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(212) 226-1400 • www.ttfabrics.com IJ ~:c~b~ok ~ :. http://sewtimeless.net
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successful in Europe.
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captains and intro-
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SEWING STORIES 1866
In 1866 George Clark
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developed a six-cord, soft
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by visiting CoatsandClark200years.com finished thread, the first
T11e COATS & CLARK thread suitable for the sewing
machine which revolution-
story begins in Paisley Scotland in ized the thread industry. He
1812, and for 200 years families called it "Our New Thread"
which became known as
have stitched their history O.N.T., the famous trade-
mark for the Clark Thread
with the name you can trust for company.
all your sewing needs. Now we ~ .~
share the story with you. I
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t..d@ '~
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I 1939
Market conditions in the
1940's were reversed by
textile requirements of
World war 11. American
women began to sew
again to have garments,
as well as for the thera-
peutic value during the
trying times of war.
Coats & Clar ® ~~
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2007
As home sewing
machines became more
advanced, Coats & Clark
recognized the need
for a thread in which
all variables could be
controlled to produce
a consistently smooth
thread and introduced
Dual Duty XP.
~~ I
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www.coatsandclark.com ___________,,,I
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•
---
•
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www.coatsandClark200Years.com •
©2012 Coats & Clark .
A I rights reserve<l. Coats
& C ark is a reg stered
trademark
12-005
 editor's note

•
sewing
pleasures
I KNOW IT'S STRANGE for the average person to become
enamored \Vith fall \vhen summer is just getting into full
bloom, but it's not at all strange for Se\viSts, right? We need
a full season of time to mull over projects, drool over fabrics
and, \vell, make the stuff so that it's ready to wear \V hen fall
arrives for the rest of the \vorld.
Fall is one of my favorite seasons to se\v for. Maybe it
began in childhood \\rith all the excitement of getting ready
for the beginning of school. There \Vas always a ne\v outfit
to consider and \Vear proudly, especially on the first day.
I clearly remember "valking hand-in-hand with my mother
to my kindergarten class, sporting a bright red shift with
an appliqued ladybug, and my mother wearing a dress
to match. She had made both to celebrate the first day of
school- and if l had that shift in my size today, you can bet
it would be at the front of my closet!
So what better way to celebrate fall sewing than "vith a
pretty new dress? In "Dress It Up!" you'll find everything-
from a pretty-in-pink party frock and demure blue number,
to an all-business sheath, sleek knit tunic dress, and flirty
beaded mini-dress. Something for every occasion!
For the little ones, the School Days section is ready
for the class bell. From clever and colorful clothing
dividers, a hedgehog tote, and bunny nap pad, to a vibrant
vest appliqued "vith critters (a modern version of my
ladybug dress!), reusable snack bags, and a pretty notebook
and bookmark for teacher, you \vill find projects that both
you and your children can create.
On the earth-friendly side, the Upcycle!section
celebrates the season of harvest \Vith projects that you
can cull from your O\vn closets and storage bins. Create a
fab denim bag, s"veet girl's pinafore, and avant-garde neck
\Vrap, all from clothes and fabrics you have on hand. Or try
a shirt blanket, zipper bracelet, measuring tape clutch, or a
wall pocket panel to store your loose items. These are beau-
tiful projects all in the name of recycling and restyling.
The Embroider This section \vill appeal to the nester
in you, as chilly \veather approaches. You will adore every
single one of the embroidery projects, from an octopus
clock, woodland animals wall art, and autumnal placemats,
to svveet baby shoes, pretty plant holders, a faux sashiko
pillow, and gorgeous guitar strap.
Top it all off \\rith Great Hats, a section devoted to
toppers from fancy to snuggly. The glam fascinator joins
the daytime wardrobe, along 'vVith a mod ne\vsboy-style cap,
soft cashmere head hugger, and two lovely flo.,,vering hats,
in fe lt and fleece.
This issue is ripe for the picking and I hope you enjoy
making these projects as much we enjoy bringing them to
you. Be sure to visit SewDaily.com and let us kno\v 'vvhat
you think, even if it's only to let us kno"v \Vhat you wore on
your very first day of school.
As al\vays, happy stitching!
a.mkr~
stitchsubmissions@interweave.com

. G~<J
in the mail! .check it out! a()'
Check out the ·Stitch For fullcsize pattern downloads .
a11to-ship prograTT1 a.t for se.IE'Ct projE'CJ? ip this iSSlje,
shop.sewdaily.com. .oo line
.·.-
extras, the Stitchblog,
- _-.
'
- ·:- ' -

Get -every issU,e sent and .to sign up for the Sew

~~::;to vouj ( «-v ·. Daily freeE?-newsJetter, gq to

·• sewdaily.c()lll
--
~~. ·' - - ..
2
* stitch
 • ••
. . -~~~

s.""iA~ MAc;.kit\tt .
•

• ' J"
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\ . ..\- .
BERNINA0
•

The entry-level series from which there is no holding back: t he •

BERNINA 3 Series is just the beginning of something beautiful.
Each model combi nes aesthet ics and design w it h soph isticated technology.
The select ion of decorative stitches and sewing alphabets helps you create
a lifetime of possibilit ies for individual creativity and inspiration.

Learn more about t he BERNINA 3 Series and download free patterns at

www.bernina usa.com/3series.
 40
FEATURES
14
technique spotlight:
draping a bodice
GRETCHEN HIRSCH

24
fabric rosebuds
TOMASA JIMENEZ

26
material world:
the bottom line
L INDA TURNER GRIEPENTROG

32 DEPARTMENTS
artist profile:
vicki jensen 2 editor's note 22 wish list
MARY WALTER •I
' '
' '
o

a what's new+ cool ao sewing basics

34 ' '
' '
'I 'O
Tools, Techniques,
+ Terms
sewing with knits ' '
'' ''
10 sew boutique
Home Ee Workshop
LINDA LEE
..'' '''
' LINZEE KULL MCCRAY 144 sew inspired
40 .
• •
'' ''
' Crafting Hope
SUSAN BEAL
KEVIN KOSBAB

a strand of thread-
' I

••' ••' Perfect Pairing

the story behind the I
• •o LINDA TURNER GRIEPENTROG
••
..
•
•I
200-year evolution o
''
of Coats & Clark ''' '''
SUSAN BEAL
..
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''
'
0
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I 0

-- .''' ''''
·-·--·-········· ....... ·-········ ................ ·- . ·-·· --·····-···-------·-·· ... ........ .. - .. ... .
.'
......................... 1- ' ········
' '
• - ............... - ... - - - - - - - - - - - - ... - ... - - ...... - ........... - ...... - ......... - - - - ...... f' "("' ... - ......

.. ...... ........... :";' ON THE COVER: Quick Faux Sashiko Pillow, page 60
,,'
* stitch •
•• j

• •
 DRESS IT UP
The dress is the iconic 48 beaded silk
fashion statement of handkerchief dress
fall, whether simple ALEX SUDALNIK
and elegantly chic or
embellished with stylish 49 batwing jersey dress
details. Each of these five EMILY LI MANDRI
dresses are as versatile 50 prettiest party frock
as they are stylish! GRETCHEN HIRSCH

51 the big blue

AMBER EDEN

52 the business edge

KATRIN VORBECK

UPCYCLE!
Fall is the season of harvest and what better time to discover creative
ideas for upcycling. Convert something vintage into something beautiful.
67 upcycled denim 70 retroactive neck wrap
messenger bag RACHEL GUEDON
BETZ WH ITE 71 ;zippy bracelets
68 upcycled pinafore SHEREE SCHLOTE
SIGRID ARNOTT 72 patched pocket panel
MARY WALTER
69 recycled shirt blanket
MISSY SHEPLER 73 measuring tape tote
LINDA TURNER GRIEPENTROG

·------ '
__ J
''
SCHOOLDAYS GREAT HATS
It's time to start dreaming about Hats are the most perfect of
all the adorable supplies, new accessories for fall. Try these toppers! EMBROIDER THIS
outfits, and crafty projects you From pretty freehand work to intricate
74 the fascinator
can devise. embellishment, these embroidery
ALEX SUDALNIK
projects will delight you.
53 fuzzy hedgehog tote 75 slouchy cashmere hat
CHERYL BUSH SIGRID ARNOTT 60 quick faux sashiko pillow
54 schooldays 76 flowering fleece + felt hat COREY YODER

teacher's set STEPHANIE SMITH 61 embroidered

JUN E MCCRARY JACOBS 77 flapper-inspired felt hat guitar straps
55 snack bags APRIL MOFFATT MADELEINE ROBERG
ROSEMARIE DEBOER 78 mod newsboy hat 62 harvest placemats
56 night critters vest JENN RHOADS SUSAN LIU
T INA LEWIS 63 embroidered mary janes
57 colorful clothing for baby
dividers APRIL MOFFATT
JENNIFER RODRIGUEZ 64 oilcloth plant holders
58 bunny nap roll CAROL ZENTGRAF
J ENNIFER WOLAK 65 embroidered critters
59 chalkboard mat HEIDI BOYD
LISA ANDERSON 66 embroidered octo-clock
STEFAN IE BERGANINI

~-----------------··----------------------··-·-- '' ···-----

' -·--------·-----------------------------·---·
s
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i• La Todera :• CREATING WITH FABRIC THREAD

: sewing and craft patterns ! EDITOR Amber Eden

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•• CONTRmUTING EDITORS Susan Beal, Linda Turner Griepentrog, Gretchen Hirsch
•• PRODUCTION DIRECTOR Trish Faubion • PRODUCTION EDITOR Nancy Arndt
i• PRODUCTION DESIGNER J(ate Binder
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EDITORIAL DIRECTOR Helen Gregory
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AD TRAFFICKER Jvieliss.:i Jviaric Brown • MARKETING DIRECTOR Mary !<inCannon
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 michae mi er
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L----__. !.':'.~a~c~h~1n~e~w'!_a~s
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polyu \'V\'t/W.m.ichaelmillerfab rrcs.com
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 •
sewing room

Edit ors' picks for p roducts,

t ools, books + notions
what's new +cool
----... ---...-.. --- --........ -........ --.. - .. --......... -.... --..-......... ---... ---....... - -.. -
"' ......... -... -.. -
The lightest
interfacing ever-
just right for
sheers, silks,
and other light-
to mid-weight
fabrics. ULTRA
SHEER FUSIBLE
INTERFACING
offers a touch of
support without
changing the I

Soolbe•
'

drape of a fabric. '

Use in facings,
collars, or fuse
to yardage for a
fabric that needs
a bit more body.
White, beige, or
black. 36" wide.
The Sewing vVorkshop, This non-greasy hand-therapy
sewingworkshop.com. gel was designed with
$18/yd. sewists in mind. When your
hands are dry or tired, rub
on a drop of MARY ELLEN'S
MADE BY HAND and get
Draw a precise line every time. Garment sewists,
right back to your needle and
quilters, and crafters will all appreciate the accuracy
thread- it won't stain fabrics
of the CHAKONER. This heart-shaped marking tool
or affect your ability to grip
contains a fine white powdered chalk that dispenses
your needle. Made with white
from a rotating serrated wheel located at the
willow bark, a natural anti-
bottom of the heart. Quickly mark darts or pocket
inflammatory agent. 4 oz, Mary
placements or use with an acrylic ruler for straight
Ellen's, maryellenproducts.com, $1.95.
line marking. The Sewing Workshop, sewingworkshop.con1, $ r 5.

Fast, convenient, and effective, the SEWLINE
GLUE PEN holds fabric pieces together for sewing.
Great for applique or to keep a hem in place before
stitching. The water-soluble glue is light blue (also
available in yellow) when applied, but dries clear.
Refillable. $6.95
8
* stitch
Using a ceramic-based lead, the SEWLINE FABRIC
PENCIL is designed to give you a thin clean line while
still being easily removed with the attached eraser or
sponged off with a damp cloth. Available in five colors:
white, black, yellow, green, and pink. Cushioned finger
grip for comfort. sewline-products.com, $15.95.
 •
sewing room

CLOVER WONDER CLIPS are an ideal solution for working

with oilcloth and laminates- no more hunting around for
spring-loaded clothespins or hair clips. They are also a great
alternative to trying to pin through upholstery-weight fabrics,
keeping totebag handles in place, or holding piping secure
before stitching. Clover, clover-usa.con1, $6.95/ ro clips.

Celebrate great fabric by

using every scrap- this is As the firs t cafe sewing shop in Paris, the
the premise behind SUNDAY Sweat Shop storefront in Paris marries the
MORNING QUILTS. practicality of a workroom with the ambiance
Modern quilters Amanda of a living room. LESSONS FROM A
Sunday Jean Nyberg and Cheryl SEWING CAFE: SWEAT SHOP PARIS
Morn ing Arkison share a passion translates this trendy Parisian experience
into book form- with more than fifty DIY
Qui 1ts for scraps. From sorting to
piecing to finishing, this fashion and home projects. Tvy .Press, Andrews
. ~ )lf>i&!{JftylJ)'l
Bild•: !r$.Jl.lqc "h~~
book will help you turn your McMeel Publishing, andrewsn1cmeeLcom, $24.99.
treasured leftovers into a
modern quilt with your own
Sunday-morning style. Stash
Books, stashbooks.com, $22.95.

A collection of
projects based on
creative techniques
with fabric, MAKE
IT SEW MODERN
includes more than
twenty sewing ideas-
from scarves and
embellishments to
purses and eye-catch- BROMLEY, a new calico collection from WESTMINSTER
ing quilts. Vanessa FABRICS, is based on selections from the pattern book
Christenson, owner of the Bromley Hall works, a well-known English textile
of V and Co., has a manufacturer near London. The pattern book, now housed
passion for clean lines in the Victoria & Albert Museum, dates from around
with enough texture to 1760-1800. The original fabrics, mainly of flowers and
give things a modern, foliage, were printed from copper plates that allowed more
yet soft and personal look. detail than the wood blocks previously used for printing.
That Patchwork Place, n1artingale-pub.com, $24.99. Westminster Lifestyle Fabrics, westminsterfibers.com
9
·····:········ ····-·
·····-·····-·············-················-~···•4••···················································································································································-···············

sewdally.com *
 •
sewing room

From inspiring people to hot

sew t rends, check out the news from
around the sewing world.
---------------------------------------------------------------------------

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Owners Alisa Weinstein (left) and Codi

Part shop, part cozy fam ily room-the Home
Ee Workshop is definitely all creativity!
HOME EC
WORKSHOP
Text LINZEE KULL MCCRAY
Whether it's called a stitch lounge or craft
boutique, a new kind of shop is giving
textile lovers a place to feed all their
handmade longings.
In February 2008, Codi Josephson and
Alisa vVeinstein opened one such shop,
Home Ee Workshop in Iowa City, Io\va.
There they offer classes in myriad textile
techniques, stock contemporary books,
patterns, and supplies, and hold indie craft
fairs and art exhibitions. "We \vanted a shop
that would be part of the creative process,"
says Codi.
When you step through Home Ec's
doors, it's apparent they've done just that.
In the cozy space, bins overflow \Vith shell
buttons, fibers for felting, and folkloric
ribbons and trin1s; baskets hold embroidery
floss, yam, needles, and notions. Customers
brovvse through fat quarters filed in vintage
bread tins and the bolts of linen, cotton,
Inspiring supplies bring out the artist in both
novice and veteran craft ers.
and oilcloth that line the \Valls. On a typical
day, Codi may be cutting Japanese fabrics
in the sunny front room while Alisa and a
customer sit on the red couch, practicing a
new knitting stitch. A guest instructor in
the workshop may be helping students sew
skirts, screen-print fabric for infinity scarves,
or crochet Japanese-style aroigurumi
critters. Above it all you'll hear the \vhoosh
of the cappuccino machine and the sound
of laughter.
Josephson (right) provide an inspiring
atmosphere for t heir creative community.
Like many "craft boutiques," Home Ee is
as much a community as a store. "Customers
may not know exactly \Vhat they \Vant to
make \Vhen they come in, but seeing
our materials and how other people use
them is inspiring," says Alisa. "vVe have
lots of beginners and 'crossover' crafters-
knitters try quilting and quilters learn to
screen print." Home Ee also rents se\ving
machines, an iron, and cutting table on an
hourly basis, and is a popular location for
baby and wedding showers and birthday and
bachelorette parties.
Similar shops, including Crafty Planet in
Minneapolis; Workroon1 Social in Brooklyn;
Gather Here in Cambridge. Massachusetts;
and Stitch Lab in Austin, Texas; provide
"crafting crossover" opportunities around
the country. "There's a special kind of energy
in a place like this," says Codi. "Seeing how
our customers use the materials \Ve've
chosen is so inspiring."
For more information visit: Home Ee at
HOMEECWORKSHOP.COM, Workroom Social
at WORKROOMSOCIAL.COM, Crafty Planet
at CRAFTYPLANET.COM, and Stitch Lab
at STITCHLAB.BIZ, and Gather Here at
GATHERHEREONLINE.COM.

10
* stitch
 ,-------------- ----------------------------- ---- --------------------------- -------- -----
'

_____ ..
Crafting Hope
An activist mother
~
in Texas changes Craft Hope
lives worldwide with
handmade gifts
Text SUSAN BEAL
theEarth
Jade Laswell started Craft Hope, a global
website to encourage hand1n ade activism,
out of her kitchen in Austin, Texas,
in January 2009. Her first post v.ras a call for _J
_J
LU Jade I
pillo\vcase dresses for girls at an orphanage :s: Laswell and I
<fl I
in Nlexico. She was hoping for five dresses <(
_J
her children
LU surrou nded
by the deadline, but \Vas delighted to gather <( 0
by the
and send t\venty-seven (as well as shorts for '>- generosity
(])
the boys). The next Craft Hope project, two o f th e
<fl
0 online
months later, asked for handse\vn dolls for f-
0 cra fti ng
:c
children at an orphanage in Nicaragua- Q_ community.
and crafters all over the world sent in over
400 of them. I \vould guess maybe 20,000 people have
Jade says the depth of the response participated. Many people sign up to make
took her breath away. "I wanted to inspire items and then rally their friends, craft
others to make a diffe rence. A simple act groups, Girl Scout groups, and church
of making a doll and sending it to a child groups to join them. It's a beautiful thing.
in an orphanage on the other side of the We are so gratified by everyone's outpouring
world can change h earts and inspire hope. of love and generosity."
vVhat I didn't expect was the lives changed Jade's 2 0 10 book, Craft Hope: Handmade
for the crafters as ,,vell. I thought \>/e Craftsfor a Cause, collects thirty·t\NO
would make things for people who needed original projects to make for charity, from
a little h ope and love. Then it became designers such as Amy Butler and A1nanda
the giver who \Vas benefiting as \Vell: Blake Soule. Jade says her favorite project
the simple act of stitching an item for Pillowcase dresses read y to b e delivered to vvas collecting the sock monkeys, which her
a person you \Vill never meet." an orphanage in Mexico. ovvn kids loved playing \vith as \vell.
Craft Hope has hosted 1n ore than "I feel like we are just gaining
sixteen community projects (and in omentum and growing," Jade says.
counting), with ne\v drives announced "Amidst heartache and tragedy I want
every few months. Jade, a mother of three, Q people to stop and think, 'vVhat can I do for
•
I
I

explains, "I really like to focus on projects someone else?' I would like to plant the seed
for kids." That adds up to 600 handsewn in people's minds that one simple gesture I
I

sock monkeys for children who lost their changes many lives."
homes to wildfires in Texas; 2,614 hats,
booties, and blankets for babies in India;
5 ,2 ro delivery kits for mothers and babies
Handmade Crafts for a Cause
'J,..9~ For more information,
in Haiti; and 35,000 colorful beaded, ?,) ' visit CRAFTHOPE.COM. ., ____ _
JAO< SIMS V\...J
sewn, woven, and knotted bracelets for
orphaned children in Russia.
Jade says, "V.Te have collected over
100,0 00 handmade items for charity, and

11
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sewing room
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~-------------------------------------------------------------------,

PERFECT
PAIRING
Identical twins partner
in their creative work
Text LINDA TURNER GRIEPENTROG

While many identical t\vins are caught up

Lori (left) and Lisa Lubbesmeyer work both alone and collaboratively on each fiber painting.
Color is the starting point for each individual
piece. The fabric is transformed using only
simple stitches and a basic sewing machine.
in sibling rivalry and competitive feats, Lisa
and Lori Lubbesmeyer of Bend, Oregon, are
\Vorking toward the same goal-fabulous
appliqued fiber-art "paintings." But, the most
interesting part is that they \vork on them
together, but separately.
Their pieces begin \vith color S\vatches
stitched in place on blank muslin
"canvases." One twin begins the work and
soon, without a \Vord, hands it off to the
other. The second continues to add layers of
fabrics and her vision of the outcome. The
piece goes back and forth betwee11 the t\vO
\VOrnen-sometimes t\venty times, until
they both "feel" that it's complete. There's
rarely any conflict, as each has respect for
the other's vision of the work, despite not
>-
I
CL knowing what that is.
CJ:
(!)
Working on about fifteen pieces per year,
0
~
the t\vinS sell their art in their studio/gallery
I
CL located in Bend's Old Mill District, and they
:::J
w
also do commission \Vork for individuals
ffi and businesses. In 2 003, they were invited
0
z to exhibit with the Art in the Embassies
w
0::
:::> prograni, "''here artists' "''Ork is shown in
:5
,... U.S. embassies around the world.
~ Lisa and Lori use only simple stitches
~ and a very basic machine for their applique
ii \Vork, and ironically, neither has any formal
Lori, left, and Lisa Lubbesmeyer began their se\ving education. Lisa is trained as a print-
artist ic partnership in the 1990s. maker and Lori as an oil painter, so the fiber
media \Vas ne\v to both when they began
their collaboration in the 1990s.
And, of interest to sewers- their "stash"
consists hundreds of '/.-yard cuts of fashion
and decorator fabrics usually purchased on
an annual shopping spree. Lisa notes "Most
sewers are glad not to be behind us in the
fabric store line!"

d-(_0 For more information,

(JO visit LUBBESMEYER.COM.
12
* stitch
 sand dollars and starfish
sling chairs and sunsets
polka dots and stripes
unique fabric and modern style

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Text GRETCHEN HIRSCH
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IF YOU'RE IN'fERESTED IN DESIGNING your
own sewing patterns, a basic bodice block is
) \
\
\
\
I
one of the most important tools you can have.
A block (also called a sloper) is a pattern that's

I
\
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mainly devoid of design details; it's a bl ank
\
\ slate intended as your design starting point.
\
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The basic bodice block has a jevvel neckline,
I
I waistline darts, and little-to-no wearing ease.
\
\
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I make my blocks with no ,..,earing ease at all,
I
I since I often design garments-like retro party
''• dresses- that are not intended to have ease.
I
I Tfin d it easier to add ease, if desired, in the
•• design stage .
I
I

- I There are two methods of patternmaking: flat

•
I patternmaking, which is done directly on paper
I

I
I
\Vith the aid of a reference text; and draping,
I
which is done directly on a dress form. These
I '' methods each have pros and cons, but Tprefer

-
I
I
I draping because it is intuitive and visu.al, which
I
'
I suits me \vell. On the downside, you need a dress
I
form-and a designer dress form is best. This
I
I
'' type of dress for1n is covered in linen and has

-· guidemarks that you can feel with your fingers

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J: I
(.)
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</)
tr I as you're draping-the princess seams, the raised
-J:
'
I side seams, and the metal arn1hole plates are all
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J: I there to help you out. I bought nune used on
(.)
I- 'II Craigslist. You can also save inoney by looking
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for student forms sold through university
>- •
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fashion progran1s.
0
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'
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\ inexpensive adjustable dress form, and it
\
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turned out just fin e. You could even get
'
I creative and drape on a hu1nan body! You just
\
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need a buddy and a skin-tight top that can be
\
\ pinned into.
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figure 3
' figure la I
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DRAPING THE BODICE FRONT crossgrain of the fabric. To find the 0 Now that your n1uslin is in place, smooth I
I
Let's get started! placement of this line, hold your muslin it over the contours of the dress form in a
I
I
I
rectangle up to the dress form and make a counterclockwise direction, starting at the I
0 First, you need to prep a piece of muslin. pencil mark at the bust position. vVorking
I
I

Medium-weight muslin is ideal Start by center front neckline. Smooth the muslin I
I
on your muslin, use a clear ruler to dra\v around the neckline, pinning it in place as you I
tearing it into a piece that's large enough a line at 90 degrees perpendicular to your
I
I
to cover the entire right-front torso of your go. Pin directly onto your dress form's seam I
I
center front line. Finally, fold under the lines, which you will be able to feel through I
dress form, with about five extra inches to I
vertical center front line and create a the muslin. The fabric \vill buckle and \vrinkle I
spare all around. Jlliake sure that the piece is I
crease on the line with your fingernail. around the curve of the neck, so you \vill need
I
I
wide enough to go around the entire front Now we're ready to drape! I

neck of the dress form. to clip into it \vith your scissors. Holding a I
I
I

f) If your muslin rectangle looks skewed,

0 Start by pinning your muslin in place, pair of scissors vertically, n1ake several clips I
I

matching up the fold to the center front into the fabric, being careful not to cut past I
I
pull on the opposite corners to straighten the neckline itself. (figure 3) I
line on your dress form, and matching I
I
the grain. Test it by laying the edges on the the horizontal line to the bustline. Pin the I

right-angle corner of a desk- make sure it is f) Next, sn1ooth the fabric along the top I
I

muslin in place at the neck, the bust, and plane of the shoulder, placing your pins on I
nice and square. I
the \vaistline. (figure 2) Place a temporary your dress form's seam line. I
I

0 On one long edge, dra"v a pencil line 1" pin at the shoulder line, to keep the muslin I
I

in fTom the raw edge of the n1uslin. This will out of your \vay as you vvork. Smooth the 0 No\v you're at the armhole. Smooth the
I
I
I

be your center front. (figure 1) horizontal line over the bustline, and place fabric around the armhole, pinning along I
I

two pins at the bust apex, or the fullest point the ridge on your dress form. Your armhole I
I

0 Next, dra\v a horizontal line that of the bust. (T\VO pins anchor this spot more will end about belO\V the metal plate.
1
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will be placed at the bust to mark the securely than one.) (figure la) I
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~-······ ··~·····1I·· ..............
s~wdai ly.com
. *
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sewing room

0 'fhen comes the side sea1n. Use your

v hands to pull the fabric taut to the side sean1.
You will begin to notice a "cone" of excess
fabric forming underneath the bust; this v.rill
be your dart. Pull the fabric to\vard the side
seam, smoothing it to the point that you don't
see any diagonal pull lines. Place pins dov;n
the side seam, feeling for the raised seams on
the dress form underneath. (figure S)
I G Our last steps are the dart and the
\Vaistline. Gather up the "cone" of the dart
figure S excess in your hand and place a pin on either
\ side of it. (figure 6) The dart excess should
\
\
\ be placed directly underneath the fullest
\
\
\
point of the bust. Use the princess seam line
\
\
\
on the dress form to locate this point.
\
\
\
\
Ql Now, smooth and pin the fabric along
\
\ the \vaistline. Tf your dress form has a tape
\
I
\
that marks the \Vaistline, use the bottom of
I
I the tape as your guide. wlake vertical clips
\
I along the curve of the \Vaistline, just as you
'I
I did with the neckline. Pin the \vaistline all
' \
I
the \Vay to the center front.
\

' I
I figure 6
e Finally, pin up the legs of the dart, until
I
I you reach the bust apex.
I
• I
• MARK YOUR DRAPING
I
I
I
I
e Trim your sean1 allowances down to 1"
I
I
outside of your pins. Using a pencil (I like
I' one with soft lead because it's easier to \vrite
I
I ' on muslin), you will make little dot marks
I
I all the way around your draped bodice. Start
I
r at the center fron t neck and make dots along
I
I
~ the neckline. (figW"e 7)
I
I •
I
I «) Repeat marking with the shoulder sean1,
r
I
I arm hole, side seam, and \vaistline. (figure B)
r
I
I
' G) Make little L-shapes that mark the base
r 0
r
I figure 7 of the dart, then mark next to the pins that
'
I
r
are holding the dart in place. (figure 9)
I
I
I
G) Once everything is marked, remove
I
I your drape from the dress form and place
I
I
j
it flat on a table. See ho\v your pattern is
I
I taking shape?
••
I
I
• (i) Using a clear ruler and French curve,
I
• connect your dots. Start at the center front
I
I
I
neckline and use your ruler to drav.1a short
I
I line (about an inch) that is 90 degrees
I
perpendicular to your center front line.
I
I
I .J.i
• (figure 10) This horizontal line will keep
' I
I your front neckline smooth, rather than
'
I
I
I
16 figure 8
...... '
\
\
I
figure 9
figure 11
f
I
figure 13
dipping into a little Vat center front. Use
your ruler and French curve to connect your
dots all the \Vay around the bodice front. Be
sure to draw that same short perpendicular
line anywhere t•vo Jines meet to form a right
angle, like the underann, •vaistline side, and
waistline center front.
() When you get to your dart, shorten it
slightly, so that the dart doesn't end directly
on the apex of the bust. Make a mark •/,"
figure 10
figure 12
figure lie
do\vn from the apex and connect your dart
legs to this new lo,ver point. Fold in the
dart as it will be sewn and make sure your
\vaistline seam is straight. Using a spike-
tooth tracing \Vheel and a lot of pressure,
dra\v over the base of the dart. When you
open up the dart, you'll see little dots from
the \vheel that indicate the shape of the
dart excess. Draw over these dots "vith your
pencil to "true" the dart. (figure 11)
DRAPE THE BODICE BACK
~ This process is much the same as the
front bodice. Prep your muslin, making your
vertical and horizontal lines. The horizontal
line on the back \vill be placed along the
broadest part of the upper back. (figure 12)
Pin the mt1slin in place at center back and
drape in a clocl'Wise direction-drape the
neckline, the shoulder, (figure 13) armhole,
side seain, "vaistline, and waistline dart.
(figure lie)
17
sewdaily.com *
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sewing room
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- ---
.-.,,. ,,,.
------

figure 15

ABOUT THE AUTHOR

Gretchen "Gertie" Hirsch is a
contributing editorfor Stitch and a
passionate home seanistress. She is also
the creator ofthe popular sewing blog,
Gertie's New Blog for Better Sewing.
She teaches sewing in New York City,
around the country, on PBS's It's Sew
figure 16 Easy, and on Craftsy.com. Her work
has been featured in various sewing
n1agazines and websites.

(D Trim your seam allo\vances to about 1"

(figure 15) and inark your draped muslin.
(figure 16) Then remove it from the dress
fom1 and connect your dots as you did for
the front bodice.

TEST YOUR DRAPE

$ It's time to put your \vork to the test
figure 17 by doing a fitting on the dress form. Pin
the darts closed on the front and back.
(figure 17) Now, fold under the seam
allo\vances on the bodice front and match
up the seam lines to the bodice back on
the shoulder and side seams, placing pins
vertically to hold the bodice together.
e Place the bodice on your dress form,
pinning it only where necessary to make
it stay on. Place a pin at center front and
back at the neckline and waistline. l\1ake
sure that your center front and center back
lines n1atch the center lines on your dress
form and that there is sufficient ease at
figure 18
18
.................
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;'

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,, .......
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;'

--- ------ --- ,

.,,,.

---- --- ---

-- DESIGN YOUR NECKLINE
Start with a basic bodice block that fits you well. 1·ve kept the darts as
they were and left the focus on the design of the neckline. For drafting
purposes, it's easiest t o work with a bodice without seam allowances.
0 First, mark the width of the neckline. Draw a mark \Vhere you want
your neckline to start; mine is about 1" in from the shoulder.
O No""· figure out ho"v low you want the neckline to be; an inch or
t\VO lower than the base of your throat is a good guideline for a classic
boatneck. Mark the depth of the neckline, making a 1" horizontal inark
at center front that is at a 90-degree angle to the center front line of the
bodice.
G Using a French curve, draw a gently curved line from the shoulder
mark to your center front mark.
0 Repeat Step I on the back bodice shoulder.
0 Decide \Vhere you want your low V-neck in the back to end. I ended
mine so that it just covers a regular bra strap, so no special lingerie will
be needed to \Vear this party dress! Nlark that point \.Vi th a small dot.
Using a ruler, draw a new back neckline from your shoulder point do\\rn
to your low V-neck point.
O Add seam allowances to your pattern.
O Cut out your bodice front and back in your garment fabric.

DRAFT FACINGS
An all-in-one facing finishes both the neckline and armholes of a
sleeveless garment, giving you a tidy look on th e inside of the dress.
O On your bodice front and back pattern pieces, make a mark 2s/s" below
the armhole on the side seam and another mark 25/s' below the neckline
at the center front line.
O Using a French curve, connect these nvo lines. This is your facing
shape.
~ Transfer the facing patterns to a fresh sheet of pattern paper.
tD Cut out the facings in your garment fabric and fusible interfacing.

the bustline. To test the ease, place three ~ Transfer your pattern to paper at this
fingers under the front at the bustline. point. It's no\v complete and ready for your
Q1 Next, evaluate the fit and check that o\vn designs!
your seam lines match up. I found a
mismatched point on my shoulder seam, Ifyou'd like to delve farther into draping and
so T corrected it \Vi th an orange pencil. pattern making, check out the books Draping
The other problem I found was that t he for Apparel Design andPattemmaking
:c front \vaistline didn't quite meet at center for Fashion Design, both by Helen foseph-
u Arn1strong. Though a bit on the pricey side, these
Vl
~
front; it was too small. So I unfolded a bit
:c of my r" extra at my muslin center front books are the gold standard.
zw
I
and made that my new center front line.
u
....
w
(figure 18) NOW TRY THIS
~
In Stitch W inter 2011, we showed you
~ After you've addressed any problems,
<.::>
>-
co how to draft a skirt. Now you know
....00 make the corrections on your mttslin in a how to drape a bodice. Put the t wo
I
Q._
contrasting color. (figure 19) together and you have a dress. Try it !

figure 19
19
sewdaily.com *
 •
sewing room

TOOLS + TERMS
Draping and pattern dr aft ing come w ith their own
language. Fortunately, ifs not a difficult language t o spiked-tooth tracing wheel
master-and you will reap the benefits immediately by
being able to make your own pattern s and mo re easily SPIKED-TOOTH TRACING WHEEL. If you're browsing the
alter commercial patterns. Let's take a look at some of notions wal l at your local fabr ic st ore, you should have
the tools and t hen catch up with the terms. access to three different styles of tracing wheels. The
most comm on has a w heel w ith roun ded serrated teet h
TOOLS and is used to tr ansfer patter n m arkings to fa br ic w ith
DRESS FORMS. Basically a body double, dress fo rms the aid of dressmaker's tracing (or transfer) paper. The
range from the professional dress form such as the one rounded t eeth leave a pattern of dot ted l ines anywhere
shown in this story, to forms made by being wrapped it is rolled over the transfer paper. Also used to t ransfer
(and rem oved) from duct tape- to ma ny, many options in markin gs are t ra cing wheels with smooth edges that wi ll
between. Although well worth the m oney, profe ssional leave continuous lines instead of dotted lines. The third
dress fo rms can be expensive, so if you're on a budget, type of w heel is used by pat t ern drafters and is what you
try to find a used fo rm or start w ith an inexpensive should use for dr afting this bodice. It has very shar p,
model. pointed teeth and is designed to leave pre cise marks in
the muslin for the pattern maker to follow. It's also per fect
for copying a pattern.

TERMS
clear ruler
BLOCK/SLOPER. A very fitted muslin shell tha t is then
' f • , • • .. ..
•
. .. .. tr ansfe rred to a paper patter n, the sloper is intended to
•• Q

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repl icate the body shape as a guide for fitting and design.
It is generally made up of a bod ice and straight skirt,
hip curve w hich can be changed to creat e different designs. The
sloper is usually a starting point for a garm ent rather
than t he final pattern piece.
french curve
DART LEGS. To eliminate excess full ness, a dart is a
stitched fo ld , usually a triang le, that shapes that fa bric.
The two l ines that are brought together to creat e the fo ld
RULERS. If you have a clear ruler and a French curve in are cal led the "legs."
your toolbox. you'll be rea dy fo r almost anything. Because
you need to see the sma ll dots that you've marke d on the DRAPE. When a designer or patternmaker gets ready to
muslin w hile it was on the dress fo rm , a basic 2" x 18" drape, it refers to laying fabric over a dress form to crea te
CLEAR RULER will help you create the lines needed for a design.
seams and darts. And since not all lines on your sloper
are straight lines, you wil l also need a FRENCH CURVE to MUSLIN. Muslin is oft en t he fabric used for draping, and
help you ma ke smoothly rou nded neckl ines and arm - when designers speak of "a m usli n" they are referring to
holes. Often found in art-supply stores, French curves a sloper. Made from an inexpensive fabr ic that replicates
come in many differe nt sizes with curves ranging from the dr ape and weight of the final fashion fab ri c, a
a gentle arc to tight coils. An 8" or 1O" model w ith soft well-constructed muslin is worth its weight in gold.
slopes w ill give you plenty of good options fo r working In general, you w ill drape a design w ith an inexpensive
with a bodice. For long er and more subtle curves, espe- version of the final garment fabr ic. For instance, you
cially if you venture forward into pants drafting, you may could drape a polyest er chiffo n muslin for a silk
want to invest in a HIP CURVE, wh ich is a lo nger ruler chiffon gown. (For ho me sewists, a muslin is a test
with a very gentle curve. gar ment made to solve any fitting problems.)

