Simplified Sewing: Hems
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General Information
General Information: Summer dresses, made from lightweight fabric like silk organza or printed cotton, were popular during the time of the early bustle era from 1869-1876 for excursions to the sea or sporting activities like tennis. Hence the name “seaside costume” comes. Beside strong and light colors also striped fabrics were popular. Striped fabric often was cut on the bias for ruches and decorations to create lovely patterns. At the beginning of the era skirts were supported by smaller crinolines with an additional bustle at the back. At the middle of the seventies the crinoline was displaced by the actual tournure or “Cul de Paris”. Information’s about the sewing pattern: A seam allowance of 5/8” (1,5cm) is included, except other directions directly on the sewing pattern. Transfer all marks carefully when cutting the fabric. Pleas always do a mockup first. To get the desired shape the dress should be worn over a corset and suitable underpinnings. The dress is intended to be worn for more sporting activities, so it is designed to be worn over a small to a medium size bustle pad. If you want to wear the dress over a small crinoline or a larger bustle you have to spread the back width of the skirt to the hip era. Plan to make two or three pleats into the skirt gore #2 and #3 at the hip section. The front waist piece and the front apron are cut as one piece, at the side and the back the apron pieces are sewn on and folded into regular pleats at the back. -
Rando – Introducing the World's First Ski Suit in 3-Layer Gore-Tex® Active
Press release February 2013 Rando – introducing the world’s first ski suit in 3-layer Gore-Tex® Active Perhaps the secret of Randonée lies in the contrast of struggling up the mountain only to later enjoy the ride down. Perhaps it is the science of finding snow that no one else has broken before. Or perhaps just to enjoy the vast landscape. Regardless of the reason, the activity places special demands on the equipment. For the 2013 winter season Haglöfs is introducing a new extensive collection for skiers who want to explore far away from the lift system and pistes. All of these products, which are gathered under the RANDO family, were developed with a focus on safety and being able to quickly and easily adapt the clothing based on changing weather conditions or whether you are headed up or down the mountain. One of this year’s big releases is RANDO AS SUIT – the world’s first ski suit in 3-layer Gore-Tex® Active. During its product development stage, Haglöfs focused on taking advantage of the properties of Gore’s Active technology in order to be able to offer the lightest and the most comfortable, waterproof and breathable skiing garment on the market. RANDO AS SUIT has an unembellished design, but with all of the product features a skier would expect, such as a helmet-compatible, adjustable 3-way hood, a DWR-treated outer surface and pockets strategically placed so that they are accessible even when carrying a backpack. The suit also has long, reinforced and waterproof zippers at the armpits and along the thighs in order to maximize ventilation. -
Cotehardie Construction from Extant Pieces
Cotehardie Construction from Extant Pieces Mistress Mairghead de Chesholme [email protected] Mka Jacquelyne Aubuchon Uppsala gown reconstruction http://www.kostym.cz/Anglicky/1_Originaly/01_Goticke/I_01_13.htm Very few examples of clothing from the High Middle Ages have survived to the present day. Of those garments, even fewer are available for study to the amateur costumer. Marc Carlson’s website “Some Clothing of the Middle Ages” provides an invaluable resource for the costumer to find garments with which to make comparisons. For this examination, I have selected five garments for comparison. These garments include the Soderkoping kirtle, Herjolfnes No. 42, Herjolfnes No. 39, Herjolfnes No. 38, and the Uppsala gown. The Herjolfnes garments immediately precede the cotehardie in fashion, but are not necessarily cotes. What they show is a continuity of cut and style that can arguably be carried over to application in construction of cotehardies. For example, think of a man’s dress shirt. Envision the places where the seams lie on a modern shirt. One hundred years ago, the technology was radically different, but the seams will correspond on a man’s shirt from the 1800’s. Clothing construction is constantly tweaked, skirts get longer and shorter, dresses range from fitted to volumous, but the basic lines for seams remain the same. By utilizing what is known on the above five garments one can reasonably reproduce a cotehardie using a pattern that would have been plausible at the time. Soderkoping Kirtle http://personal.utulsa.edu/~marc-carlson/cloth/soder.html The first garment and most degraded of the five is the Soderkoping kirtle. -
