ASG Sewing Blog

August 8, 2025

Sewing with Sheer Fabrics

Sewing with sheer fabrics may not be something you do every day, but for that special garment or home décor adventure, it’s good to know the ins and outs of seaming these wispy see-throughs.

There are various types of sheer fabrics, from organdy and chiffon to georgette and voile. No matter which one you choose, pay attention to the details of sewing the perfect seam. Use some fabric scraps and test-sew these seam finishes to see what works best with your particular fabric.

Conventional Machine Finishes

Stitch and trim

Using a conventional machine, straight stitch the project seam, but do not press it open. A full-width open seam in a sheer fabric screams home-made. Instead, stitch another row of stitching next to the first one and trim the excess seam allowance close to the second stitching row. Press the seam allowances in one direction, usually toward the front if it’s a garment. The narrow seam allowances barely show through the outer fabric, and you have an inconspicuous joining.

If the fabric is especially ravelly, you can choose a narrow zigzag for the second line to keep threads in check.

French

Note: These directions are for a pattern with a standard 5/8” seam allowance.

To create a French seam, sew the two layers of the project WRONG sides together using at 1/4” seam allowance. Trim the seam allowances next to the stitching, then refold the seam so that the previously sewn seam is along the folded edge, but this time the fabric is right sides together. Sew another seam 3/8” from the previously seamed edge, encasing the trimmed seam allowance.

This type of seam works best on straight seams—creating a French seam on a curve (like an armhole) is trickier. On curved areas, choose one of the other seam finishes mentioned above.

It’s OK to mix seam finishes on a single garment! Some techniques work better on straight seams, and others for curved areas.

Pink

If you own pinking shears, they can be used to finish a sheer seam, but depending on the opacity of the fabric, you may be seeing the small zigzags through the outer fabric. Pink seam allowances together after sewing a single or double row of seam stitching, then press the seam allowances in one direction.

Serger Finishes

If you choose to use a serger for seaming, set the stitch width for a relatively narrow seam and use two or three matching threads. Sew your seam, allowing the machine to trim the excess seam allowance as it sews. You’re left with a narrow, overcast seam with minimal show-through. This type of seam works best on crisp sheers, as very soft fabrics may distort in the serging process unless you use a stabilizer beneath the seam.

Rolled hem

For an even narrower seam, turn your serger to the rolled hem setting. This will create a very narrow, wrapped seam allowance never to be noticed from the outside.

Other tips for sewing on sheers:

Choose a small size sewing machine needle to avoid leaving holes in the fabric.
Select a lightweight thread.
Shorten your stitch length to avoid puckering.
Enlist tissue paper or removable stabilizer to help “tame” any stretching or puckering.
Be sure your scissors are sharp when cutting and trimming.
Use a straight-stitch presser foot and/or throat plate to keep lightweight sheer fabrics feeding evenly without poking down into the needle hole.
Use self-fabric for interfacing to avoid dramatic color changes.

~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 .

August 1, 2025

Reverse Flap Detail

One of the true pleasures when sewing any garment is adding that perfect unique “something extra” that takes it from ordinary to extraordinary. This unusual finish for a blouse or jacket adds an unexpected design twist to give a garment an uncommon look.

This short tutorial described how easy it is to make a minor change to the left front facing of your pattern.

To begin, the project assumes you are using 1/2″ buttons.

Start by marking a straight line that is parallel to the front edge of the fold, 3/4″ in from the folded edge. Then, at 5-1/2″ below the neck seamline, draw a 1-1/2″ line perpendicular to the already chalked vertical line.

Draw another 1-1/2″ line 5″ below that. (Fig 1)

Stitch around these opening markings, taking 2 tiny horizontal stitches at the tum. Cut on the marked lines to the tum (Fig 1a).

Tum the facing to the inside and press the opening edges. Edgestitch the front edge.

Note that no changes are made to the right front facing.

This reverse flap is especially attractive when you add extra buttons to it. Arrange button placement so that a button is directly above and below this flap to prevent gaposis and shifting.

~Based on an article by Ann Jacobi previously prepared for ASG

July 25, 2025

What’s the (Sewing) Word? Part 2

Whether you’re new to sewing or a seasoned veteran with myriad skills, chances are good that you like to continue learning about your favorite hobby and knowing the vocab is essential.

While there are glossaries of common sewing terms, we wondered about the not-so-common words that might be good to know. If you missed Part 1, click here to learn those words, then learn these as well for your next game of Trivial Pursuit!

Besom Pocket

A besom pocket is inset into a garment (as opposed to being applied to the outside like a patch pocket). It is characterized by narrow piped edges along the pocket opening. Constructed similarly to a welt pocket, the narrow trim bands set it apart. The piped edges can be made from the same fabric as the garment, or from a contrast fabric or ribbon.

