ASG Sewing Blog – Page 32

June 3, 2022

Sew Cool, Sew Linen

With temperatures already heating up, your summer wardrobe fabric choices can make the difference between being sticky or stylish. Enter linen, a breathable summer fabric that can easily transform from elegant to casual and sporty. Always on-trend, linen continues to be an attractive and comfortable choice and brings with it an air of relaxed sophistication.

Linen materials are available in different weights and weaves and range from whisper-thin shirtings to sturdy suit fabrics. Materials range from a crisp look with a soft hand, convenient blends, semi-sheer weaves, fine yarns with minimalized irregularities, high-twist and creped yarns, subtle novelty weaves, brushed finishes, and knits.

Discovered among the remains of the Swiss Lake Dwellers who lived about 10,000 years ago, linen was possibly the first fiber used to make fabrics. Made from the wiry stems of the flax plant, the flax fibers have a thick-and-thin irregular surface and are considered one of the strongest natural fibers in the world (two to three times as strong as cotton). Its smooth, hard surface sheds dirt, resists staining and pulling, and remains lint-free. It feels cool to the touch and since the fibers are hollow, it can absorb up to 20% of its weight in moisture. Linen has a natural luster to it which makes for a beautiful fabric. It boasts longevity, luster, and lovely drape. And since linen fibers are thicker than cotton fibers, a lower thread count is necessary to guarantee a high-quality, enduring linen fabric.

Planning Your Garment

Selecting the fabric

Even though some brand labels automatically denote quality, it’s best to learn how to distinguish good quality linen on your own. Linen does not have high elasticity and will hold its folded shape and any natural creases. It will have a soft, worn-in look. It may help to have a scrap of a known, good-quality linen to use as a comparison when shopping.

As a general rule, better quality linen will tend to be more expensive and will be easy to identify, thanks to its beautiful, natural creases throughout the fabric. Since the yarns, weave, and color are more uniform, the materials are smoother and more evenly woven. Dyes are more uniform, less likely to rub off, and have greater resistance to fading. When yarns are unraveled, the fibers are long and fine. Top-quality linen is simple to wash and dry and can usually withstand a machine wash and tumble dry.

Inferior linen is frequently sized heavily with starch to make it appear crisp. To test for sizing, rub the fabric together vigorously between your hands. If there is a powdery residue, this indicates that the fabric was treated with heavy starch and it will become limp after cleaning. If a linen looks too perfectly ironed, it’s most likely a linen blend or linen imitator.

Design Ideas

To showcase the fabric, choose simple designs with classic lines such as cardigan jackets, tailored separat4es, shifts and skimmers, blouses, and Japanese-inspired designs. Traditionally, heavier linens are used for jackets, skirts, and trousers while lighter-weight materials are used for blouses, shirts, and full skirts. However, since linen is extremely versatile, many designs such as flared and full skirts will be equally attractive in lightweight handkerchief or traditional bottom-weights.

Handkerchief linen is ideal for the popular look of a traditional white shirt and drawstring pants. Alternatively, pair a handkerchief linen shirt with traditional trousers in a heavier bottom-weight linen.

When selecting your pattern, you can highlight the crispness of a fabric by choosing styles with pleats, tucks, gathers, and gores while reducing problems with ease by choosing designs with features such as shirt sleeves, kimono, raglan, dolman, and cap sleeves. Other features such as topstitched hems and seams, flat-felled seams, and lined yokes will not only accentuate tailored fashions, but also control linen’s tendency to fray. If you prefer laundering to drycleaning, choose styles that will be easy to iron.

Interfacings, Underlinings, and Linings

When selecting interfacings, consider the fabric weight, amount of crispness desired, your preference for sew-ins or fusibles, and the planned garment care. In addition to traditional interfacings, organza, tulle, or a self-fabric interfacing using the same linen are also good choices.

To reduce wrinkling or to add shape, underline the entire garment with a woven, sew-in interfacing. For a softer, more supple look, cut the interfacing on the bias. For increased crispness, underline with a lightweight fusing interfacing.