Tailoring Series TECHNIQUES for TAILORING UNDERLINING a TAILORED GARMENT—Underlining Is a Second Layer of Fabric. It Is Cut By
tailoring series TECHNIQUES FOR TAILORING UNDERLINING A TAILORED GARMENT—Underlining is a second layer of fabric. It is cut by the garment pattern pieces and staystitched to the wrong side of the corresponding outer sections before any seams are joined. The two layers are then handled as one. As a general guide, most suit jackets and coats look more pro- fessional when underlined. Underlining is especially recommended for lightweight wool materials, loosely woven materials and light- colored materials. For additional information on selecting fabrics for underlining and applying the underlining, see Lining a Shirt 01' Dress HE 72, N. C. Agricultural Extension Service. STAYSTITCHING—Staystitch all outer garment pieces before construction begins. If garment is underlined, stays-titching is done when the two layers of fabric are sewn together. Staystitch 1/3 in. outside seamline (on the seam allowance). Stay- stitch “ with matching cotton thread on all curved *areas that may stretch during construction such as necklines, side seams, shoulder seams, armholes, and side seams of skirt. Use directional stitching always to prevent stretching of fabric and to prevent one layer of fabric from riding. The direction to stitch is indicated by small arrows on the pattern on the seamlines. INTERFACINGS—Select a high quality hair canvas for the front and collar of coats and jackets. The percentage of wool indicates the quality—the higher the wool content of the canvas the better the quality. Since a high percentage of wool makes the hair canvas fairly dark in color, it cannot be used successfully under light-colored fabrics. In these cases use an interfacing lighter in color and lower in wool content. -
That Was a T-Shirt!!! We Need Tops! While Cotton Tops Are Easy to Make, Knit Tops Are the Most Versatile Due to the Forgiving Stretch
That was a t-shirt!!! We need tops! While cotton tops are easy to make, knit tops are the most versatile due to the forgiving stretch. Because of the challenges in working with knit fabric, updating a t-shirt is the perfect compromise. Our goal is to have someone look at our top and say “that was a t-shirt?!” All hemlines need to be removed and restyled and the neckline needs to be either ruffled (size small and some medium) or trimmed. Here are some guidelines that we are looking for. Simply sewing a decorative stitch or zigzag over the existing hemline (sleeves and bottom hem) does not make visual changes to the t-shirt. Please cut off the existing hemline and if you like, you can make it shorter. If you have a serger, you can finish the edge prior to hemming but because the knit does not ravel it is not necessary. You also do not need to turn over the edge prior to hemming. Sleeves Match the sleeves and cut off both hems at the same time. You can cut straight or at an angle and make it a cap sleeve Use a decorative stitch for the hemming, variegated thread looks great! Use either white or black thread in the bottom as variegated thread is expensive. Remember to sew on the right side with your finger on the bottom feeling for the fabric edge. Watch for those sales and coupons!! Sulky blendables, 30 weight, 100% cotton is very nice to use. If you hem with a straight stitch, make it a little longer perhaps 3.0 and add some elastic to make it gathered at the hem edge. -
Lesson Guide Princess Bodice Draping: Beginner Module 1 – Prepare the Dress Form
Lesson Guide Princess Bodice Draping: Beginner Module 1 – Prepare the Dress Form Step 1 Apply style tape to your dress form to establish the bust level. Tape from the left apex to the side seam on the right side of the dress form. 1 Module 1 – Prepare the Dress Form Step 2 Place style tape along the front princess line from shoulder line to waistline. 2 Module 1 – Prepare the Dress Form Step 3A On the back, measure the neck to the waist and divide that by 4. The top fourth is the shoulder blade level. 3 Module 1 – Prepare the Dress Form Step 3B Style tape the shoulder blade level from center back to the armhole ridge. Be sure that your guidelines lines are parallel to the floor. 4 Module 1 – Prepare the Dress Form Step 4 Place style tape along the back princess line from shoulder to waist. 5 Lesson Guide Princess Bodice Draping: Beginner Module 2 – Extract Measurements Step 1 To find the width of your center front block, measure the widest part of the cross chest, from princess line to centerfront and add 4”. Record that measurement. 6 Module 2 – Extract Measurements Step 2 For your side front block, measure the widest part from apex to side seam and add 4”. 7 Module 2 – Extract Measurements Step 3 For the length of both blocks, measure from the neckband to the middle of the waist tape and add 4”. 8 Module 2 – Extract Measurements Step 4 On the back, measure at the widest part of the center back to princess style line and add 4”. -
