes must be
cominuous. After marldng the flat fab-
ric with cording >paces and separations, sew the ends of the fabric
together, m;uching the markings.
Stitch-and-<:ord each tube in one operation, butting the encb of the cord
"here they meet, or sew the tubular
casmg> and leave an ope11ing in each
seam for cord insertion afterwards.
Unlike hand->cwn 'md machine
sewn corded quilling, s urface-corded c hannel~ manage cords or tmy
diameter (refer to "Cords for
Cording" on page I87). Patterns are
LimiLcd 10 strnlght rows varied wiLh
cording that differs In size.
Covered cortb Lhat arc separated
from 1he fabric can be curved and
coiled during application. Dctru:lted
cordi11g is m.-.de from strips of bi.'lS-<:IIt
t1bric wide enough to be folded
lengthwise around the selected cord
(fig. 9-18). The cord IS machme
stitched inside the cJSing witll"
zipper or cording foot.
Stralghtgraln
To sthch the casing and inscn

the cord afterwards: (l) Pin
match the >e<unlincs that
enclose a ClSing space. (2) Sew
the scamlines together, removing c:tch pin at the approach of
1he presser fool. (3) Threading
1he cord into a tapesu-y needle
or bodkin, or using a hooking
or clamping tool, work cord
Inside the tubular ca<ings (see
(b) in 1'ig. 9-17).
5. Remove cord from scamallowance areas to prc.pare the
edges of surface-corded fabric for
finishing or extension. Center
each Oancned casing over the
scam underneath and baste within lhc scnm allowance.
Fig. 9- 78. To cut a continuous length of bias

s/rlp: (a) Cut a square
on the stralghtgrain of
the fabric. Cut in half
diagonally. Sew the
straight-cut edges of the
triangles together as the
arrows Indicate. (b) Mark
the wrong side of the
pleoed fabric with appropriafety spaced paraDe/
lines. Sew the opposite
edgas of the fabric
loge/her as the arrows
indicate, (c) but offset
one comer to match the
first line. and match all
succeeding lines to the
overhanging end.
(c)
200
Th e A rt of M anipulat-ing Fabric
SURFAC E CO RDI N G
For piping or welting. fold a strip

cut wide enough to include two seam
allowances nround the cord, with
right side out, and machine stiu:h.
Prepare piping/welting with seam
allownnces appropriate for sewing
into a scam joining two pieces of fabric, or laying O\'C.r a foundation in
overlnpping rows (Fig. 9-19).
Fig. 9-20. To join inseam piping/welting

that surrounds:
(a) Stop sewing and
remove all p1plngl
wetrmg stitching 2"
(SCm) on either side
of the meeting poinL
Make angled folds
and trim the ends of
the strips as shown.
(b) Sew the ends
together. Re-fold the
seamed strip over
the /:Jutted cord, align
all edges, and
resume the interruptad stitching
.r
..
..
''
.'
..:
_,
(a)
(b)
applied; sew 10 the foundation,

catching Lhc wide scam allowance of
the previous row in the scam. To
start or stop a row internal!}\ fold
the end of the strip diagonally to the
back, removing cord from the foldback (Fig. 9-21). For a coiled application, the \\~ldr. seam alloVv-ance
may need clipping, partimlarly at
the scart, but avoid clipping deeply.
times. Trim tbe scam allowl\J.tce

close to the stitching (Fig. 9-22).
Fig. 9-22.
Corded
tubing in
process.
ready to
be turned
right side
out over
]I
Fig. 9-19. (a) Piping/welting for inseam application. (b) Piping/welting

for laid-on application.
To sew ptpin&"velting into a seam,

baste it to the right side of one piece
or Fabric \vith all edges matching. 1[
the seam Is circular, stop se-.ving
about 2" (Scm) from the meeting
point; open the piping/welting casing
nnd sew tbe ends together; re-fold,
nnd finish the basting (Fig. 9-20).
Sew the second piece of fabric to the
first wllh right sides facing and the
piping/welting in between.
Piping/welting intended for laidon application needs to be fabricated
with unequal seam allowances, one
SC:\nty and one at least Lwice as '"ide
:lS the diatneter Of the CO\'ered cord
(see {b) in Fig. 9-19). lay the covered cord on the foundation with the
short scam 3llowance underneath:
sew 10 the foundation by stitching
over the cording sc-m. Plncc the
corded edge of the ne:'<t row up
ng.11nst the cording of d1e row just
lheoord
thai
extends
from the
endollhe
bias strip.
Fig. 921. Machine sewing rows of

piping/welting laid over a foundation.
Sea on ullowllnces are inside corded

tubing. another type of detached cording. To make corded tubing: (I) Cut a
strip ,v;th two mnderate seam allowances. Fold lengthwise around a cord
with the wrong side outside. The
~ord should extend beyond the-fabric
strip by a duplocatc length. (2) Using a
zipper or cording foot. stitch next to
but not tightly against the cord At the
end of the strip, pivot on the needle
and stltch ncross the cord several
(3) Holdiug the top of the cord,

push the casing down lind over the
second half of the cord until it is
covered with fabric right side out.
Cm off the first half of the cord
{4) Hand sritch corded tubing with
its seam against the foundation fabric. Working from the front, slipstitch the tubing to the foundation.
or, working from the back, srretch
the foundation in a hoop and backstitch Into the tubing as it is pushed
up against the fabric from undctne:tth. Corded tubing is an appropriate medium for scrolled designs.
Chapter 9
CORDING
201
-. t- ..-IX-I 3-Tubes that 9t on top of dlc some mvslin

!hot 11h'<lps !/le cable cord sttched lo>sde.
SURFACE CORDING
IX-I 4-(le(t side) Stnps o( pipong applied to o (Oundo~on In cvrvong

rows. (nglll sde) Coded qvnl!ng w;th the co<ds s~tcbcd undcmcoth
mus!in OJt on the bios to O(COmmoOOt t/1~ curwng OI'IOnRCmcnt.
202
Th e Art ol M>nlpu lotlng Fbrlc
SURFACE CORDING
IX- I 5 Col! oppltco/#1

of
p.p<ng
"''""'"cc''"'ed
IX I~ <mbell<shcd 'Mih
cOtde<J ubir>g opptJ"' o ser<les>gn ant/ f<1lle<1 Mill
o dou!ie rrm o( ppong/1~.
Chapcer 9
C ORD IN G
203
unctionally, quilting is stitching that fastens three layers
of fabric-a top, a batting, and a

lining-into a stable textile that
becomes more than the sum of its
parts. Decoratively, quilt stitching
indents a design into the soft
thickness of the layered textile
with interrupted or continuous
lines of thread. Hand-stitched
lines of th read have a different
effect on the padded surface than
thread lines sewn by machine.
A quilted textile has the bulk
and warmth of its fabric components, and a substance in hand
influenced by the kind and amount
of stitching applied overall.
QU ILTI N
10 Quilting
QUILTING BASICS .................. 205
Tr:msfening Designs .............. 205
Tracing meo hods .................. 205
Baoomg .................................. 206
Tile Doubled-Binding Edge
finish .................................. 207
joining Modular Unios ............ 208
Concealed COIIIlCCLions ........ lOil
Taped connections .............. 208
Stripped connecoions .......... 208
HANl) QUILTING .................... 209
Procedures .............................. 209
Notes & Variations ................ 213
Stabsoitched quiloing ............ 213
Backslitchcd qui lting .......... 213
Envelope edge ......................2H
Flat hand quilting ................ 214
T)ing ..................................21-1
lining-binding ....................214
MACHINE QUILTl NG ........ .. .... 2.17
Procedures ..............................217
:-.Iotts & Variations ................ 221
Art quilting ..........................222
Openwork nnni-mo<lulcs ....222
Tabs ..................................223
Pressed quohmg .................. 223
Note: This chapter begins whh

BASICS, mrucatcd b)' n grny band
located underneath the oclcvnm
columns.
QUlLTING B ASICS
T RANSFERRING DESIGNS
and quihcd or machine
quilted, Lhc type of design.
the size of Lhe 10p. and the
quilling procedure are considerations
when deciding whetlocr to copy the
dcsi~:n onto tl1e fabric before the top
is basted to the batting and lining, or
aftcrwnrds, jusL prior lO quilling.
Copy before hasting when intricate
allover de.signs cross large areas of the
surface. when the smnll size the rop
mflkes it easy to trace the lines beforehand. or whctl the top/batting/lining
will be hand quilted in a frame.
localized designs involving repeated
shapes ma)' be marked as quilling
pro<:ecds. Improvised panems
rtquire linlc or no mar~;ng at all.
Mark lines on the righL side of
the top after the fabric has been
pressed smooth. Immobilize Lhe
fabric to prevent it from moving
during tracing. Use a fabric-safe
substance that marks fine lines,
barcl) distinct enough to see when
stitching, durable enough to last
untiltbC)' arc quilted. and preferably coverable by the stitching. If
the lines will be ,,;sible after quilting, they must he completely
removable by brushing. erasing.
washing, or an) other mclhod compaLiblc with the quihed textile.
Chemicals in the marldng substance should do no harm in the
(uLurc. To avoid lllll>leasanc surprises.
,,r
<rhwrys resr a marlling substance on

tloc fal>ric of choice bcfor oosing
cxtcnsfvel,Y.
TRACING METHODS
Pladng the design underneath
the wp. use a light box 10 cxpo;.c
the lines LhaL need Lracing. lf Lhc
top is small, dayhght shining
through window glass will reveal
Lhe design to be traced.
Place dressmaker's carbon
between the design and tl>c top.
Trace over the lines of the design
with a tracing whei:l or :m tonply
ballpoint pen.
Heat pres..~ w nuloma1ict~lly lntnS
fer a fresh photocopy of the
clcsign to the top (the Image will
be reversed) or, using a traotsfcr
pencil. trace the design onto
paper and heat press the transfrr
copy of the design onto the fabric.
Make a perforated sLcnciI b)'
machine se,'<ing \vith a large necclle and no thread over the lmes
of Lhe design traced onto light
cardboard or acetate. Pounc< the
design onto Lhe Lop by forcing '
harmless powder. such as connnmon or talc, through the punctures: or dcinc the dc.ogn "lth
dots marked on the top through
the holes.
Place a commercial or hand-cut
sloned stcnd l made from sofL
plasnc on tbe top ill1d draw Unes.
guided br the channeled openings, to reproduce tl1e design
Tape n)lon net o'er the design-onpaper and Lrace tlw design on the
nylon filaments with an indcUble
pen. Pinning the net to the fabric.
follow Lhe indications on tl1c netting to mark the top with a broken
line that describes cloe design.
QU ILTING BASICS
205
Trace around templates moved

from place to place on the top. A
template could be a t<acup, a
gluss. a cookie cuucr, or another
suit~bly shaped household
object; or ir could be a cutout of
tardboard, sandpaper. acetate,
heavyweight norH\O\cn imcrfacrng, or lightwcrght plastic.
using a firm, Straight edge long
enough to rench ncross the mp,
trace s traight line; on taut fab ric.

Use an anist's tool called a ncxi
ble: curve, which ~Lays ben1 in 10

serpcnti.J1~ shapes. co trace
repeated, cuny lines.
To quilt long. str.ugln tines with

out prcmarking. swch next to
one or both edges of masking
tape s tuck 10 the surface. The
width of the masking tape- Vi''
(6mm}, w (l.3cm).
( 2cm}.
I" (2.5cm}-<:omrols the spacing between hnes. Do not leave
masking t.1p< on the top benveen
quilting ;cs~ions.
Stitch around 1he edges of " ncxible, St icky tCIIIIllatc t UL from

adhesive-backed Contae paper or
pressure-sensit ive htbds. Sticky
templates have limucd re-use
and should be remocd from the
top af!er the outliners quilted 10
preven 1 residue Irom permeating
the fabric.
For echo qui ll ing. guide the nee-
cUe by using a lhumb or rorefinger to measure 1he distance

between outhnts
\\'hen tops arc l:ugc and ele-
menr.s in che design ure continuo us

and aligned, divide Lhc fab ric into
halves, quancs, and even eigiHhs
with guideline folds or b:ming;
hold the fabric t:IUL :tnd keep Lhe
weave on gram; use a pattern wi1h
'tr.tight edges that can be matched
to 1he sLraightgrain of the fab ric;
and measure frequently to check
the position of motifs in balanced,
.symmcuitnl U11signs.
206
B AITING
Batting is manufnctured. from
llal\lral or synthetic fi ber. whitlt
have been minglcd t.ogct her, S[>read
o ul into sheets, and lreated to
udhcre. For stahilil)' and dural>ili ty,
hauing requires a covering of fabric

f:>stened wilh stitches. To 1be fabric
that covers it. baurng tmp,tns
wanmh. body, and a >Oflncss receptive to 1he imprint ol the stitch. The
fiber content
the hau ing aiTeciS
its utilization.
or
Cotton batting is valued by

many quilters for its 1>leasing accept:lnce of hand-held needle action.
Its thinness and softnc;; invite fine
quilting and elaborate, ovcmll patterns, which mnkc n dccornllvc
asset of a necessi ty. Co11 on balling

must be quilted CVCI)' 2" (5cm) :u
the outside. prcfer.tbly duscr. other
wise it shifiS and scpamtes with use
and bvcomes lumpy and roper
when washc'<l. Gentle pre-washing
b athisable because It tends 10
shrink. When qui heel. a textile
padded wiLh co11on balling has k ss
relief than a textile with pol)cstcr
batting inside.
For man) contemporary quilters,

the primary auraction of polyester
hauing is its resistance lO tearing
nnd shredding, which allows lines
of <1uilting to be spnccd 4" ( I Ocrn}
tO 6" (15cm) apart . VariCI)' and ver
S.11iht)' are two of 1he other reasons
for us popularity: low-loft. regular
loft. and high-loft thickness<:s:
honded or ncedlepunchcd finishing;
dllferenccs in supplencs> and
resilience: and avnl lubility in standard. nuuLress-relmed sizes as wel.l
os by the yard. The di!>:>dvamagc of
poi)'CSicr b-Hing is a phenomenon
called bearding. A sauc-caused
nrlgmtion of batting fiber; through
the weave of 1op and lining fibrics.
especially after washing. beard ing
leave~ a
fuzz on the sul'l'ucr thai is
particularly nonccahle on fabric of"

di[fcrenl color. To eon trol tllis reaction. manufacture" bond the polyester fibers in banings with thermal
or resm processing, fuu;hcs that
QU ILTING BASICS
\'ariously affect the hand and needle

rcccpti\it)' of a ban and its bearding
resistance. Bearding is a dcCiniLe
problem when polyester balling is
com bined with fab rics thnt have a
pol)'CSLCI' tOtllCIU, and when the
l>n11ing has been cheap!) manufactured. Bearding is not n major prob
lcrn when good qualit)' balling is
com hi ned with closdy woven, narural Ober fabrics.
Blended batungs h 11VC mix of

couon and polyes1er fibers. An
elTon by batting manufacturers to
eliminate the problems while pres..ning the best of both fiberworlds. blended hauings offer the
thinness and coolness of couon
wit h the quilring spaciousness of
polyester and high resistance 10
bcatding.
When COlton nannel or COIIOU
knit fabncs subslitute for bauing,
the barelr padded bbric i~ supple
nnd thin and the quilting lines may
he \vide!)' spaced wit hout creating
wn~hahility problems, but the
unique text ure of the quilting Is
noticeably diminished.
Wool batting i;, ><.>fl, wamt,

resihcnt, and quiltS like couon. One
manuractureT claim..c; n..~ I(')()% wool
b.llting is washable and wlthst:mds
3" (7.5cm) stitching separations.
Silk Ohers make a featherweight.
luxutious balling, most appropriate,
obviously. for use with silk fabrics.
Because it is cxpcrtsi'e and unusuallr small in size. silk battmg is
gencrallr confined 10 medium- and
>mall-sized project$. Unlike colton
and polyeSter, wool and silk batcings suffer the iJlCOnvcnicncc or
limited availability.
To choose a balling suuable for a
specrfrc projttt frorn the manr
brands on the market, ask 10 feel a
sample and test irs cnt5habilitr and
dnlpc. Before beginning Lhc projccL
test the ban ing with the chosen fabrics: (I} Quilt a s mall square or
toplbattin!flining in the intended
manner wi1h lines that arc closely
and "1delr spa~~- (2) Me-JSurc the
quilted sample. (3) Pull, twist, mb.
wash, and dry the sample.
..
Straightgrain
/, _/I
Strt to /
cut
I I
I 1
Fig. 10-1. To cut a

continuous strip on
the straightgrain,
mark the back of the
fabric with fines
spaced a strip-width
apart. Match the
lines-but set off by
one spacing-and
sew the ends together. Cut on the line.
hinding 01 each end. Match and pin

the cui edge of the binding to the
edge of the lOp, one edge at a time,
"ith the extra bindmg for mitering
extending bc)ond each corner.
Sew the bmdmg to each quilted
edge, >larting .utd >topping at the
p01ms \Vhtre the seam allowance

on the quilt turns comers. Long
quilted edges trHt)' need gentle cas-
I A
ing tl., H\0\tCh the pre-measured

lengt h nf the binding. Ease the
bi nding ;~ round curves. Miler the
(~}
Mcnure and compare with the

original dimensions. Evaluate the
condition or the balling bc.tween

~thchlng lines, and the texmre and
loft of the quilted surface. (5) Make
adjustments accordingly.
T ti D OUBLE-BlNDlNG
EDGE FINISH
Binding frames a quilted textile
with a smooth, narrm\; protective
edging. A doubled binding also
incrcas<s the firm ness and durability of the edge.
If the qui lted text ile is rectangulnr or square, wltc kngtlt and wicltlt
rncasu,cmrnts across cl1e centc,. to
estimate the amount of binding
required. and to cut the bin dtog for each side. Pre-measured
binding bilscd on cemer measurementS equalizes opposi1e sides.
\\1th the quilted textile smoothed
ma.st. Cul n binding stri)) for each

s traight edge, adding two seam
nllownnres and an exrra amount
to
tl1e length of s trips that will be

mitered at the corners. Cut one
extended hinding strip with two
~m allowances for edges Lhilt
curve. Fold the bonding stnps in
half lengthwise and press.
Stnbihze the quilted edges "~tlt
machine basti ng inside the seam
allowance. Mark long, s lraight
edges at hniJ and quam:r poims;
mnrk the binding fo t those edges at
half nnd q uan cr points, and mark
the pre-measured length of the
binding l1t comtrs. Turn tlll binding <.1\'cr the edges to the lining side
of the CjUtltctlt cxt ile. Blindstitch
the !ready folded edge of the binding to the lining. concealing the
machlne-~'vn cam under the fold
( Fig. 10-2). A doubled bindmg
should feel .lS thick all the way to
its edge as the bod)' of the quilted
ICXtiiC.
To bind entirely by machine, sew
the bmdmgto the lining side of the
q uilt. turn the folded edge to tltc
fro m , and cdgcstitch through all
layer~ 10 srrure.
Perpendicular
Guideline
out llat. use a tape ro measure curving edges for binding length.
To bind straigh 1 edges, cut binding strips nn the s traight of the fabric, piecing the s trips together as
needed ( tefer to Fig. 3-23 on page
XX), nr cu1 continuous straigJn.
gram binding (Fig. 10-1). for edges
that cttrve, cut the strips on the bias
(rder to Fig. 3-H o n page XX and
Fig. 9-18 on page XXX). The width
of a doubled-binding strip equals
four times the "idth of the finished
bmdmg in (rom, plus tWO scam
nllo" anccs. Finidtcd binding width
equals tht stam <rllowancc around tlat
edge o) tltc t{uiltr<ltop at tlte lenst,
m11l <my lwuiug rltm extends beyond
rite rrl,~c to fill a widrr /Jindiug 111 tltc
Fig. 10-2. (a) Sewing

doubled binding to a
quilted edge. {b) Do not
sew 1/Jrough the quill's
soam allowances at
corners to be mitered:
Fold the quitted textile
diagonally to match
adjoining edges and
binding overlaps. Mark
a guideline petpendictr
tar to the end of rhe
seam: drav a 90degreeangte seam/111e
and sew the binding
wertaps together as
shown. Tnm next to the
seam. (c) BlmdstJtch the
bindmg's folded edge ro
the ltning.
Chapr I 0
QUILTING
107
} OINCNG MODULAR
U NITS
Choose one of the following

methods to assemble pre-quilted
modules into a lruger conslTUction.
.. .
.
One of the two edges to be joined

mus t be free from all quilting for a
breadth cc1ual to two seam
allownnccs at least. for example,
stop c1ulhlng W' (1.3cm) from the
edge if the scam allowance is \4''
(6nuu); swp quilling 1" (2.5cm)
from the edge if the seam allowance
Is W'(l.3cm). Pin the lining and
balling of that edge back and out of
the way, exposing the re'ersc side
of the top. With right sides together. pin and sew the exposed top
edge to the edge (all layers) of the
second module. Spreading both
modules out fiat. trim the unattached batting to abut the seamed
batting. With the seam allowance
turned under. blindstitch the folded
edge of the loose lining to the lining
of the second module ( fig. 10-3).
Finish quilting as needed to complete the design.
....
Module 12"
.
.
. .
Lining
'
.. . '
.
'
''
''
..
'
CONCEALED CONI\TECTTONS
'
'
/
'
'
/
/
''
Fig. 10-4. Taped connection: Sew two modules together. Cover the
seam allowances with blindstitched tape.
TAPED CONNECTIONS
Cut a strip of lining fabric four
seam-allowances wide and as long
as the modules to be joined. From
the strip, make a tape with the seam
allowances on each side pressed
underneath. With right sides facing,
sew the edges of two modules
together, stitching thmugh all layers.
Picking apart any quilting seams, cut
the baiting o ut of the seam
allowances and trim the li ning
seam allownnces by half. Spread
Mod lo 12
F~g. 10-3. Ccncealed

coonectiQn: (a) Sew the
top of moclule t/1 to module 112. (b) Trim the loose
batting to abut/he sewn
batting. (c) Hand sew the
loose lining over the
sewn lining.
botll modules out nat and finge r

press the seam allowances open.
Co,er the seam aUowances \\;th
tape blindstilchcd to the lining on
both sides (Fig. 10--1).
STRIPPED CONNECTIONS
Cut two strips. one for tl1c wp and
o ne for the lining, each as v.-idc as
the desired spread plus two scam
allowances, ami as long as the modules 10 be j oined. Sandwich the
edg" of one module between the
two strips, right sides facing, and
st!w through all layers. With right
sides together, sew the strip of top
fabric 10 the second module. Spread
both modules out to the sides of
the connecUilg strip. Cut a lcogtlt
of bouing wide enough to fill in the
gap behind the top strip; hand sew
the edges o the balling to the abutting seam allowances witlt large,
loose s titches. Smooth the lining
s trip over the senm allowances and
batting insert; with the: seam

allowance turned under, blindstitth
the folded edge of the lining strip to
the lining of the opposite module
(Fig. 10-5). Add quilting to the
stripping.
Module #1
Lining
:Modute. l1
L!nln.g
.: .:
208
Tho Art of Man ipUlati ng Fabric
End of QUI LT IN G BASICS
A~
Lining strip
r,
Figurall\'t mouf. !hat an:

repeated m an ord('l'n Jmnncr. or smgle monfs that orr
the focus of atumtion
(Fig. 10-6).
Pnutrns that fill in lhe backgrounds whlun outhned
shapes and between figuDdvt motifs, that connect figurative motifs to borders, and
Inner borders to outer borders. Background fillers are
also used allover to cover the
f:tbrlc withou l interruption
from edge to edge ( Figs. 10-6
and 10-7) .
Module 12
Lining
,.I .. -.. ----------- ... -......
............ ..
Module 112
Lining
Fig. 105. Stripped connection: (a) Join modules to strips, leaving one edge of
the lining strip loose. (b) Fill the space behind !he top strip with batting tacked
to the seam allowances. (c) Hand sew the folded edge of the lining strip to the
adjoining module.
HAND Q UILTING
- lines of running stitches designed
to adom and secure an impressionable tOp fabric to the soft batting and
lining l.hat are layered underneath.
PROCEDURES
1. Develop a design that will cover
I he full cxtenl
the fabric wilh
lines to be inscribed with running
stitches. The stitched Unes mus1
be close enough to merge the
thl'ee layers of top, batting, and
lini ng into a single, stable textile
(refer lO "Batting" on page 206}.
Contrast in the direction, spacing,
and density of the Unes exploits
1he bas-relief potential of padded
fabric. The simplest quilling
design is an allover pallern wilh
or \\1thoUI a border. Complex
quilling designs combine:
or
Fig. 106.
Hand quilling
designs:
(a) Traditional
figurative
motifs.
(b) Echo quilting and
(c) stippling
are specialty
fillers that
Ioree surrounded motifs
to stand our
from closely
quilted back
grounds.
(b)
(c)
Chapt<r I 0
QUI LT ING
209
r . ... .. . ,
_ ...... ,..... .,
- -- .,
1
~ - r - 1
r - -- - .. - .,
:
~ - - - -!
!
I
:
r
I
- - - ~ - r - ~ - - -- - ~- r - -- - - ~ 1
, I
:
I
---~
l- -,- J
,- T '"'I
r ----- ..
.- - - - -- - ~
,...
- -- ~ - ~-.- - -- ~ - ~ - ~ - - -~ - 1 1
r- _.
,-- - -- .- - ,
'
: - ;- "'
I
Fig. 10-7. Designs for background fillers.
R g. 10-8. Traditional border patterns.
Outr borders thadrarne the

inicrior quilting, and i nner borders that enclose a portion of
the greater desig n (Fig. 10-8).
2. Transfer the design omo the

Tight side of fa bric that has
bce.n cut 10 size fo r the top
{refer to "Transferring Designs"
o n page 205). VV\th fabric-safe
markings. make faint but visible
lines d urable enough to survive
the necessary handling prior to
stitching. Fillers and m otifs that
are gauged by eye or improvised
while q uilting do no t require
mar king, s uch as'
Echo quilting ((h) in Fig. 10-6}
mimics the contours orOgurative shapes wilh a succession of

evcr-\{iidening outlines spaced
W ' (6mm} to l4" (2cm) apmt.
2 10
The Art
o(
Stipple quilting ((c) in

Fig. 1 0-6) s urr ou nds (igur~
tivc s hapes wi ~ h m eander~

ing. wavering, ru nning
stitches s paced at the most
\4'' (6mm) apa n .
Designs stitched as inspirado n
dirCCLS.
temporarily with n>'A'S of long,
3. Cut the batting and lining sligh tly larger than the top. II the top
straigh t pins while ba"ing with

thread or safety pius:
is big (e.g., adult bed-covering
Thread extra-long lcngrhs of

thread into a long, suaight
needle or a curved need le.
size) , cur lhe bantng and lining

4" (lOcm) larger all around. For
smaUer tops, reduce the incre-ase
accordingly.
4. To baste the top, batting, and lining together. clear a firm surface
large enough t.o suppon aU or
tuOSl o( the fabric (a tJ~an noor
or utility table) , or usc a frame
the size o( the lining (Fig. 10-22) .
With the right s ide down,
spread. square o!I, smooth, and
Manipu lating Fa bric
immobilize the lining by taping

the c.dgcs 10 tbc. surfact or attaching the edges to the si des of t.he
frame. Center the batting O\ICr
the lining and smooth it o ut.
Center and smooth the top o<rc r
both . 1-lolcl the layers together
H A ND Q UI LT IN G
Sew with running stitches

about W' (1 .3cm) long
underneath and l vt' (4cm)
long on the s urface. Baste in
SlTaiglu rows, .spaced 6"
( 15cm) apart or closer, that
grid the surface o r radiate
from the center to the edges.
Finish by basti ng around the
outside edges inside the scam
allowance (Fig.l0-9) .
5. Follnw the lines of the qttihi ng
design whh snaaU, even, runuing
- r - t- - t- - 11
- ~- - ~- - ~-
r -, - r-
1- - 1- - 1-
stitches. Using srurdy quilting

thread insened inlo a short,
strong, quilting ntcd.le called a
between, sew through all the lay
crs using a needle action that
produces stitches wluch look 1M
same in back as they do in fronL
M:~intaln a steady. moderate tensio n o n the thread. pulling the
stitches in to the padded fabric 10
inscribe the desig n into the snrface (Figs. 10-11 , 1012, and
10 -13).
I
-~ -
r - r- - r- - ~ - -, - -, - "1
r--r--r - 1- -,--,- ., 1
.!-- I I I I I
1--r - . ,'!. . - 1 --t--J-;
I
I
I
I
I
l I
L- ~ - L -I _ ...J _ ..J_ ..J
L _I _ L - I - ..J - ..J I
I
I
I
I
I
L - L_I_.J _ ...J
1
I
I
I
I
I
I
I
_j
(o) _ __
- til~--
(:-~StM
L_ __ L _ I _ .J_
1
I
I
I
I
Fig. 1011. (e) To start quilting. make

a small knot In tho end of an 18"
(46cm) length of quilting thread.
/nsllrt the needle Into the top Jr.!
(1.3cm) from the outline where stitch
ing will oegin; run the needle through
the batting ancl out at the starting
point. (D) Tug on the thread to pop
the knot t11rough t!Je top, to lodge in
the batting.
(a)
Fig. 109. Patterns for basting the

top, balling, and lining together:
(a) Squared grid. (b) Radiating and
concentric lines. (c) Protecting the
edges by folding and basting the
extra lining to thO soam allowance
around the top.
(c )
Pm with brass o r nickel-plated steel safety pins, size 00,

0. or L Start at one end of
the toplbaningllining.
Srnoothing outw,.ud constantly, insert rows of safe[)' pins

spaced 4" (I Ocm) apart. Use
a grapefruit spoon to help in
closing the pins. Baste the
outside edges with needle and
tl11'c ad (Fig. 10 10).
Roll large q uilts as rows of bast
lng are completed. reaching over
the roll to continue basting. If
the quilting design is already
marked on the top, uy to baste
between the lines.
..
,.
,. ,. ,.
,j.r
'J
,.
<"
<"
....
....
....
..,. ,. ....,. ,. ,.. ,.. ,.
I "' .... ....
.I ,.. ,.
I ,.
... ,..
,. ,.
,. ....
I" ,. ...
1 ....
,..
,.
.... ....
)
,. .,.
....
. .. ..
"'
...
"
I r
.r r
.I
....
,..
(c).,~
(c) An alternative to burled knots uti
lizes thread 36" (91.5cm) long. Use
half the thread to quill in one direc
tlon; use the other half to quilt in
another direction.
.r r
'
"'
While quilt ing, place the basted

IOpl bnttin!l'lining in a frnmc or
hoop, allowing some slack in the
srre<ch 10 accommodate the
quilting techniq ue; or lap quilt
without using stretching hardware:
Ftg. 10 to. Basting with pins.
Chapter I 0
Q UILTING
2 11
(a)
(b)
(b)
(c)
(c)
(d)
(d)
Fig. t013. To secure quilt stitching

when thread runs out, or at the end
of a quilling line: (a) Knot the thread
!r.?" (1.3cm) from tho surface. (b)
Insert the needle as if taking another
stitch but turn It backwards. Weave
the needle through the batting and
around the threads of previous stitch
es; bring It out halfitslength away.
(c) Tug the knot into the batting. Cut
the thread where it emerges. (d) To
secure with 8 pierced backstitch: End
with a tiny backstitch. Stab the back
stitch with the needle, run the needle
through th6 batting. bring it out half
the-needle'$ length away. and cut the
thread 8t the surface.
( f)
Fig. I 012. Runningslilched quilting:

(a) The third finger of the sewing
hand, wearing a thimble, pushes and
rocks the needle through the top/bat
1/ngl//nlng wl1ich is pinched toward
the needle by the thumb.
Underneath, the second or third fin
ger of tho other hand pushes the
point of the needle back up to the
surface. (o, c, d) The action of the
needle as It takes one stitch.
(e) Pulling the thread out and
(f) starting another stitch with a per
pendlcular needle. The needle can
take two or three stitches at a time
before pul1/ng out the thread.
212
Tho Art of Man ipu l ati ng Fobr ic
FifJ. 1().14. Quilting frame

w1th the basted top/bat
ling/lining rolled around
long rails to eJ({)OSe a
reachable section for
quilting. The material wiU
be unrolled and rerolled
to move unquilted sec
tkms into vfsw. For add/
tiona/ stability. pin the
sides to strips of muslin
tacked to the stretcher
bars at ooch end.
HAND QUILTING
a. Quilting frnm<s expand to

expose the enure "~dth of a
lnrge-~ized quilting project.
and m..'linl2in the ha..c;ted
top/batting/lining in rc"ddy-to
quilt position until the quilt
ing is finished ( Fig. 10-lf).
t\ quilting frame requires floor
sp~cc, a top marked "ith the
design before basting and setling Into 1hc frame, and dexlCrll)' with the needle because
the quit ter sll, facing the
design from one direction.
Frnme quilting stabi lizes tbe
top/b3ttinWiiuing fo r the
durnrlon of the quilting. so
close basting isn't ot-ccssary
and quilting can begm any
where on the surface.
b. Quilting hoops arc round.
ovnl. or half-round. available
in dtnmeter< from 1o~(25cm)
to 29"(73.5cm), and have
clup rings with butterfly
screw clamps to cope with
heavy, padded fab ric
(T'ig. 10-15).
Fig. 1015. Top/batting/lining

clamped into a 29"(73.5cm) hoop.
Change to a h81f.clrcle hoop when
quilting the outer edges, or baste
extra fabric to the edge to continue
stretching In t11e round hoop.
I loop quilling is po nable and

nexlble, allowing access 10.
selected portion of t he design
from any direction. To prepare
for hoop quilting, bM<e exten>ively and protect the edges. If
basd whh safety pins.
remove pins <hat Interfere
wilh clamping. Prop o ne side
of the hoop on the edge of n
<able. Support the opposite
side close 10 the body In a
comfortable manner <o facilitate the stitching activity. If
<he desogn lsn) alread) outlined. trace the design on 1he
top when the toplbattingllin
ing is stre<ched tight in the
hoop, before relaxing <he
stretch to begin quilling. For
hoop quilling, designs arc
stitched from the ccmer out
to 1hc edges. To p revent wttnkles, remove the top/batting/
lining fro m the hoop between
quiIti ng scssio11s.
c. Lap q uilting needs <he prcpawtlon of very close bnsting to
be successfu l, but it is the
most ensily mnneuvcmble o f
all the mc1hods. l nstcad of
q uilling with one hand above
and one hand undcrnc.nth, to>C
one hand to grasp and manipulate the fabric in front of the
needle. w hich is umneuvercd
by the 01hcr hand. Lap quilling always moves from the
center of the design ou1ward.
To pro,lde an area of tension.
sit in :on upholstered chair
and pin the top/bauingllining
10 <he cl01h on <he arm, or
"e<tr denim jeans and pin to
the cloth covering a knee, and
quilt away from <he anchor.
Lap quilling Is particularly
suitable for ~mall projects,
and for large projects that
ha,c been dlvided hliO smaller modules.
6. When the quilting is comple<e,

remove all b:osting tltread except
the 1hread inside 1hc seam
allowances at the edges. Trim the
edges of the batting and lining
Rush with the IT\led-up edge of
<he mp. Assemble quilted modules together using o ne of the
me1hods dCS<'ribed in "joining
Modular Units" on page 208.
Cover the edges of a finished
quill or quilted item .-;th
machine-sewn. doubled binding
(refer 10 "The Doubled-Binding
Edge Finish" on page 107). or
include the quilled piece within
a larger consiT\lclion of unquilted fabric.
NOTES & VARIATIONS

