Page 1





The Trusted Sewing Source ESTABLISHED IN 1980



P. 76

Tula Pink P. 28 • Her Studio • Her Fabrics • Her New Video Series EMBELLISH A



US $5.99 CAN $6.99



01 02 03 FnL1 ZXIAVWbTpwQxMC40AjgwATEFVVBDLUEM CUYrVyBNZWRpYQ9HcmVnb3J5IEtydWVn MDcxNDg2MDE2MDM4kQ== 03 0084


71486 01603


Display until September 14, 2015





Get Your Sewing Room Ready For The


Koala Studios Floor Model

Save up to


off MSRP

It’s time to clear out your sewing room and get ready for the biggest savings of the year during our National Floor Model Sale. Don’t wait! Save up to 30% Off MSRP on Koala floor models loaded with quality features.

Visit your local retailer, quantities are limited. Sale ends September 30, 2015

Available at sewing retailers nationwide


FEATURES 44 CHIC CLUTCH Create a couture handbag for a night on the town.

48 PIECE BY PIECE Create a quilted pillow set using fabric scraps.

54 NO-SWEAT SWEATSHIRT Stitch an effortless two-tone sweatshirt.

58 FASHION AT ANY AGE Discover fashion principles to translate trends for all ages.

64 LADY & THE STAMP Create a boho-chic patterned tunic using wooden stamps.

Find our exclusive WOODEN TEXTILE STAMP SET at 66 TRENDY IN TWEED Stitch a skirt with fun patch pocket details for a unique look.

72 METHODS TO MASTER: DRAPEY FABRICS Learn everything you need to know about drapey fabrics.


32 2









Join our

SEW-ALONG Get the pattern at

66 54





BASIC SKILLS: Purse Anatomy


Editor’s Letter


HOME-DEC HELP: Cube Cushion


Our Experts


HAUTE TOPICS: Activewear


Online Extras




Reader Tips


PATTERN PLAY: On Safari Dress


From You




Cool Tools


SEW VINTAGE: Vintage Patterns


Off the Shelf


SEW & TELL: Grainline Studio Portside Travel Set


Last Laugh

Learn about




EDITOR DEAR READERS, I’m excited to share with you a brand new video series available at starring the lovely Tula Pink. Tula is a fabric designer, artist and author who made a name for herself most prominently in the quilting world. Her fabrics are whimsical, unique and perfect not only for quilts but for bags, skirts and tops, and home décor. The video series takes you on a virtual tour of her home studio while you learn about her creative process as she designs a new fabric collection. Turn to page 28 to learn more about her and her space. You’re sure to want to grab a hold of her luscious fabrics after reading this article and watching the videos, so look to our exclusive project kits featuring some of her most recent fabric lines. You’ll find them all, including three posh purses, a table runner, a place mat set and more, at Another great kit featured in this issue is a wooden stamp set. These Indian textile stamps have intricate designs reminiscent of henna tattoos. The stamps allow you to create your own fabric for a bohochic vibe, which is a great look as summer transitions to fall. Find the how-tos for using these stamps to create a flowy tunic on page 64. I’m always on the lookout for fashion advice. I see garments that I love on the runway but think I could never pull off wearing them. This is what excites me about the “Fashion at Any Age” feature on page 58. Jacque Goldsmith explains how to translate runway fashions into our sewing repertoire by explaining the ins and outs of the fashion cycle, including examples of silhouettes and trends. It’s great information that helps you find a signature style for your body and lifestyle. My favorite thing to sew is a bag. I have tons of bags—one for every purpose it seems. The big travel bag featured on this cover is our next Sew-Along project. Be sure to grab the pattern and find your favorite fabrics to prepare for the fun starting on Sept. 8. (The pattern actually comes with THREE bag styles, so you’re getting more bang for your buck!) Enjoy this issue and happy sewing!

Ellen March






(“Lady & the Stamp”—page 64) is often found sewing at her kitchen table in her old farmhouse. She’s worked as a bridal fashion designer, stylist, costume designer and furniture refinisher.

(“Basic Skills: Purse Anatomy”—page 18) has loved creating with fabric, needle and thread for most of her life. She’s an educator, writer and editor for Bernina of America.

RHONDA BUSS (“Sew & Tell”—page 76) is a woman of many talents. She’s a pilot, writer, artist, dog lover and sewist. She lives in Chicago, where she drafts patterns and sews for her blog, Rhonda’s Creative Life.

LIESL GIBSON (“Haute Topics”—page 26) is the chief designer of Liesl + Co., makers of the Oliver + S, Lisette and Straight Stitch Society brands of sewing patterns and fabrics.

ANA JANKOVIC (“Pattern Play: On Safari Dress”—page 32) is a computer programmer who expresses her creativity by sewing in her free time. She’s a self-taught sewist and designer residing in Belgrade, Serbia.

LINDA REYNOLDS (“Chic Clutch”—page 44) learned to sew at a very young age and has enjoyed it ever since. She loves sharing her passion for the craft as an instructor teaching garment sewing to teens and adults.

KIM SABA (“Trendy in Tweed”—page 66) holds a degree in fashion design from the Fashion Institute of Technology. She loves to sew, play with her two dogs and collect everything vintage.

ERIN WEISBART (“No Sweat Sweatshirt”—page 54) holds a Ph.D. in biochemistry and loves to inspire others with her sewing, quilting and crafting projects. She blogs regularly, drafts patterns and makes pretty things as often as possible. 6


AU G U S T / S E P T E M B E R 2 0 1 5

RAE CUMBIE (“Fitting FAQs”—page 36, “Methods to Master: Drapey Fabrics”—page 72) has been creating clothing for women and children in her home-based studio for more than 20 years. Her custom gowns for weddings and special occasions have earned her a place as one of Baltimore’s most sought-after dressmakers.

JACQUE GOLDSMITH (“Fashion at Any Age”—page 58) has over 25 years of experience in the apparel industry and has earned degrees in Clothing and Textiles, and Merchandising and Buying. She teaches all levels of apparel design and construction at Lake Washington Institute of Technology.

CINDY LUBY (“Home Dec Help”—page 24) trained as a commercial seamstress and loves designing patterns for quilts and bags. She loves long-arm quilting and entertaining creative friends in her home studio.

JODIE RICHELLE (“Piece by Piece”—page 48) graduated high school with the coveted Home Economics award and has been cooking and sewing her way through life ever since.

KATIE VARDIJAN (“Sew Vintage”—page 39) is a sewing machine company educator and works passionately on millinery and historical costuming.

3 Full Days -

hop Learn Smle

(and shop some more)

rth of creative Stock up for a year’s wo ls, ideas, fun! Fabrics, notions, too w. -ho ow kn inspiration and

(it’s a maker’s lifestyle) ne skills, Learn from the best: ho refresh your d an learn something new and seminars. ps creative life in worksho

) (satisfaction guaranteed

nk shows on Meet trendsetters, see tru on a walk through stage, gather inspiration play and more... the amazing quilts on dis

JOIN US! October 1, 2 & 3, 2015 November 12, 13 & 14, 2015 March 10, 11 & 12, 2016 March 17, 18 & 19, 2016 March 31, April 1 & 2, 2016 April 7, 8 & 9, 2016 September 29, 30 & October 1, 2016 Minneapolis, MN November 10, 11 & 12, 2016 6 More 2016 events to be announced! Fredericksburg, VA Minneapolis, MN Atlanta, GA Lakeland, FL Cleveland, OH Worcester, MA Fredericksburg, VA 800.699.6309

Online Extras email: EDITORIAL

UPCOMING WEB SEMINARS! Web seminars are the easiest way for you to learn and expand your sewing skills. They’re great for beginners who are new to sewing and perfect for the more experienced sewist who wants to learn specific details on a particular tip or technique. Upcoming web seminar topics include pattern alteration, sewing with leather and how to start a sewing business. Each web seminar will be live with a Q&A portion to answer your every question. Keep an eye out for more web seminars coming soon!

Content Strategist/ Editorial Director Senior Editor Managing Editor Associate Editor Freelance Technical Editor Online Editor Editorial Assistant

Ellen March Amanda Carestio Veronica Graham Nicki LaFoille Kim Saba Jill Case Jessica Ziebarth ART

Creative Director Graphic Designer Photography Photo Stylist Illustrator Hair & Makeup Artist

Sue Dothage Kathy Locke Donald Scott, Jessica Grenier, Mellisa Karlin Mahoney Tina Gill Melinda Bylow, Sheila Lam Beth Walker

F+W, a content + ecommerce company


Chairman & CEO CFO & COO President Chief Digital Officer VP/E-Commerce Senior VP/Operations VP/Communications VP, Group Publisher VP of Content Creative Director Creative Editor, Sewing

David Nussbaum James Ogle Sara Domville Chad Phelps Lucas Hilbert Phil Graham Stacie Berger Shahla Hebets Helen Gregory Larissa Davis Amber Eden


Newsstand Consultant Online Marketing Manager Retail Sales

TJ Montilli Kyle Jessee LaRita Godfrey, (800) 815-3538


Associate Publisher

Wendy Thompson (910) 791-3832


Sales Manager

Mary Evelyn Dalton

Digital Sales Manager

Get ready for the next Sew News Sew-Along! This issue of Sew News features Grainline Studio’s Portside Travel Set. Purchase the pattern now, find the SewAlong schedule and all the details on page 77. To complement the Portside Travel Set, purchase the Packing Right & Packing Light e-Book for tips and projects for sewing a travel wardrobe.


Laura Abel

Online Advertising Operations Andrea Abrahamson (303) 215-5686 SUBSCRIPTIONS

U.S. (800) 677-5212 To order back issues call (800) 269-8024; (303) 215-5600 outside U.S. or go to SUBSCRIPTIONS: To subscribe to Sew News magazine or change the address of your current subscription, visit Subscriber Services online at: You may also call or write: Phone: (800) 289-6397, International: (386) 597-4387 E-mail: 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 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@

CHECK OUT THE SEW NEWS FLICKR GROUP! Post photos of your projects, find tips and connect with others who love to sew!

Post your sewing creations at

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. Sew News August/September 2015 • No. 5


“Like” Sew News at

Follow us at

Follow us on Instagram @SewNews.

Check out our pins at



Copyright © 2015 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

Shop Now!

must haves & cool tools for sewing success

Order exclusive kits, books, patterns & more today at SEA CREATURES PILLOW KIT

Learn fundamental sewing techniques and brush up on basic skills with Vanessa Vargas Wilson as your guide.

Item# SN150502



I Item# EP11819 E


$16.99 $


Item# SIAB1508

CME JULY/AUGUST Item# CME10715 $5.99

Item# SIAB1502




Item# T6606 $8.99

Item# SIAB1509

$29.95 each

Get ready for Halloween with the CME Spooky Treats design collection. Embroider designs on table runners, napkins, or a cute treat bag. Item# 1510STCOL




1-877-821-4767 or shop online at Hurry— Limited Kit Quantities Available!

$3.99/individual design $5.99/border design $19.99/collection

READER TIPS 1. INSPIRATION ON THE READY Keep a pocket-sized composition book handy to jot down project ideas when inspiration strikes.



Natalia L., Facebook

2. NOT LEFT HANGING Utilize the clips of a pant hanger to keep your sewing book in place while referencing the instructions. Kathy G., email

3. DISPLAYED CONVERSION Post a yardage-to-inches cheat sheet in your sewing room for fast converting. Jean B., email

4. ORGANIZATION STATION Use a cheese shaker to neatly store partially used twine. Ashley S., Facebook


5. WRINKLES NO MORE Use a hair dryer 12” away from laminated fabrics to relax wrinkles. Becky M., Facebook FEATURED READERS RECEIVED A MODEL 500 SCISSOR SHARPENER FROM EDGECRAFT FOR SUBMITTING A TIP.

Send your tips to sewnews@ or post them at

4.5 in.


9 in.


12 in.


13.5 in.


18 in.


22.5 in


24 in.


27 in.


31.5 in.


36 in.






Play & Win!


What is it? Pictured at left is part of a photo from this issue. When you find it, enter online at 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 Apr/May ’15 Hide & Seek winners! We randomly selected five winners to receive a copy of Ask Sew News: 150 Sewing Answers:

Responses are due Aug. 31, 2015. From the correct responses, we’ll randomly draw five winners, one of which could be you.

Carolyn I., Medford, MN

The Aug/Sept ’15 winners will receive a copy of Ask Sew News: 150 Sewing Answers from

Dona H., Independence, MO Geraldine S., Seattle, WA MaryAnn S., Sunnyvale, CA Bernadette B., N. Huntingdon, PA



INTRODUCING A NEW WEB VIDEO SERIES: SEW WITH ME! Exclusively available at &! In each video of this series, you’ll learn the steps to create new, exclusive projects created especially for you by top artists and designers in the sewing industry. Each video takes you through a project from start to finish in a fun, exciting way that helps navigate challenging techniques and guides you to the finish line.


Bonnie's Flouncy Skirt (sizes XS-3X) The Shellie Clutch The Wendy Weekender Bag

The Peggy Party Runner

Join us beginning June 22 to watch four videos featuring Jennifer Paganelli and Carla Crim, the team behind Sis Boom Pattern Co., as they walk us through the four exclusive project kits featured at left. Visit to find the kits, patterns and videos. We look forward to sewing with you!



Find Jennifer Paganelli & Carla Crim’s autographed books (Girl’s World, Happy Home and Essential Sewing Reference Tool) at Limited quantities are available!

From You FIND PROJECT KITS to sew for all holidays at


BEST IN SEW “I love making Christmas gifts, Christmas ornaments and using fabric to create the wrapping!”

What’s your favorite holiday to sew for?

40% Christmas

Sara N.

23% Halloween Sara won a copy of Artfully Embroidered: Motifs and Patterns for Bags and More by Naoko Shimoda. For your shot at winning a prize, “like” the Sew News Facebook page. Find the book, featured below, at

11% All Holidays 10% Easter 7%




Find the how-tos to create these fabric gift boxes in the 2014 digital issue of Stitch Modern Holidays, available at

YOU SAID SEW JOIN THE CONVERSATION! Visit our Facebook fan page to take polls and post comments for a chance to receive a special sewing prize.

“Someone’s birthday. I know it’s not a holiday, but giving someone something personal makes me feel so happy.” Laurie W.

“Every day is a holiday when I’m sewing.” Claudia M.

“Halloween, of course. I could never tolerate the cheesy/cheap store-bought costumes. I like to make my own!”

“I always thought it was Christmas. But now I’m loving the Easter bunnies!” Julie P.

“Definitely Christmas, followed by Easter. Matching little girl dresses with matching dolly dresses!” Patricia H. “Halloween. Sew much fun!” Julie A.

Carrie N. sewnews sewnews sewnews sewnews 12


READER REMARKS Check out the latest comments on our Facebook fan page: “Ah, the love of sewing. Definitely turned my brain, and for the better.” Catherine C. “I love sewing, it keeps my mind straight.” Donna R.

AU G U S T / S E P T E M B E R 2 0 1 5

“I love to give gifts that I’ve made. They’re the BEST, and I’m always looking for something new to make.” Patricia L. “I

the new Sew News logo!!!” Sheri D.



Show Some Love To Your Local Sewin g Shop Retailer!

