Sewing

February 6, 2026

Pant Particulars

Pants are such important elements in our wardrobe today that it is hard to believe that when pants first hit the high-fashion runways during the Sixties, ladies wearing pants were not even permitted in better restaurants!

Pants were worn for casual wear, gardening, and cleaning the house, but they were not considered appropriate dress for fashionable ladies. Today, pants are an essential element in most wardrobes-worn almost anywhere, for most occasions, and by almost everyone.

Made in every fabric, pants range from tailored trousers and elegant culottes to drawstring pants and comfortable sweats. Lengths can be anywhere from short or to the knee, mid-calf, ankle, or even skimming the floor. Generally the most popular designs have slight flares or straight legs which flatter less-than-perfect figures. However, many styles are close-fitting to showcase beautiful bodies.

Here are some hints for choosing and fitting pants that will enable you to look your best:

Flatter the Figure

To evaluate your figure in the latest pants’ designs, plan a leisurely shopping trip. Try on the new styles. It may take a while for your eye to become accustomed to a new look so don’t be discouraged if you don’t like the first pair you try. Try some others and reconsider before you decide that the style is really not flattering for you.

The most flattering pants will make you look taller and thinner. One of the most popular styles, the classic trouser, is also one of the most flattering. Designed to create the illusion of an elongated, slimmer figure, trousers have an assortment of vertical lines such as the fly front, stitched pleats, and waist-to-ankle creases that will make you look taller. Slanted pockets at the sides will minimize large thighs and hips and make you look slimmer.

When you prefer a dressier look, trousers are not the only choice. Other flattering styles include designs that have some fullness and a slight flare at the hem. By contrast, very straight or close-fitting styles tend to emphasize the hips and are less flattering on many figures.

Generally, soft fabrics with enough body to skim the figure without clinging are more flattering for larger figures than plaids, stiff or bulky materials, and knits that fit like a second skin. Color-wise, dark and medium shades are generally more slimming than brights and light colors. However, in the summer and in resort areas where the light is brighter and more intense, medium and lighter shades may be more flattering because the body’s silhouette blends into the surroundings.

To add the illusion of height, choose traditional long pants instead of knee-length shorts or pedal pushers. Match the jacket and pants whenever possible; and avoid horizontal patterns and cuffed hems.

Measure Your Body

For many, a better fit is the motivating factor when deciding to sew pants. Good fit starts with good measurements. Before you measure your figure, tie a narrow piece of elastic around your waist. Then, with a disappearing marking pen, mark the side seam locations, center back, and center front on the elastic and on your undergarments.

Waist: Place the tape measure around the waist and hold it together at the left side seam. Sit down, then release the tape measure until it fits comfortably yet snugly. Record the measurements at the center back, center front, and side seams. If you don’t have a helper, use a washable felt tip pen to mark on the tape measure. If you have an “average” figure, your front waist will be 1″ larger than the back waist. If you don’t have an average figure, you’re not alone.
Hip: At the hipline, measure the front and back separately. At the fullest part of the abdomen, measure the front between the side seams. Measure the distance between the waist elastic and the fullest part of the abdomen. Measure the back at the fullest part of the hip- and the distance to the waist elastic. Record these measurements.
Crotch depth: Sit on a wooden chair. Using a tape measure, measure the side seam from elastic at the waist to the chair.
Crotch length: Measure from the waist elastic at the center back, through the legs, to the waist: at the center front.
Crotch point: Use a piece of narrow 1/4” twill tape and something like a large fishing weight to determine the location of the fork or crotch point where the seams meet at the top of the inseam, and the lengths for the front and back crotch. Cut the tape 30″ to 50″ long depending on your size. Place the weight on the tape and sew it at the center. Place the tape between your legs so that the , weight is at the fork or crotch point. Hold the tape snug, but not tight. Pin one end of the tape to the waist elastic at the center front. Pin the other end at the center back. Mark the twill tape at the waist, then remove the pins. Measure from the weight to the marks to determine the crotch lengths for the front and back.
Length measurements: For future reference, measure and record the length of the side seam from the waist to the crease at the back of your knee, the ankle bone, mid-calf, and the horizontal seam at the top of the shoe heel. If you like pants at a particular length not previously mentioned, measure for it also.