Novice qui hers often feel clwnsy
trylng tO coordina1e 1hc movements
of the hand above wilh the hand
below when frame or hoop q uilting.
A liule practice no rmalizes the
ac<iviry, btu it lakes dedicated expe
tience to achtcve the liuy, cvc.n
sti<ches-12 or more to the inch
(2.5cm), counting only the stitches
o n top-that characterize traditional hand q uilti ng. Thin , soft batting
layered between thin, soft fab rics, a
combinatio n supple in <he hand
and easy fo r the needle to slip
lhro ugh, is <he necessary base for
fine hand q uilting.
ror many contemporarr purposes. small quilting stilches aren't a
part o f the aesthetic. Uniformity
and pictorial sui~ability are the
standards. Somelimes contemporary
hand quilting approaches the decoralhe appearance of embroidery.
Stabstitched quilling looks like
running-stitched quilting but the
needle aclion is dillerenl and preferred by some quillers. It's an
ambidcxuous acti,~ry: \\'tth the
ooplba<tingllining in a frame or
hoop, the hand above pushes the
needle strnig ht down through 1he
layers. The band below pulls the
needle out and, m oved forward by a
sti1c h, rcinsens the needle into lhe
lining, pushing il straight up fo r the
hand above co retrieve, and so on.
Stabsutching tends to look lop~

in back until prnctice perlb 1hr
rclUrn stitch..
Baclmitcloed <juilrlug. an ahcr

nate to running stitching. cove,.., .1
line "~th unimerrupted sutch.,.,.
thcrdore it doesn'l produce <he
puckery texnorc that dostinguosh<:>
running-stitched quilting Rarcl)
used as the only quolting smch
today, backstitchcd qmlung functions as an outline thnt cmphas1z.,.
By con<rast ";'h the running smches used to quilt the majority of a
design. backsti1ching will accen<
selected parts of the design.
Whatever the quilling wchniquc,
control when pulling <he 1hread Is
essentiaL CorreCI thread 1ension
indents tbe stitches imo tlte padded
surf.1cc; 1oo much thread tension
shrivels the quilted fabric. Some
shrinkage, particularly when 1he
quihing is extensive and includes
stippling, is inevi<able. If a certain
finished s ize is Important, add a safe!)' measurement for sh rinkage when
cutting the fabrics and balling.
Designs with short, close lines
that mean ronsl:mt s tops :md s tart!
for the stitching a.re easy fo r hand
quilters to negotiale. Analyze rhe
design to track the mos1 lo ng-running quilting path. If the line being
sli<ched ends before the thread '"""
out, scoot the neecUe through the
lruing to a nearby line reachable
by the needle and resume Slilching
at that point. End one line and
begin the next with a tiny back
Stilch for securil).
Never quill long. suaight Iones
wilh lengthy threads thao could
snap under future strain. Stitch a
short span of the line and <hen ve<r
off onto a crossing line, or move 10
a line nearby. Otl1cr quilling ncga
tives include uneven Slitches.
stitches that waver ins<ead of following cacb otltcr smomhly, wrinkles trapped in the quilting slotchc;.
noliceable knots and <ails of 1hrc.1d.
and design markings that are voslhle
after stitching. Never press linished
quilting.
Chapter 10
QU ILTING
213
Quilting can he isobned 10 a portion

of the top fobric. The oottiJ>g that pads
d1e area should be thin amVor pulled
and shredded around ~,. edges 10
d\\1ndle out graduall)\ otherwise the
line where it stops may show as a ndgc
on IDp. Bock tl1e panicular a.re:t to be
quilted with lining. or line tl1e entire
top, and haste as previous!)described.
Unlike other oogc-rmishing nlClh
ods, the tm dope edge is apphed :u the
beginning rather than the md of the
qttilting procedure. liS comp:u:otivdy
simple to do and adaptable 10 w:mdcr
ing coniDUI'S and mini-sized as w"U as
modernte-sized projcciS. Start with a
same-size top, batting. nnd lining.
( 1) ~latching <tlgcs, smooth the lining.
face up. over the baning. At~1ch the
"vo !Ogether with enough thread or
sofetypin basting to prwcnt the bardng
from rumpling and stretching during
turning. (2} With the edge'S :tligned, pin
the top, with its right side [acing rho
lining, 10 the iinlng'\lalling. Muchlne
sew around the edges, turning the cor
ncrs wirh two or tlon;t ditlgoual s~tch
cs. Leave. an opening la1ge enough for
mming on one straight ~ide. Sroystitch
rhe lining'\lalling side of the opening
on the scamline, press lengll1y scam
allowances open, trim all comers c:lli&o
nally, and clip the scam allowancl'S
where necessary (Fig. 10-16).
nlng
Top
F~g. 10.16. Topbattifl9'Pnirlg prepared

for an envelope edge.
(3) Pull the envelope right side ouL

With the scall\ allowances mmoo
inside, dose the npening with ladder
stitching. (4) Thread baste the
smoothe<l top to the. lininglb:\Uing, or
2 14
The Ar t of Man ipulating
repin if 1he first basting was safety

pinned. (5) Carry the quilting design
to tl>c edge of the batting inside the
scam allowance and ouilioc-quilt next
to tl1e batting's edge-or nim the batting from the seam allowance before
1uming. (Refer to Fig. 10-32 for
assembly suggestions.)
For flat hru1d quilti11g, procedures
:md ttc:hniqucs are the same with one
c.xccptioo: The top and lining are
quilted togcthcr without a layer or
batting in between. As a result, the
crinkly rclid of the running-stitched
line is minimal.
l)illg is a quick :md (';1$}' war tO
fasten the top, batting. and lining
together into a stable unit. Spaced out
in a gricllil<e manner, deroched stitches \\ith ends secured by !)1ng the
ends into a visible knot dot the sur
face. T}1ng is ussociated "ith fat, pull);
high-loft oouing. cithcr the extravagantly thick kind avaih1ble for comforters or sevcr-allaycrs o( d>inner bat
tin g. (I) Prepare the top, batting,
and lining with s.~felypin basting.
(2) \\~th the width of the top/batting/lining spread ou1 on a table or set
up in a rrame, start measuring, markIng, mcklng, and tying at OtiC end.
Use a template with holes 10 spot the
locations of the ties. Six inches
(!Scm) apart is a prudem dista11ce for
tying. (3) For the stitches and lies,
~1rcad perle cotton, embroidery floss,
crochet couon , yam, or narrow nObon, single or doubled, imo a largeC)'Cd needle. Always holding the needle perpendicular 10 the surface, make
two stitches a scant Yl' (6mm) wide.
one on top of the otllt'r, leaing a
tying lllil at tbe beginning (\\ith yam
or ribbon in the needle. make a single
SIIICh). The ends CUI be tied, CUI
W' ( l.3cm) or more from the knot.
and left loose to garnish the lop, or the
ends can be tied in back, in which case
the IDp \\ill be dimpled with pulled
stitches (Fig. 10-17).
TI1e lining-binding is an uncomplicated edge An ish appropriate for a tied
textile. (1) Trim the batting Oush "~th
the edge of the top. Tum the excess
lining over the edge to the from; t:rim
evenly for binding. (2) Prepare the
F~brlc
HAND QU ILT ING
(a)
<! .. ~
C! ''?
? . <?
y
(e)
Frg. 10.17. (a) Tying template. (b & c)

Making a dcuble stabs6tch with tying
ends. (d) Tying the ends together with a
square knot. (e) Profile vfew of a tie.
comers with a diagonal fold \II 1he

poim ;Uld trim n seam-allow;mcc dis
ranee from 1hc fold. Re-fold with edges
matching and right side. facing, and
sew each comer miter on d1e fold line.
(3) Pin the lining-binding 10 1he from.
With the seam allownntc turned under.
cdgcstitch by machine thoough all lay
crs to seCl\re the bincling (Fig. 10 18).
Fig. 10-18. (a) Lining-binding pro

pared for machine sewing with a
diagonally folded comer. {b) Quick
way to secure miters: Stop straight
stitching at each comer to zigzag
stitch over the butted folds.
HAND QUILTING
X-1 ~>'6"'
-ed ~~>ifh
t!JMl>g SIJicl>eS" (fit>m rht: rDp)

&xder c!es-gn W<!h CMl1s ,.,.
rupung o sttll!Eflt....,. (lr,..-; the

fearher. a doss" qu lung mot(;
jlowrng lrncs rmp<o"sed wh:'e
stitching; fffilDI~
X-2--&nlrng-;nu:hec/ design
cemeree arocmc1 o f1oroJ !hot

..-onds OU! from a "'fJflled
b<xlcglovnd. The edge cs (11>-
cshed """' do<.!lled b<XIrng.
Chapter 10
QUILTING
215
"""*'..s
X-J-~,.., otcu1ar
emphasutd "'"' bod<stittt~
~ seL .n o (eld o(11J111W1i-SI~c/>ed ho quillng.lns>de, the
_ , 10 the kit IS qtlllted wl!h 0 ll'rd-boscd OOmond potlert\
!he W1i'ldow to lhe t'Jt.l- "'th on mpttr.is<d dranood par<em
HAND QUILT ING
t-
1:.
"'\\,
l ''
"
'
\:
.-
.,.
..
Embroidcry-tross ues
used to qUJir rh;ck bomng.
X-4
kl the center. crossed
T he Art o f Ma nip u lating Fob r lc
,..
j
"
\
I
,,
II
'
2 16
"'
stitd-.es lldlcore ihe oes

that \YOre kno!rcd.., bock
"
.!
Fig. tO t 9. Background or overall designs for mschineguid

ed quilting: (11. b, c) Straight and slightly curving lines are
the easiest to loilow. (d, e. f) Angled and doop/y curved
lines require constant stops for re-direction.
MACHINE
Q UILTIN G
twO layers of fab ric with batting in
between held together with
machine-sewn seams that follow a
decorative pattern. The seams
impress lines of continuous thread
into the padded surface.
-
PROCEDURES
1. C rcntc a linclu' design that will
e nhance the padded surface
when in.s nibed "ith srhching by
rnocltinc. Continu ous lines that
start and stop at the edg es, and
lines that describe or fill "1th a
minimum of internal stops and
re-starlS. are the most efficient to

machine stitch. Diversity in the
spacmg between the lines brings
bas-relief contrast to the
mac h ine-quilted surface. but if
Fig. 1020. Border designs: (a, ~- c) Machineguided quitting. (d, e) Freemot,on qw/1/ng.
the spaces become too large,

the layers will be inadequately
stabilized (n:fer to "Batting" on
page 206.) Machine-quilting
de.igns 1tn: di\'ided into background (Fig. IO-l9), border
(Fig. 10-20), an d figu rati\'e
(Fig. 1021). a nd subdh~ded
into d esig ns for machine-gu ided
a nd frcemo lion stitc hing.
2. em fabric
size for the top,

adding nn allowance for sh rinkage uftct qtdlting. Trace th e
d esign o nto the right side of the
top with a fa bric-safe marking
tool and a faint but visib le line..
Outline the e ntire design. those
portions of the design that arc
figured and repeated. or i mpol'tanl guidelines. For some
designs. marking after basting
a mi irnmedilltely before stitching
may be appropriate. lmprovised
machine q uilting requires liule
or no mnrklng. (Refer to "Transferring Destgns" on page 20.5.)
3. Cut tht batting and linmg slightly larger than the top. 1f the top
is big (e.g., oduh bed-covering
si:t), cm the baumg and lining
-1" ( I Ocm) larger all a round; fo r
smaller tops, n:duce the increase
accordingly.
4. Baste the top. b:tuing. uncl lining
tO
Chapter 10
toActhe r:
a. Spread the lining o ut, ti ght

side dt:~wn . o n n clean floor o r
utility wblc large enough to
s upport all or most of the fabric. Square it off. pull it smooth
mad wut aooss the c-mssgrain

am/lrngtltgrain of the fabric,
and secure the sm:rch b) tapmg
the edges "oth Mde masking
tape, or clamp the linmg to
the edges the lablc with
b ulldog paper-binding clips.
or
QU ILTING
2 17
Avoid basting where quilting

lines arc marked or intended.
If the table cop is smaller than
the entire llnlnflbatlingftop,
baste en sections, repealing
the mctching and securing
procedures described in
step 4.a. for each section.
5. Machin~ quilt the design
planned for 1he cop. Relate the
machinc-schchi ng method to the
demands of the design . Sliteh
wiLh machine ~clion auto mati..
(b)
(c)
Cillly moving chc cop/batlingllin

ing under chc prc.scr foot, or
with hand actiOtl directing the
movement of che cop/ballingllining under the dri\'ing neet!lc.
a. Overall, background. and border designs with straighc lines,
bro.ld curves. and shallow
angles are the most suitable for
presser-foot motchine quilting:
(1) Choose a presser footll1.11
do~sn'c interfere with seeing
the c;ulhlng line; that mea
succs distance, if such spacing is ce<;uircd; an<l thac
fccc.ls the layers c.venl), particularly when quilting uncs
ore lengthy (Fig. 10-23).
(2) Adjusc the machine,
upper 1cnslon to sew a
Fig. 1021. Designs fortree-molion quilting: (a) Flgurstive motifs for stitch
tracing without stops and re-stat1s e/sewhem. The flower on a stem with
leaves is the most forgiving to stitch because irregularity Is built into the
design. (b) Improvised meander stitching for finer. (c) Echo-quilted spiral
and heart shape. with improvis ed meander-stitching filler.
As an alternative. use a frame
apart (refer to Fig. 10-9), or
as large
fnsten the layers together with

safety pins at 4" ( lOcm) intervals (Fig, 1010). For small
pi'Ojects, basting wi1h long
quilting pins is an option.
the lining, attach

the edges or the lin ing to the
four sidebars or the frame.
nncl mccch between s idebars
C-clamped together at the
comers (Fig. J0-22).
b. Ccnccr the bauing over 1he lining and smooth it out. Center
and smooth l11c top, right side
up, O\'Cr the batting. Thread
baste using a long or curved
nel-dlc to crisscross the surface
"~th row; of large stitches
<IS
Fig. t 0-22. Basting

frame made from
lour lengths of
lumber with strips
of fabric stapled to
the edges,
C-<:lamped together with rightangled corners.
spaced at most 6'' ( !Scm)
2 18
Th e A r t of M an ipulat ing Fa bric
seam that bites into the

padded surface. Balance
nedle and bobbin tension> to interlock threads
within the baulng. Eighc
en 12 straight stitche> pe r
inch arc accepUlblc par-amcccrs for sticch length.
MA CH IN E QUI LT IN G
EvenFeed
Walki ng
Foot
Fig. I 026. Pus/1/ng tho top/battingllinlng In front of a walking presser

loot to assist the action of the dual
feed dogs.
Straight
Stitch
Presser
Foot
Zigzag
Presser
Foot
Open-Toe
Presser
Foot
Fig. I 0-23. Choices for presser-fOOl

machine quilting.
the quilting
design for the easiest
approach: As an example,
quilt centralized pallern
lines first to stabilize the
busted top/baningllining
aml divide it into secrions.
(3) Analyze
Next, qui lt Lhc anchor

lines of tl1e pattc.nt, starttng in tbe center and mO\' -
ing outward to the righL

finallr. quilt subsidiary
lines that parallel and
mimic the. anchor lines
(Fig. 10-24}. Sew overall

p~ncrns from one edge of
the fabric to the other, or
from one end of a line to
its finish (Fig. L0-2 5).
4 2
Fig. 10-25. Ernest B. Haight, a pioneer machine quitter. developed a
soquentlal-line system of quilting that
kHPS the bulk of the toplbattingAining to the left of the presser foot
Outline a diagonal gnd with lines that
converge at the ooter edge. Start
qvilting at arrow I. At the end of line
Ill, swivet the fabric until line #2,
which angles off to the left, is in
stitching position. Quilt line #2. AI the
end, swivel to the felt to quilt line #3.
Repeat until there's no line to the left
to quill. Start over again at arrow 2,
following the same "quilt to the letr'
path. The number of paths to follow
before all lines are quilled varies with
the size and shape of the rectangle.
b. Usc free-motion quilti ng for

locnll:ed, intricate designs
1hat require major and constant changes of direction:
( I) Low"r the feed dogs or cover
titan ,.,th sticky 1ape.
Choose a straight stitch ";th
length set at 0. Fit the
machine with a darning foot.
a darning spring, or a spring
needle (Fig. 10-27).
(-I) Unless the presser foot
in usc Is a walldng fo01

(Fig. L0-26), reinfon:e the
smooth, basttd alignment of
1hc layers ";!h a'!r,tstraight
pins beside the seamlinc, and
gently~ the top layer on!)
to compensate for presserfoot creep. Never pull or
>U'C tch in front and back of
the needle. Expect to stitch
with slow to moderate spccrl.
Darning
Spring
B igfoot
Darning
Foot
Fig. I 0-27. For free-motion quilting,
machine attachments that hold the
fabric down while the stitch Is formed.
Fig. 10-24. To qvift overaU

patterns: (a) Stitch lines across
the center first. (b) Stitcli othar
pat/em lines from the center
out in each direction.
(e)
Spring
Needle
(b)
Chapter I0
(2) Position the top/batting!

llnit1g on the hed of the
machine. Select a single
motif or limited area as the
im1nedlate focus for quiltIng activit)t lower tile
/>lr'Sscr btu lever! Stan Jnbnnglng tbe bobbin thread
to the surface. Reproduce
the locking action of
extremely tiny stitches by
moving the fabric slowly
while running the
machine.
QUI LTING
21 9
(3) To quilt. g rip the top/bat
(5) Finish a quiltt'(llinc by

bringing the UlOVCLUCill of
the fabric to a gradual stop,
m..'lking eYer-tinier locking
;.tiu:hco.. Rclocuc to another pan of the design with
out cutting the threads, bm
lock the threads before con
tinuing to quill. Clip all
threads when the free
motion-qu ilted top/batting!
Uning is removl'tl from tlu~
Ling/lining with fingertips

spread out on either side of
the needle, preparing a flat,
taut Mitebing space about
Y (7.5cm) to -tw (IOcm)
wide ( Fig. 10-28).
tn{u::hinc.
c. Whe n a lin~ of machine-guided 01' t'1ce molion quilting

begins and ends inside the
fabric:
(I} St:trt by holding on to the
end of the needle thread
and hand turnmg the fly
wheel to lower the needle
through the top/bau ingl
lining. llring the needle
b"ck up to iLS highest
positio n a nd tug on the
needle thrcarl to raise a
loop of bobbin thread.
Snug th e loop with a pin
and pull the bobbin thread
o ut . Finge r-grounding
both strands o f thread
behind the needle. lo wer
the presser bar le,er and
lock the thread by stitching into the snmc needle
hole several times with
smch length set at 0.
Crttdually incr<;aSC stitch
length tO the desired size.
PI(). 1028. FIX lree-mo/ion qujftjflg,

hands direct the top/batting/lining
under the needle stitching the design.
Tips cur from rubber gloves help fingers to get a better grip.
Coordinating a constant,
moderate-to-fast needle
speed with steady. fl u id
hand movements, operate
the untthiue while stccri ng

t he fabric under the needle
:\S it follows the lines of
the de>ign. Quilt smooth
lines with stitches that are
equal in length. Don't
watch the needle; concen
trate on the line ahead of
the needle. Move t.hc
toplbau ingllining sideways, diagonnllr forward,
and backward withouL
altering the straightforward
position of the design.
Keep enough slack in the
surrounding fabric ro
(2) 'fo e nd a line of quilting

~>ithin the fabric, gradually
decre"se t he stitch length
to 0 ru1d $tilt h into the
l'innl needle ho le several
limes. C ut all locked
threads a t the surface.
1naintain maneuverability.
(-t) When quilting activity
progresses beyond the tlat,
taut space contro lled b y
the fingers. or if the fabric
begins to jump up and
down with the needle,
stop with the needle
down, reposition the
hands, and start again.
220
6 To manage large, bulk)', machine

quilting projectS in the limited
space a'11ilable between the needle and the head of the machine
o n the right, and also control
drag on the n eedle:
The Art of Manipul>ring Fab ric
a. Enlarge the area in back anrl

tO the !crt o r the machine with
extensions, prdembly level
with the bed of the machine.
MACH INE QU ILTING
Unle~~ the top/bani ngllining

has suppo rt, its weight "';11
h inder the progressive move
mcnt of the fabric and distort
the stitching.
b. Pacla\ge the top/batting/lining

before quilting interior lines.
Make a tight roll of the fabric
tO the right o r the quilting line:
secure the ro ll with many hicy
de clips 01' safe ty p ins. Fold
the fabric to the left or the
tluilting line, isolming" quilting c hannel hetween the roll
and the fold.. Accordion fold
the rolled and fo lded top/bat
ling/lining to the place wh ere
quilting Is to begin . At the
machine, hold the accordionfolded bundle in the lap. fero
ing it out with enough slack
to prevent dmg as stitching
progresses down the channel
(fig. 1019}. Re-package as
quilting proceeds omward to
the edge on the righ t.
.'
- -.
(b)
- ,..
Fig. IQ-29. (a) Large toplbartingllin-
ing rolled and clamped with bicycle

clips to the right and folded to the
left, exposing a tong chennel for
quilting. (b) Top/batting/lining accor
dionfolded Into a paCkage to hold in
lhe lap.
c. Subdivide large projects imo

two or three sections, or in1o
om.~llcr, modular units, to
lirnit the bulk that complic~ucs mo,ement al the
mnchme. o.-elop a quilting
design that can be loc:alized
without losing its allover
NOTES
cohesiveness.
For installment quilting.

divide the batting into
hn lves or thirds, or em the
enti re top/hatting/lining in
hnlf. Baste nnd quilt the
fitstlaycrcd section o r tile
partitio ned top/baningllining. I[ only the barring was
divided: (I) Spread tl1e
next section of barring over
the lining; ( 2) handsew the
buued edges of the bauing
together with l:ugc, loose
stitches; (3) baste the layer> together; and ( 4) quilt.
II' the entire to p/batting!Un i ng w:ts cut :~pan: (l) Baste
the second half of the batting to the lining; (2) sew
the bauingllining and top
to 1he section already quilted, and trim the batting
from tl1c scam allowance;
(3) baste the top oer the
batnng!lining. and ( ~) quih
(Fig. 10-30).
\ilodular quilting c.a n be
divtded mto hahes, quarter.;,
eighths. and more if necess.try. Cut t1 top, batting, and
lming for c:odt module,
ndding seam allow;1nces to the

top and lining. Baste the laycts of each m odule together,
nnd q uilt in the desired manner. Assemble the modules
U!>iug OllCo t..he: methods

t>1>1ained in "joining Modular
Units" on page 208.
(a)
Fig. 1030. Installment quilting:

(8) Divide the top, batting, and lining
Into two soctions and join together
after quilting the first section. (b) Cut
the batting into halves (or rltircJs) ancJ
insert b6tween the top and lining
after quilting the first section.
7. After llmshmg the quilting. clip

an)' dnnghng thread ends that
escaped pre:nous notice. Remove
:til b.~Ling thread except the
thread Ins ide the seam
allownncts around 1he edges.
Trim the edges of the balling and
lining llush wilh the trued-up
edge of the top. Cover the edges
of 1bc quilted textile wit h
mnchinc-sewn, doubled binding
(refer to "T he Double-Binding
Edge Finish on page 207), or
include the qutlted piece ";thin
a larger construction of unquihcd fabnc.
&
VARIATIONS
" Te.~ and "pr.ctice" are the golden rules of machine qutlring. On a
sqwre of IOI)/bauinljlining prepared
for thai purpose. test the operating
condition or the machine. the size of
the needle, 1hc 1cnslon selling. the
length and :oppc:onmtc of the sti1ch
in front and back, and the >l!cngtb
and vlsunl cm1ttihu1ion of the thread.
lest different presser feet. Allow
atnplc practice time for frce-motton
quilting. Machine-guided quilting
requires less pmctice because it
resembles plain muc.hinc sewing.
Altho ugh ecruoin kinds of design

arc rccommcudcd for either one
mode of machine quilting or the
other, th< si:e of the basted layer.;
makes a difference in applit'ability.
A design \\ilh deep cunes and
acut< angles Is suitable for
machine-guided quilting if the project is small enough 10 be pivoted
wi1h0111 a Struggle when the needle
is down und the presser fool up.
Whh frcq ucm ups <1nd downs of
the prc>~cr foot und p:oticm top/baotingllining t'endjustments, a figurative motif can be stitched into a
module 12" ( 30.5cm) >quare.
Leng1hy lines 1ha1 m oe from edge
to edg< are n10chine-guided
dcsigtt.~. but skilled free-motion
quihers are able to compose
straight-line llllcr.; between 6gurathe motifs spaced a short dislance
:oparc. It's acceptublc pmclicc to
quilt over a prc\'ious line when
moving from o ne sthching line 10
anorhe!r ne:1rhy. as long as the dou

blc sli lching is flt'ecisc.
To isolate a quilted design within
n larger expanse of unquilted fabric:
Baste a lini ng :tnd thin balling
under lhc :trca. Usc a machineembroidery hoop ( fig. 10-31) to
preem the <1i1dnng fro m shrinking the qu1hrd sec tion m relanon to
the unquihcd 1>an of the fabric.
Thin om the cut edge of tile barling
o r enclo.c it 111>1de lines of quilting
to prC\ COt the cdg~ rrom showing
as u ridge on the >urfacc.
Chapter I 0
QU ILT ING
22 1
Similarities between m achine

guided and free-motion quilting
end at the se-w ing machine when
entirely different working tech
niques take over. The frce-tUotion

q ui her needs to establish a personal
wo-rking relationship bet\veen the
rhythmic movement of tltc hantl
guided fabric, the speed of the needle, and the eye. Also, the free
motion <ruilter must leam to stop,
readjust to a new finger grip on the
fabric, and resume stitching with
o ut visible glitches betmying the
break. The reward, fo r the pmttice
Fig. 1031. Machine-embroidery

hoops are 10" (25cm) in diameter or
smaller. and shallow enough to slip
under a raised presser foot. Place
the fabric over the outer ring and
push the inner ring inside, forcing the
fabric down to be /eve/with the nee
die plate on the machine.
required to master this iJHCf;;tC.Lion~
is an ~nergizing freedom while

stitching that can't be replicated
";th machine-guidccl q uilting.
There are two other methods for
A minor technicality- forgeuing
seeming an inLerior line of quil tiJlg
to lower the pres.se-r bar lever- is a
SOtcltes <II tile beginning and end

tllat may be preferable at times:
(l ) Sew backward with m icroscopic
stitches for
(3mm) before start
ing and after stopping. (l ) O n tile
top or lining side, tic the ends of tile
bobbin and ncc<llt tl1rcads together
with a S<\uare k'ltOI. Inscn botll ends
into a hand-sewing needle. Push the
needle into the last needle hole of
the seam, thro\tgh the baning, and
out half the length of the ncccUe
away. Tng tile kno t under the fabric
before clipping the threads. Make it.
a habit to deal with loose tluead
ends promptly. Fo rgotten ends
major irritant to tn e enjoyment of

free-motion qu ilting, aggra"ated b)'
snarled in subsequcnl stitching are

difficult to pick o ut.
Obvious starts and stops arc

machine-quilting taboos, as are visible markings. wrinkles caught imo
st itches, and twisted surface fab ti c
between lines of sdtching. Scitchlength consistency is an allribute of

good machine quilting. Afttr wash
ing, batting depressed by pressor
foot pressure spring~ back to
enhance d1e quilted texture. Close
machine quilting stilfcns a three
layered texti le. Because machine
quilting doesn' t unravel like hand
quilting, a tliachutcquilted textile
may be cut apart and contoured for
assembly imo a larger application .
222
having to pluck ou1 the thread mess

tltat rcsuit~. Fo r free-motion quilters, symmetrical, rcpetirious motifs
and long, unbroken lines arc. the
most. challenging to trace witho ut
wobbl}' deviations. Some free
motion quilte.rs ftd tll"t framing a
tnotlf in a machine-embroidery
hoop increases control (Fig. 1031).
A free-motion quiher needs to be
r-esourceful when coping with big
ness and weight, which <:ons train
the llowing rut)VcmeniS r.sse.mial to
stitching the designs and affen
stitch consistency.
StraightStitched tmchine q uil t
ing impresses a texture into the
padded textile that's recog11izably
different from the relief 1nade by
hand-se" 'n running stitches. When
the fc.alllrt'S built int o contemporary
machines are introduced, the
machine-q uilted line has a uniq ue
effect o n the patterned and textur
ized $Urface ..A.s a medium for visu~
al expression. art quilling int1udes

all kinds of q uilt stitch ing and takes
full advamage of the sewing
machine's capabilities. To develop
an individ ualized art-q\tilting style:
ExpeJiment Wi[h Lhe tex tures o f
zigzag quilting. all widtl1s, from

spread In length to satin stitching.
MAC HIN E QU ILT I N G
Quilt with a twin nceclle. Explore

the decorative Slitthes. Lnvcm com-
bimtlions of straight, zigzag, and

decorative stitches. im provise
mcandc.r and filler pallcrns. Usc
reverse stitching fo r inforn1al filling
with machine-guided quil ting.
When free-motio n q uilt ing, unbal
ance the: reusions to creme distiJ1Ctive thread variations. Break the

rules 10 make discoveries.
\~1Jerc it's appropriate, pre-finish
ing medium-Sized projects o r mod u
lar tmits with an envelope edge
(refer to Fig. 10 16) saves time at the
end. f o r modules with envelope
edges, the means of assembly, either
ties o r tabs, may be .s ewn into the
seams joining the top to the basted
lining/balling (Fig. 1032). Mini
modules for the openwork o r Utbbcd
consll1.1cdons described below are
too small for anything but a pre- fin
ishcd envelope edge.

( a)
( c)
( d)
Fig. 1032. (a) Ribbon lies and

(b) tab connectors basted to the right
side of a module's top before sewing
to the lining/batting. Tumed right sid9
out and quilted, modules are pre-fin
ished with an envelope edge and
ready (c) to lie or (d) snap together.
Opcnworh mini-modules are smalL,

quilted slutpcs hand-sewn together in
arrangements with gaps that become
part of the design. Using tbc ~me

P'ttlle.n'l, cut tops, lini_ng, and batting
fo rthe mini-modules. Sew each set
together, rum right s ide out, and
haud sew the opening closed.
Machine q uilt. Sew the mini-modules

together where they toudt, from the
back, catching only the lining/ hatdng
\\oth the mcking stitches (Fig. 10-33) .
Usc openwork compositions l o crtate borders. insertions, or entire

cons1ructions.
Tabs are small, quilted, modular
shapes that hang loose from a foundation in overlapping rows. T he
tops. balling. and lining for u.bs are
cu t from the same paLtcm. Sew each
set together, leaving the top edge
o pen. Trim the batting from the
scam allowance at the top and tum
right side ouL Machine quilL Sew
the tops o f the u.bs to a padded o r
sturd)' foundation, closing the openIngs in the process ( Fig. 10-34) .
Use tabs for borders or small
constructions.
\ Vith pressed qutlhn~ tht

appear:anc~ of <ta"" :and
replace.< lines of <llt<hcd 1hrod
The to p is cut up mto .tnps which
are sewn together and qmhed 10
1he baLtingllimng m one oper:auon
For p ractical reasons, p res.-.ed quill
ing is a modular activlly. ( I) l'Lln a
design for strips o f fabric. (l) For
each module, cur a hmng and
batting slight!)' larger than the fin
ished dimensions, and baslt 1ht
IWO 10ge1her. (3) CUI <tnp< of tht
required width plus 1wo seam
allowances. (4) Starling ccmrnlly
or at the left edge, lay 1he ftm s1rlp
trimmed to size, right side up on
cd
(c)
Fig. 10-33. (a) Openwork designs.

