Wheel Chair Tote Bag

My Mom just celebrated her 91st birthday and I decided she would truly appreciate a gift that I had made more than any store bought item.  She uses a walker and sometimes a wheel chair if we are out in public. I found myself needing to add a tote bag onto the handles of my Mom's transport chair.  You need both hands to push a wheel chair ! 

So, I'm going to make a custom tote!  The width from handle to handle is exactly 18 inches on center.   It took me about 5 hours to construct this creation since I didn't have a pattern.  I just sort of figured things out as I went along.  I decided to put a zipper across the top for privacy.

My first zipper placket was a closed bottom metal zipper.  After I had the zipper installed I realized it really needs to open up.   I decided to use a separating zipper instead.  I looked through my vast collection of zippers and found a plastic separating zipper.  Yes,  I had to shorten it.  It is sooo easy to use nippers on plastic teeth.  Then I  add the top stops. 

 I found this utility denim in my stash.  No lycra !  I decided to add fusible fleece to give more 'body' to the overall structure. 






I experimented with a few decorative stitches.   I wasn't all that pleased with the results. Heavier threads seem to affect the stitch quality. Oh, well. So,  I used a simple triple straight stitch.






Handles:  Cut two strips 4x12 inches. Fold raw edges toward middle.  Press.  I added decorative trim tape.  (Some items have been accumulating for 10 or 20 years! )

 

Here you can see why a separating zipper works out better.  It will allow you to open up the entire opening.

I added a nylon zipper to the inside pouch.  Fully lined.

The bag can stand up by itself due to the fusible fleece.


The loop handles should slide onto the chair handles nicely.   I think I will spray this denim tote with Scotch Guard since it may be exposed to rain or snow.  Should also help to keep it clean.

Everything was going along rather well until I tried to stitch around the upper edge through the handles.  I got an error message on the machine telling me I needed to use thinner fabric and the machine could not sew through that denim !  Needless to say I ended up using my trusty Bernina 930 to stitch through the upper edge and handles!   Wow,  that is thick denim!  I have sewn wool braided rugs on the Bernina 930.  What a workhorse!!! I will never sell my 930. (Sorry,  during photo edit I erased the name for privacy.) I know my Mom will love it. I'm sure her friends will want one too!

Other than Sewing...

Many people who sew are also talented in some form of needle work.  Sadly, I do not crochet or knit like my Mom.  Every once in a while I will dabble in some sort of craft but I'm not terribly creative.  I have always been interested in crafting with nuts, pine cones, shells etc. 

We have many hickory nut trees on our property.  This year we had a high volume of hickory nuts.  I normally wash both the nuts and the shells in Pine Sol and allow them to dry a couple of days.  This will kill off any possible bugs or worms.

I start out by purchasing a slab of alder wood with the natural bark around the perimeter.   They generally run 15- $20.   I have found them at Marshalls and Home Goods.  Next I get a styrofoam cone from the craft store.   I use a hot glue gun to temporarily hold the nuts in place.  I also use the shells to cover the open spots between the nuts.  Hot glue is not particularly strong but it will hold the nuts quickly.  After that I use good old Elmers Glue.   It dries pretty clear and will hold forever.

I either use Minwax stain with a brush or the aerosol type.  Sprays definitely are easier.  Allow to dry at least 24 hours.  Then you can apply several coats of  semi-gloss polyurethane.  I tend to use at least 3 coats.

I normally add the synthetic berries for a pop of color and to fill in gaps.  Then another coat of poly.

To attach the finished nut tree to the alder wood base I use a very thin layer of Gorilla glue.  This glue expands so it must be a very thin coat. 

I added some Folk Art acrylic snow paint to cover any exposed areas of glue.   Since I also glued down the night light snow man I added more snow paint.

Well, other than my trees I really can't call myself a crafter.  This one is for my Mom.

Vogue Adri 1157 Wool Wrap Jumper

This Vogue Adri 1157 is an unlined wrap jumper pattern.  I had no problem adding a lining.   In my post about World War II I made this same design in a beautiful wool/cashmere houndstooth check . I just love the easy fit!  Wrap style garments tend to have less fitting issues which is a real plus as our figure continues to change!  This is a simple and fast garment to construct.  No darts.  No zipper.  Just one buttonhole.