20
··········· · ·· ~ · · ···

* stitch
 •

I
•
so en 1 en1n •••

You've got sewing questions. We have interactive classes

taught by award-winning experts. So you get more than answers.
You get access anytime, advice, insight, and instruction.

Gretchen
Hirsch

Visit Craftsy now to view TWO online

classes taught by Gretchen Hirsch.
She'll teach you how to sew with style,
fit, and retro flair! Enroll in either
(or both) classes now for 50% off.
Simply visit:
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~----------------------------------------------------------------~
22
* stitch
 Freedom to play
and create.
FreeSpirit Fabrics
www.freespiritfabric.com
866-907-3305
Copyright 2012, All rights reserved.

.,..

Veranda Wre11ly Christtnas Cocoon Curious Nature

Valori Wells Valori Wells Parson Gray

...... ,.l: •
Grand Hocel Night Shade Star Flakes and GU.teer Pagoda Lullaby La Dee Da
j enean Morrison Tula Pink Tina Givens 'fina Givens Erin McMorris
 •
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•
r1c

I HAVE ALWAYS W\TED FABRIC FLOWERS.

Depending on the fabric, they can be elegant
or vvhin1sical-and are a great v.ray to use up
some favorite fabric scraps. Whatever their
shape or shade, these rosebuds alv.rays make
n1e smile. Because they are so easy to make,
you can experiment with fabric and color to
make flowers that 1nake you happy. These
beautiftll embellishments are attached to
a felt base, so it's easy to pin them onto a
garment or a favorite accessory.

FABRIC
- A piece of fabric 2 2" x 1 i' \vill yield about
four flowers. Fabric should be lightweight
but still have some body, such as satin,
organza, or cotton sateen.

OTHER SUPPLIES
- Templates A, B, and C and Circle
Template, provided on insert
- 2" square of felt to coordinate with fabric
- Handsewing needle
- Thread to match fabric
-Thin1ble
- Safety pin

FINISHED SIZE
Each rosebud is 2" tall. This project consists
of three flowers in a small corsage.

NOTES
- All seam allowances are 114'.
- Finished flowers are sewn onto a felt base
to attach to a gam1ent.
-Thread should match the fabric. The
samples sho\vn use contrasting thread to
sho\v the stitches clearly.
- Note the grainline on the templates.
Fabric needs to be cut on the bias so the
petals \vill curve easily.
- See Sev.ring Basics for handsewing
techniques.

··············~·····

* stitch
 Fold each Gather
. .
piece 1n Pull stitched t he next
half and line and shape petal
baste. into a flower around
bud. the bud.

Add the Smooth Combine

last petal the t hree t hree
and tack petals. • rosebuds
tight ly. on a felt
base.

CUT FABRIC
Trace Templates A, B, and C onto paper to
create the pattern pieces. Mark the grainline
on each piece.
Carefully follow the grain line \Vhen
pinning the fabric. Finished pieces will be
cut on the bias.
Cut 3 each of Templates A, B, and C.
GATHER+ SHAPE PETALS
Fold each fabric piece in half length\vise.
Do not press. Starting\vith a secure knot,
handsew a running stitch 114· away from
the ra\v edge. Leave a thread tail of 3" for
gathering. (figure 1)
Starting with the basted piece from
Template C, pull the thread to gather the
fabric and shape it into a bud. Secure the
gathered bud by tacking several times at the
base to retain the shape. (figure 2)
Repeat Step 4 using the piece fro1n
Template B, but as you gather it, envelop
the smaller bud within it. Secure the
mid-size bud to the smaller bud by tacking
through all layers. This piece is no\v called
th e inner bud. (figure 3)
Using the piece from Template A,
handse\v a running stitch, then gather and
surround the inner bud. Tack through all
layers. It may be difficult to push the needle
through all the layers, so go slo\vly and be
sure to use a thimble. (figure .ta)
You now have a beautiful rosebud.
(figure S) Repeat Steps 4-7 to create nvo
more rosebuds.
CREATE BASE
Using the Circle Template, cut out the
base for the corsage from the fe lt.
fa Vlhipstitch a safety pin to the back
of the circle. Center the flower on the
opposite side. Secure vvith a couple of
straight pins. Whipstitch along the edges
of the felt circle where it covers the base
to the f!O\l\Ters to conceal the rav; edges.
Taking a small tack in bet\veen each
flower into the felt base wi ll help to
stabilize the buds. The amount of stitching
necessary \vill depend on the weight of the
fabric. (figure 6)
Attach the bouquet of flowers to your
garment with the safety pin.
TOMASA JIMENEZ is a r11en1berofthe
Association ofSewing and Design Professionals,
North Jersey Chapter. She writes for sewing
niagazines and is currently pursuing a
certificate in Haute Couture at the Fashion
Institute ofTechnology in New York City.
For further reading:
COUTURE: THE ART OF
FINE SEWING by Roberta Carr

25
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 material world

•
- f

••
•

A professionally finished
hem can make the difference
between a handmade and
homemade look.
Text LINDA TURNER GRIEPENTROG

---------------·---------------------------
------------------------------------------

26
* stitch
HAND
Hemming by hand is preferred by many sewists, as it creates an almost
invisible finish and offers more control than machine hemming.
----------------------------------------------
----------------------------------- -
1. BLIND HEM
Anytime you want an invisible hemline that
goes with the flow, so to speak, a handstitched
blind hem is the anS\ver. Stitched under the
hem's upper edge, it looks good on the inside
and supports the weight of the hem without a
visible ridge on the garment side.
To create a handstitched blind hem, first
press up an even hem allowance. Choose an
appropriate edge finish (See "On The Edge,"
page 30).
Gently fold forward the upper hem edge
and catch a s1nall portion of the hem edge and
then a small portion of the garment fabric.
Because this is a "blind hem," only the tiniest
of stitches should show on the garment right
side. Be sure to catch only a few threads of the
garment fabric and leave the thread slightly
rela,v:ed so there \von't be visible pull lines on
the right side. Using a matching thread aids in
more invisible stitches. To make the hemline as invisible as
Working from right to left, continue possible, take tiny bites of fabric and
stitching, alternately catching the hem and don't pull the hemming thread too tight.
the wrong side of the garment.
This hem works equally \vell on knits
(no edge finish needed) or wovens.

2. FACED HEM
If you're ready to hem a coat, faux-fur jacket,
or something heavy and bulky, turning up a
layer for a hem may not look as finished as
you'd like. Eliminate the bulk by making a
faced he1n.
Begin by marking the garment hem-
line. Then trim on the inside 1/2" belo\v the
finished length.
For the facing, choose a fabric similar in
color but lighter in weight than the outer
garment fabric. Cut a bias strip of the facing
fabric equal to the hemline circumference
plus any seam allowances-usually adding
2 Faced hems give you the opportunity to
introduce a little color or pattern to the inside
1-2" will work. The facing should be wide of a garment.
enough to support the fabric edge without
Note: All of the samples use a contrasting thread for better
rippling or bowing. Machine stitch the visibility. Selecting a matching thread color will result in a more
bias strip to create a circle. Finish the invisible hem finish.
upper facing edge by turning under and

27
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•
Practice making rolled hems on leftover fabric pieces.
You'll soon develop the rhythm of rolling the hem and
3 Delicate fabrics demand a light touch, and a
making the tiny stitches.
s&£ t
Frequent pinning will help keep the gentle
gathers in place on flared hems.
Press hems in place first-it will be much
easier to keep your stitching lines even.
28
* stitch
stitching or by pinking or serging for a
flatter finish.
vVith right sides together, sew the facing
to the gannent hemline circumference with
a 11;· seam allowance. Turn the faci ng to the
inside 11;·from the lo\ver edge and lightly
press the fold line. Use the blind-hemming
technique to stitch the upper facing edge to
the garment, but not so tightly that it pulls
or shows on the right side.
3. HAND- ROLLED HEM
hand-rolled hem can give even the \vispiest
of fabrics a soft, flexible edge. Handkerchief
hemlines, circular skirts, and bias hemlines
on thin, sheer, or light\veight fabrics work
\vell \vith this technique.
Mark your he1u line. With a lightweight
thread, staystitch •/s"from the hem mark-
ing. Trim the hem r/g' beyond the stitched
line. Turn the hem up and lightly press on
the stitched line. Roll another •/s" over the
stitched line and hold the hem roll between
your thumb and forefi nger. Carrying the
hemnung thread through the fold, invisibly
tack the rolled edge to the outer garment
'vi th stitches about '/4" apart. Leave the edge
'vi th a soft roll
4 . EASED HEMLINE
Not all garments have straight-cut side seams;
some create a flare so the edge being hemmed
is actually wider than the gmnent area it's
turning into. What to do \vith the excess
fullness? Al1 eased hemline is the answer.
rvtark your hemline and add the extra
for the hem. Trim the hemline edge evenly.
lightly press the lo\ver fold so the hem rests
inside the garment.
Detemune an appropriate edge finish for
the hem. A pinked edge works well as it doesn't
add any additional bulk to the seam. For a
lace-or seam-tape finish, apply it to the upper
edge \vhile keeping the fullness gathered in.
To dra\v up the excess fullness, run a
basting stitch (hand or machine) along the
llpper hem edge and gently gather until
the hem fits smoothly inside the garment's
wrong side. Don't pull too tightly- leave a
little play in the gathers.
Choose an appropriate hem stitch for
the fabric and attach the upper edge to the
garment.
 MACH INE
For casual garments, those with straight hemlines, or simply for a quick finish,
machine hemming works well. Keep in mind that the stitching will show on the
right side. Although a machine-stitched hem can be any depth, most commonly
the hem is narrow, and the stitching is done near the top fold of the inside edge.
--------------------------------------
- - - - --------------- ------------------ - - - -
5. NARROW HEM
One of the easiest machine hems to n1ake,
a narrovv hem is also quick to stitch. It's
appropriate for the lower edge of a shirt
or blouse, a full skirt, or the layers of
lightweight sheers for eveningwear.
Trim the gam1ent hen1 to length plus
r/,". Press up the hem t/4' to the \Vrong side
twice and edgestitch in place using match-
ing thread. Stitch a double row for a ready-
to-wear look. To make narrovv hemming
even easier, insert a piece of 1/~" fusible web
tape to hold the pressed layers in place
7 • · i?dll
• • • s+ It' 1s nr· f' azz o iJrt n· , . ,, .1-. .
before stitching. This also adds body to the
hen1line, elinlinates the need for pins, and A successful
assures a no-slip stitching process. blind hem
depends
6. BLIND HEM on careful
Machine blind hemming is often one of the folding.
first skills taught to new machine owners.
It works vvell on many garments (especially
prints), straight-cut hems, and bulky fabrics
such as \vools and fleece,
The machine blind hem is sewn \vith a
stitch that alternates several straight stitches
\Vith a larger zigzag "bite" stitch that catches
the outside fabric. (Blind hems for knit
fabrics will alternate several narro\v zigzag
stitches with a \vider zigzag bite.) The goal is
to have the bite show only minimally on the
••
garment's right side.
The key to successful blind hemming
is all in the folding process. First, finish the
hem edge, then fold and press the he1n in
place. Next, fold the garment dov.rn onto the
hem so that just the hem edge extends be-
yond the fold and pin in place. The stitching Binding the
goes on the hem extension. hem with a
The straight stitches are lined up on the complementary
folded hem extension- close to the hem fabric adds
a delightful
edge-so the zigzag bite barely catches the
designer touch.
garment fold. If the bite is too big, a large
visible stitch 'l.vill show on the garment's

29
sewdaily,com *
 I
I
I
I

w I
I
right side; if the bite is too small, the hem
will not be held securely. Stitch carefully,

I I
I
I
using the foot as a stitching guide. Once
you've stitched the hem, unfold and press.

~ Depending on the type of hem you're using and the fabric, there
are several ways to finish a cut edge before stitching the hem.
Z Choose a finish appropriate for your fabric and that is the flattest
possible so your hem edge isn't visible on the garment's right side.
J\!Jany machines come vvith a fo ot
I designed specifically for this process. If one
I is available for your machine, follov-r the
I instn1ctions for stitch settings. vVork on a
I
I
test piece first to get the feel for the process.

0 The simplest and flattest hem edge is an unfinished one. On

fabrics t hat don't ravel-such as knits, faux suedes, or fleece-
or on garments where the upper hem edge wi ll be covered with
I
I
I
I
I
7. BOUND HEM
A bound hen1 adds a little trim detail-and
you can expand your design options by
a lining, t here's no need to finish the edge. Otherwise a finished I using either matching or contrasting fabric.
I
edge is the first step in the hemming process. I It's the perfect foil if you've accidentally cut
I
To determine the best edge finish for your project, make a I a garment too short, as there's no turn-up
I
sample using your fabric and one of the suggested methods. I length needed. The binding also acts as the
I
Use this same sample to test hem stitches to find the best one I edge finish-it's a t'vvo-for-one finishing and
I
for finishing. I hemming iu ethod.
I
I This binding technique works on both
I
If you p refer a slightly I
I curved and straight hemlines. Bias binding
decorative edge, use I
I is effective for both straight or curved edges.
pinking shears to finish I
I Straight-cut binding can be used only on
the edge. For a little I straight hems.
more stability, combine I
I For a finished r/," binding, trim gannent
a row of stitching with a I
I to the desired length. Create enough bind-
pinked edge. I
I ing to go around the entire hem edge-don't
I
I forget to allow a few extra inches for the
I
I seam allowances. For a •/,'' finished binding,
On straight hems where easing isn't I
I cut the original binding strip 2 " 'v\ride.
necessary, a turned and stitched I
I Beginning at a side seam, pin binding to
hem edge works well on light- to I
I the gann.ent, right sides together, matching
medium-weight fabrics. I
I the cut edge of the binding to the hem edge.
I
I In the example of a •/," binding, you would
I
I stitch the binding to the garment using a
I
I •/," seam allo\vance. For other binding
You can also use your serger I
I 'vvidths, adjust the seam allowance so th.at
to overcast the hem edge by I
I you are stitching this first seam in the first
machine. If the hem is curved, I
I pressed fold of the binding.
adjust the differential feed I
I Press the seams toward the binding and
setting to help lightly gather in I
I turn the folded binding edge to the wrong
the fullness and finish the edge I
I side just past the stitching line. Pin in place
in one operation. I
I and stitch by hand for an invisible finish or
I I
I stitch in the ditch of the binding seam by
•• Covering the upper I machine to catch the binding's underlayer.
I For a visible stitching line, topstitch on the
hem's raw edge is also
I binding. Press for a crisp edge or leave the
an option. This can be
I
binding \vith a soft fold.
done with seam tape or
narrow lace, or create I
your own lightweight I LINDA TURNER GRIEPENTROG is a
binding. I contributing editorfor Stitch and the owner
I ofG Wiz Creative Services. In addition to
I writing, she leads fabric-shopping tours to
I Hong Kong for the American Sewing Guild.
I
30 I
* stitch I
#'n,011CZ ~11CL Modern prints on premium organic cotton
for quilting, sewing, apparel and the home
fresh . organic. fabric .

'.31
sewdaily.com *
 profile

lab manager by day, artist by night

A fiber artist and
feltmaker gleans
inspiration in the
most likely and
unlikely places
Text MARY WALTER

A DAYTNTHELIFEOF ARTIST
VICKI JENSEN is a rich one. How she
arrived vvhere she is today has been
a complex journey. Her early family
influences and education naturally played
a part in her creative DNA, but in her current
life, they reveal vvhat she has created and
what she might show us next.
Jensen loves working \vith fibers, wool,
and dyes-it is what she thinks about daily.
Professionally Jensen is e1nployed at a
Massachusetts chemical and dye company
\Vith many overlapping tasks that need
attention. An average day could include
scheduling the next group of fiber-related
classes, finding a talented teacher to make it
happen, and then promoting the class and
supplies on their website.

z
UJ
(f")
z
...,
UJ

:.::
(_}

>
>-
CD
(f")
In Fallen Leaves, above, Vicki Jensen uses 0
l-
wool, a tim e-honored mat erial, for her modern o
int erpretations of t he natural world. Right , detail. ::r:
a..

32
* stitch
 There is a lot of
,
and pCleJt.Ce,to
promoting fflf::Q.Uvt~,.,,
- V ICKI JENSEN

Tn her lab manager role, Jensen tackles

the testing and quality-control requirements
surrounding the many products available
to today's fiber artist. She takes this
responsibility seriously and stresses the
importance of maintaining a quality product
while providing the necessary instructions
and safety literatt1re. Jensen adds, "There
is a lot of math and science to promoting
creativity." At her job she has grown
accustomed to wearing many hats.
It is not uncommon to find her back in
the lab after hours or on •veekends. She is
able to •valk to work and often does just that
when she has an idea. The combination of
her technical expertise, the influences of the
natural world arot1nd her, and her desire to
create, merge in a magical way.
When Jensen begins a new piece of
artwork, she has a plan in mind. She has
thought about the imagery and materials include other materials and tech niques
she would like to combine to support her such as silk organza, freeform lace,
artistic vision. and embroidery. In her piece Old Man's
She starts with merino wool roving. Beard lvloss, Jensen incorporates layers
Roving is the natural-colored ra\V wool that of subtle color and texture, capturing so
is ready to be spun into yarn, dyed, or felted. expertly t he texture of her subject \Vi th
She dyes her wool with colorfast acid dyes contemporary embroidery and •vet-
to capture the colors of her design. This felted merino wool that admirers almost
involves adding color, then steaming to forget they are viewing a fiber version of
permanently set the dye. Once the \vool is nature.
dyed, wet felting comes next. Tn Fallen Leaves, pale organza leaves are
Jensen is drawn to the idea that \Vool embroidered and layered on a richly dyed Top, in Vicki Jensen's hands.
is one of th e oldest fonns of textiles and stitched ground imbuing the rusty reds contemp orary embroidery over
wet-felted m erino wool creates
used. "Wet feltin g is a time-h onored and oranges of the season •vith the stitched a fi b er expression of the natural
technique," she says, "that employs shapes of many leaves. Jensen engages world. Detail above.
olive oil, soap, and abrasion to prodt1ce her vie\ver to investigate the colors and
a non-woven textile." After felting, the shapes of the season in a sophisticated, yet a0D For more information,

animated scene, implying \vind and falli ng

dyed piece is ready for the next step
in the design process- embellishing
and handstitching. She employs
contemporary stitching methods on t he
fe lted wool in her artwork.
Most of the thread that Jensen uses is
traditional embroidery floss, but she does
(jtj v isit VICKIJENSEN.NET.
leaves. The visual and tactile combination
of her art\vork is a satisfying and inviting
message to the vie\ver, leaving one \Vith
the desire to see more. It is a pleasure to see
the vision inside the nlind and hand of this
artist's beautiful textiles.

33
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sewdaily.com *
 material world

ING
ITH
Text LINDA LEE

I REMEMBER vVHEN KNIT FABRICS vvere

hard to find. Novv, the abundance and variety
available to the home sevvist is unbelievable.
And with that comes the challenges of
taming and tackling this huge range of knit
selections.
Where we once had 1nostly cotton
interlock and vvool jersey, now \Ve have
ne\v fibers and blends such as ban1boo and
soy, new weaves and textures, and many
weights-from ultra-sheer and super-stretchy
to double strength and fairly stable.
All knits have some things in comn1on,
though. They are created by a single fiber
that is looped, not \voven. They will not ravel
\vhen cut. And they stretch, sometimes one
\vay only, but very often, in all directions.

THINGS TO KNOW
ABOUT KNITS
While there are many terms that apply to the
knit category, there are four that are the most
useful to know as you make a purchasing
decision.
Jerseys, or single knits, have length\viSe
ribs on the face and horizontal pl1rl loops
on the reverse. All cut edges curl to the right
side. (figure 1)
Double knits have lengthwise ribs on both
sides so they look the same, and therefore,
are reversible. They are heavier than jersey
knits and do not curl. (figure 2)
Interlocks have fine ribs on both sides like
UJ
UJ a double knit. They are slightly heavier and
--'
<l:
0
have less stretch than jersey knits. The edges
z do not curl. (figure 3)
--'
1D
(fl Rib knits have prominent ribs on both
0
l-
o sides. They are used mostly for finishing and
I
f1. trimming hems, necks, and wrists. (figure 'a)

Knits requi re a few special

techniques- worth learning!

* stitch
TYPES OF KNITS
figure 1: jersey figure 2:
double knit
CUTTING AND
LAYING OUT PATTERNS
Here are some simple guidelines for success
in laying out patterns and cutting knits.
• Use the "with nap" layout so you \vill get
uniform color shading. A fabric \Vi th "nap"
\Vill appear to have different shades from
different angles. Sometimes it is not until
the fabric is vertical on the body that you
can discern a tonal difference Cut your knit
so that the nap runs down the length of the
pattern piece.
• Lay out the pattern pieces so the greatest
stretch goes around the body.
• Do not allow the fabric to hang over the
edge of the cutting surface- it will stretch,
and you will not get accurate cutting results.
• Tf the fabric torques or is twisted after
washing, cut a single layer at a time. It will
be impossible to line up the selvedges and
establish a true straight of grain. Visually
line up the ribs as best you can.
ACHIEVE GOOD
STITCH QUALITY
Using the appropriate and best thread is
important \Vhen se\ving knits. Buy quality
polyester thread that is cross-wound on the
spool. Don't be tempted to buy bargain thread!
vVhypolyester? Polyester thread has a slight
give that keeps it from breaking when a knit
stretches. Tf you have a serger, buy four spools
when you buy your fabric-one for your
sewing machine, three for your serger.
figure 3: interlock figure .ft:
rib knit
It is ah,vays good to keep a supply of all
sizes and types of 1nachine needles. When
PRESSER FOOT
your se,ving machine is not behaving and OPTIONS
you are seeing puncture marks, sldpped
stitches, or puckers, change and experiment
\vith different needles. Start with a universal
needle. Then, if needed, change to a ball-point
(also called a jersey) or a stretch needle. For figure Sa:
a finer \veight of fabric, use a smaller needle. clear presser
foot
And it's al\vays a good idea to start a new
project with a new needle.
The correct presser foot is also helpful for
good performance. Using a clear presser foot
(figure Sa) allo\vs you to see your \VOrk.
I
Using an edgestitch foot (figure Sb) allovvs
you to topstitch a precise distance fron1 an
edge. And add a walking foot, also called an
figure Sb:
even-feed foot, (figure Sc) to your arsenal edgestitch
of accessories. Tt will change your life. foot
This foot will prevent fabric "creep," thus
achieving smooth and flat seams, hems, and
topstitching.
Another useful accessory is a single-hole
throat plate. If you are using a se\ving
machine that also embroiders, then it is
likely that the fabric \vill get pulled do\vn
into the large-opening throat plate that is figure Sc:
designed for multi-·directional stitching. A walking foot/
single-hole throat plate helps feed the fabric even-feed
foot
through more easily.
If you are still having problems getting
a quality stitch, try loosening the pressure
on the presser foot. Check your machine's
manual for the location of the pressure
knob or dial, and follow the manufacturer's
recommendations for altering the pressure.
--·.. .. 35
.
sewdaily.com
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*
 material world
HEMS+ SEAMS
figure 6: single
narrow zigzag
SEAMS AND HEMS
Before beginning to se"v a knit garment, it
is important to perform a fe\v tests. Because
every knit behaves differently with every
machine, no one method of sewing knits
\VOrks every time on every knit. You can
make the same pattern in five different
knits and not stitch them in the same
way. NO\V is the time to sew some practice
samples to determine the best stitch to
use for sean1s and hems, whether you \vtll
use a serger or not, and if you need some
additional sewing aids.
Here are the seam stitch options.
Straight stitch: Use a straight stitch
"vhen the garment is fairly loose and not
extremely fitted. Loose garments do not
put a lot of strain on t he seams, so popped
stitches are less of a problem.
Single narrow zigzag: Use a narrow
zigzag of 2.5mm length x .5mm width when
the garment is fitted and needs to stretch
\vhen il is put on or during wear. (figure 6)
Two rows of zigzag: Use a double ro\v
of zigzag stitches when the fabric is curly
or more reinforcen1ent is needed. Sew the
first row along the seamline using a 2.5mm
length x .5mm width stitch setting. Sew the
second row next to the first, within the seam
......... 36 .....
* stitch
figure 7: two figure Sa: 3-thread
rows of zigzag stitch serged seam
allo\vance, using a \vider setting of 3m1n
length x 4m1n vvidth. (figure 7)
A note about the stretch stitch: Some
sewing machines come \Vi th a built-in
"stretch stitch." I find this stitch to be a bit
heavy and that the single narro\v zigzag is
more effective.
All machine-sewn seams can be trimmed, or
left untrimmed, and pressed open or to one
direction. The degree of curl will dictate this
decision.
Serged seam: Use a 3-thread stitch
(figure Sa) formation for lightweight
and semi-sheer knits with a loose fit. Use
a 4-thread stitch (figure Sb) formation
for heavier knits and more fitted,
performance-type garments.
HEMMING ON KNITS
PREPARING THE HEM
Since a garment is generaHy hemmed on the
cross grain- \vhich is the direction with the
most stretch- it is important to control the
stretch so the hem \Vill lie flat. The correct
presser foot, stitch selection, and sewing aid
will alleviate this problem.
Let's start with sewing aids. In most cases,
using fusible web tape (figure 9a) will
do the trick. These tapes are paper-covered
strips that are fused to the "vrong side of the
figure Sb: 4-thread
stitch serged seam
hem. The paper covering is removed, leaving
a narrow band of adhesive. The hem is then
fused in place, allo\ving you to topstitch
without fear of fabric creeping.
A second option is to use a knit fusible
hem tape (figure 9b), which is a strip of
tricot interfacing with fusible on one side
only, so it needs to be sevvn or serged to the
hem first before the hem is fused in place
for topstitching. This product is available in
various widths depending on the finished
width of your hem.
STITCHING THE HEM
Once the hem is stabilized, it's time to
choose a stitch. It is always a good idea to do
some test hems on your particular knit.
Straight stitch: This is the cleanest solution
for a sophisticated look, especially \vhen the
garn1ent is not close fitting.
Double needle: This stitch emulates a
ready-to-\vear finish vvithout using a serger.
It stretches nicely so stitches don't pop.
Experiment with the needle \vidths. The
\vider the needle set, the more apt the fabric
\viii tunnel (form a little bump) between the
stitch rO\VS.
Cover stitch: vVith the introduction of the
cover-stitch option to the home sewist, \Ve
can no"v create a true ready-to-\vear look
on our knit garments. Some sergers have a
SEWING AIDS
figure 9a: fusib le web tape
cover-stitch fea ture or there are dedicated
cover-stitch machines.
Raw edges: Many high-end knit garments
do not have finished edges, and it is an
especially fun look \vhen the fabric curls. It
makes for a quick-finish garment, too.
THE READY-TO-WEAR
NECK BINDING
This method of finishing a neckline does
not actually bind or completely cover the
ra\v edges of the neck opening, but the
applied trim lies flat and is less bulky t han a
traditional binding.
O For the neck binding, cut a strip of knit
on the crossgrain 2 1/4" \\ride and the length
of the neck opening less 10 percent. Sew the
short ends together and press the seam open.
0 Fold the binding in half lengthwise,
wrong sides together. Chalk n1ark a line on
the binding i/8' from the folded edge (not
from the raw edge).
O Divide both the binding and the neckline
into quarters and put a pin at each mark.
Matching the four markings of the binding
to the neck opening, pin the binding to
the right side of the garment, aligning the
raw edges. Place the neckline seam of the
binding at the center back.
O As you stitch the binding to the neckline,
hold the garment at the pins and stretch
figure 9b: knit fu sible hem tape
gently until the binding matches the
neckline. Stitch on the chalk line-from
one set of pins to the next. Keep an eye
on the left side of the presser foot to make
sure it is al\vays an even distance from the
folded edge. The seam allo\vance may not
necessarily be exact.
0 Fold the seam allo\vance to the wrong
side into the neck opening, exposing the
finished binding on the right side. iviove
the needle position to the left of the center
position and stitch next to the well of the
seam through the garment and the seam
allowance. Use an edgestitch foot or walking
foot to stitch evenly. (figure 10)
O Use a 3-thread setting to serge the raw
edges of the binding and garment. This is
delicate \vork, so work slo\vly and carefully.
If you choose not to serge this seam, then
trim the raw edges neatly.
0 Place the neck opening over a tailor's ham.
Lightly steam and finger press fue binding.
Shape the binding to a sn1ooth neck curve.
Mastering basic se\\ring \\rith knits techniques
\\rill give you the confidence to expand your
se\\ring horizons. Enjoy the journey.
LINDA LEE is the owner offhe Se\ving
Workshop Pattern Collection and producer
ofSe\v Confident!Class in a Flash, the only
figure 10: Edgest itch foot
learn-to-sew program with a year ofgarment
sewing education in easy-tojollow classes.
37
sewdaily.com *
 material world

CREATE A CHIC NEW TOP

FROM OUTGROWN T-SHIRTS Text LINDA LEE

How m any of us have saved our child ren's

T- shir ts because they are just too cu te
to throw away? Rather than store them
in a plastic bin, think about getting them
out, cutting them up , and using them as
,__ . .,.,. . ....
,;
"fa bri c" to em bellish a new garment that .J'

som eone might actually wear.

• Choose a basic T- shir t pattern and use

it as the basis to break apart, ret hink,
and use as a canvas to em bellish with
sentim ental l ittle bits of fabri cs.

• I collect ed a few fu n graphic T-shirts

from my daughter 's cl oset of out grown
clothes.

• Then I laid out the front patter n pieces

in the wide- striped knit on a flat surface.
Carefully (and reluctantly), I cu t som e
generi c- sized squares of fa bri c from my
daughter's T-shirts.

• I made a pocket piece in one contrasting

fabric-makin g sure to choose a m oti f
that was bold but a similar val ue to the
backg round.

• Som etimes the motifs spoke to me-

a semicircle to preserve, a zigzag to use,
some great letter ing as a highlight. Other
times, I simply cut random pieces without
reg ard to size or shape. Through a process
of moving the small pieces around like a
puzzle, the balance of color and pattern
emerg ed. I mixed a few basic stripes from
my stash and continued to play.

• Once I established a look that I liked, I

took a dig ital photo to record the placement
of the pieces. This also allow ed me to look
at the overall design with a fresh eye. Using
a chalk marker, I outlined the general shape
of the appl ique pieces, so I would kn ow
where to place them again.
• I used fus ible web tape to hold the pieces
in pl ace. A t emporary spray adhesive would
also work wel l. After all of the pieces wer e
fused, I stitched them in place, mixing
both straight and zigzag stitches. Using
Snippets from outgrown T-shirts find new life in this trendy top. Use fusible web or
temporary spray adhesive to hold things in place while stitching.
my machine's wal king foo t prevented the RESOURCE: The pattern
knit fa bric creeping and kept the pieces flat for the shirt shown here
when stitching in place. is the Urban T-Shirt from
SEWING WORKSHOP.COM
The shirt I'm planning next is makin g
a Typog raphy T with words I'll be cutting
from my daughter's high school shirts. Get
your family's old T-shirts out of storage -
it's easy to stitch new life int o them I
 Pat;chwork
Forest;
Quilt; KitJ

.. Wk,,,.,.
EN'IEll NGW
111 WIN!
.JL. Like us on
Ble11d11.bles LJ Facebook

Like us on Facebook to enter:

www.facebook.com/sulkyofamerica !IE!!
or visit our website at www.sulky.com

39
sewdaily.com *
 profile

a strand of

The story behind the 200-year evolution of Coats & Clark

Text SUSAN BEAL

'

I
I I

WHEN YOU REACH for a new spool of thread to start a sewing project
or mend a favorite garment, chances are you don't thinl< much about
how that thread was made. You probably also don't wonder why each
perfectly consistent, colorfast strand works so effortlessly whether it's
threaded into your machine or used for handstitching with a needle.
Thread's evolution from an undyed, laboriously home-spun product to
being part of a lavish display of thousands of colorful spools has spanned
two centuries of technological innovation. Its evolution mirrors the
Industrial Revolution's impact on industry of every kind.

·---~
"-0
·······················-············
* stitch

Innovation in thread const ruction and material made education an
im portant componen t o f th e Coat s & Clark st ory.
The story of Coats & Clark is a
micro-history of the modem sev.ring
industry itself, from its roots in European
trading to its expansive grov.rth in the United
States. From homegrown inventiveness
that revolutionized the textile \VOrld at a
small Scottish 1nill in l 8 l 2 through t\venty
decades of innovative growth into a global
com.pany, the ''T\VO Great Names Tn Thread"
have navigated cultural shifts, from the
invention of the se\ving machine to haute
couture. And they have inspired millions of
women in their home sewing. But how did
this company-and modem, mass-produced
thread-even come to exist?
THANKS TO A
FRENCH BLOCKADE
In the early 18oos, Napoleon's France
blockaded British ports from receiving any
merchandise or materials. This crippled
many industries, including the weaving
mills of Paisley, Scotland, which employed
thousands of people to make luxurious
shawls in the style of Kashmir, India.
Witl1 no new silk available, production
TH READ... one of the great small th·.,.,.,.
O.N.T. (w hich stands for " Our New Thread")
was an instantly recogni zable trademark.
of sha\vls and other fine fabrics stopped
abruptly. James and Patrick Clark, two
brothers who owned a loom equipment
shop, savv their once-robust business
buckling. Patrick came up \vith a new
technique for twisting multiple cotton
yarns normally used for weaving into a
fine, strong, and smooth sevving thread.
His product vvas versatile enough for use in
loon1s as v.rell.
The revolutionary Clark cotton thread
replaced the more costly silk that the
blockade had made scarce, and in r81 2, the
Clark brothers opened a new factory- the
first ever dedicated to cotton sevving thread.
Along with supplying shops and mills, they
sold hanks of their thread directly to local
seamstresses. They then began winding
it onto wooden spools, another up-to-the-
minute idea The French blockade had
inadvertently sparked and nurtured a brand-
new British industry.
RIDING THE WESTERN WAVE
James Coats, an experienced weaver, admired
the Clarks' success and began manufacturing
thread himself in a small factory in 1826. His
sons, James and Peter, took over the family
business in 1830 and called their expanded
co1n pany J. & P. Coats. Coats \Vas knov.rn for
their six-cord machine cotton thread, which
quickly gained prominence in the market.
Meanvvhile, Clark's thread was brought
to the United States on British ships.
American fashion and home sev.ringvvere
both quickly influenced by this new
product, \vhich \Vas affordable, plentiful,
and easy to use. As the first sewing machines
<el
.......•..............................
sewdaily.com *
 ·1>-U 8 ts.L.1.'I J!J J.,;, ., .l..' .l..~.L:.I .... . I
--------::::--..__
.. I
I c4ail\?.!:rs.
I
.i.seJ...
- I

NO Cl~ARGE FOR CABl~J;:JS.

- NO CHARGE fQB CAB!NCJS. NQ CHARGE roe Ce,BltfETS.
I N E_\A/, SIX DRAWER CA.BINET.
CHERRY. BLACK WALNUT llR ASH
FOUR DRAWER CABINET CONTAIN I NO 100 DOZ El'I.
CHERRY. BLACK WALNUT OR ASH
DRAWER CABINET.
CHERRY. BLACK WALNUT OR ASH
I
I -
CONTAINING SO 002 t: N

CONTAININO ZS DOZEN.

::.::
a::
<{
...I
u Dry goods
, ""
Vl
merchants
~ received
~ .... _ _ _ . . . . . t)(Ja;, Dlirnrw•JIJ:lll.
0
u free spool

_,_ Two Dtt.AWetRS. A$IO!\TMEN-r

-. ................. ... "1·'

•• "i..• ",
''A...

... .
........
_
-. ................ .
LL
0
cabinets
>- with their
"'i:#.1"-
·-
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w thread
.. Faa~ ..
1'et.&t. ' .••.•.•• ••••• .•
- •' t: ~rtlt,tt'
-~
; ..-
-
Tor~............. . ·- I-
a:: orders.