(b) Sewing, (c) quilting, and
(d) tacking two mini-modules together.
(e) Assembled mini-modules with
completed quilling thai crosses from
module to module, strengthening the
connections.
(d)
(a)
(e)
(b)
ITIIIID
(I)
Fig. /D-34. (a) Designs for tabbed coostiUCtions. {b) Sewing and quilling a
tab before application to a foundation. The seam allowance at the top of the
tabs is either (c) tumed inside while hand stitching, (d) enclosed under topstitching, (e) caught into seams, or (f) covered with zigzag stitching.
Chapt e r 10
Q UILTING
223
(4) Place lOp strip I'J over the second top stri p and lining strip :IJ
O\'Cr the second lining strip, and
sew the four fabric strips and bat
ting together. (5) Open. press, and
repeat the procedure until the
de>ign is complete. Note that. "1th
the exception of the stnps 1hat
s t>trt the: construction. all s trips
of haui ng arc cut to the finished
width plus o ne scam <>llowance
on ly ( Fig. l 036) .
Fig. 10-36. Forreversible pressed

quilling, strips of lining and lop fabric,
and batting, aro ossembled with
stitching that is concealed on both
sides.
Fig. 1035. Pressed quilting sewn to a banlngR/ning foundation: (a) Strips of top
fabric affange<J diagonaRy. (b) Finished mocJula before trimming. (c) "Logs" of
top fabric arranged around a central square. (d) Finished "'og cabin" module.
top of the bauing. Place the second

strip, al~o trimmed to size, righ t
Side down over the rust Strip.
!>httching the edges to be seamed
together, stitch thro ug h all layer..
(5) O pen 1he second s trip and
lightly p tcss the scam . (6) Continue
nclding Strips and p ressing each
se:nn u ntil the batting/lining is cov
crcd with a scam pauem ed tOp
(Fig. 10-35). (7) Trim the modules
to size. assemble u>ing one of the
methods dc.scnbcd in "joining
Modular Unit.s' on page 208, and
fimsh the edges ._;th doubled binding ( refer "'~The Doublc-llinding
Edge rinish' on page 207).
224
Reversible pressed quilting is

hUih en tirely from narrow snips strips for the top, strips of batting,
and strips of lining- all cut to size
before stitching. ( l ) Begin by bast
ing the nrst o f the t hree-layered
strips toged1er aro u nd the outside
c.dgc~. (2) Wit h tight sides facing,
lay lOp Strip #2 over the urst lop
strip and lining strip '12 ocr the
1\rstlining strip. Sew the matching
edgt$ of all four fabric strips and
the oomng together. (3) Open and
prc.o;s the second strips to the side.
Insert a stnp o batting, hutting the
inside edge.
Th e A rt o f Manipu lating Fabrl<
MACH IN E QUI LT ING
MACHINE QUILTING
X-S- Two allo-~r

P<;Uems. s(ttl1ght-
sutched and
mach,ne-guldfd_
Chpter 10
QUILT I NG
225
X-8---0esigns 1roced ...,,th free motHln !itltc.h+T'i abo~-e o

border /(lsh<onod (rom """"'"" )1U<'od ,.,,ch conbonm-.
MACHINE
QUILTING
X- IQ
A chon of
--Ofk~
226
lJes JrtSe:{ed betv."een
~bands.r,.,
outer cctgc IS /imbed

v.,U, co!ded PPllg.
T he Art of Manipu lating Fabr ic
X-9 Pone! of ecccntllc expenmems

n tmprov-tst:'d frce-roonon q.Nxtg.
MACHINE QUILTING
X I 1-0..,rlappmg Ol'lllllRomenJ o{ qwltod tabs

with a clescef1d,ng fl>W o( Sfll{(ed 1<tbs {or comrosL
X-/ 2- Sx b.'ocl<s o(preswJ qulong. The
cmzy-pau:hcd block 10 tho """'"' nghr corner
shows the oo;osionol hand Sl1tchmg requ1red
to
ple<:e ond qu<t oddly shaped scrops.
X 13-l'he ,..,...rse side o{U>e

pressed qt.Joo1ring sompe'er ~
the assembly merhods: Concoo!ed
at the top. wped at the bottom.
with 0 sinpped COM!:Ct.ion

bet\":.'eefl r.he two rows.
Chapter I 0
QUILTING
227
nserted between two lay~rs.

of fabric and confined Wlthtn
seamed boundaries, stuffing

supports elevation. An adaptable
fiber material that yields to the
touch, stuffing upholds a basrelief surface configured with
low-
01
high-relief elements that
were cut and stitched into

specific shapes.
Where stuffing adds height,
it subtracts flexibility. The higher
the stuffed area, the less flexible
it is. Maximum flexibility is
restricted to the seams that
ground the stuffed structuring.
Stuffing also adds weight and
bulk to its fabric environment.
STUFFI
11 Stuffing
STUFFING BASICS .................. 229
Stuffing ..................................229
CONNECTED ROLLS .............. 251
STUFFE D QUILTI NG .............. 230

Proc<-durcs ....................... ....... 230
No tes fl:: Variations ................ 231
Notes fl:: Varintions ...............252
Procedures ..............................251
lhlpunto ....................... ....... 232
Detach ed Rolls .................... 252

LITTLE PILLOWS .................... 25'1
Procedures .............................. 154
Rc,ersed stuffed quilting .... 233
f\otes fl:: Variations ................ 2.5 6
U.rc rcd stu !fed quilting ...... 233

STUFFED APPLIQuE .............. 236
Procedures .......... .................... 236
Pcekholcs ............ ............ .... 256

Rui>cd patcbwork ................ 256
BISCUITS .................................. 258
NOles & Variations ................ 238

Fr:tycd-cdge stuffed
:tpp liquc ....... .....................238
Procedures ...... ........................258
Freezer-p aper preparatio n ..238
PEAKS AND VALLEYS ............ ..262

Procedures ............. .................261
Eased sturfcd a pplique ........ 238

Stacl<ed und stuffed
applique............................ns
Notes & Variatio ns ................ 259

Sau>age> ....................... .......159
Notes fl:: Variat io ns ................ 263
Loose stuffed applique .... .... 239

ELEVATED APPLIQUE
Gather-Elevated Applique
Gusset-Elevated App!ique .... H2
Procedures .............................. 24 2
f\ote. & Variauons ......... ..... ..2~5
FlC\'atccl picccwork. .............245
HAI.F-ROU OS .................... 247

Procedures ......................... ..... 247
Notes & Variatio ns ..... ..... ...... 249
Raised stripping .................. 249
Note: This chapter begms ";th
BASICS. indicated by a gray band

located underneath t he relemm
columtu.
STUFFI NG B ASICS
STUFFI NG
tuffing is both a noun and a
verb. As a noun, stuffing is a
loose. soft, airy accumulation
of natural or sr nthctic fibers. 1t is
used to !ill up containers of fabric.
lkfore S)11thctics, stuffings of cot

ton and kapok (fibers that collect
around the seeds o f the tropical ceiba
rree) were used to All cloth casings.
Polycste Oberfill is todar's stuffing of
ch o ice, nnd It Is tho stuffing recom
mended for t ho mtlnipuhuion tech niques that follow: II is clean,
resilient, non-alle rgenic, p le.-.sant
to handle, resistant 10 unwanted
clumping, and washable. Packaged
under numerous brand names,
polyes1tr llbe.rflll is \ndely a\ailable, but \'arlable in quality. Good
quality fibcrlill is nulfy ;tnd consis
1ently Rne In texture. without fibers
that shed or clot together.
As a verb, stuffing is the act o f
inserting !'ituffing. t11c noun, inLo
srilc hcd casings. The techniq ues
described In t his c hapte r indica te
st uffing thmugh tem porary o pen
ings left in scams or th rough slits
cut in to linings or fo undations.
When slits arc necessary. use small,
sharp scisso rs to cut neatly through
the backing fabric o nl). At a c-entral
loc.1 tion 1nsid e the seamed boundanes, cut tht o pening across the
bias or the fabric to prevent the
edges from fra)1ng out " ;' th the
fricnon or repented stuffmg i nser
tions. Several slits may be needed to
smff around peckho k s or meand er-
STUFF ING BAS ICS
'2"2 9
-lng quilted or appliqu~d shapes.

To guide "pulls" of stuffing
1hrough small OJX'nings inlo larger
lnlcriors, use 1he blun1ed or rounded
tip o f a s lender tool lo ng enough 10
reach 1he limils of the particular c-JSing, such as a length of dowel or
coathangcr wire. a chopstic k, n
screwdriver with rounded corners. a
blun ted knitting n eedle or skewer,
o r n strnigbtcned paper clip or hairpin. Rela1e the size of the pull of
stuffing to the size of the area bting
fllled- "ispy bits to work ln10 lips
an d comers or 10 Sluff a small .
round applique; la rger pieces 10 stuff
a fa t roll or plump biscuit. Begin b)'
pushing stuffi ng against the seamed
perimeters, especially inLO corners.
Con tinue adding stulfmg. always
blending the new stuffing ln1o pre\>ious stuffing. working townrd the
cenltr of the shape and the opening.
Distribute the stuffing evenly
tluoughou t. Mod el high-relief fonns
(elevated appliqu~. rolls, biscuits,
pea ks and valleys) " " '" fi nger pressure on tlte outside as well as stu ffIng p ressure fro m 1hc lnslclc.
STUFFED
Q UILTING
layers of fabric faste ned
together w ith a stitched design containing enclosed shapes that are
heighte ned with stuffing.
-tWO
(c)
Fig. 11-1. C/Qslng cut openings aher

stuffing: (a) Darning the edges
together with over-and-under stitching. (b) OvetCBsl and (c) herringbone
stitching. two alremare but less desirable methods.
Afterwards, stu ffi ng can be TCclistribu tcd to fi II o ut mino r d ep ressio ns pre\>iously overlooked , or to
p u ll stuffing into points o r corners
th ai need attcmion. Usc th e lip of a
Slltrdy needle ins.:ned inside the
area to move u.djacem stuffing into

the empty Spol.
PROCEDURES
l . Dr:tft n destgn with lines that
include enclosed spaces appropriate for emphasis with stuffing
(Fig. 11-2).
2. With a fi ne-line, fabric->afc marker, 1mcc a faim bm distinct copy
of the design o nto 1he right side
of fablic that h as been c ut to size
(rfr 10 "Transferring Dcsi~,'ns''

on page 205). Bas1e th e marked
top fabric to lining fabric identical
In size. An option for a design
1hat will bt running->litched:
Trace a mirror-image cop)' of 1he
design omo 1he Uning before bastIng it to 1hc un ma rked top.
(o)
(d)
<.. ........:"!
W hen stuffing from underneath ,

check results from the front. To stuff
quilted or appliqued shapes or halfrounds softly an d evenly. hold workin-progress up to the UghtlO check
for consistent stuffin g dlstribulion
t hroughoul the = ing . Sm ff every
sh ape full enough 10 reach 1hc
!men ded elevatio n and substamiall)'
:::~:::.)'~
:---......_.:
........-"'\
:
......... .;'
.....'\
~~
<:.:...::.~
enough for the elevntion to survive
./
-..)\
subscquem use. Stop before stuffi ng

100 fully, ind ica ted by 1he undesir able distortions that develop.
c::.-.-~::>~
Close in-seam OJX'nings as technique directions indicnte. Close the

openings cut into linings or fou ndadon fabric with hand se->ing (Fig. 1l -1).
(~
,:
.......-'\
(.>l
.... 1
(f)
Fig. 11 -2. For hand-stitched

stuffed quilting, designs entirely composed of stuffablo
shapes: (a) Borcfer. /b & c)
AllfNer. For hand and machine
stitching, continuous Une
desig ns that include enclosed
shapes: {d) Border. (e) Grlddod
allover. (f) Wandering leal.
230
End of ST UFFIN G BASICS
3. Sew o,er the marked o ur lines:

Hand sew \\ith Lin)\ uniform.
running or back stitches. Jr
handscwing O\'er outlines
tn1ctd onto the lining, monilor the appearance of the runnmg stitches from the [ront.
checking for regularity.
~'lochine sew. covering the
lines wllh straight o r sa rin
stitching regulated by presser
foo t/feed dog action or with
free-motion stitching, whichever is the mosl appropriale
f<>r the design ( review the
procedures discussed in
"M.tchine Quilting' on
page 218).
+ \\'hen hand stitching or free-
monon machine stitching.

stretch the fabric in a hoop to
prevent thread tension fro m
dra"i ng up the fabric.
-1. Cut small slits intu the linit1g
ln<lde the o utlined shapes. Push
wi~Jl}' bits of s tuffing throug h
the openings. elevating each
s hape "~th soft. evenly dis tributed stufring. To deter oversm ffing. :1 problem with larger
<hapcs, stretch the srlrched fabric, lmlng side up. in a frame or
hoop large enough to expose the
design (Fig. 11-3). Hand sew the
o penings closed. (Refer to

"Smffing o n page 229.)
5. Stretch and pin the ;ruffed quilt
ing to a padded surface. Steam
\\1th an iron held abo,e the fabric. Allow to cool and dry before
Hnrng the stuffed quilting to conern! and pro tect the o penings.
Tack the outer lining to the
Inner lining :11 freq uem intervals.
N OTES
&
Oullil1es
VARIATIONS
lh<ll are
hand-sewn with
n muing stitches have a distinctivel)

cri nkly. pricked appearance which
rends 10 blur intricacies in the contours of shapes. Smoothly Oowing
contour.. wit hom flnicky details arc
the best for runnmgS<itchcd omlines. u..., continuous-thread stitching. either hand-sewn backstitching
or machine stitchmg, to outline
sh:tpts wilh detailed contours.
As shapes i nuease in size. the
amount os luffing the interior can
nccommodmc c.xpands. and so docs

the rcmptmion to overs tuff. Too
much stulnug produces distracting
waves nnd s1rcsses in the: surroundIng fabric The s tufred q uilling goal:
Raise rhe design without disrurbing
the le\'el fabric between the stuffed
shapes. Struclung the design in a
frame or hoop discourages over
stuffing, hu t prc\'Cnts 11 onl\ tf

the ;.tufftng s moved mto postlion "ith gentle pressure. and 1f
the total amo unt of stuffing insened
into a shp is moderated. With
control. small-llgured designs rna~
be sruffed without srrctclung
beforehand, c>pceially if sarinstitched by machine. T he densethread o uthne of sarin slitchmg acts
as a kind of s tubillzcr 10 the fab ric.
\\~1cn n design is too large for the
size of nn ;1\'ail:tblc hoop, stretch a
portio n of the design and stuff the
exposed <hnpcs. Without closing the
hoop over anytlung previously
stuffed, frame up another section of
the design. >tuff, and continue until
hoop s~nrching lS no longer poss;.
ble. Maintainmg the s;tme density.
smfT the lefto\'er shape>.
\ViLhan ouler lining O\cr an
Inner ilnlng that IS underneath the

top, " stuffed-quilting textile finishes with three b yers of fab ric. If the
stuffed clements are separmed hy
borders, fillers, o r mher designs no t
intended for ruffi r1g, the inner lining cnn be lim lled to the areas
where It's needed. After s ti tching
those port io n< of the design designated for stuffing. trim the lining
W' (6mm ) from the stitching that
surrounds the Stuffed shapes.
Rg. 113.
Stuffing a
design, outlined with
running
stitches.
through
sBrs cut into
the lining.
Chapter II
ST UFFING
231
Fig. 11 -4. Design

with stuffed elements inside an
unstuffed border.
Stitch and stuff the
underlined inner circle first; then line the
en/ire dJsign and
stitch the border
scroll.
((a) in Fig. 11-5). In the past,

quihcrs rehccl on shnnkage after
wnshlng 10 ugh ten the weave of
the lining behind their smffcd
work-a u;.cful strategy if lining
shrinl<.1gc coorcli n31es wi th
Lhe s hri nkage o( Lhe lo p.
Add the outer lining and fasten it to

the top b)' stuching those portions
Of the design not meam lO be
stuffed (Fig. ll-<1). If it's practical,
an isolated figure o r motif can be
o utline-stitched to a trimmed linIng. stuffed. and left nt that.
Three nllernativc sluffing mclh

ads elhninnLe cuts into the lining
nnd t he ncctl for an outer lining:
l. The first m et hod requires a
loosel)' wo,en lining fabric. Push

the tl~reacls of the lining apart to
create tiny openings through
which wisps of stuffing can be
in,ened. After stuffing. tease the
threads back togNher with a
needle and nngernail scratching
2. The second method requires a

plan of approach to the stitching,
w hich must be done by hand.
Each shupe Is stuffed through an
accessible opening in the outline
>tilclting. before tltc stitching is
completed. To shorten the p:uh
the stuffing needs to tra\el, the
lining and tllp->eparau:l)~:tre
roll~d up close to the shape ready
for stuffing ((h ) in Fig. 115).
To utilize this method efficiently.

prot-ccd from tbc cemer of the
design outwMd. Gauge the besL
loomon for each stuffing opening. Stitch ;lutpes ,_;,h neighboring edge~ and openings at one
time. using different needles.
Pu<h <luffing on the end of a
long tool. between t he rolled
back top and lining. into the
st itched enclosure. When filled
to s:uisr:1c1 ion, rinish the omline
s Litching. Stop licquently to
smoot h and tc-align the top and
lining, pinning with safet)t pins.
J. The third mcthotl uses loosely

spun, Ouffy, acrylic yarn to fill
>mall shapes. Each shape is
stuffed with rows of yarn laid
next to t-ach other inside the ~
stitched outline. Thread doubled
yam into a tapestry needle. Enter
and xn the llmng through holes
forced into the wt-n,c b~ the
g uiding need le (a,oid breaking
thrcncls In the fabric witl1 a needle that's too large) . Trim the
ends of the )'Rrn close to t he surfncc w here they clisappear. Coax
1he ends Inside by stretching the
fabric ond nudging with the
point oln m:cdlc inserted int.o

the hllerior. Clo>e the holes with
gentle scr:uching. liold the yamstuffed shape UJI against strong
background light 10 check the
c,enncss and closeness of the
strands ms1dc ((c) In Fig. 11-5).
WiLh c:tre, shopcs c.tn be padded
from Lhc front U>ing the stringguided method o f yarn insertio n
(refer to f'lj:. 9-5 o n page 190) .
Stuffed quilling and corded
q uilLing nrc cumplcmcm:uy technique>. W hen shapes lor stuffl ng
fll1d 111l1TOW t:h,,nne)S ror cording
are included ill the same design, the
technique combination and the
result arc called ll'Of>UIIIa . Stuffed
quilting and corded quilting can be
worked O\'er a hning p.tddcd witlt
thin bauing. and surrounded "ith
regular quilting.
Fig. 775. To stuff stitchingoutlined shapes undetectably: (a) Stuff through

openings forced between threads in the weave of the lining. (b) Pause to stuff
between the layers while stitching; finish stitching after stuffing. (c) Pad with
rows of acrylic yarn.
232
The Art of M an ipu lating Fabric
STUFFED QUILTING
Reversed ~tujfed quilting is outlincstltched around cutouts of

padding Cut the shapes from bat
tlng, fleece, felt, terry cloth, or
other thick material, and arrange on
the wrong side of the lining. ..\ftcr
setung the nrmngcmcnt with dabs
or fabric glue or basung, baste the
10p over the lining. The top fabric
needs 10 ridge o' tr the edges of Ute
cutouts \\1t h enough clari ty w indicate a pn~h fo r the hand-stitched
outlining that follows. Ir the top
fabric is sheer enough 10 expose not
only the outlines htll also the colors
of the ClllOUIS, reversed Stuffed
quilting Is called shadow quilting.
Ftgurcs with foreground and

b.1ckground components benefit
from laytrctl rtulfrtl quilting, a basrchcf technique that accrotuates
advancing fonns (Fig. 11-6).
(b)
...
, ,
('
'~.:a"'
c(.
(f'
(c)
(d)
Ptg. 117. (a) Design for layered stuffed quUting with areas numbered In
adVancing order. (b) Circles in layer #I stitched and stuffed whi/9 stitching.
(c) Layer /12, when stuffed, pushes layer Ill forward. (d) After stuffing, layer 1!3
recedes behind previous /ayets.
"#2." After s1 uffing, these shapes
will appear to bo behind the fore-
Fig. 116. Layered stuffed quilling

adVances designs with distinct fore
ground elements: (a) The head/neck
and the legslfoet of the peacock. (b)
The squigg/8s that overlap the cirr:le.
(I ) To prepare tlte original design,

number the foreground shapes
-=1. After stuffing, these shapes
will appear on top or in [ron I.
Number the middle-ground shapes
ground s hapes. T he middle ground

1nn>' be split in1o cwo levels\ or
omitted altogether. Number the
background shapes "#3." Ahcr
stuffing, the.<e <hnpes will appear to
be in back of all the other shapes in
the design. (2) Trace the design on
the right side of the top. (3) Pin
thin lining CUI larger than all the =I
shapes underneath the design. Wtth
running or back stitching, outline
the ~1 shapes. Stuff through cutS in
the lining or th rough openings left
before Onishlng the outline s titching. Trim 1he excess lining around
the shapes. ( ~) Cut and pin another

piece oflln lng,lnrger than the ::2
shapes, u11der the top. Outline the
112 shapes. When s tltchinA an outline intemtpted hy a foregrou nd
shnpe, LUI'n 10 the hack and comin
uc stitching through the lining only
until the Otllline in front resumes.
When stuffing. extend the stuffing
behind foreground shapes that ha,e
already been stuffed lo crt'llte the
appearan~ of diStinct foreground/
background le,els. E.1se the stuffing
out be lund the hump of larger fore
ground shapes. 1 rim tlte lining
around the =2 shnpes. ( 5) Repeat
for the 113 shapes (rig.ll-7).
Chapter II
STU FF ING
233
iJ
X~l-~c:hed borde<
~ lhu! .ndu<los a loop} ro.
o(cOit!td ~ bor"een rhe
Slli~ <){~OS (lmP.,.'\!0)
STU FFED QU I LTI N G
~1-Su,.ght-lol>e ~ stm<gtw
sb<dled by rnochn1e """ cettaon spaces

on the g..d seleaed (oi Rff"'2
Xl-:1- Composmon wuh shapes

ou!lmed by hand wrch nmnong and
b<Jc:i<sorchlllg. and by machont With
S(lll.'1 00<! satJn sntching
234
T he Art ol Mani pul ati ng Fabr ic
..,
..
......
'
"' ~.
X/4-/ltver-sM stuffed qoJolong oud:ned wolh """''8 sorches (fir;m tho U>P} around Clilll<JtS
of i<Ju:x (oom. around cutouts o(bcwng, and atO<;nd a {tit ctJrout for tho cononuoos booier
STUFFED QUILTING
XI 5-0tsif' boci:s<oched ond stJ.Jffed ;n rhree laye1s. The qwlted

scams l.hot btsea the Jorgesr and bwest layer bmit bu!I:J'ne.ss
XJ.6-Fiorol <Jesogn bccks<olched and Stufftd on mt layers. Set IMf 0

stuffed bocJ<gt<>und dmded Ofl!O noee SqoJOfts !)1~ Center 0( the lo"?ffowcr was inde:'!tCd w1d1 neecJ,'e modeJJ,ng.A borde,. of runmng-smchea
fiat qutlon~ sorrouno:ls !he stuffed desRn
Chaptor I I
STUFFI NG
235
STUFFED
APPLIQUE
-fabric cutoutS stitched to a foundation with stuffing inserted
b~tweon tho layers.
P ROCEDURES
3. Stitch the :tppliques to the foundation. matching the applique

outline. to the foundation aut
line. Bcrorc turning an appliqu~s
seam allowance to 1he back. dip,
notch, or trim the seam
allowance at all curves and
angles (Fig. 11-9).
L Create a design composed of
Fig. 11-10. (a, b, c) Motif applied in

throe stages. /Each successive
applique covers the loose edge of a
previously attached applique.
require extensive stitching and

stuffing. s~:~bilize the foundation
lemporanly. choosing a stabilizing method appropriate to the
sUtching method.
2. Cut ap"rl a copy of th~ design to
make patterns o r templates for
cuch shape that will be
rpl iqu~d. With a fabric-safe
marker, trace a faint but distinct
o utline fo r ct~ch applique onto
1he righ t side of the appropriate
appliq ue fabnc and cut out:
For appliques that will be
hand->titched or machinestitched with zigz.~g stitching
or hcmslhching. add a scam
allowance around the mtccd
outline.
For appliqu~s that "ill be
sattnstitched b) machine, cut
o n the traced outlines. adding
scam allowances only to those
edges tlwt will be slipped
underneath adj oining
:tppliqut!s.
....
(c)
....-
...-
~
(d)
._
Fig. 11-9. To turn non-straight seam

allowances smoothly: (a) Clip concave curves and (b) notch tXJnvex
curves at Intervals, stopping short of
the fold line. (c) Clip inside angles
to the fold line. (d) Taper-trim to the
tip of an outside angle.
When two or more appliques
shan: a common oudine, auach
the background applique first, but
don't stitch the sbared edge. Then
apply the foreground applique,
(Overing the loose seam allowance
or the lxckground applique with
the edge o f 1he foreground
:tppliquHFig. 11 - 10).
Fig. 11-8. Designs forstuffed applique have enclosed shapes to cut out andreapply with sluffing underneath.
Th~
Art
or Manipulating
(I)
...---' (b)
shapes w ith simplified o utlines

suhable for cutouts (Fig. 1.1-8) .
WII h a fab ric-safe marker. trace
ful111 b ut distinct outlines o f the
enl ire design onto 1he right s ide
of fou nda1ion fab ric 1hat has
been CUI to size. For designs that
236
.0 .-" -.
Fab ric
STUFFED APP LIQUE
a. Hand sew appliques with blind

or lnddcr stitching: B.~tc the
appllqut in place. or pin from
the back so that sewing thread
won't snJg o n projecting pins
In front. Turn under and pinch
crease a small portion of the
nppliqu~'s scam allowance.
concealing the trnccd ou tline
on the fol<l. Stitch that portion
to and over t he marching outline ~meed on the foundation
(Fig. 11-11). Continue to
pinch crease ahead of the
~mchlng. using the needles tip
to tease stroy lhrt:~ds and
rcluctMt folds into place, particularl) at outside comers and
inside angles.
h. lllachine sew \\lth the needle

slr-;ddling the edge of the
nppliqu~ :IS it swings back
and forth, piercing tbc
nppliqut and t hen only the
roundntlo n right next to the
appliqu~s edge ( Fig.ll-12).
Stabilize t he foundation with
typing or freezer paper, a
commercial stabilizer. o r
Slrtlcll the foundation in a
hoop. Cover the traced outline on 1hc foundation with
the edge or the applique:
To satin stitch a corner or
onglt. ;utch up 10 the

polnl. stop to pt\'Ot with 1M
needle Ill the roundauon.
(I)
and conunue sutchmg

when the next side is in
posmon. When satin stiLching n curve, pouse [requcnt
ly with the ncecUc down to
turn the applique a linle at
a time ( Fig. 11 14).
Fig. 11-11.
(8) Bllnastitch/ng an applique threaeloasteel to the tounelation. In front, tiny
tacking stitches straeldle the fold. In oack, tile stitching lllfeael moves fonvard.
(b)
T
I
..........
(D) Lsc/Cier stitching an applique pin-lulsteel to the lounelation. In front, the nee
die takes tiny sritches through the fold, alternating with tiny stitches through the
founelation. In oack, lac/Cier stitching looks like running stitches.
To prcptuc an applique ror

t lgzag stitching or hcmSlitching. turn under-.
the cut edge. Satin stitch

over the s tmight stitching
and the edge (Fig.ll-13).
pinch crease. and heat

press the seam allowance,
Concealing tl1e traced Ollllme on the rold. Pin or
baste the applique to a
the applique in place with

stnugln s titching next 10
(c)
(d)
~~
Ftg. 1114. Choices ovhen satin

stitching an applique: (a) Tum
ners without changing slifch wi<flh.
(o) Decrease to narrow when
approaching ana Increase to vfele
when leaving a comer. or (c) an
insiele angle. (CI) Hanel guiele the needle to fan out stitches arounel an
Inside angle, always returning to a
common pivot point in the founelation.
(e) Swivel with the neeelle in 111e
lounelatlon for outsiele curves, (I) with
the neeelle In the applique lor insiele
curves.
roundanon.
For satin smching. baste
vv
Fig. 11-13. For satin stitching, a

presser loot wirh a groove in the
oase arches over the buildup of
thread.
-1. Stuff the :1pphquts sortly (rtrcr
"Stuffing" on page 229):

lmerrup1 the stitching to stuff
an apphquc bcrore endosmg
h "ith surchcs. Stuff a background appbquo: bcrorc applying the roreground applique
over the oULlme they both
s hore ((3) in Fag. 1 1-15).
10
(b)
(c)
Fig. 1112. Options lor machine applique: (a) Satin stitch with an open-toe
embroielery loot. (b) Stitch with a narrow zigzag. (c) Hemstitch. Use an embroi
dory loot if the zigzag loot hampers visibility.
Chapter I I
STUFF IN G
237
After stitching, stuff an

~ppliquc through a slit cut into
the foundation behind the
applique ((b) in Fig. 11-15).
Hand sew the opening dosed.
If the foundation has been
tempomrUy stabilized "~th
paper or a commercial product, don't remove it. but cut an
ettlargc'tl opcrling in the stabilizer to get at the cloth.
N OTES
&
VARIATIONS
Shapes for opplique may be as

delicate and intricate as the stitchers technlqu can manage successfull): Sharp, slender points and
deep. narrow :angles with minute

seam allowances present the greatest challenge. Simplified shapes
with :tdequate seam allowances all
around arc the crrsiest to ap plique.
To make the UJ.>pliqul! process
even easier, ' isualize frayed edges
as desirable s urface textu re. For
fmyetl-cclgc stuffed applique, tTace
simple, preferably straigh t-edged
shapes onto fab1ic with a loose
wea\'C, and enlarge all around when
cutting out. Machine sew each
apphquc to the foundation or hand
SC\\ wilh straight stitching. following outhnes traced on top. Before
swffong, brush out the edges or
machine wash and dry the entire
foundation to encourage fraying.
Ano ther option. not as fast as
frnycd.cdge appliq ue btu less fussy
th:m stnndnrcl appliq ue: Auacb
tlppllq ues p repared with turned
edges 10 t he fo undation with
machine-sewn edgestitching, or
hand sew nc-~t to the fo ld with
straight ~tilchh1g.
Fig. 11-15. (a) Stuffing appliqued

petals through openings to be closed
when the center circle is appliquee~.
(b) Stuffing the center circle through
a slit cut into the foundation.
~. ltcmove the temporary stabilizer.
Snetch the fouud,u io n and pin

around the edges to a pad ded
surface. Steam with an iron held
above the fabric. and allow to
cool and dry before mo,-ing. Une
a stuiTcd-oppbque design that
was Stuffed from behind.
238
For appUques with SC'dm

dllowanccs,Jreczer-paper preparation assures turned edges that arc
smooth and accurate. For each
appliC(ut, rrace the outline o f the
pattern onto freezer paper and cut
out o n the line. Heat bond the
frcezer-["flCr shape, shiny side
down, to the wrong side o r the
ap plique fubd c. C ut out, adding a
seam ~llowance around the edge o f
the paper. Folding over and agains t
U>e edge of the paper, mrn the seam
allowance tO the back and press
fim>ly. For appliques to be stuffed,
remove the freezer paper before
sritching to the foundation.
The Art of Manipulating Fabri c:
ST UF FED A PPLIQUE
Standard stuiTed ttppliqu~ is perfectI) executed when tl1e fmished

product duplicate; 1he original
design on papt:r, curve for cllf\e
and point for point.: "hen all traced
outlines are tmislble: when threads
from tht Wta\e~ ~m aHowances,
or stuffong arc securely confined
underneath the neatly stitched
edges of the appliques; and w hen
tltc foundatio n aro und the softly
stuffed appllqu~s rcn"ti ns smooth
and level. and retains its o riginal
d imensio ns. If an appliq ue is t OO
large. the soft s tuffing ins ide may
shift or clump w hen cxtenshely
handled. After sewi ng a large
applique to the foundation, dh>id e
it into smaller segments with seams
topstitched by hand or machine,
and stuiT the segments.
Easing an appllqut to match a
slightly smaller outline o n the foun
darion results in a little more interio r space to stuiT; therefore, eased
stuffed llpj)liqut Is somewhat lo ftier
than t he same ltppliquc would be if
it weren't eased. f.:nlargc the paLttrn
for an eased appliq ue about W'
(3mm) all around, even less if the
s hnpe ls vel) small. llecausc biascut edges absorb easing better than
straightgr~in edges. cuL as much of
the appliqu~'s edge on the bias as
possible. When sewing to the unenlarged outlint on the foundation,
work bit of the excess into each
stitch. After sturnng. the applique
should he smooth and without any
ripples "' the seam to bctm)' the
casing.
Fo r swelled nnd swffed applique,
cuto u t shapes ttre stitched one o n
top o f the 0 1her in g rndtmtcd sizes,
wit h the largest anchored to the
fo u mbtion (Fig. 1116).
\{
!
(a)
-W
/-........
_..-....
/
r
.'
I\
/
/ \__::,..._;_
.
:
\
I
':>--1'
( b)
(c)
Fig. 11-18. (a) Loose applique pattern with lopstlrching ourllne/ndicated.

(b) Patrem outlines stitched when sewing /he lining ro the applique fabric.
(c) Cut-oul appliqut! ready to tum right side out through a slash In the lining.
The stash will be enclosed Inside the topstitchtng that attaches the stuffed
sppllqull to a foundation.
Fig. II t 6. Designs tor stacked and

srvffed applique.
When machine S<!Wing, stan stackmg the "Ppliques rom rhe top:
( t) Stitch the smallest applique w
a medium-sized applique and s mff
the sm:dlest upplique; (2) sritch the
med ium-sized applique to the
largest applique and stuff the meditlln-slzcd applique: (3) stitch the
largest applique to the foundation,
ond s tuff it. The order of assembly
is optional for hand-sewn stacks:
either Start at the top, as for
machine se";ng, or stan at the base
and proceed upward to the smallest
appliqu~. stuffing through openings
in the sutching. 'lote that stacks of
more than three layers tend to
enlarge too much at the base, ending as a pillow that bulges below
the level of the fou ndation as much
:'1.5
it rises above the foundation,
The unattached edges o( loose

stuffed aPI'lique spring up from the
foundation, adding more elevation
to shapes that arc already puffed
Mth stuffing. Loose stuffed
appliques are faced and lightly
stuffed ~fore they arc centrally and
vtsibly stitched to the foundation
(Fig. 11-17).
( l ) Trace the outline of each pat

tern onto the \\TOng side of the lining. ( 2) Place the luting over the
top fabnc wnh right sides together
and S<!W on the traced outlines.
(3) Cm outsodc 1hc scams
( Fig. ll - 18). Turn right side out
through a slash Ctll into the lining.(+) Trace faint but distinct
stitching lines on the top with a
fab ric-sure noarkco. Stuff lightly
before sewing to the foundation
wiLh decorative hand or rnacJ:1lne
stitching. Padded loose applique

is thickened with batti ng placed
underneath the top when it is
stitched to the lining. and plain
loose applique is not fllled at all.
Fig. 1t -17. Designs tor loose stuffed

appllqull include Internal ropstitchlng/appllqull seamlines.
unlcs> the base applique is subdivided and s tuffed in segments.
Chapter II
STUFF ING
239
Xl-7 -Hon<!~pp/,qu~ <Jes,gn wuh satm-sotched

vo.n.ng (or the li!O',.,S. Stv(fing dlsMgu.WS berween
IC<egtound ond oosturfl!d boci<groond elements.
STUFFED APPLIQUE
X~D<!SI!l" appl1qu6<1 1th bl,ndsttcl>~ng by

nand ond sooo sti~ l>t mod>~. Tho two
,.,.,,er fleto!s of the fio.,r ond rhe cernrol CJ!de
cr the oose 'f\-'fre ~oseci (!K gr~t!-f eJMtJOn
XJ-9-1-',ond-sw:hed. srockec:( ond sruffc<J

design WJth the lorgost shape CJl the "'"'
re<M:ed by sorchmg the shape obOW> rllrough
to the (oondat1o.1. Tho po.ntcd s/lapcs !!lot
appear to drape v.e"' rurchcd ond sruffoci
when \he other layers were pn,shed.
240
The Art ol Man i pu l ating Fabric
STUFFED APPLIQUE
STUFFED APPLIQUE
X~l~~t ~ ..as oudott<!d ,.,tJ> ropsotch:nR to reduce the srze of the

hexol!On o! the bcsc. The e<>mers o(
!he ~oang:c were needle mrxlelled
XJ-11 - (lefc) Bowng-pcxided loose appllqu~ (ng}lt) FloroJ

executed 111 loose swffed appfoqu~ wod1 ont unSW/Ted leaf.
Chapter II
STUFFING
241
E LEVATED
APPLIQuE
-small fabric shapes, supported
with stuffing. that rise above the

foundation to which they are
stitched:
GATHER-ELEVATED APPLIQUE
-appliqu~s, lifted
from the foundatio n by gathering, that stuff into softly rounded forms with pucker y
sides.
by an amount eq ual to o nehalf the desired elevation.

When enlarging an applique
with a concave edge or an
ln~IM
angle. slash and spread

the enlargement of that edge
to enlarge il C\'en more, so
that it
wm surpass the mea ..
su rernem of the original

curved or angled edge enough
to be gathered ( Fig. 11-20).
3. To d mfr n paucrn that elevates
all bUI one s ide of an applique:

\\~th
gathering:
Enlarge the selected sides of the

apphqut by an amount equal to
the des~red clevallon. Grnduallr
cunc the enLugement m to the
original shape at the points (the
encl~ of the side) where the
enlnrgement ends ( Fig. 11 -22).
GUSSET-ELEVATED APPLIQUE
- appliques. boosted above foundation level on a perpendicular fabric

insertion, that stuff into smooth.
boxy. fiat-topped forms.