This wool Glen plaid from Sawyer Brook is slightly heavier, more lofty and more spongy than the hounds tooth check. The weave is also looser.  I mark the right side of my fabric with a contrast thread so I know which is the right side and which is the wrong side.
 On fabrics that need help with pressing I use my Rajah press cloth.  Normally I use silk organza to press most fabrics but this particular wool was more resilient and needed a little more taming.

On the armholes I wanted to make French bias binding but knew it would be too bulky.  I ended up making the single layer of bias binding. I 'steam shape' the bias strips into a curve before I baste them to the arm hole.

I also under-stitched the facings with a hand 'pick' stitch. Normally I would machine stitch the bias binding but I didn't like the way the machine stitching was pushing the weave of the stripes.  I ended up hand stitching the bias binding to the lining.

The Ralph Lauren silk charmeuse came from Banksville fabrics. Normally I use Bemberg Ambiance rayon for my lining or china silk but I had this silk charmeuse design that just called to be combined with this plaid !  I suppose I could have made a beautiful blouse but I felt it lacked color.

This large bound buttonhole is placed on the bias.  The belt strap feeds through the buttonhole on the right side front.

I serged the seam allowances on this loosely woven fabric.  The hem has rayon seam binding to cover the raw edge.  I hand sewed a catch stitch on the seam binding.

I rarely use the machine blind stitch because I do not like those dots of thread showing on the right side!

For the sake of photography I added the red cashmere sweater to show how a bright pop of color will look.

Guess my next sewing project will be a blouse with long sleeves in a bright color to wear with this jumper.  I totally love the red contrast but I don't know about the short sleeves.

I really like how the lapel flaps bring more interest toward the face.









(The colors are 'off' in this photo. Sorry. )

Once again, I omitted the large pockets at the hips. Sadle bags are not flattering !    The designer intended this to be worn almost ankle length.  Since I'm 5'2" I felt knee length is more flattering to my height.

Silk Crepe de Chine ? Not a Problem !

Working with Silk Crepe de Chine is actually a pleasure because it is a tightly woven plain weave with alternating 'S' and 'Z' twist crepe yarns in both directions. 'Georgette' on the other hand is actually fabricated in the same manner but is loosely woven making it considerably more challenging to work with. Georgette moves around like cutting jello on a plate. Fortunately, there are a few super simple tricks to tame those tempermental fabrications.
 For all the pattern pieces that will receive fusible interfacing (collar and cuff)  I start out by testing a few different WOVEN fusibles to evaluate 'the hand'.   Crepe de Chine is a soft fabric and I want to make sure the collar and cuffs continue to look soft and feel pliable.  The 'crisp' look is better suited to linen and cotton fabrics in my opinion.  I prefer to use a woven interfacing as opposed to the all-bias variety because they will continue to roll on the bias areas (like the collar roll).  All-bias fusibles will 'lock' the grain movement from a natural roll.

Straighten the grain lines by pulling a thread or by tearing to achieve straight grain lines.  Warning:  Tearing the grain line may damage many fabrics.  Test on a small swatch first to see that tearing doesn't cause the fabric to have run marks.  Pulling a thread is always safer. 

Traditionally we have been taught to cut fashion fabric and interfacing pieces separately before fusing.  Unfortunately, lifting unstable fabrics like georgette from the cutting area to the ironing board for fusing shifts the grain and pattern shape.  You can compare any possible distortion by putting the pattern piece back on top of the unit before fusing.  This method is tedious to say the least.  I prefer 'block fusing' on small yardage to keep the grain lines perpendicular.  You can make use of the printed lines on the cutting mat to confirm the grain lines.  Fuse the interfacing to the fabric before cutting out the pattern units.

This collar component has a fold line.  Anytime I have a pattern piece with a fold line I use Pattern Ease or paper to create a full piece with no fold.   Pieces on folded fabric tend to shift when being cut causing a slight change in grain.


Do you waste more fabric with this method?  No, not necessarily if you plan well.  I will be able to cut out both cuffs in the middle !

Finding a light weight thread to match the fabric is actually pretty tough.  Thread that is heavier than the fabric most likely will affect the tension.  Time to peruse the thread options from Wawak ! The Mara 100 is similar to all those threads in our local stores.  The Mara 150 is finer.  Just look at the difference in the dimension of the two spools I photographed below.  