Placket Construction Options
Placket Construction Options 1 Type1: Two Separate Bound Edges on a rectangular stitching box The key to this structure is that the bindings are initially stitched only to the seam allowances on each side, and NOT stitched across the end, of the clipped box, which means that they, and the clipped triangle at the bottom, remain loose and can be arranged before the nal nishing to go on either side of the fabric, as well as either over or under the other, after joining them at the sides. The widths and lengths of the bindings and the space between the sides of the clipped box determine all the other options available in this most exible of all the placket types I know of. Variation 1: Both bindings t inside the stitching box If you cut the bindings so the nished, folded widths of both are equal to or smaller than the space between the initial stitching lines, as shown above, you can arrange both ends at the clipped corners to all go on one side of the fabric (right or wrong side), along with the clipped triangle on the garment. You’ll get the best results if the underlapping binding is slightly smaller than the overlapping one. This can be man- aged by taking slightly deeper seam allowances when you join this piece, so they can initially be cut from the same strip. Or, you can place one end on each side with the Both ends on RS One end on RS, Both ends on WS triangle sandwiched in between. -
Elegant Table Runner H
Elegant Table Runner Designed By Patty Peterson Featuring Kreinik Metallic Machine Sewing Threads Finished size 11.5" X 40.75" ave you ever wondered how you can use the decorative stitches on H your sewing machine? Well here’s a quick and easy project where you can combine your machine’s decorative stitches with beautiful metallic threads and make an absolutely elegant table accessory. Whether you make it for your own home or as a gift, this table runner project will help you see the possibilities of those decorative machine stitches in a whole new light! ! SUPPLY LIST: 1.!!! Kreinik Metallic Machine Sewing Threads (34 colors available). This project uses:! Fine Twist threads: 0001 SILVER, 0002 PEWTER, 0003 WHITE GOLD, 0006 ANTIQUE DK GOLD 2.!!! Kreinik Silver Metallized Gimp:! 0030 SILVER, 0032 ANTIQUE GOLD, 0033 BRASSY GOLD! 3.!!! Size 14 Topstitch needle 4.!!! Sewing or embroidery machine/combination 5.!!! Walking foot or dual feed foot to construct table runner 6.!!! Tear-away stabilizer (depending on your hoop size) 7.!!! Bobbin thread 8.!!! Scissors 9.!!! Kreinik Custom Corder!™ 10. !If you plan on embroidering out the stitches in your embroidery hoop you will need 3/4 yard of Kona Bay, Black cotton fabric !! 11. If you are sewing the decorative stitches you will need!1/2 yard Kona Bay, Black cotton fabric 12.! Background fabric 13" x 44" (WOF) width of fabric (our model uses light weight patterned nylon)! 13.! Backing fabric: Kona Bay, Black cotton 13" X 44" (WOF) 14. !Extra fabric to sew test stitches, such as a couple of 6" x 6" squares 15. -
Impoved Family Manual.Pdf
FORM 7129 . July 7, 1891. Supersedes Form 7006 . DIRECTIONS FOR USING THE 1MPKO),7r,D IAPXIL~q SIXGER st.-AWING ACHINE1 THE SINGER MANUFACTURING GO., NEW YORK. 1891 . DIRECTIONS FOR USING ~ ~- ~ ~~- -~~ e~ == " ~~ ~ . ce ca ~ ~ c . ~~-- ' -- m_--' B . ..................... ~ a 8 w ~ ~ ~ ~ ~ ~ " THE IMPROVED FAMILY SINGER . FIG. 2. ~1E4 __._Stop Motion _.,.Right Lag IMPROVED FAMILY MACHINE, WITH STAND. DIRECTIONS FOR USING FIG. 3. OILING PLACES SHOWN BY ARROWS . AILING PLACES SHOWN BY ARROWS. DIRECTIONS FOR USENG THE 11112er Y rr+peoved Parr,Iiy t4achile. To Oil the Machine. Be sure that every part is clean before you commence to sew. If the machine runs hard at any time, IT IS CERTAIN that someplace has not been oiled. Oil holes will be found for all bearings which cannot be reached without them. Each place requiring oil is indicated by an arrow head in the cuts on the opposite page. The shuttle should be oiled sparingly, but often, if the machine is in constant use ; always be careful to use no more oil than is needed, a single drop being sufficient at any point. If the machine runs hard after standing idle for some time, use a little kero- sene oil or benzine on the wearing points, run rapidly, zvi~e clean, and then oil with the BEST slerni oil, which should always be used. To make sure of getting good oil, buy it at at any of the Company's offices or from its authorized representatives. The genuine oil is put up in bottles which have The Singer Manufacturing Company's " trade-mark " blown in their panel, and bear the Company's label. -
Lapped Zipper Lapped Zippers Are Often Found on Skirts at the Waistband