Fig. t t 22. Tapered enlargement/hat
will elevate all but one side of an
appllqutl with gathering.
PROCEDURES
I . Derelop an applique design \\ith
elements that are comp.1tiblc with
heightened relief. Simplify the
contours of the shapes selected
for elevatio n (Fig. lt-19) . Cut
apnrt a copy of the design to isolate the dements that will be clc
vatcd with gathering or a g usset.
With a gusset:
Fig. 1120. TWo shapes enlarged all
around to create pattems for gatherelevated applique. The concave edge
of the lower shape was slashed-and
spread to expand the gathering
length of that edge.
With a gusset:
A Measure all around the shape
10 be elevated.
b. Draft a srraight gusset "~th

two parallel lines, each as
lung as the total measurement

around the original shape,
and as wide apart as the
desired height of the ele\'ll
tlon. Connect the parallel
lines with perpendicular lines
Ul the ends ( Fig. 11 21).
Original Shape
Mlrror lmage
Sogment
F'l(l. 11 19. Arrangements of streamlined shapes for elevated applique.
2. To draft a pattern that elevates

all sid eS of an applique:
With gathering:
Enlarge the applique all around
242
Gusset
Fig. 11-21. Gusset that wHI surrotllld

and elevate an oval shape, dra/led
from the measured length of one mirror-Image segment of the oval's contour. The gusset shown was drafted
on the fold."
ELEVATED APPLIQUE
a. Draw two parallel lines. each

us long ns the total measurement of the sides to be devat
cd. spuced as wide apart as
the dcslted height of the ele
v:u ion. Divi de the space
between the lines into scgmems wtth each segment
equal to the length of the side
it will clc,ate. Taper the elevated line into the baseline
\\itlun each of the segments
at the end.
b. ~Ieasure the mpering line.
Compare with thc baseline
measurement fo r the same
se~:ment. which wUl be shortcr. and subtmct to find the
dllfctcncc.
c. Tu compensate for the
ln rrea~e caused b) the taperil>g, cut the original shape
apart between the sides that
\\111 be SC\\11 to the tapered
edge of the gusset. Spread a t
the cut 10 mcrease the length
of each s1dc by the difference
(Fig. 11-23).
Elevated Line
c. Enlarge the outhne or the

expanded stddsJ by an
amount equal 10 the desmd
clc\-auon. Curve the enl-uge
mcnt into the ongmal shape :11
the pomb "here the tnl:ugement end< (Ftg. 11-26).
Elovoted
Shape
Fig. 11-23. Drafting a gusset that elevates three sides of a shape with four sides.
The gusset is divided into segments, each one matching one of the three sides
In length. The edges of the slashed and spread shape Intended for elevation
11ave been re-drawn to smooth out.
~-
To d mft a pattem that elevates

two opposite sides of an
appli'lut:
With gathering:
a. Oi\'ide the applique in half.
cunmg straight across
bttween the sides to bt elevated~
b. Spread the parts to include an
expansion as wide ns the

amount of the desired elevation.
c. f.:xtcnd ench of the s ides I() be

clevutecl by an amount equal
10 lhl' desired elevation.
d. Curve the extensions into the

origmal shape at the comers
(Fig. 11-24).
(a)
Applique
'"~
h. Meas ure the elevated line to

the baseline. Measure the
baseline, which "ill be shoocr. and subtract to fwd the
difference.
c. Cut straight across the original shaJX, bisecting the sides

10 he ele\'ated by the gusset.
Sprt:td the cut by 1hc amount
or the difference. assuring a
march when se,ving the gus
set 10 1hc clevutccl shape
(Fig.ll-25).
5. lo draft a pattern that elevates
one. side or two adjacent sides
Fig. tt-26. (a) Applique to be elevated with gathering on one curvy side.
(b) Applique slashed and spread,
and curved out at the slashed edge
with a line that echoes the origfnaf
cantour. Th" pattern was drafted on
the fold."
or l\11 applique:
With gathering:
a. Slash the applique. cutting
Straight across &om the
edge(s) to bt ek\'atcd to the
oppoSite side. stopping Yi"
( 1.5mm) from the opposite
edge
b. Fan Olll the cuts to e>:pand
the sidc(s) to be elevated by a
lotul amount equal 10 the.
desired elevation.
With a gusset:
a. Ornw IWO parallel lines, each
:ts long ns 1he measurement of
the slde(s) to be elevate<l. and
as wide apart as the desired
height of the cle\'alion. Taper
the cle,ated line into the
basdine at each end.
b. Measure the t.a]Xring line to

the baseline. Measure the
b:l!eline, which \\iU be shoncr, and subtmct to find the
difference.
Fig. 1124. (a) Applique to be elevated

on opposite sides With gathering.
(b) Applique slashed and spread to
include the desired elevation. and
curved outward at the slashed ends by
tho amount of the desired elevation.
\\"tth a gusset:
a. Draw two parallel lines, each
as long as tlte measurement of
one of the sides designated for
eleva (ion, and as \\1de apan as
the desired height of the elevation. Taper tht elevated line
into the baseline at each end.
F'rg. 11-25. Drafting

patterns for two gussets lhalwt" elevate
11'10 opposite sides of
a shape unequally,
end the elevated
shape that 1vfll be
sewn to the gussets.
Chapter II
STUFFING
1~3
c.
Slash the original shape, cuttmg straight across [roJU the

sldc(s) to be elt\a1ed 10 the
opposite side, stopping V."
( l.5mm) from the opposite
edge. Fan out the cuts 10
e;o..'J"lnd the side(s) 10 he ele
F'tg. 11-29. Patterns for an

applique that will be elevated
on one side with the insertion
of a triangular gusset. On the
gusset, match-poinJ symbols
( <liflele sewn to the elevated app/fque ... where sewn
to the foundation}, lith ccrrespondjng match points on
the foundation and the
appliqu6, indicate where to
Insert the gusset.
vatccl br an amount that

equals the difference- to
assure a march wben sewh1g
the gusseL to tbc elevated
shape (Fig. ll -27).
Gusseo-elevatcd applique
pn1cerns:
Add seam aUowances 10 each
gu~sct and applique pauern. Usc
the original s hape for the pattern
10 be 1rnced on the foundation.
For .1ccuraq while sti1ching.
ondlca1e match points on the
founda~ion shape that correspond 10 ma1ch points on the
baseline side of the gussel.
lndicn1e d1fferem match points
on 1he elevated side of the gusset
thnt correspond to similar march
poi nts on the elevated appllquc

(Fig. 11 -29)
Fig. 1127. Drafting a gusset that efe

vates one side of a triangle, then
slashing and spreading that side of
the triangle to match the elevated
edge of lite gusset so that the two
can be sewn together.
7. Wioh a fabric-s.1fc marker. Lnlcc

fai nt bu1 disolncl outlines of 1he
en lire design omo 1he right side
of founda1ion fabnc thao. has been
cu1 to siu. lnclicale match poims
for the shapes to be ele,-ared.
6. To make final patterns or

tconpla1cs for elevated appliques:
Gather-elc,atcd applique
pauerns:
Make patterns \\ithout S<'am
allowances. Use 1he original
applique for the pattern oo be
traced on the foundation. As a
gmhtring aid, indicate mat<:h
point.> on the gaohercd applique
pau crn 1hnt correspond to mmch
poinos o n 1hc fo undation paucrn
(Fig. 1 I -28).
scnm allowance under and

pinch crease or heat press,
concealing the traced outline

on 1he fold.
h. S111chlng next 10 the fold,

~t:~thcr 1hc edge from one
m.1tch poinl to the next,
motchmg that section to the
correspondmg position marks
on the foundation. Secure: the
gathering and continue to the

ncx1 match point, and so on .
c. When the uppliquc has been
gmhcred to fi1 ohc outline.
blindstitch lo the foundatio n,
m:otching the match points
(Fig. 11-30, and also refer ro
Figs. 11-9 and 11-11).
8. \\~th a labric-.afc marker, trace a

fam1 bu1 distinct outline for each
applique and gusset on the
appropriate fabnc. Mark all
ma1ch points.
Gathcr-<>lcvatcd appliques:
Tmce appliqtoe o utlines onto the
right side of the fabric. Cut out,
addi ng a S<~am allowance arotmd
ohe ouolincs.
Gusset-elevated applic;ues:
a. l'reparc a gusset that tlevates
nil sides or an applique by
stilchlng 1he ends 1ogether
oudines.
b. With right sides facing. sew

1he ele\-atcd edge of 1hc gusset
10 each apphquc. clipping the
with right sides facing.
scam ullowuncc of the
Ftg. 1128. Patterns lor a gather-elevated applique with match point indications. The applique's outline is its
fold ond stitching line.
The Art of Manfpulacing Fabric
Fig. 11-30. To applique a hand-gathered edge with /Jtindstitching, distribute the gathers evenly and tack each
furrow to tho foundation. Remove the
visible gathering thread wl>en finished.
Gusset-elevated appliques:
Trace applique 3nd gusset oullincs on1o the wrong side of the
fabric (oplional: 1race the seamJones as well). CUI out on the
9. Sew the ele,aled appliqu~ 10
1he foundauon:
244
GathCI'dcvatcd appliques:
" For each applique, turn the
Slraightcr edge to enable edge

alignmcm. nnd malclting the
match poinls.
ELEVATED APPLIQU E
c. Fold under and pinch crc~sc

Lhc ~cmn allowance at the
baseline edge of the gusset,
and on the unelevntcd sides
of the applique. \VI th the
right side outside, matching
all match poittts. blindstitch
tl1c gussellapplique to the
outline on the foundation
( Fig. ll-31. and also refer to
Figs. Jl-9 and ll-11) .
Fig. 1131. Gusset with seam

allowance clipped ro a/low sewing to
the edges of a circular applique. The
rumed and prossed seam allowance
at the base/lne edge of the gusset is
ready to stitch to the foundation.
I 0. St retch the foundation in a

ht:>t:>l> or fmmc large eno ugh to
expose the d esign. Smff the elevated appliques through slits
cut into the foundatio n (refer to
"Stuffing" on page 229).
11. Stretch and pin the edges of the
foundation to a padded surface.
Steam with an iron held abo,e
the fabric; allow to cool and dry
before unpmning. Une the
apl>llqut' design, tacking tb.e
lining tO the foundation at
points where the stitches will
be invisible in front.
NOTES
&
VARIATIONS
The choice between gathered

dt!valion rmd gusset elevation is a
maucr o f designer preference, influenced h)' which type of elevation
would be the most appropriate for
the design . Two other fac tors to
consider: Sewing small gussets
between a small shape and the
foundatio n tests s~;l! and patience.
Gt"SCtS allow conrrollcd variations
in the stulfcd slmpc, and gathering
produce> simple, rounded fo rms.
Gathcr-clcl'tlted appliques oftcCL

stuff higher thnn the nnticipatcd de'"'lion, particulnrly if the stuffing is
mounded tn the center. An applique
gathered all around will stuff into a
roundt-d fonn. To keep the middle as
Oat as p<Xsihlc, push the stuffing
toward tl1e elc,-:tted sides. The pucl<cring at the edges that denotes gathering becomes more obvious as l hc
elevation o r the applique increases,
altho ugh s tuffing modifles the puckeri ng somcwhnt. To subdue the
puckering, replace hand gathering
with bobbin-thread g~thering:
Machine stitch over the o utline on
the appliqut. gather, fold on the
gathering Stitches. :tnd band sew to
the fuund.1uon.
To preserve the boxy definition
of a gusset-elevated form, push the
seamed cdgt'S and comers up and
out with stuffing, pinch them alter
stuffing, and Onuen and smooth the
to(> and sides w ith outside pressure-or fill up a Oat-topped fonn
with n stack of batting and finish
with Muffing u nderneath . Use t he
founda1io n sh~pc to t'llt enough
batting pi eces to stack to the height
of the elevation. Tnck the layers
together loosely with needle and
thread. Stitch the gussctted
appliqu~ to the foundation with the
balling stack inside. To b3nisb slack
in the surface fabric, push stuffing
beneath the batring through a slit
cut imo the foundauon.
Gusset concepts are more difficult 10 understand than 1heories for
gathered elevations, but they are
worth !mowing. To restate: When
an elcvncd line changes direction
at both ends to con nect with a
baseline, t he elevated line will be
longer than the h3sclinc. Therefore,
the edge of ,t >hapc t hat matches
the baseline won"t match the elevated ltnl~unle.<s the edge is adjusted. Slash the shape to spread out
the edge so that It will match the
increased length of the elevated
line. Gussets can be drafted that
will cle,ate 311 applique on a slam,
or into a peak or arch, with predictable results.
To measurr the perimeter of J

shape with cur\'ing contours. fo llov.
the contour with a utpe me:lSUre

standing on edge: or stand narro"
strip of paper on edge. mark the
length of the conto ur on the snip,
and measure the distance benveen
marks.
For sm3ll, low-relief appliques or
appliques wi1h a1 lc:1st one un-ele''ated edge, stuffing throug h an
opening in the Stitching that allachcs the appllqu~ to t he foundation is
an ahcrnnLivt! but, in general, i['s

1
easier to di.>tribtllC t he stufflng

~venly and COnlY()( t he s haping or
nn elevated fom> hr stuffing it
through u ccntrnl slit cut in the
foundation. A design with many
de-ated appliques be~omes tophen')' and needs a sturd)\ substantial foundation for a base, such as
stili, heavy fabric: a batting-padded
lining: or fab ric secured in
stTctchcd condiLion.
ElcwnctljJicccworlt applies 1he

concepl of gathered o r g ussc11cd
fomlS to pieced patchwork designs.
Stlectcd clements o f n d esign are
ele\ated wi1 h gathering or gusset.~.
"ith each elevation basted to a lining before the pieces are sewn
together in the usual, right-sidesfacing fasluon ( Fig. 11-32). After
asscmbl). the ele\":ltcd clements are
stuffed through slits cut into their
lining;.
F"f9. 11-32. (B) Parchwork design with

trianguler e/emenrs suirable lor elevation. (b) Triangle with one side
gathered and basted ro a lining, prior
to assembly into the block.
Chapter I I
STUF FING
245
XJ./2- I'ufi<Ms and~ ch<ll!laenze god1tred ;o.m.. 111<

II>< !op .. s.mple Si.-,'jeo ~
~ 01
ELEVATED APPLIQUE
X~ I 3-Peccd dcs,gn wrlh scleaed rnangulor
elemeni.S e'ewllcd on one Side v11rh golhenng.
XI. I 5~ e!e-.otcd shapes

fi cd w<h SloO<s of !><livg.
Xl-14-((rQm lire cop down) Apphques g>.."Ssetelevcncd on one Slde

O<llf, on rhreo Side~ and on oppo;!re sKies. The raps of rhc rwo lower
forms were $/lffencd wilh pres~ inte<faang.
246
T he Art of Man ipulo ti ng Fabric
3. To detenmnc the appropnate
width for half round fabric srrips.

mea~urc the width of a strip on
lht found3llon, add enough for
1wo scam allowances, and
...
includt an extra amoWlt equal to

the desired height after smffing.
The mount .tdded for stuffed
height should not be more !han
o ne-third the fo undation \vidth
of the strip. Measure and cut fabric strips fo r the half-rounds.
continuing to cut more as needed
w hile sewing proceeds.
=-
<
>
I<
b..
I<
Fig. 11-33. Hallround designs meantto

be continued or repeated to a larger size.
The shaded areas will not be stuffed.
>
2. For the foundation, cut a piece

of lintng fabric shghdy larger
than the design unit requires.
H ALF-ROUNDS
- long. slender strips of fabric
stitched side by side co a fo undation
with scuffing enclosed between the
layers and seams.
a. 5~abilize the lining wilh freezer paper heat-bonded to the

back. with typongweigbt
p:tper o r comm ercial stabilizer
machine-basted to the back
ili'Ound the ed ges, or by heavily Starching lhe fabric.
PROCEDURES
L. Crcalc an nrrangcmcnL of narrow
bar~ that are parallel, imerrupted, overlapping, or skewed. Add
uiungular and tapered ekments,
and unstuffed areas, for ' "'riety
and contTaSt (Fig. ll-33).
Number the pariS to indicate the
sequence of application (the next
hnU-rowtd applied cover5 the
seam allowance of the pre,iously
applied half-round, or halfrounds). Enlarge the design to
actual size.
,.....,..... .
3
5
tool. trace the enlarged desigu

onto the foundation- these
lines are the scamlines. Wlth
a marker or another color,
outline the edge or one seam
allowance beside each S<allllint, generally the seam
allowance to lhc right. as
indicated by the order or
nppllcation. These are the
edge-marching guidelines
(Fig. l l-34).
"'"~;.:.::
:
~
.......
: I~ N
\.
12 \.
9
10
1
(a)
7
13
generously; add a seam

allmvancc ( Fig. 11-3.5 ).
b. With a fabric-safe marking
l:
! ...:
.
L,_j.J..:i . .:... .....
t--r-!_ : :
4. Draft pnttcrns fo r any rapered o r

triangular clements included in
rhe design. Estimate the height
after sturnng at the "~dest poinr
of the clement. Slash a cutout of
the clement from its widest to its
nnrrowest pornt. stopping about
Y,(' ( 1.5mm) From the narro\r
end. Spread the slash to equal
the C>limntcd height after stuffing. Re-drnw the split o ur line
'\:._............................. /!:
! '\. ...........................,-/ ~
c.... :-,.;................... /.J......:
Rg. 71 35. (a) Cutout oftrlangular

elements #4 and #8 In the design
sketched In Fig. 77-34. (b) Cutout
slaslled and spread to include an
allotment for /Jeight after stuffing,
with soam allowance added.
(c) The hallround pattern.
Fig. 1134. (a) Halfround design with

components numbered in sewing
otrJer. (b) Design
enlarged and out
fined on the foundation. Dolled fines
Usc the pattern/template to trace

and cut as many tapered or rriangul3r half-rounds as the des1gu
requires.
indicate seamlines;
the cut edges will

be matched to the
solid lines.
(b)
Chapter I I
STUF FING
247
.........,,~;........'+
! ..........l
II'
#1
' 2
._:::
.:~~-vL.
I I l ,,
12
13
':~
. .... ,.
l
lip;;..... ............- .......:. ..

u--- _..__ ljk:~~===:c
(c)
,,
(d)
12
#3
a. Cut enough from a holf-round

strip to cover the flm half
round oUllined on the foun
dation. Matching the edges of
half-round Ifl to the edge
matching gUJddines marked
on the foundation, machine
stitch both of the long sides to
the foundation whh seams just
inside lhe scam allowances.
Trim the ends of the hnlf
round to correspond \\~th the
guidelines on lhe foundmion
((a) in Fig. 1136).
248
The Art of Monipulatlng Fabrle
6. Stuff the half-rounds 5ofrly (refer

to "Stuffing" on p.1ge 229). using
either of l.be following methods:
Leave one or both ends of a
balf-round or a group of hnlf
rounds open dunng construe
lion. Push stuffing through
the open ends. \found the
soft stuffing m the center,
thinning it out tow:trd the
side seams and ends. Close
the ends by easing or gather
ing the excess fabric Into
scams (Fig. 11 37).
(a)
Fig. 1136. To sew llallrounds to a foundation marked as shown in Fig 1134

(a) Baste strip lf1/n position. (b) Sew strip 112 over the edge of strip #1.
(c) Sow on~ edge of strip 113 over the edge of strip 112 and the other ed e to
'f'.~Sfound~tron. (d) Ease fullness at the ends of the strips into the basti~g seam
,e, ew tnangutar half-round lf4 in place.
5. To sew half-rou nds, adapt the

following steps to the needs of
the specific design:
the excess fabric into the

stitches as sewing proceed,, or
gather "ith hand >litching first
and baste over the gathering,
Sew j ust inside the seam
allowances ((d) In Fig. 11-36).
i!e?:
. :#'~
round to the founcL.nion. ease
l j, !
. ...__ i~' ,,.J .:,:.
,, -.... . ' .
c. To baste the ends of a half
. . . . .. ...
:
!
"'ll>T
(a)
II
b. Cm enough from a half-round

snip for half-round i/2 as out
lined on the foundation. Place
it right side down over half
round *I. Matching the edges.
sew one long side of half
round =2 10 half-round ,.1 on
th..- S<!allltine they both share.
Tum half-round =2 rtghtside
up; mm the ends to corre
spond "~th t.be guidelines on
the foundation. Baste the
remaining long side to the
founwuion, matching the edge
to the guideline and stitching
inc;ide the seam a11owance~ or
sew half-round ;;3 to half
round .:2 on their shared seam
line without basting #.2 first.
Continue adding half-round
strips, following tl1c numbered
sequence of application ((b)
and (c) in Fig. 11 36).
HA LF- ROUND S
::
~ --
Fig. 1137. After pushing stuffing Into

half-rounds through the open ends.
ease-and-sew or gather-and-sew tha
ends to the foundation.
StuiT while SC\\ mg each half.

round to th< foundation.
(1) Sew the first side of the
half-round in l>lacc. ( 2) Ea;e
the fullness at the upper end
of the half-round while se-'ing
it to the foundation; at the
comer. pivot \\ilh the needle
down and sew the oppone
side of the half.round. pau-;c
frequently to mscn stuffing.
At the lower corner. turn with
the needle down and stitch
across tl1e end to e nclose Lhc
stuffing, easing the fullness
into the stitches (Fig. 11-38).
Sew all seams inside: the se:un
allowance.
NOTES
&
VARIATIONS
Theoretically, the foundation

\\;dth or a true half-round is its
diameter, so adding half the diameter (the rndius) to the half-round
strip would pemtil stuffing into a
real half-round. Actually, that much
tleation is tOO much for a halfround construction, unless it's part
o f a design fea turing half-rounds
that gradually increase to that
height. When sewing half-rounds
with more than
the foundation
width added 10 the half-round strip .
cut the ends of the s trips in an ourward curve to allow more internal
space next 10 the seam, room fo r
stuffing to build up in heighr.
v,
Fig. 1138. Simultaneously sewing

and stuffing a half-round.
7. Remove the temporary stabilizer.

Assemble as many half-round
units as O\'erall size requires.

line the construction of halfrounds. sewing the lining to the
foundation at intervals and at the
sc:unHnes that connecl the units.
The seams between half-rounds

bring the clc\'ations on either side
down 10 foundation leveL Add a topstitched scam tO c.xpand tlte slim
crevice created by 1he consrruction
scam imo a broader channel. Af1er
sewing the Orst side of a half-round
In pl:~cc, use !hat seam linelfoldline 10
gauge " dislllnce for the wpstitching.
ConAnc the excess half-round f.1btic to

the space between the topsritched scam
and the scam thm secures the second
side to the founda!lon (Fig. II-39).
A stabilizer prevents distortion
during sewing and discourages
overstuffing. bUI doesn't P""'ent iL
Half-rounds arc Stuffed too fuU
when 1he underside of the foundation begins to bulge and curl up
between sc:uns. To stuff while
sewing, half-rou nds arc filled with
too much stuffing when the s tufllng
impedes S!itching with a regular
presser rool on the sewing machine.
For stuffing while scwi11g, usc a
straight-Siitch sewing foot, or decentet the needle to 1he leh if using
a zigzag sewing fooL
Raised stripping is a loNclicl

ersion of half-rounds. h is similar
to half-rounds in all respects blll
one: An amount for height aftcr
stufnng Is not added to the strips or
1riangles Slilched 10 the foundation.
Raised stripping is very lightly
smiTcd during the sewing process.
Unstuffed
Channel
Unoluffod
Channel
Fig. 1139. Adding topstitched channels to a

half-round oonsttuction.
nstuffed
Channel
Unstuffad
Channel
Chopter I I
STUFFING
249
X~ 16-An oppllcalion
rhot oppeor; ro we<>te u~eo!h Jtselt.
HALF-ROUNDS
Xl-17- J'opsuhed dlcmeis seporll( most o( the ha(.mmds

"' a design rho! ZJgrogS ~..., h<i(401J<>d borders ot the S'd..os
Xl- 18-T~ log
aJl>n
oottem "''~ _IWO ~ o( the
~ ~ed ~ hcl(-<oun<!s
ond r-"> sides uns~uffed.
250
I
I
:I
I
l
I
I
I
I
I
amount of stuffing ne.xt to tbt

ends, lea\ing a generoll!> .cam
allowance empty Close the
openings m the seams wtth
hand-sewn ladMr sutches
5. To d ose the end of a stuffed-roll
casmg in prepnnuion for fmtSh
ing the edge with bmding or an
I
I
I
I
I
I
I
I
c:xtcnsion:
L....
r(a)
(b)
Fig. 114 0. (a) Pattern for a group of rolls with arrows connecting seamlines
that will be sewn together. (b) Sewing pin-matched seamllnes together.
CONNECTED
ROLLS
- long. plump, stuffed cylinders that
sit In parallel rows on to p of the fabric in the background, from which
they are construct ed like rucks.
PROCEDURES
1. Set a clian1eter larger than 'A"
(l.5cm) for each rolL On a scale

dingrnm or acrual-sue pauem.
allocate a narrow section for the
ca>ing for each roll. Each casing

section should be three times
"ider than the chosen diameter
for the sluffed roll, and as long
a< 1he length of the fabric. The
lines 1hal border the sections
reserved for each casing will be
scamlines ((a) in Fig. 11-40).
Scparme the scamlines of adja
ccm roll casings with bacl<
ground spaces:
Fur an arrangeme.nl of rolls
1hnt touch one another, allow
spce one diameter wide
bc1wccn 1wo rolls of equal
diameter. If adjacent rolls
h,e different diameters. add
one-half 1he diameter of one
10 one-half the diameter of
1he o1hcr and allow that much
space belween the two rolls.
For an arrangement \\ith

channels of background fabric
visible bc1wccn rolls, add onehalf 1he diame1er of each adjacent roll 10 1he width of 1he
space 10 be visible between
1hc 1wo rolls.
2. Using a fnb1i c-snfe marker, draw
Lhe seamlines for ench roll casing
0 11 the right side of the fabric. Sum
b) measuring nnd marki ng seamline positions across the top and
bouom edges of 1hc fabri c,
and connect opposite position
marks with ~ straightedge to
trace 1he lines.
3. With tht right side of 1he fabric
facing up, fold and pin match
1he seamlines tltat enclose each
machine stitch over the

line on lop ((b) In Fig. 11-40).
For very long rolls, leave l Yl"
( f cm) s1uCtmg openings in the
scams, sp:tced 9" (23cm) co l2"
(30.5cm) apart. RoUs shorter
than 12'' (30.5ctn) arc s tuffed
through 1he open ends of the
stitched tubes.
'1. Push stuffing into 1he tubular
casings through the openings in
the seams or at the ends (refer to
"Sluffing on page 229). Stuff
u1111l 1hc roll is round and
smoo1h while retaining the
degree of nexibility appropriate
for the application. Reduce 1he
Pleat or gn1her the empt}' casing 10 match 1he roll\; srulfed

diameter. Center the emp1y
casing 0\'Cr its own construction scam. Baste to the background fabric b)' hand or
m<1chine, s titching within the
scam allowance.
Flauen the tmpty casing ";th.
out reducmg wkhh, center. and
stitch il down (Fig. 11-ll).
i. ~--:::--. ~ :
~-.
,I
~::- ,: .:
(a)
S:,-o:::A;; ;: ;!,
I
casing~
(c)
F'tg. 11-4 I. Before basting across the

empty ends of stuffed rolls, (a) pleat.
(b) gather, or (c) ffatten the casings.
Chaptr I I
STU FF IN G
25 1
NOTES & VARIATIONS

Actuolly, the circumference of a
circle is 3.1416 times its diameter.
but slmpllf}ing to three times the
chosen diameter for !he tubular casmg of a roll stuffs out close enough
to the cstimotc to justify !he easier
lormula. Howe,er, if !he fabric used
for 1he casing is tightly woven and
unyielding, nllow a generous three
times lhc dimnctcr for casing tJ'lca

suremcm.
for rolls of u1\changing d iamelcr, 1hc scamlincs 1hat cons1ruct 1hc
w bulnr casings arc straight and
equidistam from the fold. Seamllue
vnnntions that deviate from the
standard change the shape, lhe
progress. and the size of !he stuffed
rolls: (I) Seamlines 1ha1 are
Slt:ligh< bm sbnt toward the folds
produce casings !hat stuff into rolls
!hlltlapcr ( Fig. I 1-H ).
~
!'
![:
1:
(f
~i
i
I
I'
'
i
,:ll
Fig. 11-42. Tapered ro"s.
( 2) Cross seams break 1he rolls

into segments. For each break, Oatten, center, and pleat t.hc sides of
1he unsmffed casing to reduce its
width to the diameter afrer s tuffIng. Topslitch s 1raight across the
pleated mbe ((a) in Fig. 11-43).
(3) Seam lines that split the entire
casing, or scparale portions of
~:.___.__.==
-=-=~
(a)
_ .....-----<:::_
(b)
cious cur\'CS.
Fiq. 11-43. Stuffed roll variations:

(a) Topstltc/1 across t/le pleated cas
lng. (b) Topstitc/1 down the center ol
'1:'
the unstuffed casing.

O ne o r both ends of a casing
ma)' be stitched dosed before !he
roll IS stuffed if access into the rube
is a\ailable m seam openings. For
rolls that cncirdc, sew the ends of
the fabric together, matching the
pre-marked seam lines. Stitch the
scaanlincs togclhcr to construct the
roll ca~tngs. Stuff through openings
left in 1he seams.
Closing 1he ends of a stuffed roll
by scwmg the nauened casing to
the background fabric encases the
stuffing and also steadies the roll. If
lo ng, fnt, horizomal rolls wobble on
thdr scams, tack each stuffed-roll
casing to the background fabric
,.;,h hand stitching on each side of
the construction seam.
Dtltlclwtl rolls are sewn and

stulfed apart from the fabric to
wh1ch they are applied. Cur a strip
o r fabric three times the roll diameter plus two scam allowances. Stitch
the long edges together to form a
tubular ca.s ing. Stuff the casing
through the ends and/or thro ugh
openings left In tl1e sc:tm .
and topstitch down the center

((b) In Fig. I I-H) .
The A r c of M an ipulating Fabric
lfl:
j l:
\1
I'
(I)
CONNECTED RO LLS
I''
I
( b)
Fig. 11-44. Detached rolls: (a)

Surface rolls stuffed after sewing. (b)
In-seam rolls stuffed while sewing.
ror a detached inscam roll ,
stitch the edges of the fabric strip
together wlth the right side o tt tl1e
outside. l'nusc while sewing to lift
the presser foot :md stuff softly ((b)
in Fig. ll+l). To insert the roll
mto :t >earn JOining 1wo pieces of
fabric. amu:h n :ipper or cording

foot to the machine. Matching
edges. baste the roll to the right
s1de of one fabric. Sew the second
piece or fabric to the first with right
sides together and the roll in
between. Alternate construction:
Sew the unstuffed casing into the
se;H11 joining cwo piece....; of fabric,
l>ullcavc stuiTing openings in t..he
seam. Slllff, nncl hand sew the

openings closed.
the casing. cre:ue rwo c-asings.

Center the: casing over its scam
252
For a clt13ched surface roll,

stitch the edges togeher \\1th lhe
right side of the fabric strip folded
inside. and rum the ntbular casing
right side out before s1uffing ((a) in
Fig. 11-+1). Surface rolls arc hand
stitched to foundation with construcuon scams hidden underneath.
If the casing strips are cut o n the
bias, the rolls can be applied to spa-
CONNECTED ROL S
Xl-20-<:nns:rct'On t1>ot m-d.es oround ~ ror:.

lhor hold 1~ (J.msy (obric upright cmd deto<toi .,.
"""" rolls ll>o< "~ the ~ )!) ond l><nc.
XJ 2 1--<:ross-;e.:ms ll'tl>m.pcon~ rJ>e

ro~rs
complicate the o~~CroU par~rn..
Xl-22- Detached rolls w;rh bios<tJt comgs app!te<i on

curves on t.he sur(nc:e Clnd m..seom at tr.e edge.
Chapter I I
STUFFING
253
(3mm) all around.
(a)
Fig. 1146. Utt/e pillow profile. To

estimate height. choose a realistic
measurement lor the Imagined depth
that stuffing will produce when insened Into the casing.
b. For circle$ and ovals, the
(b)
cnlnrgement is the pattern

(Fig. I 1-47).
Fig. 11-45. Shapes with straight and curving sides arranged into designs for lit
tie pillows: (a) Joined into a solid unit. (b) Connected with open spaces as pan
of the design.
c. For squares, rectangles, trian

gles, and o1her angled shapes.
connect 1hc enlarged o utline
lO the comers of the original
oullinc with curving lines
(Fig. 11-48).
d. Cut out the pauems. lndicale

thar touch ( Frg. 11-45). Sec the
aelual sizes of me componenLS.
LITTLE PILLOWS
-plumped, geometr ic fonns cue
from doubled fabric, sewn around.
turned, and stuffed. Fitted together
Into n planned ar rangement, an
assembly of little pillows is self-lined
and reversible.
2. Omft pallcrru, for me \'3riOus

shapes In the design:
PROCEDURES
I. Compose a grid-based arrange

menl of adjoining geomerric
shapes, \\;th or wimour ~
through spaces between edges
Shape
Enlargement
n. Draw an outline of each

shape. Estimar e a s tuffed
heighlldcprh fo r each shape
(Fig. 11 -16). Enlarge each
o utline by o ne-fourth the
height estimate. For example,
if Ill estimated depth is
(6mm). draw another outline
Y,," (l.Smm) OUI.Side me
origmal: if me csrimared
deprh is Yl" ( 1.3cm), ex tend
rhe original outline by V."
a small bm reasonable open
ing for turmng and stuffing.

For lillie pillows, the paltern
outhne Is rhe seam line. Scam
:~llownnces
arc added when
culling the fab ric.