Also, if you happen to own one of the newer computerized sewing computers keep in mind their  default tension is factory set to work with 40 weight thread.  So, make those adjustments and stitch out a few test samples.  I found the Mara 100 to be too coarse on the crepe de chine. 

 (Tex 30 = 40wt.)  Tex 20 or 25 produces a smoother stitch on this weight fabric. 

I've been sewing on the Viking Epic for about 1 month now.  These sophisticated machines with all their fancy sensors most definitely sense variations with all the thread choices available today.  The machines in the 60's, 70's and 80's weren't quite as sensitive. Machines are factory set to work with cotton and 40 wt. thread.  After that you may need to make tension and pressure adjustments.  The manufacturer can't possibly know what fabrics or threads you will sew with.  I could put any thread in my Bernina 930 and it always had the most beautiful tension. I will never part with that machine!

I sewed the entire garment on the Epic with the exception of the buttonholes.  The stitch quality on the machine was beautiful after I made my normal adjustments to tension, stitch length etc. I had some issues with the buttonholes unfortunately.  I tested that walking foot for more than an hour. Although silk crepe de chine is very smooth it is not as slippery as charmeuse.  I couldn't keep those beads running totally parallel.   I ended up using my #3A clamp style buttonhole foot on my Bernina 830LE.  Perhaps fabric that has slightly more 'tooth' will have better results with a walking wheel.

Copying my "Go To" Pants

Do I own any 'Ready-to-Wear' garments ?  Yes, but not that many.   I find the shopping process very frustrating when you still feel the garment must have some alteration to get the fit you are looking for. I can usually sew something in less time!   Anyhow, I actually had a pair of cotton pants that fit just great.  I wore them and wore them until they were only appropriate to be worn for yard work.  Rather than toss them into the garbage can I converted them into a pattern.  This guarantees a great fit without having to make a muslin on a new pattern and spend endless hours tweaking the fit.

For detailed instructions of my process please check out the October/November 2017 issue of Threads magazine.  I'm rather excited they chose to publish some of my work!

For detailed instructions of the Deconstruction process please look at the October/November 2

The dotted tracing paper lines show on the wrong side of the fabric.

The area where the welt pocket is to be sewn has a strip of fusible interfacing to prevent cross grain stretch.
 The back welt is machine stitched and basted close .

Fabric: Dusty purple wool gabardine from Sawyer Brook Distinctive Fabrics in Clinton, Mass.




The waist band is finished off with a facing .




After the waist band facing is attached I top stitched next to the white hand basted guide lines .

Purple Linen Sashiko Skirt

Finally, the skirt is done.  These last few weeks in August have been quite humid.  It's hard to do anything when the heat and humidity slow you down.
I experimented with the Babylock Sashiko machine again.  I did apply fusible interfacing to the bias waistband but not on the skirt area.  I wasn't sure whether the machine would stitch smoothly without interfacing or batting but it did just fine!  The variegated thread is Valdani cotton.

(Click on any pic if you need to see an enlargement)

























On the inside waist band facing I chose to hand pick the under stitching to keep the facing from rolling to the outside.  Machine under stitching can be rigid with crisp fabrics, therefore I chose to hand stitch to keep it more pliable.  I also used the silk twill for the Hong Kong seam finish.   The lining is Bemberg Ambiance rayon. 

I suppose I need to make a blouse to go with this.  I have a habit of drifting onto other projects so that may not happen right away.

Making A New Garment With Scraps and Remnants

Some of the most difficult sewing challenges have actually turned out to be the most creative and rewarding experiences ever.  It feels really satisfying to pull your resources together to find a solution to a problem.  I was determined to turn those purple linen scraps into a new garment. Most of us have so many fabrics and notions in our stash that we are bound to come up with something!

The problem: How to make a new garment with scraps and remnants.

My fitted purple linen dress simply did not meet my expectations.  I stopped right in the middle of the project when I realized it was heading south fast.  I had several large fabric remnants that could be re-cut into a new project.  On to "Plan B".


Since I have been having so much fun playing with the Babylock Sashiko machine I continued with some free motion stitching.  Wow what fun!! 

I looked through my pattern collection and decided to use this wearable art vest pattern created by Lois Ericson.  I was able to recut my purple linen for some of the pattern pieces.  I combined the solid purple linen with a yellow and purple linen. The sleeve units are actually detachable so the vest can be worn without the sleeves.  I added bias loops and abalone buttons.  The under arm seam of the sleeve is sewn half way up.