Sewing Technique: Lapped Zipper Lapped zippers are often found on skirts at the waistband. A lapped zipper is constructed so that the zipper is not visible. The zipper will remain closed throughout the process of inserting the zipper. All sewing is done on the inside of the garment except for topstitching. Remember to always keep the needle positioned between the zipper foot and the zipper teeth when sewing. NOTE: Throughout this tutorial, the term “placket” will be used. A placket is the fabric that surrounds and reinforces fasteners in a garment. In this instance, the fastener referred to in this tutorial is a zipper. STEP 1: On the wrong side of the fabric, measure and mark the placket opening BASTING where the zipper STITCH will be placed. Do this by measuring from the top of the garment down along the seam to the zipper bottom stop. Take into consideration the REGULAR composition of garment and if there will be a waistband or MACHINE STITCH any other special feature at the top of the zipper. Mark the placement of the bottom stop with a marking pencil. STEP 2: While sewing the seam, machine stitch the seam closed until the marked point of the bottom of the zipper, backstitch, then switch to a basting stitch for the distance of the placket seam. Press seam allowance open. $-05)*/( CONSTRUCTION 6UBI4UBUFJTBOBóSNBUJWFBDUJPOFRVBMPQQPSUVOJUZJOTUJUVUJPO STEP 3: Replace sewing machine foot with a zipper foot. Place zipper face down with the teeth centered on the pressed open seam on the inside of the garment, matching top and bottom stops with marks. -
Sleeveless Blouse Tutorial by Marianne Jeffrey Adventurousquilter.Blogspot.Com
Sleeveless Blouse Tutorial By Marianne Jeffrey Adventurousquilter.blogspot.com #sleevelessblousebyAQ Quick and easy to make! 1 Fabric Requirements This blouse tutorial has been written to suit any size; you take vital measurements and decide from several options offered. You will need up to: 2 yards of cotton fabric It is highly recommended you use cotton sateen as it drapes well. However you could use quilting cotton. I have found that a high quality yet lighter & softer quilting cotton such as some of those manufactured by Art Gallery Fabrics or M & S Textiles Australia drape well for use in cotton clothing. Harmony Art Organic Design has fabulous organic cotton sateen, you can buy it here: https://organiccottonplus.com/collections/prints-harmony-art Spoonflower also has a cotton sateen available in their range and offers a multitude delightful fabric designs by indie designers: https://www.spoonflower.com/ Rayon is another fabric option that drapes well but be sure to wash and dry before making the blouse to preshrink! Lightweight linen is also a great option or a linen/rayon blend! In dressmaking it is common for sewists to make a “wearable muslin” In simple terms a “muslin” involves making a ‘test’ garment from cheap fabric such as muslin to perfect the garment size, cut etc before using high quality fabrics for the final garment. A “wearable muslin” is made from cheaper quality fabric than your final garment, so that it is a wearable piece of clothing once it is complete! If you choose to do this you can shop the clearance aisle of large retailers such as Joann, Hobby Lobby, Walmart, Spotlight etc to buy cheap yardage for your test garment. -
To Complete the Pattern Join Bodice #1 to #2 at Circle Front Bodice #1
To complete the pattern join bodice #1 to #2 at circle Chapter 2 Chapter 4 Chapter 6 Chapter 19 Front Bodice #1 1/2” FACING N CUT 1 FABRIC ON FOLD CUT 2 WITH FACING CUT 2 EXTENSIO INTERFACING USE FOR: GRAINLINE LAYOUT CUTTING FABRIC PATTERN MARKINGS DARTS SEAMS COLLARS CLOSURES CENTER FRONT FOLD To completeTo the pattern join bodice #1 to #2 at circle TO COMPLETE THE PATTERN JOIN BODICE #1 TO #2 AT CIRCLE STITCH TO MATCHPOINTS FOR DART TUCK FRONT BODICE #2 Front Bodice #2 Chapter 2 Chapter 4 Chapter 6 Chapter 19 STITCH TO MATCHPOINTS FOR DART TUCKS To complete the pattern join bodice #3 to #4 at circle Chapter 2 Chapter 4 Chapter 6 Back Bodice #3 CUT 2 FABRIC USE FOR: CK SEAM GRAINLINE LAYOUT CUTTING FABRIC CK FOLD PATTERN MARKINGS DARTS SEAMS COLLARS CENTER BA CUT HERE FOR CENTER BA To completeTo the pattern join bodice #3 to #4 at circle STITCH TO MATCHPOINTS FOR DART TUCKS Back Bodice #4 Chapter 2 Chapter 4 Chapter 6 Chapter 4 Chapter 11 Chapter 14 Chapter 17 MATCHPOINT Front Skirt #5 CUT 1 FABRIC USE FOR: V SHAPED SEAM WAISTBAND WAIST FACING BIAS WAIST FINISH CURVED/ALINE HEM BIAS FALSE HEM CENTER FRONT FOLD Chapter 4 Chapter 11 Chapter 14 Front Yoke #6 CUT 1 FABRIC CUT 1 INTERFACING USE FOR: V SHAPE SEAM WAISTBAND WAIST FACING BIAS WAIST FINISH C. F. FOLD C. F. MATCHPOINT Chapter 4 Chapter 6 Chapter 10 Chapter 11 Chapter 14 Chapter 17 MARK DART POINT HERE Back Skirt #7 CUT 2 FABRIC USE FOR: SEAMS ZIPPERS WAISTBAND WAIST FACING BIAS WAIST FINISH CURVED ALINE HEM BIAS FALSE HEM Chapter 4 CUT ON FOLD Chapter 12 Chapter 17 H TC NO WHEN