3. With n fnbl'ic-safc marking tool,
trace, pattern o utlines onto the
wrong side of the fabric, marking
s ruffing openings outside each
outline. Allow enough space
between adjacenl ourlines for
scam :allowances when cutting.
Pattern
(a)
Fig. 1147. Round and oval patterns for little pillows: (a)
Enlarge lor estimated height. (b) Patterns without seam
allowances, with stuffing openings marked.
254
Fig. 11-48. Square and triangular paNems lor little pi/

lows: (a) Shapes with enlargements tapered into the
corners of the original outlines. (b) Patterns without
seam allowances. with stuffing openings marked.
LITTLE PILLOWS
...,.......
'
,'
''
''
.'
..
... r7"'"
,
......,
..
''
:'
~o. ........ _ __ ._ .. ~J
\..,......
\
\
'
'
'\
\ .......... _,...., _ ..._,..J.
'
/'
'yl
:., ,/
/''\
'
.:
I
Fig. 11-49. Pillow outnnes
,'
stitched, except for the

'
openiflgs. and cut out

outside the seams.
..,!_.. ___ _
~-
4. With right sides together, pin the

fabric wilh traced outlines over a
second piece of fabric. Straight
s titch by machine over e.1ch oul11 nc, Starting and ending with
11 -50. Sewing straighls/ded liltle pillows

loge/her In closed
arrangements
(a) Catch fabric from
the back seam of the
pillows with tiny whip
stitches. (b) Zigzag or
saun slitch over the
butted edges.
backstitchu1g on either side of the
stuffing opening. Add a small but

adequate seam allowance when
cutting out the pillow casings
( Fig. 1 H9). Trim s.-am
allow11nces diagonally across corners. Tum right side out.
5. Stuff each pillow until it is
(b)
(8)
suilabl) plump, substantial,

and s table (refer to stuffing"
on page 229). Stuff pillows
wi1h s tmight sides until the
edges s traighten om. Stop

st uffing round or oval pillows
before the surrounding seam
begins to buckle and pucker.
Hand sew the openings closed
with ladder stitching or tiny
overhand stitching.
6. Arrange and join the pillows into
the lruger. pre-planned construCtion:
For a closed arrangement of pillows "ith strnighr sides: (I) To

make sure that comers and
edges abut precisely. especially
on long scant<, tack at intervals
or baste with large ladder stitches before sewing rogethcr per
mnnently. (2) Wbip the edges
together with tiny sritches itwisiblc in ~m. or machine sew
wiLl> zigzag, satin, or decomllvc
stitchil>g (Fig. ll-50).
For an open arrangeruent of
round, oval, and straight-sided
pillows: Hand sew the pillows
together "ith tiny whipstitches
Ill lhc points where they touch,
or attach \\ith ties. Connect
Str.tight-sided pillows ,~;th ties,
faggotting, or tabs (Flg. 11-51).
(b)
''I .,
t
.f
,,J
-~
I'
(I)
(c)
Fig. 1151. Open attachments for little pillow arrangements (a & b) String ties.
(c) Faggolting. (d) Ribbon ties. (e) Whlpstitching at contact points. (f) Tabs that
start with curved projections added to each side of the pillow pattern.
Chapter I I
STUF FING
255
Fig. 1152. (a) Little

pillow design.
(b) Enlarge for
estimated heigh!.
Add to the tong sides
the amount deleted
/rom the short sides
(dashed line). Curve
the corrected enlargement into the comers
of the original outline.
(c) Pattern with stuff
ing opening marked.
(a)
(c):---- - - - -
N OTES
& VARIATIONS
When estimating depth for little-
pillow pauents, vary the estimate

whh che overall size of the shape:
Larger shapes arc c-apable of more
depth chan smaller shapes. Designs
chat include shapes of various sizes
lcal'- topscilching by hand or

machine. (2} After stuffing, add a
decorative Lie or bu11on in the tc.uler. auached by sewing down and
back through the stuffing.
Pcchholcs a~ straight-sided pil
lows "~th see-through openings.
Panerns arc developed in the lilllt
pillow manner, but \\ith seam
allowances added around the out5ide
and a "hole" outlined in the <:enter.
( 1) Tmce the outlines of the panem
on the lining, marking peekhole
ou tlines. (2) For each peek ho le,
cue a front with ch e lini ng
(3) Sew the fron t 10 the li.n ing
with righ t sides cogeth er. stitch ing over the peekhole outli ne.
Cut out inside the scam, clip the
scam allowance, and tum right side
out. (i) Matching all edges, sew the
two-layer pcekholes togethn into
che pre-planned arrangemenr. For
accuracy, stitch over seamlines
marked on tlte linings ( Fig. 11-53).
(5) Scuff each peekhole through
one or two slits cut into the lining.
(6) Unli ke standard liule pillows,
an assembly or peekholes needs an
oucer lining to conceal and protect
will have_ different ele,ations when

chc stuffed pillows are assembled.
After scurnng, pillows are usually a
linle plumper than the estimate. A
con;Ltuction that includes too
mnny pillows wider than t" (lOcm)
s~uare Lends to become clumsy and
cumbersome.
When devising pancrns fo r
shnpe. wil h sides thm are dramatically different in size (elongated
rectangles, triangles, and ovals),
enlarge as usual. but reduce the
enlargement of che shon sides and
add the amount eliminated from
che shon sides to tlte enlargement
of che long sides (Fig. ll-52).
Two little pillow variations:
(I) Afcer turning che casing but
before scufnng, outline a small

s hnpe In the center- a circle, a dia
mo nd, cro~scd rectangles, a clover-
& ~ It;>----- .. r,o Ill l@f

~~
~BB
L....L.......Jt.........;<>=-\ \
(a)
\......____ ___ ....)
Lining
c)
( b)
;J "-.. Lining
(d)
Fig. 11-53. (a) Design for li!tle pi/lows with p~ekholes. (b) Pattern with seam
allowance around the outs1de and peekhole m the center. (c) Peekhole prepered when the front and lining are stitched together. (d) Sewmg the edges of
lwo pil/ows-withpeekholes together.
256
T he A rt of Manipulating Fabric
L ITTLE PI LLOWS
che seam allowances and darned

openings visible in the back. Tack
tltc ouccr lining to the peek!tole
unit ac intersections. From the
front. che oucer hning will be ,;sible
through and bchmd che peekholes.
For \'aricty. uncover a peckholc by
cutting the omcr lining away
behind chc opening. stitching the
cut and turned edge to the inner
lining amuncl the peckholc.
Compnrecl 10 1he plump finn ness
of liu lc pillows. raised patcltworlr
seems clenated and soft. Raised
patchwork is composed of straight
sided clcmcob a>scmblcd with
hand sewing or machine stitching
imo closed units-just like little
pillows-except: (l) The patterns
are nm enlarged co compensate for
height afcer stuffing. and (2) rhe
amount of scuffing mscrted inside
the casing IIIUSI be COIIlrOUed tO
prevent the straight sides of the casing from curving inward- which
would complicate closed assembly

(Fig. 11-54). Because light stuffing
discribuced throughout the casing
Lends tn ~hlf1 inside large interio rs.
raised patchwork ~hapcs have

smaller dimensions. Casings may be
prcpored as described for little pillows; or they can be made by folding rectangles into >quarcs and
squares into triangles or rectangles.
seMng cogether only the cut edges.
Fig. 1154. Pillows with sides concaved by too much stu/fed eleva/ion
In the center are difficult to sew into a
closed constroctlon.
..
LITTLE PI L L OWS
l ~
"I
XJ. 23-0c:rsed am3r1gemet!! o{ sqc.oares, """'R'~ at1<1

reaa.1g'es j(>t!eo w1lh /lalla satd>og ooa satrn st>td>tlg,
Xl-21 -On:les and ovals handsmchcd

together into on openwork border.
1
)(1,25--f'lutr.p t,O:ows v.'<h sas fii(Jt cur-co lft,OO'd
b<Me lhE porrem was- enlarged (or esMIO~
~ Oes'ii"S !DpSilld!ed on !1-,e re11er l'l!d.oa! rh<>
.p/<Jmptless cf (oor of il'e ~s
XI-26-S..rHt> squores; 3 ururuffed.

5 sruffed llU) p.1Jows. and 8 WTth peekho!-es
Lm.ng cut ow<ty bel11nd the rnangu!or peek
llolc opens 11 up 10 the space beyond.
Chapter II
STUFFI NG
257
B ISCUITS
-<ushiooy mounds of fabric elevated
from smaD. squared foundations that
are sewn together. Pleats caught into
the seams tha t edge each biscuit make
room for the suppo r tive stuffing.
PROCEDURES
(a)
1. Draw a square, adding scam allowances, for the base of the biscuit.
Increasing the me of th.! IXl5t by the
tstimated height of the biscuit w!~G~
stttffed, draw an enlarged square,
including tbe seam allownnces. For
tlte bismit pattcm. For example: For
a biscuir l" (2.5cm) high, enlarge
a base 3" (7.5cm) square to a 4"
(IOcm) square. for a biscuit W'
(1.3cm) high, enlarge a 3" (7.5cm)
base to 3 11" (9cm). ~1ark a ccmcr
point on each stele of the base and
biscuit sqt~~rt!S, and CUI OUI the
paucrns (Fig. ll-55).
Fig. 1157. To sew
--(a)
At the final side, stop Sl:'ing

after felling the pleat to allow
rut opening for stuffing betwe<:n
the plem Md the comer.
!
j
----------
Base
Biscuit
... _-----
!
'
. .......... -. .-I
Flfl. 1155. Base and biscuit panerns
with center points IMK:ated.
2. From lining fabric, cut n base for

each biscuit required for the
planned consrrucr1011. l'rom the
top fabric, cut a biscuit lor each
base. On the right side of each
bas<! and biscuit, mark the center
points mside the scam allowances.
3. Matchmg comers and edg~. sew
c-.tch biscuit, right side up, to its
base, stitching inside the scam
allowance. :VIake a pleat In each
side of the biscuit to reduce the
biscuit to the size of the base:
(b)
s..-,, coch plc-Jtcd side in tum.
r-~--------- -~
- - - ---- ~
(b)
4. Assemble the biscuits in rows.
Sturr the biscuits 10 the softI)'

rounded height aUowed b)' the
loose fabric released from the
pleats (refer to "Stuffing- on
page 229):
With right sidts facing, sew
two rows of biscuits tOgether
with all openings located on
the outside of each row. Sturr
the blscul!s. Topstitch the
openings closed with a zipper
foot. \\r,th light sides together,
baste and sew an unstuffed row
.
l
of biscuits to the stuffed row of

biscuits, locating all opening:.
on the side opposite the scam.
Stuff, and continue adding
rows with openings Dcccsslble
on the outside (Fig. 11-58).
Anotl>cr method defers stumng
ttntil all rows of biscuits h ~ve
been sutched together.
Eliminate the side openings
when preparing the biscuits.
J\s;crnblc and stuff the biscuits
through slits cut into bases.
After stuffing, hand sew the
openings dosed.
5. Line the biscuit tonstructiOI1 to
cover the exposed seam allow:lllCCS
in back. Tack the lining to the
stuffed top at the cross seams.
Fig. 11 -58. Two

rows of biscuits
seamed togothor
with cross seams
matching and
openings located
on the oursid9
edges. Alter sluff
ing. add more
unstuffed I'WI$ to
each sido ot the
central unit.
'
For a biscuitl" (2.5cm) larger

than the base or more. make
an inverted pleat in each side
(Fig. 11-57}.
biscuits to basos
with inverted pleats
(a) Pin as shOvm,
making an inverted
pleat with both out
side folds meeting In
the center.
(b) Biscuit alter
stitching, with an
opening tor stuffing.
~-----
For a biscuit I" (2.5cm) larger

tlmn the base or less, make a
single-fold pleat in Cllch side
( Fig. J 1-56).
258
Fig. 1156. To sew

biscuits to bases
with single-fold
pleats {a) Ptn as
shown. making a
pleat with its outside
fold meeting the
center marl<.
(b) Biscuit after
stitching, with an
opening for stuffing.
II
BI SCU ITS
N OTES & VARiATIONS

BiscuilS are cushiony mounds,
softly s tuffed. To es tablish the.
roundness of a biscuit. never push
stuffing imo !he comers of the
squared base.
t
(a)
MultJpte
1Biscuit!
Base
Sewing unstuffcd rows to st\tffecl

wws of biscuits becomes a clumsy
task as the assembly incrcascs in
stze. Section large consll'Uclions.
leaving unstuffed rows where rwo
sccuollS wlll be joined, and st uff
those rows throug h slits cut into
!he b:tSes.
An alternate and speedier
m ethod of biscuit preparation
s tarts with patterns fo r a block of
biscuits: (I) Draw a grid of sq_uarcs
!hat combints !he b:tSes for four or
morc biscuits. Draw another grid of
enlarged sqttarcs for the pleated to p
of the biscuits. Mark the pleat locll
lions and add a scam aii<J\vance

around both pauems. ( 2) With a
fubncs:1fe marker. trace aU grid lines
(scamlincs) and pleat markings o nto
the fabric cur fo r the b~sc and the
top. (3) Sew the top to the base. Pin
match all parallel sc-~mlines and
pleat markings in one direction.
Machine sew, fo nn lng pleats at C\'Cr)'
pleat location. Repeat In the cross
dirccrlon (Fig. 1159) . (4) Assemble
!he entire biscuit construction. Stuff
each biscuit through a slit cur imo
i ts base.
Altho ug h the traditional biscuil
has" sq uare foundntion , a pleat
on every side also enables biscuits
to riSe from non-square bases
( Ftg. 11-60) . Enlarge the base paltern all aro und by an amount equal
to o nc-haH the dcshed elevation.
1
I
Mult i ple
Biscuit
Top
1
-
(c)
(b)
Fig. 1159. To quick-sew a I>/Ock of biscuits (a) Base and top patterns combin
ing multiple biscuits, with pteat tocations marked on seamlines. (b) Top and
base stitched together In one direction with inverted pleats at marked locations;
(c) slilched in /he opposite direction. Seams are stitched as numbered.
Additional textures and le,els
may be introduced to n biscuit construction by induding smooth, Oat

areas between the biscuils, leaving
selected biscuits unstuffed and
crumpled. and furrowing the bil
lowi ng fabric in th e center (refer to
"Furrowing on page 9 ).
Saus<rges are a biscuil variation.
Instead of a pleat o n every side,

o nly the two o pposite sides hnvc
pleats. and those pleats arc always
centered in the smaller ends of !he
rcctallgll'S. For a saUS:1gc pal!ern,
enlarge the base pattern in one
d irection , increasing the length of
the short sides of tlte rectangle by
the amount of the desired elevation.
To justify !he name, they ore rectan

gular- long and slender but
plump. They are consmtcted like
biscuits in all respects but one:
Fig. II-60. Two

unusual construe
lion fonnats for bls
culls: (a) ClusteTS
of diamond shaped
biscuits separated
by ffel hexagons.
(b) Circle sur
rounded by a ring
of biscuits.
Chapter II
STUFF ING
259
B I SCUITS
XJ.l7- TfCJ<$noool
constn..cLIOn o( DI$CUIG
!hot fooj:s e;, "' name.
Xl-28-{Jnslvffe<f ood ;utro.W?d

bcso.ors. ood /e'~ $llU<lf5 of
(cbt' ~e ~ pottem of
r<le(s .., o bisal>t CO'ISINCI>On
260
The Art of Manipulat ing Fnbric
BISCUI T S
XI 30-Sovsoges YOo'iEd ,.m,

unp'fole<t sofily swFi tee
P...
~os conre<edlrl5lde
of
the lll<H-S<>Mge S<)JOra.
Chapter II
STUFFIN G
26 1
P EAKS AND
VALLEYS
,--
t'r- <;k:: -f-,r~-1<
>>
r.._,
- small, cone-shaped elevations of

fabric, supported with stuffing. thor
tisc from triangular ot square founda
tlons.Assembled into orderly
arrangements, valleys caused by the
construction seams separate the
pe<~ks.
~&
<"'-r---,<"'r-~
.._, -
~c....k'
("
Fig. 11-61.
Designs for peaks
and valieys:
(a) With rows ol
squares Introduced for variety.
(b) With squares
needed to main
tain a level con
struction. (c) With
large triangles of
ffat fabric separat
ing triangles com
posed of peaks
and vaJteys.
<;~
v
~~
<-, <""' r- . _,
~ 'f'.,
'1\v
',.., 0,.
v
<, r- <""' "t") /1 1./ /'"\ IZ
' rx>
k-' .._, r- <1'1 1.:1 '\J ('..,
<"' ..... r- c"
-r;:
~~0,./1
~
( a)
(b)
'\j ( )
(c)
P ROCEDURES
I. Create a design of adjoining tqui-
l:ueral [riangles '";th connecdng

squares (Fig. 11-61). Set the
actual size o f th e components.
..- - -- - - -~- --- - -
'
'''
2. Draft a base pattcm , without

seam allowances. for c:tch 1riungle
and square in the design. Draft a
peak pattern. without ~am
allowances, for each base pauem:
For a triangular base pauem,
the peak pattcm is a square.
Each side of the square equals
the measurement orone side
of the tl'iangle (Fig. 1162).
''
'
(a)
(b)
...
Baso
Poak
'
'
'
'' -------------''
o
'I
(o;J
Rg. 1162. (a) With a compass set to the measurement of one side of 1119
peak's triangular base, draft a triangle with throe equal sides. (b) Using the
same measurement, draft a square for the peak. (c) Patterns with seam
allowances, and circles ( ) to mark the corners.
For a square b:~sc p:ntern, the

peak pattern is a [>Cnt:lgon.
Each side of the pen lagon
equals the measurement of one
side of the square (fig. 11-63) .
Add seam allowan~ and

sewing notations to each base
and peak pattcm. Cut out the
patterns.
3. From lining fabtic, cut a base for
each peak in the d esign. From top
fabric, cut a peak for each base.
On the right side or each base and
peak. lightly mark the points
~-
(a)
Fig. 11-63. (a) Draft a square base for a peak. (b) Using a protractor, draft a
pentagcn for the peak with sides that match tho sides of the square.
(c) Pallems with seam allowances, and circles ( J to mark the comers.
where the seams tum comers.

Sew each peak, right stde up, to
its base, stitching inside the scam
allowance. Matching comer
points and edges, sew from corncr point to con1cr point around
all sides of the base. t\l c:~ch corncr, pivot with the needle down.
adjust the n ext side or the peak
10 match the ne<t side of the
base, and ~w to the ne.'(t com~r
point. At rhe final comer, the
extra side of rhc peak will form
a loose fold ( Fig. l I -64).
262
Th e Art o f M~nlpul atlng Fabric
(c)
Rg. 11-64. (a) Sow one side of the peak to one side of the base. (b) Match and
sew the next side, and (c) the next, leaving tho extra side of the peak as an
open fold at the corner.
PEAKS AND VALLEYS
5. Assemble the peaks as preplanned, and stuff (refer to

"Stuffing" on page 229) :
Whh right sides lacing, ..-w
the peaks together in rows
with all loose folds located on
the outside ((a) in Figs. 11-65
ond 11-66).
'
...I . ............... -..... .. . ..............--- !
~
(a)
(b)
Fig. 11-66. (a) Peaks sewn together with open folds on the outside. (b) Folds
topslltched to the sides of rhe peaks alter stulfing.
An altcrnote method schedules

Fig. 11-65. Sew two peaks together
with a seam Just to the left of the first
seam.
Push stuffing through the

openings in the folds to smff
the peal-s. After srufllng, pull
down and match the edges of
et~ch fold to the outside edge
of its peak and t.opstitcb the
foltls down with a zipper foot
((b) in Fig. 11-66). With right
sides together, baste and sew
more unstuffcd rows of peaks
to the stuffed row of peaks,
locating all loose folds on the
outside. Stuff and continue
odding rows.
stuffing after all the peaks arc

nssemblcd. When preparing
the peaks, continue SC\\;ng to
secure the fold of the peak to
the bose (Fig. 11-67). Sew the
peaks together into the preplanned ammgemenL Sntff
each peak through a slit cut
into 1he base. After sruffing,
haml sew the opening closed.
Fig. 1167. Unstuffed peak with told

stitched down.
6. Line the liSsembly of peaks and

valleys to cover the exposed
scam allowances in back. Tack
the lining to the s tuffed top ai
the c1oss sc-ams.
NOTES
&
VARIATIONS
Sewing rows of unstuffcd peaks

rows of stuffed peaks becomes
cumbersome as the assemblr
increases 111 size. Divide large construe Lions lmo manageable sections,
lr<wi11g unstuffed rows with folds
s ti tched down where the sections
will he joined. After sewing the sections together, st-uff the peaks on
dthcr side of the scam through slits
em into bases.
Stuff 1he comers at the base of
each peak as well as the rip of rhe
p)'l':lmld. After s tuffing, point each
peak by mO\'utg adjacent stuffing
up mto the tip on the end of a srurdy needle Inserted into rhe srufllng.
A square peak will stuff higher at
the tip than~ rriangular peak \\ith
the same side mcasuremem. The
larger the peak, the higher its elevatO
tion.
When assembling peaks and v<~l

leys, regulate 1he dirccr ion the folds
face when s titched down. The folds
arc part of the overall design.
Chapter I I
STU FF ING
263
PEAKS
AND
VALLEYS
XI-]/
Meda...an of
cnangular and sqlKlre

peaks and val+'eys tho~
shC/11! 2" (Scm) SJ<!es.
X~Jl-&7Uer
OIOf ~~ \\lth the

wi'~ txlended 10
f1or '"""":"" between
rite
264
The Art ol M an ipu l ati ng Fbric
n~n~
peoo<S.
Structured
Surfaces
arts sculpt the fabric's sur-
face into highs and lows. A
shortened fold of fabric seamed to

a point or between two points, a
dart causes the level of the fabric
to raise or drop in direct ratio to
the amount of fabric it removes.
On the fabric's surface, darts
appear as seams or as folds.
Allhough the doubled layers of
fabric that darts produce brace
the structure they shape somewhat, darted forms are hollow,
as if inflated, and collapsibleunless supported by other means.
RT
12 Using Darts
DART BASICS .......................... 267
Securing Dan Scams .............. 267
SINGLE-POINTED DART ........ 268
Procedures .............................. 268
l'otcs & Variations ................ 271
Dans conven ed to seams .... 272
Surface dans ....................... . 272
Relc;~scd darts ............. ...... ...272
DOUBLE-PO INTED DART ........275
Procedures .............................. 275
Notes & Variat iOlb ................ 275
Dart pattcrn.s ........................ 276
Dart i mj>rm~sations ....... ..... 276
D ART B ASICS
the procedure: Stan a t 0 and
mcrease rapidly to regular
5ECUR1NG D ART S EAMS

ecause dart scnms end and,
with double-pointed da n s,
begin within the fabric, the
cut thread where the seams stop
must be secured or the stitching
ma}' unravel. Where its appropriate:
I. Tie me n eedle lO the bobbin

thread with a square !.:not:
After stitching a dart ou the
wnmg side o f t he fabric, tie the
threads where the seam nms
off the fabric.
After stitching a dan on the
right side of the fabric. rum to
the back. Snag both thrcnds
from the fi nal stitch with a
needle and pull the m through
to the back fo r tying.
After s titc hi ng a clan on the
right side or the f.tbric, tic the
thmlds together in fronL
lnsen both thre:>d> into a needle, insert the n eedle into 1he
final m"chinc-ncedlc hole,
-push it th rough 10 the back,
aml pop tltc kno t through the
fabric.
Trim tied thrc:ods at least ~"
(l.3cm} from the knor.
2. Reduce stitch length ;

Whcu sewing
t1
dan on the
wnmg side o r I he fa hric, start

Note: This chapttr begins wit!>
BASICS. indkated by a gray band
located undemeath the relevant
columns.
a double-poin1ed d:m. reverse
reducing the stitch length

before reJdting the end of the
seam. arri\'ing at 0 a~ the
seamline tapers out. Take 1hree
o r four stitch.,; a1 0 before
clipping tlte thre;~ds. To bcgiJl
stitch length.
WOcn seaming dml fJalle-rns on

rltt wttmg sicft o f 1he fa bric.
sew all dan scams wi1h unusu
allrsmall , tight stitch es.
Clip the t brcnds 0." ( 1.3cm)
from the stitchmg.
3. Sew with a single thread when
stitching a single-pointed dart.
( 1) Tie dte e nd o f 1he bobbin
thread to th e end of the ncccUe
thread with a very tight, square
knot. (2} Pulling on th e needle
thread. tug the knot through the
needle. Rewind the needle thread
o nto the spool. mo\1ng the knot
nnd the bobbin thread up through
t he th reading gttide$ and tension
u ntil the k not reaches the spool.
(3} Beg in stitching with the dan
fold placed up against the needle,
which should be do" n. At the
first stitch, the thread \\111 wrap
around the fold, k:Mng n o ends
ro Lie or t.ritn.
To s titch dan pancrns efficie ntly,
fo ld a nd p in a row of darts and
Stitch without StOpping tO CUI the
threads between dans. After finishing one dan. puU oul scvcrnl in<:hes
of thread before stantng the next
dan . Afte_r seaming nn entire rov.. em
the Lhreads bcLwccn 1hc clans.
For a dan panem or dart impro..

visaLion seamed into the rlglll side of
the fa bric, und lpped threads deliberate!)' left to dangle o r feather out
from the ends of sc-.tnlS add their
own kind o f texture over the top of
the d imensionalized ~t nJctu re.
DART BASICS
267
S I NGLE- POINTED
D ART
- V-marked segment of fabric folded in half and stitched from the
mouth of the V. which is always at
the fabric's edge, to the vanishing
point of the V, where the fab ric elevates or dips.
(b)
PROCEDURES
L
Using~ patttt11 of the fiat shape

tO be dimensionalized, draft a
pattern that will model the nat
shape into a thrcc-dimcnsiom~l
forn1 ";th one or more singiepomted darts. The ,.;dth at the
mouth of the dan and the shaping the dan seam-straight.
cuncd mward. cuned outWJrd-affi!Ct the contour of the
StrUClllred fo rm ( f'ig. l2- l).
1\dapt o ne of the foUowing
methods:
Fig. 12-2. Guess-andtrim dart pattem tor a

square: (a) Cutting the
dart. (b) Dart sides
taped toget11er with the
darted edge restored to
straightness. (c) The
pattem.
or
(C)
Slash and spread:

Estimate an elevation (or depth)
Cor the darted pattern to achieve.
For cuch dart, mark a point on
Guess and trim:

fur each dan, fold the pall ern :u
the chosen dan position. Draw
on arbit rary dan stitching line
and cut on the line. Abut the
sides of t he cut and tape together. Tnm the darted edge to confonn to its pre-dan contour.
the 11m pattern where the elevation (or depth) will culminate at
the end. or apex, of the dan.
Connect the point to the edge of
the pattern with a line that indicues che location and length of
sropplng Yi" ( I.Smm) short

of the opposite edge. (3) Spread
rhc cm until the opening at
the edge equals the estimated
elewttlcmlderJt.h. Sc iclc a Strip
of paper behind the gap.
(4) Using a compass, draft a
dan as wide as the o pening at
the edge and as long as the
original dan line (fig. 12-3).
the dan.
a. For a s ingle dan: (1) Excend
Not<: After the darted edge is trim-
met/. I he. ower mrasull':me:nrs of

rhc darttd shape will no longer
nwtcl1 dre prr...dan measureme11ts
of lite origilllll pauem ( Fig. 12-2),
the dart line dra\vn on the

pattern straight across to
che opposile edge. ( 2) Cut
the. pattern o n the: lin e,
..
''
'
\.
''
\,
.\
268
..
.
Fig. 123. To draft a balanced dart,

sot a compass to match the length of
the dart. Place the point of the compass at A on one side of the mouth
of lha dart and draw an arc; repeat at
point 8. Connact C, whara the two
arcs lnters6Ct, to A and 8 with lines.
Th Art of Man ipu lating Fabric
l,
Fig. 12-1.
Single-pointed
diJrts.
SIN G LE-POINT ED DA RT
Fig. 124. Slashanci-spreaci pallern tor

a single dart: (e) Location anci length
of /he cisl1. (b) Pattern slasheci on the
ciart //no straight across to the opposite
Beige anci (c) spreaci to eqvat the
deSlr8d elevationlciepth. with the dart
dralteci on a paper patch. (d) Dart with
cvt sides taped together anci the edge
straightaneci on a paper patch.
(e) Corrected cial1 (the ciotleci line).
(a)
(b)
r----1
(5) Cut the dans open. Restore

the now >hghtlr enlarged dan
opcnmgs to correct "ldth
(Fig. 12-5). (6) To make chns
on the other two stdes, slash
from one edge through the
center extension to the opposue edge and repeat steps (1)
through (5) .
Note: After the flrw! corr~crions.
rhc cXh.'l iur Ult'<lsurrmt:n.ts of
iltc p1111ern willm11tcl1the e;ac
rior measurement.'\ of the origi-
(c)
twl, but itucrlor mea.~wt;ment

ncmss tl1c tapcd-cogether dan
or dat t$ will increase, and the
dw IS will IX' longer than origi
nally plar'"cd.
(a)
(e)
'
...
..:
.'::'
(b)
Cut out the dan. (5) Abut the

sides of the dan and rape
together. Sticking a strip of
paper b<:neath the darted
edge, re-draw it from comer
to corner to conform to the
pre-dan contour. (6) Cut the
dart open. Restore the extend
cd and slightly enlarged dart
opening LO au opening equal
to I he estimated elevation/
depth (Fig. I 2-4}.
b. For two opposite darts:

{l) Connccung the dan lines.
cut the pattern apart from one

edge tu the opposite edge.
( 2) Stick the pieces. separated
by a distance equal to one-half
the amouut of tl1e desired elevatlou/dr.pth, lOa Strip of paper.
(3) Draft the darts with a
com(>nss. making each dan as

wide til the base as the separation of the cut. Cut out the
dans. ( -1) Abut the sides of the
dans and tape together.
Sticking a strip of paper
b<:hind each daned edge.
r.store the edges to their pre
don contour.;,
Fig. 125. Slasfl-andspread pattern

for two opposite darts: (a) Pattern cvt
apart anci spread to equal one-half the
cieslreci elavetionlciepth, with the dans
cirafteci on s paper patch. (b) Pattern
wilh the contours of the darted eciges
anci dart wiciths correcteci.
Chapter 12
US IN G DART S
269
Orlgincll Silhouette
Enlargement
Fig. 126. Pattern with darts

that will convert a triangle (or
ot11er straight-sided shape)
Into a boxy form. with side
depth set by choice.
Enlarge and equalize:
Choose a desirable elcvauon/

depth for the pauem to reach "
the ends of the dans:
u. To lift/lower a panem with
stmight sides on dans at the
corners: ( l ) Trace the silhou
cn c oft he panem on paper.
(2) Enlarge the si lhoucuc all
~.round by tltc cunowu of tltc
desiml rle\'arion!depth.
(3) At each com er point. con
ncct the paLtcrns s ilhouene
to the enlargement with lines
at 90-degree angles to both,
thcrebr equalizing the lengths
of the silhoueue and enlargement between the comer
lines. (4) Cut on the lines,
which become the seamlines
of the dans (f ig. 12-6). These
corner darts change the origi
nnl straight-sided paltc1'11 imo
a bo.<-likc form. Tf the corner
darL"i proceed w a vanishing
point in>ide the sil houetLe,
the corners and sides will no
longer be squared, bm will
slant inward.
270
b. To de,clop a rounded form

from a circular pattern using
spaced dans: (l) Trace the silhouwc of the pattern on
paper. On tht tmced silhouette, outline a central area
where the three-dimensional
rorm wHl reach maximum
roundness. (2) Enlarge 1he silhouene all around by one-lwlf

tire 11motmt of tltc desired dcYa
lion/tlcpth for the rounded
fonn. (3) Divide tl1c silhoueue
ond enlargement into segments
with straight lines that radiate
out from a centml point, noting that each segment "ill contoin a dan. (4) Measure the
length of the pattern's silhouette bctw<cn two adjacent scg
ment lines (usc a measuring
1npe or strip of paper set on
edge) . (5) Compare 1hc silhouene measurement with the
enlargetncnt measurement
between 1he same two segmem
lines: The enlargement "ill be
longer. The dtJJcrcntc sets the
\\'ldth or the dan where it
begin> on the enlargement line.
(6) For eacb segment, draft a
dan ''"th side scamlines ihat
curve. inward to a vanishing
point at the previous!)' outlined
central area. Inward-curving
darts produce outward-curving
rcsu1ts that case. out aL the vani,hing poims (Fig. 12-7).
SING LE-POI NTED DART
Fig. 12-7. Dart with seamlines drafted to curve inwerd or outward relative to straight guidelines (also refer
to Fig. 123).
Otnward-cuni ng dans produce inward-curving results

that come to an abrupt stop ao
the \'3nishing points, and
Strni&lll-o.tdt-d darts, which also
stop abrupt!): make a fonn
\\1th stmtght Stdes. 1[ each dan
ended at the silboueue rather
ohan Inside the silhouette, and
wa. draf1ed with straight sides,
the result would be a round
box ral her than a cur\~ng
dome or bowl (f ig. 12-8).
N01e: Parrr.rns de,,cloped wirh 11tc
cutm-gc-and~cq uali.ze met/rod
willtJroducc fonus with txlcr'i
or mrn<wtmcms rltm mmch rhr
original sltapc. and intcl'ior
mcru:uumcnts t11at maid1 Ll1e
original sltapc plus the amount
added Jot clcwuionldcpth.
2. Trnce the darted pauem, including the dan seamlines, onro the
wrong side of the fabric. Tf the
dMtS are to be visible on the outside ol the form. tmtc the scam
lines on the righ1 side of the fabric with chnlk, disappearing pen,
or fai111 lines. Folding wilh seamlines mnochcd, stitch each dan
from the edge to the vanis hing
point (refer to securing Dart
Seams" on page 267). For darts
on the wrong side of the fabric,
trim CXCCSSl\C fabnc OUI of wide
darts, and clip darts "ith seams
that curve inw.ud ;,o tllill thcr
turn right side out smoothlr
For refmed fonus ..:ulptcd with

multiple dans, enlarge and equalize
produces the mo>t precise and rcll:tble resuhs. Sla>h and spread lies
Ori ginal
somewhere in belwec:n che guess-
Silhouette
and-trim and enlarge-at1d-equalize

methods. Its neither as unpredictable as the fonner, nor as pre
cisc as the latter. It IS tltc only
method that adds around the dans
:L' it reduces inside the dans, which
causes an expansio tt in the m iddle
the darted form-an effect that
cnn be advantageo<Jj when pproprimdy applied.
Enlargement
or
Fig. 128. Pattern with darts that equalize the circumference of the enlarged cir
cle with the circumference of the sllhouette circle, segment by segment (A to 8
equals C to D; D to becomes the base of the dart). In comb/Mtlon. the numbel, length , and cuNatu/8 of the darts shapes the nat pattern into a dome or
bowl.
3. Press the dans, opening the
scam nllownnces of trimmed

dans. ! lent rrc.ss ou a padded
board; usc a ham , a poim press
er. or any other pressing devcc
that will >Jd he shaping or the
fabnc form Finger press dam
too small or abrupt for the iron.
4. To finish the edge of a darted

fom1 , hind or face the edge. li ne
wit h a d uplicate of tb c darted
fabic. sew the edge to extensions. o r hem before stitchmg
the daru.. To <~nbilize the outer
shape of" darted fonn. sew the
edges to a base cut from the
original pattern.
NOTES & VARIATIONS

Use the g uess-nnd-ll'im method
for adventurous fun with dans.
W ith o ne guiding principle in
mind-elcvauo nldepth increases
with the amount remo,ed by the
dans-practice with paper and
gummed tape. Try working spo nta
neously with the fnb tic 10 create
experimental fo rms d imensi.onalized "~th straight and curving
darts. Forego trimming and allow
the edges 10 be une,enly contoured
by the dans. Exploit the unpredictability of the method: exl'lore
what would haprcn i[ ..
\'\'hen control is nn issue., use the

slash-and-spread o r enlargc-audequalize methods to develop pat
ems for three-dtmensional forms.
When drafting dans by slashing

and spreading, the wtdth of the
desired cle' "tio n may be divided
hc1ween two or more dnns sharing
the same edge. When plnnnlng 1l1e
dans fo r a circular s hape. to be
enlarged and equalized. more darts
produce a more perfect!) rounded
fonn than less darts. and a silhouette \\ith deep cuT\'CS requir<-s more
d>m to modtl in to a smoothly
rounded fo m1 1han a slightlycurv
lng silhoueu e. Fo cxnmple. o val
c;h:lpc.s require mor~ dllrlS at the
s teeply curving ends than at the
~hallow curYes on the side-s.
To understand the enlarge-andequalize method beuer, visualize t11e
original pattern shape as Ihe silhouette or shadow of a tlm:e<limen<ion
nl form. lmagine the darts elevating
or lowering the area of the pancrn
shape while kecpmg the outer size
and shape, the sUboucuefshado'v.
the same. For that re.<ult, a combination of th~ec basic principles apptics
to da11 for ma tio n; ( I ) Enlargeme111
equals half the desired elevation/
depth. (2) The amount of fabric
removed by a dart at iLS widest poim
regulates the elevatio n/depth produced by the dan at 1ts vanishing
poinL ( 3) After dntftlng the dans,
1hc enlarged contour hecween any
two points nwstmntch the size anrl
reflect the shape nf 1he original pat
tem betwe-en those same two points.
Chapter 12
USIN G C ART S
271
1\eitltcr tlte slash-andSI>rcad nor

enlarge-and-equalize methods guarantee that the eiC\'lllionldepth speci
ned before d rafting the dans will
stitch om exacd)' as anticipated. A
single dan (slash and spr~ad) and
dans that stop at the silhouette
(enlarge and eq ualize) are the most
(tCctrratdy prcditlllblc. Do n\ assume
that a rounded fom1 will be perfect
ly arched after the first pattern:
Expect to test and readjust the cur
ature or length of the dans at least
once. Uule: alterations make a cru
cilll difference. After each test.
record adj usnnems on the paper
pattern. Seam allowances, Ig no red
when dmfting the darts , :U'c lidded
to final ]>ancrns or included whcr1
cutting rl>e fabric.
If the vamshing points of two
on opposite o r adjacent edges
arc conncct~-d. the d.~rts can be
chJngcd to a seam. For dan that
require gradual, curved t>pering.
which becomes <Ufficult to sustain
when dan width wpcrs clown to
d.~ns
Lhreads of the weave, dmu COtt\'CI'L

ell to seams solve::; a slitching prob
lem. Tesr and evnluatc the >CUttlli.nes
crossing ilie structured surface for
their dt.-coralivc dfcct , and tmprove
1dth slighr alterations (Fig. 12-9).
(a)
Surfa ce tlaru. which appear as

tapered folds o n the outside of the
dimensio nalized fabric. decorate as
well as mndcl the fo rm. The dans
1nay be turncciLo Lhc sillt\ or ccn
lercd and llnttcncd. 1\t the base,
side-felled duns slant upward, unci .
if wide, m.1 y continue beyond ilie
seam allowance unless ilie seam
allowance inside the dart is
increased on ilie pattern, an adjustment recommended for inside as
well as ou L~Ide darts ( Fig. 12- 10) .
Fig. 129.
(a) Pattern vtth
comer darts
connected wirh
seamlines.
{b) Three-piece
pattern with
conrours adjust
ed to match
when sewing.
After testing, add
seam allowances
to the pstrerns.
( b)
Projecting darts. pres.-;cd or

unpressed, arc not sri rched dmm at
the base and ex<end o ut from the
s urfucc (clip and turn the scam
allowance 'II the base. to the i nsldc
of the da n). Unsuitable for s ul'l'acc
darts: Curved-st.-am darts that
require d ipping to accommodate
tl1c roundness of the fonn
Tite seams for released dar IS
stop b<fore reaching the pcx of the
darts. rclc-J;ing folds that compli
c:ttc the configuratio n of the fllbric.
I
--""""'-(a)
(c)
(d )
Fig. 1210. Surface darts: (a) Felled to one side. (b) Adjusted on the pattern for
matchmg edges at the base. (c) Cenrered over the dart sr;1am. (d) Conosllapod
pro,ectlng dart hemmed at the base.
272
T he An o f Man ipu lating Fa bric
SI NG LE-POI NTED DART
SINGLE-POINTED DART
XII-1- Squores of
SIJ(fet>e<i muslin
ele.ore<! by darts
1.1" (2r:m) - 0( die ed;le. Four
darts (upper le[l)
e/Nne to f'q.
(4cm): -.!h ~
darts (upper
"8"1). one} "
Ch
r..o opfl051<e delftS