 
























Sleeve Units:  I used a super light weight fusible interfacing across the cap of the sleeve to prevent cross grain stretching.  I top stitched the upper edge of the sleeve unit before adding the lining.

Inside lining and facings:

I made one set of facings with pieced segments and the other solid purple with the free motion stitching.  I thought this set looked too busy so I just used them on the inside.

Working with linen is wonderful to sew on.  Natural fibers take a great press.  I'm not overly fond of wrinkles but the performance and comfort is just great !

With my remaining remnant scraps I will attempt to make a skirt.

The Price $ of a Learning Experience

My new Babylock Sashiko sewing machine is a totally different stitching experience.  This machine can ONLY perform one stitch pattern which resembles a hand quilting stitch.  There is ONLY one thread which comes from the bobbin.   There is NO spool of thread on the top of the machine.  You can set the length of the stitch and the spacing between the stitches.   It sort of reminds me of a serger/overlock machine in the sense that you can't pull the threads behind the foot when you lift up the take up lever or the threading may come undone.  The machine wants fabric under the foot and above the feed dog or the thread wants to break.  Re-threading the bobbin each time it breaks gets old real fast!  At the end of my line of stitching I simply use a 2 inch leader swatch for the machine to continue.   This usually prevents the bobbin thread from breaking somehow.
When I was considering purchasing this machine I had some idea in my head that I would be able to use perle cotton threads and other decorative yarns.  The machine responds best to standard sewing machine threads in the 35-50 weight range.  Variegated threads are particularly attractive.  Now that I have figured it out I am absolutely loving this hand-picked stitch!   I used the hand-picked stitch on the black collar of a tailored dress.  Wow, did that turn out great! Can't wait to try it on a quilt.

I'm working on a fitted Vogue Ralph Rucci dress.  His designs usually have batting, tubing, channels, etc.  They are labor intensive to say the least which is why some of these designer garments cost the big bucks.  I have a whole new appreciation for this detail work.  Anyhow, the guide sheet directions suggest polyester batting, interfacing and lining sandwiched together in the areas where there is the echo stitching.  A lot of density and bulk were my initial thoughts.  Quilters know how stiff a project can become when the rows of stitching or stippling are very close together.

My fabric is a soft, mid weight linen.  The pattern suggests linen or silk shantung which can be crisp or stiff in drape. I tested several samples using polyester batting, cotton flannel, Grid-weft interfacing and cotton batting for pliability along with the china silk backing.  I tested various threads on the standard sewing machine and the Babylock Sashiko machine. The hand-quilted look definitely jumped out.  The rows of top-stitching looked lost. I decided against using the lining fabric during the quilting process because of the bulk.

Although the guide sheet directions do not suggest removing any bulk from the seam allowances I really couldn't comprehend how I would stitch these thick sandwiches together.  It was tedious removing all that bulk from the seam allowances but I did it!             (click on individual photo to enlarge your view)          

I have the upper bodice just about complete and I'm not really liking it.  My  variegated top stitching is beautiful but I just don't think a fitted garment should have this much bulky structure.  It seems to me all this structure is better suited to a jacket.  I'm afraid this bodice will feel like a corset and look like an armadillo.  I don't see myself wearing a structured dress.  I think I will just stop this project right now and consider this a valuable lesson.                                          

I refuse to view this process as a waste of time and money.  I have gained a tremendous amount of new information that will allow me to make different choices in the future.  Since the skirt sections are fairly good size I can re-use that fabric into another project.  I had an opportunity to learn a lot of techniques on the Babylock Sashiko.  I recently purchased a few 'On-Line classes' that were 6-8 hours in length for $40.- $60. each. Some are very good learning experiences and some are quite disappointing.  I learned a great deal more from my own hands-on experience for about $20. worth of fabric and 7 hours of work.  I'm thinking of making this fabric into one of my Design and Sew patterns from Lois Ericson.  Most of her designs are 'wearable art'.

Every day is a new learning experience when you sew!

