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Sew a new story The delightfully intuitive, uniquely capable DESIGNER BRILLIANCE™ 80 sewing and embroidery machine is specially designed for the imaginative sewer with big and bright ideas.

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husqvarnaviking.com h iki VIKING, DESIGNER, BRILLIANCE, JOYOS ADVISOR, MYSEWNET, DELUXE, and SENSOR SYSTEM are exclusive trademarks of Singer Sourcing Limited LLC. HUSQVARNA and the ”H” Crown Device are trademarks of Husqvarna AB. ©2018 Singer Sourcing Limited LLC. All rights reserved.

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The Trusted Sewing Source

DEC 2018/JAN 2019

Hacks for the

WITH YOUR FABRIC STASH

plus p PARTY-WEAR

SEPARATES 12 Patterns for Holiday or Every Day

Holidays! » Sweatshirts Made Sexy » Jackets with a Twist » Sweater Sleeves to Swap

How to Sew Fancy Fabrics Tulle • Mesh • Velvet • Sequins Suede • Faux Fur • and more!

Create Cozy Décor that Lasts All Winter P. 46

Fitting Advice for Bras, Sleeves & Fancy Pants P. 20

Kick up your heeels! Sweet Skirt, P. 36

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y a d i l o H

2018

s g n i v a S

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Make this Mouse Pouch with the Cricut Maker™ You'll get to the sewing faster when each pattern piece is cut with precision and accuracy.

Cricut Maker isn’t just for paper crafting and vinyl transfers. This state-of-the-art machine cuts out sewing patterns effortlessly, preparing them for sewing in a fraction of the time that it takes by hand. Its effortless precision makes cutting any fabric a breeze—no more silk snags or pleather shifting. Upload your own patterns into the cloud-based CRICUT DESIGN SPACE® software or choose from hundreds of digital patterns and templates from designers and patternmakers, including Sew News! With purchase, you’ll gain access to Cricut Design Space, which is full of projects, including the featured Mouse Pouch above. Cricut Maker can also draw! The washable fabric pen draws seam allowances, notches and zipper placements with 100% accuracy, taking the guesswork out of sewing. Then, the Rotary Blade cuts each pattern piece needed for your project. Sip a coffee or swap out the laundry instead of crouching at the cutting table with scissors in hand. In no time your patterns are drawn, marked, cut and ready to sew.

Sew News readers get a 10% discount off Cricut Maker and free shipping with code SEWNEWS. Expires 12/31/18. To get started, visit CRICUT.COM/SEW-NEWS.

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D E C E M B E R 2 0 1 8 / J A N UA R Y 2 0 1 9

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*Artisan Models available for Baby Lock, Brother, Bernina, Viking, Pfaff and other machine brands. See retailer for details.

CONTENTS

FEATURES 28 CLOTHES MINDED: WARDROBE RESOLUTIONS Start your (sewing!) new year with a plan.

32 HACK IT: SWEATSHIRTS Update a basic sweatshirt pattern with high-end embellishments.

36 SEND IN THE FLOUNCE Make a statement with a basic pencil skirt hack.

40 HACK IT: SWEATERS Rework a basic sweater pattern with dramatic sleeves for the holiday season.

46 WOOL WONDERLAND PILLOWS Create cute snowflake pillows using unexpected fabric.

48 HACK IT: JACKETS Customize a basic jacket pattern for a couture look.

54 SPECIAL OCCASION SEPARATES Stitch high-end looks for the holidays and beyond.

60 SEQUIN SEASON BAG Create a stunning hobo bag in mermaid sequins.

64 MINI-SERIES! BRA BASICS, PART THREE: FIT ADJUSTMENTS Identify and fix common lingerie fitting issues.

68 SHEER & NOW Hack a basic sheath dress with stunning sheer sleeves.

72 MASTERCLASS: COLLARS, PART 1 Create perfect collar points with these handy tips and tricks.

76 THE COMMON THREAD: STASH STIGMA Rethinking the word “stash.”

DEC 2018 JAN 2019 ISSUE 368

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sewnews.com email: sewnews@sewnews.com EDITORIAL Community Content Director Ellen March Senior Editor Amanda Carestio Creative Editor Kate Zaynard Online Editor Jill Case Assistant Editor Jessica Ziebarth Technical Editor Kim Saba Art Director Graphic Designer Photography Illustrator Photo Stylist Hair & Makeup Artist

ART Kerry Jackson Ashley Navarre Jessica Grenier, Matt Graves Ann Swanson Tina Gill Beauty on Location Studio

MARKETING & ADVERTISING Ad Trafficker Lori Hauser Advertising Managers Nancy Mayhall, Mary-Evelyn Dalton BUSINESS Director of Content, Craft Tiffany Warble Group Art Director, Craft Emily Simpson Director of Media Sales Julie Macdonald

F+W, A CONTEN + Chief Executive Officer Chief Financial Officer SVP, General Manager, F+W Craft Group Managing Director, F+W International VP, Consumer Marketing VP, General Counsel VP, Human Resources, Customer Service & Trade VP, Product Management Newsstand Sales

ERCE COMPANY Gregory J. Osberg Kenneth Kharbanda David Pyle

46 70 60

James Woollam John Phelan Robert Sporn Gigi Healy Pat Fitzgerald Scott T. Hill Scott.hill@procirc.com

SUBSCRIPTIONS: To subscribe to Sew News magazine or change the address of your current subscription, visit Subscriber Services online at: sewnews.com. You may also call or write: Phone: (800) 289-6397, International: (386) 597-4387 E-mail: sewnews@emailcustomerservice.com Subscriber Services: Sew News, P.O. Box 420235, Palm Coast, FL 32142-0235 Subscription rates for the United States and possessions: $23.98 for one year (six issues). Canadian subscriptions add $6 per year (includes GST and postage). Elsewhere outside the U.S., add $12 per year postage. Payment in U.S. funds must accompany all orders outside the U.S. Major credit cards accepted. Some back issues of Sew News magazine are available for $5.99, payable in advance. TO ORDER BACK ISSUES: Call (800) 590-3465; or go to shopsewitall.com. REPRINTS: Contact Wright’s Reprints to purchase quality custom reprints or e-prints of articles appearing in this publication at (877) 652-5295 or (281) 419-5725 outside the U.S. and Canada. RETAILERS: If you are interested in carrying this magazine in your store, please contact us: Toll Free (800) 289-0963; or e-mail sales@fwcommunity.com Occasionally, our subscriber list is made available to reputable firms offering goods and services that we believe would be of interest to our readers. If you prefer to be excluded, please send your current address label and a note requesting to be excluded from these promotions to: SEW NEWS, a division of F+W, A Content + eCommerce Company, 741 Corporate Circle, Ste. A, Golden, CO, 80401, Attn.: Privacy Coordinator.

COLUMNS

IN EVERY ISSUE

14 BASIC SKILLS: Seam Secrets

Editor’s Letter

17 SERGER SCHOOL: Feet Fundamentals

Experts

20 CURVE APPEAL: Sleeves & Silk

Reader Tips

24 PATTERN PLAY: Fancy Pants

10 Staff Picks

80 SEW ALONG: Lonetree Jacket

12 Meet the Maker

82 HIGH-END HACK: Sleeve Envy

84 Off the Shelf

86 GET THE LOOK: The Great Cape

88 All Sewn Up

Sew News December 2018/January 2019 • No. 6 Copyright ©2018 by F+W, a content + ecommerce company. All rights reserved. Nothing may be printed in whole or in part without permission from the publisher. Single-copy rate U.S. $5.99; Canada $6.99. Subscriptions are $23.98 for one year (6 issues). Canadian subscriptions add $6 per year (includes GST and postage). Elsewhere outside the U.S., add $12 per year postage. Payment in U.S. funds must accompany all orders outside the U.S. For subscriptions, address changes or adjustments, write to SEW NEWS, P.O. Box 420235, Palm Coast, FL 32142. Eight weeks are required for a change of address. Please give both new and old addresses and, if possible, the mailing label of the old address. The information in this publication is presented in good faith, but no warranty is given nor results guaranteed. Since SEW NEWS has no control over your choice of materials or procedures, neither SEW NEWS nor the various manufacturers assume any responsibility for the use of this data. PRINTED IN THE USA

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EDITOR LET'S PARTY! Another year is coming to a close, and it’s time to kick up our heels and celebrate all of our sewing achievements in 2018. It’s good to reflect back on what you’ve made and what’s still in the queue, in order to set goals for the year ahead.

Mix & Match! Holiday Separates p. 54

I find I sew much more when I have a plan, even if it’s very general, such as “use that great jersey fabric in my stash,” or “finally sew a pair of jeans that fit.” Maybe you’re more organized than me and can plot your makes even further, setting monthly goals that will get you out of the stores trying on endless outfits and into your sewing room stitching up some new favorites. Get inspired by how other sewists set their sewing resolutions on page 28. Celebrating calls for some fancy looks, and we’ve got you covered to the nines with 12 mix-and-match holiday separates that are easily dressed down to transition into your closet for everyday wear. I don’t always think of separates when I need something to wear for a party. My go-to is always a dress. But making a few separates is a great way to get more bang for your sewing buck. Read more on page 54. Speaking of saving money, which we all need to do after the holidays, we’re bringing you three patterns sewn three ways for nine, yes NINE, looks for the price of three. (It pays to learn different pattern hacks you can apply to other basic patterns, for sure.)

Wool Wonderland Pillows

p. 46

If you’re still in holiday mode and not ready move ot re read adyy tto om ovve on ((who ove who wh o is is?) ?), ma make ke some easy throw pillows adorned with snowflakes that you can keep on your couch all winter long. The plaid d base fabric can work for Christmas and beyond! Wishing you a joyous holiday season n & a very happy New Year!

WHAT’S NEXT? Ellen March Community Content Director

Hack It: Sweattshirts p. 32

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D E C E M B E R 2 0 1 8 / J A N UA R Y 2 0 1 9

LEARN ALL ABOUT CONSERVING SUPPLIES AND MAKING EARTHFRIENDLY CHOICES FOR SEWING PURCHASES; GET READY FOR VALENTINE’S DAY WITH QUICK GIFTS AND FUN DATE-NIGHT WEAR; SPRUCE UP YOUR SHOULDERS WITH DIFFERENT EMBELLISHMENT OPTIONS; AND MORE. LOOK FOR THE FEB/MAR ISSUE ON NEWSSTANDS JAN. 22, 2019.

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CREATE PERFECTLY IMPERFECT PROJECTS WITH THIS NEW BOOK FROM KAREN LEWIS Visible mending; sashiko-style stitching; hand quilting and EPP all feature in this compilation of projects inspired by the wabi-sabi ethos of finding beauty in the ordinary.

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EXPERTS

Find out about the talented experts featured in this issue, and visit their websites to learn even more!

What are your sewing resolutions for 2019?

STEPHANIE BRACELIN Send in the Flounce — page 36

DANA BONTRAGER

MEG HEALY

Hack It: Jackets — page 48

Pattern Play: Fancy Pants — page 24 burdastyle.com/profiles/megh/my_studio

DELPHINE COLBEAU Hack It: Sweatshirts — page 32

SOPHIE HINES Bra Basics, Part Three: Fit Adjustments — page 64

RAE CUMBIE Curve Appeal: Sleeves & SIlk — page 20

My personal sewing resolution for 2019 is to shape up some of my early wearable art jackets so they have a more contemporary fit. First on the list is the jacket featured in the "Make it Fit" Sew News article "Fitting a Square Armhole," in the October 2007 issue.

My sewing resolutions for 2019 are to make an underwear drawer that I’m excited about — you know how they say the cobbler’s children have no shoes! I want to design some more lingerie patterns that are interesting and fun, and I’d also love to make some awesome soft jammies!

fitforartpatterns.com

sophiehines.com alltheunderwear.sophiehines.com

Sophie Hines lingerie patterns

ABBY GLASSENBERG

ANA JANKOVIC

RACHEL ROBINSON

Common Thread: Stash Stigma — page 76

Sheer & Now — page 70

Hack It: Sweaters — page 40 Wool Wonderland Pillows — page 46 simplysewingstudio.com

I’ve just recently begun sewing clothes for myself. I’ve made a Rushcutter Dress from In The Folds and three Grainline Willow Tanks, and I’m looking forward to tackling some projects with knits in the coming months. My 2019 resolution is to have enough handmade garments to participate in #memademay for the very first time!

LINDA REYNOLDS Masterclass: Collars, Part 1 — page 72 simplysewingstudio.com

Sequin Season Bag — page 60

I tend to be supremely romantic about buying fabric, patterns, notions and other sewing tools from estate sales. I like the idea of finishing projects that the previous owner started but died before completing. I get sad at the idea that their relatives don't appreciate the beauty in these items. This, along with the relative low cost, has led me to having a fabric, pattern and notion stash that I could not possibly use in my lifetime. I resolve to suspend my emotions around the "new" and focus on using/appreciating what I have before obtaining more.

whileshenaps.com craftindustryalliance.org

Bianca Springer's sequin bag

y 2019!

Join Abby Glassenberg for #MeMadeMa 8

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BIANCA SPRINGER

D E C E M B E R 2 0 1 8 / J A N UA R Y 2 0 1 9

thanksimadethem.blogspot.com

Featured readers received a gift for submitting a tip. Send your tips to sewnews@sewnews.com or post them at facebook.com/sewnews.

2 Getty Images/A&Me

1. STICKY PICKUP Make your own lint roller using an empty toilet paper roll wrapped with sticky-side-up packaging tape to pick up threads on fabric yardage.

READER TIPS

Bonnie S., email 2. SLICK THREADING Instead of moistening the end of the thread before threading it through the needle eye, try moistening the backside of the needle instead. The thread is attracted to the moisture and glides right through.

Sue H., email 3. CRAFTY CARDS Save fabric scraps and use them to make holiday cards. Glue the scraps to card stock, and then stitch the perimeter. Fold the card in half and write a special greeting inside. Deborah R., letter 4. BOBBIN ORGANIZING If you have multiple sewing machine brands and types, store the bo obbins in a color-coordinated craft box to easily sort the correct bobbin by machine.

HIDE & SEEK

Kathlyn C., email

Play & Win!

Congratulations

What is it? Pictured at left is part of a photo from this issue. When you find it, enter online at sewnews.com or send a postcard with the page you found it on to Sew News, Hide & Seek, 741 Corporate Circle, Ste. A, Golden, CO 80401.

to the Oct/Nov ’18 Hide & Seek winners! We randomly selected five readers to receive an Ovo 150GT from Reliable.