(lawet /eli). die
center elevation
reaches fl;,
(Jcm): one dart

(lower nghl) clcw:ncs to 3/....
(2cm) at rhe tip.
XU-J-Two pallilms d10r dMdc rhc csomatcd cl"""uon borweM

two onglod dartS (pmmm A). and f'IC darts on ono Side nnd (our
dons en rile oppome stde (pattern B). !he sr/ffMod mu<lrn forrn
elu.'3te to :V< (2cm) (Or pottem A and 2" (Scm) (or p!llrem 8
XJI.,I SI'I/1Ctl<d
""""" /OI'nS
~1010Ut>-
OOCM1S (the
ongrnal rxnrem
snafl6) thor
XJ~1-I'curerns dmJred around srllloueaet ]I, l' (9cm)
COIIltOl r/'ltJt
square: Parrem A (slash and'~! ""th da<ts ~'<

(Zcm) wrde Cfl'<l!~S "forrtr I Yr (4cm) hrglr, For Pal
rems 8 0!1d (, srlhotreues Ml<lrJil l, (Zcm) a,.
e<iua/17e<! with comer daru thor erd rnS>!Ifo rhe srlhoueue
(B) <rncl nr lite silhouette (C). Partem 8 crwres " slant
srde<l form rhor ele>()rcs ro I r;, (4cm). P<mern C
mol<es a strnight-sided tarm rorscd ro Y< (2cm).
contouts ot liW!
edges,
Chapter 12
USIN G DARTS
273
XIIS-P11:~d canstructloo of dartSWCWred

muslin (om>s For d1C Jar~e l>gh..<Jomed ,,
(I Ocm) :iC}ur~re. comer dans !NE!r.e convertOO ro
scoms. Thr~e o;maHer squaros wtlb :~.teased

dnrrs \~rC' sMc.hM (rom unrojfe.1cd musfin
X/~6-{le[!) M<JSiin 'Y''"*' WJ!h jllo;o<rng datu. rr<Jde fiom a

DOttem w1rh a cowJor s1!houene 3 .. (7.Scm) 111 d.ocmeter: enforge-1
17;4" (lOan), and equol,7ed w.rl> r 2 dans endng ot 11-.e s<nooer.e
ourJ<>e. (ngh!) l.or!;1 musf<> Jtnp modCIIfd wth ~6 do:ts along
.... edge """ 0 rouod. bo.y ~
SINGLE-POINTED DART
o
+
XJ/1 Fr<lf.'IC mvshn bCYol 6 (!Scm) m aiamEwr 4 (/Clem)
*P. '"'h I olnwor<l rumng dartS /klttened by ZJR'"8 tops~:/1/ng

274
Th e A rt of Monipulating Fabric
XJ~8 A=mblt o( I bo.y cells. Each ctlf s 2 (Scm) squa'<

surnJur.ded by Sides
(2cm) hgh.A~er '"''"g 1M cor~r ckms,
rhe edges of a~oimng "boxe-s .. 'vcre hotlcf..strtched togerher, and
eoch box \'105 pushed dtM!n (O <ttO!e 0 CeJI. The aps o( COtlver_glng
darts .vere ocd roge1her m back.
D OUBLE-POINTED
D ART
-a diamond-shaped segment of fabric folded in half lengthwise and
sewn from tip to tip. Double-pointed
darts structure internillly, raising or
lowering the fabric at both ends of

the dart seam.
P ROCEDURES
Re,;ew "Single-pointed Dan on
page 268, particularlr the slashand-spread procedures.
NOTES
& VARIATIONS
T he principle thnt rchllc> the

width of n dan at hs widc~l crossscclion 10 Lhe amount of cltV3ciOn
or depth achieved at the end of the

dart applies-in duplicate-to double-pointed dans ( Fig. 12-11 ).
When the fold of a double-point
cd dart remains undcrnctuh . the

dan will pull the fabric down :u
each end unless the darl scam
allowance is clipped . releasmg the
dart to o pen and move u pwnrd
toward the tips. Because dipping to
the stitching wc-J.kens the seam.
reinforce [be stitching to pre,em
breaks, particularly when usage
imolves s train. Double-pointed
dans on the surface of a conMrucrion form a bridge between eleva
lions al the ends.
Measuring from edge 10 edge

across the seam, 3 douhle-poimed
dan reduces fabric measurement
beside it.s seam, and releases the full
measurement of I he fahric 31 each
end o[ the dart and o ul 10 an edge
that Ooats in wnvcs. A row of double-pointed dnns in soft fllbric gradually rcle.1scs fullness in a manner
similar to gathering, but "~th
reductton by fold>. If the fabric is
stiff, the waves at the edge will be
sculptuml- regulllr and as deep as
the width of the dans. Double-point
ed dans shape a cylinder of fabric
like an hourgloss. For the occasional
application, w here it$ necessary 10
e."< tend the s ides 10 compensate fo r
wbat the dart removes, add hall
the width of the dart to the edges
that parallel the dart scam ((a) in
Fig. 12-12).
For sculptuml purposes, doublepoimed dar~ ~hape the mterior of
the fabric, and singlc-poimed dans
deal with the fullness of the fabric at
the ed ge. 1\vo sinl\le-pointcd darts as
wide as the dnuhlcpointed dar1 in
the center reduce the measuremenLS
at opposite edges to the measurement across the center of the dou
ble-pointed dart. To gauge coofomtity ea<il)'. dmh a double-pointed dan
in the slashed spread between the
\1'nishing points of single-pointed
dans ((b) in Fig. 12-12).
''
''
,/"
'
I'
'
'
''
'
!
'
'
'
'
Fig. 1211. Doublepointed darts with

seams contoured to
ollect the modelling of
the Iabrie form.
(b)
Fig. 1212. (a) Ooubtepoint8d dsrtln

a rectangle with sides entargad to
compensate for Iabrie removed by
the dart. (b) Curving doublepoln/Bd
dart drafted between two slashedand-spread single-pointed darts.
U><:d together. single- and dou

ble-potnted dans create involved
thrr:tdimensional configurauons.
When 1he darts are varied with
!ncurvrd and outcurvcd scams
(Fig. 12-11), comouring posslbili
Lies Increase. Adding to the SJruc
lural poss ibiliLics, one double
pointed dart can be seamed across
the center of another, shaping four
pe.1ksldips around a low/high in the
middle. Also, a doublc.-pointed dan
can cross the tip of another dart
like o T, spreading out the Oare at
tl1e end of !he dar1.
''
',
'
'
I'
''
''
''
'''
(0)
',
..
Chapter 12
USING DARTS
275
Dart pattenrs structure- fahtic
into allover, three-dimensional

de-<igns. The wider the clans, tl>c
greater the dim ensionality of d1e
fabric co11Struclion. To create-. a dart

paucm. use griddcd paper 10 devise
a repeating tll'J'angcmcnt
or hmall,
douhle-pointed darts, cqmbined

with single-pointed darts at the fabric's edge. Cut out each dart on its
scam li ne, conven ing the pattern
into a stenciJ to use when tracing
the. design on the right or wrong
side of the fabric (fig. 12- 13).
Because d ipping the darts ill a dan

paucrn weakens the strength of the
dartctl framework, darts stitched on
the wrong side of the fabric pull Lhc
fabric down at the ends. When
stitched on the right side, the visible
folds support height at each end.
(Refer to "Securing Dan Seams on
page 267). To evaluate a darr pattern. itS e:sscntial Lo tes1wilh a
square of fabric. Look at both s ides
of the stitched sample; they will be
quite different. Measure the fabric
before and ~fter stitching the darts.
The before-dart mcasuretnc.nt and

the after-dan measurement yield a
fraction to use when estimating the
fabric required for dart patterning to

a targe1 measuremem. After stitching
a dan pattern. set wirh steam. Pin
the low poiJUS of the relief to~

padded surface and steam with an
iron held just above the fabric.
Allow to cool and dry before moving. To stabilize immovably, tack
the low points of tltc. relief to a stay.
Unusua l formati ons resu lt
w he n s1ender darts are s titc hed
i nto the fabric at ra ndom. Dart
i mprovisatiOliS arc spontaneous I)'
sculp ted. The length, width, and

di rection of the da rts, the separation berwec.n the da rts, and
alternati11g between right-side
(a)
a,ncl wrong;.side stitching, combine to control and diversify the

relief that develo ps as the dans
{b)
(c)
Fig. 12- 13 . Four stencils used to
(d)
276
trace dart patterns on fa/:lrlc.
The Art o f Manipulacing Fabric
DOUBLE.-POINTED DART
accu rnulare.
With dan pa11crns and iJ.nprovisations, folds on the surface become
figurative design clements more
conspicuous, sometimes, than the
sculpted fabric that ttnderlies the
folds. Thread ends left to dangle
after knoHing add a feather)' flourish over the top.
XII-I 0-{ie(l) Musl:n srnp worh o ro.v o( ldenl!<ol dans As rhe clopped
dor.s roper our. rhe ever~.,denmg {obnc {oils '"'" so~ folds lk a
doubl~ged :vflle. (rrflht) Double-pomred dalu Or> rhe surfat Mod

by o cenrered seam, and singie-pomted dons <it rhe edge COtrte rhe
fobnc be~Wee~> rhe rows co puff and peak onto swrlon~ ndRs
XJ~9-(rop) Mustm elei'()IOO
I 1/;" (4cm) or Mel! encl of a
d<luble.pomred dott Yr (I.Jcm) wid~ Ill dle center, wrrh seam

onOW!Jnce dIJI>ecf. (bouom) The same darr com/)ned wlrh sin
gte-poonred clorts or lhe edges sculpts !lle muston omo o poor of
pyrorflJdlrl<e shapes. Each s~((enec/ mustrn samptc rs s~tched ro
DOUBLE-POINTED DART
oswy.
XII I I-Cylinders ofmllslrn wffencd wrrh "'"' 011 llllerfoconR. shaped
WJ(h doub!e-pofnled dartS 1ntemally. and SJng!epolnted daru lllol
rerfflce the drameters of the openmgs on two of tho (orms.
Chapter I 2
USING DARTS
277
+
DOUBLE-POINTED
DART
Xlf-12-(top) Darts rhat cross .each adler and (bottom) cross d1e li/>S o( othm do11s
change the con{oJ1Urotion o(fi>rms groanded or d1e edges wrth Single poontccl duou. Bodo
eamples arc seamed ro sroys.
Xli-13-Mus!on potteme<l Wl!h o domensoonolozed <ie"Rn

(sec (a) '" Fi~. 12; I3 {or the pwem).
Xlf-1 4-Reve~ <ode of photo XII t 3.
278
T he Art o f Mnipulotlna Fabri c
+-+
~~
+ t.
XII-IS Musi.n SlflKtured !0 loOk 1/<e marshmallows In 0 box
In F;g 12 13 (or the pclltem).
(see (b)
XII-I <r Re~rse side o( ~horo XI~ I 5 w,rh poaks ""'"ad of hollows
bfw,teen the ups o( rhe darts.
DOUBLE-POINTED DART
XII 17-Mv<lm conf~urtd "'"' o 11t.lco,110n mt1t1~men1 of <forts

(see (c) ,n Ftg. 12-13 for the pattcm).
law Ootnrs o{dte <elief
were xked to o s~ffnll<l (oundo~on.
n.,
XII-18-Muslm su:hed imo o rel.e( (.rooter! Wi!h Clt>Ssed douale

poimed <lati.S (sf<! (d) in F1g. 12 I 3 (()( th pattcm).
Chapter 12
USING DARTS
279
'
X8 I 9 Musbn recons.tll.K!c-d amo a comp'ex ~[
...-.n an llllpro\ ,,oo romp<,.'llO!'I of ""l'oce da!u
DOUBLE-POINTED DART
280
T h e Ar< of M>n lp ul oting Fabric
Mixed
Manipulations
here arc two kinds of

combinCitions, combinations
of technique!> that synthesize

into singular technique variations,
and creative combinations that
link two or more techniques into
constructions that serve a functional, decorative, and artistic
purpose. The first is a more
limited group than the second,
which is limited only by the
desire
to
invent.
13 Combinations
TECHNIQUE
V ARIATIONS
XI!.- I 5.'.10CKD l1JCKS

ilo<ld IUC4 >mOC.'<ed ...til
honcycoml> s"1ch:ng 11110
cellular {atmu~O<i$ over
brood. ffot charnels. Tho
sample IS stob'c. a1'most fllrf,<l.
Xlll-2 SHIRRED TUCKSuld<s 1'41h goU!<rcd

""""" be$'de
o certc.'l?d
band of ploon ~
Chapter 13
CO MBINAT IONS
283
XI/I 3 SHIRRED SURFACE CO.~DING (CORDED SHIRRED TUO:S)--COt<ls mserred and Sblc/led m
one opcrooon, and bobb1n-ihroad garhered as thr! cosmg fabnc wos garhetcd CNCt lhc cord.
,b_
.I.l'"'
t!:'l.
~
\trnb.
.,.
~
SHEllS -(left) Gtad""1ed oval (l<ITU>ms. (r~hr) Foi<IO<Itn hal{'""'
ga-thered unoJ suatght. gtod~a!Cd shet:s ate lll:)em;d n .!>t"(1m~. Cftftlt1~cJ mlo
a large ffCN.ter-15: dn:Je. and toUcd lii'I!O tftte.e bud like shrJJ)t-~ S~lt!f') bort~r
(]11 oppltqued band and sruffOO s'lcl.~ border lh<> sample
XJI~5
Xlll-1 GAFHRD CORDED TUBING Trgnt- and loose{llvng COS!Mg.S BOthered OVCr C:Ofd) wh,1Te IIJtfllfl_g fight $1de OtiC.
For (amrost a srulfed ball ends " lengtll of smooth. corded
wbmg
284
T ho An o r Mnn lpu l~tlng Fab l'i c
TEC HNIQU E VARIATIONS
Xil/6 DeTACHED BAlli -(coun<e~e from upp., ng/lt)

FoUt' bcl!s (puffS w.ll> sruffing); three r.eS!ed bells (ruffled pu/fl.
nuffod. w1rh igcs gatheJed and rad<ed <mdeme<llh}; (our rufllod
balls (rufllcd puffS. swffO<!); four ruffled balls on !mes (ruffled
puffs, swf(ed. 011 a base). and bol/.cenrered, puffed cm:ulor
sh.mng.
XW 7 BALL GATHERING-(top) Two "'"'"pies o{ spaced be# gathcnng (pll(f garhenng stuffed) mclude (olds tn :he o"'ro/1 design
(botwm) 1i"1> examples of massed ba~ gothenoli wid> very dosoly
spaced bells Qlr\ing one oi the scmples
XJ/1-8 BALL GATHeRING-
Heao.ng of stpamted ball>,

hand cpp/iqti"-<J 10 n txncl.
ga!hers o lc.'l!llh o( ftb"c
Chapter I 3
CO MB INATIONS
285
Xl/l-9 GATHERED DART PAT

TERNS R~..s o( <looble pointed
clarrs. gotJ>e"'d on f!a,1d sr.rching, con('llure ll>e robnc W>tll Irregular (okls
beh~el:;'n CfeSCtlll~ pfqi.lor'IS
XIIT- 10 GATHERED DART PATTERNS

(wp) Sepott:ted clusters o( (our
gotheJe<J <kitts "' o squared ouun~.
mem w'fth powlted C"nds t.ouc.fwtR
(boacm)
samples sta)i v.>lh
lnrlgs. ready {ct nsettoon
r...,
286
The Art of Man ipulating Fabric
TECHNIQUE VARIATIONS
XIII-II DARr GATHERINC- Row

o; gcrhe,e<l r/ooblc-pointed clan<
creates (u~n6S '" rhe re1~ose<t (l>bnx:
cmd 1'iMI-es ~ edge "'Ill SC411op~
XNI-12 GATHERED SWC!.E-POINT"cD DARTS

(le(r) The pcl!Hn (ngll!) AI"'-'" lest " th - leg Of
(wO oO]OCent dmt< go-J1C1od be(011! S~!c/wlg che dort
Chapter 13
COMBINAT IONS
287
CREATIVE COMBINATIONS
XIII I 3 E/e-.ea form Cll!ISUIJCifd jrom a Clfdc o( moJ1hn tNe<
bot~ podded ~ shaped ,~Iii '"' ~ pootred d<wrs suf(n
'"""""" "'lh ~ a"d rnodrU!e <!'""""'& alld (in.sJ>od ""rh
g<J:hercd popong and o ruffled bale
X/11-14 Ei"""ted fom> creored from n mus .n m:le moci>nf ~uo>rfd

co a batting-padded lll'llfl! With t11fle. Pto.MJ. StrJi'e-(:lonl.ed dartS;
wirh an """eJope-sry1
* (.nosh nne! a ball on rap.
XIR- 16 Olg<moc-Jool<ing {omu /ormed lh ~~ed den; con>e:ted""" sean<. SlUffed and ped W'fO 0 h i/l.,....i C<JMn.COO(l.
XIII I 5 l'l!.ck. hecvy.l!rgl>re<e{ meOOfloo Nilll 11 sruf(ed ~

(g.JSW <>'<Mre<J {crms) lhcl Sl<lft Ja.., on tile ltiSide and (inosh
o< !IUl ~. ando <luffed no:;: balr on rhe cenlef (shaped wolh
smglpomrcd don.s >""erted mtc seams).
288
The Art or Manipulating Fabric
CREATIVE COMBINATIONS
XII~ I 7- Broomsuck pltoMg

rocUd (0 0 Sl<ly <Net stuffed {ctm$
of gothcr~ieolru!d oppi<JU"
Xlll-18-fabric: wop< meander-sf!Jrre<l
"'rh 0 gotherot>g (coL~ (0 0

toplbclrtingf'"""!' (oundo6on """ sotf'
stJtCh:ng, whtd1 a:so qwfts l.he raters
Chapter 13
COMBINATIONS
289
XIII 20 Tr.ree connected rolls w<h do<Jbleedged ruflles '"

belween. 1/Jpped ""'h em overlay o( mpt<Wsed pottem tucl<in~
XII/ I 9 Bonds o{d1ogonol lucks otlernaring wilh bonds of oppo~te

edR fllllhenng. separated 1>1 rows of in seam pfllrl~.
X/11.22 Keyhole lucks Wtlh balls at connca.ng potms rcvrol on

~r'lSeri of meander shlt"Mg; or ~ s.ides. k1N massed ruffles bctv.-cen
standing wO:s.
Xl/1.21 (irom me <op) Cabled tuck M!h ba''s """"'" mode opcnJ
(aids. sn 1>-!Mi<d ruff.e, band ofpleolS formed on 1he P,r(cct
Pte<~ret. and o battmg-pa<fded machi:ic-quJu:d cuff.
290
T he Art of Man ipulating Fabric
CREATIVE COMBINATI ONS
Xlll-23 Slumd bort.'r ~llhete</ on svrt<;e<ordod seams; ><Juore o( wafflo

<hrrmg "' 1/1~ corn~r; with a P:mly stuffed. clewchd roll ~"'~''"'l'he edRe.
--
--
rm
.....t
XJII2 I &<de<> Otr>elrwndacd w<h oo.-.-lrf<!rud<s Ofld ~ Ofld

t'1Stu/1'Y:d <C!)tc:ed Wd<s. rutaned " !h p.p.ng and mort WOO.
Xl/l-25 Bo!d<r o( pcok$ and voil~ys. wlh IIJ<:ked separoWlS.

edged wrlh vochc~ P'Png.
Chapter 13
COM BINATIONS
291
XIII 26 Coosvuction of I" (I Ocm) SQI)(lteS vcnovsty pouemed 1vo1/t pe.klloles. sw/fed
and h~i!d mompulat1ons, and o wcwlt.ring poeh of opposite-edge galhering.
X/11-27 Yo-yos opploed to a pleated (oundooon
Xrtl-28 R.,..,.,..,;e<J
292
T~e Art of Man ipulating Fabric
CREATIVE COMBINAT IONS
n:cks acceflled w11h puffs.
X/11-29 Loose appl.que leaves,