-
Xot.. .. :.. ..................... .... .... .... .... -..•
• • .. .. """""
To.... ~-···· ..................."
••• .. .. -...
..- ,.• ...• .. :: ·-
=> These are
0
u highly

• • . .. .. ·-
<fl

- ,... ........... ,. "'

• lpool.. ~- ...... ,. • •.. ~~iik' ' ......... 0 collectible
•"' -
.. V. llhel'.... ...... tt " •• • I-
.,...,.,, .......................... •1** ? !'laif""""'''"o ........ ,.....
0
I
antiques
a.. today.

were developed in the 1840s and r85os Though both Coats's and Clark's products
and becarne vvidely available over the next had been available in the United States
decades, a whole nevv style of thread was for decades, the conipanies exclusively
needed. manufactured and exported their thread
Unlike the sturdy glazed threads from Britain. They were very popular in
r traditionally used for handse\ving, machine
thread needed to accommodate a faster
America; it was said that every covered vvagon
heading out on the long journey vVest carried
stitching pace and a much more intricate a precious supply of their thread to satisfy
threading pattern without breaking or demand on the frontier.
failing. George Clark, the grandson of James,
introduced "O.N.T." (\vhich stood for "Our BUILDING THE STRAND
Ne\v Thread"). which combined the durability However, \Vhen the Civil War brought
of a six-cord thread with innovative softness blockades, expensive tariffs, and other
and flexibility-fueling the ne\v machines as obstacles to their thriving American market,
this phase of the Industrial Revolution svvept each company set up their O\vn mills
through textile and garment manufacturing. stateside. In t 864, Clark opened its first
"O.N.T." became an instantly recognizable U.S. factory in Newark, New Jersey, \Vhile
trademark and \Vas printed on packaging and J. & P. Coats built its factories in Rhode
the labels on top of thread spools, in general Island six years later. Coats also opened
stores and dry goods shops. Clark's was also a special factory to build wooden spool
the first company to guarantee their black cabinets for displaying thread at general
th read as "boil-fast," a inajor accomplishment and dry goods stores. 1'hese \Vere distributed
in an era of uncertain dyes. free to merchants with an order. Thousands

........ ............ ··-······-···········

* stitc h
 In 1846, John Clark of
Glasgow, Scotland,
developed a machine that
would turn the spools
for winding thread. The
"Glasgow" Clarks and the
"Paisley" Clarks merged
their interests in 1882.
of spool cabinets, in hundreds of different
styles (one for each selling agent) were
made. These are valuable antiques today.
By the 188os, both Coats and Clark
distributed colorful lithographed trade cards
to customers, from humorous scenes of
Victorian children to charming Gibson Girls.
These stylish cards were very collectible-
much like gaily printed flour sacks-and
often included a calendar or color charts
for matching threads. In 1896, Clark's and
J. P. Coats consolidated their interests \Vhile
ret.uning their independent identities. Shortly
afterward, The Spool Cotton Co. became
the sole selling agent representing both
.
compan1es.
As the nventieth century opened
and factory-made clothing became more
prevalent, women's se\ving shifted to reflect
fashion and tailoring rather than necessity.
Coats and Clark began introducing ne>v
lines of embroidery floss, darning thread,
and other garment se,ving necessities such
as bias tape, seam bindings, and zippers-
often in bright, fashionable colors that
coordinated with their threads. Coats &
Clark offered affordable notions to vvomen
se,ving at home during the Great Depression
of the 1930s, and sponsored national 4-H
clothing and textile competitions as the
economic crisis and then World 'vVar II
made ne\v fabrics and other materials less
accessible.
COATS MEETS CLARK
In I 954, J. & P. Coats and The Clark Thread Co.
formally merged and first became known as
Coats & Clark Inc. Tn this golden era ofhome-
Se\ving popularity, the company's thread and
products were always on trend, in colors and
styles reflecting everything from couture
Lithograph ed trade cards were very popular w it h customers -•~
in the 1880s.
fashion-such as the glamorous dresses Edith
Head designed for her films- to Butterick
and Simplicity se\ving patterns, which Thread
sample book.
made fashionable clothes accessible to every
woman with a se\ving machine.
By the early r 96os, a new Coats &
Clark product, Dual Duty Plus, combined
cotton and polyester in a single versatile
thread. Like "0.N.T" decades earlier, it
revolutionized the market by providing an
innovative new product. The nev.r thread
vvas perfect for creating up-to-the-1ninute
styles in natural, synthetic, knit, or \Voven
fabrics-even combining different materials
in the same contemporary garment-
without having to stop to change the thread.
Sewing was a boonring industry, \vith
$r billion spent in 1963. By 1974, an estilnated
44 million women in America were se\ving.
Ronald Reagan proclaimed September as Thomas Edison used a
National Se\ving !vlonth in r982, an event strand of Coats' Cord
Coats & Clark continues to celebrate today. No. 29 in one of his many
New thread and se\ving prodt1cts have
changed vvith the times over the last few experimental light bulbs.
decades, reflecting the recent innovations It burned for over thirteen
such as rotary cutters, sergers, and hours and "was the sign
embroidery machines. Though home
sewing has declined from its lofty at last that they are on
numbers of the 1960s and 1970s, today's the right track."
sev.rists and designers enjoy \VOrking with
sophisticated fabrics and are influenced
.......•..............................
sewdaily.com *
 I I

Like the popular trade

cards of the 1880s, fun
promotions such as the
"Spool Zoo" were included
~
in packages of bias tape 0::
<!
_J

during the 1930s. Children (.)

oil
<fl
could collect all six printed ~
0
(_)
zoo animals-a zebra, LL
0
>-
hippo, fox, bear, lion, and <fl
w
t-
0::
elephant-and bring them =>
I to life by cutting them
0
(.)
<fl
0
t-
out and gluing the head ............. 0
I
" CL

and tail to each end of an An early 1960s ad focused on both style and education- new
threads for the new fabrics available to t he home sewist.
empty spool of thread.

In 1924, Mary Brooks Pickens cowrote

the very popular Sewing Secrets: Modern
Methods of Stitching, Decorating and
by everything from run\vay sho\vS to Finishing, published by
• ready-to-wear. The Spool Cotton Co.
The color range of all Coats & Clark
After the success of this
threads, from Dual Duty XP (introduced
in 2008 as a polyester-v.rrapped, core-spun book, Coats & Clark's
thread) to those specialized for handquilting Education Bureau created
or inachine applique, are updated frequently
many craft publications
to reflect fashion and color trends. Today,
they offer more than 300 colors, including for women over the next
Panton e's 2012 Color of the Year, Tangerine decades with techniques
Tango. Kno>vn to Coats & Clark as 7650
and original patterns that
Tango, this hot color has been in their color
range for more than fifty years. covered not only sewing, but knitting,
crochet, lacemaking, and other crafts.
SUSAN BEAL is a craft writer who loves to
The books and pamphlets reflected the
sew. She is the author ojModem Log Cabin
Quilting, World of Geekcraft, Button It popular trends of their day, from shapely,
J
I Up, and Bead Simple, as well as being the fitted dresses of the 1950s to psychedelic
president ofthe Portland Modem Quilt Guild.
afghans of the 1970s.
Visit her at westcoastcrafty.com.

·---~ ·······················-············
* stitch
 HOW IS MADE
Thread - making has evolved dramatically
over the cen turies. In the earliest days inside amodernthread ~lant
of sewing, animal sinew was used for
stitching animal hides. When bone, ivory,
and then metal needles were devised,
plant fibe rs were twisted together to ,...••f "°"' ~ of «111.. to. ~ .(Id . . . tot.,
etlH-111 NI t ...... fAdl .,..., . . eN ir..'md l!Ot fl'J
create sin1ple threads. As fibers such ~ foo _.., ,,_, -11t. 1-t~ on. Si"" .-
" • ..ik ...... tlitO ,... of . ,.
'"~
,., peU6d·
--.111 (.lio• l ).
as wool, sil k. cotton , and linen were
cultivated and used for spinning, people
began weaving mul tiple strands into
fabri c for clothing and blankets. Of 5
course, textile techniques changed
n.. co••a. ~i'*' _..•1 LAP. fOIUl\llll. St',.,.., "'-m .--.
greatly as wheels and looms were 'etllf
°"'-""'"
~t Jo11a'"- fib-..
al-.o.rt ~d ti,,,; r.L:d to lo•• o lop
, _ , .., COMM'.M<i. 1M ~<'1U
fl&.fi flO,.,_
..... fMl}f fo)'I ,.... ,, ...
...... r"' - 0 f;- ptocfud.
developed, ma king fabric more and more
sophistica ted.
Two hundred years ago. fibers were 6
brushed and carded by hand, then gently
twisted into roving, and spun on a wheel OlAW ..AMlS. A •M'lbff el aoVftfq RAMI. .._.,, " ' th
_._. ...."' o,. ~ o-,d ~..f f Clfd .........
...... to 4' qu.icli
_,...,..., 1h1• ~- • .,. t.• ..._ AA ,...._,. ,...,,... .,,...., fr~ 09'
to crea te a single- ply interlocking strand . "1-oJt ,.,..,,.., • ~rt. o,.., 11/0Sfor,. ~ · fl:.,. o "'°"~· nil.~ do-•
oot lock . . fib«l.
.!t-..er is f'""'4.
Thread was often spun at home and then
delivered to weavers in small batches.
James Clark's innovative cotton thread
combined multiple strands of cotton to
create a flexible, durable thread for home
sewing and factory weaving alike that was TOP: Threa d was once spun by hand and
lllA<tlNO,

.... . ..,
~

.....~ ., _ ;
..I"-' _.,._,

...
""'d dri...f;, fhlwod ;. ~ o-

sold in hanks. Wi thin the next few decades,
both the J. & P. Coats and Clark mills
in troduced new m ill processes, such as
in-house thread spinning, machine winding
onto wooden spools, and boil - fast dyes.
By the mid-twentieth cen tu ry.
mode r n plants used huge machi nes
for techniques such as mass comb ing,
lapping , carding , and spinning. They
had the capab ili ties of mercerization.
bl eaching, and chemical dyeing-and
coul d wind hundreds o f threads on to
their mass-produced wooden spool s
si mu ltaneously.
Today Coats & Clark plants start with
gigantic bales of cotton or polyester that
weigh more than 600 pounds and will
each yield about 25,000 spools o f thread .
Fibers are cleaned and carded in to
s livers-each hundreds of times thicker
than the fin ished strand. The sl ivers are
twisted into roving. which are then spun
into yarns. Some threads [such as Dual
. .,
.-l"Sl .......,'-11""' .l,;drt .....
1.... ·-~ ,.,_ ..., ....t... (--•l'
..
delivered to weavers in small batches.
RIGHT: Alt hough the concept remains the
same-twisting fibe rs into a continuous
strand-the method has changed dramati-
cally over t he decades.
Du ty XP) are a polyester-wrapped, core-
spun construction. Some threads have
two or more s ingle plies twisted together
for durabi lity.
Dyes are ca r efully mixed according
to the color fo r ecasting and t rends.
Thread is dyed in huge quantities -
thousands and thousands of yards
at once. The fresh ly dyed thread is
st eamed dry t o set the col or, si nged
to remove any Lint . and-depend ing
on what type o f thread it is-given a
lubrica ted or gl ace fi nish.
Fina lly, the thread is wound onto
spools, inspected, labeled , and boxed for
retail stores- ready to become a part of
your next sewing adventure I
 ....
. . '>"

,r.. .
...
... ."
••
'- I
..... , .f
·... . .... •'.·,
•• \'.l

•••., •
..
. ····:~.
..: ..·,.,..
.. : ........
.... ..... :
~,,:

, •I. . • • t 0 • ,
 •
pro1ects

4.7
sewdaily.com *
 •
The dress is the iconic fashion
statement of fall-whether simple
and elegantly chic or embellished
with fresh details. Each of these
five dresses are as versatile as they
are stylish. Go uptown with a fancy
brocade or more down-to-earth
with a comfy cotton. The creative
choice is 100% yours.

Th is sassy silk dress goes from summer

to fall with aplomb, especially when
paired with a bolero cardigan, boots, and
leggings.The chic beading along the
handkerchiefhem adds weight
and swing to a dress that can work
day or night
DESIGNED BV Alex Su.Qfllnik
[project IJ"lstructi ons on page 8 8 )
c/Ul89/
This is a great basic dress with a
chic silhouette. The neckline, sleeve
length, and hem can all be changed very
easily to create a completely different
gannent It could also be made with a silk
jersey, wool jersey. or stretch velvet for a
different effect
DESIGNED BY Emily Li Mandri
[project instructions on page 89]

sewdaily.com *
 eotnbinethlS x95ti:Htyle sweet
dn!sswitl aboatneckbodice and
~$kirtandafancyfabric. •·
and.yqltve~bombshell ofa
~A Simple silhouette that
is~toev.ery.tigure, it also
~JQ1$'.of'easy~Jn;.a.dd ®Uture
~\htW$makeitstitch up
-·-m.

so..-
···-·······~-
 Give the classic sheath a twist with
colorful piping on the front and back.
This simple style is lined and contoured
to make you look your level best.
DESIGNED BY Katrin Verbeck
[project instructions on page 92]

52
·-·--·· ······· ---···
* stitch
 r•. ·.,..,,.. ..•. /t
.. _~-···=-
I i
..-' ; ,, ·...
\
.. ·:.. . ''•
·.
.. ', I -··•
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, "

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....
_
·.
·· ·~

,;

When school days

signal the end of
summer, it's time
to start dreaming
about all the adorable
supplies, new outfits,
and crafty projects
you can devise.
Here, you'll find
gifts, garments, and
accessories that both
you and your favorite
little ones can create.

fuzzy
hedgehog tote
Acuddly friend made from fuzzy, soft
anti-pill fleece to carry a small person's
favorite things all season long. The soft
overlapping fringe "quills" add cozy
dimension. Sweet hand embroidery
on the face brings out the personality.
This messenger-style bag is just perfect
for putting a little forest-style fashion
into the fall wardrobe.
DESIGNED BY Cheryl Bush
[project instruct ions on page 95]
 snack bags
Go green in your own little way by creating
these nifty baggies to be used time and again
\
...
,,;'
··., by your tots and family. The clever carriers are
;/' lined with waterproof fabric on the inside and
decorated with your choice of happy fabric
on the outside. Way to feel good about your
munchies.
DESIGNED BY Rosemarie DeBoer
[project instructions on page 98]
•
•

CJ ~:r

0 cE
"'"<f
ff~
pur

,<I,( <>...r
S''f.>tjJ
iJf/•

SS
sewdaily.com *
night critters vest
Every child \viii love wearing this
vest replete \vi th its odd menagerie of
nocturnal animals creeping around
under the sleeping moon. Inspired by
a vintage carpenter's vest, it is made
of cozy \vool melton. The appliqued
wool felt animals arc detailed with
embroidery, and the bright facings
and exposed zipper are created to be
eye-catching.
DESIGNED BY Tina Lewis
(project instruction& on page 98]
'
,
 colorful clothing dividers
"/ Avoid the morning debate with your child on what
to wear to school They are sure to enjoy helping you
··--···~-.. \ make these delightful clothing dividers. Every Sunday
~· "''.lo.
evening you can help them choose their clothes for the
week and hang them with the coordinating divider.
DESIGNED BY Jennifer Rodriguez
[project instructions on page 100]

57
sewdaily.com *
 ' - I'
bunny nap roll " /

This bunny wants to accompany your favorite

, ~

"
youngster to preschool or daycare or Grandma's
house for nap time. The nap mat has a pillow at
one end and rolls up for portability-with the
ears serving as straps to secure the mat.
DESIGNED BY Jennifer Wolak
'
[project instructions on page 101]
• '\
'
 Combine cotton prints and chall<:board
oilcloth to make this fun, easy-to-clean floor
mat. It can be used outside on a \Vann spring
day or inside to brighten a rainy day. Floor
mat can also double as an "I Spy" game.
Coordinated play 1nats add to the fun.
DESIGNED BY Lisa Anderson
[project instructions on page 103]

59
sewdaily.com *
 . , '......,....
''
.. "..... ..., ",.....•..·,
.. .. .... .......·. .. ." ....."
--
. ...,. .. ..
.. ·.. . . . ...... . .
... ... .._
.... ........... -...- --.. •

' - -

embroidered guitar straps

Be the envy of your picking buddies at the next meet-up
with this custom-embroidered guitar strap. These guitar
straps are inspired by traditional Kantha embroideries
from the Gujarat region of India. Make one today for
yourself or your favorite musician.
DESIGNED BY Madeleine Roberg
[project instructions on page 106J

61
sewdaily.com *
 \

..
\ \ \
' \ '
place mats . \

\ ' ·.• ~

\ These placem are perfect for family gatherings

around the fall dining table where there is an
' '
abundance 9£°frui~arm homematle soups, and
rl,utty desserts. ~ placemat features
' \ _\ ' one.fall
., \

~t e~broidered in the lower left-hand comer , '

combined with a vertical strip of scrap fabrics.

'pESIG~ED BY S~scli Liu
[project inst~uctions on page 107]
' \
\

62
* stitch
 ~,

)
J
)

,.,.....,.
'
I ;
,.
-' '
I
I

I ) I
I
\ " ,1 I
I\ I :

~'L
/ I I
I ' \I I ) I ' I
I \I '
I
I I
I I I I ' '
J
l. __ I I
I
\
.., ;
I I
I I
', __
I I •
.,,I I
I

-
oilcloth plant holders
Dress up your favonre houseplant wltep:-:- - ·
you make a fabric cover for the pot. The
embroidered canvas on tne ouffide of the
' ~ - -

•
cover is lined with lailliiiated fabric for a ~ _
punch of color and waterresistance.

- - Embroider the words shown or choose your

O\ivn, such as herb names ort smaller covers.
•
- ciit . . .....
•
- .... ......
-
= ....
••
r ' . n ,

-
-

DESIGNED BY Carol !2otgrar - '

[project instructions on page 110]

·-·--··· - ... ---···

* stitch
foxy
 12
t
••
•
••

• 4
s

66
·-·--··· - ..... ---···
* stitch
sewdaily.com *
 •
Fall is the season of
harvest and what better
time to discover creative
ideas for upcycling?
Upcycling is the process
of converting something
.. - vintage or used into
something more
beautiful and useful.
Take this commendable
environmental practice
into the sewing studio to
create beautiful objects
for the home, wardrobe,
family, and friends.

Tum a man's shirt into a darling

girl's pinafore dress. A bib applique
pro\'ides a cameo spot for a treasured
fabric, and some favorite buttons
and the rest of the dress dazzles with
snazzy men's shirting.
DESIGNED BY Sigrid Arnott
[project instructions on page 121]
 out-of-favor fashions into a
trendy cuddle-up quilt. This sweet twin-size throw
combines women's woven cotton and men's flannel
shirts into easy-to-piece patchwork, adding an extra
pop of color with scraps of cast-off corduroy and a
pocket or two.
DESIGNED BY Missy Shepler
[project instructions on page 123]
~----. ... 69
sewdaily.com *
• ••
instructions
* stitch
•
73 • •
.sewdaily.com *
. .. 75 • •
sewdaily.com *
 76
* stitch
 78
. . .. ......
·····; ·stitch
 Learn to Sew- one garment at
a time.
Se¥' CoV\f'ideV\t \ is the only
learn-to-sew program that
You'll learn: brings you a year's worth of
IC The importance sewing education in easy-to-
of a fitting axis follow step-by-step
and how to use it
personal sewing tutorials,
IC How to recognize l ~ ··
by Linda Lee a leading
fitting issues.
such as drag
lines and fold s
I
f
• sewing educator.
Receive a new tutorial
I
every month for an entire
IC Basic pattern -
making skills to year-with sewing tips, insider
ensure accurate tricks, pattern variations, and
a lterations
fitting solutions.
IC And much more

Get started today -

go to www.sewingworkshop.com
Available inyour favorite book or craft store. www.creativepub.com
www.craftsldr.typtpad.col'M More info? Call 1-800-466-1599 Or email: Linda@sewingworkshop.com

GaATfOl
~-°""'
Pakho. - ' c;....
IOl.llL 'All-'
Apliqlo;• •
:"'. .. ""'"'Y""'°

., .
• lron·on, No-sew • Permanent • Machine washable, Drycleanable ofter Fusing
• Great for opplique, home decor and crafts! thermowebonli ne.com
• focebook.com/ThermOWebMimi
• Temporary, Sewoble • Repositionable • Great for designing, plocing and basting! blog.tbermoweb.com

79
sewdaily.com *
 * GETTING STARTED
1 Basic tools, techniques,
SEWING KIT
The following items are essential for your se\\ring kit Make
sure you have these tools at hand before starting any of the
projects:
0 ACRYLIC RULER This is a clear flat ruler, \vith a
measuring grid at least 2" \vide x 18" long. A rigid acrylic
(quilter's) ruler should be used \vhen working \vith a
rotary cutter.
0 CLOTH MEASURING TAPE Make sure it's at least
60" (152.5 cn1) long.
0 CRAFT SCISSORS Use these for cutting out paper
patterns.
0 DRESSMAKER'S SHEARS These sharp long-bladed
scissors are used to cut fabric.
0 EMBROIDERY SCISSORS These s1nall scissors
are used to trim off threads, clip comers, and do other
intricate cutting \VOrk.
0 FABRIC MARKING PENS & PENCILS Available in
several colors for use on light and dark fabrics; use them
for tracing patterns and pattern markings onto your fabric.
0 HANDSEWING & EMBROIDERY NEEDLES
Keep an assortment of se\ving and embroidery needles
in different sizes, from fine to sturdy.
0 IRON, IRONING BOARD & PRESS CLOTHS
An iron is an essential tool when Se\ving. Use cotton
muslin or silk organza as a press cloth to protect delicate
fabric surfaces from direct heat.
0 PATTERN PAPER Have some pattern paper or other
large paper (such as newsprint, butcher paper, or pattern
tracing cloth) on hand for tracing the patterns from
the pattern insert. Regular office paper may be used for
templates that will fit.
0 PINKING SHEARS These scissors with notched teeth
leave a zigzag edge on the cut cloth to prevent fraying.
0 SEAM GAUGE This small ruler \vi th a movable slider
is used for marking hems, checking seam allowances,
placing buttons, and more.
80
* s titch
& terms you'll need
for the projects in
this issue.
0 SEAM RIPPER Handy for quickly ripping out stitches.
0 SPIKED TRACING WHEEL & COLORED
TRACING PAPER Use these tools for tracing
patterns and markings onto your fabric.
0 STRAIGHT PINS & PINCUSHION Al•vays keep
lots of pins nearby.
0 WEIGHTS Pattern \veights or small rocks are great for
keeping fabric in place while drawing, pinning, and cutting.
* OPTIONAL . . . but good to have.
0 FRENCH CURVE A template of metal, plastic, or wood
that includes many curved edges for constructing smooth
curves.
0 NEEDLE THREADER An inexpensive aid to make
threading the eye of the needle super fast.
0 POINT TURNER A bluntly pointed tool that helps push
out the comers of a project and/or smooth seams. A knit-
ting needle or chopstick can also be used.
0 ROTARY CUTTER & SELF-HEALING MAT Useful
for cutting out fabric quickly. Al•vays use the mat to protect
the blade and your work surface (a rigid acrylic ruler
should be used with these to make straight cuts).
0 TAILOR'S CHALK Available in triangular pieces,
rollers, and pencils in various colors, tailor's chalk is
useful for marking cloth. Some forms (such as powdered)
can simply be brushed away; refer to manufacturer's
instructions for recommended removal method.
0 TAILOR'S HAM A.fi rm cushion used when pressing
curved areas of garments to preserve the shape and
prevent creases.
0 THIMBLE Your fingers and thun1bs \\rill thank you.
0 ZIPPER FOOT This accessory foot for your machine has
a narro\v profile that can be positioned to Se\¥ close to the
zipper teeth. Zipper feet are adjustable so the foot can be
Jnoved to either side of the needle.
 PATTERN SYMBOLS & MARKINGS
Here is a quick reference guide to the
symbols and markings on the patterns.

,- - - • CUTTING • DARTS Angled li nes show where the ,

,• NOTCHES Notches are triangle-
'' •
LINES : stitching will be, and the dot shows , ,-' shaped symbols used for accurately
' you the position of the dart point !
Multisize , ,-' matching seams. Pieces to be joined will
patterns have (signaling the point, at the end of the ! ,
,/ ' have corresponding notches.
different cutting ! dart, where your sti tching should end). ,,
,'
lines for each ! , , ' ,
,• PATTERN DOTS Filled circles indicate
,,
size. •
' ,' , ,-' that a mark needs to be made (often
' ,,' ,,'' on the ri ght side of the fab ri c), for place-
••' , , , ,
•• , , ,,' ment of elements such as a pocket or
, ,
' ' • . • .. • .. - ···· ,, !. . . . . . .• 1 · ; !. . . a dart point. Mark by punching through
I - - - ·- - - - -· , - .-...-- - - - ·- · - · - · - -· - - - - - -·-·-·--·- ·T~- - - - - · - -·- ·- ·- -;!- - - - ·
•
; J
• :- ..- --/"-··-··
'o •
:-r:r· fr~--·-··-··-··-··-··-··-··-·· -··,,,...,----·-··- -- - - --· -:,·-· · -----
- - --- -r.- I
~- - - - - - - - - - - - - - - - - - - - - - - - - - - -, • - ... - - - - - - - - - - - -
, ... - - - - - - the pattern paper only, then mark on the
,' ! ~ '·''I. ,1.
.1', ·
.
11f
,
,' 11
fab r ic through the hole.
1 ' , ,,
·1~: 1:! ,' ,"
:'1
' .,,,. ,' ,'
1· · 1
I . I f,
,
,
, • PLACE ON FOLD BRACKET
1\ .It ' ,
/
,
, ,'
,. ! ,"' ,' , This is a grainline marking w ith arrows
' I
I
1' . •
1t;•·
1:;t! ,'
,,' a..'
,. ,' '
I I\ . I ' , pointing to the edge of the pattern. Place
,, '
1.I I I ,.
· 11~" ,
'
p 'i
I ,
,' ' the pattern edge on the fold of the fab r ic
I ;._~ ; ,''
I ,~. , so that your finished piece will be twice
I
I ,v , 'I
I , the size of the patter n piece, without
I ,,
'I ,,
<:::
0 having to add a seam. Do not cut the fold.
I I' ,' <I>
'' ,, u
I
I
I
:
I
.' ,,
,'
,
• • -"'a..
,,
,• GRAIN LINE The double-ended arrow
I
I ' , , should be parallel to the lengthwise
,,
I I
; JI>'
•
.
,.i '
~ ~
,,
,, grain or fold unless marked as
j
I
I
, - .
crosswise.
' I

' .- -· • BIAS GRAINLINE This grainline is

--
--- -------
I
I
I . , -4 . . . . .
diagonal and indicates that the pattern
'
I
I
piece should be cut on the bias. The
I
I
I "true" bias is at a 45-degree angle to the
I
I
' I
I straight grain of the fabric.
I :
I I
I
I
I
I
I --- --- --- . --• SLASH LINE The dashed l ine indicates
that the pattern needs to be slashed
--- --- ---
I

I
I
'
I
t •,.. -
along the l ine. Slash to the dots only, if
I
I~ ...... - ....................... ___ ............. - ........................... 4 .. - - - -
: : present. If there are no dots, the pattern
, r -• I
r-- : should be slashed from edge to edge
:- -- .,
- - - - -· I
I along the entire line.

-- .---• BUTTON & BUTTONHOLE

I

'I 4 ---- ... --- ... -- -

PLACEMENT MARKS
'
I I
• Solid lines indicate buttonholes. A large
open circle is the button symbol and
••
I
•
shows placement.
•
I
••- - · - .. - .. -
I
,_. - = . .:7"-~:=..= ::.."':: . =---:.:---=.=.:"'-.. "':.=.:-::.::.:.
•• - •. - ..- ··-· . - ··-· •-

. =':"-.-=.=--"'.:= :-:-..=:.
. . =.
.. - · . - .. - •• - • · - .. -

.
':'"__"':.=_.=.._-_'- :
.·- .·- ··-· • -

.=---::-='.:'."__-.=.::'-."':
.. . .:.:...-_.- :
. ·-

.
·. - ..- . .. -
: :_- ': =
• ..
CB: Center Back
CF: Center Front

81
sewdaily.com *
 PATTERN INSERT GUIDE A quick
reference to the full-size patterns on the insert.

LAYOUT, MARKING+ CUTTING GUIDELINES
D The pattern insert features overlapping patterns, so you may not
want to cut patterns or templates directly from the insert. Instead, use
pattern paper (or other paper such as newsprint) or pattern tracing
cloth to trace the pattern pieces you need from the insert and then
cut out your traced pieces. Regular office paper may be used for small
templates that \vill fit. If necessary, use a light box or bright window
for tracing.
Ellf you are cutting pattern pieces on the fold or cutting nvo of
the same pattern piece, fold the fabric in half, selvedge to selvedge,
with right sides together or as indicated in the cutting layout or
instructions.
El All pattern markings should be on the wrong side of the fabric
unless othenvise noted.
O Lay the pattern pieces on the fabric as close together as possible.
Double-check that all pattern pieces cut "on the fold" are placed on
the fold.
I) Make sure all pattern pieces are placed on the fabric with the
grainline running parallel to the lengthwise grain unless a bias
grainline is present or as otherwise noted.
IJUse weights to hold the pattern pieces down and use pins to secure
the corners as needed.
D Cut pieces slowly and carefully.

GLOSSARY OF SEWING TERMS

+TECHNIQUES A quick reference to the technical
s ewing terms used throughout the project instructions.

BACKTACK Stitching in reverse for a
short distance at the beginning and ending
of a seam line to secure the stitches. Most
machines have a button or knob for this
function (also called backstitch).
BARTACK A line of reinforcement
stitching often placed at areas of stress
on a garment. Bartacks are created with
short zigzag stitches (by machine) or
whipstitches (by hand).
BASTING Long, loose stitches to hold
something in place temporarily.To baste
by machine, use the longest straight stitch
length available on your machine. To baste
by hand, use stitches at least '/," long. Use a
contrasting thread to make the stitches easier
to spot for removal.
BIAS The direction across a fabric that
is located at a 45-degree angle from the
lengthwise or crosswise grain. The bias has
high stretch and a very fluid drape.
BIAS TAPE Made from fabric strips cut on
a 45-degree angle to the straight grain, the
bias cut creates an edging fabric that will
stretch to enclose smooth or curved edges.
You can buy bias tape ready-made or make
your own.
CLIPPING Involves cutting tiny slits or
triangles into the seam allo\vance of curved
edges so the seam will lie flat when turned
right side out. Cut slits along concave curves
and triangles (with points toward the seam
line) along a convex cunre. Be careful not to
clip into the stitches.
DART This stitched triangular fold is used
to give shape and form to the fabric to fit
body curves.
EASE/ EASE IN \.\Then a pattern directs to
"ease" or "ease in," you are generally se•ving
a longer piece of fabric to a shorter piece or a
curved piece to a straight piece. This creates
shape in a garment or object without pleats
or gathers. To ease, 1natch the ends or notch-
es of the uneven section and pin together (or
as instructed by the pattern). Continue to
pin remaining fabric together, distributing
the extra fullness evenly, but making sure
that the seamlines match up as smoothly as
possible (you will be smoothing the excess
fullness away from the edge); don't be afraid
to use a lot of pins. Stitch slo\vly, smoothing
as necessary to ease the pieces together as
evenly as possible, being careful not to catch
tucks in the seam.
EDGESTITCH Edgestitching is a rO\V
of topstitching placed very close ('/,6- '/a")
to the edge of the fabric or an existing
seam line.
FABRIC GRAIN The grain is created in
a woven fabric by the threads that travel
lengthwise and crosswise. The length\vise
grain runs parallel to the selvedges; the cross·
\vise grain should always be perpendicular
to the lengthwise threads. If the grains aren't
completely straight and perpendicular, grasp
the fabric at diagonally opposite comers
and pull gently to restore the grain. In knit
fabrics, the lengthwise grain runs along the
wales (ribs), parallel to the selvedges, with the
crosswise grain running along the courses
(perpendicular to the wales).
FINGER-PRESS Pressing a fold or crease
\Vith your fingers as opposed to using an
.
rron.
GATHERING STITCH (machine)
These are long stitches used to compress a
length of fabric before sewing it to a shorter
piece. To gather, set the machine for a long
stitch length (use the shorter length for
lighter-weight fabrics) and loosen the
tension slightly. With the fabric right side
up, sew on the seam line and again 'ls" from
the seam line, within the seam allowance.
Sometimes you will be instructed to place
the first line of stitches •/{from the seam