Responses are due Dec. 31, 2018. From the correct responses, we’ll randomly draw five winners, one of which could be you.

Fern V., Tipton, IA

Meet the Ovo 150GT. It’s an iron. It’s a steamer. It’s both! But don’t be fooled by its charm. This portable powerhouse travels light and takes out wrinkles without taking up space. The Dec '18/Jan '19 winners WIN! will receive an Ovo 150GT. Retail Value: $49.00.

Mary Ann D., Schertz, TX Patricia B., Saint Louis, MO Beverly B., Green Bay, WI Mary W., Salem, OR

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STAFF PICKS 1. Show off your love for sewing with the ENAMEL SEWING PINS by Little Moo Designs. Ranging from elegant to nerdy, there’s a pin to appeal to any sewist. They also make great holiday gifts for anyone in your sewing circle and are the perfect size for tucking in a sewist’s stocking. etsy.com/shop/LittleMooDesigns1

2 2. Swoon over the divine NEPTUNE SILK MATKA FROM SILK BARON. Matka is a linen-like weave of raw silk which has a lovely texture and fantastic drape. This particular color is a cross-weave of black and aqua which creates a shimmering depth. It’s a great fabric for high-end casuals or even an elegant cocktail dress. silkbaron.com

3 3. Add a touch of elegance to your sewing room with KLASSE’S PREMIUM ROSE GOLD SCISSOR SET. The set includes the basic musthaves for sewing: a pair of 8½" shears with a rose gold handle and stainless steel blades, 3½" rose gold classic stork snips and a ¾" rose gold thimble. tacony.com

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4. The SEW ORGANIZED APP keeps track of all your sewing essentials, from fabric measurements and pattern selection to the final design process. Organize your fabric stash, browse a variety of design inspirations and maintain records of all your projects and their detailed information. Unlock even more features with an Image Plus subscription. The app is available for Apple and Android devices. Available on Google Play and App Store.

5 5. Check out the amazing necklaces from TWO CHARMING CHIX. Made from mixed media enclosed in resin and adorned with coordinating charms, the jewelry comes in a wide range of styles to suit many interests, holidays and seasons. Available on Facebook from Two Charming Chix.

6 6. Fast speeds and smart design make the JANOME HD9 PROFESSIONAL the perfect machine for sewing and quilting. You'll find everything you need to complete projects quickly and easily. With sewing speeds up to 1,600 stitches per minute, serious sewists can experience efficiency like never before. The side-loading bobbin allows for easy access and is industrial-sized, holding 1.4 times more thread than a standard bobbin. Tackle home dĂŠcor and leather crafts with beautiful seams and topstitching when using heavyweight threads on denim, canvas and leather. janome.com

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MEET THE MAKER Hi, I’m

SN: Describe your perfect day. BJJ: My perfect day would involve having a Netflix marathon on my couch and eating pizza... the whole day! I'd be sick the next day but it'd be totally worth it! SN: What’s the last hobby you picked up? BJJ: Fishing! My husband loves to fish, and we decided we'd teach each other a little bit of our favorite hobbies. I went fishing and loved it but he hasn't come to the sewing machine yet. SN: What’s your spirit animal? BJJ: A bear! And I say that because of my family. I literally turn into a mama bear over them. SN: What’s your best way to decompress? BJJ: Cleaning. When I get really stressed or overwhelmed, I reach for the cleaning supplies. By the time I'm done, I'm relaxed and my house smells really good. SN: Which talent would you most like to have? BJJ: Dancing! In my head I can dance, but in reality I'll probably break a hip if I attempt the moves I see Beyonce doing. SN: What do you consider your greatest extravagance? BJJ: My greatest extravagance is and will continue to be fabric. If I see it and love it, I’ll stretch the budget to get it. And then of course after I get it, I’ll be scared to cut it because I spent so much on it.

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SN: What is your must-have tool in the studio? BJJ: My must-have tool in my studio is my HUSQVARNA VIKING Epic 980Q sewing machine. I absolutely love my machine, and I’m constantly amazed at all it can do. SN: What is your favorite fabric to work with? BJJ: Linen! I don’t care about the wrinkles – I love it. Liverpool Knit is my second favorite.

My greatest extravagance is and will continue to beÂ fabric. If I see it and love it, Iâ&#x20AC;&#x2122;ll stretch the budget to get it.

SN: Where do you find inspiration? BJJ: Social media.I love seeing what my fellow makers are creating. It's so inspiring. I also get inspiration from PInterest, magazines and pattern envelopes. SN: If you were a sewing superhero, what would your name be? BJJ: Totally just made this up, but I'm going to say Stitcher Girl. SN: Who is your dream client and what would you want to create for them? BJJ: I honestly don't have a dream client. I'm just enjoying sewing and creating for myself (and family) right now. SN: What is your motto? BJJ: Trust God and keep smiling!

BRITTANY J JONES is a wife, mom of four, sewing blogger and a Husqvarna Viking Ambassador. She shares her love of sewing through her blog and YouTube channel creating videos to help other makers sew commercial patterns. You can learn more about Brittany at brittanyjjones.com or @brittanyjjones.

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BASIC SKILLS

SEAM SECRETS Professional-looking seams are flat and bulkfree. Straight seams should be perpendicular to the floor and curved seams should be smooth. Learn how to properly trim, grade, clip and notch seams after stitching and pressing for professional results every time.

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D E C E M B E R 2 0 1 8 / J A N UA R Y 2 0 1 9

TRIM SEAM ALLOWANCES Seam allowances are usually trimmed if they interfere with the garment fit, such as along an armscye or crotch seam.

Trim straight seams that are pressed open in order to reduce bulk inside the garment. Trim both seam allowances together when working with lightweight fabric (1). Trim each seam allowance independently when working with heavyweight fabrics to ensure ease and accuracy. Trim seam allowances to 1⁄4" when working with tightly woven fabric and 3⁄8" when working with loosely woven fabric. Trim intersecting seam allowances. Trim each seam upper point to reduce bulk (2).

Trim points, such as those on collars, to reduce bulk for a smooth and flat seam on the fabric right side. Trim points diagonally close to the stitching line and taper the sides downward from the point (3).

GRADE SEAMS The term “grading” has a similar meaning to the word used in landscaping. If a hillside is graded, it’s smoothed with a gradual slope so there aren’t any ridges or sharp drop-offs. The concept is the same for enclosed seams, such as those on collars, lapels, facings, armscyes and cuffs. For example, the seam allowance on a collar creates a sharp change in thickness, making the edges heavier than the collar itself and resulting in a visible ridge on the fabric right side, especially when working with thick and bulky fabrics. Trimming the seam allowances to different widths, known as “grading the seam,” slopes them toward the garment, reducing the bulk and creating a smooth, flat appearance on the garment right side. Trim both seam allowances to 3⁄8". Trim the seam allowance closest to the body another 1⁄8".

For seams that have more than two layers, such as interfacing, underlining or lining, slightly trim the seam allowance closest to the garment right side, and then trim each seam allowance slightly narrower than the previous (4).

CLIP INNER CURVES Inner or concave curves, such as armscyes, necklines and curved pocket openings, must be clipped to produce a smooth curve on the fabric right side. Clipping into seam allowances allows the fabric to spread out and lay flat. Clip into the seam allowance up to, but not through, the stitching line. Repeat to clip the remaining seam allowance, spacing the clips 1⁄2" apart (5). Or space clips 1⁄4" apart for very tight curves.

If the fabric ripples when turned right side out, there aren’t enough clips or the clips aren’t cut close enough to the stitching line. For more control when clipping, clip each seam allowance independently. Stagger the clips on each seam allowance to create a smooth appearance on the fabric right side.

NOTCH OUTER CURVES Outer or convex curves, such as rounded collars or curved hems, have too much seam allowance fabric for the curved area, resulting in a bunched and uneven edge. Notching the seam allowances removes some of the seam allowance fabric, creating a smooth curve on the fabric right side. S E W N E W S.CO M

Cut small triangles, or notches, from the seam allowance up to, but not through, the stitching line, spacing each notch 1⁄2" apart (6).

If the curve has sharp points when turned right side out, there aren’t enough notches or the notches aren’t cut close enough to the stitching line. Press open the seam and turn the fabric right side out, using a point turner to smooth the edge from the fabric wrong side.

PRINCESS SEAMS

SNIP TIPS Scissors are the most important tool for trimming, grading, clipping or notching. Follow these guidelines for perfect results: • Use small 4"- to 5"-long trimming scissors with sharp points that are aligned to cut all the way to the tips for the most control and accuracy. • Prevent clipping through the stitching line by placing the scissor tips where you want the clip to end. • When clipping loosely woven fabric, end the clip 1 ⁄8" from the stitching line.

Make your own pressing ham with the Pressing Matters sewing pattern, available at shopsewitall.com.

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A princess-style bodice has three pieces; a center panel and two side panels. The panel seams are called princess seams and each panel has either an outer or inner curve that shapes the fabric over the bust. Princess seams replace darts and require clipping and notching for a smooth seam on the fabric right side.

Staystitch within the seam allowance on each panel edge. Clip the center-panel inner curve up to, but not through, the staystitching line. With right sides together, pin the center panel to one side panel, spreading the center-panel innercurved edge to fit the side-panel outer-curved edge (7). Stitch using a 2mm to 2.5mm stitch length. Cut notches into the side-panel outer-curve seam allowance up to, but not through, the staystitching line (8). Press open the seam using a pressing ham and the iron tip.

D E C E M B E R 2 0 1 8 / J A N UA R Y 2 0 1 9

SERGER SCHOOL BROUGHT TO YOU BY JANOME OF AMERICA

A serger isn’t just for finishing raw edges. Learn about useful feet that take your sewing to the next level and help you take full advantage of everything your serger can do.

FEET FUNDAMENTALS 1. BLIND HEM FOOT Use a blind hem foot to create an invisible hem on a garment or home-décor project. Fold the fabric toward the wrong side to the desired hem width. Create a second fold (or “S” fold) by bringing the folded hem up toward the right side of the fabric, leaving 1⁄2" of the raw edge exposed. Position the fabric wrong side up beneath the foot. Select a 2- or 3-thread narrow hem stitch on the machine. Slowly lower the needle into the fabric to check the needle placement. The left needle should barely graze the hem, catching one or two fibers. The foot-edge guide should be flush with the fabric fold. With the knife blade up, serge the hem, making sure to only cut off the fabric raw edge, catching the fold within the stitching. Press open the seam. S E W N E W S.CO M

2. ELASTIC FOOT Easily stitch elastic to a fabric edge using an elastic foot. Adjust the pressure on the elastic as you stitch to create the desired amount of ruffles. The foot also slightly stretches the elastic as you stitch, preventing pulling and tugging on the needles. Select a 3- or 4-thread overlock stitch on the machine. Adjust the foot tension by turning the dial at the foot toe. Tightening the screw adds pressure, causing the elastic to stretch more, increasing the gathering. Insert the elastic into the guide on the foot so that the elastic right-side edge aligns with the guide. Turn the guide knob so it abuts the elastic left-side edge. Carefully turn the hand wheel toward you to take a few stitches. Once the elastic and fabric are feeding smoothly, stitch at medium speed.

3. PIPING/CORDING FOOT Insert a professional-looking piped edge into a garment or accessory quickly and easily using the piping/cording foot. Note that for some makes and models, there are multiple feet in this category, available in different sizes to accommodate a variety of piping and cording diameters. Select a 3mm-long 3-thread overlock stitch. Sandwich the piping tape between two fabric pieces with right sides together, aligning the raw edges. Position the fabric sandwich under the presser foot, aligning the piping within the foot groove. Stitch, and then turn the fabric to the right side; press. Or stitch piping to the center of fabric by disengaging the knife and selecting a chain stitch.

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4. BEADING FOOT Use the beading foot to attach a strand of beads directly to fabric to create a decorative hemline or an easy embellishment. The stitch selection varies according to machine brand. Check with the machine manual and foot instructions to select the proper stitch type. Pull the string of beads along the foot guide toward the back. Extend the bead string at least 1cm past the fabric edge to ensure the machine catches both the beads and fabric. The stitch length should be the size of the bead diameter. For example, if using 3mm beads, select a 3mm stitch length. Some machines recommend folding the fabric with wrong sides together and aligning the beads along the folded edge before stitching. Position the folded edge along the foot edge; stitch. With this method, the raw edge wonâ&#x20AC;&#x2122;t be finished. Or keep the serger knife in the up position while stitching a 3-thread rolled hem to ensure that the edge is finished simultaneously as the beads are stitched.

5. GATHERING FOOT The gathering foot finishes a seam and attaches a ruffle inÂ one step. For best results, use lightweight fabric, such as cotton. Heavyweight fabric, such as denim, produces fewer ruffles. Cut the fabric to be gathered (lower fabric) longer than the upper fabric (2:1 ratio). Select a 4-thread overlock stitch on the machine. Raise the presser foot. Position the lower fabric under the foot just below the needle. Position the upper fabric between the guide over the lower fabric. Lower the presser foot. Slowly turn the hand wheel toward you to stitch the first three or four stitches to help the machine catch the fabric without jamming; stitch. While stitching, hold one fabric in each hand to evenly guide it through the machine. Donâ&#x20AC;&#x2122;t apply pressure to the lower fabric, as this prevents gathers from forming. Hold the upper fabric taut. Adjust the gather size by changing the stitch length between 2mm and 5mm. Remove the fabric from the machine; press open the seam. SOURCE Janome of America provided serger feet and the AT 2000D serger: janome.com. S E W N E W S.CO M

CURVE APPEAL BY RAE CUMBIE

SLEEVES & SILK

Getty Images/Westend61

Shape up your handmades with fitting tips for high-end holiday fabrics, raglan-style tops and a silk pants revamp.

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How can I update an old pair of silk pants for the holidays? They’re made with lovely fabric and fit in the waist and hips but have unfashionably shapeless legs. Here are two different ideas for giving your old silk pants a new lift:

• For a tapered or narrow leg, turn the pants wrong side out and release the hem to narrow the leg successfully. If you have a narrow pair of pants you like in a similar fabric, lay them over the shapeless pants and use chalk to draw on the new seamline. Or, have a friend pin in the pants legs so they’re a more fashionable shape. The reductions should come off the inseam and side seam evenly below the knee. Baste in the new seams and try on the pants. Be sure to walk and sit in them to test the fit. Adjust if necessary for comfort and a smooth silhouette. Once you’ve permanently adjusted the pant legs, re-hem the pants. The hem will probably require a reverse taper (3). Add a detail by creating a small slit in the side seam hemline or insert a decorative zipper at each ankle for a very tight leg.

