Sewing – Page 49

May 8, 2020

What I’m Sewing: Pamela’s Patterns Jacket #121

For nearly a year, we have been featuring articles on independent pattern designers and their companies. Now it’s your turn to tell us who you are sewing and share your experiences. In this first article, Princeton Chapter President, Joen Venitsky, tells us about her experience making a jacket from Pamela Leggett’s collection of Pamela’s Patterns. She used a knit animal print which is so popular this year.

If you are an ASG member and have a favorite pattern from an independent designer, we would love to hear from you. Go to the Members Only area and complete the What I’m Sewing pattern review form. We are looking forward to seeing your creations and hearing of your experiences!

What I’m Sewing

JoenVenitsky - Pamela' s Patterns #121 — Pamela’s Patterns #121

I have attended a number of classes with Pamela Leggett and have loved every one of them. When her new Cascade Cardi or Blazer pattern came out, I knew I just had to try it. I was not disappointed.

Q. Item Created
A. Jacket

Q. Independent Pattern Designer
A. Pamela’s Patterns

Q. Name and Number of Pattern
A. #121 Cascade Cardi or Blazer

Q. Fabric Used
A. Ponte Knit

Q. Special Embellishments/Notions Used
A. Gold Button and Interfacing

Q. Skill level required?
A. Intermediate to Advanced Beginner

Q. Are the instructions easy to follow?
A. Yes, Pamela’s Patterns have great fitting and pattern adjustment tips to help you get the perfect fit. The pattern includes a full bust pattern piece, which I used and was happy I didn’t have to do a full bust adjustment. You Tube video references are also included throughout the instructions for certain pattern details.

Q. Are you pleased with the finished result? Did it meet your expectations?
A. Yes, I was very pleased with the results and how the jacket looked.

Q. Did it look like the picture?
A. I believe it did with the exception of the contrasting sleeve and collar detail.

Q. Did you make any modifications in the pattern?
A. No, thankfully the full bust pattern piece was included with the pattern.

Q. Are there any changes you would have made?
A. I would like to try the tapered sleeve on my next blazer for summer when I would wear a cami or tank underneath.

Q. Did the pattern teach you any unique or special techniques?
A. Wrapped corner technique, which I did not know was taught by Nancy Zieman, and as Pamela states is life changing!

Q. Would you make this again?
A. Absolutely! It’s a great way to add to my wardrobe.

Q. Would you recommend this pattern to others?
A. Yes, if you are looking for a comfortable knit jacket or cardi to add to your wardrobe, this pattern is for you!

This pattern may be purchased at PamelasPatterns.com. Don’t forget that Pamela offers ASG members a discount which can be found on the Special Offers page. Not a members? Join today!

~Joen Venitsky, Princeton ASG Chapter President

April 24, 2020

Fishy Flounces: Flounced Hem

Normally, fishing line would be found in the tackle box or with rods and reels in the garage, but why not try bringing a spool of it into your sewing room to create awesome ruffled edges and hems with your serger? The secret is encasing the fishing line in the stitching to create undulating edges with aplomb.

Ruffled edges are ideal for eveningwear, costumes and skirt hems. This technique works best on bias edges and on the crosswise of knit fabrics, but it will also work on lengthwise or crosswise edges to a lesser extent.

What kind of fishing line?

Fishing line comes in a variety of weights, types and colors, but for sewing purposes look for a clear, monofilament line between 12 and 60 weight. The larger the number, the thicker the line. If you’re buying one specifically for sewing ruffles, 25-30 is a happy medium, though you might want a lighter weight for thin fabrics like chiffon.

Although not required, check to see if your serger has a beading or other foot that has a top center guide that the fishing line can slide through.

It’s important to test-stitch before you begin serging on the actual project, as this process can be a bit tricky. If you have trouble with uneven feeding and squirmy fabric, add some water-soluble stabilizer under the fabric and serge through it as a temporary aid to even feeding.