For most garments, traditional lining fabrics or blouse-weight polyesters are good choices. If you are creating a more luxurious garment that will be dry-cleaned, consider a good quality China silk, a lightweight silk shantung, or a crepe de chine lining.

Get ready though…

Linen shrinks. As a general rule, inexpensive linen shrinks more than a higher-quality material, even bearing in mind that most linens will shrink more when laundered than when dry-cleaned. In addition, if linen is machine dried, it will often shrink more than if it’s air dried.

If you plan to launder the garment, be sure to wash the fabric before cutting. If you’ll be dry-cleaning the finished garment, have your drycleaner pre-shrink it. Alternatively, you can steam it generously at home using a good iron or quality steamer. Compare your measurements with those on the pattern and then adjust the pattern as needed before cutting.

Making the Garment

Layout, Cutting, and Marking

Before cutting, check the layout carefully. Many linens have prominent grainlines and even a tiny error could be quite noticeable. If the fabric ravels badly, cut one-inch seam allowances and use marking pens, chalk, or thread to make any markings rather than clipping with your scissors.

Sewing Tips

A universal point (H) needle works well on most fabrics, but a sharp point (H-M or H-J) is better, particularly when the fabric has larger slubs.

A “slub” is a section in the fiber or yarn that is thicker than the rest. Originally, slubs were mistakes and were usually either unwoven or the piece of yarn was thrown away altogether. However, someone took notice of the unique look that slubs created and decided to replicate them by intentionally weaving slight knots and knobbles (slubs) into the fabric. The resulting fabric had small rises that creates different textures, which in turn gives it an organic, tactile look and feel.

Choose a small size needle (60/8 or 70/10) for lightweight fabrics, and a medium-size needle (80/12) for heavier materials. Set the stitch length for 10-12 stitches per inch (2mm-2.5mm). Use a straight stitch presser foot to hold the fabric firmly so that the needle can penetrate the fabric easily.

Seams and Hems

Consider the garment structure and care requirements when selecting seams and hems. Plain seams and hems finished with a serger or zigzag stitch are suitable for most garments. When using a zigzag stitch, stitch with a stabilizer under the fabric to prevent tunneling.

For washable garments, seams such as welt, topstitched, and flat-felled are decorative as well as sturdy. Narrow seams such as French and welt seams are good choices for handkerchief linens in light colors.

Topstitched hems are sturdy as well as attractive on both casual and tailored designs. For shirts and blouses, narrow shirttail hems are a good choice.

When working with handkerchief linen in light colors, double hems are particularly attractive and can be finished by hand or machine, depending on the style of the garment.

On suit skirts or tailored jackets, interface the hems with bias-cut wigan interfacing so that the hemline will have a softer fold and an attractive oval. If wigan isn’t available, you can substitute other lightweight, crisp materials such as handkerchief linen, polyester organza, or nylon ninon.

Buttonholes

All types of buttonholes and button loops are suitable for linen designs. To prevent fraying when using any type of buttonhole, reinforce the buttonhole area with a small rectangle of lightweight fusible interfacing.

Sleeves

Since linen is difficult to ease, the sleeves are more difficult to set when the sleeve cap has more than 1″ of ease. To reduce the ease about 3/8″, make a 1/8″ tuck across the top of the cap. Redraw the cutting lines as shown in the drawing without reducing the sleeve width (image from page 72 of Claire Shaeffer’s book, Fabric Sewing Guide, c. 1994 out of print).

Pressing

Linens require a hot iron to remove wrinkles and, once set, wrinkles and unwanted creases are difficult to remove altogether. Fabrics, particularly darker colors, are also easily slicked when pressed from the face side. To prevent “shine,” use a press cloth or press from the wrong side.

To set foldlines, creases on pants, or pleats, brush the fabric with a 50/50 solution of white vinegar and water, then press. However, always test on a fabric scrap for colorfastness before using the vinegar solution.