Getty Images/Iuliia Isaieva

• If you’re drawn to wide-leg pants, add a full layer or two of chiffon over the silk pants to dress them up; see "Fancy Pants," page 24. Choose a pattern for wide pants with a fuller leg than the old pants. Lay the pattern on the existing pants or take some measurements to compare the crotch curve and the crotch length (1). Adjust the new pattern if necessary to reflect the shape of the original pants. Cut and construct the chiffon layers. Instead of sewing in darts, gather the waist of the chiffon into the waist of the pants, or put an easy elastic waistband on the chiffon pants and simply pull them on over the outdated pants. Use a tiny machine hem or decorative lace to finish the pant legs (2).

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My raglan sleeves never fit right. How do you adjust these sleeves for a smooth look? There are many points to evaluate when fitting a raglan sleeve. Because the sleeve forms a section of the front and back, neckline and shoulders, it’s necessary to consider all these elements in addition to the actual fit of the sleeve itself. That means there are lots of possible adjustments, but the good news is there are also a lot of seams where you can nuance the fit (4). If you’re having trouble fitting the sleeve and it doesn’t have a seam from the shoulder to the hem, consider adding one so you’re better able to adjust the sleeve and shoulder (5). Make a mock up or work on the ill-fitting garment. Follow these guidelines to begin the assessment: • Does the shoulder seam or dart sit at the center of the neck and point smoothly to the shoulder point? Decide if this is a simple shoulder realignment, or if the top is being pulled to the front or back because it’s too tight in the body (6). • Is their visible strain anywhere? The draglines or puckering fabric can guide you to the fitting problem. Perhaps you need extra room for a full or rounded upperback (7) or more room for the bust (8). • Does the front and back sleeve seam align with the fold of the arm? Remember there must be some ease for movement, especially when working with a woven fabric. Release the raglan sleeve armholes to adjust the armhole placement (9). • Does the sleeve fit smoothly down the arm and allow for easy movement? A two-piece sleeve allows you to adjust the sleeve front or back anywhere it’s tight, at the shoulder point, upper arm, elbow or hem (10).

BurdaStyle #114A 10/2016

Shoulder

Back neck Front neck Back

Upper arm Bust

Back armhole

Front armhole Elbow

5 Step 2

Step 1

• Is there extra fabric in the front armhole above the bust to pin out into a dart? It’s easy to extend the adjustments into the sleeve if necessary (11). • Does the neck lay flat against the body? Do you need to pinch out a dart along the neckline or dart the upper back? In the front, move the excess into a bust dart or adjust in the raglan sleeve seam. In the back, small darts aren’t an unusual modification if they provide a smooth neckline fit (12). Release seams that are stressed, and then put the top back on to see what needs attention. Shift the seams so they sit smoothly on the body. Add additional fabric where the mockup was slashed to achieve a smooth fit. Transfer all the changes to the paper pattern so the improved fit is readily available the next time you stitch the raglan sleeve top. 22

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Back

Front

Blue = move shoulder back Orange = move shoulder forward

Back

Front

Back

Front fold

Fold line

Back sleeve

Release seam on Body and add to Front.

Center front fold

Blue = add to front

Blue = additions

10 Add to sleeve

My stash includes a drapey silk print and a crisp metallic brocade. Iâ&#x20AC;&#x2122;d like to stitch both into tops or jackets for the holidays. Are there fit considerations when working with these diverse fabrics?

Reduce sleeve

either or Blue = addition Orange = reduction

Front fold

Good fit for most styles and fabrics includes a neat shoulder line and enough shaping for the garment to comfortably move over your unique curves. Fit is also affected by combinations of style and fabric. Successful jackets in drapey fabrics usually drop from the shoulder line with an easy swing. Avoid heavily seamed or close-fitting styles. Use the fabric in a single layer or with a simple soft lining so the garment moves effortlessly. Lining fabrics or very soft polyester, rayon or cotton are great mock-up fabrics.

Orange = reduce Blue = slash and spread

Reduce in sleeve seam

Center fold

Reduce in neckline

Center fold

Step 1

Step 2

either or

Center fold

Reduce in neckline.

Reduce in sleeve seam.

Metallic brocade, on the other hand, has no drape and needs to be fit close to the body. These fabrics can be tailored into fitted blazers, jean-style jackets or bombers for stylish holiday looks. Choose styles with a neat fit or the garment will be overwhelming. Make your mockup in crisp heavy muslin, bottomweight fabric or a home dĂŠcor remnant to mimic the brocade fabric. If you want to wear your jackets with the same skirt, dress or pair of pants, pick longer length styles for narrow or tight under-layers and shorter tops for full or swingy under-layers.

Getty Images/Jean-Claude Marlaud; Getty Images/billnoll

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PATTERN PLAY

FANCY PANTS BY MEG HEALY

Add a sheer overlay to a basic pants pattern to create a fun layered look perfect for the office or a night out on the town, or choose a flashier overlay for a dress-up-only look.

GET 20% OFF THE FEATURED PATTERN! ENTER COUPON CODE PANTS20 AT CHECKOUT.

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D E C E M B E R 2 0 1 8 / J A N UA R Y 2 0 1 9

BurdaStyle #113A 08/2017

From Left: Marcus Ton do/indigital.tv; Kim We ston Arnold/indigital.tv

A MESSAGE FROM MEG, ONLINE EDITOR FOR BURDASTYLE Pants can be dressy and worn to special occasions. I spotted a ton of wide-leg overlay pant silhouettes on the fall 2018 couture runway. I couldn’t help thinking it would be easy to recreate some using a basic pant pattern. All you need is a solid fabric for the base pant and lightweight sheer fabric with or without appliqués, glitter or even embossed motifs for the overlay.

Skill level: Intermediate

SUPPLIES • Slim-fitting pants pattern (such as BurdaStyle #113A 08/2017) • 2 yards of 55"-wide opaque fabric • 3 yards of 55"-wide chiffon • Woven fusible interfacing • All-purpose thread • 9"-long invisible zipper • Rulers: clear gridded & curved • Pattern or tracing paper • Removable fabric marker

PREPARE If using a digital pattern, print, tile and tape the pattern pieces together. If using the featured BurdaStyle pattern, prepare all the pattern pieces. Measure the waist and hip circumferences and note which size corresponds with both of these measurements. If the measurements indicate different sizes, blend a line using a straight or curved ruler to create a custom size line. Use the

pattern upper edge and the curved upper side-seam area as the waistline reference, and indicate where the side seam becomes straight near the crotch-point level as the hipline.

ALTER Note: This process involves drafting both the under and over layers on the same pattern piece, then tracing them separately. Consider using different color marking tools to differentiate the two patterns. Tape extra paper to the sides and lower edge of the pants-front pattern. Mark 3" out from the side seam at the hem. Connect the side-seam hip at the zipper notch to the mark with a straight line (1). This is the overlay side seam.

Lower and lengthen the crotch point 1⁄2" and blend into the size line using a curved ruler (2). Use this point for the overlay and the original pattern for the base pants. Draw a line straight down from the new crotch point to create the front overlay inseam.

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Narrow the inner pants slightly by marking 1⁄2" in at the hemline at each side and blending back into the side and inseam at knee level (3). Draw the overlay hemline about 5" below the original pants hemline and parallel to the curve. Repeat to alter the back pant pattern in the same manner. Be sure to use the same reference measurements to create the overlay width for an even draft. Place tracing paper over the pattern and trace along the inner pant lines only. If using a BurdaStyle pattern, add the desired seam and hem allowances. Place a new sheet of tracing paper over the pattern and trace along the overlay pant lines only. If using a BurdaStyle pattern, add the desired seam and hem allowances. If using the featured BurdaStyle pattern, add seam allowances around the waistband edges. Note: Piece 4 indicates to cut on the fold for a side-seam zipper; instead, add seam allowance to this edge to accommodate a center-back invisible zipper.

CUT From the opaque fabric, cut two base-pants fronts, two base-pants backs, two front waistbands on the fold and four back waistbands. From the chiffon, cut two overlay fronts and two overlay backs. From the interfacing, cut one waistband front on the fold and two waistband backs. Transfer all pattern markings to the base-pants fabric. Clip into the chiffon dart legs in the seam allowance. Fuse the interfacing to one set of corresponding waistband pieces following the manufacturer’s instructions.

CONSTRUCT

Align the overlay front pieces with right sides together along the crotch seam; stitch. Finish the seam allowances as one. Bring the chiffon dart leg clippings together to create small pleats; baste. Finish each front overlay side-seam edge, back side-seam edge and crotch edge. Pin the side seams with right sides together; stitch and press open.

Pin and stitch the darts on the front and back base pants. Align the inner fronts with right sides together and stitch the crotch seams from waistline to crotch point. Serge-, zigzag- or pink-finish the seam allowances.

Stitch the side seams of the inner and outer waistbands. Press open the seam allowances.

½" ½"

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Finish each back crotch edge in preparation for the overlay and zipper.

Place the overlay over the base pants with both right sides in the same direction and aligning the waistlines. Baste the upper edge.

Finish the side seams. Align the fronts over the backs with right sides together; stitch the side seams and press open.

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TIP: Use French seams on the chiffon pieces for a flawless couture finish.

Align the inner and outer waistbands with right sides together, matching side seams; stitch the upper edge. Turn right side out; press. Pin the waistband to the pants upper edge from center back to center back, ensuring the side seams are aligned. Stitch, and then finish all seam allowances as one; press down. Baste the center-back crotch seams of the base and overlay pants together to the base of the curve. Below this point, pin the crotch seams of the base and overlay pant pieces separately and stitch from crotch point to the zipper stop. Pin the inseam of the overlay pants, matching the crotch points. Stitch and finish the allowances as one. Repeat to stitch the base pants inseam. Turn right side out. Install the invisible zipper into the open center-back seam following the manufacturerâ&#x20AC;&#x2122;s instructions. Match the waistband upper edge with the zipper stop and stitch down to the base of the curve. Close any remaining gaps between the zipper lower edge and where the crotch seams were sewn together. Hand tack the overhanging zipper tape at the waistline to the pants wrong side. Finish the hems of the inner and overlay pants. SOURCE BurdaStyle provided the #113A 08/2017 pants pattern: burdastyle.com.

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CLOTHES MINDED

Getty Images/Oleh_photographer

WITH MEMBERS OF THE ONLINE SEWING COMMUNITY

wardrobe

RESOLUTIONS We hope youâ&#x20AC;&#x2122;ve enjoyed this column and been inspired by our amazing guest columnists in 2018, from bloggers to pattern designers to sewing community leaders. If this column has helped you to ponder your wardrobe and your sewing plans, or at least consider them more carefully, then goal achieved. Here we examine how wardrobe planning works for the home sewist.

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AMANDA CARESTIO SEW NEWS SENIOR EDITOR • @SEAMSANDSTONE My favorite thing about sewing and wardrobe planning is that it’s an evolving process and definitely not an exact science. I prefer to plan things by season and by month, and then give myself room to deviate if inspiration strikes. Planning by season, while a bit lofty, helps ensure things coordinate and make the most of my (growing!) stash. I tend to make larger fabric purchases twice a year (for my birthday and Christmas) for the upcoming season and leave room for a (hopefully) small amount of impulse purchases in between – that doesn’t always work, friends! New this year, I’ve used sketching to solidify my plans and stay focused. My process is mostly successful: I’ve gotten so much better at sewing things I love and wear, and that work with the other pieces in my wardrobe. I also tend to stay pretty focused: I’m not as tempted by new patterns and new fabrics as I used to be. I’m pretty practical with my makes — perhaps a bit too practical! At this point, I probably have enough basics. In the New Year, I hope to venture off and explore more interesting pieces inspired by RTW and more involved pieces to help grow my skills.

I prefer to plan things by season and by month, and then give myself room to deviate if inspiration strikes. JILL CASE SEW NEWS WEB PRODUCER @DENVERSEWINGCOLLECTIVE In the past, I haven't had much of a planning process for the upcoming season. I usually let the pattern companies and Instagram dictate what I sewed. This “process” usually results in me spending lots of money on patterns I don't use and fabric that gets lumped in with last year’s selections. Now, I have more of a plan. I begin by making a list of items that I need by going through my closet and being realistic. No more notions of ball gowns, full-length sequined maxis and brocade jackets. I was inspired by Rachel from House of Pinheiro. She really has a plan and looks at her sewing projects with much more organization. I think I can employ and tweak her ideas to suit my lifestyle. I prefer planning by two seasons at a time. Twice a year, I pull out my next seasons clothing and edit what I didn't wear, what doesn't fit, etc. Next I plan my sewing for the upcoming seasons. I go through my patterns and use what I have if possible. This year will be the first full year that I’ve tried this, so fingers crossed! But, probably the biggest and most helpful thing I can do is to stay off social media to avoid a lot of impulse buying of fabric and patterns. However, I do follow fashion trends closely. I add in these trends for my upcoming seasonal sewing. As for fabric, that's a tricky one. I tend to buy fabrics that are a match for my coloring and the season. I tend to purchase fabric when I'm ready to sew whatever garment. I really want to use my stash for 2019 and try to stay away from fabric stores. Wish me luck!

tes. Try organizing your fabric by seasonal color palet

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ESTHER SCHOTT @ESTJUNE I plan my sewing seasonally, at the beginning of fall/winter and spring/summer. I pull out fabrics in my stash, drape them on my body in front of a mirror, hold them next to each other to find a cohesive color palette and a variety of fabrics I'd like to sew that season. I try to end up with nine to ten pieces of fabric, and I usually have rough plans of what pattern I could use with each fabric. By starting with fabrics instead of patterns, I leave myself the flexibility to change my mind on which pattern I'll use. This flexibility helps me to keep excited about my sewing queue, and I know that at the end, a couple of favorite stash fabrics will end up in my wardrobe. For 2019, I have some big plans (jeans! a fitted jacket!) but mostly I'm excited for the random, queue-jumping projects!

Pull cohesive fabrics for a wardrobe that coordinat es.