Set your machine for a rolled hem setting. Each machine differs slightly, so consult your owner’s manual for specifics.
Leave a 12” tail of fishing line, then begin stitching over only the fishing line. After you’ve serged for about an inch, lift the foot and place the edge of your fabric wrong side up under the line, then continue stitching. It’s helpful to actually serge about ¼” inside the cut fabric edge rather than trying to align the monofilament with the actual fabric edge. Hold the line to guide it along the seamline, but don’t stretch the fabric. The line must rest between the needle and the cutting blade as it’s very important not to cut it.
Serge slowly encasing the fishing line as you stitch. If you accidentally cut into the line, you’ll need to stop, remove some stitches and begin again with a new portion of line, so make every effort not to nick it and maintain one continuous piece around the entire hemline or ruffle edge.
When you reach the end of the edge you’re working with, leave another 12” tail of fishing line. Remove the project from the serger and gently stretch the encased fabric edge for maximum ruffling. Thread some of the fishing line tails back into your stitching, or if it’s a soft, flexible line, tie a knot to secure.

Tip: Be careful pressing over the fishing line, as some of it is nylon and will melt easily.

For more information on serger sewing, see the Serger videos in the Members Only area.

~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 .

April 10, 2020

Time to Make the Masks

I relate to life in music, TV shows, movies, and media in general. For the past few weeks, when I woke up, I felt as though my life was the movie Groundhog Day. Remember when Bill Murray relived his day over and over again and couldn’t get out of the loop? That’s the way I feel with this Coronavirus quarantine. I am reliving the same day — OK, different date — but the same bad dream EVERY DAY.

Then, this morning I awoke with the old tv commercial from Dunkin’ Donuts bouncing through my thoughts. Do you remember the one where the baker rose every morning with the mantra, “Time to make the donuts. Time to make the donuts?”

My mantra is
“Time to make the masks.”

In the Groundhog Day movie, Bill Murray tried to vary his loop by doing different things and even improved himself along the way. It got me thinking, “How can I vary my mask making?” How can I remove the hum-drum from this mass production sewing project? What can I do to get creative?

Did I forget something?

Another thought also crossed my mind. I have been so focused on making masks to donate to an organization with which I am affiliated, I hadn’t even made any for my family. So now I was on a mission. Masks for the grandkids, kids, hubby, in-laws and maybe even me.

Hubby had already made it very clear that he was far too careful (substitute macho here) for the virus to get him. The teenage granddaughter thought it just wasn’t cool (my word, not hers). And the four year old grandson—a mask wouldn’t make it to his face unless it had an aspect of play involved. Sew, what’s a “sew’r” to do? Customize, of course!

Fabric Stash to the Rescue

I pulled out my fabrics and matched fabric to people.

My youngest grandson at 4 is crazy about dinosaurs and I just happened to have a scrap of dinosaur fabric that was large enough to make the face part of the mask. One down!
Middle grandchild is 9, loves Mickey Mouse and the color red. My stash proved useful again with the themed fabric.
What about that 16 year old? I had made her pajama pants for Christmas, so there were still some scraps of Dr. Who fabric left. It might not be cool to wear a mask, but Dr. Who anything was definitely cool. Since her dad was also a fan of the Doctor, they soon had matching masks.
Mom loves Tigger from Winnie the Pooh and I know there must be some Tigger fabric somewhere (I’m still searching). If that doesn’t turn up, my other son just had me make him pillows with the Marauders’ Map fabric from the Harry Potter movies. Those leftovers would be good for the both of them.
I can’t forget my sister-in-law. She loves chocolate. What would be better than Hershey’s Miniatures fabric?
Finally, what about hubby? He teaches chemistry, but I know I just don’t have anything in the way of test tubes or chemical symbols. What to do, what to do? Just as I was about to give up, I found some fabric with eagles on it. Both our sons are eagle scouts and he works with the scouts on advancement of the eagle candidates. Sounds like another match.

I spent the rest of my day “playing” with my fabric stash. It was fun — really fun remembering all the things I had made with the original purchases and it brought variety to what had been a boring mass production effort. And the results were very special, very unique masks that matched everyone’s personalities. With fashion statements like these, perhaps masks will be viewed as a fashion accessory instead of a health necessity. Can you see it now, designer masks that everyone will soon be wearing? Or perhaps the next challenge in your chapter fashion show? Maybe it will even be the first challenge on next season’s Project Runway.

Oh, and for me, if this virus situation continues, I will soon have a mask to match every outfit!

Stay safe, stay healthy and keep on sewing!

~Rosemary Fajgier

April 3, 2020

Can Silks be Washed?

