Banded surplice neckline May 4, 2008

As promised, here is a quickie tutorial for adding a band to the neckline of a surplice top as I did on my Cosmopolitan Dress. I love this type of finish because it is so easy and neat.

STEP 1: Once you determine the finished width of your band you will need to cut down the front neckline. My band is 1″ wide so I altered the neckline as follows:

- 1/4″ seam allowance already on my pattern
- 1″ finished band width
+ 1/4″ seam for attaching band to neckline
——-
- 1″ total removed from neckline

STEP 2: Measure the length of the neckline *on the seamline*. Yes, the photo shows me measuring at the cut edge - I was trying to pose with the left hand while the right was operating the camera! The length of the actual band will depend on a) the stretchiness of your fabric and b) your bust size. I initially cut my band 2″ shorter than the neckline but that turned out to be too long so I cut another inch off.

STEP 3: Draft band pattern: cut pattern twice the finished width (two x 1″=2″) plus *two* seam allowances ( two x 1/4″=1/2″) by the length determined in STEP 2. The bands should be cut with the greatest amount of stretch along the long edges.

Sewing is easy: fold the band wrong sides together, lengthwise. Stretch to fit neckline, serge. If you are unsure about the length of your band you should check the fit by basting it in first. I’ve done this so much that I can judge it by feel alone. If you are worried about everything being perfect even you can quarter-mark the neckline and the band. I don’t feel it’s really necessary to do that because the distance is short. Once you’ve done your permanent stitching press the seam allowances towards the garment.

I elected not to run the band around the back neckline because a) it’s easier and b) I have long hair and no one will ever see it anyway.

I serged elastic into the back neckline. To finish everything neatly sew your shoulder seams (which I cut down to 1/4″) making sure the back neckline goes 1/4″ past the finished band. Turn the back neckline snugly over the band and serge. If you are having trouble visualizing this and own Jalie 2449 it is the same finishing method. Hopefully the photos are pretty clear.

HP Cosmopolitan Dress with scarf sleeves May 2, 2008

So, here is the completed HP Cosmopolitan dress! I am currently looking for a job and this dress will work nicely in a professional environment. South Florida is very casual - even my best friend who is a senior partner in a law firm only wears suits for court. I plan on wearing it with these very comfortable, conservative Via Spiga pumps but to rock it out a little I added a beautiful mabe pearl necklace on a black leather choker. All-out conservative is just not me!

This weekend I will be posting a quickie tutorial on how to finish the neckline with bands - so easy! so fast!

You can see how easily this dress could also go out to dinner after work with a simple change of shoes! For more information about the fabrics I used, please visit my Behind The Seams blog.

Mitered Hem - HP Cosmopolitan Dress April 30, 2008

I just adore the Hot Patterns Deco Vibe Cosmopolitan Dress and have made it several times. The scarf-style shorter sleeve is especially nice because it is covered up yet still cool enough for our steamy South Florida weather.

To achieve a really nice, neat finish on this type of sleeve it is necessary to miter the hem. This is extremely easy to do and, in my opinion, best worked out on the pattern before the garment is cut. Do this once and you’ll never have to think about it again!

The first step is to mark the hemline at the bottom of the sleeve and on the slit - in this case, 5/8″.

Next, fold up one hem allowance,

then the other. You can already see how much bulk you would need to deal with here if you were to not miter the hem.

Draw a line from the point where the hems intersect to the foldline (point). Carefully lift the top layer and mark a dot at the intersection on the underlayer.

Here I have drawn both lines from hem intersection to foldline in red. These are the seamlines.

You will need to add a seam allowance - I have added 1/4″ here.

Then trim off the excess beyond the seam allowance.

After finishing the hem edges as desired (I’ve just serged) simply line up these two edges and sew your 1/4″ seam.

Trim away the bulk at the point - this is especially important on a very peaked hem such as this.

Here is the finished miter, before pressing. Your point presser comes in really handy for pressing the seam open before turning. If you don’t have one you can use your bamboo point turner. It’s neat, bulk-free and very easy to do! I’ll post a photo of the completed dress as soon as I finish up.

