Standard hem depths vary by garment to ensure proper drape and a polished appearance. A finished hem should be smooth, flat, and a uniform depth with enough weight to allow it to hang well. The style of the garment and the fabric’s weight will influence the appropriate hem depth. The following guidelines are a good place to start. Remember that these are just guidelines and that there’s more than one right way to finish your garment.

GARMENT	SUGGESTED TYPE OF HEM	TYPCIAL DEPTH OF HEM
Blouse, tucked in	Narrow, double-folded, rolled	1/4″ – 1/2″
Blouse, untucked	Narrow double-fold, possibly with small vents at the side.	3/8″ – 3/4″
Coat	Blindstitch with interfacing	1 1/2″ – 2″
Dress, standard length	Blindstitch, felled hem, or rolled hem.	1 1/2″ – 2″ (typical) 1/2″ for sheer fabrics >2″ for heavier fabrics
Jacket	Blindstitch with interfacing	1 1/2″ – 2″
Women’s dress slacks*	Blindstitch	5/8″ – 1 1/4″
Pullover	Blindstitch or topstitch	3/8″ – 1 1/4″
Shirt	Topstitch	3/8″ – 5/8″
Shorts	Topstitch	5/8″ – 1 1/4″
Skirt, full or flared	Blindstitch or topstitch	1/4″ – 3/8″
Skirt, A-line and Straight	Blindstitch, or may use a faced hem.	2″ – 3″
Top	Blindstitch or topstitch	3/4″ – 1 1/4″
Men’s Trousers*	Blindstitch, double fold, straight, rolled or faced.	2″

Notes:

* Pant break: The finished length of the pants is described by the “break,” which refers to the fold created where the pant leg meets the shoe.

• No break: A modern, clean look where the pant hem rests just above the shoe.
• Medium or half break: A classic, traditional length with a single, slight crease where the pants meet the shoe.
• Full break: A longer, more conservative length with a generous fold that covers most of the shoelaces. 

Sewing a blind hem by hand:

Sewing a blind hem by machine:

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While some people may define couching as reclining on a well-padded sofa, the sewing definition of the term is a lot more fun! Couching is a creative embellishment technique of securing one or more strands of trim to a base fabric.

Great Choices

Choose almost any kind of trim for your project—embroidery floss, yarn, cord, braid or even narrow strips of fabric. Then pick a thread—any kind is fair game—a matte cotton, a shiny rayon or metallic, a solid or variegated hue, and even monofilament if you don’t want stitching to show. Use a contrast color for emphasis, or a matching color to highlight the trim itself and not the couching stitching.

A simple zigzag stitch (see above) will work to anchor strands, or perhaps you prefer a more elaborate decorative stitch pattern. The criteria for choosing—it has to be wide enough to span the trim(s) you’re couching, and it can’t be too dense that it creates uneven feeding issues.

A universal needle works well for most couching applications, in a size consistent with the fabric weight. For delicate knits, try a ballpoint or stretch needle to avoid damaging the fabric.

Depending on the weight of the fabric base, it’s usually a good idea to use a stabilizer behind to avoid puckering. For stable fabrics, a tear-away stabilizer works well; for stretchier or lighter weight fabrics, a knit interfacing on the fabric underside is helpful, in addition to the stabilizer.

Foot Notes

Then comes the choice of presser foot, testing is the name of the game. Simple couching can be done using a regular zigzag or satin-stitch foot if the trim isn’t too bulky. Most machine brands offer a couching or braiding foot, with a recessed area on the underside to handle tubular or bulky trims.

If you want to couch multiple strands at the same time, check out a multi-hole foot that aligns and separates the trim strands as you stitch to keep them organized.

Begin by reading your owner’s manual to see the types of feet available for your machine, then test-stitch using the trim of choice to check for even feeding.

Couching Methods

There are three ways to couch:

• Using a specialty presser foot and letting the feed-dogs feed the fabric and trim through the machine.
• Couching can be done with free-motion stitching

• Couching can also be done using specially digitized designs made for the addition of yarns or trim.

If you’re using embroidery software, stabilize, hoop the area and stitch following the instructions with the chosen motif.

To couch traditionally or use free-motion work, mark the design on the right side of the fabric using a removable marking method. This can be in the form of simple lines to follow, or an area to be filled in. It’s helpful if the couching line(s) can end in a seam for secure anchoring, but that’s not always possible.

As you couch, if you need to turn a corner, leave the needle down in the fabric, then lift the foot and continue sewing.

If you can’t end the couched design in a seam, leave the trim ends long enough to thread into a needle and bring them to the underside along with the couching threads. Knot to secure.

For free-motion couching, set your machine for free-motion stitching (see the manual for your brand), choose a presser foot that will help feed the trim while you move to fill the desired area. Free-motion couching is most often done using monofilament thread so the couched threads are the highlight and not the stitching itself.

Fancy Dancy

It’s easy to add beads or charms to the trim being couched, but this requires extra care when the couching is being done to avoid hitting those additions.