SHOP LISTINGS CALIFORNIA BELLA’S STUDIO – MONTEREY A unique, fully equipped sewing studio & boutique located in the heart of Monterey. Bella’s Studio offers classes, workshops, and an Open Studio Sewing Lab for all levels of sewers. 140 W. Franklin St. Suite 205 (831) 920-2272

COLORADO COLORADO FABRICS – LITTLETON The largest independent fabric store in the Rocky Mountain Region. Featuring Fashion, Home Decorating, Quilting, Event, Couture Fabrics & Notions. 2777 West Belleview Ave. • (303) 730-2777 QUALITY SEWING – LONGMONT Longmont’s Exclusive Baby Lock Dealer. Machines, accessories, notions and inhouse service. Like us on Facebook at Inc. 1450 Main Street • (303) 651-7752 THE PRESSER FOOT – FORT COLLINS Bernina sewing machines, fabric, embroidery and a spectacular selection of threads. Onsite service and repair for most sewing machine brands. 2111 S. College Ave. • (970) 484-1094 THE PRESSER FOOT – LONGMONT Bernina sewing machines, fabric, embroidery and a spectacular selection of threads. Onsite service and repair for most sewing machine brands. 2430 Main Street • (303) 485-6681

FLORIDA CHARLOTTE SEWING STUDIO – PORT CHARLOTTE Authorized Husqvarna Viking and BERNINA Dealer. Specializing in Garment and Quilting fabrics. Offering sewing classes, and machine repair service. 1109 Tamiami Trail Unit #2 (941) 235-3555

GEORGIA THE STICHERY – ROME At The Stitchery, we specialize in fabrics from today’s most popular designer collections.

We are located in historic downtown Rome, GA and are a contemporary fabric and sew shoppe. As an exclusive Baby Lock dealership, we offer a full line of the finest and easiest to use sewing, embroidery and serger machines. 111 Broad Street • (706) 622-2345

MISSOURI SATIN STITCHES – COLUMBIA 17.5 years in business. Over 3,000 bolts of fabric. 7,000 square feet of fun and inspiration. Pfaff and Brother Authorized dealer. MondayThursday 10:00 a.m. to 5:30 p.m. Friday and Saturday 9:30 a.m. to 3:00 p.m. 705 D Vandiver Dr. • (573) 817-0006

NEW JERSEY BERNINA SEWING CENTER – MATAWAN BERNINA and bernette sewing machines. BERNINA certified Service Tech., servicing all brands. Sewing classes for adults and for kids. 443K State Hwy 34 – in The Marketplace (732) 566-2121

NEW MEXICO HIP STITCH – ALBUQUERQUE Quilting/sewing fabrics, patterns, books, notions. Classes for adults, kids. Gift certificates. Mention this for a free fat quarter. 7001 San Antonio NE • (505) 821-2739

PENNSYLVANIA GLORIA HORN SEWING STUDIO – PITTSBURGH Pittsburgh’s friendliest shop featuring quality sewing machines and exceptional service since 1983. Come see our huge selection of Moda pre-cut fabrics. 300 Castle Shannon Blvd. • (412) 344-2330

TEXAS SEW MUCH MORE – AUSTIN Central Texas’ Award winning sewing superstore. Baby Lock and BERNINA authorized dealers. Unique and unusual fabrics. Great classes! 3010 Anderson Lane @ Shoal Creek (512) 452-3166 SEW IT UP STUDIO – HURST We are best known for our extensive selection of fashion fabrics, modern

quilting cottons and our KITS! We hope our website inspires you to sew! 740 Grapevine Hwy • (817) 514-6061

WASHINGTON PACIFIC FABRICS – BREMERTON Locally-owned, friendly service! 35 years in Kitsap, with quality quilting, fashion and home décor fabrics, great yarns and craft supplies. 4214 Wheaton Way • (360) 479-4214 PACIFIC FABRICS – BELLEVUE Locally-owned, friendly service! Evergreen Village near Starbucks, with quality quilting, fashion and home décor fabrics, great yarns and craft supplies. 1645 140th Ave. NE • (425) 747-3551 PACIFIC FABRICS – EVERETT Locally-owned, friendly service! Convenient location near Outback, with quality quilting, fashion and home décor fabrics, great yarns and craft supplies. 10203 Evergreen Way • (425) 353-8866 PACIFIC FABRICS – SEATTLE – NORTHGATE Locally-owned, friendly service! Gorgeous bridal fabrics and trims, quality quilting, fashion and home décor fabrics, great yarns and craft supplies. 838 NE Northgate Way • (206) 362-0111 PACIFIC FABRICS – SEATTLE – SODO Locally-owned, friendly service! South of Safeco Field, with quality quilting, fashion and home décor fabrics, great yarns and craft supplies. 2230 4th Avenue South • (206) 628-6237

WISCONSIN SEW N SEW INC. – WAUPACA Premier dealer for Husqvarna Viking sewing and embroidery machines, accessories and fabrics. Edutainment center with creative and fun classes year round. 112 S Main • (715) 256-1071 SEW N SEW INC. – APPLETON Premier dealer for Husqvarna Viking sewing and embroidery machines, accessories and fabrics. Edutainment center with creative and fun classes year round. 1881 N. Silverspring Dr. • (920) 830-9372

COOL TOOLS Stock your sewing room with the latest notions, tools, fabric, books and more. 1. Make ripping seams slightly more bearable with this beautiful Seamwise abalone seam ripper.


2. Delight your crafty correspondents with vintage-inspired notecards that celebrate an iconic era of fashion. Four unique designs showcase authentic patterns from the McCall’s archive, with custom envelopes resembling deconstructed pattern pieces. 3. With a retro vibe, the Camelot Fabric Heirloom collection includes timeless patterns in a trendy palette to inspire your creativity. Pre-order the 16 fatquarter bundle beginning July 15 for September delivery at








5 4. Cut out stencils, patterns or anything else that requires precision using the Olfa art knife with a cushion grip and three different shaped blades for all your cutting needs. 5. In just a few seconds, this compact Mini Crafting Iron gets hot enough to remove creases and apply appliquĂŠs. Small enough to fit in the palm of your hand, the iron will fit easily into your purse, carry-on or craft kit.



6. Change up the fabric to dress a flattering bias-cut jacket up or down. The Biased About Jackets pattern is easy to fit without darts or other structured sewing elements. The jackets are loose fitting and comfortable, as the bias fit gently follows the curves of the body. 7. Expand your creativity with the Innov-is NQ3500D sewing and embroidery machine. Hobbyists of all skill levels can take advantage of the 290 built-in sewing stitches and design their own with the Brother exclusive My Custom Stitch feature that allows users to combine and edit custom and built-in stitches. The generous 173 built-in embroidery designs include 35 designs featuring favorite Disney characters.




LacyLinen Napkins by Katrina Walker, courtesy of RNK Distributing



AU G U S T / S E P T E M B E R 2 0 1 5

Dress up your table with personalized monogrammed napkins embroidered to match your dÊcor. Floriani Total Control U software’s easy-to-use monogram tool and many built-in shapes make creating a unique statement simple. Floriani Wet N Gone Tacky water-soluble stabilizer and Floriani Template Tearaway ensure perfect design placement and a quick and easy stitchout.

advertorial Materials Materials listed are enough to create four 20" square napkins. * 1¼ yards of linen or cotton fabric * Needles: size 80/12 universal & size 90/14 embroidery or topstitch * 200mmx200mm embroidery hoop * Floriani Template Tearaway * Stabilizer: Wet N Gone Tacky, Wet N Gone (See “Sources.”) * Thread: coordinating all-purpose, bobbin & embroidery thread (See “Sources.”) * Spray starch (optional) * Floriani Lace Borders embroidery design collection

Construct • From the fabric, cut four 21” squares. • Fold each square raw edge ¼” toward the wrong side; press. Fold each edge another ¼” toward the wrong side; press, and then edgestitch the first fold using a straight stitch and matching thread. Use spray starch if needed when pressing to create a crisp, smooth surface. • Use Floriani embroidery software to create the desired monogram embroidery design and add a lace border (A). • Print a design template onto the Floriani Tearaway Template. • Hoop a piece of Floriani Wet N Gone Tacky stabilizer with the paper side facing up. Score the stabilizer inside the hoop perimeter using a pin. Remove the paper backing from the adhesive surface within the hoop. • Trim the template around the printed design. Remove the backing paper, but keep it handy for storing the template. Adhere the template onto one corner of the napkin to determine the desired design placement.

Learn how to create th e featured monogram embroidery design at rnkdistribut tml.

• Adjust the template as necessary so the design is positioned on the napkin as desired and fits into the hoop area. The featured lace border falls ¾” off the finished napkin edge.

• Soak the napkins and rinse them in lukewarm water to remove the excess stabilizer. If the stabilizer doesn’t entirely remove, add fabric softener to the water and re-soak.

• Adhere the napkin to the hooped stabilizer, using the template to aid positioning and being careful not to adhere the template to the stabilizer.

• Let the napkins dry, and then press them using a press cloth to protect the embroidery.

• Transfer the center marks from the template onto the napkin. • Remove the template from the napkin and place it on the paper backing for reuse. • Place the hoop onto the machine. • Slide a layer of Floriani Wet N Gone stabilizer under the hoop. Place strips of Wet N Gone stabilizer along the napkin edges to cover any exposed adhesive stabilizer within the hoop.

Designs Monogram: Built-in lettering from the Total Control U Software: Lace: Floriani, Lace Borders: Sources Floriani provided the Total Control U software used to digitize the design, Template Tearaway, Wet N Gone Tacky water-soluble stabilizer, Wet N Gone water-soluble stabilizer & embroidery thread:


• Center the embroidery design according to the napkin marks. • Embroider the design onto the napkin. Once the embroidery is complete, remove the hoop from the machine and the project from the hoop. • Repeat to embroider the remaining three napkins. • Carefully trim away all excess stabilizer from the designs and lace perimeters. SEWNEWS.COM


Basic Skills


Most women search for years for the ideal purse – not too large, not too small, just enough pockets and the right fit for over the shoulder, in the palm or on the wrist. One way to fulfill this purse fantasy is to make your own. Learn all about different purse styles, sizes, fabrics and finishing details and customize the perfect purse for you.



AU G U S T / S E P T E M B E R 2 0 1 5

PURSE STYLES The first decision to make is the purse style. While there are hundreds of different looks for purses, most of them fall into one of the following six categories. Think of how the purse will be used, items it needs to hold and the most comfortable way to carry it. The diagrams below the descriptions illustrate the basic pattern piece shapes for each bag style.

CLUTCH/WRISTLET This simple style may have a foldover top, a flap, or an opening with a magnetic closure, hook-and-loop tape or a zipper. Adding a short looped strap as a way to hold onto it without carrying it in hand makes it a wristlet. A great project for beginners, most clutch purses are quick and easy to make. Front


Flap (Optional) Wrist Strap (Optional)

TOTE Usually an open purse with two handles, totes can be used as purses, for carrying groceries, or toting just about anything. Another easy-to-make style, totes are tall rectangles and generally don’t have a closure. The handles can be shoulder or arm length and are typically not adjustable. Choose fabrics that are durable enough to manage a heavy load. This style may be flat or may have a base made by boxing the corners or inserting a gusset. Handles Front


MESSENGER A sturdy purse with a shoulder or cross-body strap, a messenger purse has a large flap that covers the entire front. Made with a side gusset, these purses are large and also work well for specialized needs, such as a diaper bag or laptop carrier.

Flap Front


Strap Strap Gusset



Basic Skills

BUCKET A bucket purse has a round or oval bottom with a shape similar to a bucket. It usually has an open top that can close with a drawstring or may have a magnetic closure for added security. Bucket purses often have shoulder straps but are also seen in cross-body and backpack versions. Handles Base


FRAME The structure of a frame purse is formed by fitting the fabric onto a metal frame. Commonly, the fabric is gathered, and then glued or hand stitched securely to the frame. In most cases, the frame snaps together to close the purse.


HOBO A hobo purse is an over-the-shoulder purse with a large opening that may or may not be zippered. Also called a slouch or sling, this purse style is soft and flexible, and the upper edge typically forms a soft curve between the handles. The strap may be adjustable but is usually fairly short so the purse rests under the arm.




AU G U S T / S E P T E M B E R 2 0 1 5



Leather Square

d Handbag

Miss Miracl

e Bag

ch Cutout Clut

FIND tons of great clutch, tote & purse patterns & kits at

FABRIC & MATERIALS The second consideration when making the ideal purse is selecting the fabric. Most purses can be constructed using firmly-woven fabric, upholstery fabric, leather or vinyl. Mediumweight fabric works well, but lighter fabric can also be used if combined with interfacing, batting or stabilizer to add stiffness, body and weight to the outer fabric. One or more of these materials may be needed to make the fabric sturdy enough to hold the desired shape and the wear and tear of use. Purses may be lined or unlined as desired. The purpose of the lining is to cover the construction details on the inside of the purse, protect the raw edges and make the inside of the purse more pleasing. It can also add weight and body to the overall purse. If the purse is unlined, it’s a good idea to finish the seams of woven fabric with binding, pinking the edges or overcasting them using a zigzag stitch or serger. A lining can also make a purse reversible. Use a sturdy fabric for the lining so the purse can be used with the “right” or “wrong” side turned to the outside. Typically the lining is constructed in the same manner as the outer purse, and then stitched to the outer purse with right sides together. Leave a small opening somewhere in a lining seam to turn the purse right side out. Close the opening by hand or machine. When assembling a purse, layer the outer fabric with the stabilizing materials on the wrong side, if fusing.

Some of the materials may be fusible and should be fused according to the manufacturer’s instructions. Others may be sew-in, which can be attached to the fabric by sewing or basting

inside the seam allowances. If there are several layers stacked and temporarily held, use temporary spray adhesive to hold them in place as the purse is constructed.

GLOSSARY Get familiar with these common purse-making tools and techniques. Batting – Material layered between an outer and backing fabric of any project that’s quilted. Made of cotton, silk, wool or polyester, batting adds loft and insulation. Binding – A finishing method using strips of fabric folded and stitched around raw edges. Boxing the Corners – An easy technique for adding depth to flat purses, often used on totes and hobo-styled purses. After stitching the side and lower seams, align the side seam with the lower-edge seam, forming a triangle on the corner. Measure the desired length from the corner point and draw a line straight across the corner. This measurement determines the purse-base depth. Stitch along the line, and then repeat with the remaining corner. Flap – Fabric piece covering the purse front, as in a messenger purse, adding privacy and security. Flaps may also be used

to close purse pockets and may secure via snaps or buttons. Gusset – Strip of fabric used to add depth to a purse. The gusset is stitched to the purse front and back and the purse sides and base. Interfacing – Often used in garment openings, this material adds support and shaping to the fabric and is available in fusible or sew-in varieties. Frequently used to add body and structure when making a purse. Piping – Fabric-covered cord used as a trim to define edges and highlight the purse shape. It also strengthens corners and edges that receive a lot of wear and tear. Stabilizer – Material used to support stitching and keep fabric from puckering during stitching. Once the stitching is complete, remove the stabilizer by tearing, cutting or washing it away, depending on the type. Some stabilizers can be left inside the finished purse to add to its overall structure and body.



Basic Skills

HARDWARE The most common types of purse hardware are: Purse Base – Used to add structure and stability to a purse, the base fits into the bottom of the purse and can be made of acrylic or plastic. Plastic canvas can also be used for a pliable and flexible base. Purse Feet – Secured to the outside of the base of the purse, these feet can be metal or plastic and protect the bottom fabric of the purse. They’re usually attached with prongs inserted through the fabric. Handles – Handles and straps can be made of fabric, webbing or leather. There’s a large selection of readymade handles that can easily be attached to a purse, either by sewing them directly to the purse or by fastening them to hardware that’s sewn to the purse. Handles are available in many styles and a variety of materials, such as wood, leather, vinyl and plastic. Easy to use, these handles add a polished look to most purses. To attach handles or rings, loop a ribbon or fabric tab around the handle or ring. Stitch the tab raw edges into a seam or topstitch them to the purse. Buckles – May be used for decorative purposes or for fastening two loose ends. Using a buckle is also a good way to make a strap adjustable. Available in several metal finishes, such as silver, gold, brass and antique, buckles can also be made of plastic in a wide range of colors.