Designing & Patternmaking for Stretch Fabrics March 26, 2008

I jumped for joy when I read Kathleen’s post about a new knitwear drafting book a couple of weeks ago and went right over to Amazon.com to order a copy for myself. I tend to collect pattern drafting books but had not seen one specifically geared towards knits - my favorite fabrics!

It just arrived last Friday so I’ve only skimmed through it but I can already tell you it was worth every penny! Next on my book wish list (and also mentioned on FI):

Elasticated blindstitched neckline finish February 26, 2008

I really love making and wearing surplice neckline tops and dresses. To prevent the neckline from gaping I usually serge a plain lingerie elastic to the wrong side. Once turned in the neckline can then be topstitched or, as I often prefer for a dressier finish, blindstitched by machine. This is by no means a couture - or even fine - finish but it is very nice on sportswear.

First, the machine. This is a true blindstitch machine with a curved needle. Mine is a portable TacSew T-500 that is not as expensive as you might think. I use mine quite a lot. It’s great even if all you do is hem with it!

Here’s a link to the T-500 on All Brands. $399 is a great price for this machine! I see it locally for $600-800.

STEP 1: Put the lingerie elastic through the serger for a couple of stitches to secure it.

STEP 2: Insert your neckline edge and serge the elastic on.

STEP 3: Turn the elastic in and machine baste into position on your conventional machine. This may seem like an unnecessary step but it takes so little time and ensures that the elastic doesn’t twist or slide around during blindstitching.

STEP 4: Blindstitch just catching the edge of the elastic with your needle.

Now you can remove the basting stitches. I use a really loose top tension to make it very easy to take out.

After blindstitching:

The finished product! I used contrasting thread here but had I used matching thread and a white elastic the finish would be virtually invisible. The busier the print, the less noticeable the tiny stitches will be. Also, a blindstitch has plenty of stretch to it making it perfect for hemming knits as well as wovens. It’s great if you are making a top or dress out of a fine knit such as wool jersey or cashmere where you don’t want to use a coverstitch or twin needle.

Here’s how it looks on a real garment:

You can read more about the dress HERE on my personal blog.

Now, I have not tried this technique using the stretch blindhem stitch on my conventional sewing machine. I imagine it would work okay as long as you get the settings just right. I would experiment on scraps first. Better yet, treat yourself to a true blindstitch machine!

Prada key leash September 5, 2007

When I bought this red Prada hobo last year, I received a great key leash. I only recently started using it and have found it so handy for those of us who like to carry (and fill!) a large bag.

This particular leash is longer than most - about 13″ without the hardware. I really like the length because I can lock up without unhooking the leash. It also allows me to loop it around handles of totes (with the keys dangling inside) or loop it around my wrist if I’m just dashing into the dry cleaners or grocery store. Happily, many bags today already come with an interior ring designed for a key leash (who knows why the Prada ring is on the outside - I would never do it that way!) or you can add one to your home sewn bags.

For this project you will need:

*mid-weight leather scrap the desired length of your leash plus a few scraps
*key ring
*swivel hook
*leather glue or cement
*EdgeKote
*glover’s needle
*heavy thread (I used 69 bonded nylon)
*awl

Making your own leash is easy as I will demonstrate here. First, I selected a scrap of leather in the desired length, cut two strips and glued them together with my favorite Tandy leather cement. This cement is available at Tandy stores or at Michael’s. You can also use contact cement or other glues designed for leather (like Sobo). You’ll also need to reserve a couple of smaller pieces - about 2″ long - for finishing the ends.

Once the cement dries, simply use your rotary cutter to cut a 1/2″ wide strap. This is infinitely easier than trying to evenly glue two 1/2″ wide pieces together. Cut two 2″ long and 1/2″ wide strips from your single layer of leather.

I topstitched my long strap but didn’t bother doing so on the short pieces.

Next comes edge finishing: I really love Fiebing’s Edge Kote to give the edges a more finished look. You can purchase Edge Kote at Tandy or online, it is available in black and brown (I sure wish they’d add more colors). Someone suggested to me that acrylic craft paint would also work but I haven’t tried it yet so I don’t know how durable it is. Simply take a small paint brush and carefully coat the edges. Allow to dry.

Then, I simply added the ring and hook to the ends and secured them with machine stitching. This stitching is really important - you don’t want to lose your keys!