French Tack

A French tack is a grouping of threads used to hold two layers of fabric loosely together. Typically used to hold a lining in place at the hemline inside a garment, a French tack is about an inch long and the multiple thread strands are “overcast” together to hold them in place. French tacks are made by hand using a single thread to blanket stitch the initial strands together.

Hair Canvas

Traditional hair canvas is an interfacing fabric made from goat hair and/or wool, and it’s used in tailoring to give a crisp finish to lapels and collars. The real deal is quite costly, so manufacturers have come up with a substitute made from acrylic or polyester, cotton, rayon, wool and a small amount of hair. Hair canvas was originally only a sew-in product, but today there are now fusible versions as well. Because of its weight and character, hair canvas is best used on tailored wool garments.

Interlining

A layer of fabric behind the lining of a coat or jacket to add extra warmth. Often, it’s a lightweight wool, fleece or flannel depending on the amount of warmth needed.

Lambswool

A fluffy white woven fabric used in tailoring for sleeve heads, chest pieces and shoulder pads to add shaping and support.

Padstitching

Stitches used to hold one or more layers of interfacing to a tailored garment. Padstitching can also be used for garment shaping. The technique can be done by hand when it doesn’t show on the finished garment, or it can be done by machine where it’s visible upon completion.

Rouleau

Very thin fabric tubes used as button loops or for garment trim.

Sleeve Head

An added piece of woven fabric or interfacing placed at the cap of a sleeve to support the sleeve and maintain shaping. Sleeve heads are usually loosely hand stitched to the cap seam allowance. There’s no need to finish the edges of the sleeve head as it will be covered by the garment lining.

Tailor Tack

A tailor tack is a thread marking used to indicate a seam line or construction details, such as darts, match points, etc. Threads remain in the fabric until after stitching the marked item, then are removed. Tailor tacks can be made by machine, using a tailor tacking foot with a raised bar, or they can be made by hand using multiple thread strands.

Tailor tacks along a seam line (Image courtesy of Bernina)

When making tailor tacks by machine, use the special foot and sew a wide zigzag stitch along the designated design detail (dot, seamline, etc.) through the pattern and fabric layers. Clip the threads between the layers and leave the thread tufts in place until after final stitching is complete.

Tailor tacks marking a dart (Image courtesy of Bernina)

Underlining

Underlining is an extra layer of very lightweight fabric cut like the outer garment’s fashion fabric. The two layers are joined along the edges and treated as one during construction. Underlining is helpful for adding body to lightweight fabrics, and it helps retain shape on loosely woven fabrics. Often confused with interlining (see above).

July 18, 2025

A Special Visit to the Textile Center

ASG member, and former Board member, Joi Bostic, recently had an opportunity to visit to the Textile Center in Minneapolis. The following is a recap of Joi’s visit, in her own words:

I was incredibly excited to learn that my brother-in-law who lives in the Minneapolis/St Paul area and knows about my love of sewing, had planned a trip to the Textile Center in Minneapolis during my visit. Due to road construction, we had to enter through the rear of the building, so I covered my eyes and carefully navigated the hallways until we reached the front. He really wanted me to experience the space from the front entrance, and he was absolutely correct.

Upon my second time “entering” the building, I was greeted by a beautiful quilt exhibit to my left and a store to my right that was filled with treasures just waiting to go home with me.

But let’s start with the exhibit…

We were able to move through “Stitching Black Legacy: The Quilts of Carolyn Mazloomi.” Ms. Mazloomi’s attention to detail is amazing—the quilts were done in black and white with some having a splash of color to better tell the story. The most impressive part of the 19 quilts is that they were all created between 2024 and 2025 and the story that each one told was breathtaking. The “Stitching Black Legacy” exhibit will be there through July 12 in case you find yourself in Minneapolis.

Then, the Shop

To the right was the Textile Center Shop which was filled with handmade fiber art and gifts featuring over 100 artists, as well as supplies to purchase for use in creating your own masterpiece.

Towards the rear of the shop was the entrance to a lounge area where a young lady was making yarn cakes for knitters or crocheters. The lounge area then ushered me into The Stashery. This area is where you can find a variety of previously loved materials at great prices. I had to exercise great restraint as I walked through and repeatedly reminded myself that I flew to the area and would not be able to fit the fabric, rulers, or big bundles of thread in my suitcase, not to mention not being able to transport rotary cutters or shears in my carry-on bag. Note that due to its nature, their selection changes constantly, but I was impressed that there were items for every type of fiber artist.

