ASG Sewing Blog – Page 51

February 5, 2021

Rockin’ those Ruffles

If you dig deep into the drawers in your sewing cabinet, you might find a rather strange looking attachment called a ruffler. This funny looking attachment hasn’t changed much in the decades since its invention—perhaps yours is generic or maybe brand specific.

If you’re not a fan of pulling up basting threads to gather, the ruffler will be your new BFF, as it can both precisely gather and make perfect pleats and tucks. In addition, it can do those tasks while attaching that layer to a flat base fabric—all at once.

Sew Many Parts

The ruffler attaches to your machine like other presser feet. Several parts are the secret to successful ruffling, so double check your owner’s manual for their location on your attachment. The fork arm that has to be positioned over the needle bar to enable the ruffler to do its work. In addition, there is a depth adjuster (either a screw or a dial) and it controls the depth of the gathers or pleats. There’s also a spacer that works in conjunction with the depth adjuster to count stitches and determine the fullness spacing. On most rufflers, the spacer has number designation like 1, 6, 12 or 0. If it’s set to 1, there will be a tuck every stitch; if it’s set to 6, there will be a tuck every sixth stitch, etc.

Ruffler Spacer | Photo courtesy of Bernina

The ruffler has a blade with tiny sharp teeth to move the fabric and there’s also a separator blade to keep the ruffling separate from any base fabric you might be attaching it to. Most rufflers offer several threading guides to allow for proper positioning of the stitches from the ruffle raw edge.

Stitch Length

In addition to changing the ruffler depth and spacer settings, note that the ruffles, pleats and tucks are also determined by the stitch length setting. So, because of all the variables associated with this attachment, it’s imperative to test stitch to get a look you like. Make some samples using your project fabric and vary the stitch length, but keep the depth the same, and keep the stitch length the same, but vary the depth.

Planning Ahead

Unlike using gathering threads, the ruffler’s fullness is not adjustable once it’s stitched, so test stitching is important for each project, as the fabric weight can affect the outcome as well.
Be sure to finish the edge/edges of the fabric you’re ruffling prior to running it through the ruffler. Ruffles can be single- or double-layer depending on the fabric weight. If you’re attaching the ruffle to a base fabric in the same operation, wait to finish the edges together after the application.
Because the ruffler allows you to create yards of tucked, pleated or gathered fabric quickly, it’s ideal for big projects like curtain ruffles, costumes, full skirts, pillows, etc.
Make yourself a sample notebook using various fabrics and various ruffler settings so you have a starting place for future projects, and a good reference for how the look changes with numerous adjustments. And, it goes without saying, that you’ll want to consult your owner’s manual and the attachment instruction book for complete details of the operations and settings on your particular machine.

~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 .

January 29, 2021

Slick Tricks: Working with Laminated Fabrics

If you’re looking to make that perfect raincoat, try one of the great laminated fabrics on the market today. Colorful cottons with a clear coating are ideal for rainy weather attire, and a host of other projects from cosmetic bags to totes and aprons.

And you have options—laminated cottons come with either a matte finish or a glossy finish, depending on the brand and the desired look. In many instances, the same print is available in a non-laminated version, so that you can use it for facings, hood linings, binding, etc.

Although they do require some care when sewing, there’s nothing off-putting about these fun fabrics. Just be sure to purchase a laminated cotton, as opposed to traditional oilcloth fabric which has a heavier mesh base and is best suited for home décor items.

The coating on laminates makes them water resistant (not waterproof), and it keeps seam allowances from fraying. Some coatings are lightweight and others a bit heavier, so select the fabric by the intended use. Softer coatings are ideal for garments, as they’re more flexible than heavier ones.

Preparation

When choosing a pattern, look for simple lines and few seams, as well as raglan sleeves vs. set-in. There’s no room for error with laminates, so be sure the pattern fits you.

When you cut out your project, opt for pattern weights instead of pins, unless you keep them only within the seamlines as the marks are permanent.