ERIN HEGEL

HEATHER GIBSON

@STITCHCASSIDY My sewing planning process has evolved along with my perspective on why I sew. When I first started sewing, it was purely for fun and to produce gifts. Fast forward four years and those things still hold true, but my drive, with relation to sewing for myself, has become more about cultivating a small, very functional and highly curated wardrobe instead of just trying everything that comes at me. I want to use the best (i.e. quality and sustainable) materials I can afford and the most durable sewing construction techniques. I view the time I spend educating myself and practicing new sewing techniques, such as hand sewing or boro/ sashiko stitching, as part of my planning process even if it doesn’t produce a wearable garment.

@HEATHERANDTHEPUGS I’m a terrible planner in life in general, not to mention with my sewing. I’d like to tell you that I am super organized and that I find inspiration photos and pin them to a Pinterest board and then match those with patterns and fabric, but that’s just not the case. Usually, I have something in mind, like a hole in my wardrobe, i.e., that I need more T-shirts. Then I look through my pattern stash to see what fits the bill. Usually I choose a pattern, and then I search its hashtag on Instagram to make sure that I like the pattern on real bodies. I then check my fabric stash to find something that will work for it. I have a fairly large fabric stash, so I can usually find a fabric that works with my chosen pattern, but if for some reason I don’t, I go online to find the right fabric. Sometimes I see a pattern on Instagram and then add that to my sewing queue. I occasionally make a list of patterns I want to sew, but I’m pretty terrible at following it as I’m easily distracted. I’ve seen a number of sewists make lists by month of garments/projects they’d like to sew in any given month, and I think for 2019 that would be something I would like to try. That would help me to stay on track and also help curb my enormous spending habits.

My sewing planning process is either completely reactionary or lengthy and punctuated by small bouts of intense sewing. For my daughter, I do a good deal of responsive sewing to her needs or for the instant gratification of producing a gift. For myself, I enjoy the planning and cultivating almost as much as the sewing. I do impulsively (or compulsively) purchase fabric and patterns, but when it comes to sewing a garment for myself, I spend a good deal of time researching and testing. One reason for this is that I tend to be at the top end of most patterns sizes and also because I usually need to do an FBA, which, depending on the pattern, can be both tricky and completely change the line of the garment.

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JAYA GRISCOM @JAYA.GRISCOM My sewing projects are usually motivated by wanting to test a new design idea or fill a hole in my wardrobe. I typically draft my own patterns but sometimes hack commercial patterns to fit my needs. To plan each project, I begin by sketching out my design on a croquis and drawing flats to work out any necessary pattern manipulations. Once I complete the design and pattern work, I search my stash to find suitable fabrics. I only let myself purchase new fashion fabric if I truly don’t have anything that will work for my garment (I just purchased fabric to make my first ever swimsuit because I didn’t have any nylon tricot!). While I plan each piece individually, I do consider how every garment will fit into my wardrobe and try to optimize its functionality. Currently I need more pants, so jeans are my main focus as the weather gets cooler. I also plan to make a lined raincoat for the New Year. Overall, I hope to plan my projects further out in 2019. I have a tendency to want to sew for the current weather, but my New Year’s resolution is to finish each garment before its intended season, so I can maximize how much wear I get from my makes.

Sketch your design ideas first, then search your stash for suitable fabrics.

NATASHA HENRY @THETELLTALETASHA My planning either starts one of two ways. If I'm sewing for an actual event, I always start by finding the appropriate pattern/design. Once I narrow it down to a few options, I go through my fabric and find coordinating textiles. Then I go through those fabrics to find enough yardage for the designs. If I just want to sew something, I start with the fabric. I consider the season first and then pull out fabric that matches how I'm feeling at the moment. Once I choose a few different fabrics, I start looking for patterns to go with them, then narrow it down by fabric requirements. I’m working toward a balanced me-made wardrobe but I’m noticing that I really miss sewing fun statement pieces that I don’t get to wear often. I also regret it when something special comes up, and I don't have something me-made to wear for it. I usually sew piece by piece. I hate to start something new without finishing what I’m already working on. Although, I do batch-cut everything I want to work on at one time so I don't have to keep stopping to cut the next project. Cutting patterns and fabric is my least favorite part of the entire process. Batch-cutting forces me to narrow down my plans and to stay focused on what I decided I was going to sew.

Shrinking my pattern stash is sure to make the planning process so much quicker.

A goal I have for the New Year is to decrease my pattern stash so it’s easier to plan projects for my style. When I first started sewing, I bought so many patterns because I liked them on the envelope and I wasn't sure about the clothes that made me feel like me. Now, after a lot of trial and error with making garments, I'm starting to realize what I feel good in and alternatively what I don't like wearing at all. Shrinking my pattern stash is sure to make the planning process so much quicker. S E W N E W S.CO M

hack it: SWEATSHIRTS BY DELPHINE COLBEAU

Linden Sweatshirt, Grainline Studio

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Create an upscale, embellished sweatshirt and celebrate the holidays without compromising on comfort. Paired with a dressy skirt or slacks, these blouses fit the bill for festive occasions.

JUST BEAD IT Skill level: Beginner

SUPPLIES • Sweatshirt pattern with a relaxed fit (such as Grainline Studio Linden Sweatshirt) • Sweatshirt knit fabric (amount according to pattern envelope) • Ribbing (amount according to pattern envelope; optional) • Thread: matching, all-purpose & contrasting (for the quilting) • Hand sewing needle • Removable fabric marker • Ruler • Pearl beads (30 to 40)

CONSTRUCT After cutting the pattern pieces according to the pattern instructions, use the removable fabric marker to draw a grid of diagonal quilting lines on the sweatshirt front. On the finished sample at right, the quilting lines are spaced 2" apart. Stitch along each drawn line, using a straight stitch in a medium length and tension. Assemble the sweatshirt according to the pattern instructions. Hand sew the pearls at each intersection of the quilting lines. S E W N E W S.CO M

CHARMED Skill level: Beginner

SUPPLIES • Sweatshirt pattern with a relaxed fit (such as Grainline Studio Linden Sweatshirt) or readymade sweatshirt • Sweatshirt knit fabric (amount according to pattern envelope) • Ribbing (amount according to pattern envelope; optional) • Thread: matching & all-purpose • Hand sewing needle • Removable fabric marker • Charms (16 to 20 total)

CONSTRUCT Purchase or construct a sweatshirt, following the pattern instructions. If using earrings, carefully disassemble the earrings using pliers to open the jump rings. Measure and mark charm placement evenly on the sweatshirt front. On the featured sample, the charms are placed 3” apart, in four rows. Hand sew the charms in place at each placement mark, passing the needle and thread through the top charm ring to secure.

TIP: Use purchased charms, deconstruct inexpensive earrings or repurpose earrings that are missing a mate. Look for drop dangle earrings with a ring component joined by jump rings to an earwire or a hook.

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D E C E M B E R 2 0 1 8 / J A N UA R Y 2 0 1 9

LACE LOVE Skill level: Beginner

SUPPLIES • Sweatshirt pattern with a relaxed fit (such as Grainline Studio Linden Sweatshirt) or readymade sweatshirt • Sweatshirt knit fabric (amount according to pattern envelope) • Ribbing (amount according to pattern envelope; optional) • Thread: matching (knit fabric & lace), all-purpose • Guipure lace (remnants or 1⁄4 yard)

PREPARE Purchase or construct a sweatshirt, following the pattern instructions. Identify a pattern in the guipure lace that can fit half of the area you intend to cover. Cut around the patterned area, leaving at least 2" of extra material around the identified shape. Pin the lace on one half of the finished garment, shaping it as needed using pins. With the lace pinned, cut away the extra material away around the final lace pattern. Unpin the lace and use it as a template to cut a symmetrical pattern for the other side of the garment. Pin both lace pieces on the sweatshirt in their final positions, ensuring they are placed symmetrically. Hand sew the lace in place with matching thread, catching only a few fibers with each stitch so the stitching is invisible on the right side.

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send in the

FLOUNCE BY STEPHANIE BRACELIN

Learn a few simple alterations to turn a pencil skirt pattern into an asymmetrical flounced skirt that’s perfect to wear for holiday occasions. Plus discover an easy way to finish curved hems without the fuss.

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McCall’s 3830 (modified)

RUFFLE TIME

Skill level: Intermediate

SUPPLIES • Basic pencil skirt pattern with a center-back zipper (such as McCall’s 3830) • Woven fabric (amount according to pattern envelope plus 1 yard) • 11⁄4 yard of lining fabric • Zipper (length according to the pattern envelope) • Pattern or tracing paper • Clear tape • Rulers: clear straight-edge and curved • All-purpose thread

PREPARE Before making any modifications, trace all pattern pieces required for the selected pattern. Make a muslin sample according to your measurements and make any fit adjustments to the pattern. Trace the front pattern onto pattern paper, flipping at the center front to create a full-front pattern. Transfer all markings, including center front.

Trace the back pattern, then flip and trace the reverse pattern. Transfer all markings and draw a line down the center back of both pieces along the seam line. Fold both back pieces along the center-back seam, then tape them together at center back.

Getty Images/Victor Cha vez; Getty Images/Est rop

The ruffle trend is still going strong, and this skirt style, which has been seen on runways and red carpets, is a great way to get into that trend without going overboard. Created from a basic pencil skirt pattern, it’s a quick and easy hack — and it’s actually a flounce, so no gathering required! The lining is uncomplicated to install and finishes the curved hem in a snap, leaving a clean interior for twirling. Easily make the ruffle bigger, smaller, longer or shorter depending on your style. Sew it up in a fun metallic print for a glam look or go more traditional for a striking contrast of styles.

ALTER Note: “Right” and “left” on the pattern pieces refer to the sides of the body when wearing the skirt. Consider marking R and L on the appropriate hips on each pattern piece before beginning. On both the front and back patterns, measure 2" from the upper edge along the right side seam; mark. Measure 18" from the upper edge along the left side seam; mark. Draw a straight line connecting the two marks (1). Cut the lower skirts from the upper skirts. Set the lower skirts aside.

On the front right dart, draw a straight line down from the dart point, if the point was not cut off (2). Cut open the dart and along the line. Close the dart (3). If a point is created at the lower edge, add paper and true the line.

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CUT TIP: The skirt-back patterns will look like mirror images of the skirt-front patterns.

From the main fabric, cut two ruffles (either a front and back or two fronts), one upper front, one right upper back, one left upper back and the waist per the original pattern.

Repeat to close the right-back dart. Add a 5⁄8" seam allowance to the upper front-skirt lower edge. Separate the right and left back pieces, then add a 5⁄8" seam allowance to each lower edge (4). Set aside the upper skirt pieces. Place the front lower skirt over a piece of pattern or tracing paper; secure with tape. Extend the left side seam down 15" from the original 18" mark. Extend the right side seam at the 2" mark, following the angle where the mark sits. Extend in a straight line measuring 15", transferring any notches. Connect the two marks with a straight line (5). Cut out the piece and designate as the front ruffle. Compare the lower skirt front to the lower skirt back; if they’re the same, move forward with one piece only. If they aren’t the same, repeat the steps above to draft a back ruffle. Mark 16 approximately equal sections vertically along the lower skirt, with eight on each side of the center front (6). Cut along each line from the lower edge, ending about 1⁄8" from the upper edge. Place the cut piece over a piece of pattern paper. Spread out the sections as desired; secure using tape. The larger the spread, the more volume the final flounce will have. Add a 5⁄8" seam allowance to the upper edge and smooth out the hem (7). Mark the center front. If necessary, repeat to slash and spread the back ruffle.

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From the lining, cut two ruffles (either a front and back or two fronts). R

TIP: Learn more about grading seams in “Basic Skills” on page 14.

CONSTRUCT Stitch the left darts on the front and back according to the pattern instructions.

5 Insert the zipper along the centerback seam of the two upper skirt backs following the manufacturer’s instructions, ending the zipper at least 1" above the lower edge. Stitch below the zipper to complete the upperback center-back seam. Attach the upper skirt to the ruffle on both the front and back, pinning the zipper out of the way on the back. Clip the curves and press the seam allowance toward the ruffle.

Align the front and the back at the side seams, stitch and press open the seams. Align the side seams on the lining ruffle, stitch and press open the seams. To attach the ruffle lining to the skirt at the hem, pin with right sides together; stitch. Grade and clip the curved seam allowance. Understitch the lining and press, turning the lining to the skirt inside. Turn under the ruffle lining upper edge and stitch to the seam allowance by hand or stitching in the ditch. Finish the waist according to the pattern instructions.

D E C E M B E R 2 0 1 8 / J A N UA R Y 2 0 1 9

STATEMENT OF OWNERSHIP, MANAGEMENT AND CIRCULATION (required by Act of August 12, 1970: Section 3685, Title 39, United States Code). 1. Sew News. 2. (ISSN: 0273-8120). 3. Filing date: 10/1/17. 4. Issue frequency: Bi-Monthly. 5. Number of issues published annually: 6. 6. The annual subscription price is $23.98. 7. Complete mailing address of known office of publication: F+W Media, Inc., 741 Corporate Circle, Suite A, Golden, CO 80401. Contact person: Kolin Rankin. 8. Complete mailing address of headquarters or general business office of publisher: F+W Media, Inc., 741 Corporate Circle, Suite A, Golden, CO 80401. 9. Full names and complete mailing addresses of publisher, editor, and managing editor. Publisher, John Bolton, F+W Media, Inc., 741 Corporate Circle, Suite A, Golden, CO 80401; Editor, Ellen March, F+W Media, Inc., 741 Corporate Circle, Suite A, Golden, CO 80401; Managing Editor, Amanda Carestio, 160 S. 68th St, West Des Moines, IA 50266. 10. Owner: F+W Media, Inc.; Thomas F. X. Beusse, CEO, 10151 Carver Road, Suite #200, Cincinnati, OH 45242. 11. Known bondholders, mortgages and other security holders owning or holding 1 percent of more of total amount of bonds, mortgages or other securities: None. 12. Tax status: Has Not Changed During Preceding 12 Months. 13. Publisher title: Sew News. 14. Issue date for circulation data below: AugSept 17. 15. The extent and nature of circulation: A. Total number of copies printed (Net press run). Average number of copies each issue during preceding 12 months: 55,200. Actual number of copies of single issue published nearest to filing date: 53,838. B. Paid circulation. 1. Mailed outside-county paid subscriptions. Average number of copies each issue during preceding 12 months: 40,008. Actual number of copies of single issue published nearest to filing date: 38,817. 2. Mailed in-county paid subscriptions. Average number of copies each issue during preceding 12 months: 0. 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Average number of copies each issue during preceding 12 months: 11,609. Actual number of copies of single issue published nearest to filing date: 11,688. H. Total (sum of 15f and 15g). Average number of copies each issue during preceding 12 months: 55,200. Actual number of copies of single issue published nearest to filing date: 53,838. I. Percent paid. Average percent of copies paid for preceding 12 months: 99.9% Actual percent of copies paid for preceding 12 months: 100.0% 16. Electronic Copy Circulation: A. Paid Electronic Copies. Average number of copies each issue during preceding 12 months: 366. Actual number of copies of single issue published nearest to filing date: 361. B. Total Paid Print Copies (Line 15c) + Paid Electronic Copies (Line 16a). Average number of copies each issue during preceding 12 months: 43,909. Actual number of copies of single issue published nearest to filing date: 42,503. C. Total Print Distribution (Line 15f) + Paid Electronic Copies (Line 16a). Average number of copies each issue during preceding 12 months: 43,957. Actual number of copies of single issue published nearest to filing date: 42,511. D. Percent Paid (Both Print & Electronic Copies) (16b divided by 16c x 100). Average number of copies each issue during preceding 12 months: 99.9%. Actual number of copies of single issue published nearest to filing date: 100.0%. I certify that 50% of all distributed copies (electronic and print) are paid above nominal price: Yes. Report circulation on PS Form 3526-X worksheet. 17. Publication of statement of ownership will be printed in the Dec/Jan 17 issue of the publication. 18. Signature and title of editor, publisher, business manager, or owner: John Bolton, Group Publisher. I certify that all information furnished on this form is true and complete. I understand that anyone who furnishes false or misleading information on this form or who omits material or information requested on the form may be subject to criminal sanction and civil actions.