Adjust the Pattern

No matter what the pants style, the most flattering pants are wrinkle free and fit the body attractively. Compare the waist and hip measurements on the pattern to your measurements to determine whether your figure deviates from the “average” figure and how much the pattern needs to be adjusted. Then compare the measurements on the pattern to the measurements on the pattern itself to determine how much ease has been added for movement and style.

On most patterns, the waistband pattern is 1/2” longer than the waist measurement on the pattern but it can be as much as 1″ longer. Some of this ease is simply taken up by the bulk of the fabric, and the remainder allows you to move comfortably.

The measurement of the waistline seam on the pants is 1/2″ to 1″ longer than the seam on the waistband so that the pants can be eased to the band to fit the body more attractively. The hip measurement is at least 2″ larger than the hip measurement on the pattern.

Compare your front and back measurements to the measurements of the pattern pieces; and adjust the pattern as needed so it will fit as designed. Measure the crotch depth on the pattern, and compare it with your measurements. Add 1/2″ additional ease. If the crotch is too tight at the first fitting, you can lower the crotch easily; but, if it is too low, it is more difficult to raise it.

After the crotch depth has been adjusted, measure the crotch length on the front and back pattern pieces. Compare the measurements to your personal measurements. Adjust the pattern. For example, if you have a large abdomen and flat hips, the front crotch length will be too short and the back too long. Extend or shorten the seamlines as needed to make the adjustment. Redraw the inseams as needed.

Fine Tune the Back Fit

To shape the pants’ back so that the pants will fit smoothly and attractively over the buttocks and highs, you may need to modify the crotch and inseam on the back pattern.

The back inseam should be shorter than the front so that the front of the pants has enough ease to permit movement and prevent binding as you sit and walk. This also allows the back of the pants to fit the buttocks smoothly without wrinkling and bagging.

Before the cutting out the pants, stack the front and back pattern pieces so that the notches on the inseam match. If the back inseam is not shorter than the front inseam, measure and mark a point on the back inseam 1/2″ below the cutting line. Draw a new cutting line beginning at the marked point. Trim away the excess above the new cutting line.

After the pants have been cut, place the back sections with the right sides together on the ironing board. Beginning about 7″ below the waist, steam and stretch the curved section of the back crotch. When the curve is stretched, it will look like a backward “J.” To stretch the back inseams so that they are the same length as the front, steam and press from the inseam notch to the crotch. If there is no notch above the knee, stretch from the knee to the crotch.

~Claire Shaeffer was a couture expert, educator, and author of many books on couture sewing techniques. She also designed couture patterns for Vogue Patterns and hosted videos on numerous couture topics.

January 30, 2026

Log Cabin Quilt: What’s in a Block?

Log cabin is one of the oldest, and easiest, quilt blocks—ideal for beginners, as it features only strips and squares. But do you know the story behind this commonly found block and its variations?

First appearing in the Civil War era, the quilt block may actually have a political connotation, as would-be officials ran as “log cabin candidates” hearkening to their rural roots.

The early log cabin quilts were a mix of silk, cotton, wool, velvet and shirting as the components reflected the available fabrics at the time. Most of the quilts were made from worn or discarded clothing, so the fabrics were repurposed. A bit later, calicos were introduced into the mix as fabric technologies improved.

In the middle

The center square of a log cabin block was traditionally red, symbolizing the hearth and fire that was the center of the home in pioneer times. Later, some log cabin quilt blocks used yellow squares in the center to symbolize light streaming in through the cabin windows.

Variations over the years

As fabric technology improved, so did the number of variations on the traditional log cabin block, so get out your graph paper and play with colors.

Traditional blocks showcase a bright center square and then diagonally half the block has “logs” of light colors, and the opposite half has logs of darker colors (1).

Sometimes the block center square is divided in half diagonally to reflect the light/dark color scheme (2).

Strips (aka “logs”) are added around the center square in either a clockwise or counterclockwise sequence with seams pressed toward the addition.

Another variation on the block is called Courthouse Steps. This block is built by adding strips to opposite sides of the center square, alternating top-bottom with side-to-side. Keeping with the light/dark sequencing, a secondary hourglass shape is formed (3).

Small squares, known as cornerstones, can be added to the “logs” before they are attached to the previous one, forming a secondary diagonal pattern in addition to the light and dark sequencing (4).