Mark with chalk or soap slivers and never a tracing wheel, as that can damage the coating.

Sewing

There are some helpful notions for stitching these sticky fabrics. Spring clips, such as Wonder Clips, help hold layers in place without pinning, as do coated paperclips.

If sticking is an issue, opt for a non-stick presser foot, or put tape on the bottom of a regular foot to keep it moving. Sticking becomes an issue usually only if you’re sewing with the right side up, otherwise, the fabric should move smoothly under the foot.

Adjust the stitch length to slightly longer than normal and use a small needle to avoid large holes in the fabric.

Pressing isn’t an option for most laminates, so keep the iron away. To keep the seams flat, finger-press, then topstitch, either open or with seam allowances to one side. Topstitching is also recommended for all edges to keep them flat.

Finishing

If your raincoat requires buttonholes, interface the area with a sew-in interfacing (not fusible) and use the setting on your machine that produces a buttonhole with simply straight stitching around the slit. Any dense satin stitching can damage the fabric.

For hems, there’s no need to finish the edge as the lamination keeps the fabric from fraying—just turn up the hem evenly, clip it in place and sew one or two rows of stitching evenly from the folded edge.

On a tote, bound edges work perfectly—not only are they easy to do, but they also reduce the bulk of multiple laminate layers on turned-and-stitched edges.

January 27, 2021

Native American Sewing with ASG member, Debbie Baker

In this 30 minute interview, American Sewing Guild member, Debbie Baker, talks with Sheryl Belson about her journey into learning about her heritage with the Choctaw Nation and learning to make Choctaw apparel, including the meaning behind the designs.

~Sheryl Belson

January 22, 2021

Idea Board: Off-Grain Fringe Techniques

Fringe, whether you choose to love it or leave it, has undoubtedly stood the test of time. Dating back to 3000 B.C. in Mesopotamia, fringe became popular as a fashion embellishment in the 1920’s, then resurfaced again in the 50’s, and came full circle in the 60’s, 70’s and 80’s. Popular again today, it can be casual and trendy or utterly timeless, like in the garments shown here. Enjoy some ideas from Nancy Nix-Rice on these beautiful fringe accents.

On a multi-color tweed jacket, fringed along the off-grain center edge, I added a top-stitched band of Ultrasuede to both stabilize the edge and emphasize the diagonal line. Carefully snipping – at about 1” intervals – from edge to seamline parallel to the crossgrain threads allowed the fringe to shape off-grain. (Image 1)

On the Itch to Stitch Hvar cardigan, I eliminated the double layer front in favor of a soft cascade effect. I zigzagged 1/8” black satin ribbon along the seamline to define the inner edge of the fringe, slipping the ribbon through an opening in the loose weave to bring it to the opposite side of the fabric at the bottom of the cascade. (Image 2)

On a second iteration of the Hvar, I used a serpentine stitch to stabilize that endpoint of the fringe. The stitches melded invisibly into the deep tweed texture. (Image 3)

I expected that to be the end of my fringe-fest. Then Butterick came out with this gem – Pattern 6738 – that included directions for creating a fuller, more color-balanced effect by fringing on the true bias. That is especially helpful since many fabrics fringe to a very different looks along the crosswise vs lengthwise grain. (Image 4)

I didn’t actually make that pattern because I already had a black/gray/pink jacket in a bag in the closet – half-finished because of that very issue. The jewel neckline needed that bias technique in its curved areas and the front and hem edges needed an inset layer for a fuller look. Problem solved, and here is the result! (Image 5)

~Nancy Nix-Rice

January 15, 2021

Sewing Basics: General Sewing Terms, Part 2

The projects we want to sew can range from quilts to embroidery, handbags to pillows, and everything in between. This article focuses on sewing terms that are most often associated with garment sewing, but may be used or called for in other projects as well.