~Adapted from an article by Claire Shaeffer

May 27, 2022

Cork Crazy: Sewing with Cork

You’re likely familiar with cork as a stopper for wine, but cork is equally at home in your sewing room (with or without the wine)!

With an interest in sustainability, sewists have embraced cork fabrics (also called cork leather) with open arms. A cork tree can live for 200 years and when the bark is harvested, it grows new bark. Pair the thin bark with a woven or knitted backing and cork works like most other fabrics, with the exception of being washable or dry cleanable—it’s spot-cleanable only.

Cork fabric rolls — Photo courtesy of C&T Publishing

You can purchase cork by the inch, by the yard or in pre-cut sizes, depending where you’re buying it. Some projects require very little as it’s often used just as an accent, like pockets or straps on a bag. It’s ideal for home décor projects and small accessories, like book covers, change purses, wallets, etc.

Cork fabric is available in myriad colors and printed patterns—some have embedded metallic flecks, others have a die-cut surface with contrast backing fabric, and others are hand-painted. Cork is available in different weights, depending on the brand, so be sure to note the thickness before purchasing and compatibility with your project.

Cutting

Cork fabric can be cut with scissors, a rotary cutter, a craft knife or a die-cutting machine. Since pin marks may be permanent, it’s best to use pattern weights to hold the pattern pieces in place while cutting. Cork can’t be folded, so trace entire pattern pieces for single-layer cutting.

Follow the pattern grainline if your cork has a distinct pattern to it and note that shading can occur on some corks if you vary the piece directions within a single project.

Sewing

Just as pin marks may be permanent, needle holes can be as well, so think before you sew. If you didn’t, spritz the area lightly with water after removing the errant stitches, then hover a dry iron over the area to make steam. The moisture can help reduce the size of the needle holes.

Choose a slightly longer than normal stitch length (3mm) and either an 80/12 Microtex or Universal needle. Regular weight sewing thread works fine for seaming, and topstitching or machine embroidery thread for embellishing.

Press cork only on the wrong side using a dry iron and a low-temperature setting.

Some helpful notions for cork sewing are a non-stick presser foot (when sewing from the right side), a walking foot for even feeding, a chalk marker and basting tape or fabric glue. Low-temp fusible or sew-in interfacing can be used in areas requiring additional stabilization, like bag straps, behind grommets, etc. Spring clips are a must for holding layers together when seaming, especially for thick areas like straps, drawstrings, etc.

Seaming

Cork can be sewn with a traditional seam, using spring clips to hold the layers in place while stitching. In addition, you can create a lapped seam by trimming the seam allowance off the overlap layer, using basting tape to lap it over the lower seamline, and sewing in place with one or two lines of stitches.

A third seam, called a butted seam, can also be used and it creates a totally flat seam. To create a butted seam, trim off the seam allowances on both edges to be joined, then place a narrow strip of fusible interfacing under the abutted edges. Use a wide zigzag, three-step zigzag or a decorative stitch to catch both cork edges—the stitching must span the seamline to catch both sides.

Topstitching cork is imperative to hold both traditional and lapped seams in place. For traditional seams, finger-press the seam allowances in either one direction or open before topstitching.

Edge-finishing

Since cork fabric doesn’t ravel, a clean-cut edge is an easy finish. Where possible, trim the edge with a rotary cutter for a smooth line.

Depending on the project, decorative scissors (such as pinking, wave or scallop) or rotary cutter blades can be used for creative edge finishing.

Looking for more information on sewing with cork and some fun projects, like the Shopping Tote pictured here? Look for Create with Cork Fabric, by Jessica Sallie Kapitanski (aka Sallie Tomato).

~Linda Griepentrog
Linda 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 two dogs, Yohnuh and Abby. Contact her at .

May 20, 2022

Cleaning Vintage Textiles (brief)

Antique stores, thrift stores, garage sales, and grandma’s attic often have a treasure trove of old textiles that may include linens, tapestries, handmade quilts, or needlework projects. You may also come across christening gowns, wedding gowns, and other cherished garments from days gone by. These items are wonderful to look at and fun to consider how they were used in their day, but they might also set your creative mind to thinking of ways to re-use them. The treasured textiles, whether used intact or made into pillows, garments, or other accessories, are full of character and beauty.

