Taking Shape DARTS ADD SHAPE TURNING a FLAT PIECE of FABRIC INTO a THREE-DIMENSIONAL FORM to MATCH the CONTOURS of the BODY LINDA TURNER GRIEPENTROG

Total Page:16

File Type:pdf, Size:1020Kb

Taking Shape DARTS ADD SHAPE TURNING a FLAT PIECE of FABRIC INTO a THREE-DIMENSIONAL FORM to MATCH the CONTOURS of the BODY LINDA TURNER GRIEPENTROG Techniques Taking Shape DARTS ADD SHAPE TURNING A FLAT PIECE OF FABRIC INTO A THREE-DIMENSIONAL FORM TO MATCH THE CONTOURS OF THE BODY LINDA TURNER GRIEPENTROG ustline, hip, waistline to tummy, elbow and shoulder. Darts can be horizontal, vertical or anywhere in between, straight or curved, but the stitching principles are the same. BThe goal of quality dart stitching is smooth, pucker-free points that don’t call attention to themselves. SHAPING A single-point dart is shaped like a triangle, and when stitched it takes a wedge of fabric out of the garment allowing for controlled fullness at the point. A single dart may be on the lengthwise fabric grain, angled or slightly curved. (1) A double-point or contour dart is diamond or rugby ball shaped, and is used to shape the waistline, leaving fullness at both ends for the bust and hip. (2) A French dart is a curved shape from the garment side seam to the bustline. This dart has cut edges joined like a seam. (3) V9082 Vintage Vogue, 1960. Misses’ A5(6-8-10-12-14) E5(14-16-18-20-22). Sew Rating: Average. Price code Orange. Illustrations: Theresa O’Connell Theresa Illustrations: 1 2 3 26 SEW TODAY May/June 2019 MARKING to anchor the stitches. Stitch (7) and stitch toward the point, Darts are indicated on the along the line, removing the A third technique for dart then repeat for the other pattern tissue by either solid pins as you get to them. Taper point, slightly overlapping or dashed lines and a dot the stitching to the point the beginning stitching lines at the point. Depending on as you near it, but do not (9). To stitch a French dart, the length, there may be backtack at the point as it can follow the same process intermediate dots along the create an unsightly bubble. outlined above, and join the It’s important to taper the open edges like a seam (10). stitching line. shorten It’s important to transfer stitching line at the point and stitch Because this shape of dart length the dots to the fabric using a not to simply keep stitching is on the bias grain, it’s easy marking method appropriate at a sharp angle, then jump to stretch it as you sew. A to the fabric—from chalk to right off the fold, which will narrow stay tape inserted tailor’s tacks. Some sewers later create a bubble at the 8 into the stitching line helps opt to simply clip the dart dart end. prevent distortion. stitching is to shorten the lines at the open end of a To anchor the narrow end, stitch length as you get single dart and only mark the 1 TRIMMING AND within /2" (13mm) of the dots along the stitching line. CLIPPING point, then stitch off the (4) Depending on the fabric, it fold and may be helpful to trim away anchor the some of the dart wedge thread ends using either method described above. (8) Some sewers actually 6 prefer to there are several schools of stitch darts 4 thought among sewers. Some from the prefer to simply stitch off the point to folded edge and leave thread the wider STITCHING ends long enough to tie (6), section, To stitch a dart, fold the snugging them to the dart tip, reasoning 11 1 1 fabric right sides together then clipping /4"- /2" that it’s matching the stitching lines easier to get bulk. In sheer or transparent 9 fabrics, overlock the dart fold a smooth 1 point than approaching it /4" (6mm) from the stitching from the dart length. line, thus eliminating the To stitch a double dart, begin sewing at the widest portion 7 5 (6-13mm) away. and marked dots. Pin in place Other sewers prefer to simply at right angles to the stitching stitch off the fold edge, then line (5). lift the presser foot and sew Begin