French Seams with a Side Vent

Yes, you can actually have a vent and a French seam at the same time!  I chose this mid weight cotton as my testing sample. This is a wonderful seam finish for light weight linen, cotton and sheer fabrics. Avoid loosely woven fabrics. An open weave will result in a hole in the area of transition.


This second sample at the right is sewn with matching thread. Take note how the END of the FRENCH seam tapers into a CURVE !



 I also used a pencil on the fabric for visibility.  You would substitute a water soluble marker or thread trace your lines. The thread trace is visible from both sides and will not damage any fabric. 
(Sometimes pencil will wash out.  Test first)


I used dark thread for better visibility.




A brief summary.... French seams are sewn with the WRONG sides of  the fabric together.  You stitch on the RIGHT side at 3/8". Trim the seams in half.  That means you will be left with a seam allowance between 1/8 and 1/4.   (That's 3/16" for those of us that still think in terms of inches.)  If you trim the seam allowance down to 1/8 inch it will be too hard to press the seam allowance open with the iron.  I don't care to burn my fingers!




Draw a line on the RIGHT side of your fabric where the French seam stops and the vent begins.  The vertical line I added helps you to stitch toward the intersection.   Yes, the line of stitching is taking a turn toward that point of intersection!  As you approach this intersection switch your stitch length to 1.0 stitch length rather than back stitching.  Back stitching tends to add too much thread.  Stitching in reverse often causes a pucker on sheer fabrics.
You can also use the tie-off knot feature on newer machines.  Do NOT use more than 3 knots or you will have a hard knot. I'm not really a fan of the tie off feature because it is more difficult to remove without damaging the fabric.













With super pointy tiny scissors (Gingher) clip a 45 degree angle to the intersection.

Always press the first seam open before you press the fold or your seam will not be exactly on the fold.  A Clover iron with a small iron shoe is helpful.  A Dritz or June Tailor wood tailoring board is very handy for this task.








Do NOT trim off the dog ears at the top of the vent.  This tiny corner will be folded under as you fold the vent seam allowances under.


The final line of stitching on the French seam is sewn 1/4 inch.  If you have a presser foot with the metal flange on the right hand side of the foot you will achieve straighter stitching lines. (foot #57 for Bernina)

As you approach the intersection where the French seam ends and the vent begins switch to a smaller stitch.

Do NOT clip off thread tails.  Leave about 3 inches. Use a needle to thread the tail and hide the tail into the seam.
This will prevent the seam from opening.
And it looks nicer!

Do NOT be tempted to use a Fray block product. They frequently are rough, crusty and visible on most fabrics.

 For the area where you have the vent opening simply fold and press the seam allowances under. Edge stitch the folded edge in place. Once again, a foot with a flange (center flange this time) will offer a straighter stitch.



This is a really clean way to finish off the side seams for those light weight summer tops !


Width of Side Vents:  You are NOT limited to using the 5/8 inch seam for the side vents.  The vents can be cut to any width of your choice.  A wider vent generally hangs straighter without twisting.

World War II Fashion

Now that my Mom is 90 I am spending a lot of time listening to her childhood memories both good and bad.  I have a whole new appreciation for clothing because of  her stories which I will cherish forever.  These stories have allowed me to understand how fashion was influenced by the economy and circumstances of the time.  She told me her Mother made her a suit from a man's suit because they didn't have money or the resources to make her a garment from scratch.  The quilts my Grandmother made often incorporated swatches of cotton flour sacks. Clothes were passed down and altered for each child. These people were resourceful!

There were several books written at the time teaching people how to Make Do and Mend.

In March of l942 the War Production Board (WPB) issued Regulation L-85, specifying
restrictions for every item of clothing produced. Our country needed all the natural fibers for parachutes and uniforms. Nylon, silk and leather were in very short supply.  Childrens clothing, sheets and undergarments were greatly affected.  This regulation limited the use of natural fibers and limited skirts to a seventy-two inch circumference. It banned knife pleats, ruffles and patch pockets part of a "no fabric over fabric rule".  The ration coupons allowed men and women to purchase only two pair of shoes.  The soles were made of wood composition.  Metal zippers were replaced by plastic coils .  Rayon was used extensively and was known as artificial silk.  The substitutions weren't wonderful but everyone 'made do'. Manufacturers shortened the hemlines to conserve fabric.   Designer  garments had to conform to regulations as well.
Pattern sales increased noticeably.  Simplicity offered a line of patterns featuring garments which required 3 yards or less.

I came across this photo of my Mom wearing a
beautiful fur trimmed winter coat.
As a young child I didn't understand how they had the money for fur when she always talked about how poor they were.  As it turns out, the fur industry sky rocketed during the war because natural fibers were limited and fur wasn't a valuable resource for parachutes or uniforms.
Now it makes sense!  You just can't pass judgement until you know the whole story.