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hack it: BY RACHEL ROBINSON

Use a basic drop-shoulder sweater pattern as a base to create three different sleeve alterations forÂ fashionable looks that go beyond basic.

Uvita Top, Itch to Stitch

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D E C E M B E R 2 0 1 8 / J A N UA R Y 2 0 1 9

DON’T SWEAT IT

RUFFLE Skill level: Intermediate Create an elbow-length sleeve with a custom ruffle.

Draw a straight line perpendicular to the grainline and 3" below the sleeve cap. Cut along the line; discard the lower sleeve piece.

• Drop-shoulder sweater pattern (such as Itch To Stitch Uvita Top)

Trace the neckline-facing pattern onto new pattern paper. Double the facing width. Cut out; designate as the neckband.

• Sweater fabric (amount according to pattern envelope plus 1⁄4 yard)

CONSTRUCT

SUPPLIES

• All-purpose thread • Straight ruler • Pattern or tracing paper • Removable fabric marker • Rotary cutting system

PREPARE Cut out the pattern pieces. Before beginning the alterations, pin-fit or make a muslin-fitting sample of the selected pattern. Make any necessary fit adjustments to the pattern, and then trace a copy on paper, transferring all markings.

Getty Images/evemilla

A sweater is a sweater is a sweater, right? Sometimes it’s hard to find variation in this winter wardrobe staple, but it can be done. These three easy sleeve hacks will add interest and variation to a basic drop-sleeve sweater pattern. Dust off your gathering skills to create ruffles, flounces and cuffs, plus discover a quick method for changing a facing into a neckband.

From the sweater fabric, cut one front and back bodice on the fold, one neckband on the fold and two sleeves. Construct the bodice and sleeves according to the pattern instructions. Measure one sleeve lower-edge circumference; double the measurement, and then record as the ruffle length. From the sweater fabric, cut two rectangles measuring 61⁄2"× the ruffle length measurement.

ALTER

Fold one ruffle rectangle in half widthwise with right sides together; stitch the short end. Finish the seam allowance as desired.

Trace the sleeve pattern onto new pattern paper, transferring all markings.

Repeat to construct the remaining ruffle. S E W N E W S.CO M

Select a 5mm stitch length on the machine. Baste two gathering stitches along one ruffle edge using a 1⁄4" and 1" seam allowance. Pull each bobbin thread until the ruffle edge and sleeve lower-edge circumference match. Position the gathered ruffle edge over one sleeve lower edge with right sides together and aligning the raw edges; pin. Stitch along the seamline, making sure the stitching is between the two gathering stitching lines. Finish the seam allowance as desired. Press the seam allowance toward the sleeve. Remove the gathering stitch 1" from the ruffle edge. Repeat to attach the remaining ruffle to the opposite sleeve. Fold the neckband in half widthwise with right sides together; stitch the short end. Fold the neckband in half lengthwise with wrong sides together; press. Quarter-mark the neckband raw long edge, placing one pin along the seamline. Designate the seamline as the center back.

BISHOP Skill level: Intermediate Alter a long-sleeve pattern to create a bishop sleeve, then embellish with pom-pom trim.

Quarter-mark the neckline opening. Position the neckband over the neckline edge with right sides together and aligning the quartermarks; pin.

SUPPLIES

Stitch using a 1⁄4" seam allowance and slightly stretching the neckband between the quarter-marks to match the neckline edge. Press the seam allowance toward the bodice.

• Pom-pom trim (amount according to armscye measurements)

Hem the sweater following the pattern instructions. Note: The sleeve ruffles in the featured sample are left raw. Finish with a narrow hem if desired.

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• Drop-shoulder sweater pattern (such as Itch To Stitch Uvita Top) • Sweater fabric (amount according to pattern envelope plus 1⁄4 yard)

• All-purpose thread • Straight ruler • Pattern or tracing paper • Removable fabric marker • Rotary cutting system

D E C E M B E R 2 0 1 8 / J A N UA R Y 2 0 1 9

ALTER Draft a neckband pattern per the Ruffle sleeve instructions on page 41. Trace the sleeve pattern onto new pattern paper, transferring all markings. Divide the sleeve cap from notch to notch into four equal sections; mark. Draw vertical lines connecting the sleeve cap marks to the sleeve lower edge. Cut along each line from the lower edge up to, but not through the upper edge.

Position the slashed sleeve pattern over a new piece of pattern paper. Spread each section 2" at the lower edge; tape in place (1).

Fold the cuff in half lengthwise with wrong sides together; press.

Smooth the sleeve lower edge. Cut out the pattern piece.

Select a 5mm stitch length on the machine. Baste two gathering stitches along one sleeve lower edge using a 1⁄4" and 1" seam allowance.

To create the sleeve cuff pattern, draw one rectangle on a new piece of pattern paper measuring 6"×81⁄2". If needed, adjust the rectangle length to match your wrist circumference.

CONSTRUCT From the sweater fabric, cut one front and back bodice on the fold, one neckband on the fold, two sleeves and two sleeve cuffs. From the pom-pom trim, cut two lengths according to the armscye circumference. With right sides together, stitch the front and back bodices along each shoulder seam. Position one trim length over one bodice armscye right side, aligning the trim straight lower edge approximately 1⁄4" below the seamline; pin. Machine baste using a scant 1⁄4" seam allowance.

Repeat to construct the remaining cuff.

TIP: The more you spread the bishop-sleeve slashed pieces, the more exaggerated the sleeve shape.

Pull the each bobbin thread until the sleeve lower edge and cuff circumferences match. Position one cuff over the gathered sleeve lower edge with right sides together and aligning the raw edges; pin. Stitch along the seamline, making sure the stitching is between the two gathering stitching lines. Press the seam allowance toward the sleeve.

2”

Remove gathering stitch 1" from the raw edge. Repeat to attach the remaining cuff to the opposite sleeve. Attach the neckband according to the Ruffle sleeve instructions on page 42. Hem the sweater following the pattern instructions.

Position the corresponding sleeve over the bodice armscye with right sides together; pin, and then stitch. Press the seam allowances toward the sleeve. Repeat to attach the remaining trim and sleeve to opposite bodice armscye. Stitch the bodice side seams and sleeve underarm seam according to the pattern instructions. Fold one cuff in half widthwise with right sides together; stitch the short end. Finish the seam allowance as desired.

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FLOUNCE Skill level: Intermediate Add a fun flounce to a long-sleeve sweater.

SUPPLIES • Drop-shoulder sweater pattern (such as Itch To Stitch Uvita Top) • Sweater fabric (amount according to pattern envelope plus 1⁄4 yard) • All-purpose thread • Straight ruler • Pattern or tracing paper • Removable fabric marker • Rotary cutting system

CONSTRUCT From the sweater fabric, cut one front and back bodice on the fold, one neckband on the fold and two sleeves. With right sides together, stitch the front and back bodices along each shoulder and side seam.

With right sides together, stitch the each sleeve underarm seam. Measure one sleeve cap circumference; double the measurement, and then record as the flounce length.

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D E C E M B E R 2 0 1 8 / J A N UA R Y 2 0 1 9

From the sweater fabric, cut two rectangles measuring 5"× the flounce length measurement. Fold one flounce rectangle in half widthwise with right sides together. Designate the short folded edge as the right edge. Mark approximately 1" above the lower-left corner along the left edge. Position a hip curve ruler over the rectangle, aligning the upper edge with the lower right corner and the ruler lower end at the marking, adjusting the ruler as necessary to achieve a gradual curve; mark (2). Cut along the curved line; discard the small fabric piece. Repeat to cut the remaining flounce rectangle. Fold one flounce rectangle in half widthwise with right sides together. Stitch along the short raw end. Finish the seam allowance as desired. Select a 5mm stitch length on the machine. Baste two gathering stitches along one flounce straight upper edge using a 1⁄4" and 1" seam allowance. Pull each bobbin thread until the flounce edge and armscye circumference match. Insert the flounce right side up over one sleeve cap right side, aligning the raw edges and aligning the flounce seamline with the sleeve underarm seamline; baste. Position the sleeve over the corresponding armscye with right sides together and aligning the raw

edges and the sleeve seamlines with the bodice side seamline; pin.

Attach the neckband according to the Ruffle sleeve instructions.

Stitch along the seamline, making sure the stitching is between the two gathering stitching lines. Finish the seam allowance as desired. Press the seam allowance toward the sleeve.

Hem the sweater following the pattern instructions. Note: The flounces in the featured sample are left raw. Finish with a narrow hem if desired.

Remove the gathering stitch 1" from the ruffle edge.

SOURCE Itch to Stitch carries the Uvita Top pattern: itch-to-stitch.com.

Repeat to attach the remaining flounce and sleeve to the opposite armscye.

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wool wonderland

PILLOWS BY RACHEL ROBINSON

Easily embellish basic pillows with snowflake appliqués to create cozy winter décor.

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D E C E M B E R 2 0 1 8 / J A N UA R Y 2 0 1 9

Skill level: Beginner

SUPPLIES Supplies listed are enough to make one pillow cover. • 1 yard of wool blend or flannel fabric • Thirteen 3"-diameter laser-cut felt or wool snowflakes • Matching cotton thread • 22"-long invisible zipper • Presser feet: darning or freemotion, invisible zipper or zipper

Center one zipper-tape edge over the front-panel lower edge with right sides together, extending each zipper short end beyond the panel sides; pin.

Mark 21⁄2" from each side edge on the zipper. Open the zipper. Baste the zipper tape 1⁄4" from the edge. Install an invisible zipper foot onto the machine. Stitch the zipper, beginning and ending at the marks. If using a standard zipper foot, roll the zipper teeth open and stitch as close to the zipper teeth as possible.

• Permanent spray adhesive • 20" square pillow form • Presser feet: free-motion or darning & invisible zipper (optional) • Craft beads (amount & size as desired)

CUT From the wool blend or flannel fabric, cut two 201⁄2" squares. Designate one square as the pillow front and the other as the pillow back.

Close the zipper. Position the opposite zipper-tape edge over the back-panel lower edge with right sides together, aligning the front and back panel sides; pin. Mark 21⁄2" from each side edge on the zipper. Open the zipper. Stitch the zipper to the back panel. Close the zipper. Align the frontand back-panel zipper edges with right sides together; pin.

CONSTRUCT Use 1⁄2" seam allowances unless otherwise noted. Position the front panel right side up on a flat work surface. Using permanent spray adhesive, spray the snowflake wrong sides. Position the snowflakes on the pillow front as desired. Lower the feed dogs and install a free-motion or darning presser foot onto the machine. Free-motion stitch each snowflake as desired, making sure to only stitch through the snowflake and pillow front. Hand sew beads to the snowflakes as desired.

Install a zipper foot onto the machine. Stitch from one panel side to 1⁄2" beyond the end of the zipper stitching line, as close to the zipper teeth as possible but below the zipper stitching line. Make sure the zipper tape ends extend beyond the seam allowances; backstitch at the beginning and end (1). Position the front and back panels right side up on a pressing surface. Press the invisible zipper seam flat. Trim the zipper ends beyond the panel edges. Partially open the zipper. Stitch the front and back panels with right sides together along the sides and upper edge.

SNOWFLAKE STYLE Get a different look by cutting your own snowflakes instead of using premade. For a similar effect but with a greater variety of design options, cut snowflake shapes using an electronic cutting machine or a die cutter. For a more homemade, folksy look, cut your own freehand from craft felt. Use cookie cutters as templates, choosing different sizes and shapes for variety.

Turn the pillow cover right side out through the zipper opening; press flat. Insert the pillow form through the zipper opening. S E W N E W S.CO M

hack it: JACKETS BY DANA BONTRAGER

Redesigning an existing pattern is easier than it seems. Learn techniques for simple adjustments that make major visual changes. Redraft pattern lines, add length and experiment with design elements to hack a basic blazer pattern into three custom looks.

Sweet Little Jacket by Dana Marie Pattern Co.

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D E C E M B E R 2 0 1 8 / J A N UA R Y 2 0 1 9

Getty Images/criene

PATTERN HACKING BASICS • Choose a pattern that’s as close to the desired finished look as possible. Look for a pattern that has similar structural elements, not necessarily the same design elements. • Always test-fit the pattern and make any fit adjustments before alteration. • Use the technical line drawing on the pattern envelope to sketch over using your desired design changes. The drawing is a good reference when beginning to alter the pattern pieces.

• Trace a copy of the original pattern after fitting, and then trim away the seam allowances. It’s easier to change a pattern without the distraction of seam allowances. Once the redesign is complete, add in the seam allowances. • If using a multi-size pattern, trace a copy of the original pattern after fitting, eliminating the grade lines for clarity during the drafting process. • If pattern pieces are cut apart during the redesign, label each pattern piece and mark each grainline before cutting them apart. • Always make the same changes to corresponding pattern pieces, such as lengthening or shortening, or a left and right side.