Build a Better Buttonhole

"So, how do you like your new Epic? "   I'm getting asked this question a lot this month!   It takes a while to truly learn the temperament and features of any new machine before you bond.  No two machines are alike.  I have learned to appreciate and respect each piece of equipment for different reasons.  When the kids at school would ask me which machine I like better I told them it's sort of like loving your own children.  You love and respect each one for different reasons.

Now, on to the buttonholes!  I am super picky about buttonholes. I simply would never purchase a machine that can't make a good buttonhole.  No machine will make a great buttonhole unless you use the correct tension,  a finer needle, quality thread and some sort of stabilizer.  Test, test, test!!

I am a 'tweaker'.  I play, adjust, edit, adjust, test, test and test.  So naturally I over-ride the default settings to tweak my buttonholes to a particular fabric.  Imagine that!  Considering the price $$$ of this machine I have a right to expect top performance and I will do what it takes to get there!  Please don't expect any machine (no matter what the price) to solve every issue.  The sewing machine operator must assume some responsibility. On most of my buttonholes I like to spread the side beads for a slightly wider opening.  If you even clip one thread on the row of bead stitches the whole buttonhole can start to unravel.  (And please don't use clear fabric glues on the threads.  That's like applying clear nail polish!  Chances are you will have a hard, crusty, blob stain.)

Widening the two rows of beads is super easy to do on my Bernina 830 LE!  I just love their buttonhole features.  On the Viking Epic I figured a way to obtain the look I want.  It took a little time but I finally figured it out.  I select buttonhole #42 with traditional bar tack which has a slightly wider opening designed for heavier fabrics.  This will show a 0.4 stitch density.   The machine will automatically have a slightly wider bead for a medium to heavy weight fabric.  Then I select  Light Weight fabric instead of medium weight fabric and this will force the machine to make a narrower line of bead stitches  on the #42.  The stitch density on the light weight fabric will default at 0.3 length.  I bump it up to 0.4 so I do not get a tight row of stitches. ( the light blue numbers indicate the machine settings are not at the default setting.) This is often too rigid on cotton voile and charmeuse.  If you begin the process by entering lightweight fabric first the machine will automatically pick the buttonhole with rounded bar tack and 0.3 density.  The Epic stitches an under-layment line of straight stabilizer stitches from the front to the back and then the line of bead stitches will form back to front. If the machine stitches one side in one direction and the other side in the opposite direction you may need to adjust the balance which is slightly tricky.  Both lines of stitches on the Epic are sewn in the same direction which usually makes for a more consistent looking buttonhole.  (On some of my older Berninas you could apply the 'twin needle' feature while stitching out the buttonhole and the machine would be tricked into making a narrower zig-zag on the bead because the machine thought the twin needle would hit the throat plate opening as it sewed side to side.)  Do yourself a favor and save your settings into a personal file folder for future usage so you don't have to modify your settings each time.  Most machines can be tweaked by reducing the tension settings.   And finally,  I write down your settings noting what thread, stabilizer, needle etc. you used. Staple your sample to a reference sheet.  Once I took the time to work out a few kinks the buttonhole was beautiful.

Buttonhole Stabilizers: 
Every so often I come across photos and videos featuring embroidery cut away stabilizers and clear water soluble stabilizers to obtain a good buttonhole.  At first glance this seems like a plausible solution.  Both types of stabilizers will help to achieve pucker free stitches.  Once again, at first glance, the buttonhole is smooth and pucker free.  But, who really wants to have cut away stabilizer on the underneath side of the buttonhole forever?  It's not exactly attractive and it's not every pliable.   And I'm not about to spend my time picking that stuff out!  Sometimes a lightweight water soluble stabilizer provides just enough support to obtain stitches that aren't tense or rigid.  What happens to the buttonhole after the garment has been washed several times ?  Will the  buttonholes continue to stretch out and get wonky ?  Cording a buttonhole is another option .  This may be a better choice for wool tweed and coating.
My favorite 'go to' for just about any fabric is to add silk organza between the fabric layers and sometimes below the buttonhole.  Even if you trim the excess away from the buttonhole the silk organza is just about invisible.  Sandwiching a square between the fabric layers will provide strength and pliability through repeated laundering. (That's all I did on the cotton floral above.)  If you are still getting some puckers it may be time to lighten up on the tension as well.