82
-------···-··-·········
~tit ch
line within the body of the garment so
the stitches don't become tangled in the
permanent seam line. Leave thread tails at
each end and do not backtack. Pin the fabric
to be gathered to the shorter piece right
sides together, matching edges, centers, and
pattern markings as directed in the pattern.
Pin at each mark. Grasp the bobbin threads
from both lines ofstitching at one end and
pull gently. Work the gathers along the
thread until the entire piece is gathered and
lies flat against the shorter fabric piece. Pull
the bobbin threads from both ends to gather
long pieces. Stitch the seam, then remove the
gathering threads.
GRADING SEAM ALLOWANCES The
process of trimming seam allowances to
different >vidths to reduce bulk and allow the
seam to lie flat. The seam allowance that will
lie to the interior of the project is trimmed
the most, leaving the seam allo\vance that
will lie closer to the exterior of the project
slightly wider.
GRAINLINE A pattern marki ng showing
the direction of the grain. l\!Iake sure the
grainline marked on the pattern runs
parallel to the lengthwise grain of your
fabric, unless the grainline is specifically
marked as cross\vise or bias.
INTERFACING/INTERLINING
Material used to stabilize or reinforce
fabrics. Fusible interfacing has an adhesive
coating on one side that adheres to fabric
when ironed. Interli ning is an additional
fabric layer between the shell and lining,
used to change the garment drape or add
structure or \Varmth.
LINING The inner fabric of a garment or
bag, used to create a finished interior that
covers the raw edges of the seams.
MITER Joining a seam or fold at an
angle that bisects the project corner.
Most common is a 45-degree angle, like
a picture frame, but shapes other than
squares or rectangles will have miters
with different angles.
OVERCAST STITCH A machine stitch
that wraps around the fabric raw edge to
finish edges and prevent raveling. Some
sewing machines have several overcast
stitch options; consult your sev.ring machine
manual for information on stitch settings and
the appropriate presser foot for the chosen
stitch (often the standard presser foot can be
used). A zigzag stitch can be used as an alter-
native to finish ra\v edges if your machine
doesn't have an overcast-stitch function.
PINK To trim with pinking shears, which
cut the fabric edge into a zigzag pattern to
reduce fraying.
PLACKET A placket is a finished garment
opening, most often at the location of a
garment closure. A placket can be finished
by hemming or with binding or a facing.
Plackets are often seen on sleeve vents
(above the cuff) and are also used at neck-
line and waist edge openings, often in con-
junction v.rith buttons or other closures.
PRESHRINK Many fabrics shrink \vhen
1ivashed; you need to wash, dry, and press
all your fabric before you start to sew. Fol-
low the suggested cleaning method from
the fabric bolt. Don't skip this step!
RIGHT SIDE (RS) The front side, or side
that should be on the outside of a finished
garment. On a print fabric, the print will be
stronger on the right side of the fabric.
RIGHT SIDES TOGETHER (RST) The
right sides of two fabric layers should be
facing each other.
SATIN STITCH (MACHINE) This is a
smooth, completely filled column of
zigzag stitches achieved by setting the
stitch length to 0.2-0.4 mm. The length
setting should be short enough for
complete coverage but long enough to
prevent bunching and thread buildup.
SEAM ALLOWANCE The amount of fabric
between the raw edge and the seam.
SELVEDGE This is the tightly woven
border on the lengthwise edges of woven
fabric and the finished lengthwise edges of
knit fabric.
SHELL The outer fabric of a garment or
bag (as opposed to the lining, which will
be on the inside).
SLIP BASTING A temporary slip stitch
used for basting in curved areas, or for
matching plaids or stripes in preparation
for se\ving seams (it can also be used to
baste zippers in p lace by hand). vVith a
folded-under edge lying along the seam
line, on top of a flat (unfolded) edge, take
stitches about'// long, alternating between
the folded edge and the flat edge.
SQUARING UP After you have pieced
together a fabric block or section, check to
make sure the edges are straight and the
measurements are correct. Use a rotary cutter
and a rigid acrylic ruler to trim the block if
necessary. Because you might trim off the
backtacking on seams when you square up,
machine stitch across any trimmed seams
to secure.
STAYSTITCHING A line of straight
stitching (through one layer of fabric),
used to stabilize the fabric and prevent
stretching or distortion. Staystitching is
usually placed just inside the seam line,
often at curved edges such as armholes.
STITCH IN THE DITCH Press ase..,,vn
seam open or to one side. Lay the seamed
fabric right side up under the presser foot
and sew along the seamline "ditch ." The
stitches will fall between the two fabric
pieces and disappear into the seam.
TOPST ITCH Used to hold pieces firmly
in place and/or to add a decorative effect, a
topstitch is simply a stitch that can be seen
on the outside of the gannent or piece. To
topstitch, make a line of stitching on the
outside (right side) of the piece, usually a
set distance from an existing seam.
UNDERLINING Fabric used as a backing
for the shell of a garment to add structure
and/or aid in shaping. It is also sometimes
used to make a transparent fabric opaque.
Underlinings are cut to the size and shape
of each garment piece and the two are
basted together and treated as one during
construction.
UNDERSTITCH ING A line of stitches
placed on a facing (or lining), very near the
facing/garment seam. Understitching
holds the facing and seam allowance
together and to prevent the facing from
rolling toward the outside of the garment.
WRONG SIDE (WS) The wrong side
of the fabric is the underside, or the side
that should be on the inside of a finished
garment. On a print fa bric, the print will be
lighter or less obvious on the wrong side of
the fabric.
83
sewdaily.com *
 *,
swing
"U81£;S
STITCH GLOSSARY
A quick reference to the handstitches
used throughout the project instructions .
ARROWHEAD STITCH A
Stitches are worked at right angles to each
other. First work from left to right and top to
bottom. Bring the needle up at l , angle the
needle down and toward the center of lhe
stitch 2 . Now working from right to left, bring
the needle up from the backside at 3 . Ang le
down and to the lett inserting the needle into
the fabric finishing the stitch at the center It.
BLANKET STITCH A
Working from left to right, bring the needle up
at l and insert at 2 . Bring the needle back up
at 3 and over the working thread. Repeat by
making the next stitch in the same manner,
keeping the spacing even.
BLINDSTITCH
/ BLIND-HEM STITCH A
Used mainly for hemming fabrics where an
inconspicuous hem is difficult to achieve
!this stitch is also useful for securing binding
on the wrong side]. Fold the hem edge back
about Y.". Take a small stitch in the garment,
picking up only a few threads.
.. .... Soft ·-·
* stitch
CHAIN STITCH A
Working from top to bottom, bring the needle
up and then reinsert at l to create a loop;
do nol pull the threa d taut. Bring the needle
, back up at 2 , keeping the needle above the
, , loop and gen tly pulling th e needle toward you
, to tighten the loop flush to the fabric (leave
a little slack in the thread to keep the loop
round). Repeat by inserting the needle at 2 to
form a loop and bringing the needle up at 3 .
Tack the last loop down with a straight stitch.
l CROSS-STITCH 'Y
'
'
?'
I
I
Working from right to left, bring the needle up
at 1, insert at 2 , then bring the needle back
I up at 3 . Finish by inserting the needle at 4 .
BACKSTITCH A Repeat for the desired number of stitches.
Workin g from r ight to left, bring the needle
. up at l and inser t behind the startin g point at
2 . Bri ng the needle up at 3 . repeat by insert-
' ing at l and bringing the needle up at a point
that is a stitch length beyond 3 .
2 .
• ••
....' •• •
''
. • ''
•• ''•
3
l 2
.· ""
••
••
i •'
3
!
FLYSTITCH'Y
Work ing from left to right, bring the
'{
needl e up at 1 and insert at 2 , l eaving
the thread loose. Bring the needle back
up at 3 , keeping the needle above the
thread and pulling the needle toward you
gently to tighten the thread so that it is
BUTTONHOLE STITCH A
flush with th e fabric. Tack thread down
Wor king from righ l to left and with the point by inserti ng the need le at It. Repeat for
. of the needle toward you, bri ng the needle th e desire d num ber of stitches.
above the fabric edge at 1, loop the thread
to the left, then down and to the right,
II 2
inserting the needle from the wrong side
at 2 , keeping the loop of thread behind the 3 7
. needle at both the top and bottom. Pull the
needle through, tightening the stitch so that
the looped thread lies along the edge of the
fabric. Do not tighten so much that the tops
of the stitches pull together. When using the
buttonhole stitch to finish a hand button -
hole, work the stitches so tha t they are very
closely spaced.
FRENCH KNOT ...
Bring the need l e up at l and hold the
thr ead taut above the fabric. Point th e
needle toward yo ur fingers an d move th e
needle in a cir cular motion to w r ap the
thr ead aroun d the needl e once or twice.
Insert the needle near l and hold th e
thr ead taut near the k not as you pull the
needle an d thread through the kno t an d
the fa br ic to co mpl ete.
LAZY DAISY STITCH T
Working from top to bottom. bring the needle
up at l and create a loop by reinserting at l ;
do not pull the th read tau t. Bring the needle
back up at 2 , keeping the needle above the
loop and pulling the needle toward you gently
to tighten the loop so that it is flush with the
fabric. Tack th e loop down by inserting the
needle at 3 . Repea t for the desired number
of stitches.
. beyond 2. Conti nue in this manner, kee ping
. the th r ea d ta ut (do not pull i t so tigh t that
OVERCAST STITCH ...
Keeping your stitches at consistent depth and
spaci ng, take a diagonal stitch by bringing
the needle through th e fabric at 1, wrapping
the thread over the edge, and then bri nging
the needle through the fabric again at 2 . to
the side of the previous stitch. The result is a
diagonal stitch that wraps around the edge.
.:.
SATIN STITCH ...
Outline the shape to be satin stitched with
ti ny r unning stitches 1. Wor king from one
edge of the shape, bring th e needle up from
the back of the fabric. Working from bottom
to top, bring the needle up from th e back
just at the outer edge of the running stitch
2 . Make a long straight stitch inserting the
needle into the fabric just at the outside edge
of the run ning stitch 3 . repeat until the whole
ou tlined shape is covered with stitches.
2 the newly cut end through the eye of the
SEED STITCHES
/ SEEDING STITCH T
Small straigh t stitches worked in clusters
or scattered at random . Seed stitches can
also be worked tightly togeth er and all in th e
same direction to uniformly fi ll a space.
SLIP STITCH T
Working from right to le ft, join two pieces of
fabric by taking a 'A.-'f," long stitch into the
folded edge of one piece of fabric an d bringing
the needle ou t. Insert the needle into the
folded edge of the other piece of fabric,
directly across from the point where th e
thread emerged from the previous stitch.
Repeat by inserting the needle into the first
piece of fabr ic. The thread will be almost
entirely hidden inside the folds of the fabrics.
-- ---
STRAIGHT STITCH/
RUNNING STITCH T
Working from right to left, make a straigh t
stitch by bringing the needle up and insert
at 1, 1/s- 1/," from the starting poin t. To make
a line of ru nning stitches (a row of straigh t
stitches worked one after the other). bri ng
th e needle up at 2 and repea t.
STANDARD HAND-
APPLIQUE STITCH T
Cut a length of thread 12- 18". Thread
needle, pull this end through, and knot it.
Using th is techn ique to threa d the needl e
an d knot the thread will help keep the
thread's "twist" intact and will al so reduce
k notting. Beginning at the straightest edge
of the appli que and worki ng from right
to left, bring th e needle up from the
under side, through the background fabric
an d the very edge of the applique at 1,
catc hing only a few threa ds of the applique
fabri c Pull the thread tau t, then insert the
needle into the background fabric at 2, as
close as possible to 1. Bring the needle
up th rou gh the background fa bric at 3 , 1/s"
the fabric puckers) to kee p the stitchi ng as
invisible as possible.
1
~
3 2
STEM STITCH T
Working from left to r ight, br ing the needle
up at 1 and insert it 1/s- '!t." away at 2 (do
no t pull ta ut). Bring the needle up halfway
between 1 and 2 . at 3. Keeping the needle
above the loop j ust crea ted. pull the stitch
tau t. Repeat by inserting th e needle 1/s- Y."
to th e right and bring up at 2 .
/
as
sewdaily.com *
 s
UNEVEN SLIP STITCH/
SLIP- STITCH HEMMING '9'
After securing the thread in th e fold, take a
small stitch in the garment or outer fabric,
picking up only a few threads of th e fabric.
Then, take a stitch, about 1/ 4" long, in the
fold. across from th e stitch in the garment/
outer fabric. Continue, alternating between
tiny sti tches in the garment/outer fabric and
longer stitches in th e fold.
WHIPSTITCH '9'
Bring the needle up at 1, insert at 2 . and
bring up at '3.
2
CREATE BINDING
CUTTING STRAIGHT STRIPS
Cut strips on the crosswise grain, from
selvedge to selvedge, cutting to th e w idth
indicated in the project instructions. Use
a rotary cutter and straightedge to obtain
a straight cut. Remove the selvedges and
join the strips with diagonal seams.
DIAGONAL SEAMS
FOR JOINING STRIPS A
l Begin sewing near the center of one edge,
Lay two strips right sides together, at
righ t an gLes. The area where the strips
overlap forms a square. Sew diagonally
across the square as shown above. Tri m
the excess fabric 1/i' away from the seam
line and press the seam allowances open.
Repeat to join all the str ips. forming one
long fabric ban d.
FOLD BINDING '9'
A. Double-fold Binding This option will
create binding tha t is similar to pack -
aged double-fold bias tape/binding. Fold
the strip in half lengthwise, with wrong
sides together ; press. Open up the fo ld
and then fold each l ong edge toward the
wrong side, so tha t the raw edges meet
in the middle (1). Refold the binding along
the existing cen ter crease, enclosing the
raw edges (2 ), and press again.
B. Double-layer Binding This option
creates a double- thickness binding with
only one fold. This binding is often favored
by quilters. Fold the strip in half length-
wise with wrong sides together; press.
I then fol d it over the project r aw edges to
BINDING WITH
MITERED CORNERS "9' ....
If using double-layer binding (option 8 above}
follow the alternate italicized instructions in
parentheses wherever you see them.
Open the bin ding and press 112" to th e
wrong side at one short end {refold the
binding at the center crease and proceed/.
Starting w ith the fol ded-under end of
the binding, place it near the center of
the first edge of the project to be bound.
matching the r aw edges, and pin in place.
along the first crease fat the appropriate
distance from the raw edge}, leaving
several inches of the binding fabric free
at the beginnin g. Stop sewing 1/i' before
reac hing the corner, backtack, and cut the
threads. Ro tate the project 90 degrees to
posi tion it for sewing the nex t side. Fold
the binding fabric up, away from the
project. at a 45-degree angle (1), then
fol d it back down along the project raw
edge (2 ). Thi s forms a m iter at the corner.
Stitch the second side, beginning at the
proj ect raw edge (2 ) an d ending 1/4" from
the next corner, as before . Continue as
established until you have completed the
last corner. Continue stitching until you
are a few inches from the beginning edge
of the binding fabric. Overlap the pressed
beginning edge of the binding by 1h" (or
overlap more as necessary for security)
and trim the wor king edge to fit. Finish
sewing the binding (opening the center
fold and tucking the raw edge inside the
pressed end of the binding strip}. Refol d
the binding along all the creases and
the back, enclosing the raw edges {there
are no creases to worry about with option
BJ The fol ded edge of the binding stri p
should just cover the stitches visible on

1
2
' the project back. Slip-stitch the binding in
place. l ucking in the corners to comple te
the m iters as yo u go ('3).

Never miss
another stitch!
stitch 1

CUTTING BIAS STRIPS4 -·----

.._,.
-
..----
·----~
-
.. _.. -
---...--
--
-- __ _
::.:::......:..· ·-

_____
~..-.--
Cut strips to the width indicated in the ..- --- --·-
;i:-; ----··

----
-·-
- --
- -------------------
project instructions. Fold one cut end of -.........
~ - ...,_--
--·==--=-=
--
the fabric to meet one selved ge, for ming a - ---~-
....-- -· ----
---
·--..
- --
- -·--
--·
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::. ~:::;.•:.::..-=-.:.r_ - ·~=-
--
-=:;..:.;::;"'.;.:;_ _
;;.....-'""".
2
fold at a 45 -d egree angl e to the selvedge.
-.... --·-·
·-- -·.· =:.---
-------·--
- -·