• During drafting, note how to assemble the new pattern. If needed, look through other similar pattern instructions to review construction techniques. • If two pattern pieces are reconnected, draw a straight line where the seam is located to indicate where to realign. Although this method is similar to notches, straight lines are more accurate and faster to mark. • Once satisfied with the design changes, trace a copy of the pattern onto new pattern paper and add seam allowances. • Make a muslin of the finished design before cutting the project fabric.

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INSET BLAZER The inspiration blazer has two narrow, vertical insets that follow theÂ armscye curve and extend from the front to the back. Two triangularshaped insets are placed along the natural waistline seam on the front and back. The blazer also has a wider notched lapel and a button closure is featured on the sleeve cuffs (1). The pattern selected for the hack was chosen because it has theÂ basic foundation shape, including a two-piece sleeve, a notched collar and lapel and fitted bodice. Draw the desired design on a copy of the technical drawing from the pattern envelope as a guide during drafting (2). Draw the changes onto the pattern pieces (3). Draft a lining to match the changes because the finished blazer has so much piecing. After drawing the changes, add seam allowances and cut along the pattern lines.

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D E C E M B E R 2 0 1 8 / J A N UA R Y 2 0 1 9

ASYMMETRICAL BLAZER The inspiration blazer has a notched asymmetrical front closure, large funnel collar and curved hemlines (4). The pattern selected for the hack needs major design changes, but the basic foundation shape and structure works for the alterations.

Draw the desired design on a copy of the technical drawing from the pattern envelope as a guide during drafting (5). Draw the changes onto the pattern pieces, including extending the curve where the collar attaches, adding a notched front edge and lengthening and curving the hemlines (6). Create a muslin to check the collar change. Lowering the collar upper edge to fall below the chin and altering the angle allows the collar toÂ stand up away from the neck and blend seamlessly with the blazer front (7). Transfer the muslin changes to the collar pattern. The extreme collar angle allows the collar to stand while the rest of the garment lays flat (8).

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TWIST BLAZER The inspiration blazer features a symmetrical twist design on the back with a slit along the center-back hemline (9). The pattern selected for the hack was chosen because it has the basic foundation shape and is semi-fitted. Draw the desired design on a copy of the technical drawing from the pattern envelope as a guide during drafting. The twisted detail is a shaped piece that lies with smooth folds (10). Trace the back bodice pattern including the side seam. Draw six diagonal lines beginning at the center-back point and ending equally spaced along the side seam (11). Cut along each line from the center-back point up to, but not through, the side seam. Equally spread the pieces; tape over new pattern paper to secure (12). True the edges.

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D E C E M B E R 2 0 1 8 / J A N UA R Y 2 0 1 9

13 Side seam

Added length for twist

Side seam

To create the length for the twist, cut along the waist marking. Add a space between the cut lines; tape over new pattern paper to secure. True the edges. Add seam allowances to the exposed edges (13).

remaining panel through the pinned panel, and then pin to the opposite bodice-back side seam (14).

Draft a lining for a polished finish that hides the twist wrong side. When cutting the lining pieces out, trim 1⁄2” from the edges. This allows it to naturally roll to the inside for a cleaner finish. To create the twist in the panels, pin one panel along the corresponding bodice-back side seam; pin. Loop the

If desired, pin the bodice back to the ironing board, and then steam the twist while adjusting the foldlines. To prevent the twist panel from falling away from the blazer during wear, hand tack the panel to the blazer back using a slipstitch (15). SOURCE Dana Marie Design Co. carries the 1042 Sweet Little Jacket pattern: danamarie.com.

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SPECIAL OCCASION

SEPARATES 12 MUST-HAVE PIECES TO BUILD A HOLIDAYÂ WARDROBE & BEYOND

Stitch up something special for the holidays that works with your existing wardrobe the rest of the year, too! Sewing several holiday separates rather than one gown is a smart way to ensure specialoccasion garments get more than one wearing. BROUGHT TO YOU BY ONLINE FABRIC STORE, ONLINEFABRICSTORE.NET

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D E C E M B E R 2 0 1 8 / J A N UA R Y 2 0 1 9

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HOLIDAY PAIRINGS Wear the separates together for endless mix-and-match options. Or pair each make with an existing basic dress pant, skirt or top in your wardrobe.

EVERYDAY LOOKS Take one statement piece and pair it with a basic wardrobe staple to bring down the glam factor but still wow at work or play.

KIMONO TEE + skinny jeans + flats

LOOK 1

Sleek & Sophisticated Sointu Kimono Tee Named Clothing Royal Blue Scuba Double Knit +

Jenny Trousers Closet Case Patterns Black Gabardine +

Cutout Clutch Sew Daily Black Microsuede, Royal Blue Kona Cotton

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D E C E M B E R 2 0 1 8 / J A N UA R Y 2 0 1 9

JENNY TROUSERS + t-shirt + clutch Bracelet: Getty Images/ProArtWork. Jeans: Getty Images/mawielobob; Flats: Getty Images/Oleh_photographer. Clutch and scarf: Getty Images/Svetlana-Cherruty. Tee: Getty Images/venusphoto. Earrings: Getty Images/speakingtomato.

LOOK 2

Uptown Elegance BurdaStyle Fur Jacket #102 11/2012 Black Mink Faux Fur +

FUR JACKET + flowy midi dress + clutch + booties

BurdaStyle Knotted Bodysuit #106, 06/2018 Royal Blue Cotton Jersey +

Yasmeen Skirt Just Patterns Silver Silk Charmeuse

MERMAID SKIRT + graphic t-shirt + tennies Dress and boots: Getty Images/bonetta. Clutch and bracelets: Getty Images/ Lisur. Sneakers: Getty Images/monkeybusinessimages. Earrings, belt and purse: Getty Images/NYS444. Tee: Getty Images/ksushsh and Getty Images/oxygen.

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SEQUIN JACKET + boyfriend jeans + white tee

LOOK 3

Rockstar Glam BurdaStyle Top #109A, 06/2018 Royal Blue Crushed Stretch Velvet +

BurdaStyle Wrap Jacket #108, 01/2018 Dull Silver Glitz Sequin +

BurdaStyle Leather Leggings #127, 11/2016 Black Foil Metallic Spandex +

Sequin Season Bag Sew News (See page 60.)

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D E C E M B E R 2 0 1 8 / J A N UA R Y 2 0 1 9

LEGG G GS + oversize sweater + boots Pink bag, watch and shoes: Getty Images/Beo88. Jeans: Getty Images/ TanyaRozhnovskaya. Tee: Getty Images/mawielobob. Boots: Getty Images/ Carol_Anne. Sweater: Getty Images/Tarzhanova. Earrings: Getty Images/ Babayev. Purse: Getty Images/bonetta.

SPECIAL OFFER! USE CODE SEWOF$15 AT CHECKOUT AND RECEIVE 15% OFF YOUR PURCHASE OF $75 OR MORE AT ONLINEFABRICSTORE.NET. OFFER ENDS 1/31/19.

LOOK 4

Preppy Chic Up in Arms Blouse Sew News Black Raschel Lace, Black Poly Spandex +

Anya Skirt UP IN ARMS BLOUSE + tailored shorts + strappy shoes

CIRCLE SKIRT + short-sleeved sweater + flats Beaded necklaces: Getty Images/NAKphotos. Shorts, sandals and loafers: Getty Images/bonetta. Earrings: Getty Images/posteriori. Top: Getty Images/ Tarzhanova; Camera: Getty Images/Sarah Saratonina/EyeEm. Gold necklace: Getty Images/Paolo_Toffanin.

Christine Haynes for Sew News Silver Jacquard Satin

SOURCES Emmaline Bags provided the clutch frame: emmalinebags.com. Online Fabric Store provided all of the fabrics used to make the featured garments: onlinefabricstore.net.

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SEQUIN SEASON BAG BY BIANCA SPRINGER

Showcase shimmering sequin fabric with a fun and functional hobo bag. Learn how to work with reversible mermaid sequins to create a one-of-a-kind statement accessory.

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D E C E M B E R 2 0 1 8 / J A N UA R Y 2 0 1 9

UNDER THE SEA-QUINS Reversible mermaid sequins are everywhere — seen on pillows, phone cases, journal covers and shoes. Looking at the yardage at a local fabric stores, it’s tempting to touch and irresistible to buy. Try out this hobo bag for a project that showcases this unique fabric and makes a great addition to any holiday outfit.

Skill level: Intermediate

SUPPLIES • 3⁄4 yard each of reversible sequin fabric, automotive headliner fabric, lining & lightweight fusible interfacing (See “Sources.”)

CUT Download and print the Sequin Season Bag pattern from sewnews. com/web_extras until Jan. 31, 2019. Find the pattern at shopsewitall.com after the expiration date.

• 47" length of replacement handbag chain (See “Sources.”)

From the sequin fabric, cut two main panels on the fold.

• Thread: contrasting button or craft & matching all-purpose

From the lining, cut two main panels on the fold and two pockets.

• Hand sewing needle • Zipper foot • Binding clips (See “Sources.”) • Wire-wrapped eyebrow razor (See “Sources.”) • Tailor’s chalk • Rotary cutting system • 1"-diameter magnetic snap

TIP: Find automotive headliner fabric online or in the home-décor section of your local fabric store.

From the automotive headliner fabric, cut two main panels on the fold and one 3"×8" rectangle for the strap extender.

Thread a hand sewing needle with contrasting button or craft thread. Using wide stitches, baste along the seam allowance line. To cut the threads holding the sequins onto the fabric, hold the fabric upper edge in your non-dominant hand and use the same elbow to hold the fabric lower edge in place. Keep the fabric taut with your dominant hand and shave the sequin threads using a wire-wrapped eyebrow razor just within the seam allowance. Repeat to remove the sequins from the remaining main panel seam allowances.

From the interfacing, cut two main panels on the fold and two 9"×22" rectangles for the pockets.

CONSTRUCT

Transfer all the pattern markings.

Use 5⁄8" seam allowance unless otherwise noted.

Fuse the interfacing to the corresponding pieces following the manufacturer’s instructions.

Position one sequin and headliner main panel with wrong sides together; use binding clips to secure.

PREPARE

Install a zipper foot onto the machine. Thread the needle and bobbin with all-purpose thread.

To remove individual sequins from within the seam allowance, position one sequin main panel wrong side up on a flat work surface. Draw a 5⁄8" seam allowance along the panel perimeter using tailor’s chalk.

Baste the panels together close to the trimmed sequin edge along the seamline.

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Install a male snap on one lining main-panel right side at the placement marking following the manufacturer’s instructions.

Stitch the sequin main panels with right sides together along the sides. Trim the headliner to a 1⁄4" seam allowance to reduce bulk.

Repeat to install a female snap on the remaining lining main panel.

Double-fold each strap upper edge on the sequin main panels 1⁄4" toward the wrong side; press. Stitch close to the first fold (1).

Stitch the two pocket rectangles with right sides together along each long edge. Turn the pocket right side out; press. Topstitch 5⁄8" from one long edge; designate as the pocket upper edge.

2 Position one lining main panel right side up on a flat work surface. Position the pocket right side up over the lining panel, aligning the pocket with the placement lines. Baste the pocket short edges to the lining using a 3⁄8" seam allowance. Topstitch the pocket along the lower edge and vertical markings.

Position the lining main panels with right sides together. Stitch the sides and lower edge, leaving the area between the pattern markings open along the lower edge for turning. 62

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Repeat to hem each lining strap upper edge. To box the corners, flatten one sequin main-panel corner with right sides together, matching the side and lower seams; use binding clips to secure. Stitch 1" from the corner point. Trim the seam allowance to 1⁄4". Repeat to box the remaining corners. Position the sequin bag and lining with right sides together, aligning the raw edges. Stitch the bag upper edges, leaving the strap upper edges open. Press the exterior bag seam toward the lining from the lining side.

Turn the bag right side out through the lining opening.

SIMPLE SEQUIN TIPS Learn quick tips and tricks to easily work with sequin fabric.

Separate the lining from the exterior bag. Slide the bag over the machine arm through the lining opening. Understitch the bag upper edge seam as far as possible. Push the lining inside the exterior bag with wrong sides together; press. Slipstitch or machine stitch the lining opening closed. Trace the casing placement line onto the lining using tailor’s chalk. Threadtrace the placement line. Remove the sequins on the bag exterior along the thread line. Topstitch along the thread-trace line (2).

• When cutting sequin fabric on the fold, use pattern weights to secure the fabric. If desired, use tailor’s chalk to trace the full pattern onto the sequin fabric wrong side, and then cut out. • Removing the sequins from within the seam allowance reduces seam bulk and prevents damage to the needle and sewing machine during stitching. • If working with non-reversible sequin fabric, it may not be necessary to remove the sequins from the seam allowance before sewing. Test-stitch a fabric scrap to determine if the sequins break, shred or otherwise damage the yardage or needle. If the sequins break apart when sewn, the fragments could fall into the machine, causing costly damage.

Repeat to create the remaining casing. Fold each strap-extender rectangle long edge toward the lengthwise centerline with wrong sides together; press. Fold the strap in half lengthwise with wrong sides together; press. Topstitch a scant 1⁄4" from the open long edge. Fold each short end 1⁄2" toward the wrong side. Stitch close to each raw edge. Insert one extender short end through one chain clasp, extending the short end 3⁄4" beyond the clasp; use binding clips to secure. Topstitch close to the extender short end (3). Insert the opposite extender short end through both casings. Repeat to attach the short end to the remaining chain clasp. Pull the chain to hide the extender in one casing. SOURCES Amazon.com carries Personna Eyebrow Trimmer and replacement handbag chain straps: amazon.com. Clover carries Wonder Clips: clover-usa.com. Fabric.com carries automotive headliner fabric: fabric.com. Stylish Fabric provided the Gunmetal Mermaid Sequin Fabric: stylishfabric.com.

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BRA BASICS BY SOPHIE HINES

Euler Bralette and Coherence Panty Patterns by Sophie Hines

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PART THREE:

FIT ADJUSTMENTS In Part Three of our Bra Basics series, you’ll learn how to tackle fit issues and easily adjust finished pieces and patterns for custom lingerie that fits you like a glove. Once you know what fit problems to look for, they’re easy to correct. In addition, learn three basic strap application techniques.

If you construct the bra again, make the bra a smaller size. However, remember the rule of Sister Sizes when choosing the correct size. A sister size means that a 34D, 36C and 38B all have the same cup volume. Therefore, if you used a 36C and the band is too large, size down to a 34 band, but go up a cup size to D to keep the same cup volume.