Attaching the Buttons:
Sewing on a button with just the 'ankle' and no foot attachment was eventful to say the least.  Then I had to place the 'height compensation tool' below the button to allow for a button shank space which totally blocked visibility of my attachment spot. Then you were supposed to use tape to hold things in place. Unfortunately, tape just doesn't hold things too well.  I had to use both index fingers on the sides of the button to hold the button in position hoping the needle bar wouldn't crush my fingers.  It took a while to test the distance between the holes to get the width down accurately.  Thankfully it didn't hit my fingers but they really need to improve this process.  Not Fun !!!  So far this is the only feature that is disappointing.  Bernina has #18 button attachment foot with two rubberized feet that grip the buttonhole plus has a center bar to obtain various shank height options.  This works really well.  No one machine does everything perfect which is why you learn to appreciate each machine for a specific task.  It took me a while to get the hang of it.

No 'Blister' Bodice Linings Here !

This blog tutorial is dedicated to my students who are working really hard on their Vogue 8997 dress bodice.  We all know how valuable a test muslin is to determine the best size when making a fitted garment.  I find too many people select their pattern size according to the bust measurement and then find their shoulder straps keep falling off their shoulders.  Try a smaller size to keep those straps on your shoulders and then make bust line modifications.  Some patterns now offer a choice of cup sizes which is wonderful if you don't feel comfortable making those adjustments.  Now, on to the construction!

Underlining or lining a fitted dress bodice requires more attention to detail if you want a nice, smooth bodice.  Have you ever seen an after-market automobile window tint job with a lot of blisters?  That's precisely the look we want to avoid when we underline or line a fitted bodice.

The first step is to pre-wash both the fashion fabric and the lining fabric.  Wash, dry and press these fabrics.  A self-lined garment is ideal because both fabrics will wash and dry at the same rate.  Also, self-lined garments will not show to the public side.  Cotton batiste, cotton lawn and Bemberg Ambiance rayon also perform well.  I usually avoid synthetic fabrics because they do not press or breathe as well as a natural fiber.  If your fashion fabric is somewhat heavy or see-through then self-lining may not be a good choice.

Straighten the grain of your fabrics.  Tearing the cross-wise grain is fast and accurate.  However, more often than not the fabric is stretched, distorted and damaged by this fast technique.  Pressing may restore some of the stretch but not the 'pulls' created while tearing.  Although pulling a grain thread is more time-consuming there's far less damage to the fabric.  This black and white check cotton sateen has been torn, stretched and distorted.

I start by cutting squares of fabric just large enough to acomodate a few pattern pieces.  Straighten the grain lines on both the fashion fabric and the lining fabric before you bring them to the rotary mat.
Use the lines on the rotary cutting mat as your guidelines.
Working with a SINGLE layer of fashion fabric, tape the cross grain and selvage to a rotary cutting mat at right angles.  Painters tape will not leave residue on your cutting mat.  Work with a square of fabric just big enough for two bodice pieces.  Then repeat the process with a layer of batiste on top of the fashion fabric.  Tape all four sides.  Use heavy weights to keep the pattern pieces in position. Cut out with a rotary blade.  Do not attempt to pin the fabric or use scissors because both will lift the fabric causing a blister puff.  Cutting silk crepe with scissors is like cutting a tray of jello with a serrated knife. Use heavy duty weights on your pattern pieces.  (You can also apply painters tape to the pattern piece providing you have tested the tape on a scrap of fabric to see that it doesn't damage the fabric.)

Add your underlining or lining on top of the fashion fabric.  You may decide to add a very, very light mist of Sulky KK 2000 if you feel your fabrics have a mind of their own and need a little bit of tacking during the smoothing out process.  Silk chiffon and silk charmeuse can be very slippery and will benefit from the temporary adhesive.  Some fabrics have 'tooth' which means they naturally grip one another.  If this is the case you will not need any spray.   Tape all four sides.   Position your pattern piece on top with weights.  Repeat the process mirror imaging the  pattern pieces so you don't cut two of the same side.   (Ha, ha.....yes, we have done that one! )

This photo shows the type of weights I am using.  Go to a hardware store or marina for these.  If you cut each fabric separately chances are you will not get an identical cut.  If the cut differs by 1/16th of an inch you will end up with that blistered look.

All the NOTCH marks have contrast thread trace lines which will remain in the garment until the garment is complete.  At any given time should you need to UN -STITCH a seam line your thread trace lines will still be in position for a re-stitch.