-- -- ---
-
~~~- -
With the fabric placed on a self -h ealing -~

mat, cut off the fold wi th a rotary cutter

using a straight edge as a guide to make
a straigh t cut. With the straigh tedge Download a PDF of our
and rotary cutter, cut strips to the expanded sewing basics
approp r iate wid th. Join the strips with
section at sewdaily.com!
diagonal seams.

86
* stitch
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 how-to

D Fold Shoulder Straps in half

along the long edges RST. Turn
right-side- out and press with seam
centered on the back. Fold in 1/4" on
each short end and press.
IJ Matching marked notches, stitch
• Bodice to Skirt RST, using a 5/s" SA.
Serge or press under 1/s" on seam
allowance for an edge finish, wh ich you
w ill need to make the waist casing.
Beaded Silk
MAKE A WAIST CASING
Handkerchief Dress D To make the waist casing, press
by ALEX SUDALN IK finished waistline seam up toward the
{from page 48} bodice. Stitch 1/s" from top finished
edge, leaving 1" open at back to insert
elastic.
Elastic in the waistline and upper bust
creat es a custom, comfortable fit .
D Take waist measurement. Cut
elastic to th is measurement. Use a
safety pin to guide elastic through
Bust Waist Hip the waistband casing. Overlap elastic
I- ends 1" and stitch securely. Slip- stitch
ex XS 32~33" 25" 341/i-351/i"
4( s 34-35" 26-27" 36%-37.1/2" casing opening closed.
:c M 36-37 /z" 1
28-39Vi" 381/i-40"
v L 39-41 /z" 1 31-331/i" 41 %-43"
MAKE KERCHIEF TOP+ CASING
w XL 421/z-441//' D Matching notches, stitch right side

-
N
(I) Shown insize Small
341/i-361/z"
NOTES
- RST = right sides together
- WS =wrong side
- RS = right side
- SA= seam allowance
- All SA 5/a" unless otherwise noted.
- All raw edges can be seam- finished
by serging or turning edge under 1/s"
The beaded trim adds weight and swing- and stitch ing the edge.
as well as style.
- Press all seams open unless
('. DOWNLOAD THE FULL-SIZE otherwise noted.
J~ PATTERN FOR THIS PROJECT
- Mark, rather than clip, notches.
• AT SEWDAILY.COM
CUT FABRIC
FABRIC in yd D Cut out Bodice, Shoulder Straps,
Kerchief Top, and Skirt from pattern
- 45": XS-23/s, S-2 1/2, M-2 5/a, L/XL-2 3/ 4
pieces provided . Transfer all markings.
- 60": XS/S- 1 7/s, M-2, L/XL-2 1/s If desired, extend length of skirt. Let
skirt and bodice pieces hang overnight
OTHER SUPPLIES
to prevent future stretching.
- Pattern, provided
- 3 yd 1/4 " elastic STITCH DRESS BODY
- Beaded trim. in yd fJ With RST, stitch dar ts and Bodice
XS 6 1/2, S 63/4, M 7. L 71/4, XL 7 1/2 side seams. Finish seam edges as
recommended in Notes.
- Thread to match fabric
45-47" of Kerchief Top to the wrong side of
the Bodice using a 5/s" SA. Edge finish
seams by serging or pressing under 1/s"
and topstitching the edge.
[J Press Kerchief Top seam down
toward Bodice. To make the casing,
press finished Bod ice seam [serged or
pressed under 1/a" and stitched) down
toward the waist. Stitch 1/s " from top
finished edge, l eaving 1" open at back
to insert elastic.
D At underarms, measure around
chest. Cut elastic to this measurement
for Kerchief Top casing. Using a safety
pin, guide elastic through Kerch ief
Top casing. Overlap elastic ends 1"
and stitch securely. Slip-stitch casing
opening closed .
il'il Place Strap 1/2" inside front of bodice
matching notches and RS front facing
out. On the Bodice only, and avoiding
the Kerchief, handstitch across strap a
scant 1/s" at the top and bottom edges
of the casing-avoiding the elastic.
Note: straps can be crossed in the
back or not, as preferred. Adjust strap
l ength at the back and handstitch
above and below the casing in the
same manner as the front. Repeat with
second str ap.

88
* stitch
 how-to

ADD BEADED TRIM FABRIC D Place Back pattern piece on fabric

mPress Kerchief edge under 1/4".
Pin the beaded trim to the WS of the
Kerchief edge, aligning the bottom
woven edge of the trim with the edge
of the Kerchief. Topstitch on the RS
along the bottom edge of the Kerchief,
catching the trim edge. Add a second
row of stitching a scant 1/4" from the
edge of the first stitching , catching in
the other woven edge of the trim.
IE Hem the dress by pressing edge
under 1/4". Follow the same directions
in Step 11 above to apply the beaded
trim to the hem edge .
ALEX SUDALNIK is afashion and knitwear
designer living and working in Los Angeles,
California.
Batwing Jersey Dress
by EMILY LI MANDRI
{from page 49}
- 60": XS- 2, S/M/L-21/s, XL-2 1/4 yd using the selvedge to follow grainline .
D Cut one each of Front and Back
OTHER SUPPLIES
- Pattern, provided Facings of main fabric and interfacing.
- Matching thread SEW BACK+ SIDE SEAMS
- 1/4yd lightweight fusible tricot D Serge Back pieces together. See
interfacing Notes for alternate seam finishing.
- Press cloth D Serge Front and Back pieces
- Optional: 3mm twin needle for knits together or use the double zigzag
method in Notes.
- Optional: Serger
- Optional: for alternate hemming ll Fuse interfacing to Facings
method in Step 7: 2 yd paper- backed following manufacturer's directions.
fusible web hem tape Stitch front and back interfacings
together at shoulder seams.
ll Pin to neck edge following marked
Bust Waist Hip
~ notches. Stitch to neck edge.
0:: XS 32-33" 25" 341/z-351/i"
~ s 34-35" 26-27" 361/z-371/i" Dll Serge, pink, or press under a 1/4"
:c M 36-371/i" 28-39111" 38 1/z-40" and topstitch facing edge.
u l 39-41 1/i" 31 -33%" 411/i-43" mTurn facing to inside of dress and
L&J XL 42 1/2-44 Yz" 341/1-361/z" 45-47" press using a press cloth.
-
N
Cl) Shown insize Small IE Optional: topstitch
neck edge w ith
the same double needle finish if used
for sleeves and hem.
NOTES COMPLETE DRESS
- All seam allowances are 5/s". Double Needle Hem
- Sleeve and hem depths are 3/4". iE Hem usin g the twin needle, with
- Alternate method for seam fin ishing: a 3/4" seam allowance for sleeves and
instead of serging the seam edges, bottom hem.
use a double row of zigzag stitches. Fusible Web Hem Tape
Stitch the first row of zigzag along
the seam line using a 2.5mm IE To use paper-backed fusible web
length and a narrow .5mm widt h hem tape, first press up a 3/4" seam
setting. Stitch the second row next allowance for hem. Insert a strip of
to the first, staying in the 5/s" seam fusible web hem tape with the fusible
allowance, using a wider setting of side toward the dress body. Press using
3mm l ength x 4mm width stitches to a press cloth to prevent scorching .
finish the seams. lE Remove paper backing from hem
- Use a press cloth for synthetics to tape. Press hem using a press cloth.
avoid scorching fabrics. Straight stitch , use a small zigzag , or
double needle to stitch hem in place.
- Alternate method for sleeve and
hem finishing, use a double needle III Repeat your chosen hemming
for a different finish. method for th e sleeves.

CUT OUT FABRIC EMILY LI MANDRI is a part-time MBA

Make a double needle hem for the look of
ready-to-wear on the soft, cotton jersey.
r,~ DOWNLOAD THE FULL·SIZE
J ._ PATTERN FOR THIS PROJECT
AT SEWDAILY.COM
D Print and cut out the pattern pieces.
fJ Fold the fabric in half with selvedges
aligned.
D Place Front pattern piece on the
fold. Pin and cut.
student at NYU Stem and also the founder
ofBrooklyn-based fashion brand Natty
Paint (nattypaintcorn). vVhat started as a
silkscreened T-shirt venture has evolved into a
contemporary ready-to-wear clothing line.

>>
89
sewdaily.com *
 how-to

fold, cut 2 back fac ings each from

Prettiest Party Frock fabric and from interfacing.
by GRETCHEN HIRSCH
D Transfer all markings to fabric with
{from page SO} chalk or marking pencil.

CUT SKIRT PIECES

D Cut 1 Skirt Front on the fold.
Transfer all markings.
D Cut 2 Skirt Backs as directed on
pattern. Transfer all markings.

SEW THE BODICE

Remove the cord from the piping before
the zipper opening to reduce seam bulk.
Skirt gathers can be arranged to flatter
your figure type.
(j~ DOWNLOAD THE FULL-SIZE
J ·~ PATTERN FOR THIS PROJECT
• AT SEWDAILY.COM
D Sew the waistline darts on the
Bodice Front and Back.
D Sew the Bodice Front to Bodice
Back at the shoulder seams and press
seams open.
D Fuse interfacing following
manufacturer's directions to the Front
and Back Facings.
ll Sew the Facings together at the
shoulder seams and press open.
ll Edge finish Facings by pinking,
zigzagging , or staystitching 1/4" from
the outside edge.
iill With
right sides together, pin
the Facing unit to the Bodice at the
Bust Waist Hip neckline and armholes. Stitch.
t- 25"
ix XS 32-33" 34%-351/i"
01 Trim, grade, and clip seam
<( s 34-35" 26-27" 361/1-371/i" allowances. First press open, then
:c M 36-371/z" 28-39112" 381/z-40"
u L 39-411/z" 31-331/i" 41 l/z-43"
press seam allowances toward the
facing. Turn the facing unit to the
UJ XL 42 1/z-44112" 341/i-361/i"

FABRIC in yd
- 45": XS/S-23/a, M-2 1/2, L/XL- 27/a
- 60": XS/S-13/4, M/L/XL- 21/2
OTHER SUPPLIES
- Pattern, supplied
- 22" medium -weight fusible
interfacing
- XS/S/M - 5/a yd
- L/XL- 3/4 yd
- · 2 yd 1/a" cord for piping
- 2 yd 1" grosgrain ribbon
- 18" regular zipper
- Thread to match fabric
- Chalk or marking pencil
-
N
(J) Showninsize Small
45-47" inside of the Bodice .
iEI Understitch the facings as far as
possible. [See Sewing Basics.)
iEJ Flip Facings up and sew facing and
NOTES bodice side seams in one continuous
- All seams are 5/a" seam allowance seam. Edge finish the side seams.
unless otherwise noted.
DJ Tack the Facings to the bodice side
- Edge finish all seams unless seams at the seam allowances by hand.
otherwise noted by serg ing,
zigzagging , pinking, or turning ADD WAISTLINE PIPING
under edges of seams 1/a" and im Fold the bias strip in half WST. Place
topstitch i ng. the cording in the m iddle of the bias
- WST=wrong sides together strip. With a zipper foot, stitch as close
to the cording as possible.
CUT BODICE PIECES iD Baste piping to bodice waistline,
0 Bodice Front: Cut 1 on fold using a zipper foot, so piping extends
Bodice Back: Cut 2 just over the 5/a" seam allowance. A
Front and Back Facings: Cut 1 front little piping will extend at both ends
facing from fabric and interfacing on of the zipper opening. This will be
trimmed later.

90
* stitch
 how-to

ASSEMBLE SKIRT
IE Sew the center back skirt seam to
the marked notch. Sew the skirt front to
the skirt backs at the side seams. Edge
finish seam allowances and press open.
iD Gather the skirt waistline. Tip: to
gather, use a wide zigzag stitch over a
length of dental floss, stitching within
the 5/e" seam allowance. Pull the ends
of the dental floss to gather the skirt.
illJ Pin skirt to bodice, right s ides
together, and distribute skirt gathers
even ly. The sample shows fewer
gathers at the dress front than the
sides. Gather your dress according to
your personal preference. Baste skirt
to bodice-continue using a zipper foot
to keep stitching close to the piping.
Tip : before the end of your basting,
trim cording from inside the piping to
just inside the seam allowance at the
back seams to avoid bulk in the seam.
Finish basting to end of waistline.
f1ll Check gathers to make sure you're
happy with them. Stitch again with a
regular stitch length. Trim waistline
seam and press toward the bodice.
Ell Insert back zipper following
manufacture r's di rec ti ons.
ADD A WAISTLINE STAY
IE To finish the inside of the waistband
seam , pin the bottom edge of the
grosgrain ribbon inside the waistband
aligning the bottom edge of the ribbon
just inside the waistline seam. Trim
extra ribbon if necessary; tuck the
ends under the fold of the seam edge
at the zipper. Handstitch the ribbon
inside the waistband. Handtack at side
seams and zipper edge.
HEM YOUR DRESS
EE Press up 2" on the bottom edge The Big Blue
of the dress. Fold up an additional 2"
for the hem. Finish by hand using an
by AMBER EDEN
{from page 51}
invisible slip stitch to hem the dress.
QUICK SKIRT PATTERN
The skirt for the Prettiest Party Frock
is a simple rectangle. You can use the
enclosed pattern pieces, or easily make
your own skirt pattern. Here's how:
0 First, decide how long you want
your skirt to be-24·is generally
around knee length on someone of
average height.
0 Next decide how wide your skirt
front needs to be. For a gathered skirt,
I use a ratio of 2 r/, to I' 1neaning that
the skirt will be 2r/, times vvider than
the waistline and then gathered to fit
the waistline seam. So, if you have a 30"
waist, divide that number by tvvo (for
the front and back}-giving you 15".
0 For the Front Skirt piece, multiply
that by 2r/,_ In this example I 5" X 2•/,
will give you a skirt width of 37•/,"
before seam allo\vances.
0 Add 1 •!; for side seam allo\vances, Hidden details-French darts and a waist
stay-enhance the fit of this dress.
s/s" to the top for waist seam a1lo\vance,
and 4" to the bottom for hem allo\vance. (i DOWNLOAD THE FULL-SIZE
0 Using your measurements, cut out J~ PATTERN FOR THIS PROJECT
AT SEW DA ILY.COM
the Skirt Front on the fold.
0 For the Back Skirt, use your same - 1/2
yd light- to medium-weight woven
starting measurements as the front, but fusible interfacing
add 2 1/," to allow for both side and
- 2 yd 1/4" twill tape
center back seams. As for the Skirt
Front, adds/a" for a waist seam allow- - Thread to match
ance and 4" to the bottom for a hem - 24" invisible zipper
allowance. - 6 yd lace hem tape
0 After you have detennined your - Optional waist stay: 11/s yd of 1" wide
measurements, cut out the Skirt Back. grosgrain ribbon plus hook and eye
Cut this piece in half to create the back
seam.
Bust Waist Hip
t-
0:: XS 32-33" 25" 341'1-35/i"
---------······ <( s 34-35" 26-27" 36''1-37/i"
::c M 36-371/i" 28-39'/z" 381/1-40"
u L 39-411/i" 31-33'/z" 4l1h-43"
w XL 421/i-44'/i" 341/i-361/i" 45-47"

GRETCHEN "GERTIE" HIRSCH is a FABRIC in yd -

N
en Shown insize Small
contributing editorfor Stitch and a passionate - 45": XS-2 1/4, S-2 3/s, M-2 5/e, L-2 7/e,
home sean1stress. She is the creator of the XL-2 7/s
popular sewing blog, Gertie's New Blog for - 60": XS-13/4, S-13/4, M-2, L-2 1/s, NOTES
Beller Sewing. She teaches sewing in New York XL-2 1/4 - First pin-then baste-then stitch.
City, around the country, on PBS's It's Sev.r This is the key to accurate sewing
Easy, and on Craflsy.com. OTHER SUPPLIES for anything other than a straight
- Pattern, provided seam. ))
..... .... 91
•
sewdaily.com *
 how-to
- Make a muslin sample as a test
garment. Adjust pattern as needed.
- Try putting the zipper in by hand with
a pick-stitch for a clean, couture
finish. A pick-stitch is sewn by hand
like a straight stitch except the
distance between the stitches is less
than the length of the stitch. When
finished it resembles a machine-
stitched line.
- To keep the French dart bias line
from stretching, reinforce with
lightweight woven interfacing.
- If needed, reinforce the wa ist •
shoulder seams, and neckline with
1
/4" twill tape. Visit the SewOaily.com
blog for more information.
- Clip curves and grade seams as
needed.
- Finish seam allowances with
preferred method. A Hong Kong
finish is a seam allowance that is
enclosed with bias strips, usually
silk, a material whose fluidity keeps
the seams from becoming too bulky.
Serg ing, pinking, or zigzag stitching
are also good seam finishes.
- Allow dress to hang 24 hours before
hemming.
- All seam allowances are 1/2" unless
otherwise indicated.
- RST=right sides together
- For explanations of terms and
techniques, see Sewing Basics.
CUT+ MARK+ INTERFACE
D Cut out all pieces as indicated on
pattern.
D Mark notches and darts.
D Fuse interfacing to facing pieces
accord ing to manufacturer's directions.
STITCH BODICE
D Stitch darts in Front and Back
Bodice. Reinforce darts with fusible
interfacing as needed.
0 Stitch shoulder and side seams of
bodice.
DStaystitch neckline and waistline
of skirt and bodice. If your fabric
has a lot of stretch, use twill tape
to further stabilize. Cut the desired
le ngth and stitch just inside the
seam allowance.
..... 92 .. ......
* stitch
D Stitch the Front and Back Facings at
shoulder seam s, leaving center back
seam open.
D Attach facing to dress neck, RST.
D Understitch neckline seam and
turn facing to inside, tacking facing
shoulder seams to bodice shoulder
seams. Finish facing edges with
a zigzag stitch or as desired.(See
Glossary in Sewing Basics.)
iilJ Stitch sleeve seams. Run a basting
stitch around the sleeve cap from back
to front notches on each sleeve. Ease
sleeve cap to fit dress armhole.
mBaste sleeves to armholes ' RST.
matching front and back notches,
shoulder seam s, and side seams.
Stitch sleeves to armholes 1/4" from
edge. Stitch again using 1/2" seam
allowance.
STITCH SKIRT
i'fJ Stitch Skirt Front to Skirt Back at
side seams .
IE Stitch Skirt Back seam up to the
zipper opening as marked on pattern.
ATTACH BODICE TO SKIRT
ill Stitch bodice to sk irt at waist.
iE Insert the invisible zipper following
manufacturer's directions.
Optional: sew zipper in by hand with
a pick-stitch . Refer to Notes, above.
IIJ Optional waist stay: a waist stay
acts as a stabilizer and helps prevent
the garment from sliding up or down.
To make a waist stay, use a 1" wide
grosgrain ribbon. Cut to the desired
waist measurement plus 1". Anchor
the waist stay by stitch ing to the
waistline seam. Fold each end under
1
/2" and add a hook and eye. Handstitch
the ribbon ends to the zipper tape.
HEM DRESS+ SLEEVES
llJ Hang dress for 24 hours before
hemming.
ID To hem sleeves, press sleeve edge
up 1/2 ", then 1/2" again. Blindstitch hem
in place.
IE To hem the dress, pin or hand baste
lace hem tape 1/4" from right side edge
of hem. Machine stitch lace in place.
Turn up hem 1/2" press. Handstitch hem
using a blindstitch.
AMBER EDEN is the editor ofStitch and
SewDaily.coni. She loves all things sewing
and is a lifer student at Fashion Institute of
Technology. She lives between Boston and
Huntington, New York, and has three fur
children (two golden retrievers, plus a cat who
thinks she is one) and a husband who dotes on
each ofthem.
VISIT THE
SEWDAILY.COM BLOG!
Want to learn a snazzy, easy seam
finish? Check out the Hong Kong
finish on the SewDaily.com blog.
You can also read more about the
pick-stitch and waist stays.
The Business Edge
by KATRIN VORBECK
{from page 52}
FABRIC
Light- to medium-weight suiting or
wool blend (shown: dark gray wool
blend of 55o/o wool, 45°/o polyester].
Suit fabrics or wool blends work best.
Because of the curved seams with
piping accents, so lid -colored fabrics
without pattern or direction are
recommended. Fabric needed, in yd:
- 45": XS-2 1/s, S-2 1/s, M-21/4, L- 23/8 ,
XL-2 1/2
- 60": XS- 11/4, S-1 1/ 4, M-1 1/4, L- 13/8 ,
XL-2
- 1 fat quarter accent fabric of each of
2 colors, for piping [shown: quilting
cottons. Fabric A: turquoise, Fabric
B: lime green]. Cottons work well,
but for a more elegant look, you may
use silk or satin.
You may also replace fat quarters
with readymade bias and cording,
OR readymade piping (see amounts
for each color in cutting list).
Lining in yd
- 45":XS/S-1 1/eyd, M- XL-17/a
- 60": 11/4 for all sizes
 how-to

- 18" invisible zipper

- Tailor's chalk or fabric marker
- Scissors or rotary cutter
- Invisible zipper foot
- Optional: piping foot or zipper foot
for your sewing machine

NOTES
- All seam allowances are 5/a" unless
otherwise noted.
- Hem depth is 2" .
- Press seams after every step.
- When pressing curved seams, a
tai lor's ham is helpful. If you don't
own one, a hard stuffed pi llow
will do , but make sure it's heat
resistant t
- For expla nations of terms and
techniques, see Sewing Basics.
- Pretreat the fabrics as t he finished
garment will be cleaned [wash,
dry, iron, or dry-clean) to avoid
shrinkage after the garment is
sewn.
- As this dress has many seams, it
is recommen ded to make a muslin
Hand baste the back seam so that the
first to check the fit. Because of t he piping matches p erfectly.
seam lines, this dress can be easily
altered if your measurements are PREPARE THE PIPING
A tailor's ham is an extremely helpful tool between sizes- or to make other fJ Fold and very lightly press piping
for pressing curved seams. adjustments for a better f it. strips in half lengthwise, right side
of fabric facing out. Insert the piping
CUT THE FABRIC
DOWNLOAD THE FULL-SIZE snugly into the fold of the prepared
PATTERN FOR THIS PROJECT
D Pin pattern pieces to fabrics as
bias strip. Pin or baste prepared piping.
AT SEWDAILY.COM shown in the cutting layout. Transfer
all pattern markings to the fabric. El Using a pip ing or zipper foot, sew as
close to the cord as possible, enclosing
From main fabric, cut on straight of
the cord in the strip. Use th read that
grain, one each:
matches the piping and a longer stitch
Bust Waist Hip A-Right Front length [3.5 - 4mm). Repeat with all
I-
0:: XS 32-33" 25" 341h· 35%" B- Center Front pipi ng strips.
<( s 34-35" 26-27" 361/1-371/i"
::c M 36-37 1/i" C- Left Front
28-391/z" 38 1/z-40" SEW THE LINING
u L 39-411/i" 31-33%" 41 1/z-43" 0-Left Back B Sew all lining darts. Press bust
w XL 421/i-441/i" 341/i.-361/i'' 45-47" E- Center Back darts down and wa ist darts toward
-
N
Cl)
Center back length is 35Yz"
Shownin size Small
F- Right Back
From lining, cut on straight of grain:
center front .
D With right sides facing, sew center
back seam closed. Press seam open.
Front Lining on fold
OTHER SUPPLIES Back Lining , 2 pieces ll With right sides facing, sew the
- Pattern, provided r ight side seam closed.
From piping fabrics, cut bias strips:
- 43/ 4 yd piping cord, about 1/s" thick Fabric A: 11/2 yd long, 11/2" wide
0 Sew the left side seam from notch
(omit if you are using readymade to hem. Press both side seams open.
Fabric B: 4 yd long, 11/ 2" wide
piping) D Pin a 3" hem in the lining and baste.
Cut piping cord a few inches long er Blind stitch hem. } }
- Sewing thread to match fabrics
than each fabric strip.
93
sewdaily.com *
 how-to
Clip curved seams to allow the dress t o
hang smoothly.
SEW THE EXTERIOR
D Serge or zigzag raw edges except
the hem.
illJ Sew dart on Piece D and press
toward center back.
mPin Pieces D and E, right sides
together. Stitch the center back seam.
Press seam allowances open.
ADD THE PIPING
iE Baste piping to right side of the
fabric along seam lines of t he exterior
pieces: piping A to Piece C, piping B to
Pieces A and F. Align seam allowance
of piping with the seam allowance
of the exterior pieces. Tip: it's easier
when you clip the fabric of the piping
where it meets a convex [outside)
curve. Just ease the fabric to concave
(inside) curves.
iE Stitch the piped seams on the
front and back sides closed. Tip : this
might be the trickiest step, so take
your t ime. Basting the seams makes
it easier.
t1J Cli p seam allowances along
cu rves. Depend ing on the thickness
of your fabric you may want to trim
the seam allowances of the pip ing.
* stitch
im Carefully press seam allowances
to one side. Using thread to match the
piping , topstitch about 1/a" away from
piping , securing seam allowances. To
reduce bulk, pull out piping cord a bit
where the piping meets an edge (hem,
armhole, shou lde r) and cut it back so
there's no cord in the piping fabric at
the seam allowance .
COMPLETE THE EXTERIOR
iD Sew right side seam closed. Press
seam allowances open.
ifl Following manufactu rer's
directions, sew the zipper into the left
side seam. Stitch seam below zipper
and press seam allowances open.
iD From the righ t side, carefully sew
a few stitches across the seam line
where the zipper ends to lock the end
of the zipper.
BAG THE LINING+
FINISH THE DRESS
Bagging is the qu ickest way to line
a dress (or jacket or vest). Once you
have done it, you' ll never go back to a
different technique again!
ID With right sides toget her and the
dress inside the lining, pin or baste the
neckline and armholes of the lining
and dress together. Do NOT close
shoulder seams!
IE Sew around armholes and neckline.
Begin and end sewing at the shoulder
seam allowances at the zipper. Clip
and trim seam allowances around the
neckline and armholes.
Ell Slide your hand through the
shoulder seams, grab the hem, and
slowly turn the dress inside out. Press
seam allowances toward l ining, t hen
press lining into dress.
fE Tu rn everything inside out again.
Reach through the openings in the
shoulder seams of the lining and wit h
right sides facing, sew shou lder seams
of exterior fabric closed. Press seams
open.
III Sew shoulder seams of lining closed
by hand. Press.
IE Sew left-hand seam allowances
of lining to zipper tape by hand or by
mach in e.
Elli Serge or zigzag around hem edge of
dress.
mHem dress. As the seam allowances
and the piping add some bulk, a
single-fold, blindstitched hem is
recommended.
Have fun wearing it!
KATRIN VORBECK is a passionate
sewist-always learning and exploring. It's
the small details and the sin1ple design features
that she loves most. An adrnitted fiberholic and
bookworm., her sewing and knitting library
is just as big as her stash Visit her badly
neglected blog at sew-n1ad.blogspot.con1.
 how-to

SCH OL •
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''
Fuz-zy Hedgehog Tote •
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by CHERYL BUSH I
I
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{from page 53} • I
I

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I
I
I
I
I
The smile is made by topstitching a narrow
• band of fleece; eyelashes are embroidered.
•

Bonus instructions to convert this tote to a
pillow are at the end of the next page.
(j~ DOWNLOAD THE FULL-SIZE
J ._ PATTERN FOR THIS PROJECT
AT INTERWEAVESTITCH.COM
FABRIC
- 1 yd anti-pill fleece or felt for body of
bag and straps (Fabric A)
-
1
yd anti-pill fleece or felt for quills
/2
[Fabric Bl
•
• From stabilizer, folded widthwise, cut:
- One set of Template A (two pieces).
figure l Transfer strap and opening marks.
- One strip 29" x 5".
- Sewing thread to match Fabrics B,
C, and 0 From Fabric B, cut : (shown : red)
- Ballpoint sewing machine needle - One 4" x 71/2" strip
- Embroidery needle - Two 4" x 11" strips
- One 4" x 12" strip
- Air- or water-soluble fabric marker
or tailor"s chalk - Four 4" x 13" strips
- Optional: Polyester fiberfill for bonus - Three 4" x 13 1/2" strips
Hedgehog Pillow project. From Fabric C, cut: (shown: brown)
See instructions in Bonus Project box
- One 3 1/2" x 1/a" strip
on next page.
- One 1 1/4" x 1/s" strip
FINISHED SIZE
Fold Fabric D widthwise, and cut:
20" wide x 14" tall (23" tall with strap) (shown: white)
NOTES - One set from Template B
- All seam allowances are 1/2" unless [two pieces)

- For mouth detail: scrap of fleece or otherwise noted. Optional bow: from Fabric E, cut:
felt at least 4 1/2" x Vs" (Fabric Cl - Trim and clip curves on all seams [shown: purple)

- For ear: scrap of fleece or felt at unless otherwise noted . - One 5" x 1" strip
least 3"x 3" [Fabric 0) - For explanation of terms and - One 2 1/4" x 1/a" strip
- Optional bow: scrap of fleece or felt techniques, see Sewing Basics.
MAKE THE BAG
at least 11/2" x 5" (Fabric El - RST =right sides together
To make the strap: place stabi l izer
OTHER SUPPLIES CUT THE FABRIC on wrong side of fabric strap.
- Template, supplied Fold Fabric A in half, and cut: Fold layers Lengthwise RST. Stitch
1/ 2 [shown: beige) the long edge with a 1/ 4" seam
- yd firm stabilizer (Pellon Decor
allowance. Trim edge and turn strap
Bond recommended) - Two sets of Template A (four
right side out. Topstitch 1/s" along
- 1 large porn-porn (2" diameter) for pieces).Transfer strap and opening
marks to both pieces. Trace face both long edges.
nose
and quill markings to one side of D To make the quills: take the
- Embroidery floss for eye (to match outer bag. 4" x 7 1/2" strip of Fabric B and fold
Fabric Cl
- One strip 29" x 5" for Strap lengthwise with wrong sides facing.
Starting at back end of the marked

....... ..... . .. 9S
···-··
sewdaily.com *
 how-to
outer bag piece, place fold along the
qu ill marking line and pin so that there
is 1/2" on either end of quill [for seam
allowance when bag is sewn together].
Stitch down quill strip 1/a" from fold.
Cut 1/2" wide fringe - be careful to stop
just before seam. (figure 1) Repeat with
remaining quill strips [see photo on
facing page]. w orking in rows from the
back toward the head, in the following
size order: 4" x 11 ", 4" x 12", 4" x 13'',
4" x 131/2 ", 4" x 13 1/2" , 4" x 131/2" ,
4 .. x 13... 4 .. x 13 .. . 4 .. x 13 ... 4 .. x 11 ...
D Place 3 1/2" x 1/a" strip of Fabric C as
the longer Smile Mark and topstitch in
place. Place 11/4" x 1/a" strip of Fabric C
along the shorter Sm ile Mark Corner
and topstitch into place.
D Hand- embroider eye and eyelashes
with embroidery floss using a
backstitch. [See Stitch Glossary in
Sewing Basics).
D With RST, sew Ear pieces around
cu rved edge with a 1/4" seam allowance.
Leave straight side open. Clip around
curve and turn right side out. Fol d open
edges inward and topstitch around
entire Ear 1/a" from seam. Place Ear
piece behind second row of quills as
marked on pattern Template and stitch
along straight end 1/a" from edge to
secure.
D Optional Bow: With RST on 5" x 1"
strip of Fabric E, fold widt hwise and
stitch raw edges of short side together
with a 1/4" seam allowance. Trim seam
allowance and turn the loop r ight side
out. Cut a sideways V- shape on the top
and the bottom to create a bow. Wrap
21/4"x 1/a" strip of Fabric E around the
center to pinch the loop into a bow.
Handstitch the ends together and t rim.
Handstitch bow in place, j ust behind
the first row of fringe and in front of
the ear.
D Following manufacturer's
instructions, fuse stabilizer to wrong
sides of both outer bag front and back
pieces. Place bag front and bag back
pieces together with RST. Insert strap
in between the right sides, with the raw
ends of the strap between the marks
on either side of the opening. Pin all
layers together. Stitch along raw edges
with a 1/2" seam allowance. Leave open
96
* stitch
a gap at the top between the large
dots. Double- stitch over straps for School Days
rein forcement. Trim around edges and Teacher's Set
clip curves. by JUNE MCCRARY JACOBS
D Place bag lining pieces together {from page 54}
wit h RST. Stitch together up to large
dots, leaving a 3" opening at the
bottom for turning in Step 9.
D Turn outer bag right side out.
Insert into bag lining, so that right
side of outer bag and lining sections
are facing. Pin the top opening edges
together. Stitch around opening . Trim
raw edge and t urn bag r ight side out
through the bottom opening in lining .
IE Sew lining opening closed by hand
with a slip stitch and insert into bag.
Handsew porn- porn nose in place-
sewing it through all layers will help
keep the lining in place.
Tote is now complete! Children can p articipate by learning t he
basic embroidery stitches needed.
CHERYL BUSH is a self-taught designer
and mother ofthree. She writes a crafting
FABRIC
- 3/a yd of 44" wide 100°/o cotton fabric
blog at sewcando.blogspot.com and offers
her custon1 wearables, plushes, and patterns [shown: red -and-white gingham
check]
at thegreenhedgehog.com. She also creates
original projects for Timeless Treasures and is - 9" x 12" scrap of 100°/o cotton flannel
afeatured artist on PellonProjects.com. fabric [shown: black)
- 16" x 6" scrap of wool felt
[shown: red]
OTHER SUPPLIES
BONUS PROJECT - Embroidery template, supplied
FUZZY HEDGEHOG PILLOW
- 3/a yd of 44" wide cotton batting
- 3 buttons, 15mm diameter,
[shown: white star-shaped ]
- 2 buttons, 15mm diameter,
[shown: red heart-shaped ]
- Thread: machine quilting, and perle
cotton
- 2/3 yd of 3/a" satin ribbon [shown: red)
- 1/3yd of 3/a" satin r ibbon
[shown: white)
To turn the Fuzzy Hedgehog Tote
into a pillow, repeat Steps 1- 6. - 11/4 yd of medium rickrack trim
Then pin the prepared front and [shown: white]
back sections of the Hedgehog RST, - Spiral- bound journal [journal used
leaving a 4" opening at the bottom for sample measures 6" x 81/2"]
for stuffing. Stuff the pillow-start
- Rotary cutter, rigid acrylic ruler,
w ith t he head and then fill up t he
self- healing mat
rest of the body. Tuck in opening
used for stuffing and slip stitch - Embr oidery needles
closed. - Pinking shears
- Fabric glue stick

Using a decorative stitch adds definition to the bookmark. The journal cover is attached to
the outside of the journal cover and the inside flap with fabric glue.
- Non-permanent method of
transferring embroidery charts to
black flannel [designer used chalk
whee l)
FINISHED SIZE
- Journal cover: 20 1/2" x 8 1/ 2" [flat]
- Bookmark: 21/2" x 12" [including
charm]
NOTES
- All seam allowances are 1/2" unless
otherwise noted .
- All topstitching was sewn with
multicolor machine quilting th read
and a decorative stitch .
- Buttons were sewn on with perle
cotton.
- Measure journal accurately before
cutting fabric, using instructions in
Steps 1 and 2.
- A small-scale cotton print would
also work well for this project.
MEASURE JOURNAL
D Measure journal height from upper
to lower edge. Add 1" to this number
for height cutting measurement.
El Measure journal width from right
front edge around spine to back left
edge and record measurement. Add
81/2" to this number for length cutting
measurement.
CUT OUT FABRIC
D From gingham or print fabric: cut
two rectangles using measurements
from Steps 1 and 2.
El From batting: cut one rectangle
using same measurement.
IF II
tF
tF "'
,.
-=ii
1:1 From black flannel fabric. cut one
5" square for journal and one 2 1/2"
strip for bookmark.
D From red wool felt fabric, cut two
3" x 6 1/2" strips for bookmark and two
2 1/2" squares for bookmark charm.
D Cut white rickrack into two equa l
lengths based on journal length
measurements [from Step 2).
SEW JOURNAL COVER
D Transfer embroidery chart for
"School Days" text to center of
5" black flanne l square. Stitch words
using white perle cotton and a running
stitch . (You can encourage your child
to practice this beginning stitch by
stitching the words on this flanne l
square.]
D Pin squa re to center front of
journal cover. To determine the
center of th e journal, fold your outer
journal rectang le in half. Center this
halfway mark on the center of the
spine of the journal. Tuck under the
flap to the inside for placement to pin
the embroidered square on the front
center panel. Baste square to gingham
an 1/a" from outer edge.
ml Pin red satin ribbon over edge of
black flannel, fo ld ribbon corners for a
smooth border. Stitch around outer and
inner edges of ribbon using red thread.
mSew two star buttons and two heart
buttons in alternate corners of black
flannel applique using white perle
cotton . [This is an opportunity to teach
your ch ild how to sew on a button.]
how-to
IE Pin wh ite rickrack trim across
journal cover at upper and lower edges
at about 1 1/4" from the top and bottom
edges. Sew down the center of the trim
using white thread.
iEJ Pin journa l cover pieces together in
the follow ing order, from top to bottom:
Wrong -side front, right-side lining
(second gingham rectangle]. batting.
iii] Sew around all edges of journal
cover, leaving a 5" opening on the
bottom edge of the cover for turning.
iD Trim corners and turn to right side.
Fold raw edges of open ing to inside,
slip-stitch opening closed, and press.
iD Topstitch 1/ 4" from edge around
x 5"
entire cover using red machine qu ilting
thread.
ifl Press again. Now, center cover on
journal. Glue cover securely, beginning
at the spine and working toward the
front and back ends of the journa l
edges. Then fold and glue the flap to
the inside. Allow glue to dry thoroughly.
SEW BOOKMARK
iD Follow Step 8 above and embroider
the "ABC" text on black flannel strip for
bookmark.
IE Trim along raw edge of black flannel
strip [21/ 2" x 5"] with pinking shears.
Pin strip to center of one 3" x 6 1/2" red
wool felt strip.
IE Stitch around edge of black strip 1/a"
from edge using red thread.
ED For bookmark charm, sew a star
button to the center of a 21/2" red wool
felt square. Fold white satin ribbon in
half and insert about 1" of ribbon end
between the two 2 1/2" red wool felt
squares, pinning securely.
IE Stitch around all edges of red felt
squares at 1/2", using wh ite mach ine
quilting thread.
IE Insert about 1" of the other end of
the ribbon loop between two layers of
the 3" x 6 1/2" red wool fe lt strips and pin
securely. (Make sure the button side of
the charm is facing the same direction
as the "ABC" side of the bookmark].
el Repeat Step 22 above to stitch the
two red felt rectangles together.
>>
97
sewdaily.com *
0 OILCLOTH PLANT HOLDERS fJ EMBROIDERED GUITAR EJ FLAPPER-INSPIRED FELT lil THE FASCINATOR
by CAROL ZENTGRAF Project photo on STRAPS by MADELEINE ROBERG Proj- HAT by APRIL MOFFATT Project photo on by ALEX SUDALNIK Project photo on page
pi,'lgc 64; instructions on page TI1. ect photo on page 61: instructions on page 106. pi,'lge 77; instructions on page 136. 74; instructions on page 133.

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• •
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0 UPCYCLED DENIM iiiJ SCHOOL DAYS TEACHER'S mEMBROIDERED IE HARVEST PLACEMATS

by SUSAN LIU Project photo on page 62;
MESSENGER BAG by BETZ WHITE SET by JUNE MCCRARY JACOBS OCTO·CLOCK by STEFANIE
Project photo on page 54: instructions on BERGANI NI Project photo on page 66; instructions on page 108.
Project photo on page 67; instructions on
p"ge 118. page 96. instructions on page TIS.

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0 COLORFUL CLOTHING 1J FABRIC ROSEBUDS 0 MOD NEWSBOY HAT Ill SLOUCHY CASHMERE HAT
DIVIDERS by JENNIFER RODRIGUEZ by TOMASA JIMENEZ Project photo and by JENN RHOADS Project photo on page 78; by SIGRID ARNOTT Project photo on page
Project photo on PQgc $7; instructions on PQgc TOO. instructions on page 24. instructions on page 137. 75; instructions on page 134.

IE QUICK FAUX SASHIKO ID EMBROIDERED MARY IE! FLOWERING FLEECE + FELT III EMBROIDERED CRITTERS
Pl LLOW by COREY YODER Project photo JANES FOR BABYby APRIL HAT by STEPHANIE SMITH Project photo by HEIDI BOYD Project photo on
on page 60; instructions on page 105. MOFFATT Project photo on page 63; on page 76; instructions on page 135. page 65; instructions on page TI2.
instructions on PQge 110.

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PATTERNS + TEMPLATES lf)

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 how-to

EliJ Trim around edges of the charm and
the bookmark with pinking shears.
Some supplies used were: Coats & Clark
thread, Dill Buttons of America Inc.,
Warm & Natural Batting.
JUNE MCCRARY JACOBS's original
designs and articles have been published in
sewing and crafting rnagazines in the United
States and the United Kingdom. Last year, her
Tic-Tac-Toe Travel Ganze wasfeatured in Fabric-
by-Fabric: One-Yard V.londers.
Snack Bags
by ROSEMARIE DEBOER
{from page SS}
<4flJ j~
If your loca l fabric store does not
carry it. check online.
- 3" hook and loop tape [for two Snack
Bags)
FINISHED SIZE
- Small: 6 1/2" x 4 1/2" [folded)
- Large: 8" x 5 1/2 " [fo lded)
NOTES
- The construction methods fo r the
small and the large Snack Bags are
the same.
- If you have fabric with words or
other directional patterns, test t he
layout before trimming the corners.
- WST=wrong sides toget her
CUT FABRIC
D From Fabric A [small Snack Bag
Body). cut a rectangle 61/2" x 14".
El From Fabr ic B (large Snack Bag
Body). cut a rectangle 8" x 18".
El From PUL, cut a rectangle 6 1/2" x 14"
and one 8" x 18" .
IJ From remaining quilt ing cotton. cut
enough 2" bias strip to make 36" length
for the small Snack Bag and 45" length
for the large Snack Bag.
illJ
Fold up the bottom of the Snack
Bag, using dotted Fold Line A on the
Template as a guide.
mBefore stitch ing the binding to the
outer edge, fold under 1/2" of binding
at one bottom corner. Then continue
to bind the sides and the curved top
using the same method as in Step 9.
Fold under the last 1/2" at t he end of the
binding before finish ing your binding.
ifl Fill wit h snacks, fold down the top
on Fold Line B, and off you go'
ROSEMARIE DEBOER is the assistant
editor at Stitch magazine and recently moved
from White Sox to Red Sox territory. Her love
for her hon1etown baseball team and all her
fabric came with her.
------------------------~----------------
Night Critters Vest
by TINA LEWIS
{from page S6}

;,, .
f ."'(/J-ff ADD THE BIAS BINDING
"'.>·
D Create double- fold binding from the
W at erproof PUL fabric makes Snack Bags bias strips. [See Create Binding section
practical for either crackers or carrots. in Sewing Basics).

(j~ DOWNLOAD THE FULL-SIZE

J ·~ PATTERN FOR THIS PROJECT
• AT INTERWEAVESTITCH.COM
FABRIC
Cotton quilting fabric:
- Fabric A: 1/2 yd for small Snack Bag
Body and bias binding for large
Snack Bag
- Fabric B: 1/2 yd for large Snack Bag
Body and bias binding for small
Snack Bag
OTHER SUPPLIES
- Snack Bag Templates, supplied
- 1/3yd PUL fabric. PUL is fabric
that has been laminated with a
waterproof backing. It is soft,
flexible, and can be machine washed
and machine dried on a low setting.
D Layer the Snack Bag Body WST
with the PUL. Pin together in t he seam
allowance to avoid punct uring the PUL
fabric. Recycle w ool f rom an outgrow n coat-just
check for fabric f laws b efore cutt ing.
D Trim the rounded corners on
both Snack Bags as shown on the
Templates. (j DOWNLOAD THE FULL-SIZE
J~ PATTERN FOR THIS PROJECT
ll Cut the hook and loop tape into 11/2" AT INTERWEAVESTITCH.COM
pieces. Stitch the loop portion to the
PUL side and the hook portion to the
FABRIC
fabric side as labeled on the Templates.
- S/a yd of 54- 60" wide blue wool
D Stitch the contrasting double- fold melton or similar soft, dense,
bind ing to the short, st raight edge of coat- weight wool [will make all
each Snack Bag as follows: unfold sizes of the vest)
the bias binding and align one long
- 5" x 7" pieces of wool felt for the
raw inside edge to the PU L side of
appliques in the following colors:
the Snack Bag . Stitch along the fir st
Moon: Yellow
fold. Fold the tape up and over the raw
edges to the inside and topstitch close Bats: Dark gray
to the second folded edge. Armadillo: Purple

98
* stitch

Porcupine: Orange
Snake: Red, plus scrap of blue-green
for t he spots
Lizard: Yellow- green, plus scrap of
orange for the zigzag
Raccoon: Light gray, plus scrap of white
for t he face and dark gray for the