• Simply manually turn the hand-wheel to step by the bead or other addition and begin stitching again on the other side of it.
• Combine rows of decorative stitching with couching for added accents.

• Press your couched area over a towel or other padded surface to avoid flattening the trim.

Before You Begin: Make a sampler of different stitches and threads to see what works best with your trim to give you the look you like.

All photos courtesy of Bernina

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~Linda Griepentrog is the owner of G Wiz Creative Services and she does writing, editing and designing for companies in the sewing, crafting and quilting industries. In addition, she escorts fabric shopping tours to Hong Kong. She lives at the Oregon Coast with her husband Keith, and three dogs, Yohnuh, Abby, and Lizzie. Contact her at .

Some things we do with our sewing are meant to be seen, others are purposely meant not to be seen but are still important in the construction process. Understitching belongs in the latter category.

What is understitching?

It’s a line of straight stitching used to help keep facings in their place and tucked under the edge they’re finishing. You may have seen some necklines or armholes without understitching, and what do you see? A facing poking out and not staying in the place it was intended to be. Understitching goes through the facing layer and the seam allowances of the garment it’s attached to; so three layers, plus any applied interfacings. In most instances, understitching is done with a straight stitch. It shows only on the inside of the garment and not the outside, though its absence is often visible with roll-out edges.

In addition to armhole and neckline facing areas, understitching can be used on opening edges (front or back) and even when a garment is lined to the edge, like a skirt waistline opening. If your facings are a contrast fabric to the outer garment fabric, understitching is especially important to keep them hidden.

If there’s a collar, ruffle or trim band on the garment, understitching is imperative. The more layers you’re trying to control, the more important it is to understitch.

Understitching is not the same as topstitching. Though their functions can be the same—holding edges in place–topstitching is meant to be seen on the outside of the garment, understitching is visible only on the inside.

Understitching know-how

Most understitching is done by machine, though on heavy wools, fleeces, etc. it can be done by hand for better control. 

The straight stitch setting is all you need for understitching most garments, with about 10-12 stitches per inch. On thicker fabrics, you may opt for a zigzag or serpentine stitch for better control of the bulky layers. Remember, it doesn’t show, so you can even choose a decorative stitch if you prefer, just for a smile when you don the garment.

To create understitching, follow the pattern instructions to apply the facing or lining to the opening edge. After completion, trim and grade the seam allowances and clip any curves.  When grading, be sure to keep the longest seam allowance to the outside as the garment is worn and shortest toward the body. Stagger clips on the various layers to avoid “dimples” in the seam edge.   

Firmly press all the seam allowance layers toward the facing or lining. If the garment has a collar, this could be up to six layers, including the interfacings on the collar and facing.

Position the garment under the presser foot with the facing layer right side up and to the right your machine has an adjustable needle position, use it to fine-tune the needle placement near the seam. If your machine has an edgestitching foot, that can be helpful to keep the stitching straight, especially over bulky layers like cross seams. If your garment is lined to the edge, the understitching will be on the lining.

Understitching should catch all the seam allowances under the facing/lining, so keep your fingers underneath the stitching area to be sure layers don’t shift. Graded and clipped seam allowances sometimes decide to turn the opposite direction from how they were originally pressed, so be mindful of that and feel underneath as you sew.

On circular facings, like armholes and neckline openings, understitch all the way around. If your garment has a front or back opening, stitch as far as you can as you approach the corner. Then backstitch to anchor the stitch end.

Finishing touches  

Once the understitching is complete, turn the facing again to the wrong side and roll the garment edge ever so slightly to the wrong side next to the facing seam. Tack the finished facing edge to the adjacent garment seam allowancesat the shoulder, side seam, etc. to keep it in place.    {photo 4: Finished neckline with understitching}   

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~Linda Griepentrog is the owner of G Wiz Creative Services and she does writing, editing and designing for companies in the sewing, crafting and quilting industries. In addition, she escorts fabric shopping tours to Hong Kong. She lives at the Oregon Coast with her husband Keith, and three dogs, Yohnuh, Abby, and Lizzie. Contact her at .

Garment Sewing – Master Techniques

We’re thrilled to announce our upcoming Virtual Conference: Garment Sewing – Master Techniques, featuring six powerhouse (2-hr) classes taught by some of the most sought-after educators in the industry. These top-rated instructors, who have wowed attendees at our in-person events, are ready to help you elevate your garment sewing skills to an entirely new level.

No flights, no hotels, no travel stress—just world-class sewing education delivered straight to you. And the best part? You don’t have to attend live to enjoy it. Every session will be recorded and available for an entire month, so you can learn at your own pace—whether that’s from your sewing room, your couch, or in your favorite pajamas with a snack in hand.