So, how did I get started on this trip down memory
lane ?   I came across this gorgeous piece of wool and cashmere hounds tooth fabric from Banksville Fabrics. The colors were reminiscent of my Father's Army blanket. Subdued colors like blue-grey, bottle green and donkey brown were prominent.

Next thing I knew I decided to shorten this Vogue Adri  # 1157  jumper to a length more proportional to my height.  Long garments really aren't that terribly flattering on people who are five feet and two inches tall.

If this were 1942 I clearly  wouldn't be able to have a garment this long!

This particular wool and cashmere fabric is a current, recent purchase.  It is not part of my coveted stash.  History repeats itself.

This pattern does not include a lining but I chose to add one.  I am using china silk with French seam allowances.









Oh, by the way,  did you happen to notice the new release of Simplicity patterns from the early 60's ?
Shoulder darts and elbow darts are making a come back.  Does this mean we can look forward to better fitting garments ?




And here's a great book for those individuals who truly enjoy reading about pattern history.













Most Vogue Adri patterns are produced without an option for lining.  Linings add warmth, allow the garment to hang more smoothly plus add a nicer finished touch.  I added china silk as my lining.  I normally like to use a 'pick stitch' rather than a felling stitch simply because it acts like an understitch which keeps the edge from rolling.

Bias bindings are used in the UN lined version.  I continued to use them over my lining so the lining wouldn't show at the armholes.  I always hand baste bindings to keep ripples from forming as I machine stitch the edges into position.











 I also used the 'Pick Stitch' around my Bound Buttonhole which provides a cleaner finish.




 In the picture below you can see I ended up using the metal D-Rings instead of the Mother of Pearl belt buckle.  The strap feeds through the bound buttonhole.

The belt carriers ended up being sewn into the seam allowance instead of folding the edge and top-stitching like the carriers on pants.  I felt they were somewhat bulky and somewhat unfinished

Here's the finished garment on my 'Rosie'.

My version is knee length rather than ankle length.

There are no large square patch pockets on the sides of the hips.  Saddle bags simply aren't flattering at the hip level for many women.  Besides, the belts and fasteners provided just enough of a design element.

Another Burda pattern challenge.

This is Burda magazine September 2014, pattern # 122.  This dress has a circular godet inset on the front.  The back of the hemline is longer than the front.  I chose to modify the back length because I didn't particularly care about looking into the wrong side of the fabric from the front view.   I also added a full lining.  The pattern calls for the lining to end just below the hips which didn't appeal to me.  I also added black birds-eye linen piping to the upper bodice segments.  This 'salt and pepper' fabric is from Sawyer Brook Distinctive Fabrics.  (linen and silk blend crepe yarn)

                                             I used an invisible zipper on the center back.

I used Bemberg Ambiance rayon lining.   To make sure you are getting the real deal look for the gold printed lettering along the selvage of the fabric.  Ambiance is totally machine washable .  

Refer to the manufacturers directions. 

I hand basted the 1/4 inch hem to keep ripples from forming on this circular hemline before I machine stitched the tiny hem.  That was time well-spent.   (I do hand sewing/basting when I find myself waiting while my car is being serviced or while I am in the doctors waiting room. )

Finishing touches:  I made a ONE inch long French tack to keep the lining from creeping up.

I LOVE Buttons !

More than 10 years ago The New York Times printed a feature news article on the Button and Notion Centre located in Rockville Centre, Long Island, New York.  Needless to say, as soon as I read that article I was in my car driving down Southern State Parkway to this wonderful old shop in the village. ( It's within walking distance of the Long Island rail road.)  Wow, wow, wow!!!!  This shop has more buttons  than any store that I have ever seen in Manhattan.  I can spend hours in this store! 
On my latest trip I found a 'mother of pearl' buckle for my wool hounds-tooth jumper. I NEVER make buttonholes in a garment until I have the perfect button.  I never cut out a garment until I have all the notions I need.  That may take some time to gather the perfect thread, the perfect lining, the perfect buttons and the perfect pattern.  It's always worth the wait !  I'm always much happier with the end results.
Here are a few of my latest finds from this wonderful button store. The owners really know how to find just the perfect button.

 Above: Mother of Pearl belt buckle. Fabric: cashmere/wool blend hounds tooth from Banksville Fabrics in Connecticut.  Banksville is another store that I can spend hour after hour fondling luxurious fabric.  The quality is just unbelievable.  Definitely worth the drive from anywhere!

Below:  Note the 'cross yarns' on the button match the continuous eyelash yarns in the fabric! How cool is that ?  This silk/rayon blend fabric is from Sawyer Brook Fabrics, MA.

Gold wool Boucle is a Pendleton fabric. 

                                         Above: Silk and linen blend tweed is from                                                                                                Sawyer Brook Fabrics, Clinton, MA.
                                           Below: Mother of pearl buttons on silk jacquard.

Are you a quilter or garment sewer?