Purse Feet

Cord Lock – Usually made of plastic and available in many colors, cord locks are used for securing drawstrings. When squeezed, the cord lock can easily be moved up and down the cord. Releasing the cord lock engages the tension and keeps the drawstring in place. Frames – Add both structure and style to a purse. The purse is attached to the frame using glue or hand stitching. Other frame styles have rods onto which fabric is gathered, creating a full, soft purse. Grommets & Eyelets – Rings that frame a hole cut into the purse material, grommets can be made of metal, plastic or rubber. They finish the raw edges of the hole, adding style and reinforcing the hole to run straps or cords through them. Smaller grommets are called eyelets. Usually made of metal in gold, silver or bronze, they’re often used decoratively but can also be used to attach straps. Magnetic Closures – Easy to install, magnetic closures are attached with prongs and an anchor plate. Reinforce the area behind the magnetic clasp with interfacing or stabilizer before attaching the clasp.




AU G U S T / S E P T E M B E R 2 0 1 5

Rings – Available in a variety of colors and metal finishes, rings are used to secure straps and handles to the purse body. Rings are available in several styles, including round, square and D-shaped. Snap Fasteners – Available in press, interlocking and magnetic types, snap fasteners can be used as closures or when making detachable straps. Installed with special snap pliers, they’re available in a variety of colors and metal finishes. Swivel Snap Latch – Available in metal or plastic, these latches connect to rings that are attached to the body of the purse, making the straps detachable. Purse Clasps – Push-lock and turn-lock closures offer added security. Available in several metal finishes, this type of closure adds a professional look to custom made purses. Zippers – A common purse closure, zippers can have plastic, nylon or metal coils. Standard garment zippers can be used, but heavy-duty and by-theyard zippers can also be useful for purses. Decorative, separating and two-way zippers also work well.

Closures, Buckles & Rings


Grommets & Eyelets



Home-Dec Help


Dear Sew News, I’ve seen a lot of decorative poufs in magazines and stores. How can I make one to match my décor using upholstery fabric?



AU G U S T / S E P T E M B E R 2 0 1 5

1 Dear Reader,

Square Pouf Create a cube with a muslin bottom to use as a decorative and functional floor pouf.

SUPPLIES Supplies listed are enough to create one 16”x20”x20” pouf. • 1½ yards of upholstery or drapery fabric (allow for more fabric if matching a repeat) • ¾ yard of muslin • 8 to 10 bags of fiberfill (See “Source.”)

CUT From the upholstery fabric, cut one 21” square and four 15½”x21” rectangles. From the muslin, cut one 21” square. Cut the length and width of the ottoman pieces along the length and width of the fabric, respectively (1).

21” x 151/2”

On the large upholstery-fabric square, use straight pins to mark the intersection on each corner ½” in from the sides (2). With right sides together, pin the side panels to the square, aligning the raw edges and corner intersections (3). Stitch, pivoting with the needle down at the corners (4). With right sides together, stitch the muslin square to the remaining side-panel edge according to the previous instructions. Leave a 10” to 12” centered opening along one side panel for stuffing.

21” x 151/2”

21” x 151/2”

21” x 21”

Width of Fabric

A decorative pouf is a great project for upholstery or drapery fabrics. If you haven’t sewn with upholstery fabric before, choose a fairly simple project with straight lines. A simple pillow or this square pouf is a good first project. Use a universal size 90/14 needle and a heavier weight thread. Heavyweight or upholstery-weight threads are also available in limited colors.

from the edges and backstitching at the beginning and end. Press open the seams using a pressing cloth, as some upholstery fibers can scorch easily.

21” x 151/2”

Length of Fabric


Turn the pouf right side out through the opening. Stuff tightly with fiberfill or the desired stuffing. When stuffing the pouf, add small amounts at a time and be sure to fill in the corners. Pin the opening closed and sit on the pouf to determine if it’s firm enough. Add stuffing until it reaches the desired firmness. Fold the opening seam allowances ½” toward the wrong side; whipstitch the opening closed.


SOURCE Pellon provided the Perfect Loft Cluster Fibers fiberfill:

4 CONSTRUCT Use ½” seam allowances. Serge- or zigzag-finish the piece edges, as upholstery fabrics ravel easily. With right sides together, stitch the four side panels together along the short edges, beginning and ending ½”

Cut the ottoman pieces out of tissue or butcher paper and take to the fabric store. Lay out the pieces on the chosen fabric to eliminate wasted yardage.



Haute Topics


Activewear has become a major part of fashion today. Learn how to incorporate activewear into your sewing and wardrobe.

ATHLETIC FASHION Many designers have added activewear to their lines or have designed activewear collections in collaboration with other companies. Stella McCartney for Adidas was among the first, and now everyone is doing it: Armani with Reebok, Riccardo Tisci of Givenchy for Nike, Y-3 by Yohji Yamamoto for Adidas, Cynthia Rowley for Roxy, Rick Owens for Adidas, Alexander Wang for H&M. Athletic wear has hit the runway in a big way, and it’s no longer just for the gym. The chasm between fashion and athletic gear has closed, and the crossover is apparent on both sides of the market. Stores that are well-known for athletic clothing are now manufacturing fashion items, while fashion companies are manufacturing athletic clothing. This new trend is often called “athleisure” because athletic clothing has become street wear as well. Sweatpants, dancewear and yoga apparel are all headed out to the street and even to the office. Sweatpants are being worn with heels and fancy handbags. With all the new, cute styles of athletic apparel in general, many women are wearing their knit pants and workout tops for more than just yoga class.



AU G U S T / S E P T E M B E R 2 0 1 5

How can you incorporate athletic wear into your own sewing and wardrobe? Sewing with knits is a great place to start. Knits can be surprisingly easy to sew, and you don’t absolutely need a serger to work with them (although it’s certainly nice to have one). Begin by making a basic T-shirt or sweatshirt to practice sewing with knits. If you enjoy it, you’ll find a variety of ways to incorporate knits in your other sewing projects, and you’ll be ready to try more adventurous styles and fabrics. Once you’re comfortable sewing knits, don’t limit yourself to basic cotton jersey. There are so many interesting athletic-inspired fabrics out there. Watch for bonded knits, neoprene and many other technical fabrics, as well as the tried and tested traditional classics, such as merino jersey, cotton fleece and French terry. Find technical fabrics in online shops or at general apparel fabric stores in your area. What you need to know to sew with activewear fabrics depends on the specific fabric, but in general, it doesn’t require a lot of special equipment or fancy techniques. For most knits, use a ballpoint or stretch needle, all-purpose or polyester thread and a stretch stitch. A small zigzag stitch will work well if you don’t have a stretch stitch on your machine. Test on fabric scraps before stitching the project. There are lots of great tricks to help with sewing knits, such as using a twin needle for a professional-looking hem. Then you can start to think about your wardrobe itself. Where could you include athletic wear or athletic-inspired clothing in your closet? Maybe sew a stretch skirt to pair with a classic jacket, or a jersey top to be worn under your favorite blazer. What about making leggings to wear with your favorite tunics? Chances are, you’re already wearing some of these items. Don’t be afraid to customize those styles to fit your own tastes and preferences. Maybe you’ll want to stretch your limits a bit and try a bonded fabric jacket. Or maybe you just want a nice pair of yoga pants to wear for yoga class. Don’t forget: athletic clothing is still perfectly valid for the gym, too!

ACTIVE STYLE BY DENISE WILD, BURDASTYLE SEWING EXPERT When it comes to incorporating activewear into your daily wardrobe, there are no limits. But the key to keeping your style quotient high and avoiding the “I just worked out hard with my trainer” look is choosing quality fabrics. Look for something that not only has the technical qualities you need for your workout, but also has the drape and touch of something you’d wear outside of the gym. Choose patterns that have a modern, fashionable cut and a flattering fit. The BurdaStyle Pullover top and the BurdaStyle Stretch Drawstring Shorts (both available as digital download patterns at are great examples of pieces that can easily be worn beyond your next fitness class.

SOURCE carries performance fabrics:



Creative Space


Tula Pink is a fabric designer, artist and author, who is a strong force in the sewing and quilting industry. Her whimsical, unique designs have made her a sought-after talent, inspiring sewists and quilters of all levels to create with a needle and thread. Read on to learn about Tula’s design process and favorite sewing products. Plus find out about her new video series and project kits—made exclusively for you.



AU G U S T / S E P T E M B E R 2 0 1 5


N TULA PINK'S NEW 12-episode video series, available for download at, you’ll step into her home to learn about her design process from start to finish. Her St. Joseph, Mo. home and studio is exactly what you'd expect and yet beyond your imagination all at once. "It's a real mix of over-thetop antiques and candy colored tchotchkes. Expensive things sit next to dime store junk," Tula says. "I am what I am. I make no apologies." Tula Pink works her fabric design and quilting magic in a 150-year-old, three-story barn. Her studio takes up the second floor and she lives on the third. "This is my favorite working space that I have ever had," she says. When she isn't in her studio, she's scouring estate sales for new treasures to fill it. "I'm always looking for that great piece that’s been sitting around unnoticed for decades," Tula says. "I love to polish things up and give them new life." The result is what she calls a mix of farm style, industrial style, and romantic faded glamour. "I just go with what I like, and that’s been refined to a small extent over the years." Tula's fabrics are all about whimsy, fantasy, and color upon color, but her studio is all about function and order, "but in a pretty way. Order can be lovely and inspiring too." The walls, ceilings and floors are all clean, crisp white to serve as a canvas for the bright and bold designs to come. Her tools and fabrics are neatly and precisely stored; ironing board on her left, sewing machine feet on her right, and fabrics sorted by collection, then color. The newest collection also lives in a rolling cart of precut fat quarters, ready for use at a moment's notice.

Find 6 EXCLUSIVE project kits, including special tote bags, purses and home décor, all fabricated in Tula's FreeSpirit fabrics, at



Creative Space

Get a home tour from Tula herself while learning how she creates in her new video series, Tula’s House, available for download at

The studio isn't without its embellishments, though. Remnants of the home's first life as a carriage house for a large plantation are still evident. The pink marble fireplace is still there, along with plaster moldings. An antique gold chandelier serves as the exclamation point to the worn floors and sliding barn doors. "The effect is sort of whimsical and unexpected, which is what I like most about it," Tula says. "I don't think I’d ever be truly happy in a regular home. My life is not regular, so why should the place that I live and work be?" Tula's home studio is also serving as the set for her new video series for Sew News parent company F+W Media. Over the course of 12 episodes, Tula will cover fabric designing from 30


start to finish, from conceptualization to displaying the collection at Quilt Market, using her latest collection for FreeSpirit, "Eden," as the primer. Stepping in front of the camera is a big step for her (no one's allowed in her studio when she's working), but she's excited to reveal her inspiration and process. "I think it will be surprising for people to see that designing the fabrics is one small step in the greater business of being a fabric designer," she says. "There’s so much more to it, from marketing and promotion to samples, patterns, books and traveling, product development and market booths. I would say that the actual “designing” of the fabric collection is the easiest part, or at least the most enjoyable."

AU G U S T / S E P T E M B E R 2 0 1 5

Tula’s books: Quilts from the House of Tula Pink: 20 Fabric Projects to Make, Use and Love, Tula Pink’s City Sampler: 1000 Modern Quilt Blocks, and her special coloring book The Tula Pink Coloring g Book: 75+ Signature Designs In Fanciful Coloring Pages are all available at tula-pink.

TULA PINK'S MUST-HAVES A Tula Pink design doesn't become a Tula Pink design without these tools (one of them lives in every room of her house!). Stock up your workspace with similar items from

1. Clear Print Fade Out Vellum Paper: "I draw everything on this paper, from fabrics to quilts. I take pads to office supply stores and have them spiral bound so they’re easier to work with. They have a faint blue gridline on them, and they’re transparent—super smooth paper. The grid helps me when I’m designing fabric so I always know the scale of the drawing, which is crucial in fabric design." 2. Drafting Mechanical Pencils: "I do a lot of fine line, tiny detailed drawing so I need a fine lead pencil. When I think I’m onto a good drawing, I don’t have time to stop and sharpen a pencil. I use drafting pencils because they’re heavier and usually made of steel or metal. I can’t stand the feel of a plastic or wood pencil." 3. Retractable Eraser Pen: "When I’m cleaning up lines in a drawing, a big block eraser is overkill. With a pen eraser I can sharpen it like a pencil and get a really fine detail eraser. I'm obsessed with them."

> FROM SHOP SEW IT ALL: No one can design like Tula Pink, but we can sure try! Electric Quilt 7 turns your computer into a studio for creating your own brand of quilts, drawing talent not required. 4. Mary Ellen's Best Press: "I Best Press all of my fabrics before I begin cutting a new project. It makes the fabric super flat and a little stiff. My cutting is much more accurate when it’s heavily pressed. My long arm quilter says that my quilts smell really good too."

> FROM SHOP SEW IT ALL: Make ironing of any kind enjoyable with our Perfect Pressing kit. 5. Glass head pins: "I pin everything. My quilts are mostly seen in trade shows and events under bright lights and hung flat on walls; this is less than forgiving, and they need to be as close


to perfect as I can get them without driving myself nuts over it. And, the tiniest flaw is up there for everyone to see. I like the glass head pins because they are really fine, flexible and tiny. I can pin between stitches on a seam and get some fairly accurate results."


> FROM SHOP SEW IT ALL: These extra long, extra sharp glass head thin quilting pins glide effortlessly through multiple fabric layers. 6. 8 ½" x 24" Acrylic Ruler and Masking Tape: "I’m not much into specialty rulers. I like a great big rectangular ruler that can do almost anything. I’m a fairly traditional patch-worker in my technique but I do a lot of fussy cutting across a lot of different sizes, so I start with a big ruler and masking tape to tape off the measurement that I need to cut. Fussy cut rulers are really great but I move between sizes so much that one ruler and a simple roll of tape is a more flexible approach for me. I can easily move the tape for the next size piece. The tape creates a window so I can see what it’s going to look like when it’s sewn in."

> FROM SHOP SEW IT ALL: Copy Tula’s process using the Creative Grids Non-Slip Ruler.



7. Sewline Fabric Glue Pen: "In addition to fussy cutting, I match prints a lot for backings and borders, and I do a lot of English paper piecing. I have a glue pen in every room of my house. I glue-baste for English paper piecing and pre-glue the seam when I’m matching prints to make sure that it doesn’t move around in the sewing machine and misalign. The glue is sticky but washes away easily and is low tack, so pulling the papers out and opening the seams back up are really easy."

> FROM SHOP SEW IT ALL: Get glue only where you need it with the precise and fabric-safe Roxanne's Glue Baste It.



Pattern Play


Transform a simple dress pattern into a halter maxi dress that’s not only chic in a tribal or animal print fabric, but also comfy for all of your summer soirees.

Look for a basic dress pattern, such as McCall’s 2401.



AU G U S T / S E P T E M B E R 2 0 1 5



• Shift dress pattern with bust & waist darts (such as McCall’s 2401)

Lengthen the front and back lower edge to ankle length according to your measurements.

Cut away the dart width from the center- and side-front panels to create a curved seamline.

On the back pattern, draw a horizontal line from the armscye/side seam intersection to the center-back edge.

To add flare to the dress-back lower edge, draw a line extending 2” from the lower side-seam corner. Using a ruler, draw a diagonal line connecting the line end to the side seam near the hip line. Repeat to extend the sidepanel left lower edge.

• Dress fabric (amount according to pattern envelope plus 1½ yards for ankle length) • 13/8 yards of contrasting bias binding • Invisible zipper & notions (according to pattern envelope) • Pattern or tracing paper • Rulers: clear & curved • Removable fabric marker • Clear tape

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.


On the front pattern, draw a horizontal line from the side seam at the under bust to the center front. Mark 3” from the center-front along the neckline. Connect the mark with the armscye/side seam intersection with a gently curved line.