Cover the raw edges with your single layer strips, cutting them to length. Secure with handstitching poking small holes with your awl first. To make sure the finishing strips wouldn’t slide off I added a few drops of leather cement. That shiny stuff you see on the leather is just a little oil from my machine - oops!

That’s it, you’re done! A leash to rival the pricey original.

PS: I used an industrial walking foot machine for this project. If your machine will not handle the thickness of the leather you can omit the decorative edgestitching (although most machines can easily handle those two layers) and then securely handstitch the ends with heavy thread (don’t forget to use an awl to make handsewing easier) or secure with a rivet.

Adding bra cups to a halter top or dress April 19, 2007

Yesterday, I began work on the Hot Patterns’ Cha Cha Cha halter dress. Rather than worrying about being able to find a comfortable halter bra (and having to fuss with that with each wearing) I decided to add bra cups instead. Since this is a casual garment, I opted to sew the cups into the lining. On a dressier garment, I think it would be nicer to attach the cups to an inner layer such as stretch illusion and hide the construction with a lining.

First, I want to point out that I am working with a knit - a beautiful rayon/lycra from Fabric Mart. Were I working with a woven fabric, I would elect to attach the cups temporarily - probably using snaps - to make ironing easier.

Step 1: Pin the garment together, substituting the lining sections *wrong side out* for the outer bodice sections. Try on, pinning the cups into position *on the outside*. This way you will be spared the step of transferring markings from the outer bodice sections to the lining sections. I basted the center front together to make this easier - you can just pin that if you prefer.

Step 2: After removing the garment, I used a little help (a lime!) to make pinning a little easier. You want to allow enough ease inside the cup for the bust.

Ready for sewing!

Step 3: Sewing from the fabric side, I felt my way around the edges of the bra cup. A trolley needle was very helpful for easing in the fullness where necessary.

Step 4: The sewn cup from the inside and outside - it really is very easy to accurately sew around the cup even though you are only relying on feel to guide you.

Once both cups have been sewn into the lining, I will remove the center front basting and baste the lining and outer pieces together and proceed as per the pattern instructions. An easy addition that will make a summer dress much more comfortable to wear!

UPDATE 4/21/07: See the completed dress at Behind The Seams

Fashion Avenue Walk of Fame January 26, 2007

What could be more thrilling for the Sewing Divas than having some of our favorite designers of all time immortalized on Fashion Avenue’s Walk of Fame? Darlings, this is where I want my ashes scattered!

The ’70s belonged to Halston. Though he began his career as a milliner, his shift to ready-to-wear clothing made him a superstar. He was America’s first minimalist designer. By combining clean lines and classic fabrics, Halston designed clothing that was seasonless, made for travel and looked elegant night or day. It is no surprise that many members of the burgeoning “jet set” became his most celebrated clients.

Di Sant’Angelo exemplified the invidivual designer. He rose to prominence during the late 1960s when exuberant youth styles dominated. Inspired by non-western dress and hippie anti-fashion, di Sant’Angelo’s clothes were an eclectic mix of vibrant fabrics, rich ornamentation and ease of cut. Freeing the body was a prime focus. Leotards, beandeaux and tube dresses made of stretch fabrics covered in layers of filmy chiffon became his leitmotif.

A designer’s designer, Geoffrey Beene is one of the most artistic and individual of fashion’s creators. He is known for his surgically clean cutting and his fluid use of materials. His designs display a sensuous appreciation of the body and always permit movement. Beene blends masterful construction techniques with seemingly disparate elements, such as whimsically patterned fabrics. The end results are spirited garments, like his famous sequined football jersey evening gown.

This Anglo-American couturier is widely regarded as one of the greatest fashion designers in history. Having begun his career as a milliner in the 1920s, James later incorporated the sculptural techniques of hat making into his dress designs. His juxtaposition of opulent fabrics and unparalleled color combinations was enhanced by his inimitable and complex constructions. James’ engineered garments came as close to works of art as anything ever made in the realm of fashion.

Following a career in costume design, Cashin launched her fashion business in the 1950s. Calling her clothing “kinetic art forms for living”, she adapted simple cuts from the history of world clothing to meet the needs of modern women. She advocated playful but subtle exoticism and introduced layered, interlocking garments that could be rearranged to suit the wearer’s taste and activity. Fusing practicality and whimsy, Cashin’s distrintive style and philosophy celebrated independence.