Foundation Skills-Directional Sewing and Stay-Stitching:  Back in college we were taught about the importance of directional grain, directional stitching and stay-stitching.  I have found both of these procedures to be worth their weight in gold.  I realize many people view these tasks as seemingly unimportant because they don't want to spend the time if they can be skipped.
Stay stitching:  1.  Reduces the stretching in areas that receive stress.  Necklines and armholes are two areas that often suffer from gap-osis.  They need to be stabilized with smaller stitches and sometimes with stay tape like silk organza or seam binding.
2. The stay stitching line acts as a guide line where to stop CLIPS.
3. And my favorite of all: Stay-stitching serves as a guide line for permanent lines of stitching. If I trim my seams and then have to re-stitch a seam I always know where my point of origin is

Think about this!  Did you ever wonder why the upper edges of the zipper are uneven or why the hemline sags on one side seam of a skirt and not the other ?  Chances are one side of the garment was sewn from the hemline to the waist and the other side was sewn from the waist to the hem.  This most definitely will cause the grain line in some fabrications to sag.   If you sew some fabrics from bottom to top and others from top to bottom they will not look the same and they may stretch more in one direction. It all depends on the fabric.  If you start sewing a zipper from the top of the neckline, go across the bottom and then stitch from the waist back up to the neckline the two top edges often are uneven.

This is the Bodice center back and the bodice side back.  (double click on any photo to enlarge)

Trim seam allowances down to  3/8 inch.  The seam allowance should be flat.  Remove tiny pie shaped wedges 1/16th inch on the bodice side back where there are slight bumps.  On the center back bodice make straight clips toward the stay stitching line every 1/4-1/2 inch to allow the fabric to spread.

The two center front bodice pieces have stay-stitching lines done between the notches where the curved bodice pieces will be joined.  It will be necessary to add clip marks spread 1/4 inch apart in this area to allow the straight line to spread while pinning a curved line to the straight line.

The reason I choose to baste next to the stay stitching line is to eliminate using pins and because I want to be able to flip the unit so I can sew from the bottom to the top.  I know it seems somewhat odd to turn the fullness upside down but it's not a problem if the seam line is basted.  Basting will lock any movement.  If you sew one bodice unit from bottom to top and the other from top to bottom you will look slightly lop-sided when the curve of the bust line goes over the apex.  I prefer the level and balanced look .  Removing pins during sewing means you stop and start too many times .  This interferes with the continuity of the stitching line.


Note: I am not following the directions as given in the pattern guide sheet. I am sewing the shoulder seams together, the front and back neckline and the armholes.  DO NOT SEW the SIDE SEAMS !
The neckline is stabilized with a 1/4 wide strip of silk organza to keep the neckline from stretching out of shape.  The seam allowances are graded (trimmed to 3/8 Inch) and clipped at 1/4 inch intervals to allow the seam allowance to bend.
The underlining/lining is intentionally showing just a hint.  The white batiste extends about 1/16th of an inch beyond the coral fashion fabric.  This process of exposing the lining is referred to as 'favoring' a fabric.  This will allow the coral fabric to hide the underlining from public view.  In the photo below you can see a slight puff in the shoulder strap area.  It is NOT flat on the rotary mat.  When the unit is turned inside out with a pair of surgical clamps you will see how the white batiste is hidden from public view.  Insert the clamps starting at the bodice front.  Allow the clamp to continue between the shoulder seam until you are able to grasp the back bodice.  Grab the base of the back bodice and pull it through the shoulder seam toward the front bodice.  Yes, it actually can be pulled through that 1 3/4 inch opening.

 If you choose to TOP STITCH the neckline and the armholes you can eliminate under-stitching the lining. Top stitching is decorative as well as functional.
Under stitching is where the lining is tacked/sewn to the seam allowance only.  The stitches are not visible on the fashion fabric.  If you choose to do a 'hand picked' stitch you can actually get further up into the narrow shoulder strap area.  If you under stitch with the sewing machine you simply will not be able to manipulate the foot of the sewing machine into a narrow passage. You should be able to machine stitch a fairly sufficient amount though.

The side seams can now be sewn together with a standard 5/8 inch seam allowance.


That tiny amount of 'favoring' keeps that lining out of public sight.


The remainder of this garment is NOT fitted.
Continue with pattern guide sheet directions.