Repeat to extend 1” from the sidepanel right lower edge and the center-panel left lower edge (2).

Draw a vertical line through the waistline dart center to the lower edge (1).

Cut along the bodice dart center up to, but not through the apex. Close the bust dart on the front bodice; tape to secure.

Cut along the new drawn lines. Discard the back upper panel, and then designate the lower panel as the dress back. Discard the front shoulder panel, and then designate the remaining pieces as the bodice, center and side panels.


Mark 2½” left from the neckline/ armscye point. Connect the mark with the armscye at the side seam with a gently curved line (3).



Side Panel

Measure the neckline edge; record as the gathering length.

Front Panel

Dress Back



Pattern Play

CUT From the fabric, cut one center panel and bodice on the fold, one sidepanel pair and one back-panel pair.

Fold the neckline binding in half widthwise, and then mark the center using a removable fabric marker.

From the binding, cut two pieces according the armscye length. Designate the remaining binding as the neckline binding.

Unfold one binding long edge. Pin the binding strip along the neckline with right sides together, aligning the neckline and binding centers; stitch along the foldline. Designate the excess binding as the dress straps.

Measure the back-panel upper edge; record. From the fabric, cut a 2”x the recorded measurement rectangle for the back facing.

CONSTRUCT With right sides together, stitch one side-panel to each center-panel long edge; press open the seam allowances. Stitch the bodice waistline darts, and then press toward the side seams. With right sides together, stitch the bodice lower edge to the front-panel upper edge. Press the seam allowances toward the front panel. Select a 5mm or longer straight stitch on the machine. Stitch the neckline edge, leaving long thread tails at the beginning and end. Gently pull the bobbin thread tails, evenly gathering the edge until it matches the recorded gathering length measurement. Unfold one armscye-binding long edge. Pin the binding strip along one armscye with right sides together and raw edges aligned; stitch along the foldline. Press the binding upward. Fold the binding toward the dress wrong side, enclosing the raw edges and covering the previous stitching. Topstitch the binding 1/16” from the seamline. Repeat to stitch the remaining armscye binding to the opposite armscye.

Fold the binding toward the dress wrong side, enclosing the raw edges and aligning the strap long edges. Topstitch the entire binding length 1/16” from the lower edge. Stitch the back-panel darts; press toward the center-back. Insert the invisible zipper into the skirt center-back seam according to the manufacturer’s instructions. Finish stitching the center-back seam below the zipper, ending the stitching 20” before the lower edge for the slit. Turn the slit seam allowances toward the wrong side; press. Topstitch the slit perimeter ¼” from folded edge. With right sides together, pin each strap short end 4½” from the centerback seam, making sure the straps aren’t twisted. Stitch the back facing to the backpanel upper edge with right side together, catching the straps within the stitching. Press the facing toward the dress wrong side. With right sides together, stitch the back- and side-panel side seams; press open. Serge- or zigzag-finish the dress lower edge. Fold the lower edge ¼” toward the wrong side; press. Topstitch 1/8” from the folded edge. SOURCE The McCall Pattern Co. carries pattern 2401:



AU G U S T / S E P T E M B E R 2 0 1 5

Sew neat, sew comfortable, sew affordable!

Sewing Cabinet prices starting as low as $125.00! E-mail us at for coupon SN2015 off your cabinet! Call 1-800-533-7347 or visit to find a dealer near you

GET YOUR ON THE GO! Did you know that you can get Sew News magazine on your tablet and take it with you? You’ll have the full issue with live links to even more sewing resources, products and access to


Fitting FAQs

Your frequently asked ďŹ tting questions answered by Rae Cumbie



AU G U S T / S E P T E M B E R 2 0 1 5

[Q] [A]

How can I update my wardrobe to reflect modern pants styles?

There are many styles that are in fashion these days, but on the whole, contemporary ready-towear pants fit closer to the body than pants in previous eras. With the addition of stretch in many fabric weaves, pants can be styled closer to a woman’s curves. Not only do jeans fit tighter, but most dress pants also fit lower on the body and tighter in the rise, hip and thigh areas. These new styles usually have a tapered or boot-cut leg. To update pants that are already in your closet, choose pants without pleats. Try on the pants and have a friend pin out the excess fabric in the legs. Consider lightly pressing a crease along the front and back of each pant leg to make sure the grainline remains straight as the pants are pinned. Through the hip and thigh area, reduce the pants only at the side seam. Any tapering below the knee should be done equally at the side seams and inseams so the grainline stays straight and the pants hang correctly (1). To develop a new pant pattern that reflects a modern style, choose a basic pant pattern that has no pockets, darts or waistline treatment, and opens at the center back. Test-fit the pant pattern in a non-stretch fabric. Once satisfied with the basic fit, reduce the pattern by ¼” along the side seams and inseams below the knee to begin shaping the pants for stretch fabric.



[Q] [A]

How do I properly fit a pants rise and crotch?

An accurate crotch curve is the first step in creating comfortable and well-fitting pants. As with all fitting, having a friend help measure your body speeds up the process. There are a number of measuring tools on the market, but a proper-fitting sample in a light-colored non-stretch bottomweight fabric provides more accurate information than any measuring tool. Choose a basic pant pattern that has no pockets, darts or waistline treatment. On the fitting sample, draw horizontal balance lines (HBLs) and grainlines on the fabric right side. Try on the pants and use elastic to secure the fitting sample at your waist. Position the pants so the crotch curve just grazes your body. Adjust the pants so the grainlines are perpendicular to the floor and the HBLs are parallel to the floor (2). Ask a friend to observe the lines and to identify any adjustments needed. If the grainlines bow out in either the front or the back, pinch out fabric along the crotch seam to straighten the grainlines. Let out the pants at the side seam if this adjustment makes the pants tight in the hips. When the adjustment is made on the pattern, more space is created in the pants for your body to sit comfortably (3). If the HBLs dip down at the center back, there isn’t enough length in the crotch extension. Add length to the back crotch extension and blend this new point into the inseam along the inner thigh. This adjustment allows the HBLs to straighten and become parallel to the floor. Add in ¼” increments, but no more than ¼”, to the crotch extension until there’s enough length in the crotch (4).





Fitting FAQs


If there’s too much fabric in the seat, shorten the back crotch extension and blend this new point into the inseam along the inner thigh to pull the seat of the pants closer to the body. Add in ¼” increments, but no more than ½”, to the crotch extension until the correct fit is achieved. Ensure the grainlines are straight and the HBLs are parallel to the floor (5). Once the pants back is balanced, use the same techniques to adjust the front.

[Q] [A]

My legs are thin and my waist is large, making pants look oversized on my frame. Is there a trick to create slimming pants?

Traditionally, women’s pants are constructed with two darts in the back and one or two darts in the front. Modern pants are often worn below the waist, and women with fullness in the waist area don’t need darts in the pants front.


Choose a basic pant pattern that has no pockets, darts or waistline treatment. Create a fitting sample in a non-stretch fabric and draw horizontal balance lines (HBLs) and grainlines on the fabric right side. Try on the pants and use elastic to secure the fitting sample at your waist. Position the pants so the crotch curve just grazes your body. Adjust the pants so the grainlines are perpendicular to the floor and the HBLs are parallel to the floor. Ask a friend to observe the lines and to identify any adjustments needed. If needed, release the side seams or center front to straighten the seamlines, grainlines and HBLs (6). Or add darts in the back and/or front to anchor the pants where the body indents. After the waist fits and is balanced, taper the legs according to the previous instructions. Keep all the lines straight and don’t pin the legs so tightly that drag lines develop in the crotch and thighs (7). Allow the leg to gently drape to minimize the difference between the torso and leg shape.


BUY IT! For more on pant fitting, find Rae’s Pant Perfection e-book, videos and the Eureka! Pants that Fit pattern at



AU G U S T / S E P T E M B E R 2 0 1 5

Sew Vintage


There are many vintage reproduction patterns on the market today, but using an actual vintage pattern requires a few considerations. Discover where to find and how to use genuine vintage patterns to create one-of-a-kind garments.



Sew Vintage

WHERE TO BUY Begin by hunting through thrift shops, garage sales and flea markets for vintage patterns. Older relatives and family friends who sew are also great resources; you never know when they might be ready to clean out their sewing room. Online resources include eBay, which is still one of the largest resources for vintage patterns, and Etsy, which has a large number of vintage sellers. When buying vintage patterns in person, look at the condition of the envelope. Is the envelope tattered? Has the pattern been wet? A slightly damaged envelope is usually not a big issue (after all, the fragile paper envelopes are 40+ years old), but an envelope in very poor condition often indicates that the pattern itself is damaged. Check the pattern pieces for damage from rusty pins, lots of alterations and their general condition. If you can, remove the pattern pieces and make sure that each piece matches what’s listed on the pattern instructions. A facing can often be duplicated, but a missing sleeve or other key piece may be reason to pass on the pattern. When buying vintage patterns online, read the description to find the size and condition of the pattern. Especially important is a statement that the pattern is complete. There’s nothing worse than beginning a sewing project and realizing a pattern piece is missing. Also look for major alterations to a pattern; it may be too difficult to piece an altered pattern back together. Newer vintage patterns that indicate “uncut” are ideal. Not all vintage styles suit the modern eye or body types. If you dislike the way you look in a dirndl skirt, picking up a vintage pattern with



AU G U S T / S E P T E M B E R 2 0 1 5

a dirndl element won’t change the way you feel about dirndls, no matter how cute or glamorous the vintage illustration is. That being said, still experiment. There are so many varieties of vintage patterns and eras that are entirely different from what’s available today, and half the fun is finding new styles that flatter you and show off your style. Spend time online looking at fashion illustrations and photographs from different eras to get a feel for what you like. Many older patterns come with only one size in the envelope, and pattern sizing has changed over the years. Unless you’re comfortable doing a lot of pattern alterations and grading, it’s often easier to choose patterns that are closest to your size.

USING VINTAGE PATTERNS Before beginning a sewing project using a vintage pattern, read the back of the envelope and the guidesheet. Not every notion may be listed on the back of the envelope, so it’s important to take note of what notions are required to finish the project. Open the pattern. Early vintage patterns often didn’t have any printed lines on them; the markings were punched and cut out of the patterns (1). The pattern guidesheet provides a key to explain the markings, which include seam allowance, darts, tucks and the center-back fold line. For fragile patterns, trace a copy onto different paper before using, especially if making alterations. Make a muslin fitting sample before cutting the project fabric, as so many styles and measurements are different from what we use today. When fitting the sample, wear the type of undergarments that will be worn with the

finished garment, particularly for the more fitted and structured eras.

SEWING VINTAGE PATTERNS Modern sewing methods can usually be used when sewing vintage patterns, but there are some vintage techniques to consider when sewing vintage dress patterns. Seam finishes: For cottons and other tightly woven materials, a pair of pinking shears works great for finishing seams. Cut both seam allowance edges at once instead of cutting each edge separately after pressing to save time. Side closure: Many vintage dress patterns feature a side closure between the underarm and hip line. This allows for a closer fit when the garment is closed and also preserves the style of the dress. Prior to the 1950s, a zipper or snaps were typically used as closures. The pattern used for the featured dress provided instructions to use either. Zippers were available in “collar” and “dress” styles. Dress zippers had a stop at the upper and lower edges, while collar (or skirt) zippers were open at the upper edge, as most zippers are today. Zippers with an upper opening can be used in a side opening if inserted using the lapped method, ensuring each upper zipper end is enclosed in the seam.

VINTAGE PATTERNS Find vintage patterns online at: • • • • Find reproduction vintage patterns at: • • • • • • For more information on vintage pattern companies and dating patterns: • dating-vintage-patterns • perdudansletemps.blogspot. com/2013/02/datingsewing-patterns.html


Shoulder Pads: Check the pattern guidesheet for the use of shoulder pads. Shoulder pads can be purchased in the notions department of most fabric stores, though many vintage patterns provide instructions to make them. Note the style of shoulder pad needed for the pattern. For example, the featured dress has a raglan sleeve with a sleeve dart. The shoulder pad required is one that cups the shoulder.



Sew Vintage

Sew Beautiful’s VINTAGE DETAILS A fitted jacket with set-in sleeves would need a different shoulder pad that ends near the shoulder seam. The shoulder pad can be eliminated from the pattern, if desired. Check that the fit of the garment still has a clean look without the shoulder pads. If needed, adjust the shoulder line to remove the ease that was added for the shoulder pads.

BY AMELIA JOHANSON If you’re sewing for a vintage look, details make all the difference. Vintage children's rompers from the ’20s and ’30s almost always have one thing in common: a decorative pocket, often embellished with embroidery. Get the look with this article from Sew Beautiful Fall 2011.

Hems: Skirt and dress hems were often much deeper than we see today. A nice, deep hem allowance that gives the garment plenty of body is 2”. Before cutting out the fabric, check the hem and skirt length to make sure it’s close to the right length. If you’re a little short on fabric, remove some of the hem to stretch the fabric for the project. Before sergers were widely available, home sewists used hem tape or a hem facing. Hem tape is a thin lace material that makes the hem lay flatter against the garment. Stitch the lace over the hem raw edge, and then stitch the opposite lace edge to the garment. This hem type looks especially nice with a hand or machine blind stitch and works especially well for A-line skirts, as the hem can be eased into the lace before sewing the lace to the garment (2).




AU G U S T / S E P T E M B E R 2 0 1 5

SUPPLIES • Fabric (amount according to pattern envelope; sheer & very lightweight fabrics not recommended)

Stitch over the shape through all the layers directly on the marked line, backstitching at the beginning and end.

• Embroidery floss in desired colors

Cut out the center of the shape, leaving a 1⁄8” seam allowance. Clip into the seam allowance along the curves and at the corners up to, but not through, the stitching (B).

• Removable fabric marker • #10 Crewel needle (for hand topstitching and embroidery) • Temporary spray adhesive (optional) • Water-soluble thread (optional for hand topstitching) • 1/8 yard or scrap from your stash for contrast pocket (optional)

CONSTRUCT Cut out the pattern pieces according to the pattern guidesheet and two 6”x12” rectangles for the pocket facings/pouches. On the project front, draw the desired pocket shape using a removable fabric marker. For the basket design, draw a slightly flattened football shape that’s 1”x3”. Using a removable fabric marker on one facing-rectangle wrong side, mark the rectangle center 4” from the lower edge. Center and trace the opening shape above the mark (A). With right sides together, align the facing rectangle and the garment, aligning the pocket-opening shapes. Pin or use temporary spray adhesive to secure.



Push the facing through the opening toward the wrong side; press. Press the pocket edges to create a smooth, crisp edge along the shaped window. Hand or machine topstitch the pocket-opening lower edge. For even hand topstitching with embroidery floss, first topstitch the lower edge by machine using water-soluble basting thread in the needle and bobbin and a 4mm stitch length. Hand stitch over the basting thread using two strands of embroidery floss.




Turn the project to the wrong side and fold the pocket-rectangle upper edge down over the opening, aligning the pocket sides. The pocket upper fold should be about ¼” above the opening upper edge. If needed, trim the pocket lower edges to align; pin the raw edges together. Baste the pocket-opening upper edge through all the layers using water-soluble thread per the previous instructions. Stitch the pocket sides and lower edge using all-purpose thread, and then serge or zigzag-finish the seam allowances, keeping the garment fabric away from the stitching (C).


Clip curves.


Flip the pocket pouch up and out of the way; pin. Hand embroider the garment fabric below the pocket opening. Flip the pouch back down to hand embroider through all the layers above the opening, using a running stitch or backstitch over the basting stitches. Complete the garment according to the pattern guidesheet.




Stitch a modern bow clutch to pair with a special occasion dress or add elegance to a nighttime ensemble. Choose different fabric and interfacing types and weights to achieve a professional-looking accessory.