Depending on color placement, it’s also possible to create a spiral looking color pattern within the log cabin block.

Variations can also be constructed with the square portion not in the middle of the finished block (5).

Light and dark logs can be of differing widths on one or both sides of the starting square (6). Numerous variations can be made by changing the strip width, as well as the colors.

All set

Once you’ve created all the blocks for your quilt, the setting, or how you put them together, will also add additional patterning to the project.

Alternating light and dark placement result in a Straight Furrow setting.

Placing like values together creates secondary patterning of light and dark diagonal “squares”.

Log cabin light and dark diagonal squares.

If the blocks are assembled to make concentric squares within a larger square, the setting is called a Barn Raising.

Making the block

You really don’t need a pattern to make log cabin blocks. Simply cut a center square and start building out with the logs, choosing colors and widths as you please. After each addition, press the seam toward the added strip.

Continue alternating strips to get the block size you want. One block can become a pillow, multiple blocks can build a quilt. The world is your oyster in terms of color and patterning, so create something whimsical and lively, or something more somber and traditional.

If you feel the need, draw your block design and setting ideas on graph paper using colored pencils or crayons to help visualize the finished project.

~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 gwizdesigns@aol.com.

January 16, 2026

Sewing a Polartec Fleece Jacket: Quality Counts

Part 1 | Part 2

When the cold settles in and the forecast starts sounding like a dare, fleece suddenly becomes less of a fabric choice and more of a survival strategy. Soft, warm, and forgiving, it’s the go-to material for garments that actually get worn all season long—from cozy pullovers and joggers to layering pieces that trap heat without weighing you down. This is the time of year when making something warm isn’t just satisfying—it’s essential, and a quality-made fleece garment delivers both comfort and practicality. In addition, when made with an attention to the type of quality that I sew into all of my garments, it will stand the test of time

The Fabric

There are many different types of fleece available, but not all are created equal. Some are far more resilient than others, which is why my go-to choice is Polartec. When selecting fleece for garment construction, durability should be at the top of your list.

One of the first things to consider is pilling. Lower-quality or imitation fleeces often pill quickly with wear, frequent laundering, or friction—dramatically diminishing the appearance of an otherwise well-made garment. While pilling can be removed with specialized tools, doing so ultimately degrades the fibers. Choosing a superior fleece from the start ensures your garment maintains its appearance and longevity.

Part 1

Polartec is a standout in this category and is available through sources such as New Hampshire Mills Direct Textiles (larger quantities or cut yardage). Polartec fleeces come in a wide range of types and weights.

The Polartec 100 series weighs approximately 9.5 ounces per linear yard.
The 200 series about 12.5 ounces
The 300 series is roughly 16 ounces per linear yard.
As the numbers increase, so does the fabric’s ability to block cold air.
High loft fleeces have a fur type look to them and are soft and very warm.
Power stretch fleeces are ideal for zip-front jackets and layering garments, featuring a smooth, knit-like face and a soft fleece interior. These fabrics provide warmth without bulk and offer excellent stretch, making them well suited for garments such as tights, base layers, and tops for cold-weather activities like skiing, snowshoeing, or just winter walking.
Some Polartec fabrics feature a hard face with a soft interior, while others include weather-resistant exteriors or grid-patterned pile designed to trap warm air close to the body. One of the advantages of Polartec is the ability to combine multiple fleece types within a single garment to balance warmth, flexibility, and performance.

I use Polartec fleece fabrics for a variety of garments such as pants, jackets, sweatshirt-style tops, three-quarter zip pullover shirts, hats, mittens, scarves, ear warmers and more. Maintaining warmth while preserving full mobility is key—not only for active wearers but also for those who typically dislike cold weather. The right fleece garments can make outdoor activities far more enjoyable.

You can make your fleece jackets out of Polartec and pair them with other fabrics to reduce bulk or add function. For example, when adding pockets, making them completely from fleece, while adding bulk, will also add warmth. But you can also make one side of the pocket out of a polyester or mesh-type lining, Coolmax, or nylon. In fact, the use of nylon was very popular in a major brand of fleece jackets years ago.