stitching at the widest several stitches above the dart 10 12 end of the dart, backtacking point to anchor the stitching. continued overleaf SEW TODAY May/June 2019 27 show-through (11). fold as it’s pressed (14). the stitching line (16). a lapped dart also helps If an overlocker isn’t For French darts, press the SPECIAL TREATMENT to reduce bulk. To make a available, add a second row seam allowances open, and SLOT OR FLAT DARTS lapped dart, cut along the 1 of stitching /8" (3mm) from maintain the fold at the point Stitching a dart in fabrics upper stitching line (or the the first, then trim. Double like real or faux suedes and line closest to the centre for darts need to be clipped at leathers can get quite bulky the widest point to allow with multiple layers on the them to lie flat and shape to garment inside. To eliminate the body (12). bulk, and add a decorative design line to the garment, PRESSING cut the darts on the stitching 1 Press the dart flat, as it was line up to /4" (6mm) from the stitched, avoiding pressing point. (17) a fold or crease at the point. Press a narrow strip of fusible Then use a curved surface, web like Steam-A-Seam2 like a pressing ham, to under both cut edges. (18) 20 15 press the dart into position. Pressing over a ham avoids flattening and creating (15). folds or bubbles at the dart For bulky fabrics, like heavy wools, slash the foldline to within 1" (255mm) of the point and press the dart open to reduce bulk. On loosely woven fabrics, it may be necessary to finish the cut 20 edges to prevent raveling, using either 18 vertical darts). (20) a seam To reinforce the dart tip, Place a narrow strip of lining 1 lightly fuse a /2" (13mm) sealant or or other lightweight matching square of matching fabric in a zigzag fabric under the opening and place under the point. Place stitch. carefully butt the dart edges; 13 fusible web along the overlap An press in place. Using a narrow wrong side, then lap the dart alternate zigzag or three-step zigzag, pressing span the dart edges to hold method for them in place or use a straight single-point stitch to topstitch each side of darts is to 13 insert a point(s). tiny metal Most darts are pressed crochet with the fold in a single hook or direction—down for 16 heat- horizontal darts and to the proof bias 21 garment centre for vertical pressing bar into the stitched dart wedge and press the stitching lines. (21) folded fabric flat, allowing Topstitch the overlapping some bulk on both sides of 19 the joining (19). Leave thread ends long 14 enough to tie on the underside. darts (13). To avoid making an LAPPED DARTS 22 impression on the garment Also good to use on real or right side, place a narrow strip faux leathers and suedes, of brown paper under the dart 17 edges in place (22). O’Connell Theresa Illustrations: 28 SEW TODAY May/June 2019 Banish Underlined the Bulk Garments Depending on the fabric, darts pressed to one side may still appear bulky. • To help equalise the 1 thickness, cut a 1" to 1/2" (25-38mm) wide bias strip of fabric or interfacing slightly longer than the dart. • Centre the strip under the dart so it will be caught in the stitching. Stitch the dart (A). • Press the dart in one direction and the added strip in the opposite direction along the stitching line, trimming in a shape similar to the dartB (B). ✂ A Handling darts in garments that are underlined can be done two ways. The darts may be stitched separately in the garment and underlining layer before they are joined, pressing the bulk of the darts in opposite directions. V9082 Or, the underlining pieces may be basted to the garments and stitched as one layer. When using this method, secure the layers together with staystitching at the garment edges and baste down the dart foldlines, then stitch the layers as one. When underlining sheer garments, the second method is preferable as it prevents A B show-through to the outside. SEW TODAY May/June 2019 29.