face and tail stripes
- 3/4 yd r ed cotton for the bias binding
OTHER SUPPLIES
- Templates, supplied
1/ 3
- yd paper- backed fusible web for
the appliques [Wonder Under or
similar product)
- 14" YKK #5 brass separating zipper
[see Sources at end of artic le)
- Cotton sewing t hread to match
the vest fabric and each applique
fabric
- 6-strand embroidery floss:
Moon: Yellow-orange for all markings
Bats: Black for all markings
Snake: Black for eye, red for tongue,
light gray for spots
Lizard: Black for eyes and nose, or ange
for zigzag
Raccoon: Black for eyes, nose, inner
ear and claws; wh ite for ears and snout
Armadillo: Black for eye, ear, and
claws; light gray for all markings
Porcupine: Black for eye, ear, mouth,
and claws; orange for quills and
whiskers; two coordinating lighter
shades of orange for qui lls.
- Small, shar p embroidery scissors
- 3/4" bias tape maker [Clover # 18)
- Press cloth
- Handsewing and embroidery
needles
FINISHED SIZE
Children's sizes 3, 4, 5, and 6
[chest 22-25" )
NOTES
- Seam allowances are 1/2" at the
shoulder and side seams and 1/r."
on the bound edges- for the neck,
front, armholes, and hem.
- Use 3 strands of embroidery floss
for all embroidery.
A b ias tap e maker gives you the f reed om
to make binding in any color you want .
- The vest can be made from recycled
wool from an old coat. Have the wool
cleaned and inspect the fabric for
flaws or holes. The vest can also be
made from heavy cordu roy, den im,
or real suede .
- Because of the thickness of
wool, it is easier to take the tiny
whipstitches and backstitches
needed for the appliques by using
the stab- stitch method of stabbing
the need le down t hrough the fabr ic
and back up from the wrong side.
- Wool responds to pressure and
steam and requires a press cloth
to prevent imprinting. Pressing the
seams is easier when using a seam
roll. Always allow steamed wool to
dry in place.
- RST = right sides together
CUT FABRIC
D Trace the front and back pattern
pieces along the lines for the desired size.
Pin to the fabric and cut out. Cut napped
fabrics with the front and back in the
same direction with the nap going down.
SEW THE VEST
fJ Wit h RST, pin vest fronts to vest
back at side seams and shoulder
seams. Sew seams with a 1/2" lapped
seam as follows: stitch the seams.
then trim the back seam allowance to
1/4" . Press the seams toward the back .
Topstitch the seam allowances 3/a" from
the seam line, enclosing the trimmed
seam allowance.
PREPARE+ STITCH BIAS BINDING
D Cut 1 1/4" bias strips from the binding
fabric, trimming the ends diagonally.
how-to
Take t he time to start and stop your
embroidery stitches neatly.
With RST, sew the strips together with
1/i," seams to make 3 3/4 yd. Press the
seams open . To make the binding, draw
the strip through the bias-tape maker,
pressing the binding as it emerges.
[See Diagona l Seams for Joining Strips
in Sewing Basics.)
D With RST, unfold one long edge
of the bind ing and pin the raw edge
to the lower edge of the vest, having
edges even. Stitch a 1/4" seam, easing
the binding along concave curves and
stretch ing it slight ly along convex
curves. In the same manne r, stitch
the binding to the neckline, easing the
binding around the curve. Stitch the
bindi ng to t he armholes, beginning and
ending at the underarm seams. Turn
the end of the binding 1/4" to the wrong
side at the start and lap the binding 1/4"
over the tu r ned edge at the end. Ease
the binding in around the armhole as
you stitch.
D Press all the bindings away from
the vest. Turn the bind ings to the
wrong side. Roll the seam out to the
edge and stab-stitch baste through
all thicknesses 1/a" from all bound
edges to ho ld in place. Press all of the
basted edges. Handstitch the armhole
bindings together at the underarm
seam. From the wrong side, topstitch
the bindings I/a" from the folded edges.
Remove the basting stitches.
INSERT THE ZIPPER
[J Tight ly fold the tops of the zipper
tape to the wrong side at an angle just
>>
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 how-to
Applique details and critter bodies are
fused in place before stitching.
above the zipper stop on both sides.
Handstitch the tape in place and trim
off any excess. Unzip the zipper. With
RST, baste the edge of each zipper
tape 1/s" from the vest front edge. The
bottom of the zipper and the top of
the zipper stop should be 1/4" from the
bottom and top of the front edges.
D Unfold one edge of the binding and,
RST, pin the edge to the vest right front
edge, sandwiching in the zipper tape,
and extending the binding 1/2" at the
top and bottom. Stitch the front edge
using a 1/4" seam, catching in 1/s" of the
zipper tape. Press the binding away
from the vest and fold the binding to
the wrong side. Turn in the top and
bottom binding ends and handstitch
to the neck and hem bind ing . Pull the
zipper out from the seam and baste
through all thicknesses of the front
and the binding close to the zipper.
Press. From the wrong side, topstitch
the bindings 1/s" from the folded edges.
Remove the basting. Repeat for the left
side.
PREPARE THE APPLIQUES
ll Trace reversed applique Templates
and applique detai ls on the paper side
of fusible web. Cut out a rectangle
around each traced image. Fuse each
rectangle to a same-sized piece of
wool felt following the manufacturer's
instructions. Using small, sharp
embroidery scissors carefully cut out
each paper-backed applique piece
along the penci l- traced lines.
100
* stitch
El Remove the paper backings from the edges of the appliques- the
the applique details only- 12 snake raccoon claws, armadillo claws, and
spots, 2 raccoon face pieces, 6 raccoon porcupine whiskers and claws in
tail stripes, and the lizard zigzag. straight stitch; the snake tongue and
Referring to the applique patterns, the porcupine quills in backstitch;
fuse the snake spots, lizard zigzag. and and the porn-porn on the moon cap in
raccoon tail stripes in place according satin stitch.
to the manufacturer's instructions. Resource: Brass separating zipper
Fuse the raccoon face and white face available from zipperstop.com.
stripe in place, slipping the face under
the stripe as indicated. Remove the TINA LEWIS is a designer, writer, stylist,
paper backings from the rest of the and seamstress. She designs sewing and
appliques. needlework projects, quilts, and clothing for
niagazines, books, shops, and private clients.
illl Using thread to match the applique
She especially loves to create children's clothing.
details, stitch the snake spots, the
Tina lives on top ofa mountain in Park City,
zigzag , and the raccoon tail stripes
Utah tinalewisdesigns@gniail.coni.
and face pieces in place using a tiny
whipstitch.
mReferring to the applique patterns Colorful Clothing
and the photos, work the embroidery
within the edges of each applique. Dividers
by JENNIFER RODRIGUEZ
Moon: Backstitch for the mouth. eye,
{from page 57}
and cap stripes.
Bats: French knots for the eyes,
backstitch for all other markings.
Snake: Straight stitch for the eye, gone
over 4 times; backstitch around the
inside edge of each spot.
Lizard: Straight stitch for the eyes,
gone over 4 times; backstitch down
the center of the zigzag; 2 lazy daisy
stitches for the nose.
Raccoon: Straight stitch for the eyes,
gone over 4 times; backstitch for the
ears and tail stripes; satin stitch for the
nose, inner ears, and snout.
,
Armadillo: Straight stitch for the eye,
gone over 4 t imes; French knots for the Fusible interfacing gives these clothing
dividers stability for daily use.
dots; backstitch for all other markings.
Porcupine: Straight stitch for the eye, FABRIC
gone over 4 times; straight stitch for Makes 5 clothing dividers
the mouth and ear.
- 6" square of five different cotton
COMPLETE THE VEST solid fabrics for front of dividers
IE Arrange the embroidered appliques - 6" square of five different
on the vest, referring to the applique coordinating cotton print fabrics for
patterns and photos for placement. back of dividers
Fuse appliques in place according to
manufacturer's instructions. Using
OTHER SUPPLIES
- Template, supplied
thread to match each applique, stitch
1/ 3
yd of medium -weight fusible
the appliques to the vest using tiny -
whipstitches. interfacing
IE Referring to the applique - Thread in coordinating colors
patterns and the photos , complete - Skein of size 5 perle cotton, black
the embroidery that goes beyond

If you've sewn garment s for your children,
it's fun to use the scrap s for the backing.
- Embroidery needle
- Air-erasable fabric marker
- Quilter's curved safety pins
- Fray Check
FINISHED SIZE
51/2" diameter
NOTES
- To reduce fraying, treat edges of
fabr ic with Fray Check after cutting
fabric.
- Fusible interfacing provides stability
for the embroidery and helps
maintain the divider's shape while
on the clothing rod.
- Embroidery is done by hand and
does not require an embroidery
hoop.
- Younger children who want to
participate but cannot yet write,
could dood le an image on each
divider.
CUT THE FABRIC
D Cut the following using Template A:
- 5 pieces from the 6" solid cotton
fabric squares [fused to interfacing
in Step 2]
- 5 pieces from the cotton print
El Following manufacturer's
instructions, iron the fusible
interfacing to the wrong side of the
cotton solid fabric.
EMBROIDER THE DIVIDER FRONTS
EJ With the air-erasable fabric marker,
print in freehand the days of the school
week and the divider line on the right
how-to
side of cotton solids. Center each day
{;~ DOWNLOAD THE FULL-SIZE
above the divider line.
J ._ PATTERN FOR THIS PROJECT
D Thread an embroidery need le with AT INTERWEAVESTITCH.COM
a l ength of black pe rle cotton. Tie
a small knot and bring the needle FABRIC
up from the wrong side of the fused - 1 yd solid cotton fabric: Bunny Body
fabric. Using a backstitch, embroider [shown: bright pink]
the weekday letters. [For embroidery - 1/4
yd each of four coordinating
inst ructions, see Stitch Glossary in cotton prints or solids: Pieced Str ipe
Sewing Basics.] Section
COMPLETE THE - 1 1/2 yd of quilting cotton: Backing
CLOTHING DIVIDERS Panel [shown: animal print]
0 Cut along the marked dividing lines. - 1/4
yd of coordinating quilting cotton:
D Using the curved safety pins, baste Backing Panel [shown: teal]
the embroidered divider fronts to t he - 6" square of felt for eyes and mouth
coordinating cotton print backs w ith applique [shown: white)
w rong sides together. Be sure that the
divider split li nes are lined up. OTHER SUPPLIES
- Templates for Ears, Face, and Paws,
D Machine sew the dividers together
provided
with color-coordinated thread and
bobbin with a tight sat in stitch around - 1 yd of 3/4" fusible hook-and-loop
tape
the outside edge, along the divider slit,
and around the interior circl e. - 6" square of fusible web
ll Press cloth ing dividers . - 12/3 yd of 90" wide cotton batt ing
- Polyester fiberfill for pillow
JENNIFER RODRIGUEZ quilts, stitches,
and wrangles her two adorable daughters in - Polyester machine thread
West Jordan, Utah, with her sweet husband. - Quilt basting spray
Visit her at allthingsbelle.blogspot.con1 and
allthingsbelle.etsy.com. FINISHED SIZE
- Main body: 25 1/2" x 48"
- Including ears and paws, 34" x 66"
Bunny Nap Roll NOTES
by JENNIFER WOLAK
- All seam allowances are 1/4" unless
{from page 58}
otherwise noted.
- RST=right sides together
CUT OUT FABRIC
D From the solid fabric for the Bunny
Body, cut one rectangle each:
- 22 1/2" x 26 1/2"
- 9 1/2" x 26 1/2"
El From the coordinating prints, cut
four rectang les:
- 51/2" x 26 1/2"
- 21/2" x 26 V2"
- 61/2" x 26 1/2"
- 41/2" x 26 1/2"
EJ For the Backing Panel, cut:
- 1 1/2 yd of Backing Panel A to
Hook-and-loop t ape on t h e ears and b ack 42" x 26 1/2"
of the nap roll m ake t his b unny portable.
- 1/4 yd Backing Panel B to 7" x 261/2" }}
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 how-to
Rolled up and ready for travel or storage.
The eyes and smile are fused, then stitched.
11 Print the Templates for the Ears and
Paws. Cut four each of the ears and
paws from the Bunny Body fabric.
PREPARE THE BATTING
11 Cut a 6" x 90" strip of batting and
set aside for the Ears and Paws.
D Cut remaining piece of batting into
thirds- each piece will be 30" x 54".
D Stack the three pieces of batting one
on top of the other, smoothing each
flat. Spray baste together.
CONSTRUCT THE FRONT
OF THE BUNNY
D Using t he stack of batting as the
foundation, place the larger rectangle
of t he solid Bunny fabric right side
102
* stitch
The bottom section is stuffed with polyfill for a built-in pillow.
up at one end on the stack of batting
wi t h the 26 1/2" edges as the sides of
the bunny's head. [The batting will
be Larger than the body of the bunny.
Place the fabric so that there is a 1"
margin of batting showing at the top
and sides of the main solid fabric piece.
II Next, place the first strip of the
coordinati ng prints over the solid fabric
piece [the bunny's head) wrong side
up . Line up the bottom edge of the
solid fabric with the bottom edge of the
coordinating print and pin down.
iJl] Stitch along this bottom edge wi th a
1/4" seam allowance, catching the t wo
layers of fabric and the three layers
of batting. Fold down the coordinating
print so that the print fabric is now
right side up. Press the seam flat.
mRepeat this process using the next
print from Step 2. Place the next printed
strip of fabric on top of the first printed
fabric, RST. Line up the bottom edge of
the fi rst strip with the bottom edge of
the next strip and pin. Sew along this
seam, then fold down, and press.
IE Continue in this fashion until the
four coordinating strips are sewn
down. For the last row, use the smaller
rectangle piece of the main solid fabric.
ADD THE EARS +PAWS
iE Using the Templates provided, cut
two Ears and two Paws from the piece
of quilt batting you set aside earlier.
IE To construct the Ears and Paws, make
a stack with a layer of the batting on the
bottom, topped with two of the pieces you
cut earlier from the solid fabric.
113 Pinthese RST and sew around the
edges, leaving t he bottom edge open.
Trim the excess batting and clip as
necessa ry.
ID Turn the Paws right side out, so that
the batting is inside and the solid fabric
becomes the front and back of the Paws.
Press and topstitch around the edges,

again leaving the bottom edge open. Do
this for both Ears and both Paws.
IE Align the Ears and Paws on the
bunny base. I placed the outer edge
of the Ears 6" in from the ends of the
head and the Paws directly above the
striped section. Lay them so that the
open edge lines up w ith the edge of
the bunny body, as if they were folded
inward. Pin in place.
ATTACH THE BACKING PANEL
D!I Sew together the 7" x 26 1/2" Backing
Panel Band the 42" x 26 1/2" Backing
Panel A to construct a finished Backing
Panel that measures 48 1/2" x 26 1/2".
ID Place this Backing Panel on top of
the Bunny Body, RST.
fill Sew around the edges. Start sewing
about 1" above the bottom edge on
the left- hand side and sew around the
entire rectangle, stopping 8" from the
bottom on t he right-hand side. This
will leave a 7" opening on the bottom
right side that you will use to turn the
shape right side out and to later add
the stuffing for the pillow.
ED Trim away any excess batting.
all Through the opening , turnright
side out, pushing out the corners as
needed.
QUILT THE NAP ROLL
EEl Sew a line of stitching at the bottom
of the Pieced Strip section, where it
meets the solid fabric of the bottom
rectangle. Do not quilt below this line
of stitching; this section will be stuffed
as a pillow.
BJ Above this line of stitching,quilt as
desired to ensure the top layers and
the backing fabric are quilted together.
I quilted using horizontal stripes at
uneven 3- 5" widths apart. Backstitch
at the beginning and end of your rows
to help secure the quilting.
APPLIQUE EYES+ MOUTH
fE Iron the fusible interfacing to
the felt, following manufacturer's
instructions.
ID Trace the Face Template onto the
felt and cut.
Ell Fuse to the solid
main fabric for
the bunny's face. Topstitch the felt
appliques in place.
FILL THE PILLOW
ED Stuff the bottom segment with
fiberfill for the pillow.
ED Tuck in the opening edges 1/4" and
slip-stitch closed.
ATTACH THE
HOOK-AND-LOOP TAPE
EillCut the loop side of hook-and -loop
tape into two 17" pieces, trimming
one end to a point. Line up on the
center front of the ears and fuse down
following manufacturer's instructions.
Topstitch in place.
ED Roll up the bunny, starting at the
pillow end, wrapping the ears around
the roll. Mark where the ears line up
with the back of the quilt.
FE Place two shortened strips of the
hook side of the tape where it lines up
and fuse down. Topstitch in place.
JENNIFER WOLAK biogs about
quilts, sewing, and other randornness at
blempgorf.blogspot.com
Chalk Cloth Play Mat
Sitting Mats
by LISA L. ANDERSON
{from page 59}
Pin chalk cloth in the seam allowances or
use clips to avoid making permanent holes.
FABRIC
- 1 yd chalk cloth
how-to
- 13/4 yd cotton print for backing
[enough for chalk cloth play mat and
four sitting mats)
- 1 1/2 yd cotton for border-single
fabric or a combination of scraps
- 3/4 yd cotton fabric for binding
OTHER SUPPLIES
- 1 1/2 yd batting
- Coordinating thread
FINISHED SIZE
- Play mat: 41 1/2" square
- Sitting mats, each: 10 1/," square
NOTES
- Seam allowances are 1/4" unless
otherwise noted.
- Press seams open.
- Do not use pins with the chalk
cloth- they will leave holes.
- Do not iron the front of the chalk
cloth. The back can be lightly
pressed with a warm iron.
- Before writing on the chalk cloth,
condition it by coloring entire area
with the side of a piece of chalk and
then wiping clean.
- Chalk cloth can easily be cleaned
with a damp cloth .
+ - RST = right sides together
CUT THE FABRIC
D. For the play mat, cut the following
pieces:
- From chalk cloth, one piece
30 1/2" x 30 1/2"
- From backing, one piece 44" x 44"
- From batting, one piece 44" x 44"
- For scrappy border [as shown).
21/2" squares, cut 196
- OR solid border, two 6 1/2" x 30 1/2"
strips PLUS two 6 1/2" x 42 1/2"strips
- From binding fabric, seven strips,
each 21/2" x width of fabric
To Make Four Sitting Mats:
- For mats, one hundred 21/2" squares
- From backing, four pieces, each
11 1/2" x 11 1/2"
- From batting , four pieces, each
11 1/2" x 11 1/2"
))
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 how-to
If you use a wide variety of prints for the scrappy border, you can play I Spy.
- From binding, four strips, each
2 1/2" x width of fabric
PIECED BORDER AND
SITTING MATS
El For the pieced border, you will need
to sew nine - patch blocks and four-
patch blocks using the 21/2" squares.
To create the nine- patch block, place
two squares RST and sew one side.
Add a third square to your chain of
two. Repeat to create two more rows of
three squares each. Then join all three
rows together to create a nine- patch
block . This block will measure 61/2"
square. You will need twenty of the
nine-patch blocks.
D To create a four- patch block, make
two rows of two squares each and then
join them into a four -patch block. This
block will measure 4 1/2" square. You
will need 4 four- patch blocks.
IJ Sew five of the
nine- patch blocks
into a row. Add a four- patch block to
each end . Make another row of five
10.r.
* stitch
nine- patch blocks with a four- patch
block on each end.
1:1 Sew the remaining ten nine- patch
blocks into two rows of five blocks
each.
0 For each sitting mat, sew twenty-
five 21/2" squares into a block with five
squares across and five down. Use the
same piecing techniques as in Step 2.
SEW BORDER TO CHALK CLOTH
II Take the two shorter block border
chains and with RST, sew to the left
and right side of chalk cloth. Stretch
the cotton border pieces as you sew to
get t he two different fabrics to line up
properly. Do not pin in place as the pins
will damage the chalk cloth. See Notes
for instructions on pressing chalk
cloth. Avoid pressing back seams too
vigorously as damage to t he chalk cloth
may occur.
D Now take the two longer block
border chains and with RST, sew to the
top and bottom sides of the chalk cloth.
,
, I ·,
,'
, ' I ''
I '
'
' '
, '
'
I
' '
'' ,'
'. '
'
I
'
'' ,'
,,
figure 1
Again, stretch the cotton border as you
sew.
FINISHING
D For both play mat and all four
sitting mats, create a quilt sandwich
by layering the backing [wrong side
up). batting, and assembled top (right
side up). Baste with safety pins every
2" on border section only. Due to the
nature of working with two different
fabrics numerous safety pins are
required for the fabric to lie flat for
quilting.
ml Qui lt as desired on border section
only of play mat and sitting mats. The
sample is quilted in straight lin es with
white thread using a walking foot.
mTrim the batting and backing to
match the play mat top. Trim corners
at a 45 -degree angle . (figure 1)
iE Trim the batting and backing to
match t he sitting mat tops.
IE Join the binding strips to create a
continuous length of binding. Press
the binding in half lengthwise, wrong
sides together. Bind the play mat and
sitting mats using mitered corners.
[See Binding with Mitered Corners in
Sewing Basics.)
LISA L. ANDERSON has a design
background and loves all things crafty-
especially sewing. She has previously
contributed designs to Stitch and writes
about her creative endeavors on her blog,
Crafting My Way Through Life at
imalisawork.blogspot.com.
 how-to

- Coordinating #8 perle cotton or

#12 sewing thread [shown: plum,
<;-.. ,/ <;-.. ,'
. I "/
'
...
tangerine, moss green, and dark , \ \ \
golden brown] .... ....

THIS - Size 100/16 machine needle

- Neutral thread for bobbin "-.
'
"'} ...
Quick Faux - Water-soluble fabric ma rker
\ I
- Temporary spray adhesive b
Sashiko Pillow ....
~
~ ~

... ...
by COREY YODER FINISHED SIZE
{from page 60} ,I b ' I

15" square :::?l'i ,,

I
...'
NOTES
- All seam allowances are 1/4" un less
I \ J
' I
' J

otherwise noted. figure l

- For the machine qui lting, use a
longer stitch length and , if possible,
set your needle to end in the down I

position.
\
- Use all-purpose thread in the \
bobbin and #8 perle cotton or
Aurifil in the top. If your machine
cannot handle the #8 perle cotton,
substitute a #12 sewing thread.
...... /
/'
'I - / .....
'

[shown: #8 Finca Mou li ne perle \

Create the look o f sashiko by threading

cotton from Presencia. A suggestion
for the slightly thinner #12 thread
'
your sewing m achine w ith perle cot ton. )
wou ld be Au rifil.] I

FABRIC CUT THE BINDING

Pillow Top
- Main fabric: One 15 1/2" square piece
of linen or solid qu ilting cotton
- Applique: Twenty-five 21/2" squares
of quilting cotton fabric scraps
- Pillow Top Base: 16" square of
muslin or qu ilting cotton
Pillow Backing
- Two 11 1/2" x 151/2" rectangles of
coordinating quilting cotton
Binding
1/s yd quilting cotton for 3/s" finished
- D Trace the Petal Template from the
straight-grain binding
OTHER SUPPLIES
- Petal Template and Applique
Template, supplied
- 16" square pillow form
- 16" square low-loft batting
- 1/4 yd lightweight fusible web
[20" wide]
- Heavy paper or template plastic
- Neutral thread for applique
D Cut 2 strips of binding fabric
21/4" x width of fabric.
MARK THE QUILTING LINES
El Using a water-soluble fab ric
marker, draw a 1/4" seam allowance
around the perimeter of the 15 1/2"
square Pillow Top.
D Measuring from the lines drawn for
the seam allowance- not the fabric
edge-draw a grid 5 squares across
and 5 down. The lines will be 3" apart.
pattern insert onto a piece of heavy
paper or template plastic and cut it out
carefully. The Petal Template will be
used to mark the quilting lines.
Ill Use the grid on the Pillow Top to
align the points of the Petal Template
to the marked intersections. Trace
along the Template using the water-
soluble marker. Continue marking
until all of the quilting lines have been
drawn. Use 1/2 of the Petal Template
'
figure 2
to draw the qui lting lines around the
perimeter. (figure l)
'
APPLIQUE THE GRID CENTERS
IJ Using the Applique Template from
the pattern insert. trace 25 Applique
outlines onto the paper side of the
fusible web. Cut each piece out about
1/s" from the drawn line. Fuse to the
wrong side of a 2" fabric scrap. Cut on
the traced line and peel away paper
backing.
1J Using the quilting lines as a guide,
center each fused Applique in one
of the marked grid squares on the
Pillow Top Backg round. Following
manufacturer's instructions, fuse
Appliques into place.
ll Machine applique each fused fabric
piece into place using a straight stitch
1/s" from the cut edge.

105
sewdaily.com *
 how-to
Curved stitching lines can be sewn
accurately by using the template provided.
PREPARE THE PILLOW TOP
FOR QUILTING
D Layer the 16" square Pillow Top
Base !wrong side up). 16" square
batting, and Pillow Top [Main Fabric)
right side up. Use temporary spray
adhesive to baste layers, or hand baste.
STITCHING THE
FAUX SASHIKO LINES
IE Stitch one vertical and one
horizontal faux sashiko line (figure 2).
Begin stitching at the cut edge of the
fabric so that the quilting runs through
the seam allowances . Use a separate
thread color for each set of vertical
and horizontal lines. Continue until the
quilting is complete.
mTrim away excess Backing and
Batting. Square up the pillow to 15 1/2".
COMPLETING THE
PILLOW BACKING
ED Place one 11 1/2" x 151/2" Backing
piece wrong side up and fold and press
down 1/4" on the 11 V2" edge. Fold and
press down an additional 1/4" and sew
into place. This Backing piece now
measures 11" x 15 1/2" and has one
finished edge. Repeat with the other
Backing piece.
COMPLETE THE PILLOW
iEJ With the completed Pillow Top
wrong side up, place one Pillow
Backing piece right side up with
finished edge toward the center line.
.... ... 106 •••
* stitch
Place the other pillow Backing piece
with its finished edge also towards the
center. The Backing pieces will overlap
in the center. Pin in place and machine
baste around the perimeter 1/s" from
the edge.
ID Join the binding strips into a
continuous length with diagonal
seams. Press the binding in half.
lengthwise, with wrong sides together.
Bind the pillow using your favorite
binding method. [See Create Binding:
Diagonal Seams for Joining Strips
and Binding with Mitered Cor ners in
Sewing Basics.)
0:1 Insert the pillow form and enjoy!
COREY YODER is a designer spedalizing in
modern quilt and pillow design. Her work has
been featured in various books and niagazines.
Visit Corey's blog at littlen1issshabby.coni.
-------------- -- ----------------------
Embroidered
Guitar Straps
by MADELEINE ROBERG
{from page 61}
FABRIC
- 1/3 yd of 100°/o cotton in a solid color
- 5 1/2" x 7" wide piece of black leather
or 26" of a used bicycle inner tube
!Slit along one seam. the tire should
measure at least 2" wide.)
OTHER SUPPLIES
- Pattern Templates for strap ends,
supplied
- 2 to 3 skeins of 6-strand embroidery
floss
- Guitar strap 1 !shown: dark gray and
terra-cotta ]
- Guitar strap 2 [shown: soft gold]
- Strap hardware: one 2" tri -glide and
one 2" rectangular ring
- 3" x 59" cotton batting
- All-purpose sewing thread: 1 spool
black and 1 to match cotton fabrics
- Walking foot for your sewing
machine
- Knitting needle or other device for
turning out the strap corners
- White marking pencil
- Craft knife
FINISHED SIZE
32"-57" long x 2" wide
NOTES
- There are two different embroidered
versions of the guitar strap. The
directions below are for one strap.
Follow separate embroidery designs
for each strap shown in Step 10.
- All seam allowances are 1/ 2" unless
otherwise noted.
- If you use a bicycle inner tube for
the tabs, use a walking foot on your
sewing machine and adjust the
tension to sew through the rubber.
Start at #8 and adjust the tension
from there. The natural curve in the
bicycle tube will disappear when the
two pieces are sewn together.
- The automatic keyhole buttonhole
function on your sewing machine
may not be able to handle the
rubber. If so. simply stitch slowly
around the circular end of the
keyhole, moving the tab as
necessary.
NOTE: An easy way to get the
necessary strap hardware is to
purchase a cheap lor used] guitar strap
and disassemble it for the tri-g lide.
rectangular ring. and tabs.
CUT OUT FABRIC
From the cotton fabric:
D Cut 3 strips, each 3" x 40".
El Cut 1 of these strips in half to create
2 strips. each 3" x 20".
>>
 •

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-----------------------------------~---------------------------------------------------------------

•
 how-to
figure l
From the black leather/ bicycle
tubing:
El From Template A, cut 2. With white
marking penci l, mark sewing and
cutting lines for keyhole buttonhole.
ll From Template B, cut 1. Mark
sewing and cutting line for keyhole
buttonhole.
SEW STRAP
Ill Sew a 3" x 40" strip to one of the
3" x 20" strips at a 45-degree angle.
(See Diagonal Seams for Joining Strips
in Sewing Basics.) Press. Repeat with
the other 2 strips.
[I Layer the two 3" x 59" strips of
fabric right sides together and place
the batting on the top.
fJ Sew around 3 sides of the strap-
up one long side, across the short end,
and down the other long side.
ll Trim batting close to the seam line.
D Using a kn itting need le or similar
blunt object, turn the strap right side
out through the unstitched short end.
Press well.
EMBROIDER STRAP
For embroidery diagrams, see the
Stitch Glossary in Sewing Basics.
Because of the batting, you w ill not
need to use an embroidery hoop.
II!J For Guitar Strap 1: Use a running
stitch to create 8 lines of embroidery
lengthwise, about 1/4" apart. Alternate
embroidery floss colors as desired.
For Guitar Strap 2: Make random
V st itches (Arrowhead Stitch ) until the
strap is densely covered.
ASSEMBLE STRAP
DJ Sandwich the unstitched end of
the embroidered strap between both
pieces of Template A, wrong sides
108
* stitch
Purchase a used or inexpensive g uit ar strap
and t ake it apart to reclaim the hard ware.
together. Using a 1/4" seam allowance,
sew completely around the leather tab.
Sew across the straight end twice for
durability.
iIJ Sew twice along the keyhole
buttonhole stitching line. Cut along the
keyhole cutting line using a craft kn ife
for cutting out the stem and circle.
iE Slide piece cut from Template B
th rough the rectangular ring and fold
in ha l f. Using a 1/4" seam allowance,
stitch around the tab, following the
stitching lines shown on Template 8 .
Sew the straight st itching line twice.
ilJ Stitch and cut the keyhole on other
end as described in Step 12.
ml Run the end of the embroidered
strap with Template A through the
tri -glide, with the r ight side of the strap
going under the outside bars and over
the middle bar. (figure l)
ill Run the same end through the
rectangular ring and through the back
of the tri- glide- in the same under-
over- under pattern.
ifl Stitch the end to the back of the
gu ita r strap, secu ring the tri-glide in
position. To do this, sew a 1/2" x 1 1/2"
rectangular box across the width of the
strap and then sew an X th rough the
center of the box.
lD Now rock it !
MADELEINE ROBERG co-hosts REPEAT,
afabric design con1petition run by The
Printed Bolt. She is also a textile historian
and designer with a graduate degree from
the University ofNebraska-Lincoln in textiles
history with a quilt studies emphasis. Visit her
at theprintedboltcon1 and papagostudio.com
------------------------~----------------
Harvest Placemats
by SUSAN LIU
{from page 62}
These b asic embro idery stitches are easy
to master-and fun to do.
FABRIC
To make 4 placemats:
- 1 yd of 45" solid quilting cotton
fabric (main)
- 1 yd of 45" coordinating quilting
cotton fabric (backing)
- Three 1/4 yd pieces of 45" coordinated
qui lting cotton fabrics, or 3 fat
quarters (for vertical strips)
OTHER SUPPLIES
- Fru it Pattern Embroidery Templates,
provided
- 1 yd of low- loft polyester batting,
such as Pellon Thermolam
 how-to

3" 6"
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13"
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12" 3 3
figure l I 6" 6"
I 3
.. I 3
.. I
Inserts are created by piecing three figure 2
different fabrics cut in random widths.
prints RST and stitch along th e 3 1/2"
side. Add another piece in the same D With embroidery needle and the
- Coord inating sewi ng thread
manner until the strip is 13" long. recommended number of strands
- Various colors of embroidery floss of floss noted on each Embroidery
Finished piece wi ll measure 3 1/2" x 13".
for fru its Template, embroider the fruits with
Make 4 vertical strips.
- Embroidery needle stitches indicated . [See pattern insert.)
- Iron -on transfer penci l ASSEMBLE THE PLACEMAT TOP
QUILT+ FINISH
- Fabric-marking pen D Place one 13" x 121/4" solid
[I With the backing fabric right side
rectangle next to the pieced strip RST
- Spray-on temporary fabric adhesive and stitch along the 13" side. Add one down and following manufacturer's
13" x 3 1/4" solid rectangle to the other directions, spray temporary fabr ic
FINISHED SIZE adhesive on the wrong side of the
raw edge of the vertical strip and stitch
13" x18"each fabric. Center t he batting on top of
together along the 13" side (figure 1).
Make 4 placemat tops. Trim tops to the backing. Spray tempora ry fabric
NOTES
measure 13" x 18". adhesive on top of the batting. Center
- Prewash and iron all fabrics before
and smooth the placemat top, righ t
cutting . side up, on the batting.
EMBROIDER THE FRUIT
- All seam allowances are 1/4" unless
D Following t he transfer pencil D Using a fabric-marking pen and
otherwise noted. manufacturer's instructions, trace and a stra ight edge, t race quilting lines
- Press all seams open unless iron each Embroidery Template onto (figure 2) onto the place mat top.
otherwise noted. the lower left-hand corner of the right Mach ine quilt along t hese lines with
- RST = right sides together side of the placemat top. coordinating thread.
- Stem stitch, backstitch, running
stitch, and satin stitches are used
to embroider the fruits. [See Stitch figure 3: folded mitered-comers
Glossary in Sewing Basics.)
Step 1: Step 2: Fold
CUT THE FABRIC Trim the the clipped
D Cut fou r 13" x 12 1/4" and four corners corner over
13" x 3 1/4" rectangles from main fabric. of the toward the
binding. right side of
- Cut four 16" x 21" rectangles from
the placemat.
backing.
- Cut four 15" x 20" rectangles from
batting.
Step 3: Fold half Step4: Now
- Cut a 3 1/2"strip from each of the of the backing fold the backing
coo rdinati ng fabrics. Cut these extension toward over the
strips into pieces with random the placemat top placemat top,
widths between 11/2" and 3". The so that the raw forming miters
va riation in widths gives each edge of the back- at each corner.
vertical strip a distinctive look. ing aligns with the Pin in place.
raw edge of the Slip-stitch the
MAKE THE VERTICAL STRIP placemat top. binding to the
fJ Using the coord inating fabric strips place mat top.
prepa red in Step 1, place two different
>>
109
sewdaily.com *
 how-to
All stitches are illustrated in the Stitch
Glossary in our Sewing Basics section.
NOTE: Do not stitch the quilting lines
through the embroidered fruit motifs.
ll Trim batting even with placemat top.
Do not cut into the placemat backing.
ll Trim backing fabric to a 11/2" margin
all around the quilted placemat.
DlJFinish the placemat corners using
the folded mitered-corner method
shown in (figure :3) . Invisibly applique
edges and mitered corners in place.
SUSAN LIU resides in Cupertino, California
and is ajull-tin1e project n1ana9er. In her free
time, she loves to sew, knit, and draw. Read
about her creations al so-sue.blogspot.coni.
Embroidered Mary
Janes for Baby
by APRIL MOFFATT
{from page 63}
If you would like to make t hese for an older
baby, enlarge the pattern on a copier.
110
·-·--·· ....... ---···
* stitch
FABRIC
- /& yd wool felt [shown: soft aqua)
1
- Scrap wool felt [shown: red)
- 1/, yd cotton print for Lining
OTHER SUPPLIES
- Mary Jane Templates, provided
- 2 buttons to coordinate with felt, 3/s"
- Matching thread
- Embroidery floss to coord inate with
cotton fabric
- Press cloth
FINISHED SIZE
Newborn, 0-3 months
NOTES
- RST =right sides together
- Seam allowance is 1/4" unless
otherwise noted.
- Use a press cloth to press wool felt
before cutting.
- Fold fabric so that when cutting you
get both a right and left Shoe Sole.
- Transfer all pattern markings.
CUT THE FABRIC
From folde d wool fe lt:
- Cut 2 Shoe Uppers
- Cut 2 Soles [mark arch with a pin or
a pencil mark)
- Cut 2 rectangles for Straps
(1 1/2" x 4")
From fold e d cotton fa bric:
- Cut 2 Shoe Linings
- Cut 2 Soles [mark arch with a pin or
a pencil mark)
MAKE THE SHOES
D To make the Shoe Upper, with RST,
pin heel seam together. Stitch 1/4"
seam. Repeat for other shoe.
fl With RST, pin the center back
seam of the Shoe Upper to the center
back dot on the wool felt Sole. Pin the
center front dot on the Shoe Upper to
the center front dot of the Sole. Pin
edges, easing the fabric around the
curve. Stitch. Clip curves just to the
stitching line-be careful not to snip
through the thread. Turn right side
out. Repeat this process with the other
outer Shoe Upper.
The blanket stitch embroidery keeps the
lining in place and adds a decorative touch.
EJ To make the Shoe Lining, repeat
Steps 1 and 2 with the Lining fabric.
To make the Strap, press the rectangle
lengthwise. Stitch along the side and
across one end. Turn right side out.
Topstitch 1/s" on folded edge of Strap.
Press. Repeat for the other Strap.
ASSEMBLE THE SHOES
D Take the left Outer Shoe Upper and
the left Lining Shoe [the marked Arch
Point will be on the inside of the shoe).
Keeping the Outer Shoe [felt) turned
right side out, place it inside the Lining
of the left shoe RST. Match and pin the
edges around the shoe top. Using the
Strap Guidelines from the Template for
placement, slide the unfinished end of
the Strap in between the right side of
the Outer Shoe and the Lining.
NOTE : The Strap will be stitched on
the same side of the shoe as the Arch
Point. Strap is adjustable and can be
shortened if necessary.
D Stitch around the top edge leaving
a 2" opening along the back of the
heel for turning. Turn shoe right side
out. Gently press Lining seams into
the Outer Shoe seams. Turn under the
edges of the opening and slip-stitch
closed. Press. Repeat for other shoe.
FINISHING THE SHOES
[I Using coordinating embroidery
floss, blanket- stitch the edges of the
straps and the upper edges of the
shoe. [See Stitch Glossary in Sewing
Basics.I

D Cut a small horizontal slit into
the end of the strap for the button
to fit through. Sew buttons in the
appropriate place after measuring the
strap placement.
D To make the Wool Felt Flower, cut a
5" x 1" rectangle. Press the rectangle
lengthwise. With sharp scissors, cut
the folded edge every 1/ 4". being careful
to not cut through to the other side.
Roll up, securing with stitches every
half turn to form a rosette. Attach
folded-side up to the outer toe with
thread. Repeat for other shoe.
APRIL MOFFATT comesfron1 a long line
of sewing divas. Her grandmother sewed
her way through the Great Depression,
and her industrious n1other has sewn just
about everything you can irnagine. April
homeschools herfour children and also designs
textiles. She shares her ideas and patterns at
apriln10.ffattdesign.com.
Oilcloth Plant Holders
by CAROL ZENTGRAF
{from page 64}
FABRIC
These plant holders work well for holding
gardening supplies or outdoor toys.
For large cover:
- 1 yd of 60" wide cotton duck
- 1 yd of 60" wide laminated cotton
For medium cover:
- 1/2 yd of 60" wide cotton duck
- 1/2 yd of 60" wide laminated cotton
OTHER SUPPLIES
- Embroidery Template, supplied
Personalize by embroidering the name of a
friend for a great fall gift.
- 1 yd of ultra-firm fusible stablilizer,
such as Peltex
- 6-strand embroidery floss in a color
to coordinate with cotton duck
- Embroidery needle
- 11/2" to 2" diameter button for each
cover
- Tracing paper
- Transfer paper
- Press cloth
FINISHED SIZES
- Large cover: 14" x 14 1/2" x 12 1/2"
- Medium cover: 11" x 11 " x 101/2"
- To create other sizes, see Making
Custom Covers at the end of these
instructions.
NOTES
- All seam allowances are 1/2".
- Always use a press cloth and l ow
iron temperature with laminated
fabrics. Press on the wrong side
when possible.
- RST =right sides together
CUT THE FABRIC+ INTERFACING
D For the large cover- from the cotton
duck, cotton laminate, and interfacing,
cut:
- four 15" x 17" rectangles for the
sides [12 pieces total]
- one 15" square for the bottom
[3 pieces total]
D For the medium cover-from the
cotton duck, cotton laminate, and
interfacing, cut :
- four 12" x 15" rectangles for the
sides [12 pieces total]
how-to
•'
•
'
-- - '
----- '
'
figure l
- one 12" square for the bottom
[3 pieces total)
EMBROIDER THE FRONT PANEL
EJ Trace one of the words from the
Pattern Template [or write your own
word) on tracing paper. Transfer the
word to be embroidered to the panel,
centering the bottom of the word 2" up
from the bottom of the panel. In placing
your lettering, remember that the top
edge of the planter will be folded down.
El Thread the embroidery needle with
6 strands of embroidery floss. Embroider
the letters using a running stitch. (See
Stitch Glossary in Sewing Basics.)
ASSEMBLE THE COVER
1:1 Fuse the
interfacing pieces to the
wrong sides of each of the cotton duck
.
pieces.
IJ For the outside cover, stitch the
cotton duck side panels together. To
accommodate the bottom panel, start
stitching 1/2" from the bottom edge.
D Sew the bottom panel to the side
panels. Press seams away from the
bottom panel. Turn the cover right side
out. (figure 1)
D For the lining, repeat Steps 7 and 8
using the cotton laminate, leaving an
8" open ing in the center of one bottom
edge. Press on the wrong side using a
press cloth. Do not turn right side out.
D Place the outside cover inside the
lining, aligning the side seams and top
edges. Sew around the top edge.
iE Pull the outside cover through the
opening in the lining, which will turn )"'·
the lining r ight side out. Insert the 'I
111
sewdaily.com *
 how-to

until t he center fabric is taut and ready

Embroidered Critters for stitching.
by HEIDI BOYD D Cut felt from the templates. Cut
{from page 65} each felt piece exactly to the Template