Stitching Considerations

You can use a variety of stitch types to sew your garments, especially since Polartec fleece is well suited to both home and industrial sergers. A four-thread overlock stitch with a ¼-inch seam allowance provides excellent strength and allows garments to sit closer to the body, enhancing warmth. For garments that will experience heavy wear and frequent laundering, reinforcing overlocked seams with a straight stitch placed 3/8 to 1/2″ away can add durability, though this increases seam allowance and bulk. Note that you may have to alter your patterns to work with overall larger seam allowance.

Garment type should guide stitch choice. Close-fitting garments such as leggings make from Polartec will benefit from overlocked seams only which minimizes bulk and preventing chafing while maintaining stretch and warmth. Polartec leggings will virtually make the cold disappear, even when out on a crisp walk with Fido.

Jackets and pullovers, on the other hand, often benefit from a combination of different stitches. Overlocked and straight-stitched seams give added structure and insulation but make for a larger seam allowance. Cover stitching —while an added step—can further flatten seams and prevent them from rubbing against the body and add decorative detail, especially along princess seams—one of my favorite design features in activewear.

Bar tacks are particularly useful on fleece garments and are easy to apply. I use them frequently at stress points such as zipper ends and other areas that take added stress. A narrow zigzag stitch with a shortened stitch length and shortened stitch width creates a durable, satin-like bar tack. For example, I will use a 1.5mm width, and 0.5 mm length to achieve that look.

Cover stitching also works beautifully for hemming fleece. You can use no top cover for a double or triple line of stitching by choosing to use the double or triple needle option. Alternatively, you can include top cover to either of these options for a decorative effect or to flatten an overlocked seam where there is a risk for chafing on the body. For example, use a two-needle cover stitch to flatten the overlocked seam in Polartec pants with a gusset. (note that manufacturers often use a flatlock stitch here). This is a seam where the machine butts the two edges of the fabric and has top and bottom cover with typically 4 rows of straight stitch. This completely eliminates bulk and adds strength. While industrial flatlock machines are commonly used in the industry to eliminate seam bulk entirely, similar effects can be achieved at home by combining overlock and cover stitching. Though it adds an extra step, it’s a worthwhile technique for achieving professional results.

Thread Choices

When using an overlock machine of the home or industrial variety, it’s a good idea to use woolly nylon—also known as texturized polyester—in the lower looper; however, it can also be used in the upper looper as well. Wooly nylon has a fluffy texture but will tighten when pulled so that it looks like most other threads. It produces soft, flexible seams with excellent stretch, making it a staple in swimwear, dancewear, and fleece garments alike. It has great stretch and comes in lots of colors which provides an opportunity to use it in the top cover stitch of your cover stitch machine for a decorative effect or to create detail. You can use poly cotton in the needles of the overlock stitch, the needle of your lockstitch machine, and the bobbin.

Part 2

Construction Details That Matter

Because Polartec fleece has inherent stretch, certain areas require stabilization such as when you are creating a pocket with a zipper closure or an invisible seam line zipper pocket application. Lightweight interfacing cut into narrow strips can be fused along zipper openings, pocket windows, or seam insertions to prevent stretching during construction. For example, if you are applying a zipper to a window on a pocket, interface the entire window box on the pocket and interface on the jacket. Mark out the stitching box on the interfacing on the pocket bag wrong side. Place on top of the jacket right side. Stitch the box, cut the box, and turn the pocket to the inside of the jacket.

If placing a zipper on a pocket in a seam, cut strips of interfacing and fuse on the wrong side of the fabric on both sides of the seam where the zipper with be inserted. The interfacing will somewhat restrict the Polartec from stretching while inserting the zipper. Thoughtfully placed pockets, including zippered chest or sleeve pockets, add both function and visual interest when paired with proper reinforcement.

I tend to place zippered pockets in the upper front or upper sleeve to hold small items like keys or a credit card. You can also add an oval or square-shaped zippered window pocket on top of the garment. In this case, create the zipper window on the zipper pocket interfacing so that the actual garment piece will act as the other side of the pocket.

Another nice detail option is to add the top and bottom cover stitch to the 3-needle cover stitch. Remember, though, that you will need to adjust the pressure on the pressure foot to avoid stretching the Polartec and distorting the shape of the pocket. Consider applying strips of interfacing to the center front seam allowances for zipper application.

I also recommend incorporating a zipper facing, especially for jackets with collars or children’s garments. A simple fleece facing folded over the top of the zipper protects the chin and improves comfort during active wear and significantly enhances both function and wearability. To accomplish this, cut a long piece of fleece the length of the center front and about 2” wide. Fold in half, then sew on the top folded edge to taper the top. This will then be folded over the top of the zipper to form a cover over the zipper.

