Sewing

July 1, 2022

Make-It: Faux-Leather Trimmed Canvas Beach Bag (preview)

Here’s a simple canvas bag to take you into summer, yet is versatile enough to use the rest of the year as well! The basic 16″ x 14″ canvas bag, trimmed with faux leather, can be customized to create a bag that perfectly suits you. Add an embroidered monogram, spell out a child’s name with colorful fabric paints, or stencil pastel sea shells on off-white canvas to personalize the bag. (A)

Faux leather trim adds a classy touch and is far easier to sew than real leather. It’s also durable, doesn’t crack easily, and is fade and stain resistant.

Sewing Q&A

Welcome to this edition of sewing questions and answers:

Lightbox

Q. How do I use a light box?

A. Light boxes are handy additions to a sewing room and they can be used to trace appliqué patterns onto fusible web, trace pattern pieces for altering, draw embroidery designs onto a garment, check placement of paper piecing components and anytime you need to see through your pattern or fabric. You can also use a light box to draw right onto the fabric surface allowing you to fill in the design with paint or crayons/colored pencils designed for use on fabric.

Light box from Amazon — Light box available from Amazon. We may earn a small referral fee if you make a purchase.

If you’re purchasing a light box, be sure to get one large enough for the kind of tasks you expect to do with it and check the brightness, as some come with multiple light settings. Also, note the cord length in relation to where you plan to use it and the closest outlet.

Elastic

Q. I have trouble threading elastic through casings, as it seems to get hung up on the seam allowances and then gets stalled. How can I fix this?

A. There are a few options to fix this hang-up. The easiest way is to trim the seam allowances to 1/8” within the casing area, that eliminates the excess seam allowance fabric blocking your elastic end coming through the casing. Another way is to be sure the seam allowances are pressed open within the casing area and then stitch them down. The stitching is hidden in the finished elasticized area. A quick third way to solve this dilemma is to fuse the seam allowances open within the casing area, eliminating any chance for a collision as elastic is being threaded through. All of these options also make for a flatter casing.

Buckram

Q. A friend told me about buckram for stiffening the bottom of some bags I’m making. What is it?

A. Buckram is a stiff, usually cotton, fabric that’s been soaked in sizing or glue to make it incredibly rigid. This woven fabric is available in different weights, depending on the intended use. It’s available in sew-in or fusible variations, and as yardage, as well as pre-cut bands. The pre-cut bands are used in the top of curtains and drapes to support rings or grommets. Buckram is often used in millinery work and for theater costuming when shaping is needed. Fashion sewers often use buckram in the bottom of handbags and totes as it’s the stiffest fabric available for support. Simply cut the shape of your bag bottom and sew or fuse the buckram in place for stability. If buckram isn’t available, substitute heavy/stiff craft interfacing or plastic canvas for the same purpose. One note–buckram is not machine washable and really shouldn’t be hand washed either, as moisture can cause it to soften and shrink.

Interfacing

Q. I have trouble fusing interfacing, as it sometimes shows the imprint of the iron steam holes. What am I doing wrong?

A. When you fuse interfacing to fabric, it’s important that the entire surface is evenly covered with heat, pressure and sometimes moisture. Be sure to read the instructions that come with your brand of interfacing. It’s important to fuse one area at a time, then pick up the iron, move to the next section and overlap the first area. Each section requires holding the iron in place for the requisite amount of time for proper fusing.

When steam hole imprints are visible on the fabric surface, the cause is often that the iron was held in one place too long without any overlap as you cover the remaining surface of the piece. Or, it could also be that the brand of interfacing you’re using requires a dry iron for fusing, not steam, and thus the imprinting can be avoided. Some interfacing directions recommend using a press cloth to protect the fabric surface as well.

~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 .

June 17, 2022

Soft, Easy Dressing

Although the fashion industry keeps trying to dictate what we should be wearing, our lifestyle and our style of dressing has changed over the past 2 years. Comfy, flow-y clothing has dominated our stay-at-home and work-from-home wardrobe. Now, as we venture out again, we may enjoy keeping the loose and relaxed look with clothes that are roomy in the shoulders and arms, don’t bind at the hips and tummy, and may have elastic at the waist for a little bit of breathing room.Soft, easy dressing means wearing clothing that is not fitted or tailored, but certainly not sloppy either. They are clothes that are long enough to cover our knees when we cross our legs and are made from fabric that moves when we walk. To achieve this style without looking sloppy, there are a few rules to follow:

Patterns

Select a pattern for garments that are not tailored or structured and don’t require precise cutting or measuring. Choose patterns with few pattern pieces and lots of built-in ease. Some patterns you may find have ease that can be increased or decreased according to your personal taste and the fabric you choose. The amount of ease you may find comfortable will vary with each pattern company and pattern design. To hold to the soft, easy dressing style, choose patterns designed for comfort and room.

Fabric

When shopping for fabric, focus less on fiber content and more on how the fabric feels. Remember that it’s the weight and movement of the fabric that’s important, not the fiber content. If you are shopping in person (which will be very helpful), touch the fabric. Move it through your hands and over your arms and watch how it drapes and falls. Be realistic when making your selection. If the fabric doesn’t move and bounce, then it is probably too stiff, too heavy, or too crisp for this soft, easy, relaxes style of dressing. Make sure it feels good against your skin and will give you an “ahh” moment when you put it on.