Note: This is Part 2 of our General Sewing Terms series. See Part 1.

Clipping

Clipping (the twin sibling to notching) is the practice of cutting fabric in the seam allowance of outside corners and curves and inside corners and curves. As with most practices, there are different schools of thought. Let’s take these one at a time.

Outside corners, like the corner on a collar or the edge of a waistband, need special attention if you want to achieve a nice sharp corner once they have been turned. There are generally two camps on this:

Clip off the corner point seam allowance close to the stitching line. Perhaps the seam allowance at either side of the point as well. This will reduce the bulk and allow the point to turn more sharply.
Leave the seam allowance as is and fold it inward along the seam allowance. Turn to the right side leaving the fabric in place. Those who prefer this method will say that close clipping weakens the fabric at the turn point too much while the folding method maintains the strength of the garment piece at the corner.

Inside corners, like those found on a square neckline, need to be clipped close into the corner, up to (not through) the stitching line. This can be a bit nerve-wracking, but if you don’t get very close to the stitching line, the corner with not turn smoothly. So, take a deep breath, and clip right to that line before you turn to get a sharp, smooth corner.

Outside curves, such as the curve of a scalloped edge, need fabric in the seam allowance removed to allow the fabric to curve and lay flat once it is turned. An outer curve will turn much more smoothly if the seam allowance is clipped with notches. This provides a gap of fabric that can collapse without bunching on the inside.

Inside Curves, like a curved jewel neckline, will turn best if you clip into the fabric close to the stitching line. As with outside corners, there are multiple camps on how to do this:

Clip through both layers of the seam allowance about every 1/2” the entire length of the curve. Tighter curves will turn more smoothly if the distance is closer to 1/ 4” apart so make the clips as close together as needed to achieve a smooth result.
Clip through one seam allowance at a time. The distance between clips is the same as option 1. However, the location of the clips on each side of the seam allowance alternates, never making the clips on one side of the seam allowance in the same location as the opposing side. Those who prefer this method will say that it results in a smoother transition and less show through on the right side of the garment.

Heather Handmade created this short video to that hat this clipping process might look like:

Darts

Darts are triangular stitched pinches of fabric that help turn the 2-D nature of fabric into 3-D. You find them at the chest line to create space for your bust, at the waist to create the shape of your hips, and in the bottom of purses and bags to create space for the things you will store inside. Any place in your project that needs to be shaped instead of flat, you just might need to add a dart.

Darts can be straight or curved. They may be open ended and terminate into the seam allowance or they may be inside the body of the project with a point at both ends, referred to as a fish-eye dart.

Here are a few tips that may be helpful as you increase your understanding of how to sew them:

It is important to secure the ends of a dart. That can be done in various ways such as:
- Leave a long thread tail and tie a double knot before trimming the thread.
- Reduce the stitch length to 1.0 at the beginning and end of the dart.
Make a small clip into the seam allowance at the termination of each leg of the dart. When making the dart fold, simply align the two clips.
If the dart has straight legs, mark the points of the dart then using your ruler connect the dots to mark the dart location.
Align the dart lines and secure them with pins or basting to be sure they stay in alignment when sewing the permanent stitching. On way to do this is with a ladder stitch. Watch this “How To” video to see what we mean.

And finally, be intentional about pressing your darts once they are sewn. Avoid pressing beyond the point of the dart. If you press a fold into your fabric beyond the point, that fold might not disappear, leaving a permanent line that you don’t want.

Ease

In its simplest form, ease is the additional room in a garment in excess of the actual body measurement. There is much more to ease than this simple definition though — there is wearing ease, design ease and negative ease. Each of these impacts the finished measurement of a garment in different ways.