To add some design detail, try incorporating other fabrics for the zipper facing, such as nylons or interfaced stretch fabrics. The facing is then stitched into the center front seam on one side of the zipper as the zipper is being applied so that one side will have jacket fabric, zipper tape, and facing all applied at once. At the top of the zipper, the tapered side of the facing will be folded over the zipper. This method will require some planning when applying the zip facing and zipper but will make for a quality garment.

Cuffs and Hoods

Sleeves can be finished with simple hems, cuffs, or glove-hand cuffs, which extend over the hand and include a thumb opening for added warmth. While this detail requires pattern adjustments, it provides excellent protection in cold-weather conditions.

To accomplish this, you will need to eliminate the hem allowance, but add a cuff allowance. Normally, a cuff goes from the end of forearm to the wrist but in the case of a glove hand, the sleeve will end at the wrist and the cuff will make the glove.
Make sure the sleeve ends at the prominent bone in the wrist: measure from shoulder point to just below the bone in wrist (towards the hand).
Measure from wrist to knuckles. This will be the width of your glove hand. Double this measurement (because the cuff is folded over). Note that the length of the cuff will go around the sleeve end so make sure that it matches the sleeve end circumference, to no more than 1/4” smaller.
The seam of the cuff with be matched up with the inseam on the sleeve.
From this seam, mark the slot for the thumb and mirror that mark on the opposite cuff. The thumb slot is marked to the left of the cuff seam on the left glove, and to the right of the cuff seam on the right glove. Place this approximately 1 ½”—but no more than 2”—to the right and left of cuff seam. The length of the slot for the thumb should be 3”.
A typical cuff is cut 8” x 8- or 9”, depending on sleeve width at the wrist. Fold the cuff wrong sides together, sew the seam, turn right sides out, and fold it in half so the wrong sides are together. It will look like a cuff at this point.
Place both cuffs facing down with the seams facing each other. Mark a 3” line to the right and left of the seams on the respective cuffs to make the thumb slot. Cut the slit. Cut a strip of fabric, either a spandex, or stretch fabric twice the length of slit plus 2” so 8” long slit by 1.5” wide. Sew the strip right sides together to the slit.

Tip: This application is one of a continuous bound placket application that is explained in the Vogue Sewing book.

Hoods are another valuable addition to Polartec jackets, with or without collars. Designs featuring a center panel offer better fit, especially when worn over hats. Drawstrings can be added for adjustability, and hoods may even be drafted with integrated collars for additional warmth.

If adding a drawstring cord, overlock the front edge of the hood. Turn 1” to the wrong side and topstitch 1/8” from the raw edge giving you plenty of room for hoodie drawstring flat tape, which is chunky. You can even draft a pattern in which the hood has a built-in collar, as shown in the images.

Style Lines for Better Fit and Beauty

Finally, style lines such as princess seams and contoured panels allow for better fit and visual interest and can add or reduce ease, depending on what you are looking for in the overall function of the garment. Whether designed for athletic performance or casual wear, well-placed seams can enhance mobility, warmth, and overall garment aesthetics.

Using an overlock machine will allow you to create contoured seams and cover stitching for added interest and detail. Carefully drafted and pieced patterns can be used to create a fitted sleeve or curved side seams. Try adding additional pieces to the bodice of the front and back to create a princess seam and then eliminate the side seam. This feature works well with a knit fabric here. Color blocking and fabric contrasts further elevate the design while maintaining functionality.

Thoughtful construction techniques and attention to detail are what transform a fleece garment from basic to exceptional—and ensure it stands up to years of wear in cold conditions.