Recommended publications
  • Multifunctional Blanket Stitch By: Magdamagda
    Multifunctional Blanket Stitch By: magdamagda http://www.burdastyle.com/techniques/multifunctional-blanket-stitch What better time for hand sewing revelations than now when my sewing machine is in service? sigh I have been thinking about this for some time – one type of hand stitch that comes in handy in so many situations! I’ll point out the ones I thought about, new ideas are welcome! Known as the “blanket stitch” it can back up your sewing machine in some situations or even go where no sewing machine has gone before!!!! First this is how it’s done: I prefer to stitch right to left. Bring the thread to front at desired distance from the edge ( about 2 mm for buttonholes, 4-5 mm for serging). Take the thread over the edge of the cloth and pull the needle back to front through the same point. Make a loop around this thread segment at the cloth edge level. At some distance from the first “entry point” (3-4 mm for serging) and at the same distance from the edge thrust the needle from front to back and pull the needle through the loop formed by the remaining thread. You can help yourself by keeping the thread over the index finger of the left hand while doing so. Repeat, repeat, repeat..:) Tip: If you are serging, make sure not to pull the thread too much and cause the fabric to pluck. If you’re working on a button hole or doing some embroidery work pull the thread just right so that the thread remains straight: not too loose, not too tight:) Tip-tip:) : If the thread gets twisted on itself , you can straighten it out by sliding the needle close to the fabric and running the thread through your fingers from the fixed end towards the loose end (a few times) Note: Whatever you plan to use this stitch for, you’ll find it ideal when dealing with curved lines! A video to catch the basic move: Step 1 — [serging] Multifunctional Blanket Stitch 1 Use it for: 1) Serging (overcasting the raw edges of a fabric to prevent unraveling)..
    [Show full text]
  • 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.
    [Show full text]
  • Jamie Updated Text
    250cm (L) 140cm 110cm E 43cm J C A 8B D J B27.5cm 4B F B F K 6A 58cm 2B 34.5cm 5a. SLEEVE 7B 7.5 E Fold 59cm 36.5cm 3B 9. Strap 50cm G 97cm 11.5cm 91cm I 4A 23.5cm 13. COLLAR A H I 3A 43cm J 14. Strap D 75cm 8.5 13. COLLAR Fold 14. Strap J 3.5 6B FRONT RIGHT 36cm 10cm Fold 140cm 54cm 50cm (W) 7.5 cm G F 7.5 43cm D cm 34.5cm G 43.5cm 8A 34.5cm 5b. FRONT LEFT C SLEEVE 16. I D 7A 8.5 30cm F 22.5cm 2.5 C J B 8.5 K 69cm G H 9. Strap 7.5cm 2A J Fold J 35.5cm 43cm BUTTON C 1. MAIN BODICE 10. LONG BELT STRAP Fold 10cm 58cm 11. 70cm <---> BACK RIGHT G G 5.5cm A H 12. LAPELS K 15. K 20cm 91cm B BACK LEFT 12. LAPELS FACING I 27 A 23 G G 50cm 45cm 45cm 20cm Paper Pattern Same Edge Colour: Seam Join Fabric: Lyco Linen 50% TENCEL, 50% Organic Cotton Linen : Fold Scale 1:10 Width 140, Length 250 cm (100 inches) : Placing Paper Size: A4 : Dimensions : Bias tape Moth Trench Coat by Jamie Han JAMIE 21. Pin the ‘I’ straps to 1(MB) at point ‘I’ along the at edge, right sides touching. Sew at 1cm. Repeat for the other ‘I’ strap. 22. Sew 2 belt loops. using the remaining fabric at the side of the Long Belt Strap at pont I and I on MB.
    [Show full text]
  • 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.
    [Show full text]
  • 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”.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Overlocker / Serger Techniques
    BERNINA eBook Series JUST OVERLOCK IT! Overlocker / Serger Techniques Written by: Jaime David, BERNINA Educator, Overlocker Specialist Securing Seams § Corners § Curves & Circles § Gathering Lettuce Edge § Blanket Stitch § Flatlock Weaving ©2019 BERNINA of America. Permission granted to copy and distribute in original form only. Content may not be altered or used in any other form or under any other branding. Content subject to change. OVERLOCKER / SERGER TECHNIQUES Once there is a basic understanding of how the overlocker/serger operates, such as threading, basic stitch formations and creating a balanced stitch, it is time to start refining these sewing techniques and skills. This machine can be a real asset to a sewing studio, and in no time it will be easy to utilize the amazing features of an overlocker to benefit all different types of sewing projects. This eBook will cover practical techniques like securing stitches, sewing corners and curves, as well as some decorative techniques including gathering, lettuce edges, flatlock weaving and blanket stitch. BERNINA L 460 OVERLOCKER Page 2 of 12 OVERLOCKER / SERGER TECHNIQUES SECURING A STITCH: Most often an overlock stitch is sewn over or into another seam, which automatically secures the stitch. However, there are times that stitches do not begin or end within other seams or edge finishes, so knowing how to secure the seam is important. Method One (Machine) Beginning: • Chain off approximately 3-4” of thread tail before taking the first stitch into the fabric edge. (Figure 1) • With needles down, raise the presser foot and pull the thread tail in front of the needles and lay on top of the fabric.