When sewing with soft fabrics, don’t put too much tension in the stitching. Soft fabrics need to move — if the seams are too tight, they will resist movement and you won’t get the flowing, comfortable look you are after. Finish the seams after sewing so they won’t ravel and cause the garment to wear out before its time. Basting is a help when working with soft, moving fabrics. Use twill tape where needed (such as in the shoulder seams, etc.) to prevent stretching and to help stabilize the seam.

Most soft fabrics don’t take a crease well and, therefore, the seams don’t always lay flat when pressed. To help control this, try top-stitching the seams. This also adds a little extra touch of detail to the garment. Try hemming your soft garment by machine and edge stitch for both extra control and a bit of extra weight.

Roomy, comfortable clothes do have fit and shape — they are just not a tight, tailored fit. The neck opening should not bee too large and the shoulders and sleeves should fit your body. Drop shoulders are a common design of this style; however, you don’t want the shoulder to hit you at the elbow so adjust as needed. Note that there is usually not a bust dart in this style of clothing. If you are larger than a “B” cup, consider adding bust darts to help the garment hang better. Hem length is also important with these comfortable designs. Adding length helps balance the look and design of a large, roomy garment.

Last but not least, wear shoulder pads. They don’t have to be large (we’re not revisiting “those” years)! However, they will give the garment some structure and something smooth to hang from while maintaining visual balance.

~Based upon an article from Mary Lou Rankin, Park Bench Patterns.

June 10, 2022

Sewing Machines: The Need for Speed

Whether you sew slowly and diligently or you speed on with reckless abandon, your sewing machine can help with speed control. Most every machine has a speed control of some sort, but sometimes it’s overlooked.

These handy regulators look different depending on the machine brand, but the function is the same—to act as a governor for your sewing speed. Some are sliding levers with dots to indicate speed (one dot, two dots, three dots), some offer plus and minus indicators, still others offer arrowheads (one, two, three), and then there’s the clever tortoise and hare indicators. Other brands of machines offer plus and minus sign push buttons, rather than sliders, for speed indication.

“Why do I need this function when I can simply adjust the sewing speed by varying the foot pedal pressure?”

One great place to use the speed regulator is if you’re teaching someone to sew. Sometimes there’s a tendency to want to “speed” and we all know what happens then if you’re new to sewing—an opportunity for a lesson in ripping out stitches. Using the speed regulator ensures a slow, steady pace and fewer mistakes.

Going around tight curves is a place where you might want to go more slowly than when stitching long, straight seams. Along the same lines, appliqué requires a slower pace for accuracy and good edge coverage. Sewing very heavy thick fabric is often more successful with a slower speed.

Sewing decorative stitches is another place you may want to utilize the stitch speed regulator, so that you’re sewing at a consistent speed for the best appearance. On some machines if you vary the speed as you’re sewing, the stitch appearance may be slightly different.

The speed regulator works with the embroidery function on some machines, but not others. It’s a handy way to slow down the stitching when using metallic or other novelty threads that tend to require more diligence. The slower speed is also great for the intricacies of lace making and structural embroidery.

And then there’s free-motion stitching…stippling and embroidery work. Free-motion stitching often tends to “get away from you” and you can work yourself into a seemingly insurmountable corner if you’re going too fast. That said, some free-motion stitchers prefer to go at the maximum speed, so it simply depends on your comfort (and skill) level.

The stitch speed regulator is just another way, in conjunction with the foot control, you can control your stitching speed if you’re sew inclined. Some machines also allow you to control speed by adjusting the rpm/stitches per minute setting.

Finally, did you know that many machines also have a control to set the bobbin winding speed? If you go full-throttle when winding a bobbin, some threads can stretch and adversely affect your seam sewing tension. One place to slow the winding speed is when you’re filling a bobbin with novelty thread for bobbinwork—slow and steady wins the race in this instance. Winding metallic threads onto the bobbin also requires a slower pace to avoid breakage. So, check your instruction manual to see if your brand has a way to adjust the bobbin-winding speed.

I debated about sharing this anecdote but decided to go for it, as I’m sure some of you can relate…

I recently had my sewing machine serviced and when I got it back, it seemed to sew slower than I’d remembered. I dismissed the thought, but as I kept sewing for a few days, I’d resolved that I might need to call the dealer where I had it serviced. Time got away from me, and I took the machine to a sewing retreat. When I was lamenting that the machine seemed to be sewing slower than I’d remembered, one astute table mate (thank you, Andi) said calmly, “Have you tried moving the slider bar?” “What slider bar?” said I.

Apparently, the service person had put the speed slider level in the middle of the available speed range, which is why the machine was sewing slower. Who knew? A very embarrassing truth be told, I’ve sewn for many decades and never used the speed adjustment on any machine I’ve had. I’m a pedal-to-the-metal type of girl and if I need to sew slower, I just lighten the pressure on the foot pedal. Lesson learned: Read the instruction manual!

As an aside, I polled several sewing friends and most have never used this machine feature either. ~Linda

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