Have Covid Cabin Fever? I bet you I can make a 'Silk Purse from a Sow's Ear' by the time this virus passes !

     When it comes to any sewing project I just sort of create as I go.  I have a few general ideas in mind but nothing concrete.  I have to explore my stash to find possible coordinates, linings, trims, buttons, zippers, threads, etc.   After all, it would be a 'sin' not to use some of the stuff from shopping expeditions at those gigantic vending halls while attending Original Sewing and Craft Expos!  We gather like cattle to shop in those market places!  So, peruse your collection of treasures for your next project.  You never know when an item will say, '"pick me, pick me".   Admit it, we all spend days, even years fondling our treasured purchases just contemplating how to use them in a project.   And since we really can't shop locally for fabrics and notions during these months of confinement we should use what we have.

      When I cut out the fabric for the pattern I always wait to cut out the lining.  Since lining is one of the last steps it can wait until I know what I'm doing.  I like to see how the construction process goes.  Naturally,  I test out ideas on samples first before I take the plunge on the garment because I know I will make many changes when I see the results on samples. I will make thread color adjustments, stitch length adjustments, and needle type.  Yes, needle!  If I am top-stitching the garment I can get a nicer stitch with a straight stitch plate, straight stitch foot,  and needle with a larger eye !  If I have to make any fitting adjustments to my garment I don't want to repeat the same correction on the lining.  I will tweak my changes on the pattern before I cut the lining.
   
   Pattern guide sheets are intended to show you a chronological sequence of construction.  They are NOT attempting to show you the most appropriate seam finish nor can they suggest how to embellish beyond the basics.  The seam finish is determined by the type of fabric you have selected and the weight.  From that jumping point you can get creative with your own ideas.
      I  never make a garment and then go to the store for buttons.  I do that in reverse.  If the fabric is blouse weight I buy blouse size buttons.  If it is heavy weight I buy jacket size buttons.   I  buy gorgeous buttons to match the fabric and then I pick out a pattern to coordinate with the button size and style.  With all the patterns I have to pick from surely I can find one with the correct amount of buttons.  (Button and Notion Center, Rockville Centre, NY. is the BEST ! )

This is Vogue Geoffrey Beene 2195 and I am using a denim from Emma One Sock. 

Vogue 2195  inside view of jacket front with exposed pocket pouch.

     Quite often denim jackets are UN-LINED.  Some of the nicer  ready-to-wear jackets will have 'Bound ' seam finishes.  (see attachment below)
   

 The guide sheet illustration shows exposed pockets and minimal support near the zipper.  A full FRONT self lined facing will cure both these issues.

Easy fix:  Simply cut out two more pieces of the front panel like the upper yoke.

This is a bias binder to create BOUND seam finishes. 

BOUND seam finishes on a Bark Cloth cotton dress. 

This is my pocket welt. I use a light weight fusible to stabilize grain distortion. By using a trapezoid rather than a rectangle the side seams are rotated.  (This is also known as a Japanese welt.)

 






This is the interior view of the back.  The pattern does NOT call for a back lining.  It's very easy to create a lining by using the same pattern piece for the jacket.  I chose a cotton batik print because the jacket is denim.   If the jacket were wool I would have used a silk twill.

   When I cut this jacket out I had NO plans to add embroidery.  One of my sewing buddies suggested some embroidery.  (Don't you just love taking photos and texting with your sewing companions?  It's the best tool ever!)
      These swirls came from the Bernina Inspiration collection that came with 830LE.

     Normally I would stitch the embroidery onto the fabric BEFORE I cut out the pattern piece.  It's easier to hoop yardage than to figure out placement between seams and zippers.








     This beautiful cotton denim came from Emma One Sock in PA.  The quality is superb! So incredibly soft without the bounce back of lycra.  I'm not overly fond of lycra because the elastane alters the natural drape.  Every once in a while you may encounter the needle snagging the lycra causing a dot of white.  That makes me grit my teeth!

I had every intention of making button holes for the cuffs.  I tested out several button hole styles with different density and bead width.  What is especially nice about a Bernina button hole is that you can spread the bead width for a wider opening on thicker fabrics!  My Bernina 830 LE stitched out a gorgeous button hole.  When I cut the button hole open on my sample I decided I didn't want to see any of those little yarn whiskers.  And I'm not about to put on any liquid glue to stop fraying.  Those liquids discolor the fabric and create a crusty droplet!   That's when I heard a little gremlin in my head telling me to use snaps as the closure with a button on the outside.  (My #1 sewing buddy uses this technique all the time.)

The monitor isn't showing an accurate color . 

I am using the same printed Batik for a blouse. No buttons yet. 

By adding a full front facing the pocket is completely concealed and the zipper has more support.

During this time when we are spending most of our time at home with our families I am so very thankful I have a hobby that allows me to spend my time productive and creative.  It's even more rewarding when you can pass on the love of sewing to your children, grand children and friends in person or with the assistance of technology ! 