Regardless of how you plan to use it, they most certainly will need cleaning. However, the downside to these fabrics is that they may not stand up to traditional cleaning methods. In this article, we hope to help you to determine the best way to clean those old textiles to give them new life.

All About Drawstrings

We see them everywhere—from hoodies to waistlines, necklines to sleeves. What are they? The humble drawstrings. A simple, but oh-so-functional, fashion touch that we sometimes take for granted, but there’s a lot to be said about drawstrings.

Drawstring neckline — Photo courtesy of Bernina

These handy pull-strings can be made from fabric, cord, flat trim, braid, ribbon, twill tape, thin rope, bias tape, or even shoe laces. Did you know that shoe laces come up to 72” long? Drawstrings can stand alone to hold things up, or can be paired with a hidden elastic for a more secure hold.

Drawstrings can pull in a single direction, or you can add a second one to pull in the opposite direction—think drawstring bag, our go-to for universal small storage.

While we may be most familiar with horizontal drawstrings, like on comfy pj’s and yoga pants, these pull-ups can also go vertically to shirr the front of a skirt, a sleeve or a bodice to new heights.

Grand Openings

Ronan bag from Sallie Tomato — Sallie Tomato “Ronan” bag

Depending on the construction, drawstrings may emerge from hiding through metal or plastic grommets, buttonholes, a sewn eyelet or a seam opening. Both ends can come through one opening, or there may be two openings, one for each end of the string.

It’s a good idea to reinforce behind any drawstring opening before construction, as the pull of a drawstring adds extra wear. Fusible interfacing is ideal for this purpose—just cut a square that’s at least ½” larger than the opening. Pattern markings indicate where a drawstring opening should be placed. If it’s an in-seam opening, fuse to the seam allowances to add stability.

In the End

When the ends of a drawstring emerge, they can be finished in several ways, depending on the fabric. Knotting the ends together is one option, knotting the ends separately is yet another. Beads can be added to the ends, or they can be finished with an aglet—a metal finding that encases the raw string end. Another option is to simply let the ends fray, if it’s a woven fabric or trim. If fraying isn’t your cup of tea, secure the ends with a no-fray product or wrap with yarn or heavy thread for a decorative touch.

Long drawstring ends can also be tied creatively—like in bows or Chinese knots—for added interest.

Just Encase

Drawstring are most often hidden inside a casing, though some are woven through openings on the outside for a decorative effect. Casings can be made by folding over a hem edge and stitching a channel that’s wide enough to let the drawstring pull through freely. That casing can also be a separate piece of folded fabric attached to a waistline or hemline, or a strip of fabric can be sewn to the garment wrong side over the channel opening(s) to form the drawstring tunnel.

Many sewists love the comfort of a drawstring and its adjustability, but sometimes, depending on the fabric, the tied string can loosen and feel a bit less secure. No one wants their pants inching down from the original waistline. So, elastic can easily be paired with the decorative drawstring for more fit. To do this, cut the drawstring in half and sew each end to the end of a piece of elastic before inserted into the casing. Pattern pieces are usually provided for the length, but if not, just be sure that the sewn ends of the drawstring remain hidden in the casing when wearing the item. Or, make multiple casings with a drawstring between two or more rows of encased elastic.

Plastic cord locks from Amazon — Plastic cord locks available in sewing stores, online, and on Amazon

Drawstrings sometimes slide out of casings, either during wear or during laundering. To prevent that and keep the drawstring where it belongs, stitch vertically through the casing at the center back or side seams once you have the drawstring evenly distributed.

Another way to keep a drawstring in place is to add a cord lock to each end at the desired position. These are frequently used on outerwear with waistline casings. Cord locks are available in many shapes and colors.