size. Do not add seam allowances.

,
, .' El Stitch the letters. With the Lettering
' ' Template behind the fabric, center the
,,. I
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I word under the felt animal. 1" up from
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your embroidery needle wit h 3 strands

of black floss. Each letter is for med
with a backstitch. (See Stitch Glossary
fig ure 2 in Sewing Basics.)
IJ Finish the embroidery and
lining in the outside cover and press critter appliques. Turn the finished
the top edges using a press cloth . embroidery over and trim away excess
Topstitch 1/2" from the edge. cotton fabric so that only 1 1/2" extends
beyond the hoop. Thread your sewing
FINISH needle with a long strand of thread and
ID Fold the top edge to the outside, make a long running stitch along the
adjusting the depth as desired. Applique and hand embroidery give a outside edge of the t rimmed fabric.
whimsical dimension to woodland friends.
IE Sew a button to the center front of Pull the thread ends to gather the
each folded edge, stitching through all fabric and allow it to hide inside the
layers. GENERAL SUPPLIES back of the hoop. Tie the thread ends
- Templates, supplied in a knot.
IE To add stability to the corners
on the large cover, use 6 strands of - 8" wooden embroidery hoop l!I Add the backing. To finish t he back,
embroidery floss and stitch through - Small amounts of felt in a variety of use the inner hoop as a template to
each corner with a running stitch . colors- scraps are perfect' trace a circle on the 9" square of felt.
(figur e 2) Cut out the circle and position it over
- Fine -tip air-erasable fabric marker
the gathered embroidered fabric in
MAKING CUSTOM COVERS - Sewing and embroidery needles the hoop. Temporarily secure t he felt
To make a cover to fit any pot: - Off-white sewing thread circle to the gathered back with a few
D Measure the diameter across the - 9" square of felt for each backing straight pins. Carefully dot fabric glue
top of the pot. Add 2" for the width of or hot glue around the perimeter of the
- Fabric glue or hot glue gun felt circle- working in sections to keep
the rectangle.
FINISHED SIZE it from sh ifting.
D Measure the height of the pot. Add
7" for the height of the rectangle. 8" diameter BANDIT
El So, if your pot has a 5" diameter and NOTES FABRIC
is 6" tall, cut side rectangles 7" x 13". - The General Supplies and General - 1/3
yd printed brown cotton [shown:
ll The bottom square is the same as Instructions are common to each Denyse Schmidt's Hope Valley}
the final measurement in Step 1. In of the embroideries. Ind ividual - Wool felt: silvery gray, off-white,
this example, the bottom would be 7" supplies and instructions are listed black, and light tan
square. below under each critter's name.
(Some supplies for this project - Trace a circle from the 9" square of OTHER SUPPLIES
- Two 1/4" 2-hole buttons, off-white
were provided by James Thompson, felt using the inside diameter of t he
Westminster; Rowan. and Pellon.] outer hoop as a template. Set aside - One 1/ 4" shank button , black
until Step 5.
- 6-strand embroidery floss: silvery
CAROL ZENTGRAF is a writer, designer,
and editor who specializes in sewing, GENERAL INSTRUCTIONS gray, off-white, black, and gold
en1broidery, textiles, painting, and decorating. D Set up the embroidery hoop. Press PREPARE FABRIC FOR
She designs for several magazines and fabric the cotton. Center the fabric in the EMBROIDERY
company websites. Carol is also the author of embroidery hoop. Alternate between D Set up the embroidery hoop. [Step 1
seven home decor sewing books. tightening the tension on the outer of General Instructions.]
hoop and pulling the sides of the fabric,

112
* stitch
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quilting, and mixed-media will keep you inspired with
boo ks, magazines, television shows, DVDs, interactive online ~" INTERWEAVE.coM
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shopping experiences.
 how-to
Wool felt pieces are layered fro m large to
small. Allow room for the critter's name.
El Cut the Bandit Templates. [Step 2 of
Genera l Instructions.)
- Silvery gray: body, legs, face strip,
ears, and tail
- Off-white: tail tip, face base piece
- Black: tail stripes and eye masks
- Light tan: 4 leaves
El Refer to the photo for the
arrangement of the felt pieces. Layer
the felt pieces largest to smallest.
Center the design in the middle of the
hoop-remembering to leave room for
the word bandit. Pin in place .
EMBROIDER+ APPLIQUE BANDIT
&1 Use 3 strands of black floss to:
- stitch a button to each eye mask
piece
- stitch the shank button for the nose
to the edge of the silvery-gray face
. General Instructions.)
piece.
- make 3 backstitches to form mouth
on the white felt under the nose.
- highlight the inside of each ear with
3 vertical wedged- shaped straight
stitches.
- make a series of small stitches that
contour and delineate the front legs.
- make a series of small stitches that
connect the gray tail to white tail tip .
D Use 3 strands of white floss to:
- make 3 angled stitches along the top
of each black eye mask.
114
* stitch
- - White: face and tail tip
After the embroidery is complete, applique
stitches will keep the critter in place.
- make 5 fan -shaped stitches across
the chest, varying t he stitch length
with the longest stitch in the center.
D Use 3 strands of silvery gray floss
to :
- make a row of elongated vertical
stitches, varying the angles slightly
across the edges of the black tail
stripes.
D Use 3 strands of gold floss to:
- make a single stitch down the center
of each leaf and a couple of diagonal
stitches to suggest veins.
D Switch to sewing need le and sewing
thread and make tiny applique stitches
around the outside edge of the felt
animal to th e cotton backing fabric.
[See Standard Hand Applique Stitch in
Sewing Basics.)
D Stitch the word bandit. [Step 3 of
FINISH BANDIT
lE See Steps 4 and 5 of General
Instructions.
FOXY
FABRIC
- 1/3 yd gray print cotton (shown: Far
Far Away Il l by Heather Ross for
Kokkal.
- Wool felt: rusty brown, off-white,
and black
OTHER SUPPLIES
- Two 1/4" 2-hole buttons, tan
- One 1/4" toggle button, black
- 6-strand embroidery floss: black,
rusty brown, and white
PREPARE FABRIC FOR
EMBROIDERY
mSet up the embroidery hoop. [Step 1
of General Instructions.]
iE Cut the Foxy Templates. [Step 2 of
General Instructio ns.)
- Rusty/Brown: body and face pieces
- Black: socks
IE Refer to the photo for the
arrangement of the fel t pieces. Layer
the felt pieces largest to smallest.
Center the design in the middle of the
hoop- remember to leave room for the
word foxy. Pin in place.
EMBROIDER+ APPLIQUE FOXY
iII Use 3 strands of black floss to :
- stitch a button eye to the white felt
on either side of the rusty brown
snout.
- stitch the black button nose to the
end of the snout.
- highlight the inside of each ear with
3 wedge-shaped straight stitches.
iE Use 3 strands of rusty brown floss
to:
- make 3 small backstitches to form a
mouth on white felt under the nose.
- make 3 fan-shaped stitches that
span the connection of the black
sock to the rusty brown body.
- make a row of elongated stitches
that span the border of the tail and
the white tai l t ip . Vary the length and
angle of the stitches.
[[J Use 3 strands of white floss to:
- stitch a pair of angled whiskers on
either side of the nose and mouth.
- make several angled stitches that
alternate between the rusty brown
stitches that span the border of the
tail and the white tai l tip.
Dl Switch to sewing needle and sewing
thread and make invisible applique
stitches to attach the outside edge of
the animal to th e cotton. [See Standard
Hand-Applique in Sewing Basics.)
>>
 how-to

Center the design in the middle of the ----------- -- ---------------- ------------

hoop-remember to leave room for the Embroidered
word hoot. Pin in place.
Octa-Clock
EMBROIDER+ APPLIQUE HOOT by STEFANIE BERGANINI
EEi Stack a white button over the larger {from page 66}
gold button. Position these stacked
buttons over the center of a deep plum
eye circle. Use 3 strands of deep plum 12
floss to stitch the buttons in place. t
Repeat for the other eye.
flJ Continue using 3 strands of deep
,. I

•
plum floss to:
- stitch 3 rows of V-shaped stitches
I
Double-stacked buttons on deep plum
eyes give this owl a wise look.
across the center of the owl's chest
- attach the tops of the deep plum feet
under the white base of the chest
• s
4
ID Stitch the word foxy
General Instructions.)
[Step 3 of - make 3 straight stitches in a wedge
pattern from each ear
"
FINISH FOXY - attach the folded beak between
the felt eyes using small applique Pretty + practical-craft store clockworks
ID See Steps 4 and 5 of General turn embroidery into a time piece.
Instructions. stitches
IE Use 3 strands of off-white floss to: FABRIC
HOOT
- make a decorative running stitch - 18" square of medium -weight woven
FABRIC along the bottom edge of each fabric [shown: lin en) or 14-count
-
1
/J yd gold print fabric [shown : Mrs. lavender wing Aida cloth
March's Collection from Lecien) - make a series of straight stitches - Optional: 6 yd of•;, .. wide fabric strips
- Wool felt: off-white, lavend er, deep that radiate outward from the eyes to wrap around embroidery hoop
plum, yellow, orange to the lavender head [shown : teal linen )

OTHER SUPPLIES IE Use 3 strands of gold floss to: OTHER SUPPLIES

- Two 1
/2" 2-hole buttons, gold - make a single stitch down the center - Octa-Clock Embroidery Template
1 of each leaf and a couple diagonal - 14" embroidery hoop
- Two /4" 2-hole buttons, off-white
stitches for veins
- 1/2 yd fusible fleece
- 6-strand embroidery floss: deep
plum, off-white, gold, and black
fl3 Stitch the word hoot as described in
- 6- strand embroidery floss
Step 3 of General Instructions.
PREPARE FABRIC FOR - 2 skeins each: Color A-Tea l:
EMBROIDERY FINISH HOOT Color 8-Burgundy
8ll Set up the embroidery hoop. [Step 1 ID See Steps 4 and 5 of General - 1 skein: Color C-Gold
of General Instructions.) Instructions.
- Size 5 embroidery needle or needle
Bl Cut the Hoot Templates. (Step 2 of HEIDI BOYD is the author ofniany with an eye large enough for
General Instructions.) books-her latest is Stitched Whjmsy. 6-strands of embroidery floss
- Off-white: body She recently launched Whimsy Kits, which - Fray Check
contain everything needed to niake your own - Chalk pencil
- Lavender : head, wing pieces
felt creation. She is con1n1itted to n1aking
- Deep plum: small head piece, wing - Clock kit (available at major craft
sophisticated design easy and approachable.
pieces, eyes, beak, and feet stores]
Visit her at Heidiboyd.blogspotcom.
- Yellow: branch - Hot glue gun and glue sticks
- Orange: 3 leaves FINISHED SIZE
FE Refer to the photo for the 14" diameter
arrangement of the felt pieces. Layer
the felt pieces largest to smallest.
NOTES
- Choose a fabr ic sturdy enough
to handle the weight of the clock

115 .......
sewdail y.com *
 how-to

. ....
.. . .. .. ..-.. .
.... . of the octopus. Starting with a new the hoop, periodically securing with a
. . .•. . . .• ..•.... thread, stitch the small curved lines
.. ... ..... .. .'........ .. . .. . .. small dab of hot glue on the outside of
· ... ·.:.·:· ·.·:·.·;·
•
. ..
. inside the eyes.
' . .
....·...... ·.. .: . . . ::.;::::·: ' . .. .. ... .. .' ..
.::· ::.: .. ,; ·~
the hoop until it is completely covered.
' ~,
'
'
.. ...
'

'l ......
''
.. .. . . ··· · ······.
''

.
• •

··
• .,. •

- ·····
I •
..' . ..
.····-····-
'•
'

'.' I'.
.
• '' o •
EJ Also using Color A.fill in the eyes of mWhen the embroidery is dry, press,
'~""~~ . . ... ..
: ·. . '. . . ... · ·.·;·;·;·. ·:· .
..... . . ,· -: : ...·,··;
. .. .. '
the octopus using a satin stitch. then place it back into the embroidery
.. ......... ..
- •·

D Using Color B. create French knots hoop. Center the design in the hoop
for the tentacle suckers. with the top of the hoop aligned over
the number 12. Gently pull around the
••••. • EMBROIDER THE BUBBLES edges until the fabric is taut. Make

.. . . .. . . .... ...I l1 Using Color C, outline each bubble sure the pattern is evenly centered in
• •
using a backstitch . the hoop. Then tighten the hoop.
.... .
. . . .... D Fill in each bubble with satin stitch, IE Leaving an even 1/4" around the
. ...
. '
varying the direction of stitches for edges, cut the excess fabric from the
each bubble. back of the hoop. Fold the excess fabric
around to the back of the hoop and
A medium-weight fabric will be sturdy
enough to hold the clockworks. EMBROIDER THE NUMBERS carefully secu re to the inside of the
IJ Using Color A. outline each number inner hoop with hot glue.

kit, but not so thick as to prevent using a backstitch. mAccording to the manufacturer's
stretching in the embroidery hoop. If ll Using Color 8 and stitching directions, fuse the fleece circle to the
you choose to hang the clock by the vertically, fill in each number with long back of the embroidery in the hoop,
clock kit instead of by the top of the satin stitches. care fully using the tip of your iron to
embroidery hoop, the fabric must fuse the fleece out to the edge of the
also be able to handle the weight of FINISH THE CLOCK hoop. Use a ruler to find the center of
the entire project. ll Once the embroidery is finished, the clock and mark the location with a
remove th e fabric from the hoop. tiny chalk mark.
- Embroidery floss is used with all
6-strands together. Gently rinse the fabric to remove any iil Cut a small slit in the center and
visible chalk or pencil marks. Lay insert the clockworks following the
- Use the inside edge of the the embroidery flat and allow to dry
embroidery hoop to trace a circle manufacturer's directions. Add a
thoroughly. battery to your clock kit, set the correct
onto the fusible fleece. Set the
fleece aside until Step 14. III Optional: If covering
the embroidery time, and hang the clock from the top
hoop with fabric, place a small dab of of t he embroidery hoop.
TRANSFER THE TEMPLATE hot glue on the outer part of the hoop
to one side of the hoop hardware. Test STEFANIE BERGANINI is the former
D Using the Octo- Clock Embroidery rnanaging editor a/Stitch. She's a dabbler in
Template, transfer all the embroidery wrap the fabric diagonally-you want
to cover the hoop comple tely without all areas ofthe textile world, from sewing to
lines to your fabric using the chalk
it becoming too bulky. When satisfied. knitting to weaving and beyond. Her house is
or mechanical pencil. If your fabric is
unwrap to your hot glue gun spot and full to overflowing with fabric, yarn, books, two
transparent enough, trace directly from
begin rewrapping the fabric around active dogs, and one very fat cat.
the Template. If not, tape the Template
to a window and center and tape your
fabric on top. Tip: Folding the pattern
in quarters and your fabric in quarters
will help you to position and transfer
the Embroidery Template accurately.

EMBROIDER THE OCTOPUS

For embroidery stitch instructions,
see Stitch Glossary in Sewing Basics.
To keep the back of your work as neat
as the front, see Embroidery Stitching
Tips sidebar.
El Cut an 18" length of embroidery
floss in Color A. Choose a spot
along the outline of the octopus and
using small, evenly spaced stitches,
backstitch around the entire outline

.. ......... 116
. ....
* stitch
 how-to

EMBROIDERY STITCHING TIPS

You know that feeling when you open the closet door-and the six threads. From an outside edge, separate and grab the
everything is exactly where it should be? Even \Vhen the door number of threads you wish to use. Dra"v the threads apart in
isn't open, it's a good to know that everything is in its place. a wishbone motion, causing the threads to unwind from each
other. Repeat each time you need to remove threads from the
Making the back of your embroidery neat an.d tidy will give you
length you started.
a little bit of that same satisfaction- in addition to ensuring
that your stitches will not become loose or shadow through on BEAUTIFUL STITCHES+ CLEAN FINISHING
the front of your '"'ork.
• Begin and end your stitches neatly. This both secures your
These simple tips \vill get you stitching. th.reads and prevents long traveling stitches from sho\ving
through on the front of your embroidery.
USING A HOOP
• For a l'llotted beginning, use a small overhand knot. Knot
Hooping your fabric gives you a smooth, even surface for your
the end of the floss and trim close to the knot. Fron1 the back of
stitching.
the fabric, draw the threaded needle through the fabric to begin
• Use an embroidery hoop to securely hold the fabric taut stitching. (figure 1)
while stitching. Start \Vi th a piece of fabric about 2" larger than
• For an unknotted beginning, leave a 2- 3" thread tail. Bring
your finished project. This v.rill allow for the extra fabric needed
your thread up to the front of the fabric and take 2- 3 stitches
to load and stretch the un'vvorked embroidered area into the
holding the thread tail against the back. Contint1e stitching
hoop for stitching.
with the thread. When stitching is completed, return to the
FLOSS TIPS thread tail, thread it through your needle and make an ending
loop in your stitch (described below). Then \Veave the thread
Embroidery floss typically comes in a skein of six-strands of
tail through a couple of stitches on the back of your embroidery.
floss t\visted together. Many stitch patterns require less than the
Trim the end. (figure 2)
six-strands of floss. These tips \vill keep your floss from tangling
as you pull out the strands that you need. • To end your stitching, draw the thread to the back of the
work close to where the last stitch \Vas taken. Pass the thread
• Keeping the paper v.rraps on the skein will prevent tangling.
under your last stitch, creating a loop, pass the thread through
To dispense floss, note that the skein is \vound in a loop. Look
the loop and dra\v the thread up snugly creating an overhand
for the thread end that is on the outside of the looped floss.
knot around the last stitch. Trim close to the end of the thread
Pulling on this outside thread un\vinds the floss evenly and
to prevent thread tails from showing.
\Vithout tangles. Pull out the desired length of floss and cut.
If you use these tips consistently, your embroidery will be
• To separate floss into the number of strands that you need,
(nearly!) as beautiful on the back as on the front.
work from the end you just cut off the skein. Fan the top of

cut line
figure 1 figure 2

117
sewdaily.com *
 how-to

''''''''''''''''''''''''''''''''''''''~
Upcycled Denim I
I
Messenger Bag
by BETZ WHITE
{from page 67} I

The bag handle is denim backed with lining
fabric-or you could upcycle an old t ie.
FABRIC
- 1 pair of 5-pocket jeans
- 3/4
yd of print cotton fabric for lining
and appliques
OTHER SUPPLIES
- Hexagon Template, provided
- Fusible web
- Coordinating thread
- Jeans/denim machine needle and
hand-sewing needle
- Stiff brush and spray bottle
- Air- or water- soluble fabric marker
- Optional: belt or necktie for strap
NOTES
- RST =right sides together
- WST =wrong sides together
FINISHED SIZE
The size of the bag will depend on
the size of the jeans used. Sample
measures 11" H x 18" L x 3" 0.
Interior pockets are edgestitched to the
lining before being sewn into the bag. It's
easy to add more pockets at t his time.
DECONSTRUCTJEANS
D Lay the jeans on a flat work surface.
Cut off both jean legs about 2" below
the crotch. [Set l egs aside to be used
in Steps 10 and 15.) Cut open the
inseams and remove the bu lky seam
allowances.
B Next, you'll notice that the curve
of the rise (below the fly) prevents the
front from lying flat. To resolve this,
cut along the curve of the rise, then
overlap the two sides until the front
lies flat. Top-stitch along the cu rve next
to the flat -felled seam and continue
past the point and down the remaining
overlapping inseam. Repeat t his on the
seat of the j eans so that the back rise
lies flat and t he overlapping fabric is
secure .
B Even up the bottom edge by
marking a line with a ruler across the
"hips" of the j eans, perpendicular to
the center front [or the fly) of the jeans.
Cut along this edge, making the front
and back an even length.
CREATE LINING
l1 Lay a doubl e layer of lin ing fabric
on the work surface, wrong side up.
Place the denim bag-in-progress
front side up on top and trace the bag
shape with a pencil onto the wrong
side of the lining fabric, adding an
extra 1/4" of fabric all around for
seam allowance. Cut out the two
lining layers.
D For an interior pocket, cut two
9" x 7" rectangles out of the lining
Measure 1 112"
to the left of
the corner and
stitch straight
across. Trim
away corner
fabric.
figure 1
fabric . Align the pocket pieces RST
and pin. Sew around the perimeter,
l eaving a 3" opening on the lower edge
for turn ing. Snip the seam allowance
corners. Turn the pocket right side
out through t he opening, working out
the corners. Press, tucking in seam
allowances at the opening, which will
be sewn closed when edge stitching in
the next step.
Ill Pin the sewn lining pocket to the
right side of one bag lining piece,
centered side to side and about 3"
down from t he top edge of t he lining.
[The unstitched opening from turning
the pocket shou ld be at the bottom
of the pocket.) Edgestitch the lin ing
pocket sides and bottom, leaving the
top open. Backstitch at the beginning
and end of your sewing to reinforce.
D Pin both lining pieces together, right
sides facing, and sew around the sides
and bottom edges using a 1/4" seam
allowance. Add a box corner to the
lining by aligning the bottom seam with
the side seam at the corner, flattening
the corner into a point. Mark a line
perpendicular to the bottom seam and
1 1/2" from the point. Pin and sew along
this line. Trim excess and repeat with
the other lining corner. (figure 1)

118
* stitch
 *
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 how-to
The bag flap is stitched onto the back
waistband, then flipped over the top.
CONSTRUCT OUTER BAG
Cl Turn denim bag - in - progress wrong
side out and lay flat. Tip: The side fold
on the bag will typically be slightly
behind where the stitched side seams
of the jeans are because jean fronts
are smaller than the backs. For this
bag, it is important to ignore the jean's
stitched side seams and use the actual
side fold as your sewing guide. Pin
bottom opening together and sew with
a 1/4" seam allowance. Add a box corner
as shown in figure 1.
ASSEMBLE BAG
D With sewn lining right side out and
denim bag wrong side out, place denim
bag inside lining WST. Fold top edge of
lining under and pin around the bottom
edge of the jean's waistband. You may
need to trim excess lining away from
the top edge, especially in the front,
if the lining is too long. Be sure to
leave at least 1/2" to turn under. With
hand- sewing needle and thread,
slipstitch the lining to bag. Turn lined
bag right side out.
CREATE FLAP AND APPLIQUES
liil The flap is a trapezoid shape based
on the measurements of the bag.
Place one of the denim pant legs from
Step 1 on your work surface. Cut open
the leg along what was the outside
seam , leaving the flat - felled inseam
intact. The inseam will provide an
interesting detail down the center of
the flap. The original hem of the jeans
120
* stitch
Using a jeans or denim needle will help
with stitching through the t hick layers.
w ill be the hem of the flap. Measure
the height of the bag. Mark the flap
with a pin to be the same length plus
1 ". Measure the width of the bag at
the bottom and also across the top.
Mark the flap with a pin to measure 2"
less than each of the measurements
at the top and the bottom. Draw a line
connecting the top and bottom marks.
True up the lines with a ruler and cut
out. Cut a second flap shape the same
dimensions out of lining fabric. adding
1/2" extra at the bottom edge for a
lining hem .
mTo create a frayed - edge decorative
applique, use a motif from a print
fabric. Trace the mirror image of a
hexagon motif onto the paper side of
a piece of fusible web. Following the
manufacturer's instruction, fuse web
to the back of the motif. Cut out the
hexagon motif with an extra 1/4" margin
of unfused fabric .
ID To apply the applique, remove
paper backing and fuse to the
lower front area of the denim flap.
Topstitch around the hexagon
motif, 1/4" from edge. Spray unfused
raw edges with water and brush
edges to fray. Add embroidery or
handstitching details if desired .
mTo construct flap, place denim
flap and lining flap with RST and sew
around top and sides with a 1/," seam
allowance, leaving bottom edge open.
Turn the flap right side out. Fold in
the raw edges of the flap. Press, pin,
and topstitch bottom edge, closing the
opening of the flap.
iI1 With den im facing denim, pin
and topstitch the flap to the bag
back along the bottom edge of t he
waistband. Sew another row of
stitching where the flap meets the top
edge of the waistband .
STRAP
IE To make a strap out of denim
and lining fabric, cut a rectangle
measuring 3 1/4" wide by 45" long out of
lining fabric and the leftover jean leg.
[Piece the denim and lining fabric if
necessary.) Layer rectangles, RST, and
sew bot h long sides using a 1/4" seam
allowance. Turn right side out through
the short end open ing and press.
Finish the ends by folding the raw
ends 1/4" inside the strap. Edgestitch
both long sides and short ends 1/s"
from the edge.
iD To attach strap to the bag , place
one end inside the waistband at
the side of the bag opening. Pin the
strap end, denim side facing , to the
bottom edge of the denim waistband.
Topstitch across the strap. Sew
another row of topstitching where
the strap meets the top edge of the
denim waistband . Repeat this step for
the ot her end of the st rap at the other
side of the bag .
Ol Upcycle a belt or necktie for the
strap of your bag- or even use the
strap from another bag. Remove any
buckles or unwanted hardware that
may be difficult to stitch through/
around. Place each end of the belt
inside the waistband edge and sew as
described above. Take care with heavy
materials: use a heavy- duty sewing
needle and sew slowly.
BETZ WHITE is a designer, green crafter,
and bestselling author oJWa:rm Fuzzies and
Se>ving Green-books that encourage readers
to "stitch beautifully, tread lightly." Her Make
New or 1\1ake Do patterns work with new or
repurposed fabrics. When not designing, Betz
teaches workshops and is raising two crafty
boys. Visit her at BetzWhite.com.
 how-to

·····--·--·--··-·······-----------------·
Upcycled Pinafore
by SIGRID ARNOTT
0
{from page 68}

'

No need to make buttonholes-the shirt's

front p lacket becomes the pinafore's back.

The contrast ing bib is fi rst fused in place-

PREPARATION
making it easier to accurately stitch curves. 0 Cut sleeves off shirt, remove cuffs,
trim side seams, remove yoke and
r.~ DOWNLOAD THE FULL-SIZE collar.
J~ PATTERN FOR THIS PROJECT
AT INTERWEAVESTITCH.COM D Unpick front pocket with a seam
figure 1
ripper.
FABRIC D Trace the Dress Templates in
- 1 man·s shirt. (I used a Men·s Large desired size.
to make a Girl's 3T dress)
CUT OUT DRESS PIECES
- 6" x 6" piece of contrasting fabric for
The reclaimed sh irt center front will
bib accent
become the dress center back. The
OTHER SUPPLIES shirt back will be the dress front.
- 5 Templates, provided (dress front/ The littl e cap sleeves use the curved
back, cap sleeves, bib, front and sh irttail hem. If you do not have enough
back facings) fabric for the full length of the dress,
an optional ruffle can be added to the
- 6 "x 6" piece of sheer to lightweight 0
bottom using fabric from the sleeves.
fusible interfacing (such as
Pellon 906F) II Cut out Right Dress Back (figure 1) \
by centering the Dress Template over \
- Thread to match shirt for topstitching
the line of shirt buttonholes (not the
• \
- Three 5/s" buttons edge of the band). A shirt buttonhole .... ~ '
should be about 5/s" below the Template \
- Large safety pin
- Handsewing needle top. Pin. Cut out top, side, and bottom. '
- Fray Check D Cut out Left Dress Back by using
the back piece you just cut out as a
NOTES Template, flipped facedown over the
- Seam allowance is 1/2" unless other shirt side, buttoning the buttons
otherwise noted. of the shirt. The li ne of buttons will be
- The pattern pieces fit snugly on the at the center line for one side of the
reclaimed sh irt fabric. Lay out all of dress back. Pin and cut out. figure 2
your pattern pieces befo re cutting to D Cut out Dress Front by folding the
estimate the pl acement. sh irt back in ha lf. Using the same
- WS = wrong side Dress Template, pin on the center fold
>>
...... 121
sewdaily.com * ··--
 how-to
line of the shirt back, leaving as much
extra shirt fabric as possible above the
pattern. Cut out the Dress Front.
D Cut out Front Facing by using the
Dress Facing Template. Lay the Front
Facing Template on the folded shirt back
above where the Dress Front was cut out.
Pin and cut the Front Facing Template as
I
shown in figure 2.
I D Cut out 2 Sleeve Caps from the
I '•
-- curved hem on the shirttail. Place the
paper cap sleeve pattern on the curved
part of the shirttail and cut individually
as shown in figure 2.
D Cut out the Back Facing from a sleeve.
After removing the cu ff and side seams,
fold a sleeve in half lengthwise. Flip the
Back Facing Template upside down on
top of the sleeve as shown in figure 3.
figure 3
llll Cut the contrasting Bib using any
lightweight woven fabric. Quilting
cotton is ideal. Also cut Bib interfacing.
' \
\
\
mOptional Ruffle. If you want a ruffle,
I
I
you can make one from the remaining
I
I
sleeve or bib fabric. For the ruffle ,
I \ t he sleeve needs to be 11" wide at
I'
I
I t he bottom after the side seams are
I
I removed. Press sleeve flat. Avoiding
I I
I r the button placket, cut four 21/2" strips
\
\ from the length of the sleeve. Square
' up the ends.
'
... __ ____ _...
ASSEMBLE DRESS
iI1 Make the Bib. Pin right side of
figure'- bib fabric to the fusible side of the
interfacing [paper backing removed].
The sticky fusible side will be inside.
Sew around sides leaving top open.
(figure .r.) Clip curves and trim seam
allowance 1/4" from stitching line. Turn
- .... ' T' T
to right side using fingers to gently
smooth the seam all the way open.
Working around the edge, roll the
interfacing and finger press under so it
doesn 't show from the top .
[EJ Affix Bib to Dress Front. Find dress
front center and bib center by folding in
half and marking with pins. Center bib
' •
exactly on center front and at the neck
edge. Pin. Begin to press with cool
iron, raise heat to high and care fully
0 fuse to the dress front by lifting and
pressing with the iron, removing pins
as needed.
figure S
122
* stitch
0 0
" I
I
I
I
I
I
\
I
I
I
I
I
I
I
I
I
>I
\
I
I
I
I
I
I
I
\
figure 6
irJ After the fused bib has cooled,
edgestitch the bib onto the dress.
ml Pindress fronts to backs at
shoulder seams with right sides facing.
Sew and press seams open .
ID The sh irttail hemmed side is the
wrong side of the Cap Sleeve . With
right sides together, center sleeve
notch to shoulder seam and pin Cap
Sleeve to armhole, easing sleeve to fi t
curve. Make sure both sides look the
same and sew.
ifJ Fin ish facing
bottoms and center
back by overstitching edge with a
narrow zigzag or trim with pinking
shears. Sew Facing Front to Facing
Backs at shoulder seams and press
seams open.
iD Turn facing inside out and place
over the dress so that right sides
are facing (figure S). Match shoulder
seams and pin around neck opening
and armhole. At the shoulders,
carefully roll up the cap sleeves so they
w ill not get caught in either seam. At
back opening, fold extra facing fabric
back to the WS aligning with the edge
of the button placket. Sew around
armholes and neck. Clip curves and
grade seams to 1/4". Press.
iIJ Turn right side out by attaching a
large safety pin to one lower back side
of dress and pushing it up between the
facing and dress at the shoulder. Reach
up under front facing and gently pull
the back through the shoulder to the
right side . Repeat on the other side.
Push the seam open with fingers or a
turning tool and press well.

01 I 0
I I
I I
I I
QI : ij
ll.Obt4
0 not have q uite enough usable fab ric.
figure 7
8ll Sew sides. (figure 6) Align dr ess and
facing front to dress and facing back at
sides. Pin and sew. Press seam open.
Finish seams by serging or pinking .
ED Pin and then sew facing to dress at
back opening. (figure 7) On the button
side, edgestitch dress back to facing at
back edge. On r ight side of buttonhole
band, sew along exist ing topstitching
closest to outside edge. Then use a
seam ripper to cut a hole in the facing
unde rneath buttonholes. From the
back, trim around the slit. Apply Fray
Check to raw edges to pr event raveling .
&1 Button up the back. Pin the back
closed from the lowest button to skirt
bottom. Topstitch and secu r e the
buttonhole band to the button layer
by stitching over the existing sh irt
topstitching.
IE If you are not using a ruffl e, hem by
tu rning up 1/4"'.
Pr ess. Turn again and
press. Ease in extra fabr ic as needed.
Stitch .
8J Optional Ruffle. For the ruffle, piece
together the four str ips cut from the
sleeves into a loop about 40"' x 2 1/ 2".
The exact length is not important, but
the loop should be at least 11/2- 2 times
longer than the lower edge. Hem ruffle
as described in Step 23.
G3 Change mach in e stitch length to
longest setting. Stitch 1/2"' from top
edge without backstitchi ng. Stitch
around again 1/ 4" inside previous row
of stitching. Pull on bobbin thread
to gather the ruffle until it is slightly
smaller than the bottom of the dress.
Align the pins on the ruffle so t hey line
up with the dress sides, center front
A ruffl e can add length if your shirt does
and center back. Even out gathers
and continue to pin the ruffle to dress
bottom. When the ru ffle is evenly
pinned, change the machine stitch
length back to normal and carefully
sew the ruffle down by stitching right
between the gathering stitch lines.
EI! Sew the 3 decorative buttons onto
the bib of the dr ess.
VARIATIONS
- Use shirt hem as dress hem, ma king
sure the length is the same at both
sides.
- Omit the cap sleeves.
- Design you r own bib. Add
embroidery or patchwork using the
pattern as a template for size.
SIGRID ARNOTT writes about her
adventures refashioning, sewing, and enjoying
her analog life at analogme.typepad.corn.
Recycled Shirt Blanket
by MISSY SHEPLER
{from page 69}
FABRIC
- 5 or 6 adult-sized shirts
- 5/a
yd corduroy or other fabr ic for
extr a color and binding
- Flannel sheet (or 2 yd of flannel
fabric) for backing
OTHER SUPPLIES
- Thread
- Rotary cutter, rigid acrylic ruler,
self- healing cutting mat
- Optional: 45"' x 65"' cotton batting
- Optional: walking foot
FINISHED SIZE
43" x 60"
how-to
Choose corduroy for extra color and t o
visually connect the d ifferent shirt fabric s.
NOTES
- When selecting items for upcycling ,
make sure that fabrics are unstained
and in good condition . Choose
fabrics of similar type and weight
to avoid problems wi th sewing and
laundering.
- Preshrink and press al l reclaimed
fabrics and fabric ya r dage.
- Use a 1/4" seam allowance unless
otherwise ind icated.
- Press all seams open.
- Yardage is based on 45·· wide
qu ilting - weight cotton fabric wi t h at
least 40"' of useable w idth.
- For a lighter- weigh t blanket, omit
the batting.
TIPS
- Be creative! Include pockets or other
shirt details into the cut strips.
- Working with different fabric types
and weigh ts can be tricky. Pin
seams every few inches and place
more loosely woven or stretchy
fabrics against the feed dogs to
keep st retch to a minimum. Using a
walking foot can help to keep long
pieced - fabric strips aligned. ) )
123
sewdaily.com *
 how-to
Using a single pieced strip on the b ack will
give you t wo decorating options.
CUT THE FABRIC
Actual available yardage varies when
using reclaimed fabrics. Be flexible
and improvise as needed to cut enough
pieces to make six 7 1/2 x 60 1/2" finished
strips. If possible, arrange cut pieces
on a design wall or floor to help plan
the design. The sample blanket shown
features four. minimally pieced fabric
strips and 2 strips pieced from multiple
fabrics. The narrowest green pieces
measure 7 1/2" w ide x 11/4" long.
D To make best use of reclaimed
fabric, cut shirt front and back panels
along side seams and yoke. Cut sleeves
along yoke, shoulder, and underarm
seams. Remove cuffs from sleeves.
Use a seam ripper to remove any tucks
or gathers. Press all pieces.
El Use a rotary cutter and ruler to
square fabric edges along the grainline
and cut 71/2" wide strips. Referring to
the photo for inspiration, cut some of
the pieces again to make 7 1/2" wide
pieces of various lengths.
From the remaining reclaimed fabrics.
cut enough 71/2" pieces to make an
124
* stitch
Including pockets, cuffs, and button plackets adds a touch of whimsy.
additional 66" long strip for the blanket
back.
From the corduroy yardage, cut:
- Six 21/4" x width-of-fabric strips for
the binding
- One 7 1/2" strip, cut again into smaller
accent pieces
From the flannel sheet or yardage, cut:
- One 15" x 66" piece
- One 27" x 66" piece
PIECING THE BLANKET TOP
D Referring to the photo, sew the
71/2" wide pieces together to form six
strips, each measuring 71/2" x 60 1/2".
Topstitch pockets onto contrasting
strips and cover some pieced seams
wit h button plackets to add interest.
11 Sew the six strips together along
the long vertical seams to complete
the blanket top.
PIECING THE BLANKET BACK
0 Sew the remaining 7 1/2"wide cut
pieces together to make one 7 1/2" x 66"
strip for the blanket back.
IJ Matching long raw edges, sew the
15" x 66" flannel strip to the left side
of the pieced strip. Sew the 27" x 66"
flannel strip to the opposite side of
the pieced strip to piece the blanket
backing. [See photo above left.)
ASSEMBLE THE BLANKET
D Place the blanket back right side
down on a flat surface and center the
[optional) batting on top. Place the
blanket top right side up on top of the
batting. Pin baste the layers together.
Stitch through all layers in the pattern
of your choice.
ll Trim off excess batting and backing
fabric so the edges of the blanket are
straight and the corners square. [Refer
to Create Bind ing in Sewing Basics
to prepare the cut binding strips for a
double- layer binding and to bind the
blanket with mitered corners.)
MISSY SHEPLER is the coauthor ofthe
Complete Idiot's Guide to Sevving, available
on An1azon.cont Whenever possible, lv!issy
con1bines her day job as a designer, author, and
illustrator with her love of stitching by creating
projects, patterns, and illustrations for sewing
and quilting clients and publications. Visit her
at MissyStitches.com

Retroactive Neck Wrap
by RACHEL GUEDON
{from page 70}
A soft flann el shirt makes a perfect lining.
DOWNLOAD THE FULL-SIZE
PATTERN FOR THIS PROJECT
AT INTERWEAVESTITCH.COM
FABRIC
1/4- 1/3
- yd* of a slightly stiff fabric
for shell fabric, such as light - to
m edium-weight woven twill pant or
skirt fabric or home decor fabric.
One pair of pants or a mid -length
skirt provides enough fabric for
shell (shown: blue-green]
1/4- 1/3
- yd* of a soft fabric for lining,
such as a woven shirt. One shirt
provides enough fabr ic for lining
[shown: houndstooth check)
* Extra fabric may be needed to match
plaids, stripes, or one-way design .
OTHER SUPPLIES
- Templates, provided
- Sewing thread to match fabrics
- Three 1/2" round shank buttons
- Erasab le fabric marker or tai lor's
cha lk
- Point turner or similar tool
- Handsewing needle
- Tracing paper
- Optional: masking tape for marking
pattern pieces
Buttonholes are made by leaving small
spaces between individual placket pieces.
FINISHED SIZE
15" (16" , 17", 18" , 19"] around neck
3 1/2- 4 1/2" high
NOTES
1/4"
- All seam allowances are unless
otherwise noted.
- For explanations of terms and
techniques, see Sewing Basics.
- Press all seams open unless
otherwise noted.
- Use the grainline marked on the
placket pattern pieces to help align
stri pes.
- WS =wrong side.
- RST =right sides together.
CUT OUT FABRIC
D Trace all of the pattern pieces.
Print or t race out an extra set of the
five Placket pattern pieces to use for
cutting out the lining.
fJ If using upcycled clothing for the
fabr ic, cut it apart along the ma in
seams. Cut off deta iling [such as
pockets, waistbands, or cuffs] so that
yo u have flat fabr ic pieces on which to
lay out the pattern pieces. Also, note if
some of the areas of the clothing fabric
are worn and no longer usable.
B Pin all the pattern pieces on the
right side of shell fabric. Transfer
pattern markings to the wrong side of
the fabric . Run a basting thread along
the Pin Tuck Line.
D Cut out the 8 Shell pieces. Keep the
pattern pieces pinned to the Placket
how-to
sew I unsewn I sew
0 -----
----0
figure l
pieces or mark w ith tape labels to help
keep t rack of them.
D Pin all the pattern pieces to the
lining fab r ic, but th is time pin them
to the WS of the fabric. keeping the
right side of t he pattern pieces facing
up. Transfer pattern ma rkings to the
WS of the fabric. Do not transfer the
Pin Tuck Line to the Right Front Lining.
D Cut out the lining fabric pieces. Use
the extra set of Placket pattern pieces
for the lining and keep them pinned
on the lining fabric [or mark with tape
labels].
ASSEMBLE PLACKET
fJ Lay out all shell fabric placket
pieces right side up in a column in
order numer ica lly with Placket 1 at the
top and Placket 5 at the bottom.
D RST, align the dots on the bottom
of Placket 1 with those on the top of
Placket 2.
ll Start sewing from one end of the
seam , stitch until you get to the first
dot and then backtack . Do not sew t he
area between the two dots. Resume
stitch ing on the far side of the second
dot and continue to the end of t he
seam. (figure l)
Im Repeat Steps 8 and 9 for connecting
the top of Placket 3 to the bottom of
Placket 2 and for connecting the top of
Placket 4 to t he bottom of Placket 3.
mAlign the top of Placket 5 with the
bottom of Placket 4. Sew the seam all
the way across without a gap in it.
IE Press seams open . This piece will
now be called the Shell Placket.