AU G U S T / S E P T E M B E R 2 0 1 5


SUPPLIES • 2⁄3 yard of satin fabric (exterior) • ½ yard of matching or contrasting satin fabric (lining) • 1⁄3 yard of lightweight fusible interfacing (interior pockets) • 1 yard of mediumweight fusible interfacing (flap & bow) • ½ yard of heavyweight sew-in interfacing (main panel) • ¼”-wide double-side fusible web tape • Matching all-purpose thread • Removable fabric marker or tailor’s chalk • Hand sewing needle • ¾”-diameter magnetic purse snap

CUT Download the Chic Clutch pattern at until Sept. 30, 2015. Purchase the pattern at after the expiration date. Print, and then cut out.

Trim the main-panel interfacing upper corners to reduce bulk. Fuse the corresponding interfacing pieces to the interior pocket, flaps and bow following the manufacturer’s instructions.



Use ½” seam allowances, unless otherwise noted. Position the main panel wrong side up on a flat work surface. Place the corresponding interfacing right side up over the main panel. Position fusible web tape between the main panel and interfacing along the perimeter, aligning the edges; press to fuse. Fold the main panel in half lengthwise with right sides together; stitch the short edges. Clip into the seam allowances at the folded edge up to, but not through, the stitching (1). Press open the seams.

From the lining fabric, cut two lining panels and one pocket. From the corresponding interfacing, cut one interior pocket, two flaps, one bow and one main panel.

Turn the main panel right side out; press. Designate one side as the clutch front.

If desired, add an additional interior pocket to the clutch following the instructions for the first pocket.


Transfer all the pattern markings to the corresponding pattern pieces.

To box the corners, flatten one mainpanel corner with right sides together, matching the side and lower seams; pin. Stitch ½” from the corner point (2). Repeat to box the remaining corner.

From the exterior fabric, cut one main panel, two flaps and one bow.


Center the male snap over the clutch-front right side at the pattern marking; mark the prong placements. Using a seam ripper, make small slits at the prong markings. Insert the snap prongs through the slits, and then bend the prongs outward.

With right sides together, fold the interior pocket in half lengthwise; press, and then stitch the short edges. Turn the pocket right side out; press, folding the open edges ½” toward the wrong side. Align the pocket over one lining-panel right side according to the pattern markings with the opening along the lower edge; pin. Edgestitch the pocket sides and lower edge. Position the lining panels with right sides together; stitch the sides and lower edge. To box the corners, flatten one lining corner with right sides together, matching the side and lower seams; pin. Stitch ½” from the corner. Repeat to box the remaining corner. Turn the lining right side out; press (3). Designate the lining side with the pocket as the lining back.




With right sides together, stitch the flap sides and lower edge. Trim the seam allowances to ¼” and clip the curves. Press open the seams.


Turn the flap right side out; press, making sure the edges are even. With right sides together, center the flap along the clutch-back upper edge, aligning the raw edges; pin. Stitch the flap to the clutch from the clutch wrong side (4). During stitching, hold the clutch firmly and shift the clutch with the needle in the down position as needed.


Press the flap seam allowance toward the clutch wrong side. Fold the lining-back upper edge ½” toward the wrong side; press. Insert the lining into the clutch with right sides together and aligning the clutch-front and lining upper edges and side seams; pin. Stitch the upper edge from side seam to side seam.



Remove the lining from the clutch; press the seam allowance toward the clutch-front wrong side. Turn the clutch right side out. Insert the lining into the clutch with wrong sides together.


AU G U S T / S E P T E M B E R 2 0 1 5

Favor the clutch upper edge toward the lining; pin, and then hand baste the upper edge. Turn the clutch lining side out. Position the lining-back folded upper edge just beyond the flap stitching line; pin (5). Hand baste using a short slipstitch. Attach the female snap to the flap wrong side at the placement mark, centering the snap on the flap near the lower edge. Topstitch the clutch front and back upper edge (6). Remove the basting stitches along the clutch front. Fold the bow in half lengthwise with right sides together. Stitch the angled edge and long edge. Trim the seam allowance to ¼” and clip the corners. Press open the seams. Turn the bow right side out through the short end; press. Trim 1⁄8” from the bow short end, and then serge- or zigzag-finish the short end. Using a removable fabric marker or tailor’s chalk, mark the bow tucks according to the pattern markings. Fold the first tucks at the bow center following the markings; pin. Topstitch

Choose a floral print satin for a different look that's just as chic.

INTERFACING FACTS Most fabrics are suitable for the clutch exterior, but choosing the correct interfacing types for proper clutch support and shape are critical. • Interfacings and craft stabilizers are a structural necessity for creating the correct clutch look, and different parts of the clutch require different weights.

along the stitching line marking to secure. Repeat to stitch the tucks at the remaining markings (7). Repeat to fold the tucks along the bow short end; stitch parallel to the short end (8).

• Select interfacing based on the exterior fabric weight. The interfacing should complement and work with the chosen fabric to provide the correct amount of firmness.

Open the clutch flap and place right side up on a flat work surface. Position the center tucks along the flap-center right side roughly 1⁄8” from the lower edge; pin. Fold the bow point up and the bow short end toward the flap-center, making sure the bow edge is within the clutch perimeter. If needed, adjust the bow-center placement on the flap. Once satisfied with the bow placement, machine stitch the tucks along the center onto the flap, making sure to avoid the magnetic snap and ending 3 ⁄8” from the bow long edge (9).


Fold the bow short end toward the bow center, just beyond the stitching; pin, and then hand stitch. Fold the bow point upward, covering the bow short end with the bow edge; pin, and then hand stitch. Press and/or steam the clutch to remove any creases or wrinkles.


• Fusible interfacings are usually the easiest to work with, but don’t match every fabric type. Always test the chosen fabric with different interfacings to achieve the desired look and hand. • If using a lightweight silky fabric, add sheer lightweight fusible interfacing to all the clutch pieces, and then add suitable interfacing to give the clutch structure and shape.





Dive into your fabric stash and create fun quilted pillows that require few rules and even less fussy measuring. The random piecing makes perfection a non-issue, so even beginning quilters need not be intimidated.



AU G U S T / S E P T E M B E R 2 0 1 5

FABRICS Choose a favorite print fabric. Only a few strips are required, but the print should have at least five colors in it. Find at least ten fabrics from your stash that coordinate with the chosen print. Under good lighting, lay all the fabric choices together to determine if they work together. Discard any that don’t.

EASY PILLOW Practice the piecing and quilting process by making a quick and easy pillow.

SUPPLIES • ½ yard each of main fabric, white fabric & lightweight batting • 8”x23” rectangle of secondary fabric • Print fabric scraps • Cotton thread to match fabrics • Removable fabric marker or tailor’s chalk • 20”-square or smaller pillow form

CUT Add 3” to the pillow-form height; record as the pillowcase height. From the main fabric, cut a rectangle according to the pillowcase height and 14” wider than the pillow form. Cut this piece in half widthwise; set aside as the pillow back pieces. Cut another rectangle according to the pillowcase height x10” and two 1½”x10” strips. From the secondary fabric, cut one rectangle according to the pillowcase height x6” and two 1½”x10” strips.

From the print fabric, cut three 1½”x10” strips. From the white cotton, cut several long 1½”-wide strips and one square approximately 2” wider than the pillow form on all sides (1). This is the backing for the quilted front, which won’t be visible once the pillow is finished. Randomly cut the white strips into fourteen 6” to 8” lengths. From the batting, cut a square approximately 2” wider than the pillow form on all sides.

over the batting, aligning the backpanel raw side with the batting left edge. Remove the batting. Pin the back panels along the overlap. Stitch the back-panel upper and lower edges along the overlap, beginning and ending at the finished edges (2). Press, and then set aside the pillow back.


CONSTRUCT Use ¼” seam allowances unless otherwise noted. Designate the back-panel long edges as the sides. Fold one back-panel side ¼” toward the wrong side; press. Fold the edge another 1¼” toward the wrong side; press, and then edgestitch the first fold using matching thread. Repeat to finish one side of the remaining back panel.


With right sides facing up, position one back panel over the batting, aligning the back-panel raw side with the batting right edge. Repeat to position the remaining back panel



Thread the machine with white thread. With right sides together, align a white strip with one 10” strip along the short edges; stitch. Press the seam allowances toward the center. Repeat to stitch a white strip onto each short edge of the 10” strips to achieve seven strips of varying length. Place the secondary fabric rectangle on a flat work surface, and then arrange the strips below it in a pleasing design. Place the main-fabric rectangle below the strips. Trim the strip ends to align with the largerectangle edges. With right sides together, stitch the strips along the long edges. Press the seam allowances toward the darker fabric. With right sides together and raw edges aligned, stitch the secondaryfabric rectangle to the pieced-strip block. Repeat to stitch the main-fabric rectangle to the opposite block edge. Press the seam allowances away from the center (3). If necessary, trim the pillow-front edges to measure 1½” wider than the pillow form on all sides. Place the white-fabric square right side down on a flat work surface. Place the batting over it, aligning the edges.



Place the pillow front right side up over the batting. Using safety pins, pin through all layers in six to nine places. Beginning with the center strip area and using white thread, stitch through all layers ¼” from each long seam, removing pins as necessary. Thread the machine with thread to match the large colored panel. Mark a ½”-square grid pattern centered on the panel; stitch over the gridlines. Thread the machine with thread to match the small colored panel. Mark two ½”-square grid patterns randomly along the small panel; stitch over the gridlines.

FINISH Trim the excess batting and backing fabric even with the pillow front. With right sides together and raw edges aligned, pin the pillow front and back together. Stitch the perimeter using a ½” seam allowance; press open the seams. Clip the corners, and then turn the pillow cover right side out. Insert the pillow form.


AU G U S T / S E P T E M B E R 2 0 1 5

INTERMEDIATE PILLOW Add more pieces and quilting to a second pillow for more creativity.

SUPPLIES • ¾ yard each of white fabric & lightweight batting • ¼ yard of print fabric • Scraps of 5 to 8 shades of coordinating cotton fabrics • Cotton thread to match fabrics • 20”-square or smaller pillow form

CUT From the white fabric, cut two pillow-back squares according to the Easy Pillow instructions. Cut fourteen 1½”-wide strips measuring 10” to 12” long, fourteen 1½”-wide strips measuring 5” to 7” long, one 1½”x10” strip and one square approximately 2” wider than the pillow form on all sides. This is the backing for the quilted front, which won’t be visible once the pillow is finished. Designate one coordinating cotton color as the secondary fabric. From this fabric, cut seven 1½”-wide strips measuring 10” to 12” long, seven 1½”-wide strips measuring 5” to 7” long and two 1½”x10” strips.

QUILTING TIPS Follow these tips when creating the quilted pillows to achieve best results. From the print fabric, cut ten 1½”x10” strips.

the same manner until all strips are connected.

• Use a rotary cutting system to quickly and efficiently cut fabric strips.

From each remaining fabric, cut one to two 1½”x 10” strips to achieve eight strips total.

Measure the pillow front. If needed, add strips to the edges to ensure the front is 1½” wider on all sides than the pillow form.

• Press seam allowances toward the darker fabric to ensure they don’t show through to the right side.

Place the white fabric square right side down on a flat work surface. Place the batting over it, aligning the edges. Place the pillow front right side up over the batting. Using safety pins, pin through all layers.

• Use chain piecing to quickly stitch strips. Line one pair up after the other, backstitching at the beginning and end of each edge, and then continue to the next strip. Clip the threads to separate the pieces (A).

Using white thread, topstitch through all layers ¼” from each long seam, removing pins as necessary.

• Use safety pins to baste the pillow-front layers together as straight pins will poke your fingers. Roll any excess fabric onto itself to keep it out of the quilting area.

From the batting, cut a square approximately 2” wider than the pillow form on all sides.

CONSTRUCT Use ¼” seam allowance unless otherwise noted. Construct the pillow back according to the Easy Pillow instructions. Place seven print strips, seven long white strips and seven short white strips on a flat work surface. With right sides together and using white thread, stitch a long white strip onto one print-strip short edge and a short white strip onto the remaining print-fabric short edge. Press the seam allowances toward the center. Place five coordinating-fabric strips and two long secondary-fabric strips on a flat work surface. Stitch a short and a long white strip to each short end per the print strips (4). Stitch a short and long secondaryfabric strip to each remaining-strip short edge in the same manner. Press the seam allowances toward the darker fabric. Arrange the 21 strips into the desired pattern, offsetting the seams. Trim the edges to align. Aligning the long edges, place the first two strips with right sides together. Stitch the long edge, and then press seam allowances toward darker fabric. Continue adding each strip in

Finish the pillow cover per the Easy Pillow instructions.

ADVANCED PILLOW Practice the skills you’ve learned and create a beautiful free-style quilted masterpiece.

• Begin quilting in the middle of the fabric and work your way out to minimize shifting.

A SUPPLIES • ½ yard each of main fabric (gray), white fabric & lightweight batting • 8½”x20” rectangle of secondary fabric (blue) • Coordinating fabric rectangle at least 6”x21” (green) • Small strips of print fabric & one coordinating fabric • Cotton thread to match fabrics


• 17”-square pillow form

CUT From the main fabric, cut the pillow back pieces according to the Easy Pillow instructions. Cut one 6”x9” rectangle and fourteen 1½”x9” strips.



From the coordinating fabric, cut enough 2”-wide strips to piece together a 60”-long strip. From the print fabric, cut one 1½”x10” strip. From the coordinating fabric scrap, cut one 1½”x9” strip and one 1½”x5” strip. From the white fabric, cut a square approximately 2” wider than the pillow form on all sides. This is the backing for the quilted front, which won’t be visible once the pillow is finished. From the batting, cut one square approximately 2” wider than the pillow form on all sides.

CONSTRUCT Use ¼” seam allowance unless otherwise noted. Construct the pillow back according to the Easy Pillow instructions. With right sides together and using matching thread, stitch five mainfabric strips together along the long edges to achieve a 5½”x9” rectangle; press open the seam allowances. Repeat to stitch the remaining nine strips together to achieve a 9”x9½” rectangle; press open the seam allowances.

With right sides together, align the main-fabric rectangle long edge with one pieced-block long edge; stitch. Align the remaining pieced-block long edge with the remaining main-fabric rectangle long edge; stitch, and then press open the seams. The resulting rectangle will measure approximately 9”x20” (5). With right sides together, align the coordinating fabric strips along the short edges; stitch to create one continuous strip at least 60” long. Press open the seam allowances. Cut the strip into three 20”-long sections. With right sides together and aligning the long edges, stitch the three strips together to achieve a 5”x20” rectangle; press open the seam allowances. With right sides together and aligning the short ends, stitch the coordinating-fabric strips to each print-strip short end; press open the seam allowances.


Arrange the three pieced blocks and the secondary fabric rectangle in the desired pattern. If necessary, trim the



AU G U S T / S E P T E M B E R 2 0 1 5

edges to align. With right sides together, stitch each block along the long edges; press the seam allowances toward the darker fabric. If necessary, trim the pillow front to 1½” wider than the pillow on all sides. Place the white fabric square right side down on a flat work surface. Place the batting square over it, aligning the edges. Place the pillow front right side up over the batting. Using safety pins, pin through all layers. Thread the machine with thread to match the large coordinating-fabric section. Topstitch each pieced rectangle ¼” from each seam. Using matching thread, stitch a curved line along each redstrip center. Repeat to stitch lines ¼” to 3⁄8” apart along the secondary-fabric rectangle; stitch lines ¼” to 3⁄8” apart inside the main-fabric rectangle, and stitch two lines centered along every other strip. Finish the pillow front according to the Easy Pillow instructions.