Inside Addition

Getting the drawstring into its casing can sometimes be a challenge. A large safety pin can work to ease it through the channel, but a specialty drawstring tool is even better. The latter is a very long, flexible plastic “needle” of sorts that can easily pull the drawstring into position once it’s threaded through the tool’s “eye.”

Drawstring tool available from sewing stores, online, and through Amazon.

May 6, 2022

The Allure of Beads

What is it about beads that make these shiny objects so alluring? Take one bead by itself and nothing much happens; group several together and you’ve instantly created an eye-popping sensation.

Bead embellishment has been around for hundreds of years, appearing in everything from ethnic costumes to haute couture. In fact, beading has become so mainstream that one can’t help but notice beads adorning everything from clothing to accessories to home decor. As sewists, we have a unique ability to add these shimmering touches to any of our creations with minimal expense.

Beadwork is a very broad term that encompasses techniques for making jewelry and other three-dimensional objects. Our focus here is on bead embroidery — using beads to embellish fabric. Beads can be applied to plain old fabric in a random pattern, to a fabric with a transferred design, to pre-printed fabric, a fabric with an embroidery design, or to a purchased garment. Another idea is to add beads to an existing trim. The repeating pattern trims provides an accurate template to follow as you apply the beads.

Start on your path to a beading addiction by practicing some stitches. Keep it simple by practicing just one stitch and using only one color of beads, but in two or three different sizes. Create multiple samples and, even if you make a mistake, don’t bother to undo it because, after all, these were just samples. Before long, you’ll begin to realize that the “mistakes” were nothing more than variations that can become a gold mine of three-dimensional beading ideas just waiting to be used.

Look for inspiration in various mediums for help giving you fresh ideas for your projects, whether it’s in a bead-focused publication, in a store, or in a high-fashion magazine.

Bead Basics

Beads come in every imaginable size and shape. They can be made of plastic, glass, metal, bone, shell, gemstone, wood, rubber, polymer clay… the list goes on! Basically, anything with a hole can be considered a bead. Even those without a hole, such as a cabochon, fall into the bead category. In the case of a bead without a hole, the application technique is to couch it, cage it, or as a last resort, glue it down.

Remember that not all beads are alike. Consider the quality, uniformity of shape, and colorfastness. Some beads also have sharper edges than others. This fact should be considered when applying beads to areas of stress in a garment. If you do not happen to live near a good source for beads, there are wonderful online mail order sources.

How many beads will you need?

This is where creating a sample is important. If using a hank of beads, it helps to use an entire strand to bead a sample to determine how far a hank will go. If using beads from a tube or a vial, weight might be a better estimate. The weight on tube or vial packaging is generally labeled in grams. Weigh all the beads, create the sample, then weigh the leftover beads. Subtract the current weight from the initial weight and the resulting number is the weight of beads in the sample. Having a small digital postage or kitchen scale that alternates between ounces and grams is perfect for this task.

Fabric Facts

The list of fabrics suitable for beading ranges from laces and chiffons to very heavy fabrics, such as tapestries and leathers. Besides fabric, beading can also be done on lace trims, ribbons, and 3-D embellishments (such as fabric flowers and crocheted rosettes). Because bead work becomes heavy very fast, especially when using glass beads, your fabric may require some sort of support. If this is the case, determine which stabilizing medium will prevent distortion and hold your design in its original shape. Choices include stabilizers made for machine embroidery, flannel (a favorite choice), muslin, organza, self fabric, interfacing, and grosgrain ribbon. Sometimes the best stabilizer might even be another bead, just like you would use a flat button to back a heavier button on a leather jacket.

Beading Supplies

It doesn’t take much to get started on your beading journey. The basic requirements are patience, a good light source, a comfortable chair, a needle, a hank of beads, thread, fabric, and a basic instruction book. Note the order of importance! A good needle is probably more important than the choice of bead — after all, if a needle doesn’t feel comfortable in your hand, you may not be very motivated to get started.