If the band leaves red marks on your skin, feels constrictive or you feel out of breath, the band is too tight. A bra should be comfortable for long periods of time and shouldn’t be painful or cause breathing problems. To correct the issue, size up the band. Purchase or make a bra extender to gain up to 2" in the band. To make your own bra extender, purchase a matching set of hook-andeye tabs. Align the tabs with the hooks and eyes pointing away from each other, the hooks facing right side up and the eyes facing wrong side up. Select a wide, short zigzag stitch on the machine. Stitch to attach the two tabs together. Attach the hook side to the bra-eye side and the eye side to the bra-hook side.

LARGE UNDERBUST BAND The underbust band should be evenly horizontal all around the chest. If the underbust band is sliding up in the back, it means the band is too large, and therefore not providing as much support as needed. To correct the issue, size down the band. Leave the cups the correct size, but shorten the band to allow it to sit snugly and smoothly without riding up.

SMALL UNDERBUST BAND

Bra band is too large

fit tip: If you can comfortably clasp the bra hook on the last row of hooks when it’s new, consider going down a size in the band. Bra hooks are intended to be worn on the first row of hooks when new, so as the band stretches over time, you can hook it on the last row of hooks to retain the fit.

If you construct the bra again, make the bra a larger size. However, remember the rule of Sister Sizes. If you used a 36C and the band is too small, size up to a 38 band, but go down a cup size to B to keep the cup volume the same.

Bra band is too small

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LARGE CUPS

SMALL CUPS

In an underwire bra, if the lower edge of the center gore or cup lower edges are pulling away from your ribs, the cups are too large. Other indications of cups that are too large are if there’s extra room in the bra, your breasts are just sitting in the cup lower edge instead of filling it out or the underwire cup sides are extending past the side of your breast.

If the cup sides are poking into your breast, the center gore is pulling away from the top or if your breast tissue is spilling over the cup upper edges, the cups are too small.

To correct the issue, size down the cup. If you’re already on the smallest cup size for the style, do a small-bust adjustment to the pattern. Typically, a small-bust adjustment involves straightening the cup curves to reduce the cup volume. The specific adjustments differ based on the pattern used.

To correct the issue, go up a cup size or two. If you’re already on the largest cup size for the style, do a large-bust adjustment to the pattern. Typically, a large-bust adjustment involves intensifying the cup curves to increase the cup volume. The specific adjustments differ based on the pattern used.

Find out common fit issues with handmade underwear and how to easily fix the problems. Long Crotch If you have wide hips, but don’t carry weight in your stomach or derriere, or if you wear a larger plus size, sometimes there’s too much room in the crotch of underwear.

Cup size is too small

Cup size is too large

UNDERWEAR FIT

To correct this fit issue, construct a sample of the chosen underwear, shortening the crotch to a comfortable length. Record the amount of fabric removed. Subtract that measurement from the leg elastic lengths; record as the new length measurement. Trace the crotch pattern piece, and then remove the new length measurement from the crotch center. Don’t alter the curves at the crotch front or back. Re-draw the crotch curves, and then designate as the new crotch pattern.

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ADJUSTABLE STRAPS Adjustable straps are a practical detail that adds a professional finish to a bra or bralette. The ability to tighten the bra straps as they stretch over time allows for a long bra lifespan. Select rings and sliders in the same width as the strap elastic.

ADJUSTABLE FRONT STRAPS The simplest way to make an adjustable strap is to put a ring above the bra cups. • When applying elastic to the cup side, leave approximately 1" at the cup upper edge. If the pattern doesn’t require it, cut a length of elastic approximately 2". Loop the elastic tab around the ring. • Attach the ring to the cup upper edge with the elastic tab; secure with a regular zigzag stitch. • Loop the strap elastic end around the slider center bar; secure with a standard zigzag stitch. • Position the bra wrong side up facing away from you. Slide the elastic strap free end wrong side up through the ring at the cup upper edge. • Bring the free end back toward you, sliding up through the first loop of the slider, and then back down through the second loop.

ADJUSTABLE BACK STRAPS If you prefer or the bra style doesn’t allow a ring at the front, position a ring at the back strap. • Cut a 2" length of elastic. • Loop the elastic tab around the ring; secure to the bra back with a standard zigzag stitch. • Loop the strap elastic end around the slider center bar; secure with a standard zigzag stitch. • Position the bra wrong side up facing away from you. Slide the elastic strap free end wrong side up through the ring at the bra back. • Bring the free end back toward you, sliding up through the first loop of the slider, and then back down through the second loop. • Secure the elastic strap free end on the cup upper edge.

Adjustable front strap

DECORATIVE STRAPS Easily add a decorative strap with a ring at the cup upper edge and an extra portion over the shoulder. Use ruffle, lace, matching bra fabric, decorative elastic or trim or contrasting elastic. • Cut or make a 6" to 8" length of decorative strap, and then adjust the length as needed. • Attach one strap end to the cup upper edge and the ring to the opposite end; secure with a standard zigzag stitch. Optionally, use rings at both decorative strap ends. • Loop the strap elastic end around the slider center bar; secure with a standard zigzag stitch. • Position the bra wrong side up facing away from you. Slide the elastic strap free end wrong side up through the ring at the cup upper edge. • Bring the free end back toward you, sliding up through the first loop of the slider, and then back down through the second loop. • Secure the elastic strap free end on the bra back. Decorative strap with adjustable back strap

• Secure the elastic strap free end on the bra back.

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sheer & now

DRESS BY ANA JANKOVIC

Transform a basic sheath dress into a chic look with voluminous sheer sleeves that are reminiscent of Old Hollywood glamour yet refreshingly modern.

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Getty Images/Gina Pric ope; Getty Images/Ad rienne Bresnahan

SHEER GENIUS Make a statement with sheers! Nothing is more classic than the black chiffon used for the featured sample, but this dress hack works with a variety of drapey lightweight sheer fabrics. For a modern look, pick mesh, try lace for something more vintage-inspired or mix in patterns with a bold chiffon print.

Skill level: Intermediate

SUPPLIES • Sheath dress pattern with long sleeves (such as Butterick 4386 or 5627) • Dress fabric, interfacing & notions (amount according to pattern envelope minus the sleeve pattern) • 1 yard of 54"-wide lightweight tulle or chiffon • All-purpose thread • Pattern or tracing paper • Straight ruler • Clear tape

ALTER If the base pattern doesn’t include raglan sleeves, draw a line connecting the armscye with the neckline on the front and back pattern.

On the front pattern, draw a curved line 21⁄2" from and parallel to the neckline, connecting the shoulder seam and raglan sleeve line. Repeat to create a strap line on the back pattern. Draw a straight line parallel to the hemline to connect the bust dart apex to the center front (1).

Cut the front and back patterns along the raglan sleeve line and strap line. Tape together the front and back strap pieces along the shoulder line (2).

On the front pattern, cut along the bustline from the center front to the bust apex. Close the bust dart, creating a dart along the center front; tape in place. Measure the vertical waistline dart width; divide in half, and then record.

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Reduce the front pattern on the side seam and center front according to the recorded measurement, narrowing to nothing upward and downward from the waistline. Remove the original vertical waistline dart from the pattern (3). Align the raglan sleeve pieces from the front and back patterns with the sleeve pattern. Draw a lengthwise line centered on the sleeve, connecting the sleeve cap and lower edge. Cut the sleeve along the line. Spread the two sleeve pieces 6" apart; tape over new pattern paper to secure. True the edges (4). To create the front neckline facing, draw a curved line parallel to and 21⁄2" from the front neckline. Trace the facing onto new pattern paper; cut out. Repeat to create a back neckline facing (5). Measure your wrist circumference, and then add 3⁄4". Add 11⁄4" to the measurement; record as the cuff length. Draw a rectangle measuring 4"× the cuff length. Designate as the sleeve cuff pattern.

CUT From the dress fabric, cut two dress fronts, two dress backs, two straps, two back neckline facings, one front neckline facing on the fold and two sleeve cuffs. From the tulle or chiffon fabric, cut two sleeves. From the fusible interfacing, cut two back neckline facings, one front neckline facing on the fold and two sleeve cuffs. Adhere the fusible interfacing to the corresponding pattern pieces wrong side according to the manufacturer’s instructions. 70

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CONSTRUCT Stitch each dress front dart with right sides together; press downward.

strap. Stitch the sleeve and strap to the corresponding dress armscye with right sides together; press.

Stitch the dress center fronts with right sides together; press open.

Repeat to attach the remaining sleeve and strap to the opposite armsecye.

Stitch each dress back waistline dart with right sides together; press downward.

Fold one cuff in half widthwise with right sides together; pin. Stitch along the short ends; press open.

Stitch the dress front and backs together along each side seam; press open.

Fold the cuff in half lengthwise with wrong sides together; press. Gather the sleeve lower edge to match the cuff circumference.

Install an invisible zipper into the dress center back, following the manufacturer’s instructions and beginning at the neckline. Stitch the center back, beginning at the zipper lower edge and ending at the slit upper edge; press open. Stitch one sleeve underarm seam with right sides together; press open. Gather the sleeve cap. Stitch the sleeve cap to the corresponding strap lower edge with right sides together; press toward the

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Stitch the cuff raw long edge to the sleeve lower edge; press seams to the side. Repeat to attach the remaining cuff. Measure one armscye seam circumference. From the dress fabric, cut two bias strips measuring 31⁄8"× the armscye circumference measurement. Align one strip long edge with one armscye seam allowance raw edge; stitch. Grade the seam allowances. Fold the strip upward; press flat.

Fold the strip lengthwise with wrong sides together, aligning theÂ long edge even with the seam allowance raw edges; press. Fold the strip in half lengthwise to enclose the seam allowances; pin to the dress wrong side.

Using an invisible stitch, hand stitch the folded strip long edge to the dress. Stitch the front and back neckline facing with right sides together along each shoulder seam; press open.

Stitch the facing to the dress neckline with right sides together; press the facing upward. Fold the facing lower edge toward the wrong side; press. Fold the facing over the neckline with wrong sides together; press. Using an invisible stitch, hand stitch the facing folded edge to the dress. Hem the dress as desired.

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MASTERCLASS COLLARS PART 1:

PERFECT POINTS BY LINDA REYNOLDS

Discover methods, tips and tricks for stitching collars that have perfect points, plus learn useful terminology for stitching and applying collars.

DISCOVER MORE ABOUT STITCHING THE PERFECT COLLAR IN "COLLARS: PART 2." LOOK FOR IT IN THE FEB/MARCH 2019 SEW NEWS.

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COLLAR TYPES There are a seemingly endless number of collar styles. Just do a simple internet search and the range of beautiful and interesting designs is both inspiring and mind boggling. Just one article can hardly scratch the surface of the information necessary to master the techniques for sewing collars. Rather than being all inclusive, this article will address the basics of collar points, and the next installment will focus on the roll, the importance of interfacing, topstitching tips and mastering the collar-stand application. While the variety of collar styles is seemingly endless there are really only three types of collars: the flat collar, the rolled collar and the stand collar. What differentiates one from the other is the way each encircles the neckline and the way the edge that attaches to the neckline is drafted. By simply changing the size and shape of the neckline opening and varying the width and shape of the collar pattern, numerous variations of these types are possible.

The flat collar lies flat against the shoulders, rising only slightly above and around the neckline edge. The outer edge of a flat collar pattern will have a concave shape. Common flat collars include Peter Pan, sailor and pilgrim collars. The roll collar stands up against the back neckline without a separate stand piece and then falls down against the garment in the front. The outer edge of the collar pattern has a convex shape that creates the stand at the back. Common roll collars include convertible, Chelsea and shawl collars. The stand collar stands upright against the entire neckline circumference. A shirt collar with either a separate or included stand piece is a version of a stand collar.

Getty Images/Rosmarie Wirz. Illustrations below: Getty Images/Rimmagraf

Collars play a significant role in the overall look of a garment. They frame the face and neck and enhance the overall finished silhouette. Since they generally draw the eye upwards toward the face and neck, collars are often the style detail noticed first. Therefore, knowing how to properly sew them is important. Learn the tips and techniques the pros use to create collars that aren’t only beautiful but sit properly around the neckline.

Common stand collars include mandarin, turtleneck, tied blouse and classic shirt collars.

PERFECT COLLAR POINTS Standard shirt collars typically feature collar points. Producing sharp collar points is sometimes difficult and, when not done well, it’s a dead giveaway that the garment is homemade. Getting the points just right often depends on the fabric choice. Thin, firm fabrics are the best for producing crisp collar points, while heavyweight fabrics are generally more difficult and prone to more rounded points. There are a variety of methods to achieving precise collar points. Fabric thickness, tightness of the fabric weave and the amount of give or stretch in the fabric dictates which method to use. The angle of the point also greatly affects the correct approach and degree of difficulty at achieving crisp points.

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Here are some secrets that professional shirt makers use for this often-frustrating task.

Roll line Upper collar

KNOTTED THREAD Collar stand

Under collar

Style line Breakpoint

BASIC COLLAR TERMS Collar stand: the portion that rises above the neckline edge to the roll line. Collar roll line: the line at the top of the stand where the collar turns back onto itself. Collar style line: the outer edge of the collar that’s central to the design and look of the collar.

Collar breakpoint: the point where the lapel begins to fold back from the center front. Upper collar: the side of the collar that’s fully exposed around the neckline. Under collar: the underside of the collar that’s sometimes comprised of two parts and sometimes cut on the bias for a better roll.

This method works best for fabrics like broadcloth or crisp linen, as these fabrics are relatively lightweight. The process starts by interfacing the upper collar and/or under collar. Always trim away the interfacing seam allowances around the perimeter of the collar piece. Also trim off the corner point. This will reduce the thickness around the seamlines, making those points turn easier and look crisper. With right sides together, align the two collar pieces and pin. Mark the turn at the collar points. Begin stitching at one short end and stitch to 1⁄2" from the point. Reduce the stitch length to 1.0mm–1.05m and stitch to the point. With the needle in the down position, raise the presser foot, pivot the collar, lower the presser foot and stitch another 1⁄2". Raise the stitch length to the normal setting and stitch the collar outer edge. When approaching the next corner, repeat the process, and then complete stitching the third side of the collar. The smaller stitch at the corners will better support and secure the points. Trim and grade the seam allowances to 1⁄4" and press open the seams as best as possible using a tailor’s pressing point. Before turning the collar right side out, thread a hand-sewing needle with a long strand of thread. Create a double or triple knot in the middle of a double strand of thread. The knot must be big enough to not pull through the stitching at the tip of the collar points.