**Non-member registration opens soon.

Here’s the talent powering this year’s Fall Virtual Conference…

Roadmapping Your Fit Preferences (Susan Lazear)

Thursday, September 4 | 10am-12pm CT

Susan will present Roadmapping Your Fit Preferences – understanding your unique fit preferences will make a world of difference in your satisfaction with the garments you sew, and an end to putting time, effort, and money into something you won’t end up wearing. In this class, you will learn to analyze your body and garment measurements to understand your personal fit preferences better. This knowledge is valuable because it will guide you in creating clothing that feels comfortable for you. Whether you’re designing your own patterns, drafting by hand, or modifying commercial patterns, knowing your fit preferences will help you make wise choices. A worksheet handout will be provided for your use after the class.

Susan Lazear is a Professor of Fashion at San Diego Mesa College. She is a recognized author and wearable artist, specializing in mixed media. Susan owns Cochenille Design Studio which develops software and design aids for sewers and knitters. She has taught fashion and design workshops around the world.

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Your Go-To Jacket (Marla Kazell)

Thursday, September 4 | 2pm-4pm CT

Marla presents Your Go-To Jacket. Jackets are a must in everyone’s wardrobe. A simple cardigan, shirt jacket, a baseball or bomber style jacket are all easy and comfortable. No matter the style, a great fitting jacket and some good tailoring techniques will help you create your perfect jacket and it all starts with a basic pattern. We will explore how you can change up the details and fabrics to change the look. Try a fun new buttonhole technique or change the closure to a zipper. Draft a new collar, manipulate darts, combine patterns or add pockets. Express your artistic self with collage, couching, or trims. Use a beautiful fabric for a dressier look or go casual with denim or knits. Make your jacket lined, unlined or reversible. No one will know they all started with the same pattern.

Marla’s presentation of jackets will show you so many possibilities, you will leave with your head full of ideas for future jackets.

Marla’s forty years of experience in sewing professionally includes serving as technical advisor for the book, “Couture: The Art of Fine Sewing” by Roberta Carr (a classic!) and creating and teaching the Palmer/Pletsch Couture Workshop for 10 years. Her work is truly exceptional!

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Master Shirt & Blouse Sleeve Plackets (Pam Howard)

Friday, September 5 | 10am-12pm CT

Pam is presenting Master Shirt & Blouse Sleeve Plackets. Many garment sewists avoid patterns that have plackets on shirts and blouses. Using Pam’s techniques, you will no longer need to avoid them and will take pride in your ability to master this challenge and create beautiful garments. You’ll learn to make 2 types of sleeve plackets for your shirts and blouses. Step-by-step pictures will be shown of both continuous plackets and tower plackets. Fabric suggestions will be given as well as a few pictures of suggested patterns available to purchase from online sources.

Pam is the owner of Pamela’s Closet. She has a B.S. degree in Textiles, Clothing, & Business and started a custom clothing business in 1994 making suits and sportswear. She quickly realized it was important to her to pass along her knowledge and soon began to teach others the skills and techniques of garment making. 

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Techniques for Copying Your Favorite Garments (Suzy Furrer)

Friday, September 5 | 2pm-4pm CT

Suzy will showcase Techniques for Copying Your Favorite Garments. We’ve all been there, struggling to part with a beloved piece of clothing that has seen better days, and just can’t let go! Learn three different ways to reproduce existing garments.

Suzy is the Founder and Director of Apparel Arts, which has trained hundreds of students who are now employed in the apparel and costuming sectors. Her expertise extends to corporate training, and she has been an instructor for employees at Pixar and Lucas Films.

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Efficient Work Flow in Pants Fitting (Jennifer Stern)

Saturday, September 6 | 10am-12pm CT

Jennifer introduces Efficient Work Flow in Pants Fitting. Have you been caught in a cycle of endless adjustments while searching for the perfect-fitting pants? Your search can end now! We’ll start by discussing how to choose the best pattern and size to begin with as we learn to create a pants muslin. When we finish, you will have a step-by-step checklist to make your pants-fitting process easier in any style of pants.

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Secrets for Sewing Sheer Art-to-Wear (Katrina Walker)

Saturday, September 6 | 2pm-4pm CT

Katrina will present Secrets for Sewing Sheer Art-to-Wear. Take your creative garment ideas up a notch by learning how to create artful pieces from sheer fabrics. This “practical yet pretty” class is full of beautifully reversible decorative construction techniques.  Learn how to create stained-glass-like art panels for jackets and blouses from readily available artwork. Sew seams that are gorgeous inside and out. If you’ve been unsure how to work with sheer fabrics, you’ll love all the tips and tricks for planning your project and handling these special textiles.

Katrina was the 2024 Sewing Hall of Fame inductee and is a sewing industry pro whose work is regularly featured in sewing magazines. She is a popular instructor, as well as being a national educator for Husqvarna Viking and PFAFF sewing machines, a PFAFF Brand Ambassador, and a Sulky Sewcialite.

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Great news! Our virtual conference class fees are staying the same — no price increase! Each class is still just $35, and when you register for all six, you’ll only pay for five. Plus, you’ll get a full month to watch (and rewatch!) every class at your own pace.