Order of operations

Overlock the edges of the hem of the sleeve, the bottom of jacket front and back, the collar facing bottom, the center front of jacket front where zipper will be inserted, and the pocket bag edges to make the cut fabric easier to handle. This is an optional step but will make your sewing process easier.
Sew the shoulder seams together and partially sew any princess seams. If any of the princess or other style seams have pocket applications, leave them open for zipper application.
Leave seams partially unsewn if using an invisible zipper application. Overlock up to about 2” of the zipper placement. Carefully mark the top and bottom of the zipper placement. I like to add the top and bottom of the zipper tape where there are no teeth and beyond the stop. There are areas that will have a bar tack applied to lock in the zipper. Apply the zipper.
Add the pocket bags to each side of the zipper. I like to use the Polartec side of the bag so that when the zipper is open, the inside of the pocket shows Polartec, while the other side which is sewn on top might be a mesh type or lighter fabric. You will be sewing the pocket bags to the zipper tape and seam allowance of the jacket. It is a good idea to use a zipper foot to get a close accurate stitch line.
Once the pocket bag top and bottom is attached to the zipper, close the bag. Stitch the top, side, and bottom of the zipper. From the front side of the jacket, mark the placement of any bar tacks at the top and bottom of the zipper. I use a small satin stich that is 1.5mm width zigzag, with a.25-5 mm length. Reverse on both ends to ensure a rock-solid tack.
Make the zipper front facing. Sew the collar to front and back before applying the front zipper. However, if you chose to have a hood and collar, baste the hood to the collar area and then apply the collar. Pin the zipper facing in place on one side of the front, then apply the zipper. Remember to fold the top of the facing over the zipper.
Mark the where the collar meets the zipper tape on both sides so that when the zipper is zipped, the collar lines ups. Leave 1/2” at the top of collar to apply the under collar and fold away the zipper tape at the corner.
At the bottom of the zipper, fold over the hem allowance to enclose the bottom of zipper. Make sure both sides match in terms of width of hem so that any topstitching will have matching widths on both sides of the zipper.

Collar Facing/Undercollar Treatment

Overlock the edge of the under collar that is not attached to the upper collar. After stitching the undercollar to the upper collar, run an overlock edge across the top.
To secure the lower edge of the collar facing, consider a hand slip, blind stitch, or other securing method of your choice.
On both sides of the collar, mark on the under collar where the collar and shoulder seam will lie. Tuck the front side of the jacket inside the upper/under collar from the zipper to the shoulder seam or just past the shoulder seam. In doing this, you are tucking in the jacket front like a burrito into this one side of the collar. Make sure not to stretch the under collar.
Pin the seam allowance of upper collar to jacket edge to under collar serged edge. Repeat this on the other side.
Straight stitch as close to the center back of the collar as possible. There will usually be 2” or more than cannot be sewn but it’s fine to leave it as it is. However, if you’d prefer more finishing, when turning the collar right side out, carefully top stitch this open area, making sure to turn under 1/4” or slightly less of the under collar edge before topstitching.
An alternative treatment for the undercollar attachment to the jacket is to bind the lower edge, then stitch in the ditch of the collar on the right side of the garment, making sure to catch the bound edge when stitching. Note that this method tends to be more difficult.

Hems

If your garment has a cuff or glove hand, the sleeve hem is taken care of in this detail application. One option is to bind the edge of the sleeve with a strip of matching stretch fabric in a contrasting or coordinating fabric. I usually apply the sleeve binding before finishing sewing the sleeve underarm seam, but it can be done afterwards as well.

For underarm seam unsewn, cut binding 2” wide on the cross or weft grain of the fabric by the length of the sleeve at the wrist. Subtract 1” if (and only if) you want a snug end to the sleeve. With right sides together, the ends can be overlocked then followed up with a straight or safety stitch at the 1/4” mark, making a total of 1/2” seam allowance. Turn the binding over the seam allowance to the wrong side of the garment and pin in place. Stitch in the ditch on the right side of the sleeve or zigzag stitch on the edge of the binding. Carefully trim off the excess. Most stretch fabrics will not fray so you don’t need to clean finish the binding by folding under that edge, just leave it raw. Once the underarm sleeve seam is sewn, I like to bar tack the seam allowance at the binding at the sleeve end to one side.

If you have sewn the underarm seam already, measure the circumference of sleeve end. Again, subtract 1” for a snug fit or use the full amount for the length of the binding strip, by 2” wide. Sew in the round the binding right sides together once again using both an overlock stitch, followed by a straight stitch for a total of 1/2” seam allowance. Turn the binding over the seam allowance and pin in place. Stitch in the ditch on the right side of sleeve. Trim off the excess of binding 1/8” to stitching without cutting into stitching.

When hemming the bottom of the jacket, press the seam allowances but be sure to use a press cloth to help keep the seam in place. Adding interfacing will minimize stretch when hemming and use pins in the seam junctions.