One of my college classmates was a very recent immigrant from Korea and she once asked me to help her wash her “dance kimono.” Naturally I was eager as it is “common” knowledge that silks should never be washed. What I learned continues to influence my sewing today.

Her kimono was pieced of over 50 strips (up to 3″ in width) of silks, plus bindings (such as strips edging the collar) in different colors. Because the dyes were not colorfast, she had to take the entire kimono apart and wash every color separately, then press and sew back together with long stitches.

Lesson 1

Wash all fabrics separately until you determine whether the dyes are colorfast (like sweatshirts!).

Lesson 2

Don’t complain if a Western-style garment needs to be pressed after washing ─ doing laundry really could be worse.

The collar area was doubled fabric; it did not have a separate interfacing material and the excess was not secured so kimono collar would wrinkle and bunch up if washed.

Lesson 3

Baste or quilt any intact original kimono collar to wash. If making western style garments, make sure interfacings are secured. If deconstructing kimono to re-purpose fabrics, the collar probably has double the visible fabric.

Obi (belt) is generally the most elaborate part of the costume. It is also very stiff, the purpose is partly like a corset. For a light-weight silk, the stiffness is provided by covering a very dense canvas-like fabric, which is always blocked to retain the original size – unless you don’t plan to reassemble the obi.

Lesson 4

Unseen construction materials affect whether silk (or any) garments can be washed, so pre-shrink.

Some silks reveal textures that may not be apparent until wet. These fabrics may have quite subtle matte/shiny differences due to threads that are spun differently and thus shrink at different rates. All of these silks are intended to be blocked when washed.

Lesson 5

If you like texture, enjoy, even if you now have less fabric! Better to adjust plans than to finish and then shrink.

The following are things I’ve learned from deconstructing and re-purposing obi and kimono.

Both obi and kimono fabrics are woven in widths of 10-14 inches, and the garments utilize that to the fullest. The rounded corners of sleeves are left square and not trimmed, with the excess fabrics bunched up in the curved area.

If smaller sizes of kimono are made, seams are made extra wide but not cut off. If extra width is needed an entire extra panel of fabric may be sewn into the side and is not cut or could be half the width, with very wide seam allowances. Extra length will probably be turned up on the inside to replace some of the lining fabric. All of this is to take advantage of taking apart garments to wash, as when re-assembled fabrics can be turned to even out wear or to change the fit/size. No worries if you gain or lose a little weight; alter each time you wash!

Most of the rolls of fabric were made specifically for either obi or kimono, with pre-planned cutting marks. Bolts of fabric are a new concept. This means that the fancy portions of obi could be in the only area(s) that show, while plain fabric is woven for the rest. Do not assume the entire length is what is seen on the outside.

Some fabrics such as brocades and jacquards may fall apart or unravel if cut. This is not a problem for kimono or obi as the fabrics are nearly always left with selvages intact, with the exception of obviously pieced dance and fancy garments.

INSPIRED? Antique Pattern Library has antique kimono fabric designs and stencils in the “J” and “K” sections.

Lesson 6

Test a small cut before re-purposing kimono or obi; particularly be careful if threads are carried on the back. Also examine carefully to locate any possible embroidery and avoid cutting through that area. Embroidery threads may not be colorfast so know it could possibly bleed when washed, particularly true on ornate garments.

Examine carefully if there are any metallics. If painted/stenciled it could be metallic leaf that is not washable as it will flake off. If the metallic is woven in, test first but the threads are probably washable if of the same weight as the other threads. If the metallic threads are heavier or if embroidered, it is probably NOT washable due to the construction method of heavier metallic threads.

There are several ways to use for garments: (1) kimono are wrapped and tied, so many people can wear as open jackets/vests without altering; (2) side inserts can be added to keep the front area intact: use the bottom of long kimono, sleeves, linings, parts from a second kimono, other fabrics; (3) I’ve taken kimono apart completely and re-sewed into large enough blocks to cut Western-style blouses and jackets.

~Hope Wright, ASG Member, Springfield Lincolnland Chapter

March 20, 2020

What’s a Lining to Do? (Part 1)

Lined skirt So here you are, making a pencil skirt with that precious fabric you brought home from your recent trip. It’s luscious and precious and you want to construct it with care. You have some specific objectives and need to plan what are you going to do to make it:

Slide on like silk
Have a beautiful finish on the inside
Protect it from stress and wear over time
Minimize wrinkles during wear

I suspect right about now you are thinking – LINE IT!