Artwork by Diane Rusin Doran

• Jewelry & Beading • Knitting & Crochet • Mixed Media • Spinning & Weaving • Quilting & Sewing New Videos Added Each Week!



To get your Free 1 month access, see the instructions below. 1

Go to:


Use CODE: SEWITUP to activate your FREE Month Trial

THE TRUSTED BRANDS for professional strength, high performance adhesives.

Bond s

Learn how to make a pair of comfy shoes with embroidery; how to make a festive July 4 table setting; and how to perfectly place designs on different types of projects. All this and more is inside the issue— find the print and digital versions at!



E6000 Extreme Tack is a unique adhesive that allows you to make your own glue dots! It dries tacky for repositioning—ideal for fabrics, mounting paper and lightweight materials to scrapbooks, walls, home décor items and more.


An y th


E6000 Fabri-Fuse is an exceptional adhesive choice for all types of fabric and decorative items. It’s extreme flexibility allows fabric to move and stretch—even after washing!



Plus, find FREE DESIGNS, expert machine embroidery advice and more at

h in

g So

r You Can C



No Sweat


Create a casual hooded sweatshirt to keep you warm in style. Use the fabric wrong side for contrasting details.



AU G U S T / S E P T E M B E R 2 0 1 5




• 2 yards of 60”-wide or 22⁄3 yards of 45”-wide sweatshirt fabric

Use a zigzag stitch and 5⁄8” seam allowances unless otherwise noted.

• 1 yard of 1⁄8”-wide elastic

Align the 5¾” elastic pieces with the right side of the pocket curved edges, being careful not to stretch either the fabric or the elastic; stitch the outer elastic edge. Fold the curved edge toward the fabric right side; edgestitch the fabric raw edge.

• Matching all-purpose thread

CUT Download the No Sweat Sweatshirt pattern from until Sept. 30, 2015. Find the pattern at after the expiration date. Cut out all pattern pieces in the desired size. The pattern doesn't have as much ease as many ready-made sweatshirts. If using a particularly bulky fabric or one with little to no stretch, select a larger size. If using 45”-wide fabric, create copies of the pattern pieces cut on the fold and cut in a single layer. If using 60”-wide fabric, cut on the fold (1). From the fabric, cut one front, one back, two sleeves, two hoods, one pocket, two sleeve cuffs and two body cuffs. Cut two 5¾” lengths and one 10” length of elastic. The elastic is used to prevent specific areas of the sweatshirt from stretching out with wear. Substitute with clear elastic if desired.



With right sides together, align the pocket on the sweatshirt front according to the placement guidelines. Topstitch the pocket along the straight edges. With right sides together, align the front and back at the shoulders and sides; pin, and then stitch. Press open the seams. With right sides together, align the body cuffs; stitch the short edges, and then press open the seams. Edgestitch the seam allowance raw edges on both sides of the seams.


With right sides together, fold the body cuff in half lengthwise. Align the cuff with the body right side, aligning raw edges and side seams; stitch. Trim or serge the seam allowances to ¼” to reduce bulk. Press the seam allowances toward the body.



With right sides together, align the sleeve underarm raw edges; stitch, and then press open the seam. With right sides together, fold each sleeve cuff in half widthwise; stitch the short edges, and then press open the seams. Edgestitch the seam allowance raw edges on both sides of the seams. With right sides together, fold the sleeve cuff in half lengthwise. Place one cuff over the sleeve right side, aligning the raw edges and seams; stitch. Trim or serge the seam allowances to ¼” to reduce bulk; press toward the sleeve.



Repeat to construct the remaining cuff and sleeve. With right sides together, insert the sleeve into the body armscye, aligning the underarm seams; stitch. Trim or serge the seam allowances to ¼” to reduce bulk. With right sides together, align the hood pieces; stitch the long curved edge, and then press open the seam. Edgestitch the seam allowance raw edges on both sides of the seam. Fold the hood long straight edge 5⁄8” toward the wrong side; edgestitch the raw edge.

AU G U S T / S E P T E M B E R 2 0 1 5

With right sides together, align the hood with the body neckline, matching the shoulder seam to the small circles. Lap the hood finished edges by 5⁄8” at the body center front. Place the 10” elastic length along the seamline on the back-body neckline; stitch. Trim or serge the seam allowances to ¼” to reduce bulk.





DOZENS OF PROJECTS! Indie designers Simple, stylish garments Home dec Unique patterns

Join the online Sew Daily community!


#153 – Siberian Parka

See our timeless patterns adapted from vintage fashion and ethnic costume at

patterns with timeless style

All Patter ns Included

All Styles Now Available Online From

Sewable Swedish Tracing Paper

The modern sewing magazine with quilters in mind.

Don’t cut your patterns! 10 yard rolls – 29” wide Trace your pattern with this durable, strong, see-through and drapably soft pattern paper.

Call for price, free sample and pattern catalog

Birch Street Clothing

P.O. Box 280137, San Francisco, CA 94128 650-515-6190 DEALER INQUIRIES INVITED


at Any Age


Looking through fashion magazines, it may seem like designers are picking styles out of the air and putting them on young, long and lean bodies. You may find the designs interesting, but how do those styles relate to your body and lifestyle? Use the principles of fashion design to break down these styles and make fashion choices to maintain a modern wardrobe.



AU G U S T / S E P T E M B E R 2 0 1 5

FASHION INFLUENCE Fashion styles and tastes change to keep clothing interesting and exciting. The term fashion is a combination of elements: style+change+acceptance+ taste=fashion. Style is the characteristics or silhouette of a garment. Change is the visual way you adapt fashion to lifestyle or culture. Acceptance is consumers’ willingness to buy and wear a certain style. Taste is an

individual preference for showing your personal style. Designers use trend reports to acquire information on upcoming silhouettes and colors for each season. Trend report services work two to three years in advance of a season and analyze culture, runway shows, street style, art and much more to predict what will happen next in fashion. Each

report shows new or emerging trends, as well as accepted trends for silhouette and color. A trend is a styling idea or color that many designer collections have in common during a season. High acceptance of a trend makes a style into fashion, as opposed to quick acceptance and rapid decline that makes a style a fad.



FASHION CYCLE Use the fashion cycle to understand how fashion changes and where personal style falls into the cycle (1). Each new style starts its own fashion cycle, and because many styles are happening at one time, cycles overlap each other. The cycle has five components: introduction, rise, peak, decline and fatigue or obsolescence. If a style isn’t worn, a latent period follows fatigue. Next, a style is introduced in a new way and the cycle is repeated. The beginning of each cycle varies according to geographical location and distance from an urban center. Fashion seen in New York or Paris might take time to be adopted in your area. In the introductory phase, a style is presented as a dramatic change from the previous year. For example, narrow shoulders change to oversized shoulders or low-rise tapered-leg pants change to high-rise wide-leg pants.


The average consumer is surprised by the change and may resist adopting the style. The styles are usually sold in high-end stores in limited quantities. Fashion innovators seek out the new styles and pay the higher price to be the first to wear the style. After the introductory phase, style acceptance begins to rise. The style is available in better department stores and boutiques and is worn by trendsetting neighbors. If acceptance drops quickly, the style is just a fad. If the style becomes available in more stores and most people accept it, the trend moves to the fashion cycle peak. The style is available in department stores, worn by friends and coworkers and seems like a normal part of fashion. Every style begins to decline after the cycle peak, though classic styles have a longer fashion cycle than trendy styles. Fashion innovators begin to look for something new and stop wearing the

Early Majority Early Acceptors

Late Majority


Those who accept the fashions

Moderate-priced Better-priced department stores stores and specialty shops High-priced Boutiques

Where the fashions are available




AU G U S T / S E P T E M B E R 2 0 1 5

Laggers Discount stores Low-end stores

style. Discount and low-price department stores have a large supply of the style. Mid-range department stores put the style on the sale rack to make room for newer merchandise. Finally, fashion fatigue sets in and most people reject the style, leading to fashion obsolescence. Consumers are ready for a change and either store or donate the style to make room for new fashions, and then the fashion cycle begins again.

FABRIC & SILHOUETTE SELECTION As home sewists, we can analyze the trends using silhouette and fabric to update our favorite patterns. Examine new fashion trends, such as fabric, with a designer’s eye. Are the fabrics flowing, firm, textured, flat, sheer or shiny? Are the prints small florals, oversized geometrics, fine pinstripes, exaggerated blanket plaids or miniature houndstooth? Changing fabrics is a simple way to update a pattern and your wardrobe. Transform a basic woven shirt pattern to follow a romantic trend by using soft satin fabric and adding a neckline bow. Follow an opulent trend by replacing wool melton with brocade fabric for a coat. Select wool tweeds instead of cotton prints for an A-line skirt to follow a menswear trend. Silhouette, such as exaggerated or contoured, is the outline of a garment on a body (2). Everyone subconsciously views silhouettes in fashion, but it’s important to take the added step of


intentionally analyzing them to determine individual preferences. Looking at old photos or movies, we immediately notice a column dress with no waist as a flapper style, a pinched waist from the ’50s, mini A-line dress as mod or wide bell-bottoms as the ’70s. Look for fashion details from runway shows. Many websites and magazines contain a variety of the designer collections each season. Select a few favorite designs and find the silhouettes and proportions that they have in common, such as waistlines, shoulders and lengths.

PERSONAL PROPORTIONS Not every silhouette flatters every body shape. Analyze your body proportions to select the most flattering silhouettes. Fashion illustration presents female bodies as 9½ heads high and a specific head distance between each body part for an extremely elongated proportion (3). However, real bodies have their own unique proportions. When choosing clothing, we can make adjustments to create the visual illusion of the desired body proportions. To discover your correct body proportions, take a photo of yourself in tight fitting clothing with contrasting tape or ribbon around your bust, waist and hips. Draw lines on the photo to show where the 9½ head proportions fall on your body. Draw a line under your chin and measure below that line to the floor. Divide by 9½ to find the dividing line measurements. Draw eight

equidistant lines across your body according to the measurement. Draw the last line at your ankles.


Analyze the line positions to discover your body proportions. For example, the featured image shows the torso proportions are longer than the 9½ head proportions (4). In this case, choose silhouettes and patterns that shorten the body and elongate the legs.

1 Chin (1) Shoulder (11/2) 2 3 Waistline 1 4 (3 /2) End of Torso 5 (42/3)

Make clothing choices based on your personal body proportions. Select a V-neck or scoop neckline to elongate the neck and shoulder area. Accent the waist if it’s 2½ heads below your chin by tucking in your shirt or adding a belt. Camouflage the waist by leaving a shirt untucked or making the lower edge curve along the center front to add length. Sleeve lengths that end on the same level as your bust or shirt lower edge add width to your silhouette. Select a ¾-length sleeve or a cap sleeve to add visual space between the sleeve and prominent horizontal points. Unbalanced proportions, such as 4 heads on top and 5½ heads on the bottom, elongate your silhouette. Even proportions, such as 4¼ heads on top and bottom, cut your silhouette in half and make you appear shorter and wider. Use other design elements, such as color, line and texture, to extenuate

Armhole (21/4)

6 7 8 9 91/2


1 2

Armhole (21/4)

3 Waistline (31/2) 4 5

End of Torso (42/3)

6 7 8 9 91/2



Jordan Tan/





Each season, new fashions are viewed on television, websites, in newspapers and magazines, leaving the average person wondering how to interpret the ideas into everyday wardrobe choices.

Add excitement to your wardrobe with some fall 2015/’16 color trends. Remember that these styles are emerging trends and might not be adopted in your area or fashion cycle.

Typically, younger individuals take more fashion risks and experiment more with silhouettes and styles. As people mature, they become more secure in style choices and how to reflect personality through clothing.

parts of your silhouette that can’t be changed with the hemline. To balance your upper half, wear a bright colored shirt with a neutral colored bottom. A contrasting zipper or colored binding forces the eye to follow the detail and blurs the outer lines. Princess seams or design lines draw the eye up and elongate the torso. Texture and large patterns add emphasis to an area. Mix a tweed or floral jacket with a solid bottom to highlight the face and obscure the lower body. Layer an open jacket over a shirt to form natural elongating lines and emphasize the waist. Use these principles thoughtfully to select style choices for your next sewing project or alter your existing clothing for better proportions.



An oversized T-shirt with rhinestone wording looks fun on a teenager but ridiculous on a person in their golden years. Learn how to edit the details to make them age appropriate. Enjoy the rhinestone trend with some embellishment at the neckline or across a pocket. Or add a sheer panel to a top to give the illusion of a crop top. More sophisticated choices showcase your fashion sense while still being age appropriate. Whatever your age, confidence in your clothing choices is the most flattering thing you can wear. Select a few favorite styles to add to your wardrobe that interest and excite you. Use fashion trends to inspire your personal style, but don’t try to copy each garment exactly. Select one or two details from a designer and add your own flare. A long, brocade coat with a fur collar and embroidery may be great on the runway, but that same coat might not fit your lifestyle. Instead, pair a simple brocade jacket with a skirt or pants to reflect your fashion awareness without being trendy. Or construct your favorite pattern in a new color to match the current fashion cycle.

AU G U S T / S E P T E M B E R 2 0 1 5

Regal jewel tones, such as scarlet, burgundy, forest green, sapphire, salmon and russet are popular choices for fall (5). The rich saturated colors have a deeper tone than colors last year. Select luxurious fabrics in jewel tones, including satin, tweed, charmeuse, brocade, velvet, wool and fur. For added opulence, embellish with beading, jewels and embroidery. Icy pastels are whites with a touch of color, such as blush, winter white, sky blue, lavender, dove gray and mint (6). Select soft, delicate fabrics, including chiffon, rayon jersey, mohair, sweater knits, flannel or brushed fabrics. Neutrals inspired by nature, such as mushroom, stone, topaz, moss, slate, navy and charcoal, are a popular substitute for basic black (7). Pair the neutrals with heavy crepe, coated cottons, cashmere and leather. Clear brights, such as orange, emerald, magenta, cobalt, yellow, tomato red and bubble gum pink, are perfect for sporty and casual styles (8). Use technical fabrics, such as mesh, fleece, neoprene and jersey, mixed with colored denim, bouclé and crisp cottons.

FASHION TRENDS Minimalist: Choose clean classic shapes in quality fabrics with expert construction. Select a simple blazer with a boxy shape, cropped or hip length, paired with cigarette pants or a pencil skirt. Pair a shift dress with an easy, loose-fit, duster-length coat. Keep it simple with a T-shirt and mid-calf length wrap skirt. Romantic: Choose opulent drapey fabrics mixed with delicate prints or soft knits. Keep a feminine feel with a fit-and-flare dress, flowing chiffon skirt or maxi dress with a chunky sweater. Try softly pleated wide-leg pants with a bow-tie blouse and quilted satin bomber jacket.

Utilitarian: Choose military inspired pieces with functional features, including mandarin collars, cargo pockets, defined shoulders and metal accents, such as zippers, grommets, buttons and snaps. Wear a motorcycle jacket or pea coat with a drawstring pant or skirt. Classic sweat suits with a wide tuxedo strip down the leg adds a fresh look to a classic silhouette.


Color Explosion: Select large-scale prints, placement prints or color blocking for high impact styles. Choose a style with simple lines and let the fabric color add the excitement. Select a bold contrast color for the upper collar and facing on a jacket. Use a border print upside down to draw focus to the shoulders. Add fringe or feathers to a basic shape for unexpected whimsy.


Photo credits: Anton Oparin/


Monochromatic: Match separates in one color tone or mix shades of one color. Pair navy pants with a sky blue top and cobalt cardigan. For a bold look, mix patterns in the same tone, such as a pink striped shirt with a burgundy paisley skirt and winecolored bouclĂŠ jacket.



Lady & the


Use wooden Indian textile stamps to create a unique printed design on a customized tunic.