Another design option on sleeves and the bottom of the jacket hem is to use your overlock machine to make what looks like a binding/cuff type look. First, be sure to add length to the pattern to accommodate the option. Then turn the hem under the desired amount towards the wrong side, and turn the entire hem back over to the right side. At this stage, you be overlocking three layers; overlock the edge of the fold and the raw edge of the hem. When it’s turned to the right side, it will look like a cuff type application, but will have been hemmed by the serger. This method can be used for a quick hem on spandex bike shorts hems but will also work on a fleece garment sleeve and bottom edge hems as well. Press or tack the serged hem allowance to make it as flat as possible. If tacking, only do it at specific places like side seam junctions and center front, but not limited to.

All of these details will make for a long-lasting garment.

~Kim Larcom, ASG Member (Boston Chapter), known as The Bridgewater Seamstress, is the Entrepreneur behind Astrosportswear Activewear. She graduated from the Master Seamstress certificate program at the University of Rhode Island and owns her own custom activewear business.

January 9, 2026

Chinese Knot Button

There’s nothing quite as elegant as a knotted button and loop closure. This traditional Chinese knot has been used for centuries, and you can custom make them to coordinate with special garments. In addition to being used as a functional closure, these interwoven balls of cord can be used for necklaces, earrings and other types of embellishment as well.

Getting started

To get started, choose a ready-made cord about ¼” diameter. Satin cord works well, as does woven rayon or metallic. Note that if the cord has a filler (light padding), it makes a more attractive ball. Velvet cord can also be used to create slightly larger balls. You’ll need 12”-18” per button, depending on the thickness.

If you’re using the ball button for a home décor use, you can use cable cord or a larger tubular cord to make a much bigger button than you would for a garment closure. You can also use rope for a nautical look. Chinese knot buttons are great for incorporating into drapery tie-backs or as elegant slipcover closures.

Another option is to make your own fabric tubing. To do this, cut a length of bias fabric (silk is ideal) 1 ½” wide. Fold the cord in half right sides together—matching raw edges—and add a narrow strip of lightweight batting under the folded fabric. Stitch along the cord length using a ¼” seam, catching the batting in the stitching. Use your favorite turning tool to turn the stuffed cord right side out and then smooth into shape.

In addition to the cord or tubing, you’ll need matching thread, scissors, a hand needle and a fray stopper or fabric glue for finishing the cord ends.

Ready, set, weave

Begin by folding the cord into a loop with one end OVER the opposite end.

2. Make a second loop behind the first one forming a pretzel shape.

3. Weave the second end of the cord over and under each cord in the pretzel pattern to create a sustainable knot shape. Note that it’s the over/under intertwining pattern that holds the cords together.

4. To shape the knot, gently coax each loop and pull to snug them together. If you pull too fast, the shape of the ball will be wonky.

5. Pull up to get the ball shape or leave looser for a flatter button.

Finishing

Once you have the button in a pleasing shape, trim the ends of the cording about ¾” from the knot. If the cord or fabric tube ends are ravelly, add a bit of fray preventer or fabric glue to secure them.

Sew the cord ends together and tuck them into the knot underside to secure. Leave the threaded needle attached to sew the button to the project.

Wrap the thread around the thread shank you created in that process to make an attractive finish for the button application.

Use ball buttons with loops on the opposite side of the closure, as they’re too bulky for a traditional buttonhole.

December 12, 2025

How to Make Denim Look Stone- or Acid-Washed

Acid-washed and stone-washed denim are stepping boldly back into the spotlight for 2025–2026, blending nostalgic edge with modern refinement. Designers are leaning into these retro textures to add depth, character, and a lived-in authenticity to jackets, jeans, skirts, and even accessories. This time around, the washes are more intentional—think controlled contrasts, sustainable finishing techniques, and elevated silhouettes that make distressed denim feel fresh rather than throwback. Whether paired with minimalist basics or layered into maximalist looks, acid and stone washes are proving they can move seamlessly from vintage-inspired streetwear to polished, contemporary style.

Stone-washing and acid-washing are two classic ways to give denim that lived-in, high-contrast look. Stone-washed denim is softened and faded by abrasion; acid (bleach) washing uses a controlled bleaching action to create splotchy, cloud-like highlights. We cover some beginner-friendly home methods, safety notes, and a few deeper resources and videos to watch before you start.