applfCIUI!d yo-yo Fowers. one
/klwet "''th o ruffled edge
sufl1llJOCing o (llnov.-ed
Cetl!ff. and 0 ~gtl!/y
swffed c:omo<nc<
o(tltldJia!.'>g
tuc.l:s.
X/1130 The
flower'S:. .SE)en
made (rom coiled
double~
""" 0
ruflle-s
rrM~ecJ.fmllo
ed~ (!()ISh. M> from
ba/! gc~ S!JI70UI)(Jcd
,._.w'tfO
W1lh
/W from
Jl"lheted dorls Loose ~
Jeoo.-.s, oxk-pou~
cone.,.,.,.
Xllr3, T/11T)e-
~~~~~;;;;;~;;~;;$-'
drne0<101 buflc
floral w1th
compoSirlon
o 'IOrety ofmofllpulorecl
rechfllqtJes: Dou~ec/
JU{fles. sngle edged ruffle. yo
yos, boll gcrhenng. (urrowillg. puffs.

bolls, loose opplque. ond ru<Jcr
Chapter 13
COMB INAT IONS
193
Xfii-JJ Five iiOpezoid-snape<l l,ule

ptrlows with ClJfWlg upper etiRi!S-
ottached co a pentcgon-snape<l hule

pif,'ow ,oJilh (i dfde topsuoched n the
center Inside. o,I(Jnous maf'l+pulouons
sewn co one Side of olt llle pr!'!ows.
Xlll 33 MfJfl;rpufaoons integrated mro absrroa conscruCOOns: oftflre(s and tactA~ texttJf.es. Elld1 sur(or.e WtJ~ brtit
ove,. a lO(>IbrJtllnglltnlng (OOndar(on. w1rh rhc StlrchifiR r.hor secures the mrJJll(lUfations incorporml!d rnto lhe qutiiJn~
294
T he An
o(
Man i pu lating F1brlc:
CREAT IVE CO MBI NATIONS
Appendix
HAND S'fiTCI-LES .................... 295
GLOSSARY ................................298
SELECTED BIB UOGRAP~lY .... 300
Books ..................................300
Article> ................. .................301
COSTU~I E EXHlBlTlOl\S ....... .303
E:--ID!~OTE ............. ................... 303
HAND STITCHES
~ \.!:
B ACKSTITCI-1
-Strong, versatile hand stitch used
where firm sewing is required for
structural seams, for mending breaks
in machine-stitched seams, and for
hand quilting. Bad<stitches are also
used to secure sewing thread at the
beginning. replacing a knot in the end
of the thread, and at the end of a
row of stitching, Work backstitching
from right to left (reverse all directions if left-handed). Bring a threaded
needle up to the surface: Insert the
needle back Into the fabric Vs"
(3mm) to the right of the emerging
thread. For an eve n backstitch,
make a stitch V.." (6mm) long underneath and bring the needle out Vi"
(3mm) in front of the emerging
thread. For all succeeding stitches.
insert the needle into the needle
hole ending the previous stitch and
bring it OUt \lo'' (Jmm) in fronL Even
backstitching looks like straight
machine stitching ((a) in Fig.A I ).The
half backstitch looks like running
stitches. Making a stitch Yi'' ( 1.3cm)
long undeneath, bring the needle
out V<'' (6mm) In fro nt of the emerg
ing thread. Insert the needle into the
fabric \11" (3mm) to the right of the
emerging thread and bring it out V.."
(6mm) in front ((b) in Fig.A-1). For
( a)
( b)
(c)
Fig. A t. (a) Even backstitch. (b) Half

backstitch. (c) Securing wfth back-
stitches.
BASTING
- Temporary hand stitching that
holds fabric layers together in the
desired alignment until permanent
stitching is In place. Baste from r ight
to left (reverse all directions if left
handed). Fo r even basting, make
securing backstitches, wm tO the

back behind the seam. Make two tiny
backstitches. one over the other.
looping the thread over the needle
figure-eight style o n the last stitch
((c) in Fig.AI).
Appendix
HAND ST IT CH ES
2~5
long running sticches the same

length in back as In front ((a) in
Fig.A-2). For uneven basting. take
small s<icches with the needle sepa
r.ued by longer lengths of thread
on the surface ((b) in Fig.A-2).
-l
(8)
,....;
~.!"
" )~
----1~
~/
~-
(b)
Fig. A2. (B) Even basting.

(b) Uneven basting.
B LINDSTTTCH
- Scrong. inconspicuous hand stitch
used to applique a folded edge co
the right side of another piece of
fabric. Blindsdtching is worked from
right to left (reverse all directions if
left-handed). Bring the needle up
underneath the folded edge of the
applique. through two or three
threads of the applique's fold. and
pull out the thread. Insert the needle
Into the foundatio n fabric directly In
front of the emerging thread at the
edge of the fold: bring it out under
the applique's fold V." (3mm) ahead.
catching two or three threads of the
fold In the stitCh After four or five
stitches. pull the thread taut ((a) in
Fig.ll-11 on page 237).
CATCHSTITCH
- Flexible hand stitch minimally visi
ble In front, used to fasten pinked or
taped single-fold hems, to secure the
edges of facings. and to hold seam
allowances Oat against linings. Work
fro1n left to right (reverse all directions If left-handed) on the wrong
side of the fabric. Bring the needle
up through the fabric layer on the
top. burying the knot between the
layers. Moving forward at an angle.
alternate between a backstitch in the
fabric underneath and a backstitch in
the edge of the fabric layer on wp.
Catch one or <Wo threads of the
fabric underlayer in each stitch; make
296
a larger backstitch in the fab ric on

top. Catchstltching looks like herringbone stitching (Fig.A-3).
Fig. A-3. Cetchstltch.
L ADDER STITOI
-Concealed hand stitch used to
dose stuffing openings left in seams,
and to attach the folded edges of
appliques to foundation fabric. Ladder
stitching is worked from right to left
(reverse all directions if left-handed).
To c:lose openings in seams. bring
the thread out through the fold on
one of the abutting edges. Crossing
directly over tO the opposite edge.
take a stitch V." (3mm) long inside
the fold. Moving straight across. take a
stitch V." (3mm) long inside the
opposite fold. After five or six stitches
in opposite folds, pull the thread taut
((a) in Flg.A-4).
(b)
Fig. A-4. Ladder stitch: (a) Closing

openings. (b) Applique.
To applique, bring the needle up

through the foundation just under
the folded edge of the applique. Take
a stitch V." (3mm) long inside the
appliqufs folded edge.Without
moving forward. insert the needle
into the roundation and bring it out
V." (3mm) ahead. keeping the

emerging thread just under the foi<J:
ed edge of the applique. After five
or six stitches. pull the thread taut
((b) in fig.A-'1). and refer tO ((b) in
Fig. I 1-1 I on page 237).
HAND STITC HES
O VERCAST STITCH
- Slanting hand stitch used to prevent cut edges from ravelling. to fell
seam allowances. and to se<ure

hems. When the stitches are pulled
tight. overcast stitching gathers and
rolls the edge tO the back as the
depth of the stitch collapses. Tiny
overcast stitching Is also used for
pattern tucking. Work from right to
left Ol' left to right. To pYevent rav
e lfin g. boing the needle out about
Vs'' (3mm) below the cut edge:
(6rnm) for the next
move ahead
stitch. wrapping the edge with the
thread (Fig.A.S) .
I
Fig. A5. Overcast stitch.
To fell seam a llowances, catch the

lining underneath before emerging
Y.," (6mm) ahead, and Vs" (3mm)
to \l.o" (6mm) Into the seam
allowance. To secure a single or
double-fold hem. catch two or
three threads of the fabric under
neath before slipping the needle
under the edge of the hem. To
gather, start tuming the edge to
the back with a ony. finger-creased
fold before overcasting the edge
with five or six stitches. Pause to
gather and enclose the fold on tight
ly pulled thread before continuing.
OVERHAND STITCH
SLIPSTITCH
TATWR TACl<S
- Close, firm hand stitch used to

join two folded or finished edges. or
to applique a folded or finished edge
to the fab ric underneath. Overhand
stitching can be worked from right
co left or left to right. To join two
folded or finished edges, align the
edges with right sides facing. Tug the
knot at the end of the thread inside
a fold, or secure unknotted thread
with two or three overlapping
-Hand stitch used to secure hems

and facings in a manner thac's barely
visible inside and outside. Slipstitching
is worked fro m right to left (reverse
all directions if left-handed) on the
wrong side of the fabric. Bring the
needle out through and under the
hem fold, or next to and under the
edge of a single-fold hem or facing.
Moving forward \Ia'' (6mm). pick up
one or two threads of the fabric
immediately underneath and draw the
needle out. Moving fo1ward \14"
(6mm), pick up two or three threads
of the hem or facing and draw the
needle out. After five or six stitches,
pull the thread gently co secure the
hem or facing (Fig.A-8).
- Hand stitching used to transfer

fold line, seamline, and other sewing
stitches. For each stitch, angle the
needle forward Vs" (3mm) in the

same direction, catching a tiny bit of
each edge with the needle.'When
used to applique a folded or finished edge to the fab ric underneath,
overhand stitching Is sturdy and visi.
ble (Fig. A-6).
notations from patterns to fabric
with markers of thread, a method

recommended for fabric that could
be damaged by other marking subseances. W ith sm-all. sharp scissors,
cut a hole in the patte rn at every
point to be marked on the fab ric. Pin

the pattern to the right side of the
fabric.Working from right to left
(reverse all directions if left-handed)
with extra tong doubled thread.
unknotted, in the needle, make small
stitches inside the holes cut into the
pattern, leaving loose loops of thread

between the stitches (Fig.A-9). Cut
the loops in the center and gendy
remove the pattern. To mark two
layers of fabr ic at once, leave very

long loops between the stitches. Cut
the loops and remove the pattern.
/
Fig. A-6. Overhand stitch.
R UNNING 5TTTCH
- Basic hand-sewing stitch used for
construction when seams will not be
stressed, for gathering and shirr ing,
and for quilting. It is also used to
applique, copstitch, and hem with visible, decorative thread; and to sew
tucks when softness is desirable.
Working from right to left (reverse

all directions if left-handed). load the
needle with a series of forwa rd
moving. evenly spaced, in and out
stitches, penetrating all fab ric layers
with each stitch. Pull the needle and
thread out. and repeat. Unless the
particular application dictates otherwise, stitch length and the space
between stitches should be about
W' (3mm) (Fig. A-7).
Separate the fabric layers about %"

(2cm) and cut the threads between
the layers.
Fig. A-8. $/ipstitch.
5TABSTITCH
- Hand stitch accomplished with
two actions: (I) Push the noodle
down and draw it all the way out of
the fabric. (1) Push the needle back
up to the surface and draw it all the
way out of the fabric. Stabstitching is
used when tacking and quilting.
Fig. A-9. Tailor tacks.
TACKJJ~G
WHIP 5TITCH1NG
- Very closely spaced o overlapping

hand stitches. often stabstitched, that
- Hand sewing two folded or finished edges together with overhand
join one element to another at con
stitching.
tact points.
Fig. A-7. Running stitch.
Appendix
HAND ST ITCHES
297
GLOSSARY
APPLIQIJE
- (I) Sm>ller, shaped cucouc of fubric applied to a larger expanse of
fabric. {2) To attach a small cutout ol
Iabrie to foundation Iabrie with hand
or machine stitching.
BIAS
-Direction that slants diago nally
across woven Iabrie. The true bias
moves at a 45-degree angle to the
crossgrain and lengchgrain of the
weave. The bias of woven fu bric is
stretchable.
BODKll\'
- Slender, blunted tool with a large
eye or a tweezer grip, designed to
draw tape. ribbon. string. cord, or
elastic through a casing.
CROSSGRAIN
-Direction of the welt yams or
threads that span woven fabrics
from selvedge to selvedge.The
crossgrain Is more adaptable than
the lengthgrain of the fabric.
EASE
- To match two unequal edges, one
slightly longer than the other. and
sew together smoothly by catching a
tiny bit of fullness from the longer
edge into each stitch,
EDGESTITCH
- To machine stitch through alllayeos
V.6" ( I.Smm) from a folded edge or
seamline with the Iabrie right side up.
FABRIC-SAFE M ARKER
- Tool, device, or substance used to
indicate seamllnes, fold lines. match
points, positions. and trace o utlines,
that does not deface the visible surlace of the Iabrie in any permanent
manner. Always test !he permanent
removability o( o substance on d1e
intended fabric before using. Markers
include: (I) Pins and lightly pressed
folds. (2) Scissor nips and notches in
seam allowances. (3) Basting and tailor tacks. (4) Blackboard chalk. chalk
298
The Art of Manipulatln& Fabric
pencils, chalk wheels. and chalk linco's. (5) Air-erasable and watererasable marklng pens with flne-line.
felt-tip points. (6) Colored pencils
especially manufactured lo r usc o n
Iabrie. o r atlst's pencils recommended as safe lor fobric (e.g.. pencils
made by Berol), with a sharpener co
m~intain a point, and appropriate
erasers. (7) Mechanical pencil with
hard lead, or an artist's hard-lead
drawing pencil sharpened co a pin
point, with a white, fa boic eraser or
H EM A LLOWANCE
an art gum eraser. Never use o soft

lead pend!. (8) Slivers of soap.
- Fabric width to be turned under

when finishing a floating edge.
(9) A crack pressed into the top with

a hera o r the blunted point of a
needle--which requires immediate
stitching belore it fades. {I 0) Lengths
of narrow masking cape.
G HAIN
- The weave of woven Iabrie. Fabric
is on grain when the crossgrain and
lengchgrain yarns or threads interlace at a 90-degree angle. II the fabric is off g rain, tug it across the bias
to restore the crossgrainllengthgrain
to a 90-degree relationship. Iron
with steam to set the corrected
alignment.
I RON
- To use an iron with forward and
backward. gliding movements,
removing wrinkles ~nd smooching
the surfuce of the fabric.
FACING
- Fabric seamed to a cue edge and
turned to the back in o rder to finish
the edge with a fold. Facings also
function as scays.A decorative
facing is turned to the front.
F INGER P RESS
-To flatten and open a short seam
allowance during the construction
process by pinching between the fin

gers or bearing down hard with a
fingernail.
F LUTE
-To applique an edge hand-gathered on even running stitches in
such a manner that the grooves
between folds. each anchored with a
stitch, are regular and distinct.
FOUNDATION
-Base Iabrie to which manipulated
elements and appliques are sewn.
Foundation Iabrie is visible between
and around tho applied clements.
GLOSSARY
L E 'GTHGRAI
- Direction of the warp yarns o r
threads that parallel the selvedges in
woven fabrics. The lengthgrain is
stronger and firmer than the crossgrain ol the Iabrie.
LmJNG
- Fabric that underloes the surface
fubrk and matches it in size and
shape. A lining conceals and protects
consuuction decalls. functions as a
stay, and, when sewn to the surface

fabric with right sides together
before turning co the back. finishes
edges.
NEEDLE M ODELLING
- Hand stitching using pulled thread
to create dimpled or extended
indentations in a stuffed surface. To
make one stitch or :1 series, use the
stabstitching technique to bring a

long needle up from the back.
through the stuffing, and o ut at the
desired point o n the surface. Taking a
tiny stitch several threads-of-the-labri~ wide, return the needle to the
back. Pull on the thread to mai<e an
appropriate indentation in front. and
secure the tension on the thread
with several backstitches.
NIPS
STABILIZE
S TAYSTITCHING
- Tiny cuts at fabric edges, Inside

the seam allowances, that mark
points to match or fold positions.
- (I) To secure gathered stitching

or pleating by sewing to another
piece of fabric: to prevent stretching
NOTCHES
or strain from disturbing a manipulation by attaching it to another piece
of fabric; to stay. (2) To add firmness

to fabric. preventing extensive stitching from pinching, drawing, and distorting the fabric.
-Straight stitching by machine

through a single layer of fabric,
beside the seamllne within the seam
allowance. Staystitchlng prevents the
edge from stretching and. when the
openings left in seams for turning
right side out are staystitched. facllita.tes turning the seam allowances
inside for hand-sewn closings.
jections outside seam allowances.
STABILIZER
STEAM B LOCK, STEAM
PIN MATCII
-Material substance. or device used

to add firmness to fabric. (I) Perman-
PRESS
- (.o.) markings on the edges of pat

terns that indicate pointS to match.
fold positions. etc. When transferred

to Iabrie, notches aro tiny V-shaped
cuts inside seam allowances or pro-
- To stab and pin twO layers of lab

ric together at spec.ific points: to
synchronize and secure two seams
or markings that must coincide
exactly when stitched together.
ent stabilizers of woven or non
woven fabric, such as muslin. organdy.

commercial interfacing. or battingpadded lining. are basted to tihe back
of the fa bric before stitching. Fusible
lnterfaclngs are heat-bonded. Starch
PRESS
as a stabilizer is permanent until the
- To use an iron with pick-up and

put-down movements. flattening and
Iabrie is washed. (2) Tempor ary

stabilizers include typing-weight
paper and specialized commercial
produces developed lor that purpose, which are basted to the back
of the foundation before stitching;
and freezeo paper which is heat
bonded to the back of the foundation with Its shiny side down.After
smoothing 01 limited area without
disturbing previous manlpul>tions or

mussing seam allowances.
QUILT-AS- You-Go
- Method of quilting that staots by
subdividing large top/batting/lining
projects into smaller segments which
are quilted one at a time before
assembly into the whole. Also called
"lap quilting," "apartment quilting,''
and, in this book, "modular quilting:
R UCHE, R UCHING
-closely gathered or finely pleated
strip of Iabrie applied as trim.ln contempor.lry lash ion writing. often
used as a synonym for any form of
gathering or shirring.
S EAM ALLOWANCE
- Space between the cut edge and
the seamline.After sewing two edges
together, scam allowances are
pressed ope~urned in opposite
directions, or closed-turned In the
so.me direction.
SELVEDGES
-Lengthgrain edges of woven Iabrie,
loom-finished to poevent unoavelllng.
-To use steam to reshape. set.

smooth, and refresh a foundaoon
fabric with manipulated elevations.

or a manipulated construction that
would be flattened under the pressure of an iron. Stretching to the
desired size and shape. pin the foundation or construction around its
perimeter. and at critical 1nterior
poinu, to a padded surface.Arrange
the folds of loose fa bric. pinning to
hold if needed. Steam with an il'on
moving slowly over and 3bove the
surface. Allow to cool and doy

before unpinning. Foo hanging inst.,llations. adjust the folds and use a
steamer.
sowing, temporary stabilizers are
carefully tor n away from the stitches

without distorting the even lay of
the thread. Stretching the fabric taut
In a hoop or frame also se~bilizes
temporarily.
STITCH-IN-THE-DITCI 1
STAY
STRAIGHT-GRAIN
-(I) To prevent a manipulation

from coming undone, stretching out
of shape. or moving out of place; to
scabilize. (2) Stabilizing fabric invisibly
stitched behind a manipulation.A
full stay underlies the entire manipulation from edge to edge; a partial
stay underlies the manipulated section of the fabric. A foundation. a facing. or a lining can aJso function -as a
stay. A decorative stay covers the
source of a manipulation in front
(e.g., a strip of Iabrie, tape. or ribbon
seamed over rows of gathering or
the head of a pleated arrangement).
- With the right side of the fabric

up, to sew in the groove next to the
ridge made by the fold of n closed
se:am allowance.
- Either the crossgrain or the

lengthgrain of the fabri<:.
S TRAIGHT OF THE
FABRJC
-lengthgrain of woven Iabrie. which
is indicated on patterns by a long,
double-pointed arrow.
S UFFOLK PUFFS
- English term lor a form of patch
work composed of circles gathered
into smaller circles. In America and
in this book, Suffolk puffs arc called
yo-yos.
Appendix
GLOSSARY
299
T EMPLATE
SELECTED
BIBUOGRAPY
- Pattem or guide. Sturdy templates

are cut from cardboard. plastic, or
other substantial material resistant
to the abrasion of repeated u se.
1969.
Cunnmgton, C. Willett. Eng/ish 1\omcnl
BOOKS
TOPSTITCH
-To sew one or more rows parallel
to an edge or seam on the right s ide
of the fab ric through all layers, using
plain or decorative hand or machine
stitching.
hile researching chis

book, I looked through
any volume. with a tit]e

chat seem ed appropriate lO m r subject nncl conside red it worch chc
'ttrnc if I found one liulc technique,
idea or even u h_in l that increased
my ,;,:lllij>Ulution data base. The list
chat follows d<>esn't include any of
the numerous entries in my no1e:-o
that consi.>t of nothing more than a
sketch or a deAnition- invaluublc
10 me, buc not enough to jusliJ'y a
reference for readers to consult. I
do rccommend the following:
UNDERSTrrCH
- To straight stitch by m achine
through a facing and all seam
allowances, but noc through the surface fabric. V.6" (I.Smm) from the
seam. Understitching prevents a facIng from rolling co the front at the
edge.
W ADDING
Andrtw. Anne. Smocking. london:

Mere hur.n ~reS>. 1989.
-In Great Britain, a word m eaning

batting.
'fhr An 'if 5.1rwing. The Edilors of TimeLife Uooks. 16 vols. New York, NY:
Ti me Life ijool;.,, 1976.
C:nn, Roberta. Couhrn; The A1t of Finr
Scwhrg. t>onlnnd, OR: l'almc:.r/Pic.sch
Assoclote>. I 993.
Carroll , Allct. 11 GOO</IIousc/:ecping
Nttdlecrafl l'ncycloped!a. Sandusky, Oh
Stanford House. 19-17.
Caulfcild, S. r: A.. and S.watd, lll:mche
C. Encydopt'dla uf \'icrorian Xudlrwork~
2 \'OIS. ~t\\ York. J\Tf Dover
Publications. ht<.: urigmal~ published

by A. \V, Cowan. London, 1882..
Ctwe, <Enonc, :1nd tlodgcs.jean.
Sm()(khl~ frmfftftnwr & i\fodem
Al>fJmnclccs. l.ondun: O.T. ll.11sford l.cd,
1984.
Clnbburn, l,amcl:1. Tt1e Ncedreworbcr~

J>(CIIonary. New York, NY: Willhtm
Morrow nnd Comp:my,lnc.. 1976.
Colby, 11\'cril. Quilling. New York, !'oi'Y:
CharlO$ Scrlbnrr5 Sons, I 9i l.
Coleman. Flltobclll Ann. The Or>ulcm
ra. Fnshlom of ll'orth. Dout<t and

Pingat. Orooklyn, '<Y: The Urooki)'D
Museum 1n :a''inemuon \\itb Thamcs..and lludson, 1989
Tltr Complc1c Guitk 10 Nttdlcwotk
Ttdlniqut'l' lind Mntcrials . Mat)
(iostelow, Con~ultant Editor. Secaucus,
NY: Clwlwtll Books Inc. Firs<published b)' Quill Publihing Limited,

London, 1982.
300
Cunnlngh:tm, Glady~. Singer Sewing

Btx1~. New York, NY Golden Press.
The Art of M an ipulating f abric
BIBLIOGRAPH Y
Clothmg tn rhr Ninc'lrcnth Century. ~ew

York. ~1' Dover PubhC'3nons. Inc..
1990. Unabridged repubhcalion of
"ork originally puhli<hcd hr Fabcrand
Fober, Ltd ., Lt>ndc>n, 191i
da Conctl('<\0. MnrM. \Vearcrble Art. Nevi
York, NY: Tht Vllong Press (A Sllldio

llook) , 1979: Pnguin llooks, 1980.
Durand, L)lnnnc. Smm:lli11g: 74:dmfque,

hojuts m~tl Dt:srgm. N~.:w Yuk. NY:
Dover Publlcntiou.lt, Inc., 1979.
Dyer, Ann. Or~l811 Hnu 0hfH Swffr.d

U. S. Edi1iun. Newton, MA:
fO)S.
Charles T. Brunrnrcl Cmnp.tn)'. 1970.

Eric..nn, Lmto Tr.\t&Ut... a do.u, look.
Sdf-l>uhh,hcd b)' the author, 1987.
f>r') Kind of ~mocking. Kit Pyman.
Cduor :-.e" York, XY: Hcnt) Holland

Comp;tn). Inc.. 1\1!17.
F.mmng, Robbie and Tony. n tc
Compfc:tc Book of Mc.~d1int Quilring. 2nd
Edition. Rodnor, PA: Chilton Book
Comp"n), 1994.
Fons, Mnrtannc, nnd Porter, Li=.
Quilrn~ Compli'ft! Gt~ldt. IJirnlingharn.
AL: Oxmonr I louse, lnr .. 199:!.
Gihbs-Stnlch, Chnrlc; II. The

Fasllinnablr Lndy 111 1hc 19111 C<nwry.
London; Her \lajescy's Scacionery Offfce
for tile Vlecotio ond Alben Museum,
1960.
Gi<>ello, D<bbte Ann, and Berke,
&\~trly. Fasluon Prucluttron Terms New
York, NY: Fnlrchlld P\lbhcanons, 1979.
Guild, Vern P GtKKI llousckctping Nc'\
Camp/tic Boo~ of Nrcdlecrafr. New York.

NY: Good Jlou..,kccping Books, 19il.
f.l:tight, f!mrst n. Prm:lictll Mtrdt~tiC...
Quiltingfm Jhr ltomcmt~ker. Davtd Ctl)',
NE: <ell-puhli<hed by amhor, 1974.
l lall , Cnrolyn Vo;bUI'gh. Snfl S<ui(Jitll'(;.

\\1orcrc:1er. MA: O.wis Publications, Jnc .
1981.
. T11c Srwing Mru:bfnc Craft
~ll-oo-k:-.""N71e-w-:7York, NY: \ 'au No~tta.nd
Reinhold Compan\'. 1980.
HafRrau:. H:~rricl Htf1loom Ma(hine:

Qniltlng. U.fo)'Ctle, CA: C & T
Publishing. 1995.
Huumt, jcssar. ;1nd Cunningh:.un..

Gbdp.. Singtt Stwfn,'( r!l)()h , Nc'"' York.
NY: Golden Pres>. 1972. E3rlkr cduions
by Gbdrs Cunnlngl~tlm, 1969: and
Mary Drool<>; Picken, 1953. 1949.
l1, .uul l 0 \ ..:\, l1: , I he

1 HI' fl,uhfJo.,'tll:
-:.. ' l l lkmon.mn
(\.,"h.'\k... ' " ' ~ lQQ2
rJtrh h J,~hn rn~_\delprcfld c.lf
f.. b"'1hl<'n 8 T R."lbford
I)(IJ
ltJ "-'
b.ltl k.m.t J~,,, 1ng !)Wehr~ . .r\ Ghtdt

~ t "' 1f,1n.l (>utlnns llothdl, \\'A 1 h.u
" "~ rl.t<<. Inc. 1992
ro~h h ~
1tnlJil,
, fur~'
\;U
'""''"t
'
(ot'\'.l1
l'fc.''' 1\)
Quu a: and Eosy

Neck. '-'Y llcMd\Stdc
Lin~ ' c1k \\'e,m\"~Uth . Srnodung and

lotlfh{tln~J~.) htht t( ~ldmJudaflon
11<rkdc<. (. \ 13<'' 1987 Ongonall)

rubh-hl under the mle Stttchlngfor
' " .f 1al-t \ lontpulauon for Self Trim
,,.. \,rk " l l\cright Pubhshong
l "'l"'uu~n. 11H 8.
\Ur~'"' .~dele P Th< Enndopcdta of

'(totn~ loJrden ( ttY -.;y- Doubleday &
( ~ml""' Inc 1987.
\l,mm, Rochanl and Koda. Harold
lnJ ~f'l"'l(l '\r w York. NY: The
\lctl<pc>ltt>n Mu<eum of Art, 1993.
'ltllkttWI(l.
r11 ,
fla<~rh, lllc,;,nl\ ~~tllSIOMI Appllqut
Lll>ttc CA C &t
ttmorc Bordm
T Pubh<htng, 199}
\lmm,, Amt ~~~ fo I
Quthtng ~lttth Fl
1987
tnt,
~P'"'< lO..r
I Mallei) Pre->,
I he \tngt~ Srwtn~ Rr'

l he hhtol'> ol C '""'library
.yOc<:o.sc
lncorpora~td tn too
~mgcr ldttcntion o!'<l'ahon Wlth the
Minnotonka "N C ~r\ment. 31 vol
..,
YOeCo.se
Incorporated, 19&1.
lhom, Mnrgaret Smoching In
~pmbbloldcry New York. NY Drake
u o<ht" Inc. 1972,
1homp\On, Sue. !Hcon:unc
Pre.. 1985.
\'tCtO tan fa.s~lons and Costumes from
llarpcr>llalaar 1867-1898. Stella Blum.

fdnor ~ew York. !\'\' Dover
Pubhcauons. Inc, 1974.
The VogurJButunc~ Stcpfrystcp Guldt
to Stwlng Ttchniqurs Ednors of Vogue
and Bunerick ~uerns. New York, NY
Stmon &t Schuster, 1989.
IQQJ
\1,-veh, Ltnoo F Tex~urc >+ith '/r.xnles.
<.hrr<rpt>n. Lo\ ,.,1f. published by the
authvr. 1991
Waugh, Norah. The Cut of\\'omcn~

Clothrs 1600-1930. New York. SY
The:nrc Arts Books. 1968.
\lnbch , Don Z 5oft Sculp<urc and

Orlt< )djt Art Forms -.;e>\ York. :-;y
(ro-. n Pubh,htrs. Inc .. 197'1
Women\ hlSUtUit of Domesoc An> &t

Scttnces Dtcorari< t Sntch<s and
Tnmmtngs Scranton. PA. lntcmattonal
Edue>liOtUI Pubhslung Company. 1929
IXStgntng and Otcoraung
Clothrs Scranton, Pi\ lnttm:tUON.I
1-.du<JuOnal Pubhshmg Compan)', 1929
Orrssma,ung. Tnmm1ng,
flnf>h~ranton, PA: lntcrMtional
~duc.ouonol Publtshmg Company. 1930.
'I' The \l<tropoluan Museum of An,
\INj;oin. ''"" and Mosteller. Dee
''"~"""'"and Other Forms of Rntstd

Qutlttn,t: '"' York. ~Y Charles
'wbnrr' """' 1977
Ihr .\'c'"' 8tdft rrck Drtssmaku Nt\\
\ork ' '
1927
rhe Buuertck Pubh,htng Co..
l't:nn lr\'lug h\t') Mt)ukc .!'t" York

(,r.. ph&l. ')o.. etl) 1 mle. Brown and
(otupdnl li ne) JQSS
R<<td<os IJt~t>t (omplctt Gutdt to
~'".!: l'ltant<tllt, -.;y R~<r>
l>t.<M As,.,. UIIon 1'176, 1'19~
ltodgrs \ur II 1ht /Iandi'<>< of \tuJJrJ

(/i;Jlll'll '\\. t1f';,l Ktd~r . ( 0 lcnuu
f l.lk ,.la.t: " ' lu and
pt~ces about protcs.-and scnbbl..d
notes. Sources I dtdn't crecllt otlho
ume provtded mlonnation lor this
book Matenal popped up wbm
l~aSI <Xptcted, and where 1 exptct
ed to ltnd u tn the follo..mg Jlm
odJcals.
Drtssma~tng. Emmaus. PA: RodJJe
Tltt Vogur Sewing Book. Vogue Pauem>

New York. NY: Buuerick Pubhshmg.
1975.
- - - HatUe Couturt. New York,
ARIIC/ I~
v ood Oort'ctt l ht Ent)tlor<dto of

"""''
v: 1 1NY BooJnt.J
\\'orld
Cchlum(Nt\\ .or~.
llOOh I ~80; onj\tnaliy pubi<>hl b)
ChJrl<' xrtbntr\ Sons. 1978
Allen, AIKe 1mpr"""'3lbt ltnc: H.,.. to cboo>< h,u,6. .md

mxhuv.-n bcm fmbll<s J1urMo
\'ol 16 t'pnlf\by 1988 pp -10-49.
Avtr)', \'u~n,. Eml>dlnb ilh
ScT1p< i\01Ct1tt111 Qldhcr \01. IL ,...
(Wtnter. 1986): pp 21-H
Brtbnd. :-.ant:)'. and \l'emnch,Jud)

f1'> lnmc Up' Taktng lbt J>rud&cn
out of &sting Ammcan Qut!ta. \01.
XI, I (Spnng \995) p. 46
C:albW>y, Gr.tct Haflds<,&-mg Surdlcs.

Whtch to u.< ,.!Kn and hooo to,....
thtm Thmtds \'ol 12 .Allj('S<p<
19871: pp 53-)7.
c.rr. RDbtru co.uurt Qutlmtg

Gcolltn Bttn< odd. >U1>(1'IIrt .md dec
orat.on to both cby and t\-cu&ag ear
,.,th dwmtl '""~ T\mld5. 'IOl
H (.,ur/"<1'< 19921: W Jl.\.3>
'Dior R.....-.. .U! ...,.It
-o-1hJ-u-tc_cou_turt TTtrMI>. ''"- 34
(Aprl\bl 19911' 1'1' 7273
Dou~l' ~"h ~_.t..~>t& \It> th<

Fin Po~ucrn l-1'-' h.' ...hapc labn.: Into -
.
'"
clotht~
..-.nh t ht "'
t"'c..tct T\maob
lb (ll<cl}>n JQ<ll.ll PI' j<\.)S
."hl " n.., ThiJoS--~"
--~ -
t "\1\ll't
c,uc<J N<~:' ~~~~~"""'\t>l.
n\ikhtnr-m,a~t -'
~1lf<h'l>rlll:>~\ PI'
l.)ul!n;. Judith
>+
"('ud1 ~':;.!!'
r..IJu>j; "" 'Ill!<~
-.uh ~~Nn""
'"'
~}
"''"'
~<"~'"' 1992 PI'
~~~ lcml ll1r ( omt'lcu IWc,lf C1/

fk}fr,J,._m li 1~" 111 u MA lluuxlatul1
M1fJIIIi f .ltnp.m)' I 117H
ht II I If ~.til
y,,, ~ N r t
/lllwtiUI III,K
\lufhlltX ~~ \\
l1.u h ~ r rim 1\ "Hrtlt, JIJ71
IIILIOGIIAI'MY
)01
lnt.."'" hH' \"'"PI I'm~ hun ullht

rlua ''"'}\It h't'hllhl""' fot 1;1du1 r~11t
,tf\1\'th'll\
.uu.l r.1hm
11\.lUIJ'UbUon
lllflJ\ \,,] N (1 C'hl\1.tr._:h 1\Nl)
rr n
'~
N.,Hhlon ( tln.,I.H14.C. 'Quih llall~

\\'lmh Ont, rot YtHa?'" 11ufod\
\<>1 >llt.\uW'><r t995l: pp. 65-67

,,unll'u.nc \dritnnc Embcllishmg
\\llh l.thnc Tum\ adapted rrom the:
- - - - - "\1.\mpul.HIUJ: f .1hm
-\m(u<u"
t..~,.lrn
lO!W) pp
\ttl \ l ('-pnng
2~ lO.
rlynn, john o.,,1, .snd (),a,hc'

Qualun~ C'ptnmcnt' m the ;an o 'Up
phng Thrrold> \ 'Ql

tOOl) pp ~-!>2
l~
Uuncl)ul)
Fon' \brunnt -,)mllln)! \bkc .. the

Qu1h Dc'tgn 'lOUr""" wholtdulh
qurlt" ThuoJd, \'ol H !1<1~1.u
11191): pp 5(1-5)
Gugcl. ll.ub>n Contr \I) ~mll

O~<ron .\ Tou<h of luckrn~
Amtnc~m QUilter
\'C"I IX. of (\\"mtcr
1993): pp. 18-IQ.
Goddu Carol 'Rrhd Apphqut for

Prc10nal Qurhs tlmrncan Quiltrr Vol
\1. I (Spnng 1990): pp. 48-50.
Hanman, Sember "Sew Rrj\ht 1
Mastenng the Quilt Sutch." American
Qurlter. Vol. Ill. I (Spnng 1987):
pp. H-45
jackson. Damari~. '"Drawmg a Lme

Wuh a Scwmg Machine: Fl\'emotion
embroidery ror creative qualting...
Thrtads. Vol 20 (Dec/jan 1989):
pp. 30-33
Khng. C:>ndace. oecorauve Rtbbon
Work: Foldmg and stttchmg method<
for tumong fabric onto Otghts of fancy."
Threads. Vol. 12 (Aug/Sept 1987):
pp. 58-61
LaPoerre. jeanne E "liow to Stretch a
Quoit." tlmcncan Quolttr Vol Vlll, 4
(Wonter 1992): pp. 6-1-65.
Loeb, [mrko Toda on the Revtrse
Stde Amrnran Quolttr Vol IV. 4
(V.'&mer 1988): pp 33 35
Lotta-Sellar>. jeanne "Textured and
Taolored How to m>chtne quoit g~r
menb wuhout )3UIacmg ~hapt.

Threads Vol. c55 (Oct/No 1994)
pp 37--11.
Mattfoeld, Elizabeth Pr>cucal
Smockrng A fuung approach to fullne\S
on ~rmem d<"l!" and embelhlunent
Thrtadl . Vol I'! C0<t!NO< 1988)
pp )6 311
Mornwn, J.OI\. 'I..Jycrrd tn1punw A

lt<hruqur (or rtli\C'd <IUIIIIng th.u you
<fltt '\cttlt"h
""d lr.unr or "tJHr.uJ on 1hr
hrd
I hlfml Vol nil (Aul><1>t
l<iH7)
1'1'
102
~O~l
fh
/ \rt
of Martlpulotlrtl Iabrie
nmtl~;cmh <..:ntuf)' dtcorate dothmg in

lhl '" l'l111l"lh
Tht~ads Vol. SO
(l>nllan 1004): pp. 66-69.

~ludfc r.
C:l:ure clothing
Connccuon .. Vanauon~ on a s.tam ...
lhtud.< Vol c22 (Apr/May 1989)
rr H-29
sh.;mk... Droll. tong Li'\'e
\Vnnkks! Add ttxture and shape to tht
...unplt~l g.tnntnts Wlth JUS.l a twist.'"

Thrtad!. \'ol 58 (Apnl!May 1995):
pp. 58-61
Slurtr. Mane ...A QuiherS Ptc:tu.re
Doctoonary: Hand Quilung." Quilter's
.\lrwslerrtr. Vol 227 (Nov 1990):
pp. 53-59
--,-- - - "8.'1Sting Lhe Quilt layers

wtth Running Stitches." Quilrer's
Ntwslwer. Vol. 268 (Dec 1994):
pp. 32-33.
-,..,--:::---, "Basting the Quilt Lyers
with Pins or Tacks. Quilter~
Ncwslwcr Vol. #269 (jan/Feb 1995):
p. 39.
Sacnkicwkz, Elly...Flowers from

Baltimore Album Quilts: Tucks and
gathers unsform ribbon into lifelike
blossoms." Tioreads. Vol. #44 (Dec!Jan
1993): pp. 40-43.
Simms. Atm. "Toward Smaller Quolting

Sutches: ln>prove the variables of your
en,1ronmcnt~ then learn to needle
anew." Tiueads. Vol. "21 (Feb/Mar
1989): pp. 63-65.
Smoth. Barbara. "Machine Quilting lips;
Usmg Lhe Walkmg Foot. Quilttr's
'>:rwsltutr
.
VoL "251 (Apnl 1993):
pp. 38-40.
_
"Machme Qutlting lips:
Usrng the Darmng Foot Qutlrtrs
NtMitlltr Vol "252 (May 1993):
pp. 29-31
SteYoart. Btlma S. "rlorol Appliqut:
Makmg a I hree-domenstonal Rose.
tlmrncan Qutltrr. Vol. VII. "1 (Spring
1991 ): pp. 13-22.
lornqul\t~mllh, Lot>. "Machme
G.uhcrrng for Surface rexture."
Qulll<'r \ Nrw<lm<r Vol 205 (Sept
1988) p. 51
fuwn-...nd. I ouhe 0 . '"I land Qualong:

Whut llm, the Quilting Do?" Qulltrr~
Nrwlrlln Vol #229 (J,ut/1 rb 1991):
p 4H
BIBliOGRAPHY
und <luhnl\
[r<lno,ftrnng the I)C~IJVl to theo Quilt

Top. Qullur":. 1\'tw)ltHtt Vol l"SO
(Mar 1991): p. 52
_ _ _ _ I land QulltlnJI
Prcparauon fot Quthmg Qtdhtr\
Nt..slmrr Vol 231 (Apr 1991): p. 54
Hand Qurlung
Choa>mg a frame. a Hoop. or On<'>
Lap. Qullttrs ~""sittrtr. \'ol H2
(!<lay 1991): p . S2-S3
~-=---:-- "lund Quolttng. Ahoot
Lhe Quohing Sutch." Qllrltrr'>

Ncwslcrur Vol 233 Uune 1991):
p. 41
.,.----- "Hand Qurhmg Tbe
Quilung $<11ch from Stan Lo Fonuh.
Qurlttr1 Ntwsleutr Vol 234 Uuly/Aug
1991): pp. 44-45
- - - - - "lland Quoltrng Tools for
Destgning and Draftmg Quohong
Patterns." Qurlter's Ntwsltrtcr Vol
=235 (Sept 1991): p. 52.
- - - - - "lland Quohmg U>ong
Traditional and Printed Pautms.
Quilter> Newsltrter. Vol. #236 (Oct
1991): p.60.
::--.,.-.,.,.- "Hand Quilting:
Designing Your Own Quilting Pattern."
Quilrers Newsletter. Vol. #237 (Nov
1991): p. 52
- - - - - "Hand Quohong:
Desigmng Alternate Block and Border
Quilting." Quilter> NewsltUer.
Vol. "238 (Dec 1991): pp. 50-51.
Wagner. Debra. "!Xbm Wagner !Xflnt>
Machine Quiltmg tlmtrt(an Quolrcr
Vol XI, #2 (Summer 1995): pp. 26-32
Wakefield. Lmda on Popong The
Bastes ond Se)ond Threads. \bl.IJ50
(Dec!Jan 1995): pp. 40-43 .
( <.
t \lE
E:\HIB noNs
mlr'"d to the muS<'ums m
''" ell' th.u ha,c textile and
"'""nunc: collections. I can'l
unagor h." mg done this book
",, ~. 111 .teccss 10 such primary
..~ntrcc moucrial. ln particular, again
,oml ):"'" th~ striking exhibitions
,11 1 hc-.l~ m~ulutions gave 1ne inform.llion. wnfication. and the inspir.uwn to persevere:
Th< C.allcne. at the Fashion lnstnute of

fcchnt>10j:'- Shorlcy Goodman Resource
Ctrt~cr '\:t" York. '\Y
The \lc~ropohtan Museum of An. The
Co-.tumc l(l!)Utute. ~ew York. l\'Y
ENDNOTE
ach ol the san.p~es
~raphcd lor this~
Alter pr::~dg" lor the catnerav.as
w
or SttaJni
ere Stretched and
ng, samples
pmned to a bat
txttnsively
1
or arranged an~ :&padded board,
a neutral back !Splayed against
lor all this pre::~~- ~he purpose
each manipulat d n. To show
advantage for ~-k surface to best
with the light a~d e
to te\eal
and-whue photo s h ow of blackIts apparent on tf:'t~The speckalto unbleached muslin c are natur-
:;;ran
Work-in-progress on this reference came to a halt when I realtzed that t! 1 continued on to the
end of the outline 1 orioinall
o
y proposed the stze of the manuscript
would scnously alarm my patient
pubhshcr. Robbie noticed that
prairie points weren't included
in the text. They were pan of the
chapters that would have followed
t f I hadn't decided to stop after covering the classic techniques, an
appropnate and sufficient focus for
one book. The rest could wait lor
another time.
Even so. letting go was difficult.
There's alway one more sample
that could be made, not to mcnuon
that naggmg questton. Have 1
overlooked something? Constrocuon dctaol. variation, tip?" I tinkered through the final proofreading. Out. eventually, the author has
to say rnough" and give it ove~ to
the reader. Now it's your turn. 1d
hke to know what you discover.
here's no such
mvcnt . and crca1e. T
.
thing~> the last word about mantp1. that's 11 unnl
ulaung fabnc. on>
ENDNOTE
JO]
Index
(r;"f ,,.,. IIANI> STITCHtS.
P'!tC' lQ5-297. and

GtOS)ARI. pages 298--300.
for C'pl.mallon' of addtllO!Ial terms
not rdcrenccd tn thiS Index
All p.lgc number; appearing m
bold l\ pe refer to p.1gcs with photogrnph; The numbers m parenthe~' ( ) muncdtately follo"~ng the
bold page numbers indicate specific
pictures on that page. Subheadings
marked wuh an asterisk appear
elsewhere as main headings with
support tve references.
accordiOn plea". 111-14

deftmuon. Ill
hand-Conned. 111-12. 114(26,27)
mmt-accordton. Ill, 112-13.
114(28), 134(2)
Set ai'O double-controlled pleatS
all-stdes ga~henng, 21-27
dcftmuon. 21
puff gath<nng, 22, 25(28,30)
puffs, 21. 24(25,26). 25(27),
292(28). 293(31)
ruffied puffs. 21-22. 24(26), 25(27)
swndard, 21, 24(23,24,25), 27(35)
s1ar gathering, 22, 25(29,30), 26(31)
yoyos, 23, 26(32,33), 27(34,36),
292(27),293(29,31)
~u a/-.o ball>. rurrowtng
pphqut 298
rlrvlrd', 242-46
Ouung, 7-11. 19(111). 27(34)
lwtd.,.,lllthrd, 7 H7 2H
mdunrIIUhr<l, 12<1, 150 237. 2'15,
li!YCJ II)
)111")/.lldiUJII HI> H7, HH
,lulfNl', 1 Ill -'II
\rr uho
Wlfll'rtttg, yo Y'"
II .,,.1
lurtIWIIIH
ff1e Art of 11nlpulallnl ( ~brlt
wcks. Stc undtr cross
slitchcd luck>
biOih
dcl.lchcd, 284(4), 285(6),288 (13,14),

290(20.21). 293(31)
8.,herms. 285(7,8), 293(30. 31)
box pleat Srt undrr Oat pleaiS;

proj<Ctmg plcaiS
balling. 206--7
cord> for cordmg. 187
double-btndtng edge finish. 207.
215(2)
edge fini;hing for rumes. 43-'19
ex1cndmg 1he lucking fabric,
149-150
fabric required for smocking. 125-6
bubble tuck> Set under cross-l<lcked

luck>
b.,,._
furrowing*,
J04
bowlitd
g;uhering methods*, 3-6

hemming Oa1 & partial pleaiS. 90-91
JOtmng modular unils, 208-9,
227(12,13)
managmg 1he smocking-pleated edge,
128--29
pre..>mg pleaiS, 89-90
>ecunng dart ;cams, 267
smockmg embrmdery stilches*.
127-28
>labthzmg ga1hcrcd stitching. 6-9
Sluffing, 229-30
""'"fcrrlng dcstgns. 205-6
U>ing a 'mocking pleater. 126
~u col>u hand "ilches; gloss'")'
batung, 206--7
btndmg. f>-7, 45. 70
doublr- 207, 215(2)
hnmg- 214
bt'<UII,, 258 61
258-59, 260(27,28),
261(29)
ddllllllnn, l5H
IOI"lrUIIIOII
'""'II'"'
l'i'l, 2hl(l0)
hlind,illthln)l. 7, 217, 1-11, No
hlhul
ltlt
k~~t \1'1' wul;, 'ftnud.mi iUlk'
broom<uck pltaung. Set undtr

wnnkled plcltng
c
cabled lucks Stt undtr cross-tacked
luCk>
canndgc plcaiS. See under projecting
pleats
cetucred tucks. Ste under standard
tucks
circular Oounce. 67-76
delituuon, 67
double-edged. 72. 75(7), 76(8,9)
edge r.n.,.hmg. 71
Oared fullness, 67-68. 70. 71,
73(1.2,3)
layered, 72. H(5), 76(9)
pattern dmfnng, 68
sptral-cut, 71-72, 75(6)
s1abilmn~:. 69-70.71, 73(1,2,3),
74(45)
1icrcd, 72, 76(10)

vocabulal'), 67
~tr al"i(l cuncd Luck'
du,tcr tud'' , .... urula ...eamlt~ tucb

conncncd ron,, 251-'H
ddanmun . 2-;1
d<'l.lrhc<l. H~ 253(20.2!). 2<lH1l)
<t>thllli<IIM. 2~ I ,!,l53tJII,!~l.ll),
2Qll(l0), liii(H)
\fc"
''"t '\U l1\n, \\"~hl\1\~
nmhll th\1\ l)k,um~
'n ""''" "tlll~hll'k.llull\
rcol uu h II> 'I '"'

:fl flufl lhl
b<k IM 11>1Ji l 7), l'IO(l!)
11 ,~ lt>l1>4, ll>~lll .H H),
JidZ~
Zl>l
JntiUdJCd II>! 111~1})
Jkd l)t>lltlU, 7779, 79( lf , f2, 1})
d ng. I f>f,.. .W}

<h fM wrdotoJt. 1117
oncnpuon IM
nd ..-.n Cffl'<ld qu1lung, ISB-9}
hmc_,.n wrbd quhmg,
ICJi -9!1
c e<>rdmg, 199-.WJ
r.
ll<hcd ~ h 171-72
r.cd 171, 172(36, }1), 291(2-f)
mmon 171
ulJIIng. 71 172('1-i.l, ,31),
l'Jl(ll>), 2931 29)
eked rue h. 1n- H

'nu11m 173
hhlr I 7l 174(31!)
.J,Ird 17: 114(JCI). 290(21)
IV d IU<k. I(J() ()! 161(11}) .
Su al\fJ c Jr( ul.;,r flou nce
uurrrg (,hm
""I" ~ 200, 207
/)
a.,.
U>l> 1!0
de 'tA n piHJII. 2/)/)
,.rruhlrpmnrrd drr , 27$-80
W'C UfHIJI,. ddt1 'K'.. In\,
1111~
JA7
Jl'lrotrd d, ,. . 261!-H
dtrrcl t.rmx Jrmg, 138-40

drfonrrum I lll
rr<l>ftudorriJJ( I !1!-}9, 1'10(12)

''l><<llrrrror,tf, 139, H 0( 13)
''"''""rl
I 1'1, 140(Ji)
rlmlolr,..,rrrulltd plrl, I 11!-H

I
"""'d I Ill, I 2)(42)
tf,.fmuum J JH
fr>o,J I II!, 122(311,}9 ,40), 123(41),
lHW I 7)
wrrh '''"f><'d frrld,, I Ill, 120(34)
Nlllo111rlfrd l11ld. I III

wrrlr ""IHII lo lnlch. Ill!. 6"2}),
I i <I(IJ Jl,) 1), 120(1'J),
I.L I (11,,17)
Vllllorurrwd (.,Jcl,, JIll, M(l}),
llU( !,), Jll(l l )
111
'''''"
dnubk d~!o<d nrllln. ~... ~hoed

dtJUbk cd~~o<d rullln; plakd dnulk
~nrllko
cloul.k1>01nkd <bn. 27S-I:IO

din I*Umo. 276, 278(13.1-H.
279(.,,16,17, 18)
ddlnidon. 27S
~. 276,180( 19)
....... wllh. 27S. 277(9,10.11 ),
2 78(12)
..t.,~ "" 19<1%) :1199

....ll ....... of6 ~..,
......, cdg. -ttl 'J3()1
..1red cdg. -48 1e(ll)
ed~
d<uched roll. 252 l5J00.2Z).