Simplicity 1461, View B



AU G U S T / S E P T E M B E R


FIND OUR EXCLUSIVE wooden textile stamp set at STAMPS Hand-carved wooden textile blocks were traditionally used in India to print on textiles using natural dyes derived from plants and other organic sources, but the possibilities for their use are endless. Use the wooden stamps for stamping or printing on paper, fabrics, wallpaper, doing temporary henna tattoos, scrapbooking, and impressing clay, tiles, ceramics, handmade soaps, etc. Find them in online shops, such as ShopSewItAll, eBay and Etsy, or at flea markets and second-hand shops.

Using the roller, evenly apply paint to the stamp. Firmly press the stamp onto the fabric in the desired location. Reapply paint for each stamp. Using the same paint twice causes the impression to be too light.


For the featured garment, select a decorative needlepoint stitch on the sewing machine. Stitch along the princess seamlines, neckline-facing edge and sleeve edge.

• Tunic pattern (such as Simplicity 1461) • Linen fabric (amount according to the pattern envelope) • Fabric paint • Sponge roller • Indian textile stamps (“See Sources.”)

Repeat to stamp the entire piece (1). Allow the paint to dry. Press the pieces using a hot, dry iron to set the paint. Construct the tunic according to the pattern guidesheet. If desired, add embroidery, beading or blanket stitching for further embellishment.


SOURCES Shop Sew it All carries hand carved wooden Indian textile stamps: Simplicity carries the featured pattern:

• Thread: all-purpose to match fabric & paint • Paper or plastic sheet to cover workspace • Removable fabric marker (optional)

STAMP From the linen, cut out the pattern pieces using the desired size lines. Place paper or a large plastic sheet over a flat workspace. Tape one front pattern piece to the paper to secure it while stamping. Keep seam allowances in mind when planning out the stamp design. If desired, draw the seam allowances onto each pattern piece and lay the adjacent pattern pieces out next to each other to arrange a pleasing all-over design. SEWNEWS.COM


Trendy in


Stitch a stylish wool skirt with military-inspired patch pockets for a fresh fall look.

SUPPLIES • Mediumweight wool tweed, lining fabric & weft interfacing (amount determined by measurements; see "Source") • Matching double-fold bias binding & seam binding (amount determined by measurements) • 9”-long invisible zipper • Matching all-purpose thread • Needles: 80/12 universal & hand sewing • Invisible zipper foot • Four ¾”-diameter shank buttons • ½”-long hook & eye closure • Rulers: French curve, hip curve & straight • Pattern or tissue paper • Muslin for fitting sample • Wool press cloth • Point turner

MEASURE Measure your natural waist circumference; record. Divide the measurement by four, add 3⁄16”, and then subtract ¼”; record as the skirt-back measurement. Divide the natural waist circumference measurement by four, add 3⁄16”, and then



AU G U S T / S E P T E M B E R 2 0 1 5




waistline C D






add ¼”; record as the skirt-front measurement.


Measure from your natural waistline to the fullest part of your hip; record as the hip depth.




center front

Measure your hip circumference at the hip depth; add ¾” for ease, and then record.

side seam

center back

hip line

Measure from your natural waistline to the desired skirt length; record.

DRAFT Refer to the “Drafting Diagram” at right.

Measure down from the waistline/ center-front intersection to the desired skirt length and draw a straight line extending from the center-front line that’s half the hip measurement. Label the line “lower edge.” Draw a straight line connecting the waistline and lower-edge line ends. Label the line “center back.” Measure down from the waistline/ center-front intersection according to the hip-depth measurement. Draw a straight line extending from the mark to the center-back line. Label the line “hip line.” Measure left from the waistline/ center-front intersection according to half the hip measurement plus ¼”. Draw a vertical line at the measurement from the waistline to the lower edge. Label the line “side seam.”

center back

Place a large piece of pattern or tissue paper on a flat work surface. Draw a vertical line 2” from and parallel to the paper right edge; label the line “center front.” Near the paper upper edge, draw a horizontal line extending from the center-front line that’s half the hip measurement. Label the line “waistline.”

lower edge

side seam

center front

side seam

center back

Drafting Diagram

Measure right from the waistline/ center-back intersection according to the skirt-back measurement; label the point “A.” Measure left from the waistline/ center-front intersection according to the skirt-front measurement; label the point “B.”

Measure from the waistline/ side-seam intersection to point B. Repeat to draw point “D” to the right of the side-seam/hip-line intersection and connect it to the side seam. Measure down ½” from the waistline/center-back intersection; label the point “E.” Using a hip curve ruler, draw a new waistline with a shallow curve from point E to C, beginning at a right angle at the center back.

Measure from the waistline/ side-seam intersection to point A; record. Divide the measurement by three; record. Measure left from the waistline/side-seam intersection according to the recorded measurement. Draw a ¼”-long vertical line up from that point; label the point “C.”

Measure 23⁄8” right from the waistline/center-back intersection; label the point “F.” Measure right from point F according to the waistline/ side-seam intersection to point C measurement; label the point “G.”

Using a hip curve ruler, draw a curved line connecting point C with the side-seam/hip-line intersection, blending into the side-seam line.

Measure 1½” right from point G; label the point “H.” Measure right from point H according to the waistline/side-seam intersection to



point C measurement; label the point “I.” Measure the midpoint between the F/G points; mark. Draw a 4” vertical line down from the midpoint mark; label the point “J.” Draw a straight line connecting point J to point F. Repeat to draw a line from point J to point G. Repeat to draw a dart at the H/I points. Label the waistline/center-front intersection as point “K.” Using a hip curve ruler, draw a new waistline with a shallow curve from point K to point D, beginning at a right angle at the center front. Measure the midpoint between the K/D points; label the point “L.” Measure right from point L according to the waistline/side-seam intersection to point D measurement; label the point “M.” Repeat to measure left from point L; label the point “N.” Draw a 4½” vertical line down from point L; label the point “O.” Draw a straight line to connect point O to point M. Repeat to draw a line from point O to point N. To determine the pocket placement, measure 2” down and left from point K; label the point “P.”



Measure 5” down from point P; label point “Q.” Measure 4½” from point Q and perpendicular to the front line; label the point “R.” Measure 2½” down and 2” right from point D; label the point “S.”

paper. Add 1⁄8” to the skirt at each side seam and remove ¾” from each skirt-piece lower edge. Label the patterns as the lining.

True the darts and waistline.

Make a muslin fitting sample. Make any necessary fit adjustments to the pattern, and then trace a copy on paper, transferring all markings.

Trace the skirt front, including the pocket placement points, onto a new piece of pattern or tissue paper. Repeat to trace the skirt back. Add a ½” seam allowance to the waistline and side seams, a ¾” seam allowance to the center back and a 1¾” seam allowance to the lower edge. Cut out each pattern. Place a large piece of pattern or tissue paper on a flat work surface. Draw a rectangle measuring 1¼”x the natural waist circumference measurement plus ½”. Fold the waistband pattern into fourths. Label the short ends as “center back,” the midpoint line as “center front” and the two remaining lines as “side seam.” Add 1½” to the right short end to account for the underlap. Add a ½” seam allowance to the upper, lower and short ends. Draw a grainline parallel to and 1¼” from one long edge. Cut out the pattern. Trace the skirt front and back onto a new piece of pattern or tracing

AU G U S T / S E P T E M B E R 2 0 1 5


Follow the instructions to preshrink the wool fabric on page 71. Determine the fabric right side. Select the side with a smooth selvage and fewer imperfections. Fold the wool fabric in half lengthwise with right sides together, matching selvages. Cut all pieces with the nap running in the same direction. From the wool, cut one skirt front on the fold, two skirt backs, two waistbands, two 6”x8½” rectangles for the pockets and two 5½”x6” rectangles for the pocket flaps. Transfer all the pattern markings using tailor’s chalk or thread tracing. From the lining, cut one skirt front on the fold, two skirt backs and two 5”x5½” rectangles for the pocket linings. From the interfacing, cut one waistband and four 1”x1½” rectangles. Following the manufacturer’s


instructions, fuse the waistband interfacing to one waistband and designate it as the waistband facing. Fuse the small interfacing rectangles to the skirt-front wrong side, centering them over the pocket upper-placement markings. From the binding, cut one length according to the waistband length measurement.

SEW Use ½” seam allowances unless otherwise noted. Cover the pressing surface with remnant wool fabric and always use a wool press cloth. Use an iron on a wool setting with steam. Place butcher paper underneath seams and darts to prevent imprints on the fabric right side. Fold one pocket rectangle in half widthwise. Clip into the upper and lower edge at the center foldline. Open the rectangle and position it right side up on a flat work surface. Measure 1½” from each side of the center; clip into the upper and lower edge. Designate the left snips as the first foldline and the right snips as the second foldline. Fold along the first foldline with wrong sides together; press. Repeat to press the second foldline (1). Edgestitch the foldlines. With right sides together, fold the edgestitched foldlines to meet at the centerline; pin. Machine baste the upper and lower edges (2). With right sides together, align the pocket-flap lower edge with the pocket upper edge; stitch. Trim, grade, and then press open the seam allowance.

With right sides together, align the pocket-lining upper edge with the pocket-flap lower edge; pin. Stitch, leaving a 2”-long centered opening. Trim, grade, and then press open the seam allowance.


With right sides together, fold the pocket in half widthwise, aligning the edges; pin, and then stitch the perimeter (3). Trim and grade the seam allowance. Turn the pocket right side out through the opening. Using a point turner, carefully square the corners. Position the pocket right side up. Designate the flap as the wrong side. Favor the pocket right side toward the wrong side and the flap wrong side toward the right side; hand baste the perimeter (4). Press, and then remove the basting stitches. Slipstitch the pocket opening closed. Edgestitch the pocket-flap right side.


Draw a vertical line ½” from the pocket-flap lower edge and 11⁄8” from the left short edge. Repeat to draw a second line from the right short edge. Machine stitch a buttonhole along each line. Fold the pocket-flap wrong side toward the pocket right side along the seamline; press. Repeat to construct the remaining pocket.


Staystitch the skirt front and back waistlines. Stitch the skirt front and back darts. Position the skirt front right side up on a flat work surface. Position one pocket right side up over the skirt front, aligning the pocket corners with the placement markings; pin. Hand baste the pocket onto the skirt.



Topstitch the pocket, beginning and ending the stitching at the flap seamline (5). Remove the basting stitches. Hand- or machine-stitch bar tacks at each pocket upper corner. Repeat to attach the remaining pocket to the skirt front. With right sides together, stitch the skirt side seams; press open. Open the zipper and press open the zipper teeth. Mark the waistline and center-back seam allowances. Position the left skirt back right side up on a flat work surface. Position the left zipper tape wrong side up over the skirt back, aligning the zipper upper stop 1⁄8” below the waistline seam allowance mark and the zipper teeth with the center-


back seam allowance. Pin, and then hand baste (6). Install an invisible zipper foot onto the machine. Stitch the zipper to the skirt, ending the stitching at the zipper pull. Repeat to stitch the right zipper tape to the right skirt back, making sure the zipper upper and lower ends are aligned (7). Remove the hand basting stitches. Stitch the center-back seam with right sides together, beginning ½” below the zipper end, making sure the zipper ends aren’t caught in the stitching. With right sides together, stitch the skirt-lining side seams; press open. Stitch the center back with right sides together, beginning 9½”


from the upper edge. Press open the seam and press the unstitched seam allowances toward the lining wrong side. Position the lining over the skirt with wrong sides together and aligning the center front, center back and side seams; pin. Fold a tuck at each lining dart marking; pin, and then hand baste (8). Machine baste the waistline using a ¼” seam allowance, and then remove the hand basting stitches. With right sides together, align the waistbands; stitch one long edge. Trim, grade, and then press the seam allowance toward the waistband facing. Understitch the waistband facing. Trim ½” from the waistband-facing long edge. Finger-press open the binding. Align the waistband-facing raw long edge with the binding foldline. Fold the binding in half lengthwise with wrong sides together, enclosing the waistband edge within the binding; pin. Edgestitch the binding upper edge, catching the both binding layers within the stitching. With right sides together, align the waistband raw long edge with the skirt waistline, matching the center front, center back and side seams. Pin, and then stitch.



Fold the waistband in half along the seamline with right sides together; pin the left short end, favoring the upper seam toward the waistband facing. Draw a straight line from the left-skirt center back edge to the waistband upper edge. Stitch along the line (9). Trim the waistband upper seam allowance to 3⁄8”.



AU G U S T / S E P T E M B E R 2 0 1 5

Pinch the waistband corner in between your fingers and turn the waistband right side out, making sure the seam allowance lays flat within the waistband. Square the corner with your fingers. If needed, use a point turner to carefully finish squaring the corner.

Hand stitch the upper double-folded edge to the lining wrong side using a slant stitch.

Fold the waistband in half along the seamline with right sides together; pin the right short end, favoring the upper seam toward the waistband facing.

Cut open each pocket-flap buttonhole. Hand stitch buttons

Draw a straight line ½” from and parallel to the waistband short end. Stitch, and then repeat to trim and turn the waistband as before (10). Align the binding edge just beyond the waistline stitching line; pin, and then hand baste. Stitch in the ditch on the skirt right side along the waistband and skirt seamline, catching the binding edge within the stitching. Remove the basting. Try on the skirt and check the hem balance. Measure from the floor to the skirt hem using a yardstick. If the skirt isn’t the same length all around, trim away fabric as necessary. Fold the skirt lower edge 1¾” toward the wrong side; press. Lap the seam tape ¼” over the skirt lower edge; pin, and then edgestitch through the hem allowance only. Hand stitch the seam-tape upper edge to the skirt wrong side using a slant stitch.

Tack the lining to the skirt hem at each seam. Slipstitch the lining ¼” from the zipper teeth.

on each pocket 1⁄8” from the buttonhole lower edge. Center a hook ¼” from the waistband short end; hand stitch. Center an eye even with the skirt center-back edge; hand stitch.

SOURCE Heavens to Betsy provided the Pretty as a Peacock wool fabric: (518) 851-2149,

LONDON SHRINK Follow the classic London shrink method for preshrinking wool fabric to achieve professional looking garments. • Fold the fabric in half lengthwise and hand baste the selvage edges together. • Depending on the fabric width and length, put a twin- or queensize flat bed sheet in a washing machine and run on just the rinse cycle. Remove the sheet from the washer; it should be damp, but not soaking wet. • Lay the sheet on a flat work surface or floor. Place the folded wool fabric over the sheet, aligning the selvages with one long edge. Fold the sheet over the wool, and then gently roll the layers together from the short end. Cover the entire roll with plastic wrap and seal the ends. • Let the roll sit overnight or for at least 12 hours. Remove the fabric from the plastic and sheet. Remove the hand basting stitches. • Cover a pressing surface with remnant wool fabric. Position the fabric over the pressing surface and smooth flat. Using a steam iron on the wool setting, press the fabric. Let each section dry completely before moving the fabric to continue pressing the entire fabric length and width.



Fold the lining lower edge toward the wrong side, aligning the folded edge 1” from the skirt lower edge. Trim the lining raw edge to ¾” from the foldline. Double-fold the lining lower edge ¼” toward the wrong side; press, and then topstitch.




Drapey Fabrics BY RAE CUMBIE

DRAPEY FABRIC TYPES Opaque fabrics with a matte finish include soft cotton lawns, rayon or wool challis, silk crepe de chine and silky polyester prints and solids (1). Most lining fabrics fall into this category. Use regular stitching techniques and machine-finish seam allowances for best results. Opaque fabrics with a shiny finish include polyester, silk or rayon crepe-back satin and silk charmeuse (2). The satin finish makes these fabric types more challenging because they slip when cutting, stitching and finishing a project. Use the “with nap” pattern guidesheet directions when cutting. Drapey knits include rayon, silk and interlock twist yarn (ITY) knits (3). These fabric types have stretch, creating a fluid and elastic fabric that’s hard to cut, stitch and finish. Select the narrowest zigzag stitch to create stretchy seams.