Having brought the comfort and simplicity of sportswear into the realm of formal dressing, Blass can rightly be credited as one of the creators of a true “American style”. His blending of classic fabrics, like cashmere and satin, have made him a favorite among this country’s best-dressed women. Labeled the “hardest working man on Seventh Avenue”, Blass has cultivated an unforgettable personal and professional style.

More to come tomorrow!

Designer Inspiration Sew-Along - Blumarine #1 November 2, 2006

Last Friday I posted this $1070 Blumarine top (found at eluxury.com) on my blog (make sure you use the back button to return here). We’ll be using this piece as our inspiration for our first-ever Sewing Divas sew-along! A big thank-you to the readers who suggested it - this is going to be fun.

I think it would make the most sense for the participants to post their progress on their own blog or website. Then I can post the links here.

I’ve gathered together all of the materials for my top. The first thing I pulled out of my stash was a piece of black faux-leather. This fabric, called Elastique, was produced by Springs Industries in the late 1990s. I’m not sure if it is still available or not. This fabric looks very much like a smooth leather. It is quite thin and, as it’s name would imply, has a lot of stretch. It will be perfect for the faux-leather binding on my knit top - or some leather-look leggings if I decide to participate in the ’80s trend (I’m kidding!).

Next, I looked through my stash for a suitable main fabric. At first I thought of using a solid rayon/lycra but I really think this top needs a print to off-set the bling-bling of all those crystals! If you want to use a solid, it might be a good idea to use smaller rhinestone buttons and crystals. Unfortunately, I didn’t have a black and white graphic print in my stash (because I’d already used it for something else) but I did find this black, white, gray and red graphic print that I bought from Wazoodle last year. I think this will work well.

Now for the fun part - the sparkle! I found quite a few possibilities in my stash. I selected three different button options. The ones at the top are pretty large (about the size of a dime), the ones to the left are much smaller but still very sparkly. Those at the bottom have the least amount of sparkle and include a pearl - they are borderline so I don’t think they will work but I’ll reserve judgement until I get to that point. I also have some heat-set Swarovski crystals that I purchased from Sue’s Sparklers and some sew-on crystals from a local craft store.

The next step will be modifying my pattern. As I mentioned on my blog, I’ll be using the Hot Patterns Plain & Simple Tee as my base.

Cool Tools - Grommet Setter October 11, 2006

I’ve always wanted to buy a grommet/snap press but I really don’t do enough volume to justify the purchase. A few years ago, I discovered manual grommet setters from the C.S. Osborne Company. These are great quality tools, made to last, and are very reasonably priced (many under $20). Most of the applicator sets come with a hole punch but, for knits especially, I often prefer to use my revolving punch so that I can make smaller holes. The Osborne punch is fine on stable fabrics and leather. You’ll also want a rubber or rawhide mallet as a regular hammer can damage your tools.

The larger sizes are great for bags, shower curtains, etc. but my favorite is the size 00 (3/16″) as it is most useful for garment construction as shown here on Kwik-Sew 3120:

When using grommets (or eyelets) on knits there are a few things you’ll want to be aware of:

1. Make the smallest hole possible and stretch the fabric around the grommet. Otherwise, the grommet will come out later. This means that, if you are using the small eyelets commonly found at chain stores, you may just be snipping a thread or two to make a teeny hole. Practice on scraps to see which size works best with the fabric you’ve chosen.

This is the size hole I used for this project. My placket was interfaced and faced so I needed a slightly larger hole than I would have on one layer of plain fabric.

2. Use interfacing if at all possible (not shown in the following photos). You can also reinforce the hole with a small piece of cut-away embroidery stabilizer as shown below. If the back of the grommet will be visible you can trim away the excess so that it will be hidden once the grommet has been applied. If you’re using eyelets or the grommet back will be hidden you can just trim the excess stabilizer afterwards.

You can purchase the larger size Osborne grommet setters in the home dec. section of Jo Ann Fabrics. Other sizes can be purchased online at www.beaconfabric.com, Texas-LeatherCraft on Ebay or from Tandy Leather.