Audition Those Decorative Stitches !

I am guilty!  I have NOT used many of the decorative stitches probably because I didn't appreciate the stitch shown on the sewing machine screen.  Some machines have the stitches printed on a lid or index card like panel.  Sadly, those images really do not allow you to see how beautiful they can be.

I made a couple of these display panels out of linen but most of them in canvas.  That's what I had in my stash.  There may be other fabrics you may prefer.  I used a pen to graph out  the lines.  I made each box approximately 1 1/2 inches wide by 2  1/2 inches deep.  Next time around I think I will make the length about 4 inches long.  It takes about 15 minutes to draw all the graph lines and then about 45 minutes to stitch out the patterns.

I maintained all the default settings.   If I plan on using a design then I will play around with the settings depending on how the stitch is being used and the type of thread I might use.  My samples charts are sewn with polyester thread.   I have tried to stitch out all the stitches from different machines.  I'm not going to post  15 display panels.  You get the idea. I find most stitches do quite nicely on linen without adding fusible interfacing to the wrong side.   Some of the stitches will need additional support from fusible interfacing especially on light or mid weight cotton.   ( click on each photo to see enlargement of the stitches.      

                                      These samples are ribbon wound on the bobbin for reverse bobbin work.   Bunka cord works nicely too.                                                                                                         

I made three rows of a snow flake design to echo the scallop shaping  on this linen bodice.  It takes a little imagination to figure out where to use some of these designs.  

The tan fabric is a silk and linen blend.  The stipple stitch was sewn upside down with perle cotton wound on my bobbin.   I plan on using the yardage for  a wearable art vest. 

I started to play around with the stitch width and length .

It Looked Better On The Envelope !

The Sewing Workshop Collection has several very loose fitting tops that fall into the wearable art styles.  I'm working on the Japonesque Top this week.  I cut this on the Small size.  Wow, this is very loose-fitting!   My salt and pepper fabric was left over from a dress so this is an experiment.

I rarely follow the guide sheet directions simply because they usually use serged or 'turned and stitched' methods which aren't as polished as French seams or flat fell seams.  Secondly, I stabilize both the cross grain and bias grain whenever possible to keep the fabric from stretching out of shape with silk organza or fusible interfacing strips.  Pattern companies rarely suggest any additional steps to stabilize grain.  Years ago pattern companies supported 'stay-stitching' procedures. They tend to omit extra steps whenever possible.  I felt the vertical and  diagonal placket areas needed to have a little support from super light weight fusible interfacing.  Then, just to complicate things even more I wanted a clean finish.  I combined these two procedures using fusible interfacing.  Sounds a little confusing but it's not that bad. I sewed on strips of fusible interfacing using a 1/4 " seam allowance. Then I under stitched the fusible interfacing on the seam line to create a nice crisp edge.  Then I folded the fusible interfacing toward the wrong side of the fabric and bonded the two together.

 On the curved facing piece you can see I stitched  a 1/4 inch seam. Trim down to 1/8 inch.  Because the interfacing is fusible the seam allowance can not be pressed open.....therefore it requires a line of under-stitching to press the seam flat.


Next, I fused the interfacing and then trimmed off the excess.

This is much easier to handle and fuse than having the fusible interfacing cut to size.

This certainly is not the typical method of fusing.
Now the edges are 'clean finished' and I don't have to add ugly serger thread!

I have these absolutely beautiful Hmong hand made patches that I have been trying to incorporate into a garment.  I have it pinned just to audition it.








I normally make a muslin if the garment is fitted. No, I didn't make a muslin because this is a  super loose design. Dropped shoulders are definitely NOT flattering on my frame.  The sleeve cap hangs more than four (4) inches from the actual shoulder!   I look totally lost in this loose fitting design.  It actually looked better when I held my arms out straight like the black and white graphic on the envelope!. That's fine if you want to stand like a scare crow all day.  Perhaps this design would be more flattering on someone with a larger frame.  The photo on the envelope looks a great deal more flattering than it does on me.  It looks like a tent after a rain storm.  I think I should stick to patterns that are more proportional to my height and frame.
Not every garment is going to be successful or flattering.  You can walk into a dressing room with a half dozen garments and walk away with nothing.  Sewing is no different.  I know I will not wear it.  It will just hang in the closet.  I can easily cut this up and re- cut it into another garment.   I'm thinking of a Vogue 1316 Rebecca Taylor dress at the moment.  (I don't want to waste the fabric.)

I learned a few things here:

 1. Don't go by the image on the pattern envelope!   2. I should stick to extended shoulders as opposed to dropped shoulders. 

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 .