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Pass the threaded needle through the corner point so it sits between the two layers of the collar (1). Carefully turn the collar right side out using your fingertips to help guide the point. Take the needle, which is now outside the collar, and gently pull to extract the collar point. Continue pulling carefully and use your fingertips to get the point just right.

When the desired point is achieved, cut the needle off the thread and pull the thread tail from the inside out of the collar.

UNDERSTITCH FIRST This method works well when sewing jacket or outwear collars where the fabric is a bit more substantial and less likely to produce sharp corners or points. Trim away all interfacing seam allowances around the perimeter of the collar. Also trim off the interfacing collar point. Fuse or baste stitch the interfacing to the collar piece or pieces. With right sides together, machine stitch the outer edge seam only. Begin with a stitch length of 1.0mm–1.5mm until ½" past the point, then raise the stitch length to standard. Stitch until ½" from the point, then reduce the stitch length to 1.0mm–1.5mm again to finish the seam.

Grade the seam allowances so the upper collar allowance is slightly wider than the under collar. Press the seam allowances towards the under collar. From the right side, understitch the under collar from end to end (2). This keeps the seam allowances in place, creates a crisp collar edge and prevents the seamline edge from creeping forward and being exposed.

Turn the collar so the right sides are together again. The seamline turns naturally toward the under collar. Stitch the ends. Grade the seam allowances and clip the corners. Using a tailor’s point presser, press open the end seam allowances.

Turn the collar right side out by pinching the corner point together with your index finger and thumb. Fully turn the collar, pushing the point in place. Finesse with a point turner.

BLUNT POINT STITCHING Collar points can have different angles. Ninety degree points are the easiest to get “pointy,” but points become increasingly more difficult to accomplish satisfactorily as the degree angle lessens. The secret in these cases is to not stitch and pivot at the point, but rather blunt stitch the corner point. It sounds counterintuitive, but it produces noticeably better points. Mark the corners with either tracing paper or a fabric marker to define the intersecting seamlines. Pin with right sides together along the collar outside edge. Starting at the midpoint of the seamline, stitch the seam using a standard stitch length. At roughly ½" from the point, reduce the stitch length to 1mm to 1.5mm and stitch to just shy of the point. With the needle down, pivot and stitch one or two stitches across the point to the opposite marked line. Pivot and stitch another ½". Increase the stitch length to standard and finish the seam (3). Turn over the collar and stitch the other end following the same method. Trim and grade the seam allowances. Trim around the corner as close as possible, being careful not to cut into the stitched seam or so close that when turned the seam allowance will poke out. Turn the collar right side out and using a point turner gently push out the corner.

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THE COMMON THREAD BY ABBY GLASSENBERG

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Like an artist with tubes of paint in every color, many sewists find having a well-rounded fabric stash grants them the freedom to dive into new projects when inspiration strikes. Gillian Whitcombe is the founder of The Sewcialists, a community blog for people who love to sew, and is an enthusiastic stash builder. “I get fidgety and lose my ‘sew-jo’ when I don’t have at least several options for each kind of fabric that I like to sew: rayon knits, pontes, French terry, sweater knit, stretch denim and so on,” she says. Whitcombe sews prolifically and says her stash grows very slowly because she’s using so much of it. For some of us, though, a stash can balloon out of control, and quickly. Melissa Quaal is an avid sewer and blogger at A Happy Stitch. When she first began sewing, she bought fabric with reckless abandon. “I fell for it all,” she says. “The seductive lure of new, beautiful, flashy fabric hooked me line and sinker, over and over again.” She noticed there was a collective sort of guilt among sewists over buying too much. “If I’m brutally honest, I sort of enjoyed the feeling of overconsuming fabric and being ‘in’ on the joke about fabric hoarding that circulates throughout the sewing world,” she says.

pretty, but were sometimes not quite a good fit for my wardrobe.” Lifestyle changes can cause a fabric collection to become stale, too. Moving to a city with a different climate, started a new job or losing weight can change the kinds of clothing we’re wearing, while the stash still reflects the old you. If you’ve been sewing for young children for many years, you may have yards of fabric in juvenile prints that are just taking up space. Many of us live some distance from a fabric shop and feel the need to stock up while we’re there, but of course buying fashion fabrics means we’re subject to the quick pace of trends that shift season by season. The yardage we buy now may no longer look stylish next year. And since sewing clothing

is a somewhat rare hobby today, neighbors and friends may give us boxes of fabrics they’re no longer using. Combine a few of these factors and before you know it you’ve got a dozen-yard stash that includes lots of fabrics you don’t really love. Yards of fabric in bins at home can make us feel badly when we’re out shopping and a new print catches our eye. How could we possibly justify buying more when we’ve barely begun using what we have? A large stash can also be an encumbrance to our creativity. Have you ever walked into your sewing space only to find disorganized piles of fabric cluttering up the surfaces? It’s easier to turn around and shut the door then it is to clean it up in order to sew.

Getty Images/Peathegee Inc. Opposite page: Getty Images/InStock

It’s all too easy to find ourselves with a surplus of fabric. When we’re inexperienced, we may buy fabric without understanding what to look for. When Chuleenan Svetvilas returned to sewing in 2009 after a long hiatus, she quickly began collecting fabric but didn’t have much understanding of what to buy. “I did a lot of impulse buying,” she recalls. “I usually bought fabrics in colors that I liked, but was also a sucker for fabric sales and found myself buying fabrics that were S E W N E W S.CO M

If you do find yourself with more fabric than you intended to collect, think about joining in on one of the hashtag campaigns on Instagram that encourages sewing with what you have; #fabricfast and #stashbusting are two good ones. A community of fellow sewists working towards a similar goal is a great way to stay accountable. This year Svetvilas noticed that she was feeling badly about how large her collection had become so she’s put herself on a “fabric fast,” only sewing with materials she already owns and vowing to buy no more. Another strategy for becoming more mindful of your collection is to take an honest inventory. Record what you have on a spreadsheet and then track the amount of fabric you bring in and use up in a given month or three-month period. With data, you’ll better understand your buying behavior and realize what you need to do to streamline. If you sift through your fabric collection, you’ll likely come upon that precious piece that’s just too beautiful to cut into. “I have a few expensive, special fabrics in my stash,” Svetvilas says. “I used to have

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Getty Images/Maskot

Another strategy for becoming more mindful of your collection is to take an honest inventory.

a lot of anxiety about cutting them, but as time has passed that anxiety has calmed down.” She encourages everyone to take the plunge and cut it up. “Life is too short! What are you saving it for? I don’t want to be the person whose fabric stash, including gorgeous, precious fabrics, gets donated to charity after I’m no longer on this earth.” While we’re thinking critically about our fabrics, why not also take a broader look at the term “stash” and think through it’s implications. After all, a stash is a store of something that is hidden and secret. Why are we using this word? “Stash sounds like a guilty thing, but these are your materials,” says Rose DeBoer, the managing editor at Quilting Arts and Modern Patchwork magazines. “They’re worthy and shouldn’t be hidden.” Just because it’s become a commonly used term, DeBoer

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says it’s not too late to choose a different one. “As adult women, we should treat our needs and desires seriously. They’re important, not silly. Words are so incredibly powerful. It might seem cute or funny, but they can actually perpetuate not treating women as talented individuals.” She’s begun using “collection,” “fabric choices,” “supplies” and “materials on hand,” instead. Deliberate terminology and a deliberate approach toward collecting can help us view our fabric collections for their creative potential, guilt free. “I sew because I find endless joy in making things and profound satisfaction in seeing something I have dreamt come to life,” Quaal says. “The creation, not the consumption, is the source of joy, and I want it to always be this way.”

d& Designe y taught b le & top BurdaSy experts y r t s u d in

Straight Off the Runway INNOVATIVE COURSES FOR THE STYLISH Start courses anytime you want

Popular Courses Include:

Get interactive help from the instructor

• Pattern Grading for All Sizes • Sewing Knits without a Serger • Slopers 101: Drafting, Sewing and Fitting • Sew and Draft Your Own 7 Piece Workout

Share photos and tips with other students Download and keep all videos, handouts and patterns forever!

Wear Collection

See what we have to offer! academy.burdastyle.com

SEW ALONG JANUARY

LONETREE JACKET & VEST BY ALLIE OLSON Grab the pattern at shopsewitall.com and join Allie (and us!) for the following special topics: January 8: Seam Finishing Options January 15: Perfect Utility Pockets January 22: Installing a Separating Zipper

THE PATTERN No me-made wardrobe is complete without a stylish anorak-style jacket. The Lonetree Jacket and Vest by Allie Olson fills that slot perfectly. A lightweight outer layer designed for chilly weather, View A features a full-length, two-piece sleeve with cuff while View B is a vest with armhole facings. Both views include a collar, front and back facings, optional hood and patch pockets with snap or button closures for a casual, utilitarian look. Recommended fabrics include canvas, corduroy, stretch twill, twill and chino. This intermediate pattern offers sizes XS through XXXXL.

S E W N E W S.CO M

D E C E M B E R 2 0 1 8 / J A N UA R Y 2 0 1 9

WHO DO YOU DESIGN FOR? I design for people like me: young women who follow trends but are aware of the detriments of fast fashion. I design for people who want to create clothing that looks readyto-wear without the ethical implications of buying clothing off the rack. MEET THE DESIGNER:

ALLIE OLSON Allie’s mom taught her to sew at age seven. Twenty-some years later, it’s all she can think about. She’s passionate about keeping creativity the top priority in her life. With a goal to make garment sewing less daunting, Allie founded Indiesew, which has quickly established itself as a major player among younger sewists, curating the best selection of sewing patterns and resources to take the frustration out of sewing your own clothes.

ANORAK ENVY This jacket design features tons of high-end details including sporty snaps, generous utility pockets and a waist tie for subtle shaping.

AllieOlson.com & IndieSew.com

FIND THE PATTERN AT SHOPSEWITALL.COM.

S E W N E W S.CO M

HIGH END HACK BY JESSICA ZIEBARTH

SLEEVE ENVY Embellishments on sheer fabrics give an upscale look to any basic garment. Runway designers have been showcasing adorned tulle on sleeves, pockets and collars. Add this embroidered and charmed tulle cuff to a readymade jacket to create an extravagant garment that is suitable for all occasions.

SUPPLIES • Readymade jacket • Tulle fabric • Water-soluble stabilizer • Needles: hand sewing & embroidery • Thread: all-purpose & monofilament • Embroidery floss • Charms • Embroidery hoop • Seed beads (optional)

S E W N E W S.CO M

Purchase a readymade three-quarter sleeve jacket or adjust full-length sleeves to three-quarter length. Cut four 6"×18" strips of tulle and two 6"×18" strips of water-soluble stabilizer. Mark the stabilizer for charm and embroidery design placement. Place one tulle strip on top of one stabilizer strip. Secure the strips together in the embroidery hoop, starting at one strip end. Hand embroider the design and add charms to the marked areas of the hooped strips. Unhoop the fabrics and move down the strip until all marked areas have been embroidered or have had charms added to them.

D E C E M B E R 2 0 1 8 / J A N UA R Y 2 0 1 9

Unhoop the fabric and cut away the stabilizer around the designs and charms, leaving a small amount. Wash out the stabilizer according to the manufacturer’s instructions. Place the embroidered tulle over a blank tulle strip. Baste 1⁄2" from the upper long edge. Pull on the basting thread to gather the tulle to match the jacket sleeve circumference. Pin the gathered tulle to the jacket sleeve wrong side, 1⁄2" from the sleeve lower edge. Whipstitch the gathered tulle to the jacket sleeve, encasing the basting thread. Repeat to create the remaining sleeve.

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OFF THE SHELF

Stock your sewing library and increase your know-how with the latest & greatest books.

SEW LUXE LEATHER by Rosanna Clare Gethin With just a few basic tools, you can create chic fashion-forward leather items in no time. Choose from a wide range of 20 exciting accessories including hand-stitched, machine sewn and no-sew projects. This book features all the essential leather craft techniques, from scoring and hole punching to embossing and burnishing.

WIN A COPY! ENTER TO WIN

A COPY OF SEW LUXE LEAT HER ON THE SEW NEWS BLOG ON JAN. 3, 2019 !

interweave.com

SEW… THE GARMENTMAKING BOOK OF KNOWLEDGE

VISIBLE MENDING by Jenny Wilding Cardon

FIRST TIME GARMENT FITTING by Sarah Veblen

This is the how-to book of sewing wisdom you always wanted. Get the inside scoop on sizing and alteration, patternless sewing, what to sew and what to buy and many other topics. Mini-lessons are sprinkled throughout, as are tips and ideas on choosing and using the best fabric, supplies and machines.

Rips, snags and tears all present an opportunity for one-of-a-kind creativity. This fun introduction to unconventional mending is half how-to guide and half idea book. Learn hand-mending methods, such as boro, embroidery, patching and darning. Then learn about fast repairs by sewing machine. Extensive examples and photos make it easy to put your unique mark on anything you mend.

ctpub.com

shopmartingale.com

quartoknows.com

by Barbara Emodi

S E W N E W S.CO M

D E C E M B E R 2 0 1 8 / J A N UA R Y 2 0 1 9

Sewing and garment design expert Sarah Veblen teaches you everything you need to know to fit and adapt patterns so you can sew clothing that looks and feels just right. With detailed descriptions of essential tools and techniques, the easy step-bystep instructions will have you quickly fitting and altering garment patterns. Included projects introduce key skills that you’ll use again and again.

9-DAY SEW NEWS TOUR TO

ENGLAND

& LONDON KNITTING & STITCHING SHOW

OCTOBER 3 - 15, 2019 Package Includes: • • • • • • • • • • • • • • •

Round-trip airfare from the USA to England. First-class hotel accommodations. Private deluxe motor coach & driver. Professional guide & Craftours escort. Drive through the charming Cotswolds. Tours in Bath and Stratford-upon-Avon. Visit the American Museum in Bath. Sightseeing and shopping in London. Visit the textiles exhibit at the Victoria & Albert Museum in London. Fabric Shopping at Liberty of London. Visit the The Knitting & Stitching Show in London. An optional tour to Warwick Castle. Traveling with our special guest, Ellen March. &RPPHPRUDWLYH WRWHEDJ ȴOOHG ZLWK JLIWV And much more!

ELLEN MARCH