Drapey fabrics in silky prints, soft solids and fluid knits are beautiful, but they can be more intimidating to sew than a stable woven. Learn how to work with easy to difficult drapey fabrics to master techniques for professional results.



AU G U S T / S E P T E M B E R 2 0 1 5

Sheer and semi-sheer drapey fabrics include chiffons and georgettes in polyester, rayon, silk and blends (4). Prints, solids and textured weaves require specialty seam and hem finishes because of the fabric’s sheerness. Select a French seam for construction and a rolled-edge finish on the serger for the hem. Velvets and velvet burnouts are available in rayon and silk (5). The fabric nap requires all pattern pieces be cut in the same direction. Pin frequently and alternate the pin

direction to prevent shifting. Install a walking foot on the machine for an even fabric feed during stitching. Use French seams when stitching sheer velvet burnouts. Beaded or embellished drapey and sheer fabrics include embroidered, die-cut and lace fabric embellished with beads, sequins or rhinestones (6). These fabrics are the most difficult to work with and are best for special occasion garments. Cut slowly and carefully through beads and sequins to prevent damaging the scissor blades. Once the pattern pieces are cut, remove the embellishment from the seam allowances and darts to prevent bulky or bumpy seams and broken machine needles. Use small sharp scissors or a seam ripper to easily remove embellishments. Always save the removed embellishments to re-attach them along the seam after stitching.







PROJECT SELECTION For beginners working with drapey fabric, choose loose-fitting styles that drape softly over the body, have fairly straight seams and only a few pattern pieces. Avoid tailored garments or styles with intricate closures. Select a pattern that you’ve previously sewn with an excellent shape and fit. If you choose a new pattern, create a sample to practice the construction, assess the design and check the fit.



Avoid projects that need excessive edge finishing. For example, choose a basic skirt rather than a sarong skirt, which requires baby or rolled hem finishes on multiple long edges. Although most bias-cut garments use drapey fabrics, successfully stitching on the bias is difficult. Avoid designs with bias-to-bias seams for a beginner project.


EASY DOES IT Stitch a delicate scarf from drapey fabrics for an easy beginner project. If desired, use fabric scraps or ready-made scarves to create the patchwork scarf. • From drapey fabric, cut fourteen 5”x7¼” rectangles and one 7¼”x72” rectangle for the lining. • With right sides together, stitch the small-rectangle short ends together using a ¼” seam allowance to create one long strip. • If desired, stitch trim, such as fringe, to the strip short ends. • With right sides together, stitch the strip and lining rectangle perimeter using a 5⁄8” seam allowance and leaving a 3”-long centered opening along one short end. • Turn the scarf right side out through the opening; press. Hand stitch the opening closed.



Choose a fabric already in your fabric stash or purchase inexpensive fabric for a beginner project, such as lining a jacket, dress or pant, to understand how a drapey fabric handles. If you plan to wash the completed garment, always prewash the selected fabric according to the manufacturer’s instructions. This is especially important for rayon (to allow shrinkage) silk (to test for colorfastness) and knits (to allow the natural drape to emerge). Launder a fabric scrap before washing the yardage. Record the scrap size before washing and compare the size to the dimensions and original texture after washing. If the results are unsatisfactory, dry clean the fabric.

CUTTING GUIDELINES Select a cutting table that’s accessible from all sides. Cover the table with a gridded cardboard or rubber cutting mat. Cutting and marking drapey fabric is a slow process, so always plan in advance and take time to accurately cut the fabric.

AU G U S T / S E P T E M B E R 2 0 1 5

To achieve an even crossgrain edge, snip into the fabric selvage at the crossgrain, and then tear along the snip from selvage to selvage. If the fabric doesn’t easily tear, snip through the selvage and gently pull a thread across the fabric to establish the crossgrain. Cut along the line created by the drawn thread to achieve an even edge. Place the fabric over the cutting surface, aligning the crossgrain edge with a horizontal gridline and the selvages with a vertical gridline. Don’t allow any fabric to hang over the cutting surface, which distorts the fabric grain. Carefully fold any excess fabric along the cutting table edge. Anchor the fabric with a few pins or heavy weights along the selvages and crossgrain edge. Gently smooth the fabric on the cutting surface to remove wrinkles. When working with drapey knit, observe the loops and selvages to find the grain. Typically, finding the grain on a prewashed knit is difficult, so follow the natural hang of the knit and cut each pattern piece individually for best results. If cutting on a single fabric layer, make a full-size pattern piece for each pattern that’s labeled “cut on fold” and flip over any pattern pieces that require two pieces. Position the pattern pieces over the fabric, carefully aligning the pattern grainline with the fabric grain and pinning frequently. Avoid raising the fabric off the cutting surface during pinning. Place your hand over the

pattern and use the cutting surface to guide the pins through the fabric to prevent shifting.

fabrics. Select a 70/10 jersey needle for knits and a 60/8 or 70/10 microtex needle for densely woven polyesters.

Gently slide the scissors or rotary cutter along the cutting surface and move around the cutting table to prevent shifting the fabric. Never move the pinned fabric to access cutting areas.

Always test-stitch a fabric scrap to ensure the correct needle, tension, seam technique and iron temperature setting. Ensure the sewing surface is clean and smooth to prevent any fabric snags.

Pin only the pattern pieces that fit onto the cutting surface. After cutting the first pattern pieces, align the fabric grainlines again, and then pin and cut the remaining pieces.

For opaque fabric projects, press the seam allowance toward one side, and then serge-finish. For sheer fabric projects, use a French seam or serge-finish the seam allowance edges with a rolled hem.

Before removing the pattern from the cut fabric, mark any dots or dart legs with a small snip into the seam allowance edge. Mark dart points by placing a pin through the pattern and fabric at the mark, carefully remove the pattern, and then mark the fabric at the pin. If the fabric is sheer, mark the point with a pin or tailor’s tack. Always test the chosen marking method on a fabric scrap.

STITCHING GUIDELINES If the project requires interfacing or underlining, select a soft lightweight sew-in or fusible variety. Choose lightweight batiste for chiffons or cottons. Install a new size 60/8 or 70/10 universal needle for most drapey

To prevent fabric distortion, pin seams before stitching and support the fabric with your left hand if it hangs over the machine edge.

PATTERN SELECTION Check out the following basic pattern options for your first woven or knit drapey fabric project.

Examine construction on ready-made drapey fabric garments for different seam and finishing techniques.

Lightly press or steam throughout the construction process for professional results. Finish necklines with narrow bindings, a facing that extends into adjacent seams or full linings. Finish a garment hem or sleeve lower edge with a baby hem by hand or machine. To add weight to the hem, double-fold ½” to 1” along the lower edge, and then edgestitch the first fold.


• Fit for Art Tabula Rasa Jacket (woven) available at, in sizes XS-3XL; or Tabula Rasa Knit Tee and Tunic (knit) • McCall’s 6987 (woven dress), 6994 (woven skirt) 6959 (knit top) or 6355 (knit dress)

Always use new fine pins and sharp scissors or a rotary cutter with a new blade when working with drapey fabrics.

• New Look 6068 (woven dress), 6303 (woven top) or 6068 (woven skirt) • Pamela’s Pattern #110 Cool Cardigans (knit)



Sew & Tell






AU G U S T / S E P T E M B E R 2 0 1 5

COOL CUSTOMIZING Join the Sew News Portside Travel Sew-Along and learn these techniques and more. • Inserting zippers (A). • Working with pleather and heavyweight fabrics. • Using webbing, tote bag hardware and D-rings (B).

JOIN the Sew News Portside Travel Sew-Along on Flickr at sn_sewalong9/.

ON THE BLOG! Join the next Sew News Portside Travel Sew-Along on September 8 and stitch the Grainline Studios Portside Travel Set. For those with wanderlust in their hearts, the Portside Travel Set offers plenty of room for near and far-off adventures. Customize it with fabulous fabrics and you’ll never be searching for your luggage at the airport. To get started on this sewing journey, purchase the pattern at, and then check the Sew News blog for sewing how-tos and tips for making your set versatile and road-trip worthy. Watch short videos every week for construction tips and tricks. Sign up for Flickr, the photo-sharing site, to post photos of your fabric choices and progress, or to find help from other Sew-Along members, Rhonda Buss and the Sew News team. To join the Portside Travel Sew-Along Flickr group, follow this link: sewalong9/.

PATTERN DETAILS The Grainline Studio Portside Travel Set is perfect for airline travel or a quick weekend getaway. The set includes a roomy 20”x11½”x12” duffle, a 9”x4”x6¼” dopp kit and a 9”x7½”

pouch. The duffle and dopp kit are fully lined and have plenty of roomy pockets for all your traveling essentials. Recommend fabrics for the Portside Travel Set are medium- to heavyweight fabrics, such as canvas, twill and home-dec weight. Heavily interface or interline lighter weight fabric for durability.

SEW-ALONG SCHEDULE Buy the fabric, notions and supplies according to the pattern guidesheet. Sign up on Flickr (or bookmark the Sew News blog) and join the Portside Travel Sew-Along group. (Flickr is helpful but not required.) Prep the chosen fabric according to the manufacturer’s suggestions and visit the Sew News blog each week for updates and further written and video instructions.



Grab the Sew News RSS Feed to keep up-to-date throughout the sew-along.

Week 1: Week of September 8 – Pattern Elements & Fabric Choice Week 2: Week of September 14 – Constructing the Duffle Bag Week 3: Week of September 21 – Constructing the Dopp Kit & Small Bag Week 4: Week of September 28 – Finishing Details

WATCH Don’t miss weekly how-to videos on the Sew News blog for further instruction, tips and must-know techniques from Rhonda Buss at SEWNEWS.COM


OFF THE SHELF Stock your sewing library and increase your know-how with these latest and greatest books. STITCH WEAR PLAY by Mariko Nakamura Outfit your family in handmade duds using the patterns and instructions in Stitch Wear Play. Find stylish and functional shirts, skirts, jackets, dresses and accessories for all seasons. Designed for kids 3-8, the cuts are classic and the fabrics are kid friendly, such as cotton, linen, knits and fleece. Delicate details complete each look, resulting in a professional finish. Each project requires only basic sewing skills, and special techniques are helpfully illustrated. Kids will love to wear and parents will be proud of these timeless, functional and easy-to-sew designs.


Enter to win a copy of The Hand Embroidered Haven by entering the Sew News blog giveaway on Aug. 26!

STITCHING FOR THE KITCHEN by Gooseberry Patch From potholders to aprons, cozies to tablecloths, get 30 project instructions for the heart of your home. Stitch for the kitchen and bake using the recipes that are sprinkled throughout the project pages. Find projects to suit every skill level across a variety of techniques, including embroidery, patchwork and appliquĂŠ.



FAT QUARTERS: SMALL FABRICS, MORE THAN 50 BIG IDEAS by Lark Crafts Fat quarters are wonderfully easy to collect, but more difficult to use. Discover 52 ways to use your fat quarter stash, including gifts for friends or for baby, home dĂŠcor and accessories. Plus find a handy guide to cutting a fat quarter to maximize the number of pieces you can achieve.

AU G U S T / S E P T E M B E R 2 0 1 5

THE HAND EMBROIDERED HAVEN by Megan Frock Personalize any project with impressive hand embroidered details. This book is a great guide for the beginner, starting from scratch and building your skills to create 20 adorable projects for the home that are detailed with trendy embroidery, such as pillows, quilts, travel case and more.

create a new video series from amy butler and f+w media


Express Beauty coming this fall




I decided to make a nice dress for a cousin’s wedding and ventured back into my sewing days from 1982. On the day of the wedding I showed it to my mother, who looked at me and said, “Did you put the sleeves in right?” Of course I did, I thought. She pointed out that the buttons on the cuff were on top and not on the bottom. I spent the whole wedding trying to hide the buttons.

A friend came over to me to ask some sewing advice at the time when a machine needle position could be changed by tapping the foot pedal. Distracted, my foot hit the pedal and my finger happened to be under the needle. The needle went clear through my finger nail. I didn’t want my friend to feel bad or damage my pride, so I said nothing. I sat there, listening to my friend and hoping she wouldn’t notice my finger. After she walked away, I lifted the needle, dislodged my finger and slipped away to the restroom. It took me four years to share with her what happened that day.

While teaching a six-week course on smocking, one of my students wanted to make an heirloom christening gown for her baby. She chose very expensive Swiss batiste, entredeaux, French Val lace and satin ribbons. We worked together very hard and finally completed a beautiful gown. At the end of the last class, I turned my back for five minutes and the student took the completed project to the ironing board to press it, laid the gown on a plastic measuring tape without realizing it and melted it into the fabric with the iron.

Marie Ann H., Facebook

And the LAST LAUGH goes to...

Rebecca N., Facebook

Nancy W., Facebook

CLEANING COLLAPSE One evening while organizing my sewing room, I decided to drag an old heavy chair across the room. The chair bumped into the wired crates that were stacked from floor to ceiling and stuffed with fabric. The crates and fabric all toppled down on me. My husband was two floors below me and heard the tumbling. The next time the crates went up, he anchored them to the wall. Pamela M., Facebook

Send your sewing bloopers to with your name and mailing address! If your blooper is chosen as our “Last Laugh,” you’ll win the Best of Sew News book bundle, including Sew it All: Quick Projects, Best of Sew News: Home Accessories and Basics & Beyond: Simple Embellishments, valued at more than $50. Find these books and more at Bloopers become the property of Sew News and may be edited for clarity and brevity. Issue 348. Sew News (ISSN 0273-8120) is published 6 times a year in Feb/March, April/May, June/July, Aug/Sept, Oct/Nov, Dec/Jan by F+W Media, 741 Corporate Circle, Suite A, Golden, CO 80401. Periodicals postage paid at Golden, CO 80401 and additional mailing offices. POSTMASTER: Send address changes to Sew News, P.O. Box 420235, Palm Coast, FL 32142-0235. Return undeliverable Canadian addresses to Bluechip International, PO Box 25542 London, ON N6C 6B2 Canada.



AU G U S T / S E P T E M B E R 2 0 1 5


feat ur ing Tula’s fabr ics!

Exclusive Kits


Express your zest for life with six kits featuring Tula Pink’s fabric for FreeSpirit. Accessorize with the Adorable Tote, Cute Clutch, and Pretty Purse. Bring zing to your home with two large floor pillows and the Palace Floor Table Runner. Each convenient kit comes with full instructions, patterns and all the Tula fabrics you need to start stitching. ADORABLE TOTE




Quantities are limited, so order your kits today!


+ Watch for the Tula’s House Video Series

Stop by to visit our booth at Fall Quilt Festival 2015 for FREE samples of

Quilters Select ™

Be sure to check with your favorite quilt shop about the new line of quilting products from Alex Anderson and Floriani that was acclaimed THE HIT by retailers at Spring Quilt Market! Quilting retailers from all over the nation and abroad have ordered her new products, made specifically for quilters! Every single product is made to serve a specific need of quilters and to Alex’s specifications. Find the Quilters Select™ booth at this Fall Quilt Festival in Houston, Texas to see for yourself and get a FREE product sample! Find out more on the Select Stabilizers at and then click on Where To Buy to locate the Quilters Select™ retailer near YOU! If you cannot locate a retailer, please send us a note at with the name of your favorite quilt shop or quilting supply retailer and we will invite them to become a Quilters Select™ retailer. If you include your mailing address in the note we will send you free samples of Alex’s new “Print & Piece” designed specifically for foundation piecing.

by Alex Anderson and Floriani Made specifically for Quilters.

Sew news august september 2015  
Read more
Read more
Similar to
Popular now
Just for you