Wearing ease provides ease of movement. It is the difference between the actual body measurement and the finished garment measurement.
Design ease provides the style. It is also referred to as style ease or fashion ease. It is additional ease added beyond what is needed for movement to create specific styles ranging from close fitting to very loose-fitting garments. It also comes into play when the design of the garment includes things like pleats, gathers, or tucks.
Negative ease is associated with fabrics that stretch (such as knits or woven fabrics with lycra added) or are cut on the bias, producing a certain degree of stretch. In this case, the finished garment measures the same as the actual body measurements, or more often, even smaller. The degree of stretch produced in each fabric plays a big role in how much negative ease a garment will need for good fit. Negative ease is used in garments like activewear and swimwear.

To read more about ease, check out this article we published on the topic.

Facing

A facing is a piece of fabric used to finish the raw edges of a garment at open areas, such as the neck and armholes. A facing may be a separate pattern piece to be added to the garment or an extension of the pattern piece itself.

Here are a few tips for applying them:

Cut your facing on the same grainline as the edge to be faced.
Grade the seam allowances to reduce bulk and show through on the right side of the garment.
Don’t forget to finish the outer edges of the facing. The finish can be as simple as a turned-under edge, a zigzag, or a serged edge. If you are working with a fabric like knit that does not ravel, or with a garment that will be lined, you can skip this step.
To hold the seam allowance in place on the inside of the garment, stitch the facing to the seam allowance at about 1/8 in. from the seam line. This is called understitching.
Tacking the facing down at the seams will prevent them from flipping to the outside. Just hand stitch or stitch in the ditch of outer seams to accomplish this.
Be sure to apply the appropriate interfacing to the facing fabric to give it the stability and structure needed for a smooth look.

Interfacing

Interfacing is used to add extra body or strength to the fabric it is applied to. It is used in garment pieces like button bands, collars, waistbands, cuffs, and most facings. If you are sewing with knit, you might use interfacing to keep the fabric from stretching out of shape in a particular area of the garment.

A few decisions you will make when choosing the right interfacing for your project include:

Fusible vs. Non-Fusible
1. Fusible interfacings use glue and are applied to the wrong side of the fabric with steam and an iron whereas a non-fusible interfacing is sewn into place. If your fabric doesn’t like heat or is woven so loosely that the glue might show through, you will want to want to use a non-fusible interfacing
Light, Medium, or Heavyweight
1. Your goal is usually to stabilize, not change, the fabric, so go with a weight that is equal to, or a bit lighter than, your fabric.
Non-woven, Woven or Knit
1. Non-woven interfacing doesn’t have a grain and works for most projects. It tends to be less expensive and can be cut in any direction. However, it can create a slightly “stiffer” outcome than woven interfacing as it does not have grain like the fabric does.
2. Woven interfacing has a grain, much like fabric. It must be cut on grain the same way you cut your fabric. It tends to result in a drape and hand more like the fabric.
3. Knit interfacing has a bit of stretch and is usually the best choice for knit fabrics.

In every case, it is important that you test your interfacing choice on a test swatch to be sure you achieve the look and feel you want.

Stay Stitching

Stay stitching is a single line of stitching through one layer of fabric slightly inside the seam allowance. Unlike basting, these stitches will not be removed so be careful not to stray beyond the seam allowance. Its purpose is to stabilize the fabric and prevent it from becoming stretched or distorted. It is usually called for on the edge of a piece of fabric that has a bias cut, which occurs on curves, such as necklines and arm holes, and on diagonals, such as v-necks.

Stay stitching should be done directionally to keep the shape of the fabric the same as it was when you cut it out. For example, when stay stitching a neckline, you should stitch from each shoulder to the center of the neckline. If you were to sew the entire neckline in one direction, you may distort the half sewn from the center neck to the shoulder.

See this 2 ½ minute video by Professor Pincushion showing this technique:

Note that not all pattern instructions will tell you to stay stitch so use your judgment. When in doubt, stay stitch.

Now that you understand some of the basic garment sewing terms, but these terms are so foundational and can impact your results so much. We hope these explanations have helped you strengthen that foundation.

~Sheryl Belson, ASG