Lighting: Beading can be very tiring, so begin with good lighting. In addition to working in a well-lit room, a task light or lighted magnifying lamp will help to keep eye strain at bay and make the detail work a little easier. Look for “daylight” rated bulbs or lamps. Daylight rated lighted can also help you to accurately color-match thread to fabric.

Needles: Traditional beading needles are generally very thin and flexible and often are not appropriate for beading on fabric because the motion of the hand-stitching requires a stiffer needle. In most cases for beading on fabric, a sharp needle will work the best. For creating fringe, try a milliner’s needle, which is longer. Remember, though, that not all needles are alike. You need a stiff needle that is thin enough to be able to go through the beads at least twice. Look for Japanese needles (size 9 sharp), John James needles (size 10 milliners), or the Roxanne English needles (size 11 sharp).

Thread: Although ordinary sewing thread can be used for beading in something that won’t see much movement, such as a home decorating project, it’s best to use thread made specifically for the purpose. Beading thread will be stronger and less likely to tangle, especially when working on a garment.

Hoop: Beading can be done with or without a hoop. If you choose to hoop your fabric, be sure to cushion all the hard edges by wrapping them with yarn, muslin strips, twill tape, etc.

Beading Stitches

Terms that refer to styles of stitching include bead embroidery (traditional hand embroidery stitches such as cross stitch and buttonhole stitch executed in beads), netting, peyote, brick, square, right-angle weave, fringes, herringbone, and tambour (which uses a hooked needle to make a continuous chain stitch). There are entire books written on each subject, as well as plenty of YouTube videos and beader blog posts to learn the different techniques. You don’t have to be proficient at all these stitches, but you should familiarize yourself with each technique.

Understanding the basic jewelry-making stitches will expand your vision of bead embellishment on fabric. Basically there are three ways to embellish fabric with beads:

Beads can be sewn directly on fabric.
They can be sewn to a backing, then the backing is trimmed and the bead work is appliqued to fabric.
Beaded components are made freehand using jewelry-making techniques (i.e., using a bracelet pattern for a strap on a dress, a tank top, a waistband, etc.) and then appliqued to fabric.

When beading on fabric, never attach every single bead individually. If you do, chances are your fabric will pucker. For attaching multiples of beads, stitch options include the running stitch, the backstitch, or couching. Another solution is to create the beaded component as a separate applique, and then attach it to your project by sewing through some of the beads within the beaded design.

Transferring Techniques

If you’ve found a particular design you like, you can easily transfer the design or even bead over a pre-printed design. Transfer pens, transfer pencils, dressmaker’s carbon, thread tracing, or pouncing powder all work well. However, one easy method is to trace the design onto tissue paper, then baste the paper to the fabric. Bead through the paper and the fabric, then remove the paper. Tear-away stabilizer can also be used, but test it first to be sure it tears cleanly away from the project.

Storing/Preserving Beadwork

The more elaborate your beadwork, the heavier it gets, so store it flat. Avoid storing it in plastic bags/storage containers as condensation can build up inside them.

Depending on what the base fabric is and the colorfastness/quality of the beads, your beaded project can be hand washed. Upon starting a beaded project, anticipate whether or not it will need to be washed. As with any sewing project, if the answer is “yes,” pre-wash all the fabrics and notions, and soak the beads. After a good soaking, dry them on a piece of white fabric and look for any staining. If stains occur, look for new beads.

Hand wash your finished work, reshape it, and lay it flat to dry. Dry it as fast as possible, but never in direct sunlight. Note that it takes longer to dry under humid conditions than in dry conditions. Choose your wash day wisely!

~ Anna Mazur is a former accountant who turned her love of sewing into a passion. A member of the Connecticut ASG Chapter, she began to hand embroider as a child; by the age of 12, she discovered garment sewing. Her work has appeared on HGTV’s “Sew Much More,” the Fairfield and Bernina Fashion Shows, and in many publications, including Threads magazine, Quilting Arts, Belle Armoire, and Sew News. She is currently an author for Threads Magazine. This article is adapted from an article previously published in Notions.