lE Follow Steps 7- 12 to assemble
lining placket. ))
125
sewdaily.com *
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sew
I

SEWING
~.le AND Tr"""""·~
MATERIALS:

,, /
/

Free Guide to Sewing

Si\k Fabric and Knit Fabric I

sewing
made
modern.

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ASSEMBLE SHELL
IIJ Place Shell Placket RST with the
Left Front Shell, aligning t he notches
in the Shell Placket with th e Left Front.
Sew pieces together.
IE Iron the seam allowance toward the
Left Front.
1B On the r ight side, topst itch along
the side seam of the Left Front piece to
keep the seam allowance in place.
IE On the Right Front shell piece, find
the Pin Tuck Line in the middle. Fold
the fabric RST along this l ine. Sew a
1/s" pin tuck along this line. This helps
form t he crease where the neck wrap
folds over to reveal t he lining.
ID Pin the Right Front piece RST with
the Back along the right side seam .
Sew seam.
D.\1 Pin the Left Front piece RST with
the Back along the left side seam. Sew
seam.
IE Press seams. Turn over and
topstitch along both sides of each
side seam. Clip seams where needed.
ASSEMBLE LINING
Ell To assemble the lining, repeat
Steps 14- 16 and Step 18 with the lining
. 0
pieces.
fE Pin the Left Front lining RST w ith
the Back along the side seam. Sew
down half of t he side seam, backtack,
and then baste the rest of the way with
a contrasting th read .
EE] Press seams. Turn over and
topstitch along both sides of each
seam, including where the seam is
basted. Clip seams where needed.
COMPLETE NECK WRAP
IE Pin shell and lining RST, aligning
side seams and placket seams.
llJ Sew the shell and the lining
together around the edge.
IE Clip corners and trim seam
allowances where needed.
Eil Find the basted seam in the lining
and remove the basting.
El!! Use the space in the lining seam
to turn the piece right side out. Use a
point tu r ner or simi lar tool to push out
the corners.
El!! Slip- stitch the open ing in the l in ing
closed.
E!:l Topstitch all around the edge of the
neck wrap.
ED Align the short seams and seam gaps
in the shell and lining placket. Topstitch
on both sides of these short seams. The
seam gaps are the buttonholes.
EE Find button markings on the Right
Front piece. Check that the locations
still line up with the holes in the
placket. Sew a button to each mark.
RACHEL GUEDON learned to sew early
on from her n1other and has been hooked
ever since. Together they get into crafting
adventures, such as sewing costun1es for both
horse and rider. Rachel and her husband live in
a roo-year-old house in Springfield, Oregon.
Zippy Bracelets
by SHEREE SCHLOTE
{from page 71}
This is t h e project for t hose f un button s
and b eads that you've b een collecting.
FABRIC
- 20" x 1O" fabric to suit color palette.
Cotton r ecommended.
OTHER SUPPLIES
- Zippers with metal teeth to suit
project in length of the finished
bracelet. 12" required for each spiral
embellishment.
- 20" x 1O" piece of stiff interfacing
such as Fast 2Fuse or Timtex
- Scrap pieces of netting , organza, or
lace
how-to
- Beads, buttons, craft wire, or other
embellishments
- Closures such as domed snaps,
sew-on snaps, hooks and eyes, or a
small hair elastic
- Fray Check
- Sewing machine wi th zipper foot
attachment
- Thread to suit project
- Utility scissors
FINISHED SIZE
- The cuff bracelet is 3" w ide and
the length is the circumference of
your wrist plus 1/2" [less for a snug
fit) plus 1/2" for closure when using
overlapping snap fasteners.
- The multiple- zipper bracelet is
1 3/, .. wide and the length is the
circumference of your wrist plus 1/2"
[less for a snug fit).
- The double bracelet is 1 1/2"
w ide and the lengt h is twice the
circumference of your wrist plus
1" [less for a snug fitl.
INSTRUCTIONS FOR CUFF
BRACELET + DOUBLE BRACELET
CUT+ SEW
Determine finished length to fit your
wrist and the w idth for the br acel et
that you have chosen to make. Add 1/2"
to each dimension [1/4" seam allowance
all around). Cut two pieces of fabric
to this measurement. With right sides
together, sew along the two long sides
and one short end. leaving the other
short end open for turn ing. Turn fabric
right side out forming a pocket.
El Cut stiff interfacing to the finished
dimensions of pr oject [fr om Step 1).
Insert into the pocket. Turn open edges
under and stitch closed by hand or
machine.
EMBELLISH+ FINISH
El Add lace, netting, or organza to
dress up your br acelet. Cut these the
same finished dimensions as fabric
in cutting and sewing instructions
for Step 1. Wrap around bracelet and
handstitch into place on the back. Add
decorative stitches to the fron t of the
bracelet by hand or machine.
>>
129
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 how-to
Bracelet closures can include snaps, hooks and eyes, or a hair tie with a button.
II Cut zipper to finished length of your
bracelet using utility scissors. Separate
the two sides. Add Fray Check to the
zipper ends to prevent fraying. Stitch
using a zipper foot, one single side
length of zipper with teeth outward,
along each long edge of the bracelet.
1:1 Add beads, buttons, and wire
embellishments to suit your taste.
IJ To add a zipper spiral, cut 12'" length
of zipper. Use only one side. Hand
baste along edge opposite zipper teeth .
Tighten basting thread, gathering
fabric to ease material into a spiral. As
spiral is formed, add tacking stitches
to hold the spiral shape. When spiral
is complete, handsew through back of
bracelet. Add a decorative button or
bead in the spiral center.
IJ Handsew closure onto bracelet-
domed or handsewn snaps if ends
overlap, hook and eye if ends do not
overlap.
INSTRUCTIONS FOR
MULTIPLE-ZIPPER BRACELET
CUT+ SEW
D Cut three different zippers the
finished length of bracelet. Separate
into two sets of three zipper halves.
D Stack the zipper sides of one set
with all teeth oriented in the same
direction and sew together. Repeat
with second set-being careful to
keep in the same order. With zipper
. . ...... . 130 ......
* stitch
••
Patched Pocket Panel
by MARY WALTER
{from page 72}
By adding a hanging sleeve, you're set to
use a curtain rod to suspend the pockets.
teeth oriented to the outside, lay one
assembly over the other so that the FABRIC
tape edge from the upper set touches - Nin e 8" x a·· cotton squares
the inner row of zipper teeth on the 3/4
- yd cotton fabric for backing and
lower set. Sew together along inner
hanging sleeve
edges of zipper teeth.
il!I
Measure length and width of zipper OTHER SUPPLIES
assembly. Add 1'" to the length and 1/2'" - 9 pockets from formerly loved jeans
to the width and cut fabric. Fold long - 25'" square of batting
edges of the fabric under 1/4'" on each
- Thread to match fabrics
side so that the lining lies between
the two rows of zipper teeth on the - Denim or size 90/14 machine needle
back of the bracelet. Center lining - Rigid acrylic ruler, self- healing mat,
lengthwise on bracelet and sew along rotary cutter
inner edge of outer zipper teeth, with Hanging hardware
other layers of teeth folded out of the
- 1/2" dowel cut to 21 1/2'"
way. On short ends, double-fold the
- Two 1/4"' screw eyes
extended lining edges over bracelet
front and handsew in place to hide the - 2 small nails or cup hooks
raw edges of the zipper tape.
FINISHED SIZE
EMBELLISH+ FINISH 22 1/2" square
mEmbellish by sewing buttons NOTES
and bead s down the center of the
bracelet. - A variety of pockets will add interest
to your project. Make sure the
iE Sew a small hair elastic to the pockets aren "t larger than 7'" x 7"
underside of one end to loop and a
to comfortably fit on the patchwork
button on the opposite side. Loop the
elastic over the button to wear.
squares.
- All seam allowances are 1;,...
SHEREE SCHLOTE is an award-winning
CUT FABRIC
quilter who has recently branched out into fiber
art. In addition to her own freeform projects, From backing fabric, cut the following:
she remains active in her local quilters' guild - One 22 1/2" square
and several diverse satellite groups to pique her - Strip for hanging sleeve 10'" x 20 1/2"'
creativity.
 how-to

fold

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fold
figure2

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Use a denim needle to stitch through the
heavy double-stitched lines of the pocket s. I
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pressed fold I I
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figure 3
figure 1

MACHINE APPLIQUE POCKETS
TO COTTON SQUARES
D Lay out the nine cotton squares and
place a denim pocket on each.
El For easy placement. press each
cotton square and pocket in half. Layer
a pocket onto a cotto n square. lining
up the pressed folds, and placing the
pocket 1/2" from bottom edge of the
cotton square. (figure 1) Pin pocket in
place.
D Sew each pocket to a cotton square
stitching on the sides and bottom.
following the double-stitched lines of
the pocket.
ASSEMBLE QUILT+ FINISHING
El Arrange the sewn pocket panels
into 3 rows of 3 squares. Sew each row
together alternating the direction of
the pressed seams to nest the seams
where the squares meet. This is your
Patched Panel Top.
0 Layer the Patched Panel Top right
side up, the backing wrong side up,
and the batting on top. Pin the layers
together. Stitch the layers together
using a 1/4" seam allowance, leaving a
4" opening on the bottom for turning.
Trim excess batting.
[I Clip corners, turn right side out and
press. Turn in open seam edges and
slip-stitch closed.
D Stitch in the ditch around each
pocket square.
PREPARE HANGING SLEEVE
ll Hem the short ends of the hanging
sleeve-press up 1/4" then another 1/4".
Topstitch close to the fold.
D Fold long raw edges of the sleeve
right sides together, press and stitch
using 1/4" seam allowance. Turn sleeve
right side out and press, centering the
seam on the back. (figure 2 )
D!J Pin sleeve to upper back edge
of wa ll hang ing [seam side down ),
centering and aligning a folded edge
of sleeve with t he top of the patched
panel. Pin.
mOn the front of t he patched panel,
edgest itch 1/4" around the perimeter,
catch ing in the top fold of the sleeve.
IE Blindstitch the bottom side of the
sleeve edge and only the bottom fold of
the sleeve to the patched panel back.
(figure 3)
lEJ Screw the 1/4" screw eyes into the
ends of the dowel.
iIJ Slide the prepared dowel into the
hanging sleeve. Place nails or cup
hooks on the wall or door where you
want to display your patched panel.
Align screw eyes with hangers and
hang.
MARY WALTER is a quilter, designer,
teacher, NQA quilt judge, and Stitch technical
editor. She enjoys creating new projects to teach
and share with her students.
>>
....... 131
•
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 how-to
Measuring Tape Tote
by LINDA TURNER GRIEPENTROG
{from page 73}
When weaving the tape measures, keep
each row tightly against t he next row.
FABRIC
- 3/s yd of 45" wide muslin for backing
- 3/s yd of 45" wide cotton print for
lining [shown: aqua needl e print)
OTHER SUPPLIES
- 10 assorted tape measures, each at
least 60" long
- 1 yard of 3/s" wide grosgrain ribbon
[shown: yellow)
- 12" zipper
- 1/2" wooden spool
- 15" x 20" foam board
- Matching sewing thread
- Fabric glue
- Temporary spray adhesive
FINISHED SIZE
12"x7"
NOTES
1/4" .
- All seam allowances are
- Tape measures vary by width,
color, and length, so this is an
approximation based on what was
used in the featured bag.
- When you trim the tape measures,
save one metal end for the zipper
pull for Step 16.
- When arranging the tape measures,
position them randomly without
regard for directional readability.
132
* stitch
Grosgrain ribbon provides a sturdy base
for t he t ape measures and the zipper.
- Most tapes are double-sided, so use
both for variety.
- RST =right sides together
- WST =wrong sides together
CUT THE FABRIC
D Cut the following pieces as directed.
- From the muslin, cut 1 rectangle
13" x 16".
- From the lining, cut 1 rectangle
121/2" x 15".
WEAVE THE OUTER BAG
fJ Pin the muslin rectangle corners to
the foam board.
El Lay 16" pieces of various tape
measures horizontally along the 16"
muslin rectangle side, abutting the
tape edges. Pin into the foam board to
hold the tape strips in place.
D When the muslin is covered, lift
the tapes and mist the muslin with
temporary spray adhesive.
D Weave 13" assorted tape measure
pieces over and under the horizontal
tapes. Push each successive row
tightly up against the previous row. Be
sure to keep the weaving squared as
you progress. Pin each tape measure
end into the foam board.
IJ Continue weaving, pinning, and
squaring the woven tapes in place until
the entire piece of muslin is covered.
D Unpin one row end at a time and
use fabric glue to adhere all the tape
ends to the muslin. Repin into the foam
to hold the ends in place.
D When the glue is completely dry,
remove all pins. Mark and then stitch
a 121/2" x 15" rectangle over the woven
tapes.
D Trim the tapes just outside the
stitching line.
MAKE THE BAG
Oil Apply the ribbon to each side of the
zipper tape, stitching close to the inner
edge of the ribbon.
mCenter the zipper and overlap the
unsewn r ibbon side 1/4" onto one tape
rectangle's 121/2" edge. Topstitch in
place close the outer ribbon edge.
Open the zipper and repeat for the
other side of the bag's upper edge.
II1 With RST, fold the tape measure
rectangle in half, matching the upper
edges. Stitch both ends of the folded
rectang le. Turn the bag right side out.
LINE THE BAG
iE With RST, fold the lining rectangle in
half, matching the upper edges. Stitch
the ends.
IDPress under 1/4" along the lining
upper edge.
ml With wrong sides together, slide the
lining into the bag and handstitch the
upper edge in place along the zipper
tape.
iB Cut a 6" length of ribbon and thread
both ends through the zipper pull and
the wooden spool hole. Clamp the
r ibbon ends together using one of the
tape measure metal ends, adding glue
if needed.
RESOURCES
- Fabri -Tac Glue: Beacon Adhesives,
beaconadhesives.com.
- KK2000 Temporary Spray Adhesive:
Sulky of America, sulky.com
LINDA TURNER GRIEPENTROG owns
G Wiz Creative Services in Bend, Oregon,
where she lives with her husband and three
dogs. She writes, edits, and designs for several
con1panies and leads fabric shopping tours to
Hong Kong for the Arnerican Sewing Guild.
Contact her at gwizdesigns@aol.com.
 how-to

The Fascinator
by ALEX SUDALNIK A little handstitching will hold the hat
comb in place.
{from page 74}
- All seams 1/4" unless otherwise noted.
- Do not cut notches. Mark them with
chalk or fabric pencil.
~­
CUT+ STITCH FASCINATOR It all starts with an idea and a sketch.
D Using Template A, cut one
Fascinator from wool felt.
D Using Template B, cut one from
lining fabric. Transfer markings, set
I
aside until Step 13.
I
El With chalk or fabric pencil, transfer /
I ,

marks from Template A to wrong side ,;

of Fascinator felt piece.

D Mark .. +" and "x" symbols onto back
Change your hat-change your mood. Try of Fascinator felt. From the front of
this trendy little hat in different fabrics. the Fascinator felt piece, sew running
stitch through··+" marks. Leave a 12"
FABRIC thread tail.
- 12" x 12" square medium -weight
D From back of Fascinator felt pattern
wool felt (for Fascinator) piece, sew a running stitch through the
- 5" x 5" square medium-weight wool "x" marks. Leave a 12" thread tail.
felt (for Lining) lJ Draw up both basting threads from
the"+" and "x" basting from Steps 4- 5.
OTHER SUPPLIES
Arrange pleats evenly. Knot basting
- Templates, provided
threads to secure.
- 4" buckram hat form [Hat forms are
available from millinery, bridal, and
D To begin shaping the hat, sew
both end Tabs together as shown
costume supply shops.)
on Template A using a 1/4" seam
- Thread to match allowance.
- Handsewing needle ll With doubled thread and a strong
- Chalk or fabric pencil knot, start from wrong side of the
- 9" velvet ribbon Fascinator and sew a running stitch 1/2"
from the outer edge and between the
- Hat comb
tabs as indicated on Template A. Leave
FINISHED SIZE a 12" thread tail.
4 1/2" x 7 1/ 2" D Tighten running stitches from
Step 8- leaving room to insert the
NOTES buckram hat form. Adjust gathered
- SA = seam allowance edge evenly.
-- - - --
Hat forms come in many shapes and sizes.
They enable the hat to keep its shape.
IE As shown on Template A, hand -tack
the A points together.
ATTACH FASCINATOR
TO HAT FORM
mDivide buckram hat form into
quarters. Place a small mark at each
quarter- 1/2" in from the edge. Align
marked notches on Fascinator with
marks on hat form.
ill Evenly pull up and ease the basted
outer edge of the Fascinator around
the hat form, using 1/2" SA. Secure the
end of the basting thread and tack the
Fascinator to the hat form being sure
to match the quarter marks. Be careful
not to let t he stitches go through to the
outside of the Fasci nator fabric .
iEJ Cut and center the Hat Lining
[Template Bl under hat form.
Slip-stitch Lining to Fascinator.
133
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 how-to
For a more edgy look, try a safety pin
instead of a bow.
iD Attach the hat comb using the
marks on Lining Template as a guide.
ADD EMBELLISHMENT
ml Tie velvet cord into a bow. Stitch
to center of pleating on front. Style
options: replace bow with an oversized
safety pin for a more edgy style, add a
veil- or both.
ALEX SUDALNIK is a fashion and knitwear
designer living and working in Los Angeles.
Visit him at alexandersudalnik.com.
-·--·------------- ---~-----------------~
Slouchy Cashmere Hat
by SIGRID ARNOTT
{from page 75}
Using a very soft, drapey knit gives this hat
its slouchy appeal.
FABRIC
- Look for a gently loved knit sweater
with a ribbed lower edge with a
12 .. minimum width, in cashmere,
lightweight merino, or a soft
blended knit.
13't
* stitch
NOTE : The ribbed edge must have at
least 20°/o stretch. To test your knit,
measure and mark a 5.. horizontal
section. By gently stretching, the fabric
should expand to 6". If the fabric is less
flexible, add 1/2" seam allowance to the
hat pieces.
OTHER SUPPLIES
- Machine thread to match sweater
- Pins [preferably quilting size)
- Transparent tape
- Handsewing needle
- Embroidery floss
- Optional: Flower Template, provided
(for embellishment)
FINISHED SIZE
18" circumference x 6 1/2" high
NOTES
All seam allowances are 1/2".
CUT OUT FABRIC
0 Carefully cut off the side seams
from the sweater body up to the
armhole. Preserve the actual cut
seams for the hat ties.
fJ Cut a rectangle 11 1/2" x 71/2" from the
sweater front with the long edge along
the ribbing . Because the ribbing pulls
in. stretch and pin the lower edge of the
sweater to your ironing board to keep
it at the same width as the upper part
of the sweater while you cut. Follow a
vertical line of the knit stitches starting
at the ribbing to stay on track.
B Repeat Steps 1- 2 on the sweater
back, but cut the back rectangle
11 1/2" x 8 1/2" .
MARK + SEW PLEATS
D Mark three pleats on the hat front
by laying the ruler along the 7 1/2" side
of the rectangle with the zero mark at
the bottom of the ribbing.
l1 Place pins at 2", 3", 4 1/4",
5", 6 1/4",
and 7.. marks. Repeat on opposite side.
[I On each side you should now have
six pins. With right sides together.
bring the second pin down to the top
of the first pin to form a pleat. Pin
securely. Repeat the process putting
the fourth pin over the third pin and
the top pin over the fifth pin . You will
Make the flowers from other parts of the
sweater, or find a different knit for contrast.
have three pleats per side, make sure
you overlap and form the pleats in the
same direction on each side.
D Hand baste the pleats in place just
inside the 1/2 .. seam line . Repeat on the
opposite side.
[J Mark the hat back, placing four pins
at the 2", 3", 4 1/4", and 5" marks. With
right sides together, form pleats by
matching pins one and two, then pins
three and four. Hand baste pleats in
place.
ASSEMBLE THE HAT
D On the right side of the hat front, pin
and mach ine sew the ties (from Step 1)
diagonally in the top corners. Line up
the short ends with the hat edge and
pin the ties to the center of hat to keep
them out of the seams.
ml Pin Hat Front to Hat Back with
right sides together and side pleats
matching. Sew side seams with 1/2"
seam allowance from bottom to top.
Make sure that pleats do not sh ift.
Then sew across t he hat top.
mTrim seams to 1/4" on both sides.
IE Turn right side out and make a bow
at the top with the hat ties. Adjust the
ties to fit.
MAKE EMBELLISHMENTS
Embellishments are optional. Leave
the hat plain or make these flowers.
iE Cut out the Flower Template and pin
it to the leftover scrap pieces from the
sweater or to a contrasting lightweight ) )

fabric. Cut out at least three flowers-
or more as desired. Mark the stitching
lines indicated on the template for
gathering the flower centers.
iD Thread a needle and knot one end.
Along the marked stitching line, bring
the needle up through the back to the
front of the flower. Make a backstitch,
then hand baste in a circ le as marked
on the template. Finish with the needle
on the back, and pull the basting
stitches tight to gather the flower.
Secure on the back with a backstitch.
mJ Adjust the gathers and push the
center out to the front. Stitch an X over
the center of the flowe r if desired.
lD Sew the remaining flowers in the
same way.
ID Add a flower to one side of the hat
front as desired by secure ly stitching
the center down. Arrange and stitch
down the remaining flowers with petals
slightly overlapping. When you are
happy with the flower arrangement,
securely tack them to the hat.
SIGRID ARNOTT writes about
her adventures in analog living and
building a handmade wardrobe at
analogn1e.typepad.com.
Flo'W'eringFleece
&: Felt Hat
by STEPHANIE SMITH
{from page 76}
The flowers and b uttons add sparkle and
sty le- and also hold t he hatb and in place.
Simple embroidery stit ches help defin e t he
petal shapes and add a t ouch of t exture.
FABRIC
- 1/3 yd fleece
- 12" x 18" wool felt in colors to
coordinate with fleece. Recommend
at least 4 colors . If using wool
felt from previous projects, the
minimum per flower is 6" x 12"
OTHER SUPPLIES
- Hat and Flower Templates, provided
- One glass/crystal button , 7/16" shank
- Two glass/crystal buttons, 9A6" shank
- Machine thread to coordinate with
fabrics
- Perle cotton in coordinating colors
for flower embro idery details
- Handsewing needle
- Embroidery needle
- Rotary cutter, acrylic ruler,
self-healing cutting mat
- Air-soluble marking pen
- Seam gauge
FINISHED SIZE
22" circumference
NOTES
- Templates create a hat with a 22"
circumference. To make a larger or
smaller hat, add or subtract 1/2" on
both sides of the Hat Template.
- All seams are 1/4" un less otherwise
noted.
- Test yo ur machine's tension when
using fleece-you may need to
loosen it. It a lso helps to increase
your regu lar stitch length slightly.
how-to
By enclosing th e seam edges in a double
seam, your hat looks good inside and out.
- When stitching through three or
more layers of fleece , stitch slowly.
- Test air-so luble pen on scrap fabric
before using.
- RST = right sides together
CUT FABRIC
From Fleece
D Trace Hat Template. Pin to fleece
and cut four. Refer to the Templates
and mark the dot that ind icates the top
of the hat onto each piece.
El Cut one 5" x 25" rectangle for the
Hat Band.
From Wool Felt
El Trace templates for Large Flower,
Small Flower, and Leaf. Pin templates
to wrong side of fe lt and trace outlines
with air-soluble pen . Cut one Large
Flower and five Small Flowers in
desired colors. Cut one Leaf.
ASSEMBLE THE HAT BODY
0 Pin two pieces of the Hat fleece
together, match ing sides and dots at
the top. Pin or baste as necessary.
Stitch together. Tie and trim threads.
Aligning the dots at the top of the Hat,
repeat this step until all four pieces are
stitched together.
11 Turn assembled hat inside out,
finger pressing seams to ensure
edges a re well turned. The wrong
side of the hat will now be on the
outside. St itch over inside ou t seams,
creating a double seam. Tie and
trim threads. Turn hat again, so that
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 how-to

the right side is now on the ou tside.

Finger press again to make sure hat Flapper-Inspired
is fu lly turned.
Felt Hat
ASSEMBLE+ ATTACH by APRIL MOFFATT
THE HATBAND {from page 77}
IJ Stitch the ends of theHatband
together. Fold band in half
lengthwise.
D With the seam at the back, pin
Hatband to base of hat, right sides and
raw edges together. Stitch. Tie and
trim threads. Trim ends of fleece fabric
if needed. Roll the Hatband up toward
the top of the hat, just covering the
seam.

ASSEMBLE THE FLOWERS The flower center is made by snipping the

D Embroider all flower and leaf
details [as shown on Templates) using
embroidery needle and coordinating
perle cotton.
D To make the larger center flower,
place and pin the Large Flower and
a Small Flower together. Handstitch
flowers together in the centers with
coordinating thread. Embroider
details on flowers as desired. Place
a 7/16" shank button in center and
handstitch onto the layered flowers.
Tie and trim thread ends. Handstitch
the leaf onto the back of the large
flower.
IE To make the smaller flowers, pin
two Small Flower pieces together.
Embroider details on flowers as
desired. Place 9/ 16" shank button in
center and handstitch onto flower. Tie
and trim the thread ends. Repeat to
make a second small flower.
folded edge of a small felt rectangle.
match the colors of the flower pieces
until you have your desired color
com bi nations.
Soft wool felt is an easy and versatile fabric
to work with-no fraying! MAKE THE HAT
D Pin the center seam on the 2 Hat
FABRIC Center pieces, RST. Stitch. Press seam
1/2 yd wool felt
- open .
- Scraps of wool felt in coordinating D Pin Hat Sides to Hat Center sides,
colors for flower matching the top center dot on both
sections. Baste. Try on hat and make
OTHER SUPPLIES
any adjustments to fit the hat. Once the
- Hat and Flower Templates, provided
fit is acceptabl e, stitch the seams. Clip
- Sewing thread to match fabrics seam on the curves just to the stitching
- Press cloth line. Press seams open.
FINISHED SIZE MAKE+ ATTACH THE BRIM
13"x16" 0 Stitch one of the Hat Brim pieces to
the other. [Do not stitch the other side
NOTES seam yet.) Press seam open . Topstitch
- Press wool felt before cutting. 1/a" on both sides of the seam. Trim

Always use a press cloth to prevent excess seam allowance.

COMPLETE THE HAT
ID With coordinating thread, handstitch
all three flowers onto the hat, placing
as desired. Tie off and trim thread
ends.
STEPHANIE SMITH con1peted at the
county fair as a child with nun1erous arts
and craft projects. She loves to craft, sew,
and quilt and enjoys designing and creating
things for the hon1e and fan1ily. Stephanie has
been published by House of White Birches,
Quilter's vVorld, and Stitch magazine.
She lives in Michigan with her dog, cat, and
horses.
136
* stitch
scorching.
- All seams are 1/2" unless otherwise
noted.
- RST = right sides together
CUT THE WOOL FELT
D From wool felt, cut 2 each from the
three Hat Templates provided:
Hat Side, Hat Center [place on fold].
Hat Brim [place on fold)
E1 From the colored wool felt scraps,
cut 1 each of the Flower Templates
provided. Also cut one 1" x 6" felt
rectangle [flower center). Mix and
IJ Match this finished seam to the
center front of the hat. With the second
brim seam still unstitched, pin the
brim in place, RST. Measure and mark
the location of the back brim seam
so that it will fit your hat size exactly.
Unpin enough of the brim so that you
can stitch the two ends of the hat brim
together. Topstitch, trim, and finish the
seam allowance as in Step 5.
D Finish pinning the brim around the
hat and stitch in place. Press the seam
allowance of the brim toward the inside
of the hat.
>>

D Topstitch 1/4" away from the seam
so that the seam allowance is stitched
up toward the top of the hat. Carefully
t r im excess seam allowance.
MAKE +ATTACH THE FLOWER
D Using t he felt pieces for the flower,
layer Small Flower on top of the Large
Flower. To make the center of the
flower, press the 1" x 6" rectangle
lengt hwise. Snip folded side every 1/4".
Do not cut all the way through to the
unfolded edges.
ml Roll the str ip up, securing every half
turn with need le and thread. Attach
(folded side up) to center of the flower.
mHandstitch the flower onto the hat.
APRIL MOFFATT comesfron1 a long line
ofsewing divas. Her grandn1other sewed her
way through the Great Depression, and her
industrious mother has sewn everything you
can imagine. April hon1eschools her children
and in herfree tin1e designs textiles. Visit her
website at aprilrnoffattdesign.com.
Mod Newsboy Hat
by JENN RHOADS
{from page 78}
Trying out a small project is an excellent
way t o learn to mat ch plaids.
FABRIC
- Main Body: 1/2 yd wool, heavyweight
cotton, or velvet. Extra fabric may be
needed to match plaid fabrics.
- Lining: 1/3 yd cotton. Qu ilting cottons
have interesting prints to contrast
with the outside of the hat.
--- ---- -
,,
;
I
;
I
I
I
figure l
OTHER SUPPLIES
- Templates, supplied
- 1/4
yd mid- heavyweight, nonwoven ,
fusible interfacing for hat bill
- 1/2 yd ribbon for embellishment
- 1 button
- Machine sewing thread to coordinate
with fabric
FINISHED SIZE
Hat circumference is 25". The center
back can be adjusted for other sizes.
NOTES
- Prewash fabr ics for a washable
finished project.
- All seam allowances are 1/4"
otherwise noted.
- RST =right sides together
CUT THE FABRIC
D Using the Templates provided. cut
6 Hat Body wedges in the main body
fabric and 6 in the lining fabric. If you
are not matching plaids, pieces can be
cut with the fabric doubled.
TIP: To quickly and accurately match
plaids or st ripes, cut pieces one at a
time. After cutting the first wedge, lay
this piece on a section of the remaining
fabric so that the print or stripe
matches exactly. Cut. Repeat until all
six wedges ar e cut.
D Cut 2 Hat Bills from the main body
fabric. If using a plaid, match the Hat Bill
pieces with a wedge section [by matching
center notches and plaid pattern).
El Cut 2 Hat Bills from the inte r facing.
SEW THE HAT BODY
D With RST, sew two Hat Body wedges
toget her. Clip seam allowance at the
curve, clipping just to the stitched
seam line. Press the seam allowance
to t he left, then edgestitch. Add
how-to
the next wedge, stitch, clip seam
allowance, press to the left, and
I> edgestitch. These three wedges
' complete one half of the hat.
'
' \
TI P: If you are using a heavy fabric, you
\
\
will need to trim some of the bulk from
the seam allowances at the narrow
center point- where the wedges meet.
(See Grading Seam Allowances in
Sewing Basics.)
D Repeat Step 4 to make the second
ha lf of the hat.
lJ Line up the two halves, RST, being
careful to match your points. Pin , then
stitch. Clip the seam allowance, press to
the left, and edgestitch. Again , if you are
using a heavy fabric, you may have to
trim the seam allowances at the na rrow
point where all six wedges meet.
0 To enhance the shape and improve
the fi t, add t ucks to the back three
wedges only. To do this, fold each of the
three wedges at the notch, RST. Stitch
a 1/4" tapering seam for 1 1/2" toward
the top of the wedge. Backstitch at the
top and the bottom of each tuck. If you
unless
need a smaller size, take a larger tuck
in the center back wedge only.
D Press the back tucks toward the
center. Edgestitch.
D Repeat Steps 4- 8 to make the
Lining. Match the size of the tucks in
the Lining to the size on the Hat Body.
SEW+ ATTACH THE HAT BILL
ml Following the manufacturer's
instructions, fuse interfacing to the
wrong side of both Hat Bills.
mWith RST, stitch the bill together
along the outside curve. Clip small
triangles out of the seam allowance,
clipping just to the stitched seam line.
(figure 1). Turn right side out.
[fJ To get a crisp front edge for the bill,
press carefully. Once pressed, topstitch
the front curve 1/4" from the edge. Add
a second line of topstitching 1/4" away
from the first stitched line.
IE Baste theinside curve of the bi ll 1/s"
from the raw edges.
llil With RST, match the center notch on
the bill to the notch on the center front
wedge of the hat. Baste into place.
137
sewdaily.com *
 how-to

Don't be tempted to skip this little ribbon

det ail. Easy to make, it adds girly charm .

Get creative with your lining. Prints and

stripes provide some inner style.

ml With RST, pin the Main Body and the

Lining of the hat together, matching
wedge seams and back tucks. Pin in
place. Sew around the circumference
of t he hat, leaving a 3" opening on the
side for turning.
iD Turn r igh t side out. Tuck theseam
allowance inside and handstitch the
opening closed. Press the bill over a
tailor's ham or tightly rolled towel to
create a slight curve.
ID Topstitch 1/4" around the perimeter
of the hat.
iil To make the ribbon embellishment,
start 4" away from one end of th e
ribbon, right side up. Loop once,
making sure both sides of the loop
show t he right side of the ribbon.
Make a small twist and loop again.
Check to see that only the right side
of the ribbon is always showing. Make
another small twist and create the
third and last loop. Th e second tail
should point to the same side as your
starting tail. If not, twist it into place.
Stitch at the center to secure t he loops
and ta ils. Attach to the hat with a
button. Trim ribbon t ails on a slant to
prevent fraying.
iil Wea r and enjoy!
JENN RHOADS is a graduate of FIT and
has been a sewist as long as she can ren1en1ber.
While designing and sewing clothing is her
passion, she is also a contemporary quilter and
creator ofall things sewable.
138
* stitch
RESOURCES
WHAT'S NEW + COOL WISH LIST CHERYL BUSH
PAGES 6 - 7 PAGE 22 sewcando.blogspot.com
ULTRA SHEER FUSIBLE INTERFACING AMIGURUMI FOX ROSEMARIE DEBOER
sewingworkshop.com etsy.com/shop/m inibytes rdeboer@interweave.com

CHAKONER SPIKY MUGS AMBER EDEN

sewingworkshop.com etsy.com/shop/symmetricalpottery aeden@interweave.com

MARY ELLEN' S MADE BY HAND MODERN BIRD FEEDER LINDA TURNER GRIEPENTROG
maryellenproducts.com etsy.com/shop/joepapendick gwizdesigns@aol.com

SEWLINE GLUE PEN & FABRIC PENCIL CERAMIC JAR WITH BIRD RACHEL GUEDON
sewlineproducts.com etsy.com/shop/DavisVachon stitchingint herain@gmail.com

CLOVER WONDER CLIPS RED HOT AND WILD GRETCHEN HIRSCH

clover-usa.com ORANGE BRACELET blogfo rbettersewing.com
etsy.com/shop/mydreamgarden JUNE MCCRARY JACOBS
SUNDAY MORNING QUILTS
stashbooks.com RECYCLED PAPER ROSES usajunedesigns@yahoo.com
etsy.com/shop/annemusingdesigns TINA LEWIS
MAKE IT SEW MODERN
martingale-pub.com tinalewisdesigns@gmail.com
MATERIAL WORLD
LESSONS FROM A SEWING CAFE: EMILY LI MANDRI
PAGES 26-30
nattypaint.com
SWEATSHOP PARIS THE BOTTOM LINE
andrewsmcmeel.com by Linda Turne r Griepentrog SUSAN LIU
gwizdesigns@aol.com so-sue.biogs pot.com
BROMLEY FABRIC COLLECTION
BY WESTMINSTER PAGES 34-38 APRIL MOFFATT
westminsterfibers.com SEWING WITH KNITS aprilmoffattdesign.com
by Linda Lee
MADELEINE ROBERG
SEWING ROOM sewingworkshop.com
theprintedbolt.com
PAGES 10 - 12
JENNIFER RODRIGUEZ
HOME EC WORKSHOP PROFILES allthingsbelle.com
hom eecworkshop.com PAGES 31-32
MISSY SHEPLER
ARTIST PROFILE: VICKI JENSEN
WORKROOM SOCIAL vickijensen.com missystitches.com
workroom social.com
ART SUPPLIES: STEPHANIE SMITH
CRAFTY PLANET Pro Chemical & Dye stimm@andrews.edu
craftyplanet.com prochemical.com ALEX SUDALNIK
STITCH LAB New England Felting Supply alexsudalnik.com
stitchlab.biz feltingsupply.com
KATRIN VORBECK
GATHER HERE sew-mad.blogspot.com
PAGES 40-45
gat herhereonline.com
A STRAND OF THREAD: THE STORY MARY WALTER
CRAFTING HOPE BEHIND THE 200-VEAR EVOLUTION mwalter@int erweave.com
craft hope.com OF COATS & CLARK
by Susan Beal, westcoastcrafty.com BETZ WHITE
LISA + LORI LUBBESMEYER BetzWhite.com
lubbesmeyer.com
PROJECT DESIGNERS JENNIFER WOLAK
blempgorf.blogspot.com
TECHNIQUE SPOTLIGHT LISA ANDERSON
PAGES 14 - 20 imalisawork.blogspot.com COREY YODER
littlemissshabby.com
DRAPING A BODICE SIGRID ARNOTT
by Grechen Hirsch analogme.typepad.com
b logforbettersewing.com SEW INSPIRED
STEFANIE BERGANINI PAGE144
stefanie.berganini@gmail.com
UNEXPECTED INSPIRATION
HEIDI BOYD by Kevin Kosbab, feeddog.net
Heidiboyd.blogspot.com

139
sewdaily.com *
 $Batiks Etceterar.,,
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Batik Rayon ••
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retro/modern fabrics+ yarn
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www. atiks.com 2833 Johnson St. NE, Minneopoli1
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sewdaily.com *
 ACCESSORIES & SUPPLIES
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is your best resource for ink-jet printing on c Unique Stitching ww.v.michaelmillerfabrics.com

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l"a2
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* stitch
ADVERTISER INDEX
A F M
Artistic Artifacts 140 Fabric Art Shop 141 Michael Miller Fabrics 7
Fabric Indulgence & Art Supply 141 Mistyfuse 141
B Fat Quarter Shop 39 Meda Fabrics BC
Batiks Etcetera 140 Folkwear 141 MollyMine.com 140
Bernina 3 FreeSpiritFabric.com 23 Monaluna.com 31
Brother International Corp. IBC
I N
c Interweave 113 New England Felting Supply 31
Cloth Paper Scissors CREATE 119 Interweave Books/
Coats & Clark Inc. 1 Quilting Modern 87 s
Colour Streams 140 Interweave Books/ SewDaily.com E-patterns 107
Craftside 79 Sew Liberated 143 Sewing Workshop, The 79
Craftsy 21 Interweave Catalog 126-127 Shiisa Quilts 140
Crafty Pfanet 140 Stitch Freemium 128
K Stitchin Post, The 140
D Kelly Folsom Digital Art Studio 141 Sulky of America 39
Dear Stella 13
L T
E La Todera 6 Therm 0 Web Adhesives 79
eQuilter 46 Timeless Treasures IFC
Eucalan Inc. 31

1~3
sewdaily.com *

sew inspired
, nex...,
A modern quilt er
discovers useful
information from the
most unlikely sources.
Essay KEVIN KOSBAB
FOR OBVIOUS REASONS, I've never had
much personal need to study dressn1aking.
So I never got the on-the-job training many
sewists get by starting with a simple circle
skirt and working their way through more
complicated garments. Instead, working as
a freelance editor has fortuitously brought
several se,ving and dressmaking books
across my desk. I learned a lot of sewing
tricks by having to read carefully through all
the instructions, even if I \Vasn't sure when
T'd use them myself.
More importantly, though, Tdiscovered
the value of digging through books outside
what I'd be naturally interested in. I'1n
mainly a quilter and home-dee se"ver, but
those dressmaking books taught me things
like how to shape with darts-I just used
them to shape a stuffed ottoman rather
than a dress. The cleanest, easiest finish for
a pillo\vcase is a French seam, but quilting
alone wouldn't have taught me that.
Venturing out into different techniques
is only part of the story. 'vVe're fortunate
t hese days to have publishers offering plenty
of sewing and craft books with a fresh and
current aesthetic, but sometimes ilie most
inspirational ideas can come from sources
that are superficially less appealing- or even
downright tacky. The craft section of my local
public library seems to have almost entirely
been purchased in the early nineties, before
the \vords "modem" and "sewing" ever spent
much time together. But braving the dated
photography and country-cutesy subject
matter has revealed the books' hidden secrets.
* stitch
•
'vVhen T wanted to make a trapunto
pillow for Stitch, all the reference books
used dimensional wreaths and hearts for
their examples- not motifs I "vas itching to
employ in my own projects. Looking past
that, though, the instructions \Vere solid
enough to teach the methods I needed to
execute trapunto using an updated, abstract
motif. Hearts are also a frequent sample
design for machine applique instructions,
but whether I'm feeling an1orous or not, I
can still get a refresher on where I need to
pivot. No bead embroidery book I've opened
has shown me a project I want to make
for myself, but \vhen I need to sew a bead
to a quilt, that's \vhere I'll turn to figure
out what thread, needle, and stitch to use.
And \vhile I'm there, Tmight see seed beads
se\vn on top of buttons in a way T'd never
thought of. Tmight turn tlp my nose at the
teddy-bear project vvhere that technique
is demonstrated, but who knows when
that will be exactly the effect I need for an
entirely different design? I'm convinced
the key to a healthy continuing education
in craft is separating the techniques
themselves from the conventionalized
subjects.
For ilie same reason, while I'd happily
join if a modem quilt guild chapter opened in
my town, I wouldn't cancel n1y membership
PHOTOS BY KEVIN KOSBAB
in my "traditional" quilt guild. fvly qt1ilts
may be quite different from what most of the
other n1embers are stitching. but I've been
inspired by their work nonetheless. They've
saved me from many an impending deadline
by teaching n1e tricks to speed up binding.
As someone who started quilting wiili solid
fabrics and high-contrast prints, they've
helped show me that more subtle prints have
an important place, too. And I'd have never
thought of using silk for applique \vithout
my quilting friends demonstrating it, and
no\v I'm hoarding dupionis with ilie best
of them. The fact that our preferred palettes
differ only means \Ve aren't competing for
fabric.
It's the very difference in our perspectives
that gets my brain working in directions T
wouldn't have thought of otherwise. Sure,
there's a lot to gain from friends whose tastes
are sin1ilar to our O\vn and books that match
our personal styles, but nothing expands
the horizons in unpredictable ways better
than keeping open to less like-minded
perspectives.
KEVIN KOSBAB is afreelance writer, editor,
and pattern designer. He designs niodern sewing
projects for magazines and his own pattern line-
Feed .Dog Designs {feeddog.net]. He is currently
working on his first quilting hook for Interweave.
 A BROTHER 1NT

d Machine 1rom srotner"'.,

feature-Pag'<,:ative ~tu!!~ia .\\l a wide \Janet)'
L. ited Edition sewing, ~ces ~ J
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FOR ALL SEWING FANATICS

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