29H23J
double-hi~ 2i'17. 215(.1)
~. 214, 222, 226(10),227(11)
hmdlctrcbod, 8>-M
S ...., Plhaa elmo, 5Uiglc-
~mnung rut 6t putialpbl.. 91)..ql

lrrung-bindlllg.. 2H
pip!ng and ,.tltrn,:. 201 , 202(14).
20305.16), 226(10), 2811(13),
291(25)
ruffled. 8 . 113. ll.S-29, 20(21),
poimaldoru
dnped applknloas
doublc-conuollcd pltats, 118.

120(}4)
OJIPO'Ik-edge ~ 16,
18(13,14)
shirring. 32, 37(18,.ZO)
lngk edge gathmng. 10, 13(')
ooft can rldge pla15, 107, 109(23)
34(8),2&1{3)
on nrllks Su edge frnislung for
ruffla
salln-<ttKhtd. 164,
E
echo quilling. Sa hand quilting
tlevaud appliqut. 242--'16
edge finishing lor rurnes (and

flounces), 43-49
definition, 242
ele>':lrcd piecework, 215
binding, 45, 76(9)

choosing a finish, H-44
doubled fabric, 4'1, S4(7)
double-fold hem, 43, 46, 58(8),
59(1 2), 61(17), 73(3). 74(5),
79(11)
facrng, 45, 54(6), 65(25), 298
Oat hem, 41, 54(6), 60(14), 64(22),
76(8), 79{13)
frrnged. ravelled. 4'1, 59(12),
293(30,31)
frmged, snrpped. 44. 60(13,14,1S),
290(21)
ng, 44
hairline tdgmg, 48. ,..(4 .5), 58C9 ),
S9(12), 60(14,15), 64(20),
65(25). 14(4), 79(12)
hand-rolltd htm, 46
g;u~relnared, 242--45, M6CI2,1 3),
289(17)
gus.et-clev.ucd, 242--45. 246( 14,15).

288(15)
sewing and <lUffing. 2#--'15
embroidry stllch,.
S<t smockrng tmbrotdery <ucch<>
English smockmg. 129-37
definmon. 129
cmbrodenng. 1-32, 133. 134(3)
txperimenul. 133, 137(9.10)
rntenor, 133. 137( II)
mock, 133
pleaung, lund, 129-30, 132. 133.
134(1), 13S(5), 136(7).
137(10,11)
pleating. m<elunrcal , 129, 130.
ru..
134(2,3). 135CMl. 136(8).
JeliUCC edge, 49
Jlmng. 45, 75(7). 298
ovcrloc:ktd edg<, 49. '9( IO)
pinked. 43, H. 53(1), 59CII.I2).
6'1(19). 65(24), 73(1,2)
pJJn CUI. 44
rolled uvrrlockcd cclgrng, 49
atln-U~<htd edging, 47-48. 53(2),
16~23)
.....Is. 2&1{5)
oh!mng. 37(18)
Sec also blndrng
137(9)
rtversc:, 133. 135(6). 136(7)

Stt also >n>ocked tuck>
exten>ion pleat>. Su 1l.ln>Jl plt.t"
exlcn~ion,, Su undtl 'tthih:m~
gllcred >UtchmJ.:
5'1(4). 75(6)
''"""'" I IIi, lll('l))
II<! rrllrrl .u " " ' "" " I Ill
Index
dellnltlon, 55
dt~lgn!t, nllovcr and scrolled. 56,
1-'.<'11\\1.' Srt un1ltt ,IAbll\:11~ ~.nhcrtd
59(11)
doublc-.hcll, 56, 60(13)
headed. 58, 61(17,18)
lAyered. 57, 60(14.15), 6 1(18).
65(26)
"''""d. high, 56. 59(10.12), 60(13),
293(30,31)
maed. low, 56, 58(9), 290(22)
puffed. 57. 60(14)
sccunng the ends, 57
>pread-scam or shirred, 55. 60(14).
61(17)
tucked, 57, 60{14)
Sec aIS<> double-pomttd dans
... m..-hu\i:,
O..t pltot,, <ll-97
;)no\~C'mcnh, f'\2, Ot, Ql
"''' Ol, <l2, <l1, <l5(),4)

dduutH'\0, 01
d<>ul>l<d <>r trtpl<d, <l4. 9(>(5,7)

~.,.,m,h<d .. <ll. <l), <l5(4), %(5,6)
omrn<d. <ll, Ql, 0). <l4 96(6,7)
kolt. '13
knofr. 'II, Ql, Q), 95(1.2.3), 97(8,9).
2'12(27)
It"~'\ C'rtd retcaS(' potnt..
Q2. 93. Q<f,

95(3). 96(6). 97(8)
P<rft Plcatrr. 65(26). 94. 97(9), 99.
123(41), 2'10(21)
pl'l'>St'd. 91. 93. 95(2.3). 97(8)
tcnnonolog>: <ll 93
top:.totchong. <l4. 97(8)
underlar<. <l-1
unpressed. 91. 95(1), 96(5,7)
Sec aiS<> double controlled pleats,
pantally seamed tucks, released:
panonl pleat<
gathered piptng. 288(13), 291(25)

gathered songle edged ruffies. 49-54
application methods. 50-51. 53(3),
54{4,5)
cuuong strip>. 49-50
defimtoon, 49
fullness, 49-50, 51. 53(1,2,3)
layered. 52. 54(6)
puffed, 52, 54(7)
securing the ends. 52
smgle-shell, 52. 54(5)
tiered, 51, 53(3)
noaters, 195. 196. 197(9), 198(10,12)

flounces, 66-79
circular, 67-76
controlled. 77-79
descnptton or. 66
gathered tubing, 284( 4)

g~thcring,
2-27
all-sides, 21- 27
descropuon. 2
rurrowing . 9, 21
methods. 3-6
opposue edge, 16-20
Ingle edge. 10-15
>tabtlizing, 6-9
Outing. 7-8, 19(18). 27(34), 298

Flynn, john, 190
fringtog
ra'elled, 20(21), H, 59(12), 168,
170(33), 293(30,31)
>ntpped, H , 60(13,14,15), 167, 168,
I 70(31 ,32), 290(21)
fulln<s$
Oared. 67-08, 70, 71, 73(1,2, 3)

gathered, 3, 10, 12(1,2), 13(3,-1), 29
ruiRed, -49-50,51 53(1,2,3)
furrowmg, 9. 21, 27(35,36), 35(9),
123(42), 260(28), 293(29.30,31)
G
gallotred corded 1ubong. 284(4)
&"hmd dn., 286(9,10), 287(11,12),

288( 13), 293(30)
&"lht"d dnubldgd rulnr, '' 61
appJJ """"~ '' ,8, 'JH(H),
f!O(l4,J,), lii(J6),l'10ClO,ll)
I
lOG
The An of /~anlpullllns fabt'lr
gathenng method>, 3-6

au1omauc, 5. 18(15), 33(4),
35{9.12), 39{21,22,23),
-10(24,25.26)
channel, 6. 18(12,13), 24(23).
34(6,7), 37(20)
cramg seam allowances, 5
elasuc. 5-6. 35(11)
hand. 3-4, 13(4). 15(11), 19(18),
24(23,24 ,25,26). 25(27,28,29,30),
26(31,32,33), 27(34,35.36),
33(1), 35(9), 37(17)
muchlne. '1-5, 12( 1,2), 13(3), 33(2),
34(5,6,7,8), 3500),
)6( I ), 14, 1 5.16), 37( 18, 19)
Nt't'urhtg 'lltt'hcs, 5, lO
\or ahu 'hlrrllll(, dlilnn~l
gJltogong.1. 13(4). Su alw projttlln&

pleatS, canrlds<, butted
g iOSSOlty of t<nns, 298-300
gode\S, 80-86
defimtion. 81
de>enpuon, 80
handkerchief edge, 83-Sof

o~nion, 81-83, 84, 85(1,2,3),
86(o\,5)
moek. 84
graduated tucks.
5 under standard tucks
H
Haight. Ernest B., 219
half-rounds, 247-50
definouon, 247
construction, 247-49, 250(16,17,18)
raised strippong. 249
handkerchief edge. 83-84
hand quilung, 209-16
back.<titched, 213, 216(3), 225(7).
295
basting !he layers together, 210- II ,
214
definiuon, 209
echo, 206, 209, 210, 2 16(3)
envelope edge, 214, 222, 226( 10),
227(11)
Oat, 214, 235(6)
methods, 212-13
liningbinding. 214
running-stitched. 211-12, 213,
215(1,2), 216(3)
stabstitched, 2 n. 297
stipple, 209,210, 215(2)
t)ng, 214, 216(-1)
See aIS<> hand-sewn corded qualung;
stuffed quilting: trapunto
hand-sewn corded qmlung. 188-93
defimuon. 188
single-fabric cording, 191, l93(-t,5)
stitching and cordmg. 188-90, 191,
192(1,2), 193(3)
stnng-guided yam cordtng, 190
trnpunto, 191,232, 234(1)
Stt also Ooaters: hand qmlung:

s1uffed quihins
hand slllches, 295-97
tabs, 22.3, 227(11)
J
ntttrUPicd
t\l('ks.
Su undt'r P.'nlally..
~.1med tuck.~
n\tned pltatS. Sec l.lndtr 03t pleat.. 93
~nu< pie><>. Su undu Rat pleatS
ladder stnching. 237. 296
machme sewn cotdrd

cording llcr sclu:I.~IIJ>g.
OJ>I>OSUe.<dso cotlwr~Dc. 16-110
<~mow. 17, lOU! .21)

eontowrd .....,.._, 17.19(17)
cun-rd, 16. 19(19). lOU I)
ddlnition. 16
draped. 16. 18(1),1-4)
pulfed, 16. 19(19). 20U0.11)
skewed, 16. 19(16).10(20)
SWidard, S!T118bt. 16. 18(12,").
I~
196(6), 197(8),
198(10)
- 1~. 195.
cording wltile
197(9),10~~ 195. 196(7)_
dellninoa. 1~
floaters. 195 196 197(9) 198(10 12)
SUtgle-fabnc. IWIR--.u.' 195
198(11)

19(16,17,18), 24(14).290(19)
292(26)
Slngle-labclc. Zlg<ag. 196. 198(12)

5 ctlso machine quilting; shining.
dwmd: stulfed quiiiiJ>g: tntpunto
p
partial pleats. 96-102
definition, 98
drafting pon<rll>. 98
txtcnsoon, 98-99. 100, 100(10),
101(11.12). 102(13)
SCItn, 98. 99. 102(11,15)
uo<krlays, 98, Q9, 101(12). 102(13)
Set also flat pleats. lowm:d ulease
m-.d applications
double-edged dmdar n
76(8)
l>UDC<S,
72
gathered double~ged ruffles 56

58(9), 59(10.12), 60(13)..
290(22), 293(30,31)
ruffled puffs. 22. 25(27)
smp-frioged tucks, 168, 170(32)
1ndc pillows. 25+-57

definition. 254
drJung pauen\S, 254. 256
)Otnmg. closed. 255. 2~7(23,26),
294(32)
JOimng. open. 255. 257(24,25)

pcekholes. 256. 257(26), 292(26)
raised patchwok. 256
Sec also hand qulltinc. Oat

sewn COrded quU
' !Dac:hin<
quilting; trapuntotlng; 5lUll'ed
points
partially seamed tucks. 17">-77
meander quilting. Stt machine quilting
dtl'mition. 175
meander shirring. Su wulcr pattern

shirring
tnterrupted, 175,177(13,41)
released, 175. 176(10,41,12)
mini accordion pleating. Ill, ll2-13.

114(28). 134(2). 118
M
machine quilting. 217-27
art quilting. 222, 226(8.9). 294(33)
basung the layers together, 217-18,
221
modular quilting
envelope edge finish. 214, 222,
226(10), 227(11)
227(12.13)
peaks & valley-s. 262~. 264(31.32).
openwork mini-modules. 222-23,
frccmollon. hand-guided, 219~-20.
291(25)
226(10)
221. 222. 226(8.9)
li1ight (Fmcst B.) system, 219

wuh a hoop. 221- 22
nstallment. 221
managmg bulk. 22G-21
pi!:SSed. 223-24, 227(12,13)
peekholes. Set under lutle piilov.-s
preparation, 213. 221
Perftct Plt.ater Set wll<ltr flat pleats
tabs, 223. 227(11)

Sa also Jude pillows. joirung:
machme quilting, installment
m~nder,
secunng stotching. 220. 222
pauem tucking. 183. 181(50,51 ,52).

290(20)
joining modular edges. 208-9.
227(11)
pressed. 223-24. 227(12,13)

presser foot, 218-19. 221. 222.
225(5,6, 7). 226(8,10). 227(11).
288(13, 14). 289(18). 290(21)
dc6nition. 38
desgn CJ<amples. 38. 39(21,22.13),
40(24.25)
meander, 38,10(26). 289(18).
290(22)
mock smocking, 31, 133
dcfimtion. 217
envelope edge. 214, 222. 226(10),
218, 226(8,9)
modular, 221. 227(12, 13)
openwork mtm-modules. 222-23.
226(10)
pattern shirring. '38-10
pin tudes. St< tlllda "ontb.nltudc.'

pin<h pleats.
Set under projU"'\ pleat:.
N
needle-Conned pleating. 118. 123(43)
pipe otgan pleats

Set under projtcltng plt~lS
needle modelling, 235(6), 241(10). 298
pipmg. Stt under surf.. (Ordnlg
North American smocking. 141-'13

definition. 141
experimental, 142, 143(18)
patterns. 141. H2(15). )43(17.18)
reve.-.ed. 142. 14206)
Index
307
rtutrd ''"lllt- or donbletd!led nome
1>2-M
.A\uomaueally fomled wuh the naffier,
(>), M(l9,20)
box/uwenrd. 63. 65(24,25)
dcfinauon. 62
headC'd and !aye~. 63. M(25,26)
>preadst"am 63. 6S(2))
ty~
or plea~:\ and .unngtmcn~. 62,
ph:.tttr S ~modang pltAtcr

pl<at>. 88-12)
accord ton. 111-li
descnptton, 88
double-comrolird', 118-23
fl:u. 91- 97
hemmmg n.u and pani.el, 90-91
panoal. 98-102
pressmg, 89-90
profiles, 90
projccung, 10.3-10
wnnkled. 115-17
quihmg. 20<1-27
batung, 206-i
descnptton. 204
double-bmdmg edge fimsh, 207.
215(2)
hand'. 209-16
joan1ng modular unilS. 208-9.
227(12.13)
mach me. 217-27
~nsferring designs. 205-6
Su aL<o handsewn corded quilLing:
shell apphcallons
hem fimsh lor ruffies. 46, 5'1(4)
rufnes. 52. 54(5). 56, 60(13)
tucks, 161(20.21). 161-62
shells, 284(5)
Stuffed quilting
quilting frame:.. 212, 218

quilting hoops, 212, 222
shmed (spreadseam) ruffie, 55,

60(14). 61(17)
shirred surface cording, 60(14), 28()).

291 (23)
rcleasrd tucks.
shirred tucks, 283(2)
Stt under partially-St:.."\me:d LUcks
shirring, 28-40
automaticall)' gathered, 31, 33(4),
35(9,12)
ruined puffs. 21- 22, 24(26), 25(2 7)

rufncs. 4 2-65
descnption. 42
edge fimshing for, 43-49
gathered double-edged', 55-61
gthered single-edged. 49-54
pita ted single or double-edged,
62-65
channel, 32, 34(6,7), 37(18,20)

cross. Su waffle
definition, 29
descnphon, 28
draped 32, 37(18,20)
elastic, 31. 35(11)
pauem, 38-40
plam thread-gathered, 29-31,
33(1.2,3,4), 3'1(5), 36(14,16).
37(18,19). 283(2)
puffed, 31 36(15,16), 285(6)
puffed rnm, 32, 37(17)
shapmg w11h shtmng, 31. 34(8),
35(9,10)
skewed, 32, 37(19)
srabihzmg, 30-31. 33(3.4)
waffle. 31, 35(12), 36(13,1-+),
291(23)
5
sau,..ge:.. Stt undtr btscuits
S<am allowance finishmg, 69
pmch, rhrce-fold, 103-104, 106,

108(1 7)
seamless rucks. I 7~2
ptpe org;.n. 10.3-104, 105, 106.

109(20)
duster, 178, 179. 180(45,46)

dtftntllon, 178
Su alw accordiOn plea"; double-
ued. 178-79, 180(47), 181(48).

292(28)
conrrolled pluts
ued, mundtnng, 179, 182(49),

292(28)
puffed apphCJtlon~
all-sid~ g,.rhwng, 21, 24(23,24,25)

dart>. 277(10)
double-conrrolltd plears, 118,
123(of2)
Stt atw ltahan smockmg, <himd;
<etln pleats Set parual pleats
shtrred ruffle; shtrrcd surlace

cording; shirred tucks
>ewtng machine, specialized feet
nnd 41CCb~orfes
binder foot, 45
opptnite edge gathrrJng, J 6, J 9( 19),

20(20,21)
zmn.
shark's reerh. See under sl:.<htd tucl..
mach1neSC"wn corded quilting;
projecung pleat>, 103-10

box. smgle and doubled, 103 104,
106, 108(16)
cartridge. 103, 106-7
canridgc, butted, 107, IJO(H,25)
cartndge, conunuou<, 107, 109(22)
C3rtridge, rollback, 103-104, 105.
106. 109(21)
cartridge. sofr, I 07, I 09(23)
deftmuon. 103
french. Set pinch, three-fold, pmch,
four-fold
goblet pleats, 106
pinch, four-fold, 103-104, lOS, 106,
108(18)
pmch, rollback. 10.3-104 , lOS,
108(19)
308
Set also furrowing
63, 6-1(21,22). 65(23)
puff 8"tlwlng, 2Z. H(2H, JO)

puff., 21 u, 2-1(2,,26).
ZIJUlll), .2,1))(1 I)
gathering foot. 5, 38
hemmer rool. 47
open-roe embroidery loot, 219, 2)7
ovcredge foot, 48
pm-ruek loor,ltvegrooved, 154
rurner. 5. 63
spring needle, 219
smnghtStllch foot, 219
ror tucking. 152-53, 154
twin needle, 154, 195
walking foor. 219
zig-zag foor. 219
zig-z;~g foot, grooved b..e, 195, 2J7
ruffics, 52, 54(7), 57. 60(14)

<htrrtng, 31. 36(13.14,15.16)
trim, shirred, 32, 37(17)
Tit Art of Manlpularlnl Fabric
bobbin''"" with fingtr hole, 154

for cording, 19,, 199-200
"""''"~ fom,
lllgfoot, 219
d11rnlng 'J>rlng, 2 J 9
singleedged ruffles. Str g.uhered
single-edged rumes; ple.tted ''II&~

edged rume,
g:uhering, 10-15
I>'"<
~
,-vnoour<d. 10-11. 14(6)
ctdanit1on, 10
dr.opc<l. 10. 13(5)
fullness. 3. 10. 12(1,2). 13(3,4)
, ,vcd. 11. 12, H(7,8). 15(10,11).
1
..til~
19(16)
urr<d. II. 15(9)

Src al<o balls, gaohering; gathered
d:uts
.inglcpoimed dans, 268-74
con,.crtcd to scams, 272, 2 74(5),
288( 15.16)
clefimtton, 268
smocking embroldtry ...

outCuco, 127-28
bl e, 127, 131. 132 138
HO(l2,13,14)
'
cable. double. 127
designrr, 154, 1S6(9),I59(l?J*)

292(16), 293(30,31)
doubl<daad<tnetrocl IIICb, ~
152.153. I 56(6)
graduated, 150-~1. 155(f)
gratnlme d<vtanono, 154 , l59(l 6)
Dlock pin, 154, l~H,I5)
pon, 1~0-51. 155(1), 1~13)
random,l54, 157(12)
spaced,I'!0-51, 155(2), 290(19),
291(25)
tapered, 150-51, 152, 15~54
156(7,8), 159(16)
terminology, 151, 152

S.c also conntcted rolls, sbim.d
surface cordong; shirred tucks:
sm.><ktd tucks; ...n..c. cotdiog
doamond, 127, 131, 132,138

leather, 128, 131, l 36(7)
Oowerenes, 128, 131
honeycoDlb, 127,132,133,138 139
135(4,5), 136(8), 137(10), '
.
h 140(12,13,1-t), 283(1)
oneycornb,sunace, 128,131.133.
14003,14)
mock chain, 117, 13l
outline, 127, 132, 138 136( 7)
H 0(13,14)
'
>pool, 128, 131
trellis, 127. 131, 138
Vand)ke, 128, 131, 132. 138
140(12,14)
wave. 127, 131. 132. 138
ns.
dr.ofung darts. 268. 270

th.ofling enlarge-and-equalize
paucms. 270-72. 273(2,4),
274(5.6.7,8), 288(13.14)
dr>fung guess-and-trim P"nems, 268.
271. 273(1)
drfung slash-and-spread P"lltms.
' smockmg pleartr
268-69,271, 272. 273(2,3,4),
Sally Stanley, 11 4(28), 134(2)
274(5). 277(9,10, 11), 278{12)
usmg a, 126
r<lcased. 272, 274(5)
spacrd tucks. Set under standard tucks
<urface. 272, 274(6), 288(14)
square knot, 179,214
Stt also double-pointed darts;
gathered darts
stabilizing gathered stitching, 6-9
Outing appliqucd edges, 7-S, 19(18),
>kewed applic:uions, 16, 19(16),
27(34), 298
20(20), 32. 37(19)
onvisibly woth facmgs. 8, 298
slash andsprcad panern drafting
invbibly wnh Slays, 8, 13(5), 14(8),
controlled Oouncc. 77-78
1~10). 18(14,15), 19(16,17.19),
dr~.268-69.27 1,272.275
20(20,21), 24(25), 25(30). 299
elev:ucd applique. 242-244
locanng the Stabilizing seam, 5
gthering. 10-11. 12, 17
Yl>lbly with bindmgs. 6-7, 15(9),
sla<htd tucks, 167-70
20(22), 24(23)
definnoon, 167
visibly wtth extensions, 7. 8. 15(10),
r>vcllcd-fnnge, 168, 170(33)
19(19), 20(20,21 ), 24(25), 25(30)
VISibly with foundation stays. 7-8.
shark~ teeth, 167-08. 169(28,29,30)
14(6,7), 15(11). 18(15),
~nip-fringed. 167, 168. 170(31,32)
19(17,18), 20(21), 24(2.4 ),
smocked tucks, 283(1)
27(34.35,36), 298
>mock ong. 124-4 7
vi~bly with rumed edges, 8, 20(21)
dcscripuon, 124
vbibly wtth stops, 9, 24(23)
dorect' . 138-40
Set also circular Oounce. stabilizing;
rmbroodery stitches, 127-28
glossary. stabiliur; shinring.
Enghsh'. 129-37
stablhztng
fabnc requored for, 12:>-26
standard tucks. 150-59
hahan , 144-47
blind, 150-51, 155(3)
managong the smocking-pleated edge,
centered. 150-51. 152, 153. 15~5),
128-29
291 (24)
1\orth American, 141-43
cross. 154. 157(10,11)
u~ong a ;mocking pleater, 126
deOnltlon, 150
Star g>thenng. 5 aiiSides plberiug
"ys. 5<t undtr "abl1u:mg gotbued

MUChlng
>tipple quohmg Set hand quilting

>top<, 9, 24(23)
<trips. St< cutting fabric Slrips
stroking, 4. 19(18)
stuffed appllqu~. 236-41
dcOnltton, 236
eased, 238,240(8),298
fr>yededge, 238
freezer paper preparation. 238
onstntng SlUffing. 237- 38
loose, 239, 241(1 I), 293(29,30,31)
~ong by hand. 236.237.
240(7,8,9), 246(12)
.ewong by machone, 23&-37,
240(7 ,8), H 1(10,11)
>tacked, 238-39, 240(9), 2H(l0)
stuffed quilting, 230-35
dcflnmon, 230
Inserting stu!Ong, 23 I, 232
Jayer<d, 233. 235(5,6)
revet>cd. 233, 235(4)
sewing by hand, 230-31, 23-1(1.3).
235(4,5,6)
sewtng by mac hone, 230, 231,
234(2.3)
191, 232, 234(1)
5cr 411so hand qullung, hand-sewn
corded qwlung; onachne quolnng;
machtntS<Wil cord<d quilting
tnlptiiiiO,
S ol$o os a main hfoding
Index
309
<tllfft1\l:. 22~
apphq\lt, HI>--! I
bl'-C'\UI\. 2S8-()l
clCY-1flA cu1 opc-n'"&S 230
connwtd rolls', 2SI-S3
dC'"oCnpuon. 228
de.-ttd pphqut. 242-"6

hlfrount.b , 247-50
hul< pillow>'. 25+-S7
p<oks &r valleys. 262-64
q\lihing , 230-35
~luffintt (materials and acuons).
229-30
<\lrfAC< CO<<hng, 199-203

dtfinlliOn. l99
popmg .md wchong. 200-201.
202(14), 203(15,16). 226(10),
290(19), 291(24)
smchang <tnd cording. 199-200.
202(13)
1\obong. 201. 203(16)
See abo connect! rolls; gathered
paping. gathered tubing; shirred
surfa cordmg
u
under!). 9'1, 98. 99. 101(12), 102(13)
undulaung 1udcs
Set undtt cro,s.-smdttd tucks
w
welting. Stt undtr surface cording.
piping ond welting
wrinkled pleaclng, 115-17
hmom<tlck, 11 ~. 116. 11 i(29),
289(17)
contortion. 115. 116, 1 17(30)
defnlition. 115
T
tabs. 221. 227(11)
t~pered
turks. Set undtr standard tucks
ued tucks. See under seamless tucks
ticned applications
corcular nounccs. 72. 76(10)
ruffits. 51. 53(3)
songle-edge g;tthenng. 11, 15(9)

man<fcrrtng de<tgns, 20~. See also
glo>S3ry, fabnc-safe marker
trnpunto, 191,232, 234(1)
tubong. Set under surface cording
tucked ruffle, 57. 60(14)

tuck.>. 148-84
contoured, 163-66
crossscilched, 171-72
CrO>SUICked, 173-74
curved, 160-61
descnpuon, 148
e.cendlng che cuclung bbric, 149-50

p:anllllly seomed, 175-77
p:acttm cuckcng 183-84
'tamIus, 178-82
shell. 161-62
tlashed, 167-70
6ctnd~rd, 150..,9
,.,. .,.., k llhacrollora Pll *(*,1)-phocog,.pho (picture "" tluu I"'&<)
lJO
The Art of Manlpulaclna Fabric
Are you interested in

a quarterly newsletter
about creative uses of
the sewing machine
and serger?
Write to:
The Creative Machine
Newsletter
P.O. Box 2634-B
Menlo Park, CA
94026-2634
Src also as a n~afn 1\re~dt'\g
About the Author

olctte Wolff says that she
could write an autobiogra.
phy around the gannems,
needlework. quillS, Stuffed tO).,, and
tc'<tile an a:..>ociated with memorable evcniS in her past. "My grandmother introduced me to cmbroi
dery at a very e~rly age. Before I was
I 0, rny mother taught me how to
sew on my grandmother's treadle
sewing machiow," she remembers.
"Since theot, fabric. needle and
thread, and the sewing machine
have been constants in my life.''
Although she hasn't written that

autobiography, Colcnc Woof has
been writing about cloth-related
subjects for more than 25 years,
contributing articles and designs to
most of the major craft. sewing. and
textile publications. and teaching
and lecturing as well. In 1969. she
began designing cloth dolls and ani
mals and publishing patterns for
Platypus, a mail-order busoness she
still owns and operates. Dunng the
last ten years. her mterests have
converged around exploring the
techniques for creating low- and
high-relief sculpted cloth with a
series of dimensionalized quilted

tapestries." The Arr of Manipulating
Fabric 15 the printed result of those
continuing studies.
Colette Wolff lwts and work> 10

Manhattan, 1\tw York Cot)'
311
SEWING & CRAFTS
he poSSibilities for three-dimensional manlpukJtlon of
fabric-gathering. p leating. lucking. shirring. and quilt
lng woven materials-ore seemingly endless. To describe
them all would be to describe the entire history of sewing.

I
t I
1~ 'The Art of Manlpt.Jiatlng Fai:Jrio, ~olelta Wolff hds set hersell just this task; and she succeeds brilliantly. Working from
ltle simplest possible t01m-o not piece of cloltl and a
threaded needle-she categorizes all major dimensional
techniques. shows hOW they o re related. and g ives examples of Variations both traditional and modern. The result is
an encyclopedia of techniques that resurface. reshape
restructure and reconstruct fobOC.
Y More tnon 350 diagrams support 1he extenslve how-tos.
'
'
o rganized Into brood general C<:~tegorleS. 'then specific
sub-techniques
Y Handsome photo galleries showcase the breathtaking
possibilities In each technique and old visual understohdlng by emphasizing the scul~tured fabric surface
with light and shadow
Y Tex111e artists ond qullters. os well os garment and home
decor sewers. will expand their design 1'1orlzons with the
almost limitless effects that can t;>e achieved
Colette Wolff lives dndi works In Nel"' \tprk City, whet~,-(1pr studl9$ ol the Cos}Ume
Institute otthe MetropOlitan MtJseUm q} Art Inspired this book, She Is o well-known
and highly regorded quilt artist ond do/lmakei whose articles on sewing. quilting
ond dollmoking ore revered for'fhelr metiCulous. ln<Jepfh research.
S29.95
S37.50 In Conodo
ISB N 0-80198496 - 3
ifi i

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l 'P' n~ht () I <l<le> h' ( o>l<'ll< \\"oil!

Published in loin. Wo-nsm, 64990 by Krause Publications

pan of tho' lx><>k m''' h. reproduced. tr.on,moncd. or

Proofreader Mcrcdnh Plnlhp'

Llbral) of Congrc" (' atologmg m l'ubhc.uton Data

ISO:- 080198-1963 ( phk )

n.mw' mtntmnccJ Itt 1hr' III.UIU.alm.~y hl tr.tek

Otlrcr Boohs Available from Krause PublicaLions

,r-. ".,,1) r't,lllrflaa. by :\.lnc\'

riiJ'h.l' t 'lit. h'" '" /"mel&- Ma<hrnr.

8rhl,,l l.{)ucwc:. by ~us..1n KhalJC

L llf< II. '-l1.1d!er

U>mrw Bt~t/: oj .\fdchmt Embrordc"

Se" Any Pauh Pocket, by Clane B.

5o s~nwtwnal Gifts. by t'aomi Baker

Snap It Up!, by jeanone Twtgg

All(, u/ \try,lrtg /1y lam my Young and

Dhtm(l"' :>trgtt c;r/h & Crafts, by

Nt'\\' C tt'<lllv_c .Scrgm~ lllu\ltatcd. by P~m

(crt Qwlh ctll.l (rcrfts. hy Ll\'cr.l

lrwnglcs Jor Qullr<rs. by Janet

Dyrlr Pwntlt' Qurlr It' by Joy<e Mon

l'asl Patch Kids Qurlrs. by Anua

Hnrloom Qu1lts, b) rhe cduoro of

Q111lr As You Go, by Sandra tl-hlleu

Stot<h n Quilt. by Kathleen fawn

Tt<hniqu<> of )aponese Enrbr,,.da~. by

Tlua-Dtiii<'IIStonal Prwc/ Qrulrs. by

l'lttmate :>oar Qurlt. by Joyce \\on

l'.lllll'f \l.ldl<' .md r.lpcr~l.l\ lk.l.l\\tllk -ll.m<hlt;ldc r.1p.:r-

C r.llh Kmlh1.1h- r,nnted Wood

ookmg b.lek. I rcmemb.:r

Su>;~n Prokop. and Dee Dee

whose pauent and contntiOIU

GETm\v Til E M OST fRO~I

T li!S BooK ............................viii

Chapter 1- GATHERING ..... ... 3

Singk -Eclge Gathering

Chapter 7-SMOCKING ......125

Chap ter 2- SHtRRlNG .......... 19

SurrLE~l EI\'TARY F ULLN55

M AKING R UFFLES ..............43

M AKING fLOUNCES .......... 67

NorLh American Smocking

Chapter 10- Q u n.TI NG.. .. .. 20S

Chapter 8 - T UCKJNG ........ H 9

USING D ARTS ............. - .. .267

COMlllNArl ONS ........ ...... 283

APPI!NDIX ........................... ....... 29 5

Chapter 9-CORDING .......... 187

T he Art o f Monipulating Fa bri c

h \larted innoccllll) enough 1n

Over the )Car>. I "" conunually

and felt th.u wr nrcdtd ,, hook

oiled the book Falmc 111 Relief.

watc:hm)t thl'lr f.ll.:l' ' .t .....he pullld

Uke the boxes. the book greo. and

So here tl is-finall)'! I wosh I

'""ll'<llll' .11 ( luhun a,ked her to

(,\h'l llllW "

Tht Art <of Mauljwlalln& f abrlt

ho< o< a book of tdeas about