    [Show full text]
  • Features and Benefits
    one-touch air-threading coverlock machine FEATURES AND BENEFITS One-Touch Electronic Air-Threading Loopers With the PFAFF® admire™ air 7000 one-touch air-threading feature, you can effortlessly thread the machine loopers with the simple push of a button. Color Touchscreen Select your stitch, and the optimal thread tensions, recommended stitch length, and more are set automatically. Exceptional Lighting Exceptional illumination of the sewing area for optimal visibility - 60% brighter than competition.* Free Arm The free arm provides easy access for smaller projects like cuffs, hems and children’s clothing. Knee Lift Hands-free presser foot lift for ease and control. PFAFF.com admire™ air 7000 Features and Benefits PFAFF.com 26 Stitches The 5/4/3/2 thread stitch capability provides 26 different stitch options for a wide range of stitch techniques. Coverstitch Triple coverstitch and double coverstitch narrow and wide for activewear, hems and decorative applications. Chainstitch Seam finishing and decorative edges. 5-Thread Safety Stitch (Wide and Narrow) A chainstitch and 3-thread overedge for durable, professional seams. 4-Thread Safety Stitch (Wide and Narrow) A chainstitch and 2-thread narrow or wide overedge for durable seams. 4-Thread Overlock Seams and seam finishing. 3-Thread Picot Edge 3-Thread Wrapped Overlock Delicate finish for edges on lightweight fabrics. (Wide and Narrow) Edge finish for lightweight fabrics. 3-Thread Overlock (Wide and Narrow) 2-Thread Overlock Seam finishing and decorative edges. (Wide and Narrow) Overcasting for single layer of fabric. 3-Thread Narrow Edge 2-Thread Wrapped Edge Overlock Fine, narrow hems and edging. (Wide and Narrow) Edge finish for lightweight fabrics.
    [Show full text]
  • Info/How to Examine an Antique Painting.Pdf
    How to Examine an Antique Painting by Peter Kostoulakos Before we can talk about the examination process, an overview of how to handle an oil painting is necessary to prevent damage to the work and liability for the appraiser. The checklist below is essential for beginning appraisers to form a methodical approach to examining art in the field without heavy, expensive equipment. Although the information may seem elementary for seasoned appraisers, it can be considered a review with a few tips to organize your observational skills. When inspecting an antique painting, as with any antique, a detailed on the spot, examination should take place. A small checklist covering composition, support, paint layers, varnish, and frame is necessary. Also, a few tools such as a UV lamp, magnifiers, camera, soft brush, cotton swabs, and tape measure are needed. A "behind the scenes" investigation can tell you a great deal about the painting. The name of the artist, title of the painting, canvas maker, date of canvas and stretcher, exhibitions and former owners are some of the things that may be revealed upon close examination. Document your examination with notes and plenty of photographs. Handling Art Older paintings should be thought of as delicate babies. We need to think about the consequences before we pick one up. To prevent acidic oil from our skin to be transferred to paintings and frames, we must cover our hands with gloves. Museum workers have told me that they feel insecure using white, cotton gloves because their grip becomes slippery. I tried the ceremonial gloves used in the military to grip rifles while performing.
    [Show full text]
  • 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.
    [Show full text]