And that is an outstanding idea, but line it how? Will you select a traditional lining, an underlining, flat lining, or an interlining?

ARGH! What’s a sewist to choose?

No worries! Take a deep breath and read on. This article will help you understand the difference between each of these techniques and choose the one that is best for your purposes every time. While you can find all sorts of various definitions for these terms, for the purpose of this article we will define them as follows:

Traditional Lining is constructed separately from the garment and attached by hand or machine, hiding all the inner seams. It can be totally free hanging from the facings, neckline or waist or it can also be attached at the hem.
Flat lining cuts the vertical seam allowances ½ inch wider than the fashion fabric and “wraps” the fashion fabric creating a faux Honk Kong seam finish.
Interlining refers to material added between the outer fabric and the lining of a garment. You would typically use it to add extra warmth, but it can also ramp up the body or change the drape of a piece.
Underlining is cut from the same pattern pieces as the garment fabric. The two are then sewn to one another so the two layers act as one piece, reducing opacity or adding body/stability to the fashion fabric.

In Part 1 of this article, we take a close look at traditional lining and underlining. In Part 2, we cover Interlining and Underlining

Traditional Lining

When do you choose it?

Choose a traditional lining when you want to completely conceal all the inner construction details of the garment. It makes the garment slide off and on over the body or other garments with ease and helps reduce wrinkling as the garment is worn. Sometimes the lining is a bit of a design element of its own. Take a simple wool jacket up a notch with a fun lining in an amazing print!

What fabrics work best?

Lining fabrics should typically be made from a silky material. Great choices include:

Silk or Polyester Charmeuse
Silk Crepe de Chine
China Silk
Bemberg Rayon
NOTE: It is best to avoid a silk lining with a silk garment as silk on silk may result in static cling.

How does it get constructed?

Construct the outer fashion fabric and inner lining shell separately, then attach them at the facings, waistband or neckline. The lining can hang freely or be attached at the hem. It can be machine or hand sewn in place. The wrong side of the lining is always inserted facing the wrong side of the fashion fabric.

Flat Lining

When do you choose it?

Choose this method when you want the benefits of a lining but don’t want it to hang freely. It offers the same benefits to the garment as both traditional lining and underlining regarding reducing wrinkles, adding stability and longevity to the garment. This method also produces a finished seam on all vertical seams that looks much like a Honk Kong seam finish. This technique is only applied to the vertical seams of your garment, so the waist, neckline or armscye will not have the same finish. It is an excellent method to use with fabrics that are highly prone to fraying as it encases the cut edge prior to construction.

Note: When researching information for this article, I found quite a bit of reference to historical flat lining which, in essence, is the same as the underlining method described in this article. If you are involved in historical costuming, don’t be confused. Just recognize the different use of these terms in this article vs. much of the information presented in historical costuming resources.

What fabrics work best?

The very same fabrics used in traditional lining can be used for flat lining.

How does it get constructed?

Cut your lining fabric ½ inch wider on each vertical seam, resulting in a piece that is 1 inch wider in total.
Sew vertical edges together with ¼ inch seams. Remember, the lining is larger than the fashion fabric; it will not lay flush together.
Trim the seam allowance in half to 1/8 inch.
Turn the piece right sides out and press, leaving the fashion fabric completely flat. The lining fabric will wrap around to the front of the fashion fabric creating a faux Hong Kong seam finish.
Stitch in the ditch if desired. I frequently do not need to do this, but if you feel like the fabric is shifting, this will stop that.
Continue construction of the garment, treating the pieces as one. Don’t forget to reduce your seam allowance on the vertical seams by 1/8 inch since you trimmed that much off in step 3.

Look for Part 2 (coming March 27) where we cover Interlining and Underlining

~Sheryl Belson

What I’m Sewing

What kind of fishing line?

My mantra is “Time to make the masks.”

Did I forget something?

Fabric Stash to the Rescue

Lesson 1

Lesson 2

Lesson 3

Lesson 4

Lesson 5

Lesson 6

ARGH! What’s a sewist to choose?

Traditional Lining

When do you choose it?

What fabrics work best?

How does it get constructed?

Flat Lining

When do you choose it?

What fabrics work best?

How does it get constructed?

My mantra is
“Time to make the masks.”