Into the Library

Across the hall from The Stashery is the phenomenal library. In this space, you can find the largest collection of fiber arts books, magazines, and media materials in the country with over 35,000 holdings. The stacks are arranged by topic, so all quilting materials are together, then sewing, then surface design which is subdivided by type of design. Finally, there is a a catch-all section. The end of each aisle features what can be found on that stack.

The librarian is a wonderful 81-year-old woman named Nancy. Nancy took the time to walk us through the entire library and explain how to find things. At one point she mentioned that members of various guilds can check out materials so, of course, I asked whether American Sewing Guild members could take advantage of checking out materials and the response was “YES!”

Ms. Nancy has an interesting story—she was a schoolteacher for many years then, after she retired, she started volunteering at the Textile Center. The librarian at the time became pregnant and needed to leave the Center and Ms. Nancy was asked if she could step into the role temporarily. Twenty years later, she is still their librarian and continues doing a fabulous job.

On to the Classroom

Down the hall from the library is a large classroom. This is a versatile space which can used for a number of purposes. When we arrived, a class was being held, but I didn’t see what it was as I was shielding my eyes to make my way to the front. Across from the classroom is a Dye Lab. Ooh, how I wished I had the time to play is that space! Along one of the hallways is a Guild Wall where fiber creations are featured.

Needless to say, I am grateful to know about the Textile Center. Its mission is to honor textile traditions, promote excellence and innovation, and inspire widespread participation in fiber art. It does my heart good to know that fiber arts continues to be appreciated and is here to stay for a long, long time.

Learn more about the Textile Center at https://textilecentermn.org/.

~Joi Bostic, ASG Member

July 11, 2025

Fabric Q&A

Q. What is English Netting, and how is it different from nylon net or tulle?

A. English netting is a very soft, pliable and drapeable fabric used for bridal veils, bridal gown overlays and as a basis for machine embroidered lace. It’s most often 100% cotton or a blend of cotton/polyester. The threads are matte finish and slightly thicker than most other nettings. It’s characterized by hexagon shaped holes. The netting is sometimes used for trim on knit garments due to its slight stretch. English netting gives the look and drape of silk without the added cost.

Nylon net is much stiffer and has larger holes than either tulle or English netting. It’s available in wide widths (up to 108”) and is used to add fullness, like on a costume or tutu. Because of its crispness, nylon net isn’t very comfortable for a garment as it’s too stiff.

Tulle is a finer version of nylon net with smaller holes and a softer touch. Tulle is sheerer than either of the other two nettings mentioned so it’s often used most often for bridal veils.

Q. Why are some fabrics made from more than one fiber?

A. Fibers are often blended to take advantage of the attributes of each. For example, some fabrics have a small amount of Lycra added for stretch, or a bit of silk is sometimes added to cotton or wool for added sheen. Polyester is often blended with cotton to improve wrinkle resistance. Fibers are also blended to help with cost—luxury fibers like cashmere or alpaca can be added to wool in small amounts to create a better hand at a still reasonable price. When caring for blended fabrics, be sure to follow the bolt instructions for proper laundering/cleaning methods, and be aware of the blended fibers in choosing an iron temperature for pressing.

Q. Do I need to pre-shrink fabric before cutting out a garment?

A. The answer depends on the fiber content of the fabric. Look for guidance on the bolt end, but as a general rule, you should pre-treat the fabric as it will be cared for in the finished project. If the fabric is washable, send it through a wash/dry cycle before cutting. If you’re concerned about shrinking, multiple launderings may be in order. Fabrics like denim and flannel will often shrink more with each repeated washing, so it’s a good idea to purchase a little extra fabric to compensate for that. Note that fabric shrinkage amounts are often listed on the bolt end with indicators like “3-4% residual shrinkage may occur”. That amount of shrinkage can affect the fit of a garment.

For dry-clean-only fabrics, either take them to the drycleaner to be steam shrunk, or complete that process at home. If you’re working with home décor fabrics, steam-press them, but do not launder as protective finishes may be removed.

Q. I bought fabric for a jacket but after washing it, it’s way too soft to hold its shape. Is there anything I can do to salvage it?

A. The easiest way to change the fabric hand and make it firmer for your project is to fuse interfacing to the wrong side. A lightweight tricot knit interfacing can be fused to all the cut pieces to add body and support to make it more appropriate for the intended project. Some prefer to fuse the interfacing to the yardage prior to cutting instead of trying to match it up to individual cut pieces later. You’ll need a large flat surface and plenty of steam, and perhaps a press cloth, depending on the interfacing brand and application instructions. Be sure to follow the instructions for applying it and allow the fabric to cool flat before moving.