Most people who sew identify themselves as 'quilters' or 'garment sewers'.  I have made at least 12 quilts but my true passion is to produce garments.  You can never have enough clothes!  Most of the quilts I have made were hand quilted.  My grandmother quilted and pieced the entire quilt by hand.  Now that many quilters are machine quilting rather than hand quilting I think I may get my feet wet again. I'm sure those wonderful embroidery units have something to do with this transition. Can't wait to use those built in designs on my Bernina 830!  Perhaps it wont take me a year to complete if I try something different.  This mini quilt took just one day !  (Can't wait to try the Babylock Sashiko for the hand stitched look too!)




 Honestly, the hardest part was testing the type of batting or interfacing to get the right amount of support so it wouldn't curl against a wall. I tested Floriani's Stitch and Shape, Pellons's Flex-Foam and light weight polyester batting.  I ended up fusing Decor Bond to the fabric and the polyester batting as a filler.  Stitch and Shape sews like a dream but is very rigid and doesn't bend in a seam allowance. I will save that product for a tote bag or portfolio cover. The Flex Foam was simply too thick.  I wanted the wall hanging to be somewhat stiff so it wouldn't curl with a softer appearance.

 I decided to add a rod pocket to the top and bottom so I could insert a thin wood slat or dowel rod if I needed it.  The wall hanging measures 15x17".  (Sorry, I put buttons over their faces for privacy.) I embroidered Christmas 2016 with the built in font on my 830 and reduced the size to 80%.  I didn't use a separate software program which saved me quite a bit of time.  This size photo quilt would also look great in a frame.

Learning From the Past

I have a collection of patterns from the l940' and 1950's.  The details on the patterns of the l940's and 1950's are quite useful especially to new sewers.  These patterns were also printed in ONE size which is easier for a beginner to process.  As an educator I hear all the frustrations from beginner sewers. Many students can not interpret the visual graphics on the guide sheets due to a lack of labeling. Back in the 50's the guide sheets included arrows which helped a great deal.
Here is a pattern printed from 1953.  Note- the front facing and front bodice have a DOUBLE notch while the Back bodice and Back facing have a SINGLE notch.  Most patterns printed in the past few decades use the Double Notch to indicate the back of a sleeve.   All the pattern pieces are identified, and notches are numbered !  Now that's what I call user-friendly !  There are a few directions printed in the seam allowance area too !  Multi-sized patterns can be slightly confusing for beginner sewers. If history truly repeats itself I hope the pattern companies are listening!

This sleeve pattern from 1968 still uses numbers to help less experienced sewers with critical matching point. Also, they printed on the pattern information about the dot for matching the shoulder seam.  I sure wish pattern makers would go back to this system.  This is so user-friendly ! 

 (please do not cut out the notches- this may happen when you purchase vintage patterns from estate sales, etc.)

(click on the photo to enlarge for easier viewing)

Anne Klein 1414 Silk Blouse

Test, test, test....I test everything. I test the thread color, the thread weight, the needle size, stitch length, several possible seam finishes and several interfacings to find the best weight and pliability of all ingredients. Yes, even the thread weight can alter the texture and appearance. And finally, I test all these variables on a few different machines.  Some fabrics will demand the support of a dual feed system.
I normally make a test muslin on fitted garments.  I know a lot of people do not like taking time to do this step. Nine times out of ten I make fitting adjustments. Typically, I remove 1/4 inch across the upper chest and then add 1/4 inch across the upper back.  This borrowing allows me to create a minimal forward shift on the upper shoulder frame. This is simply a natural progression of skeletal change over time! This minor change is noticeable on higher necklines that may rub the front of your neck. I also shorten most tops by one inch because I'm short ! Every once in a while I end up with a muslin that simply is not flattering and I have no intention of wasting a coveted fabric from my collection to make that design.  Muslins are important!!
When I make a muslin I try to find something in my stash collection that I consider an orphan.  I came across this brick colored polyester fabric that I purchased in l983 back when there was a fabric store in just about every shopping center.  I was more willing to wear polyester back then simply because they were readily available and fairly inexpensive.  I don't particularly like sewing and pressing polyester because it doesn't take a nice crisp press like a natural fiber. This is Vogue Anne Klein 1414.  The directions neglected to provide information about the second flange.   The picture on the envelope and directions show two.  I wrote to the pattern company and they claimed there is only one on the right.  Other than this little problem with their directions the fit was just great.  The set-in sleeves that fit precisely at the shoulder also permit a better range of motion when lifting your arms up.  I find patterns with dropped (droopy) shoulders to be less flattering with age.  I  intentionally made the silk version one size larger so the armscye area would have less contact with the fabric. Perspiration and deodorants cause silk fabrics to deteriorate rapidly so I find it important to use designs that are somewhat looser in the armpit.

 Since my brick polyester fabric worked out reasonably well I decided to take the plunge and use this gorgeous silk print.  I had a lot of fun cutting out the components and placing the various colors so each item jumped with a contrast.  I ended up using about 4 different colors of thread.