The Lost Art of Tailoring- Blending the Best of Both Worlds

   
     Any garment that requires lots of 'HAND' sewing seems to scare people away. (This is what students in classes have said.) Personally, any project that takes weeks or months to complete probably will not be on my bucket list anymore.  I like products and gizmos that make the task fast and perfect.  The tailoring process can be very time consuming and challenging if you choose to create the entire project with nothing but hand sewn methods.  I love the quality of traditional methods but I want it faster.  There are so many new products and
techniques available to speed things up.  I like to use traditional 'sew in ' canvas on strategic areas and fusible on the rest. (And your hand sewing skills can be sloppy because it's all on the inside !

  It may be difficult to find instructional materials with good visuals if you are trying to learn the process.  Most sewing people probably do not own text books on the topic (like I still have) but there are a few good tailoring books written by Adele Margolis.  Her books are still available on the internet.   Booklets written by Stanley Hostek on tailoring are available at Amazon.  His hand sewing skills are beyond amazing!  Claire Shaeffer and Roberta Carr are also good resources.

     Traditional 'Sew-In' type woven inter-facings have lost their popularity because people want faster results offered by fusible products.  I get it.  Try using HAIR CANVAS in strategic areas like a collar stand.  HAIR CANVAS provides a strong yet soft support that fusibles can't seem to replicate.  Again, stitching does not have to be neat.  Hair canvas panels on the front of a jacket or a coat will support the buttonholes and the area where the button are sewn.


Look how beautifully the collar stands up without collapsing!  Without the support from the canvas it will collapse and look shapeless.

  Fusible inter-facings available today are significantly better than the products we used in the 70's and 80's.  I try to combine the best of both worlds to speed up the tailoring process without sacrificing the quality of my work.  (Hair canvas is available from tailoring supply houses like Wawak.com located upstate NY.)

In the photo below I have fused a product called  'Grid-Weft'.  It is a very loosely woven fusible mesh  designed to beef up a limp or loosely woven fabric. On fabrics that ravel a great deal the fusible locks the yarns in place. This silk tweed is loosely woven and has a  significant amount of fluid drape weight.  The Grid - Weft will help to reduce shredding and stabilize the grain.  Regular fusible inter-facings tend to create a more rigid 'body'.
     After the mesh is fused to each pattern piece I mark all of my notches, darts, buttonholes etc. with contrasting colored thread for excellent visibility during the construction process.

The BLACK is the fusible GRID WEFT.













The horse hair  (hair canvas ) is attached to the GRID WEFT with hand CATCH stitches to keep it secure.  The catch stitches on the edge of the hair canvas are stitched to the black Grid Weft to keep it from curling .

The dart was cut out.  The edges of the dart were butted up together .  Then a strip of silk organza was placed over the cut edges and they were zig-zagged together.  This eliminates the bulk of the dart yet still provides shape of the dart.  Also, notice how the horse hair canvas is NOT incorporated into the seam allowance.  There is a strip of TAN silk organza that is sewn to the canvas and then the silk organza is sewn to the fabric.  It is important to keep the canvas away from the seam allowance because it will add tremendous stiffness and you will not be able to press the seam open.

The catch stitches on the edge of the hair canvas are stitched to the black Grid Weft to keep it from curling and flapping. The stitches do not have to catch the fabric but they can.

 The under collar has weft FUSIBLE interfacing applied to the fabric for body.   This is NOT the GRID WEFT product.  The under collar needs body and structure.  In addition to the fusible interfacing there is a portion of the under collar with the hair canvas.  This area is know as  a 'stand'.
The hair canvas has tiny catch stitches to keep it securely attached to the interfacing.   The stitches do not go through to the fabric.  You can also machine stitch a line of straight stitches at the fold.  Fusible hair canvas is another option for this step if you do not wish to hand stitch.

 In the photo above you can see how the hair canvas allows the collar to stand up beautifully on it's own.

 In the sleeve cap I added a 1 inch wide strip of bias mohair to give loft to the sleeve head.

Ready made shoulder pads are often made of foam covered with nylon.  I find these pads hard to work with.  The foam usually ends up tearing and crumbling.  The shape of the pad doesn't seem to fit right where it connects to the armscye of the sleeve.  The curves are in the wrong places.

See how the pad is shaped ?  That's because each layer was sprayed with 505 temporary spray adhesive and shaped on the shoulder of my  mannequin.  You can even do it on your own shoulder.
Making your own shoulder pads are incredibly easy to make.   I shape a few layers of hair canvas and a couple pieces of cotton flannel .  You can add fleece depending on how thick you want them.  Then I stitch them together with a few loose stitches since the spray glue is temporary.  Because these are fabric and not foam they will stitch to the seam allowances beautifully.  This size shoulder pad provides gentle structure and support without looking like football shoulders.

This silk tweed fabric came from Sawyer Brook,  MA.