Start by pre-washing your denim fabric to remove finishes.

What you’ll need (basic)

Your denim fabric (100% cotton denim reacts best).
Household bleach (for acid/bleach wash) OR pumice/polishing stones (for stone wash).
Large plastic tub or old bucket, spray bottle or squeeze bottle, rubber gloves, eye protection, and an apron or old clothes.
Neutralizer: hydrogen peroxide or a long rinse and diluted vinegar solution. Always have plenty of water for rinsing.

Acid / bleach (aka “cloud” or acid-wash) — quick method

Work outside or in a very well-ventilated area. Put on gloves and eye protection. Never mix bleach with ammonia or other cleaners.
Dilute bleach with water. A common starting ratio is 1:1 to 1:3 bleach to water in a spray bottle. For gentler results, use more water. Test on a small end area first.
For a clouded look: scrunch and secure parts of the denim with rubber bands or twist the garment to create areas that resist the bleach. Spray or dab bleach onto raised areas — the more you spray, the lighter the area. For sharper, high-contrast speckles, sprinkle bleach with a sponge or pour small amounts.
Watch the color change (this can take from a minute to 20 minutes). When you reach the desired lightness, neutralize the bleach (rinse thoroughly, then soak in a hydrogen peroxide solution or wash with plenty of water) or neutralize with baking soda solution to stop the chemical action. Launder and dry the fabric afterwards.
View this article from Clorox on How to Fade Jeans with Bleach

Tips for control & creativity

If you’d like to do specific patterns, use gel bleach or thickened bleach. This will give you more control on jackets and targeted areas; apply with a brush and avoid running. See the step-by-step for a controlled jacket technique offered by Levi’s
For patterned effects use stencils, rubber bands (reverse tie-dye), or spray bottles to vary coverage. Many tutorial videos demonstrate spraying and banding methods for “cloud” or “acid” textures.
For random, blotchy effects, you can also soak pumice stones in a bleach solution and tumble briefly with the garment (factory acid wash used a similar concept).

Safety & fabric care

Bleach is corrosive — use gloves, respirator or mask if sensitivity is an issue, and always wear eye protection. Work outdoors or with strong ventilation. Do not mix bleach with other cleaners (especially ammonia). Neutralize and rinse thoroughly before machine drying.
Expect some weakening of fibers: both bleach and stone abrasion can reduce fabric tensile strength. Consider reinforcing high-stress areas (crotch, seams) if you plan to wear the piece heavily.
If you prefer to avoid bleach, try enzyme washes or commercial fading agents designed for home use — they’re gentler on fibers and colors.

Stone-washing (abrasion)

Stone washing uses physical abrasion to rub the indigo dye off the surface of denim, softening the fabric and producing a uniform faded or worn look that has some vintage appeal.

Stone-washing at home mimics industrial processes by rubbing stones or pumice against the fabric.
Use commercial pumice or ceramic stones (available online) and a large, sturdy tub or old washing machine set to a gentle cycle. Important note: Do not use your good washing machine for this!
For pumice, soak the denim in salt water overnight, then wring out the excess water. Spread the fabric on a flat surface, smoothing out all the wrinkles, then rub with the pumice stone or sandpaper until areas of white fabric appear. Make sure you don’t rub too long in one spot that you cause a hole. Fill a bucket halfway with water, then add a cup of salt and properly dissolve it.
For true stone washing, set your (old) washing machine water level to low and the water temperature to hot and add 1/4 – 1/2 cup of detergent, then add 3 cups of non-chlorine bleach. If your denim is 100% cotton, you can use 1 1/2 cups of chlorine bleach. Add stones and allow the machine to agitate for a few minutes before adding the fabric. When the wash cycle is complete, remove the fabric.
This process is abrasive — it will thin the fabric over time, so don’t overdo it. Repeat until you reach the desired fade. Do a final rinse and then tumble dry.

With experimentation and attention to safety, you can create beautiful stone- or acid-washed effects that refresh thrifted denim or breathe new life into a jacket. Try small tests first, vary spray concentration and tumble times, and keep notes — that way you’ll quickly learn what produces the exact fade and pattern you love. Happy distressing (safely)!

Need more denim info? Try this articles.

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